3. Theatricality overflows from
Schuller’s work like the productions
he mounted in the Southern
California desert for his 2010 book,
90 Days One Dream.
It was a visual ode to theater and
could be considered a representation
of the phrase:. Go big or go home.
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4. in his fashion career, Kristen has
worked for magazines like Elle,
French Revue, Vogue and others, and
has pushed his photos to the extreme.
He said, `` I want people to say, wow,
that’s amazing, that’s crazy!”
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5. Schuller has brought his trademark
energy and flair for theatrical
imagery to work with supermodels
and Hollywood stars, including
Penelope Cruz.
Kristen Schuller was born in
Romania and the majority of his work
embraces an epic, high-energy
approach.
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6. Schuller's early childhood was one filled
with dullness. "It must have something
to do with being born in the Communist
world,” he says. “You’re surrounded by
gray, you’re surrounded by a little bit of
depression, and then you come to
Western Europe, to Germany, and
suddenly everything is so colorful and so
bold. I got this flash.
Kristen saw all the colors and loved
them.
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7. In his words, his father always encouraged him. He
said “My father was always saying to me when I was a
young boy,you have to take care that you aren’t boring
because you have to entertain the people. That’s their
right to be entertained a little bit. And I think of a
photographer as an entertainer. We have to entertain
our audience a little bit because, if not, people get
bored. You can do it in a nice, intelligent way, not in a
stupid, banal way—a good, high level. You can
entertain people with good taste and by hopefully
telling strong stories.”
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8. Kristen adopts a wide shot on his subjects
allowing room for the garment to move, and
encouraging any bit of theatricality to find
its way into the frame.
He believes his outfit and surroundings
adds life to his subjects and his wide shots
show a bit more right and left sides.
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9. And for his shots, Kristen relies on
movements to add some texture and
this could be in form of splashing
water, smoke or exploding powder.
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10. Even in the studio, the simple
proposition of a girl in a gown
becomes something more. Schuller
relies on movement and motion to
add energy and texture, whether it
comes from twirling fabric or
swirling smoke, splashing water or
exploding powder.
In general, his drama certainly puts
him on a wall of the pros of all time.
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