“It’s just knowing who should be in charge at any given time and when no one should be in charge. “Sometimes I really am just using my invisibility cloak to the best of my ability so that they forget I’m there and sometimes they tell me what they want me to shoot and sometimes I tell them what I want to shoot.” “Sometimes I’m following and sometimes I’m directing,” said Autumn. Autumn maintains a balance of power with her subjects by exchanging roles. Knowledge breeds power and photographers learn a lot about their subjects when the camera is transparent. After awhile, I don’t notice when I take a picture, and they don’t notice either.” ![]() With each circle, we know each other a little better, and I get closer.įinally, I am shooting hands, fingers, a shoe, an eye, a mouth, the creases in their clothes. They notice for a second, and then continue on with what they are doing. The subject is in the center, and we don’t really know each other. In the afterword to Death Cab, Autumn describes her creative strategy in a passage that evokes the mood of vulnerability that photography can produce. Photography, afterall, is part hunt, part seduction. Photographers garner a lot of information about their subjects when they are shooting. “I collaborate with artists, I bring their ideas to life, add my ideas in, whatever is needed to make sure the artist’s work is remembered properly,” said Autumn. Search the Internet and you will find Autumn’s portraits of Shirley Manson, John Doe, Elliot Smith, Karen O, Fiona Apple, Michael Gondry, Wilie Nelson, Kate and Laura Mulleavy and many others. Or, you know, I work with Rodarte to create an imaginary world to represent that season’s designs.” Sometimes it’s creating an imaginary world to represent a record. “I come and go from their lives to document or do portraits. “My favourite subjects are the long term ones,” said Autumn. Her most recent book, Death Cab for Cutie, covers seven years in the life of the band. She is currently working on a book about Beck, who she has photographed off and on since the 90’s. She in turn immerses herself in the lives of her subjects.Īutumn toured Canada with The White Stripes in 2007 and published Under Great White Northern Lights, a collection of photographs from the tour. ![]() “I started looking around to prove that what I did was not exclusive to music, that my process was storytelling through the imagination of the artist I was studying.”Īrtists bring Autumn into their worlds and trust her to document their creative lives. “I started out as a rock photographer but I have a fascination with artists at work,” said Autumn. She also directs music videos and advertising campaigns. Autumn channels different styles from the history of photography and refreshes them in the context of music, movies, fashion, and advertising. Yet rock photography is just one aspect of her work. Over coffee, we talked about her approach to photography, the impermanence of Los Angeles, and the uncanny lushness of Nova Scotia in the summertime.Īutumn de Wilde is often described in the press as a rock photographer who has worked with Beck and The White Stripes. Images from Death Cab for Cutie, her recent book, hung in black frames on the cafe’s red brick walls. ![]() I met up with Autumn at Intelligensia on Sunset Blvd in Los Angeles to discuss her work. A recent self portrait, shown above, mixes the warmth of a photographic print – uncommon in our digital age – with the presence of a contemporary woman. She immerses herself in the lives of her subjects and has produced an innovative body of work that demands attention.Īutumn has the uncanny ability to channel the history of photography in refreshing ways. Autumn de Wilde is an American photographer who has worked with artists such as Beck, The White Stripes and Kate & Laura Mulleavy.
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