My younger daughter really loves makeup. She's quite good artistically. I could see her going into something possibly behind the camera - whether it's in film or still camera for editorial stuff - but she's very taken with makeup, and she's really quite talented for as young as she is.
I think, in general, models tend to do their favorite faces or their comfortable face, but your facial expression is just so important. You don't want to have an editorial of 20 photos where it's just you giving a 'Zoolander' face.
Vogue Magazine does something really interesting here: They make it look like I know exactly what I'm doing. Because Vogue made it look like I knew exactly what I'm doing, stores from all over started calling.
A fashion photographer is nothing without clothes and hair and makeup. And when I speak to other photographers, a lot of them can't reference a picture by the designer. Me, I say, 'The Balenciaga.' And I go to the shows. I feel like it's my business.
Modeling is about illusion. It's a fantasy world where models play various roles. By featuring extreme looks, magazines show women how to have fun with makeup and clothes, and to inspire them to experiment - just like we did when we were little girls.
My big dream was to work as a photographer for 'National Geographic.'
My first really big job was an advertorial for Italian Vogue. I cried on set because I didn't know what to do. That was two weeks after being in Milan for the very first time. I think I had one or two test shoots there.
Bruce Weber is an amazing photographer, and Carine Roitfeld's style - and everything she does - is gorgeous.
My dream jobs would be Italian 'Vogue' and anything with Chanel!
I have had the privilege of working with the best in the business, from photographers to designers to magazines. There's not much more to ask for but I'm still looking forward to one day working with photographers Mert and Marcus, Tim Walker and Nick Knight.
By default, I am a travel photographer. I work on a combination of commissions and personal projects that take me around the world.
I've done a lot of commercial work. I'm the complete photographer.
Many photographers feel their client is the subject. My client is a woman in Kansas who reads Vogue. I'm trying to intrigue, stimulate, feed her. My responsibility is to the reader. The severe portrait that is not the greatest joy in the world to the subject may be enormously interesting to the reader.
I would love to work with Mario Testino. I respect all the work he has done and is doing.
When you think of fashion photography, it's a dream. It's like we all want to be those women. We want to wear those dresses.
Editorial photography has to be energetic and visually competitive.
As fantastic as it is to have 'Vogue' and 'Vanity Fair' as places to work, I don't often get to shoot the kind of things I like to photograph in the way I like to photograph.
I'm known for fashion photographs, but fashion photographs were mostly a joke for me. In 'Vogue,' girls were playing at being duchesses, but they were actually from Flatbush, Brooklyn. They would play duchesses, and I would play Cecil Beaton.
