The organization was highly impressive because, on Inauguration Day, we had something like twelve crews all around town. Once they were set in position, they could not move. I was the person in the White House. I was waiting for the President and Melania to come back at the end of the day. It was kind of interesting. How else do you have the occasion to see the center of power?
Sophia wasn't particularly talkative that evening. Earlier that day, she'd been onstage at the conference I was attending and had been teased for a gesture that looked as though she were flipping off the audience. Now she was in the hotel lobby, in a black gown, holding court. She stepped in front of a bright-orange wall. I had brought an 85-mm. portrait lens, the kind that flatters human lineaments.
When I received this assignment, my goal was to create a photo that not only mirrored the show's dystopian surrealness but also captured the intricate relationship triangle between Britt Lower, Adam Scott and Dichen Lachman's characters. Initially, it took a little time for everyone on set to see my vision, but once I shared a test image, everyone understood and was excited to collaborate. The entire shoot lasted around eight minutes, but that brief window was all we needed.
The article itself brought a massive amount of buzz, and Anderson's photos raised that to a nuclear level, with harsh lighting, unflinchingly close-ups of their faces, and posed photos that seemed clearly intended to communicate critical judgment of these people and the roles they were playing in Trump's second term. Many commentators were struck by the brutal detail of some of the photos, showing wrinkles, smeared makeup, stray hairs, and other facial skin imperfections.
For the past 12 months, photographer Myla Faith Thomas has been photographing burlesque performers globally in an effort to examine how the art form functions as a space for self-invention, resistance, and radical visibility. What began as a portrait study of the UK scene has expanded into a broader exploration of contemporary burlesque culture and an internal investigation of the body, confidence and sensuality.
Known for his vivid portrait photography, Yannis Davy Guibinga is interested in the intersection of art and public spaces. This is especially apropos when it comes to celebrating culture, heritage, and a sense of belonging for "a new generation of Africans who embrace the multiplicity of their heritage in a globalized world," says a statement for his new project, Of Colour.
Los Angeles-based photographer Kaitlin Maxwell was raised in South Florida and experienced the passing of her father at a young age. Photography has been a way for Maxwell to navigate the world, find meaning and a sense of identity. Using natural light and a medium format film camera, Maxwell's practice is an intimate study of the human condition, rooted in a desire to understand what it means to be seen.
Paul Kooiker, known for his provocative and surreal exploration of the human body, identity and voyeurism, captures the spirit of the Washington DC punk scene in his portrait series of author, musician and filmmaker Ian Svenonius, who wears Tatras. Kooiker's story for Another Man Volume II Issue IV, will be showcased at Dover Street Market Paris during Paris Photo, alongside other shoots from the edition by JH Engström, Thomas Mailaender and Chardchakaj Waikawee.
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These images mark a series of firsts: my first time shooting on colour film, and my first collaboration with Ella Snyder. There was a certain electricity in that unfamiliarity, where every frame became a small act of trust, of quiet listening to light, shadow, and gesture. Shooting on film slowed us down, inviting presence and tenderness. These are more than portraits, they're records of a beginning, and of how art can emerge when two people meet the unknown together.
My aspirations have remained the same: to document the contemporary cultural landscape and to produce a decent photograph a photograph that acknowledges the medium's allegiance to reality and that preserves for myself and others a unique and honest sense of the subject. The environmental details have been kept to a minimum. The subjects have the frame to themselves and do not compete with context for attention. This provides for a simpler, blunter, more intense encounter with character. It is character that animates the image.
Since its launch in 1993, the Got Milk? campaign has become one of the most recognizable advertising initiatives in American history. Originally created by the advertising agency Goodby Silverstein & Partners, the campaign was designed to promote milk consumption in a way that was memorable, playful, and culturally resonant. The signature milk mustache portraits, shot by photographers including Annie Leibovitz, paired celebrities, athletes, and everyday people with a humorous, relatable visual motif: a glass of milk and a creamy white mustache.
At the center are two men: Eric Weiss, the photographer who captured the pulse of New York's cultural heyday, and Tomek Maćkowiak, a Bay Area craftsman dedicated to reviving the tools of film photography. Their collaboration is not just about nostalgia. It is a meditation on memory, patience and the tactile joy of film in a digital world, reminding us that slowing down can be the boldest act of all.
An employee manning the front desk explained that it was the only place in the area for customers to have photos taken for their Aadhaar cards, biometric I.D.s issued to almost all of India's adult population. Sometimes, the employee mentioned, people came for portraits to mark special occasions or holidays. Sheth's interest was piqued. "Are you expecting people today?" she asked.
