photography

On my radar: Fara Homidi Beauty



Fara Homidi Beauty by Zoe Ghertner

Proof that today’s beauty is nothing without branding, this new ‘slow beauty’ make-up launch caught my eye. It’s rare that I’m tempted to buy stuff on Instagram, but this one just hit the spot. Fara Homidi is an NYC make-up artist whose brand Fara Homidi Beauty sits in the Westman Atelier and La Bouche Rouge bracket of ‘clean’ products, superior textures, classic ‘suits-all’ colours and luxe packaging with an anti-hype feel. (more…)



The search for grey hair style inspo



Prada Rachel Williams

Is it me or are there very few cool images of great grey haircuts out there?

The diversity conversation is great n all but one area where diversity is still lacking fashion-and-beauty wise is in the sphere of ‘older’ women who look their age.

What do I mean by ‘older women’? In this case, let’s say 50+. This is the age of the supermodel generation, and I just noticed a Prada ad in British Vogue featuring 90s model Rachel Williams. (more…)



See this: A Hard Man is Good to Find!



A Hard Man Is Good To Find - The Photographers Gallery - Keith Vaughan Highgate Men's Pond Album 1933

Another new London exhibition worth your attention. A Hard Man is Good to Find! at The Photographers’ Gallery is a brilliant little history lesson of queer photography of the male physique, surveying the years when making or distributing imagery of male nudity was illegal in the UK.

Centred on key areas of London – Highgate, Chelsea, Brixton, Pimlico, Portobello, Euston, Soho – it explores some of the ways that photographers would go about scouting modelling subjects. For example, a concentration of fit young males around the army barracks of Pimlico would result in images of partially uniformed men, including some fabulous styling. (more…)



See this: Baldwin Lee, A Southern Portrait, 1983-89



Baldwin Lee DeFuniak Springs Florida 1984

“I would approach my potential subjects, explain in as detailed a manner as possible what I had seen, and ask for permission to take a photograph. Of course, small talk — where was I from, who would see the photograph, why I selected them — would sometimes ensue. Often permission was granted with no discussion at all. Looking is a two-way street. Not only is the photographer looking, but the potential subject is looking too. What the subject sees carries great weight. For some reason, people would see me positively. I am not sure if it was my race, gender, physicality, dress, demeanor, or anything else. If in a day I asked twenty people for permission to make photographs, nineteen would say yes.”
Baldwin Lee (more…)