Initially, it took a little time for everyone on set to see my vision, but once I shared a test image, everyone understood and was excited to collaborate. The entire shoot lasted around eight minutes, but that brief window was all we needed.<\/p>\n
After publication, the images quickly went viral. Many viewers assumed the photos were AI-generated or composited, but every detail was achieved in camera.<\/p>\n
At the end of the shoot, someone from Lower\u2019s team accidentally stepped on the mirror, shattering it. Someone joked about bad luck, but thankfully, this superstition did not come true, and a few months later, Lower won the lead actress in a drama series Emmy for her role in \u201cSeverance.\u201d <\/p>\n
Richard Kind<\/p>\n
By Christina House at Sunset Gower Studios in Hollywood<\/p>\n
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Richard is one of a kind<\/a> \u2014 no pun intended. He was singing and joking with us, telling stories. We were set up outside under the beating sun and he was wearing a vest with a wool coat, so we were trying to work quickly! I always love seeing behind the scenes of how films are made. I decided to pull back and include the lights and my assistant Jonathan\u2019s hands to give it that working set feel. <\/p>\n Cynthia Erivo<\/p>\n By Jason Armond in Los Angeles<\/p>\n Cynthia Erivo\u2019s portrait session<\/a> took place in a studio near Beverly Hills, where she had recently finished recording her latest album. My initial plan was to photograph her seated beside a vintage piano, but she had a different vision. This is why I always prepare at least three setup options for entertainment portraits. I quickly adapted and moved to my next setup, which featured a striking geometric wooden wall in the studio. As I adjusted the lighting, I noticed her stunning wardrobe with two waist-high slits that revealed her tattoos. At that moment, I understood her preference for standing, as it allowed her to express her style and personality fully. I adjusted the lighting to complement Erivo\u2019s sultry and confident presence. Her choice to stand brought a dynamic quality to the image. The resulting image speaks for itself; Erivo brought the scene to life and needed almost no direction. I simply pressed the camera\u2019s shutter button. <\/p>\n Bella Ramsey<\/p>\n By Bexx Francois at the London in West Hollywood<\/p>\n Rather than chasing an expression, I was interested in stillness and repetition; how a simple gesture could feel amplified when echoed across a frame. I wanted Bella\u2019s profile<\/a> to be both the anchor and the rhythm of the image. She was immediately open to leaning into something more abstract. It was a real-time compositional gamble, guided by instinct and trust. We made several variations, but it was her side profile that ultimately struck the strongest balance between classic portraiture and interpretation. <\/p>\n Lee Jung-jae and Hwang Dong-hyuk<\/p>\n By Justin Jun Lee at the \u201cSquid Game Experience\u201d in New York <\/p>\n From the moment I walked in, I felt completely immersed in the design of the space. It truly felt like I was stepping onto an actual film set from one of the \u201cSquid Game\u201d challenges<\/a>. The iconic giant doll Young-hee from the \u201cRed Light, Green Light\u201d game immediately stood out to me. My goal was for the images to carry a sense of tension and intensity that mirrors the tone of the show, and I believe that came through in the mood, expressions and presence of both Lee Jung-jae and Hwang Dong-hyuk.<\/p>\n Yungblud<\/p>\n By Hon Wing Chiu at the Hollywood Palladium<\/p>\n (Hon Wing Chiu \/ For The Times)<\/p>\n I was limited to photographing only the first three songs at the Hollywood Palladium, so I chose to shoot two songs up close and save the last one for a gamble from the back of the crowd. Most of the time I could barely see past the fans, but I hoped the final song would give me something unexpected.