David shot this campaign for Kalms, which you may have seen on EVERY SINGLE DIGITAL BUS STOP IN LONDON. And that's an H&H fact. Bespoke embroidery, and composited imagery made this a deceptively tricky shoot. We love the results.
All posts featuring David Marquez
Every day is Christmas here at H&H. Especially when the fantastic David Marquez gets to shoot the Christmas campaign brochure for Harvey Nichols.
The book looks beautiful, and the shots are all presented without copy overlaid - clean and luxurious. Just like the man himself.
We've asked each of our photographers to talk about someone who influenced their work. Here's our still life and product expert, David Marquez, talking about his love for Irving Penn -
I first came across Penn’s work back when i was still a teenager in college, wearing tracksuit bottoms and Reebok classics. I remember being asked by my tutor to do a bit of research on fashion editorial photographers from the mid 20th century and boom, Irving had entered my life and who knew from that moment he would influence me and my style of photography until this day.
What impressed me the most was how diverse, imaginative and sometimes surreal his style was, from shooting a portrait of Picasso to shooting cigarette butts found on the streets by his willing assistants.
What I also found interesting about Penn was the crossover in his work between the commercial world and art, he blurred the lines between them. His front covers for Vogue nowadays being seen in art galleries across the globe.
All of his books are amazing but the one that sticks out the most to me is the Still Life. It has been on my coffee table for years and still inspires me. One of my favourite images in the book apart from the frozen food cover shot which is timeless, is the Cracking Lobster editorial for Vogue 1999. The rawness of the photograph is what appeals to me the most, simplicity is always best is still one motto I do my best to abide by in all my work. As Penn once said ‘if there wasn’t a reason for something being in the picture it wasn’t there’. His way to strip back every image to the bare essentials was the key to his still life and even his portrait work, he didn’t need fancy backdrops, fancy props and no over complicated lighting.