Samuel has worked with magazines including Intersection, Wallpaper*, The Sunday Times, Art World and The Independent and commercial clients such as o2, Talk Talk, Lynx, Land Rover and Big Dada Records.

Industry awards include Foto8 Summer Show 2009, Archive Magazine - Best 200 Ad Photographers Worldwide 2008, Creative Review Annual 2006 & 2007, Association of Photographers Awards 2003 & 2004.

Samuel is represented by blackdogrepresents.com

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glass of wine in hand, a throng of people simultaneously viewed Brown’s newest work, eyed up the Spring range and hobnobbed amongst themselves.

The collection itself, somewhat tenuously named ‘Swan Fights’, looked surprisingly at home displayed on various walls throughout the upstairs and downstairs of the store. With an aim to capture the transitory experiences that occur between man and nature, the collection manfully steps up to highlight the insufficiency of any such reproduction. Viewers found the detached and introspective quality of the man- nature dichotomy to be initially subtle but on second glance much louder and all encompassing.

London-based Brown, who is also gaining reputation in the modelling world, circulated, answering questions, being photographed and generally having a good time. And so she should, with some sales under her belt that very evening it seems that the only way, for this youthful modern talent, is up.
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Since starting out by shooting the iconic Japanese doll Blythe (for kicks) and posting them on flickr at the tender age of thirteen, she has progressed with unseemly impetuousness. Fast forward to sixteen - three years interspersed with a belligerent dedication for creative experimentation and a more than savvy use of online social networking - and she is shooting major fashion editorials for some very estimable clients - Jack Wills naturally among them - as well as being featured in an abundance of arts, music and fashion publications.

This collection, The Secret Place, demonstrates the aggregation of her earlier, childlike imagination and her continually developing confidence of composition and technique. In the dreamy imagery of Home (one of a four part series), we see a girl lovingly imprisoned within the four walls of a net, surrounded by arable hillocks, accompanied by the bare essentials required for a comfortable residence, a table, a chair, and of course, a book. Butterfly Catching shows off her subtle abilities with photo editing software, each airborne Papilio carefully placed and rendered, and moments of spontaneity and movement are also captured perfectly as seen in Pigeons and Christmas Party.

In person she cut a demure figure amongst those gathered at 188 Westbourne grove, petite, pallor, polite. She was eloquent in conversation and clearly possesses a clarity and drive far beyond her years, and these factors backed with a nonpareil passion for her art, will surely cement her as one for the future.

The collection is on exhibition until January 24th.
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In her trademark style, Tara uses fascinating faces of musicians and actors in the place of picture perfect models. We may think we already know the essence of these subjects, but Tara creates a moment so honest and intimate that it forces us to look again, and to realise we don’t.

Those on the guest list were greeted by a compelling image of Jethro Cave, originally shot for Blown Magazine, and a glass of wine. Standing out among the Autumn-hued knits hangs an intimate shot of Alexa Chung as the most fresh faced version of herself, and down the staircase, a beautiful set of pictures of an incredibly elegant Uffie with none of her on-stage toughness.

Tara’s disarming style and Aubin & Wills’ vision of the world have always blended with stunning results, and this evening was no exception. ‘Be a light for me’ will be on display in Aubin & