All language subtitles for 3. Photo Breakdown 03

I took this photo of Adam Driver

and his wife, Joanne Tucker, at the BAFTA Awards,

they've literally just arrived at the red carpet

and I have a number of positions

at different awards ceremonies, and at BAFTA,

I always sort of start the evening

right down where the cars are,

before they've sort of got shellshocked

by all the flashes and all the interviews and all the stuff.

So there's literally, behind us,

there's probably another five yards of red carpet

and then there's cars.

Also, when people are walking towards you down a red carpet,

they're very front lit and I love backlight

for a number of reasons.

When there's multiple lights up,

like they are in this image,

the lights create an entire halo around people

and then you get very soft light of just everything

that those lights are reflecting against.

So it creates a light that I like

so I'm often on red carpets asking people to turn away

from the lights back to me.

And it's something I've done on film sets for years as well.

And it's something I did with the sun,

to be honest, whenever I'm out and about,

I love shooting back lit.

The idea with this picture was very much

to let them go past me,

to have my camera all ready to go, my exposure as I want it,

and then call out to them while I'm all ready

so that as they turn round, there's the acknowledgement

and we're getting the pictures.

It was shot on the Leica Q2, which has a fixed 28 mil lens.

I took this photo at the Golden Globes.

You'll see Jay-Z there, bang in the middle,

and I'd photographed a party for him a year beforehand

so we sort of vaguely knew each other.

So he's giving me this, ah,

and he's in the center of the frame,

but what I love about this picture is

when you look around it, you know,

there's obviously Beyonce next to him,

we've got J-Lo, I think I can see Ellen DeGeneres there,

I can see Warren Beatty,

it's the ballroom at the Golden Globes in an intermission.

The picture was shot on a Leica Q2 with a 28 mil lens.

When I say center point perspective,

I mean that I've placed the subject of the picture

bang in the middle and I suppose everything else seeps out

from the center of the frame in this kind of composition.

I took this photo of Margot Robbie

as she was getting ready

for the Oscars a couple of years ago.

The thing I love most about the picture is that

despite me being in the frame

and despite the makeup artist's hand,

it's very much a sort of center point perspective

portrait of Margot.

We positioned the mirror just in a way

that there was a nice amount of window light coming in

that creates this nice sidelight

that has a sort of duality of light and dark in her face.

It was shot for Chanel Beauty,

hence the makeup that's positioned in there.

You can see me there,

I'm taking pictures with the Leica SL

with a 75 mil Leica M-Lens on it,

which was what I had before the new Leica lenses came out.

I love this picture, it's a lovely shot of me working,

it's a behind the scenes picture,

but it's very much a portrait.

I took this shot of Tom Holland for British Vogue

for the Awards Portfolio 2021.

I had this idea before we shot, I was talking to Dina,

the stylist, who'd just presented what has to be

the crispest white shirt I've ever seen in my life.

But, I had this idea of giving him something,

giving him a prop, giving him something to play with

and came up with this idea of the bubblegum.

And really created a picture that is again based

even though it's probably not

bang in the center of the frame,

you feel it's a very center weighted picture.

And it really is the moment there's a sort of parallel line

you can draw down the center of him

where his hands are doing exactly the same,

his shirt's doing exactly the same thing,

his trousers feel like they're doing exactly the same thing.

And the bubble is just this sort of perfect focus

in the middle of the picture.

And yeah, I absolutely love it.

This picture was shot remotely.

So I had a crew in Los Angeles on a 28 mil, on a Leica SL2,

and I'm on a live view

and directing every sort of element of the shoot,

I had three screens, I had a screen

that was the live view of the camera,

I had a screen that was a view of the whole shoot

so I could see sort of all the different people

involved in the shoot, and then I had another screen

that was the actual computer feeding the images

back through to me.

So I was able to direct it and this was the result.

I took this photo of Cate Blanchett

at the Venice Film Festival during the pandemic.

And it was a kind of amazing time

because we'd had this awful lockdowns

and the organizers of Venice were just

determined to make the festival work.

And somehow they did, I mean, there were just no dramas.

It was as if there was a huge storm

and the clouds passed and for about 10 days,

the sun just shone on Venice.

And Cate Blanchett was the President of the Jury.

And I shot this picture,

it was shot for Armani Beauty.

It was a picture of her getting ready to go to a premiere.

And there was something about the mask

and Cate was really definite that we needed to record this

as a sort of, almost as a news picture,

or as a moment in the history of the Venice Film Festival.

I shot the picture on a 75 mil lens on a Leica SL2

and it's a real environmental portrait, this.

The hallway she's and the frames

within frames of these kind of Moroccan cut shapes,

there's the frame that she's framed by

and that's framed by another frame

and steadily the frames get lighter

the further you go into the image.

And it had an amazing response when we posted this picture.

To find a moment of glamor in something

that was effectively taking away our appearance and stuff,

it was just a picture

that people received really, really well.

I shot this picture of Kendall Jenner

at the Cannes Film Festival.

The picture was taken about two hours after it was meant to,

there was some delay on us doing the shoot,

and I didn't have lights with me,

apart from a flash,

and I didn't want to take the picture with a flash.

So what I did is I used one of the lights

from a stage setting,

which is that light you see in the top left-hand corner.

And I used it as my backlight.

What it does is it sort of creates this flare in the camera

and everything that is around her,

sort of puts some light back into her, but it was very dark.

And I shot the picture, you know,

I think it was like maybe a 30th of a second at f2,

or something like that.

The thing I love most about this shot is a genuine smile

from someone that I always think of her

sort of posing quite seriously and things.

And it's just a really lovely, joyful, light, happy image

that I'm sort of proud to have taken

and it's very much about the warmth

that you give to people

in what warmth you get back from them.

And this picture's a nice example of that,

it was shot on a 75 mil lens on the Leica SL2.

I shot this picture backstage at the Golden Globes,

Taron Egerton had just won for a "Rocketman",

Best Actor in a Musical or Comedy.

He's there with his Mrs, a bunch of friends

who include Olivia Colman, Rami Malek,

and Dexter Fletcher who directed "Rocketman".

Olivia kind of makes this picture, just the sort of,

she's so much fun and she's sort of giving us the bird

and is so irreverent and so far from the Queen

that she's portrayed on more than one occasion.

For me, she really makes it,

but also there's genuine joy on Taron's face.

And I think it's just a really lovely image of

a bunch of mates really celebrating their big win.

I took the picture on my Leica Q2,

which has a fixed 28 mil lens.

The 28's my favorite lens of all

and it's brilliant for working

at these sort of close, very social distance, you know,

anything from 0.7 of a meter to about two meters is

the sort of perfect playground for me for a 28 mil lens

and for getting these interactions,

the audience look at a picture like this,

and they feel that they're are a part of it.

And absolutely, I love working this way.

I shot this photo of Rami Malek

surfing on the roof of a boat in Venice

down the Grand Canal, and it's a funny one

because that morning I thought of this picture,

and I honestly didn't think

for a second of asking Rami to do it, I just thought,

God, I've never seen anyone boat surf in Venice.

And so, we get together and we go for a ride.

And I said, "I've always thought of

"putting someone on the roof."

And he, you know, bless him, he absolutely engaged in it

and went for it.

It's shot on a 28 mil lens,

a wide-angle lens, very much looking up

and the lines of the buildings left and right

all sort of bring this center point perspective to Rami.

There's also a joy in his face,

like you can see he's actually mid pretending to surf

and I absolutely love that.

I love it when you capture joy in a moment.