<\/p>\n When Yungblud hit the stage<\/a>, the whole room exploded. The lights were changing every second, and he never stopped moving \u2014 running, jumping, connecting with the crowd like the stage could barely contain him. The fans were screaming, reaching, completely locked into the moment. I captured what I could up front, then switched lenses and waited for one last chance.<\/p>\n During that final song, everything suddenly came together. Yungblud stepped right to the very edge of the stage, almost close enough for the fans to touch him. Their hands shot into the air, trying to reach him, and he threw his arm upward with full force, like he was lifting the whole room with him. For a split second, the lights, the crowd and his energy aligned perfectly. I hit the shutter, hoping I caught it.<\/p>\n It wasn\u2019t the peak of the entire concert, but it was the peak of the moment I was allowed to shoot \u2014 and it became the image I had been chasing all night. <\/p>\n Olivia Cooke and Robin Wright<\/p>\n By Jennifer McCord in London <\/p>\n I\u2019d only seen the trailer for \u201cThe Girlfriend\u201d<\/a> at the time of the shoot but knew I wanted something that contained the idea of untrustworthy narrators that seemed to be threaded throughout.<\/p>\n Paul Thomas Anderson<\/p>\n By Christina House at the Aster in Hollywood<\/p>\n I had been made aware that PTA does not love being photographed<\/a>. I had worked with him once before so I knew he was really nice but a bit camera shy. When he finished up his interview with columnist Glenn Whipp, he came to meet me in the neighboring hotel room where I had a chair positioned next to a window. I shared my idea on framing the image; I was shooting it from the bedroom closet to give some depth and he liked it. We took a few frames, talked about our dogs (his dog is trained to bring him his L.A. Times newspaper every morning) and he apologized for being difficult on his way out, to which I immediately replied that he was the complete opposite of that. <\/p>\n Fernanda Torres (\u2018I\u2019m Still Here\u2019)<\/p>\n By Annie Noelker in Los Angeles<\/p>\n I remember her just being so classy<\/a>, elegant and lovely. Her whole team was so kind and we shot out on the balcony of the hotel room for maybe 10 minutes. It was effortless and such a satisfying collaborative experience. <\/p>\n Adrien Morot, Kathy Tse and M3GAN dolls<\/p>\n By Carlin Stiehl in Valencia<\/p>\n It\u2019s always a treat when you step into the creative world of a mastermind, especially when it comes to the magic behind our favorite films. You might expect that seeing the process up close would spoil the mystique, like a magician revealing their tricks, but in the case of Adrien and Kathy, it only deepened the sense of wonder. The \u201cM3GAN\u201d dolls were so lifelike<\/a>, and the real sell wasn\u2019t their eyes that draw you in, but the skin. The dolls\u2019 lifelike texture and softness, and the rows of faces on worktables waiting to be painted, created a diabolical scene out of a skin-harvesting, flesh-mask horror film. Yet the insanity was where the true genius hid, because in many ways, I could believe it was real. Hence, the inspiration for the photo: a take on the quintessential family-style portrait \u2014 the ones you kind of cringe at when you walk into someone\u2019s home, radiating manufactured happiness. The dolls were like their children so I thought, let\u2019s get the kids together with Mom and Dad and show how beautiful their doted-on children are for our guests. <\/p>\n Saagar Shaikh and Asif Ali<\/p>\n By Bexx Francois on the Disney Studios lot in Burbank<\/p>\n I came in with a loose mood board, a few traditional pose ideas alongside some comedic \u201cscenarios\u201d that had a 50\/50 chance of making it to my memory cards. Their Hulu series \u201cDeli Boys\u201d<\/a> was a comedy after all, maybe they\u2019d be down to lean into play. When Saagar and Asif arrived, I showed them my wish list. Instant cosign. Once we nailed the first \u201cscenario,\u201d pure improv took over, with Asif and Sagaar seamlessly falling into the mock-conflict of their on-screen characters; hence, Asif being hoisted 3 feet in the air. By the time we called wrap, everyone was in tears. <\/p>\n Dan Brown<\/p>\n By Cheryl Senter in Rye Beach, N.H.