I think sometimes it’s hard to really articulate a statement on collaborative work. The team we formed and the talent we worked with all came together with a sense of excitement for working with each other. And that’s what I love about working in photography. I love what happens when a group of people kind of jam on what one another is doing. This project was like writing a song in a lot of ways. Everybody had their own voice, and when put together, we all found ways to use our voices to support each other. 

The ropes kind of translate that connection. I like how they cut through the frame and connect the girls to the set, visually. 

The canvas set has long been a standard in imaging. It’s the go-to surface for painters, and painted backdrops remind me of classic photographs. Maybe more than that, they remind me of the still-life sets you see in classic paintings. I think there’s a connection
 there with our aesthetic process. The texture of the woven fabric grounds the set more than paper does. The imperfections flow beautifully as the light moves across. It’s a wonderful material to work with.

The way the clothes flow is harmonious with the set, but the textures have a clear contrast. There’s a bit of a story with that too, how these beautiful pieces, when you break them down, are fabric themselves. 

Murphy and Brookelin are both models I’ve been working with for years. They aren’t “kid models” anymore, but they aren’t women yet either. I think it’s great to see them grow like that. They can connect the set and the wardrobe and the hair and makeup and the light, and connect it all to the viewer through the camera.

Photos by Nicholas Steever
 Styling by Jill Rothstein
Hair and Makeup by Clelia Berbonzoli
Modeled by Murphy and Brookelin

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