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Here’s Bill Murray on the set of Fantastic Mr. Fox, a stop-motion animation film directed by Wes Anderson. I was only on set for a day. Bill and I were walking around the set and I got him to lie down in this sort of Lilliputian frame, which references Gulliver’s Travels. He’s doing nothing; he looks like he’s asleep, like this giant has had the biggest night out and has fallen asleep in a little village. There aren’t a lot of photos of mine that I have framed at home. But this is one of them, because it’s a picture I keep looking at. I wonder about the narrative every time.

Technically, it’s an incredibly simple photo. I got the camera as low down as I could to the ground. It’s interesting, someone was describing how we first get our ideas of perspective when we’re little kids, and you think of watching a little boy with his toy car and he puts his eye down really low to the ground, and from the ground, his car looks big. That’s what I think of when I look at this. Get the camera as close to the ground as you can, look up, and you start to empower the subject and make it feel larger than it is. 

Everyone on the mailing list is automatically entered into a draw to win this 16×12″ Studio Stamped Fine Art print of Ana De Armas in LA. If you haven’t already, you can subscribe to the list at:
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This shot from my archive was taken on a rainy day in Los Angeles. I went to Ana de Armas’ house to take some pictures and then she drove me around LA, taught me some salsa dancing (in the middle of the street), and we went over to Pinks for a hotdog. 

This image sums up everything I try and achieve in a picture – possibly better than any other I have taken. Ana is so unselfconscious. Her cheeks are puffed-out with the hot dog and there’s a mischievous smirk and a tilt to her head that is effortless.

I like this one in colour. When I first took it, I imagined it as a black and white (my go-to), but then I saw the red and white of the Coca-Cola bottle echoed in the pillars in the background and realised it had to be colour.

It’s easy to think that the ideal portrait is one where the pose is conventionally beautiful, cosmetically perfect. This picture really illustrates how that isn’t always necessary. You see far greater inner beauty when you witness someone just being themselves.