<\/p>\n Two things: I always follow my gut and never wear pink. A few days before the assignment I had this gut feeling that I wanted a portrait of the bestselling author<\/a> with a wall of mirrors. The day of the assignment I decided to wear a hot pink shirt I had picked up at a thrift store instead of my black-on-black attire. At Dan\u2019s house I spent an hour with his assistant scoping out a few locations \u2014 no wall of mirrors. Before I left I asked Dan if he had a wall of mirrors. Dan smiled and led me to a very tiny circular bathroom that had a tall, curved pocket door made of copper. It was a tight space with the door shut. My pink shirt came in handy. I could easily see if I was in any of the mirrors. At one point Dan looked at me and started laughing as I tried to make myself wafer thin. Then I started laughing. Dan\u2019s assistant waiting outside asked softly, \u201cIs everything OK?\u201d <\/p>\n Penn Badgley<\/p>\n By Matt Seidel in Los Angeles<\/p>\n This was a classic celebrity shoot: Our scheduled 30 minutes collapsed into seven so we had to move fast. I shook Penn\u2019s hand and told him I had two goals: Get the shot and get him back on schedule. There was no time to over-direct so I gave him one piece of character direction and let him run. I didn\u2019t want Joe Goldberg from the TV series \u201cYou.\u201d I didn\u2019t want Penn Badgley<\/a>, sexy serial killer. I wanted the real Penn Badgley saying goodbye, closing a chapter, integrating the shadow of the role and stepping into the light of what\u2019s next. <\/p>\n Spike Lee<\/p>\n By Victoria Will in New York<\/p>\n Nothing says Brooklyn like Spike Lee<\/a>, so it made sense to photograph him where he is most recognized, in Fort Greene near his well-known office. The relationship between Spike and Brooklyn is longstanding and reciprocal, shaped by history, presence and place. That familiarity was evident as nearly every pedestrian waved or said hello, many greeting him like an old friend. And there wasn\u2019t one person that he did not acknowledge. True class.<\/p>\n Sombr<\/p>\n By Evelyn Freja at Pier 17 in New York <\/p>\n The photo was taken on an empty construction floor of the pier where he had a concert that night. I remember it was a very quick session right before he went on because he had gotten a cold and was trying to save his energy to perform. Despite his health, he (and his entire team) was so kind and gracious, which made the shoot go easy. I decided to light the warehouse with a red light to lend the energy of his music to this shoot and a very moody light for Sombr to reflect the ambience of his songs<\/a>. <\/p>\n Elle Fanning<\/p>\n By Christina House at the Toronto International Film Festival <\/p>\n I had photographed Elle a few years back. She\u2019s a sweetheart and so good at posing so she doesn\u2019t need a lot of direction. For this particular photo, it was taken at our portrait studio at the Toronto International Film Festival<\/a>. It\u2019s a fast-paced flow of folks coming in and out for portraits, an organized chaos at times, but you would never know that by the calm on her face. She\u2019s a pro. <\/p>\n Lena Dunham and Megan Stalter<\/p>\n By the Tyler Twins in New York<\/p>\n The playlist was \u201890s (Alanis Morissette, the Cranberries, Jewel), and the vibe was easy and celebratory. Megan and Lena have a genuine chemistry<\/a> and were both very relaxed in front of the camera. Our shared ties to Ohio made for good conversation. It truly felt like we were shooting friends. <\/p>\n Domhnall Gleeson<\/p>\n Jennifer McCord in Dublin<\/p>\n This was shot in a studio in Dublin<\/a> (studio shoots for assignments always feel super rare!) with just me, Domhnall and his makeup artist Lucy. We played the latest Fontaines D.C. album and the shoot was super chill and lovely. I\u2019m always appreciative when an actor is up for being collaborative and trying different things \u2014 this was one of the last shots we took. The rest of the images feel quite energetic, so it was nice to also get this more intimate-feeling frame at the end.