Are we freaked out by the amount of wide-angled lensing going on around here over the past couple of days? Jake and I agreed while shooting in Paris that shooting telephoto and cropped was quite an Australian photographer thing to do. Our light here at home is the reason why so many people start shooting in the first place, but the majority of our streets and even beaches seem more enchanting as a paint-like blur of colour. On the other hand, the likes of European architecture is far too valuable a backdrop asset to leave to depth of field. Los Angeles produces just as many 85mm-lens-loving shooters as the land Down Under – indeed their Golden Hour can certainly hold a candle and a half to even our Western Australian over-water sunsets. Even with the city’s iconic palms and Big Red Cars (the 1920s incarnation – though the above Ford would have to do for now), I personally hadn’t envisaged shooting this mini-series for Shona Joy on a wide or even in direct sunlight. You all know how much I love a lens flare.
And so, here we have my week of Summer in Los Angeles, summarised in all of four frames, and a near-accurate all of four looks: the killer wheels that never moved from outside my Airbnb apartment in West Hollywood, Revolve’s Malibu house on the water and Muscle Beach. Who’s ready for the Zhang guns show?