Friday night Lloyd Philipps opened his show at C/O Berlin. He is not a professional photographer, in the sense that he actually makes his living as a film producer. But his pictures prove that he started professional life as a photojournalist. He’s been in Berlin for a long time, shooting The International together with a friend of ours, which just opened the Berlinale Film Festival. He’s still here, now producing Inglorious Basterds, Quention Tarantino’s next exercise is timeless juvenile cinematic wank.
Phillips usually captures images during a production, and then gives them to the cast and crew after the shoot as a book compilation.
The photos were taken during the production of The International and, to counterpoint the film’s rapid-fire action sequences, they are a mostly serene and atmospheric look at locations in Istanbul, Milan, New York and, of course, Berlin.
Stephan Erfurt, the founder of C/O, said that Lloyd’s work could keep up with masters like Sebastiao Salgado. I think that might be reaching a little, but I do agree that his images were very strong. His images are a good example that a simple subject with tense composition can create a serene picture.
Why do I bring this up? In some way it makes me feel a lot more comfortable about my own work. I’m trying to find the time to put together my own first series, though it’s still tough to find the time to shoot. I’m jealous of his opportunity to shoot in exotic cities with an entire crew there to clear and clean up the location… or getting to rebuild the best parts of New York’s Guggenheim at a Studio here in Berlin.
So because I can’t find a good shot of his series from The International, here’s an image from a series I’m working on called “Arrivals and Departures”, about airports, bus terminals, and train stations.