<\/p>\n Karol G<\/p>\n By Bexx Francois in El Segundo<\/p>\n When time with an artist is limited, anxiety threatens to grab the wheel. But once Karol G<\/a> walked on set, everything went quiet. And delicate. She had such a kindness about her. And an effortless beauty. I was inspired by classic Irving Penn; using walls to guide the eyes toward the center. We used a V-flat as our \u201cset.\u201d Even with a wind blower only 6 feet away throwing gusts of drama in her direction, Karol remained in command of her space and performance. And still connected where and how needed \u2014 with piercing intention. <\/p>\n Benson Boone and Brian May<\/p>\n By Allen J. Schaben at the Coachella Valley Music and Arts Festival<\/p>\n Shooting Benson Boone\u2019s trademark leaping acrobatics<\/a> at his Coachella debut this year gave me the chance to bridge the gap between musical generations. The performance of \u201cBohemian Rhapsody\u201d was made even more significant by the presence of Queen\u2019s legendary guitarist, Brian May. My challenge was positioning myself to capture the moment while navigating a sea of spectators\u2019 heads, hands, arms and cellphones. I dropped to a low angle to create a fan\u2019s perspective, capture the height of his leap and ensure both artists were in the frame. Then it happened \u2014 somewhere between a cymbal crash and a guitar wail. Boone sprinted onto the piano and launched into the air above May, and in a split second, it was over. Moments like this are what make my job rewarding, and this performance by Boone and May will live on as a legendary one in my memory. <\/p>\n Marianne Jean-Baptiste and Mike Leigh (\u2018Hard Truths\u2019)<\/p>\n By Christina House at Shutters on the Beach in Santa Monica <\/p>\n Marianne and Mike<\/a> had such lovely chemistry together. They were chatty so I thought I\u2019d give them an action to follow and this is where we landed. This was taken in a hotel boardroom with a seamless backdrop. <\/p>\n Mariska Hargitay<\/p>\n By Victoria Will in New York <\/p>\n I\u2019ve had the good fortune of photographing Mariska Hargitay<\/a> many times over the years, which brings a level of trust and collaboration. She gives both generously. On this occasion, she was as she always is: grounded, confident and present, with an easy sense of humor.<\/p>\n Wesley Schultz and Jeremiah Fraites of the Lumineers<\/p>\n By Robert Gauthier at the Sunset Marquis in West Hollywood <\/p>\n The Lumineers<\/a> was a memorable shoot for me. To make this photo I crawled into a thicket of ferns at the Sunset Marquis Hotel. As I crouched behind a rippling fountain, stretching and contorting my body to attain the correct angle, I began to wonder, \u201cDo the Lumineers think I\u2019m some kind of a lunatic?\u201d <\/p>\n Luis Guzm\u00e1n, Jenna Ortega and Catherine Zeta-Jones<\/p>\n By Jennifer McCord in London<\/p>\n I\u2019m such a big fan of \u201cWednesday<\/a>\u201d as a show and of all three of these actors, so this was truly a joy. As always with these assignments, we had limited time but thankfully we were shooting at the wonderful Raffles in London and Luis, Catherine and Jenna were so wonderful.<\/p>\n Mark Hoppus of Blink-182<\/p>\n By Robert Gauthier in Los Angeles<\/p>\n Mark Hoppus<\/a>\u2019 home is a photographer\u2019s dream. A Midcentury Modern with interesting angles, surfaces, colors and light. He was patient and willing to pose wherever I found inspiration. We settled on a few places, including beneath a skylight that streamed natural light into a hallway. It\u2019s a simple image. One might say it was just another one of all the small things. <\/p>\n Stephen Graham<\/p>\n By Sophia Spring in London<\/p>\n This was shot in a little makeshift studio I set up in a boardroom at Netflix HQ in London. We were capturing these portraits of Stephen ahead of the release of \u201cAdolescence.