Frederico Martins Tests the Features of Phase One’s IQ2 Digital Back Series

Fashion photographer Frederico Martins, his team, and Elle Magazine led by art director Paulo Gomes went to Fuerteventura to test the new features of the IQ2 digital back series.


Karlie Kloss Loses Her Ribs


Numéro magazine has a new cover editorial starring top model Karlie Kloss. The largely nude spread was shot in black and white by photographer Greg Kadel. But there are

some stark differences between the photographs released by Kadel and those that appear in the magazine. Numéro, it seems, liked that Kloss was so thin but hated that her thinness made her bones more apparent. So in a have-your-cake kind of gesture, it made the bones disappear with Photoshop.

This is one of the images from the editorial in question. On the left is Numéro‘s version; on the right is Kadel’s. You can see the uncensored photo here.

Yesterday, when Kadel’s images started hitting fashion blogs, the fact that Kloss’s bones hadn’t been Photoshopped out was one of the things we first noticed. Kadel’s images were most likely also retouched — always a safe assumption with any fashion photograph, and the photographer has not claimed otherwise — but his retouching didn’t take away Kloss’s bones. When Numéroreleased images that were retouched to such a different standard, Kadel’s studio announced the photographer’s displeasure:

It was Greg’s desire to represent Karlie as she naturally is … slender, athletic and beautiful. That is why he released the images as he intended them to be seen by the public. He is shocked and dismayed that unbeknownst to him, Numéro took it upon themselves to airbrush over his original images. Greg stands by his original artwork and cannot stress enough that he not only was unaware of the magazine’s retouching but also finds the airbrushing of Karlie unacceptable and unnecessary.

One of the requirements for being a fashion model — at least, a straight-size fashion model such as make up the overwhelming majority of the industry — is to be very, very thin and very tall. Most models are at least 5’9″ and measure 34″-24″-34″ at most; Kloss is 5’11.5″ and her measurements are given on her most recent composite cards as 32″-23″-33″. To maintain this small size is something that different models face in different ways — but it is something they all must confront, a job requirement not quite like any other. This is not a comment on Kloss’s health — of which we can know nothing, based on mere photographs — just an acknowledgement of the standards of the industry she works in.

The result of maintaining such a small body size is bones and musculature that are more visible than they are on people of more average weights. And plenty of people — perhaps lacking, in a visual culture polluted by Photoshop, a realistic sense of how very thin bodies look and move — stand ready to say that any photograph of a woman with a bony chest is “disgusting” or “unfeminine” or “ugly” or “reminiscent of Auschwitz.” Or at least those are all examples from (now dismissed) comments on yesterday’s post.

Most consumers seem to accept the idea that models are skinny. But they don’t like to be confronted with images that show the consequences of being that skinny in a realistic way. They want the bones airbrushed out. It lets them off the hook. And it lets the magazine, one of the clients who is instrumental in setting the standards that models must embody, off the hook, too. In this way, clients get to continue demanding unreasonably skinny models and zero bodily diversity. And they get to Photoshop out any bones that might offend. Or remind consumers of the toll this narrow standard can take on young girls’ bodies.

The ease with which photographs can now be digitally manipulated in post-production has left the magazines and brands who produce most of fashion’s imagery chasing ever-less-natural standards of “perfection.” Retouching that in the darkroom era was time-consuming and expensive now can be done with a few clicks of the mouse. Taking out Kloss’s bones, as Numérohas done, adds nothing to these photographs except a veneer of unreality: raising your arms above your head makes almost anyone’s rib cage more prominent, regardless of weight, and the lack of it makes the Numéro shot uncanny. As I wrote a few years ago when so-called “reverse retouching” (retouching to take away bones and/or add flesh to models’ bodies) hit the headlines, this kind of retouching hardly contributes to a healthy visual culture for women and girls:

We’ve become conditioned to expect perfected images of skinny, apparently boneless, smooth little girls in our magazines. In a certain way, we’ve come to rely on Photoshop to insulate us from the sharp reality of what maintaining an industry-approved fighting weight can do to a human body.


Scene Magazine Winter 2011 Shoot

I had the privilege of shooting Scene Magazine’s Winter 2011 Cover and Fashion spread a couple of months ago. The shoot took place at the VBar in Santana Row. It was quite the challenge being that the bar itself does not lend itself to much light and space for setting up lights and gear. I enlisted the talented Jackie Tran for makeup and James Griffiths for hair. Our models came from local agencies in San Francisco. Photo assistant Viet Mac was there to make things flow smoothly while filming some behind the scenes video. We had a limited time to shoot at the hotel, wrapping up the shoot in just a few hours. Overall the shoot went by very smoothly. I big thank you to Katherine Fong (Editor) and Donna Kato (Fashion Editor) for giving me the opportunity to shoot for a great magazine. I can’t wait to do it again!

Here’s the two covers:

The spreads:

FNK Asia Editorial

A 6,000sq.ft home nestled high up in the Morgan Hill area was the location for the FNK Asia editorial spread. A designer thousands of miles away wanted to bring a new taste of style to their campaigns. We created a vision that brought together fabrics from the East with the cultures of the West. We had an excellent crew on the day of the shoot. I had warned everyone that the drive to the house would be treacherous and halfway up the drive I was already getting calls on my phone asking “How much longer?”  Once at the house, it provided a beautiful scenery and excellent weather. Our crew consisted of make up artist Aliya Qazi, Amy from FNK Asia to help style and label the clothing, Micha from Halvorson Model Management in San Jose and Isabella from Ford Models SF.