ONE WAY

ONE WAY is a tribute to the tradition I came out of. Peter Lindbergh shot fashion like it was portraiture — hair moving in the wind, skin that looked like skin, the camera kept at a respectful distance. He believed in honesty over spectacle, and that belief shaped most of what I think photography should be for.

We shot this series with Nat Zahari across one afternoon in St. Louis. Railroad tracks, a blank brick wall, and a single traffic sign that became the name of the editorial. The styling was deliberately pared back — black blazer, minimal accessories, hair and wind doing most of the work. I wanted an editorial that could have been made in 1990 and could still land in 2026.

Every frame was available light. The one retouch I allow myself in work like this is dust removal and minor contrast. The skin stays the skin. The hair stays messy. If the subject has a line on her face, the line stays.

This is the kind of personal editorial I take on between client commissions. It keeps the eye tuned. It reminds me why I shoot on medium format and not on whatever's lightest to carry. The goal is always the same — to make an image you'd want to still be looking at fifty years from now.