\u201d<\/a> At the time all I knew about the show was the vague story outline of Stephen\u2019s character as the father of a boy arrested for murder, and so I was keen that the portraits channel the visceral and complex tone of the show. After a quick hello I explained to Stephen what I was after, and for the next 20 minutes he proved why he is the world-class actor we know him as \u2014 he brought such an intensity and commitment to our short shoot. I was thrilled to see his well-deserved Emmy win a few months later. <\/p>\n True Whitaker<\/p>\n By Christina House at the London Hotel in West Hollywood<\/p>\n True is a warm and friendly human. She greeted me and my assistant with a hug. I could tell she was feeling a little under the weather that day but she didn\u2019t ask for any special treatment, and kindly and happily took direction. It was a pleasure to meet the \u201cI Love LA\u201d star<\/a>. I used window light to keep a soft yet moody feel. <\/p>\n Jessie Murph<\/p>\n By Annie Noelker in Los Angeles<\/p>\n We shot Jessie at NeueHouse Venice Beach (rest in peace) and there was this skylight in the backroom, where the sun cast this magnificent glow. The time of day was just perfect and oh so lucky. I had Jessie stand in the glow and look up, with just a little reflector under her chin and we captured this beautiful, still moment of reflection and calm before the insane year the singer-songwriter has had<\/a>. <\/p>\n Danielle Brooks<\/p>\n By Bexx Francois in Los Angeles <\/p>\n I had just flown in from New York, where only days earlier I was sitting in a movie theater with my nephews, ages 6 and 11, watching \u201cMinecraft\u201d and enjoying their faces light up from the screen. In 2022, I saw Danielle Brooks<\/a> in the Broadway revival of \u201cThe Piano Lesson,\u201d a performance that had me on my feet in applause. And now my nephews were being introduced to her talent in a different context. When the assignment to photograph the actress landed in my inbox soon after, it was an instant yes. Unbeknownst to her, I was quietly geeking out behind the camera. I wanted to capture her in the same bliss she gave my nephews in that theater together. <\/p>\n Laverne Cox and George Wallace<\/p>\n By the Tyler Twins in New York<\/p>\n Laverne Cox<\/a> arrived fully prepared in vintage Thierry Mugler. We bonded over a shared love of fashion history; she\u2019s an expert! George Wallace, her onscreen father in the Prime Video comedy \u201cClean Slate,\u201d brought a warmth that was easy to capture. Their father-daughter dynamic unfolded naturally, with Laverne playfully striking poses around him. <\/p>\n Tonatiuh<\/p>\n By Christina House at Hollenbeck Park in Los Angeles<\/p>\n This was a meaningful place for him since he grew up in the area. He seemed at ease and I sensed it felt good to return to a place he called home during what I can imagine is a very busy and surreal time for him \u2014 promoting the movie \u201cKiss of the Spider Woman\u201d<\/a> with Jennifer Lopez. Grounding yourself is so important. There\u2019s a pond at the center of the park. We headed in that direction and made a few frames with this beautiful, natural sunlight. He mentioned that the scar on the left side of his face is not something he is ashamed of so he was comfortable being photographed on that side. <\/p>\n Laurence Fishburne<\/p>\n By Jason Armond in Los Angeles<\/p>\n When I photographed Laurence Fishburne<\/a> for his role in the spy thriller \u201cThe Amateur,\u201d I approached the session with a storyteller\u2019s mindset. Even in my celebrity portraiture, I aim to capture a narrative. For this shoot, I chose dramatic lighting to reflect the suspenseful tone of the film. Fishburne had recently suffered a broken toe, so he needed to remain seated throughout most of the session. What could have been a limitation became a creative opportunity. I concentrated on close-up portraits, letting Fishburne\u2019s intense expressions and moments of exuberant laughter bring the images to life. <\/p>\n Fujii Kaze<\/p>\n By Jason Armond in El Segundo<\/p>\n During awards season, I photograph many celebrities each week, which challenges me to find new and creative approaches for every session. For me, the key to