Hadassi
Blowout’s Allegra Handelsman talks with photographer Hadassi about her process and new series—“VERTIGO”.
When did you know you wanted to pursue photography as a career?
While I was studying history of art and photography in high school, I came across Pre Raphaelite paintings, and was immediately inspired by the women and nature in the images. Inspired by these paintings, I began shooting my friends and family on black and white film, and pretty much lived in the darkroom printing photographs around the clock at school.
Before school began at 8am I would have already been up at the crack of dawn shooting my mother and my six siblings dressed in Victorian clothing standing in the middle of the muddy marshlands in Hampstead Heath. I couldn’t get enough!
Most of your photographs are in black and white. What inspired you to make this creative decision?
I love creating imagery that captures the true essence of a person. I found that removing color from an image doesn't necessarily mean, ‘removing emotion from the image’, but in fact quite the opposite. Monochromatic shooting allowed me to capture a timeless place, something that the naked eye could never see.
You shoot mainly on film. Is there a movement away from digital to more classic methods?
I actually shoot both, but this series happens to be shot all on film. I think the medium, whether it be digital or film, has to always relate to the story an artist is trying to tell. To me, shooting digitally feels more like a TV sitcom, as opposed to shooting on film which feels more cinematic. Also, because of the availability of digital cameras on our phones, shooting film feels more novel today than ever. So, in short— Yes, I think there are a growing number of photographs today shooting on film.
How much does the relationship you have with your subjects affect the outcome of the imagery?
It's everything! I meet with my subjects beforehand so I can get to know them before we shoot. On our first meeting, we’ll chat, do some test shots and see how comfortable they are in front of the camera. This allows us to bond, so that by the time we’re shooting the final image, we've created a safe space to be vulnerable.
I give my models and dancers a brief for the character they’re about to play. I’m never shooting a person, I'm always shooting a story, and It's only once the person loses themselves in the character, when they become one with the story.
Do you have a preferred type of subject to photograph?
The feminine side of women.
Do you believe the female gaze exists? If so, what does it look like to you?
Sure, objectification towards women exists, it also exists toward men. But from my perspective I often try to capture something more than just objectifying my characters. The subjects I shoot are not mere objects, but living characters with their own fantasies and hardships, this is always what I’m focused on.
Should the industry be promoting more female photographers?
100%.
What do you think the industry looks like now that more female photographers are celebrated?
When you're in an industry that you love but don't see anyone that looks like you, it can be tough and isolating, as you don't know where to place yourself. Having more female photographers in the game is like having more of your friends at a party—it’s just more fun.
You worked for and were mentored by the iconic photographer David Montgomery; how much has he inspired your work, especially your portraiture?
David has been a great mentor and inspiration to me. We would analyze countless photography books on legendary photographers. We also spent months archiving his photographs of icons such as the Queen, Jimmy Hendrix, the Rolling Stone and Dolly Parton (Just to name a few). He would tell me stories of how he shot these iconic stars and what he had to do to get the shot. On top of all of this, he taught me the technical side of photography, how to interact with subjects and the psychology of angles.
Do you find inspiration from other artistic mediums?
Yes, I love old technicolor films and cinema- Alfred Hitchcock movies to be specific.
Recently you created a series called Vertigo - tell us about it.
Vertigo is about the fear of failure and most importantly about the fear of taking a leap into the unknown. That’s what this series is about. Leaping into the unknown- sometimes we fall, and other times we fly, but the most important thing is to take the leap.
The series was inspired by New York photographer Melvin Sokolsky who made these magical fashion images of women floating in bubbles through the sky in Paris in the 1960s. I love the combination of the mundane with the fantasy, and there's something otherworldly about it.
Over the summer, I partnered with W1 curates and WAAW to exhibit my Vertigo series. My series was blown up on the face of the 7-foot story flannels building in Oxford Circus in central London. - Click here to see the digital exhibition (Link video here)
How much do you consider the lighting in your creative process?Light was one of the most difficult processes to work with for this series. Not to sound too geeky or technical, but I had to match the lighting of the flying girls with the angle and softness of the light on the buildings even though both images were at times shot on different sides of the world. For this series, light was everything.
You also work in fashion photography. What would you say is the main difference between more commercial and artistic photography?
In commercial photography, you're working for a client. You have a brief, and you have to fulfill that brief. For art photography, I am my client and I set the brief.
What's the best piece of advice you have ever received?
Think less, do more.
Lastly, do you have any plans for new upcoming exhibitions or series?
Yes. But you’re going to have to wait to find out.
Words by Allegra Handelsman
Photography: Hadassi
@hadassi_
www.hadassi.com
