Miles Aldridge, hair stylist Yusef and Viola Davis on set for TIME 100. Courtesy Miles Aldridge
https://www.instagram.com/p/BTJi-U5gHbt/?taken-by=yusefhairnyc
A picture is worth a 1000 words... and the story we tell as a result reveals so much about ourselves..
Famed Fashion Photographer Miles Aldridge and Stylist Yusef , (a black man) collaborated on this cover... according to Yusef, he did her make-up and hair and seems to be quite pleased.
Ms. Davis' s dress is green, think: chroma key to make it easy for Photoshop. It appears, however, that Ms Davis isn't re-touched.
Here's time's article "The Story behind The Time 100 Most influential People's Covers" about why the photographer staged the look... "Color, courage and clarity are the key notes for the covers of the TIME 100 Most Influential People issue. Photographer Miles Aldridge, who created the portraits, knew immediately that they had to pop and clash with as much vitality as a Mozart concerto.
“I wanted the pictures to be bright; bright being almost an adjective for sound rather than for image,” says Aldridge. “In a way, I’m talking about Matisse; the way his colors were always juxtaposed so beautifully. There was a sort of visual stimulation, that almost felt like music.”
Aldridge, a seasoned fashion photographer, decided early on that color would be his unifying tempo, marking a clear departure from previous year’s more muted tones. But the people and personalities were still the beating heart of the photos. The pioneers, titans, artists, leaders and icons – of whom Riz Ahmed, Melinda Gates, John Legend, Jeff Bezos and Viola Davis made the covers – are giants in their field. It was important then, that they held their own against the boldness of Aldridge’s palette. Though his shoots are heavily constructed, photographing strong personalities such as Viola Davis, mean the subjects' energy becomes part of the stimulus.
The result for Davis was an incredibly warm and joyous burst of laughter – sparked from a conversation about her Oscar win – which Aldridge then asked her to repeat over and over again. “[The smile's] essence is from the real world,” he explains. “But its actual construction is completely artificial.” Aldridge’s contact sheets are the antithesis of Cartier-Bresson’s ‘decisive moment.’ “It’s not like a lucky moment. It’s very controlled,” he adds. “But therein one can be expressive with the rules.... More at TIME”