transforming the ordinary into something extraordinary is always staying open to inspiration wherever it appears. My shoot with J-pop star Fujii Kaze<\/a> at the L.A. Times offices embodied this idea. On my way to the studio, I noticed a stack of black chairs in the hallway and instantly recognized their potential. Those unassuming chairs became the backdrop for a striking, environmental portrait. Following my instincts allowed me to create something truly unique. <\/p>\n Michael Koman and Greg Daniels<\/p>\n By Jason Armond in El Segundo<\/p>\n When I was assigned to photograph Michael Koman and Greg Daniels<\/a>, the creators of \u201cThe Paper,\u201d I knew I wanted the images to capture the quirkiness of their show. Early on, I decided to build a set entirely out of newspapers. Since our shoot was at the L.A. Times offices, I gathered piles of old papers and envisioned Michael and Greg in a flurry of pages, an energetic and playful nod to their show\u2019s spirit. The idea worked beautifully.<\/p>\n After the session, I led Koman and Daniels on a brief tour of the newsroom. Daniels eagerly asked about every detail of the newsroom\u2019s daily operations and how each area was used. His sincere curiosity stood out, revealing his dedication to his craft.<\/p>\n Before Koman and Daniels left, I jokingly offered my services as a show consultant. I have yet to receive a callback, so for now, I am more than happy to continue my work at the L.A. Times. <\/p>\n Billy Crudup<\/p>\n By Bexx Francois in Los Angeles<\/p>\n We arrived at the Netflix offices and started making our way to our shoot location. Out the corner of my eye, I noticed this teddy bear chair in one of the waiting rooms we were passing by. Its design was charismatic and made me smile. I instantly requested it be brought to set. We tried one to two traditional chairs in its stead before committing to its playfulness. If it made us smile during test shots, hopefully it would do the same once \u201cJay Kelly\u201d star Billy Crudup<\/a> arrived on set. And indeed, it did. We spent the most time joking and capturing candid moments with Billy comfortably leaning into that furry hug. It produced one of my favorite photos from our time together. <\/p>\n Cyndi Lauper<\/p>\n By Larsen&Talbert at Jack Studios in New York<\/p>\n From the very beginning, it felt more like a collaboration than an assignment.<\/p>\n Once we knew what she\u2019d be wearing, we gathered around the rolls of seamless paper together, weighing color options like painters choosing a palette. Blue immediately stood out. We agreed, started setting up and everything was moving smoothly \u2014 until a few minutes later when Cyndi Lauper<\/a> came running back into the room.<\/p>\n \u201cWe can\u2019t do blue!\u201d she said, laughing. \u201cMy hair is blue today.\u201d<\/p>\n She was absolutely right.<\/p>\n Without hesitation, we pivoted to our second choice: orange. Against her blue hair and bold, pink doll-head suit, the orange backdrop crackled with energy \u2014 it was perfect.<\/p>\n Some subjects need a lot of coaxing and direction. Not Cyndi. She knows exactly how to move, how to hold a pose and how to communicate with a camera. She doesn\u2019t wait to be told what to do \u2014 she gives you something. Our job was simply to stay sharp and ready, capturing whatever magic she sent our way.<\/p>\n It was effortless, intuitive and joyful \u2014 the kind of shoot that reminds you why collaboration matters, and why icons become icons in the first place. <\/p>\n Jinkx Monsoon and BenDeLaCreme<\/p>\n By Dutch Doscher at Blonde Studios in New York <\/p>\n When I got the assignment, I was immediately excited and had this image in my head of placing them inside a colorful candy cane circus. I had no idea how I was going to pull that off until Broderson Backdrops came through with the perfect 25-by-25-foot backdrop. I showed the idea to their publicist and got an immediate, enthusiastic yes. From there, the gold outfits came into focus and everything started to click. <\/p>\n <\/p>\n
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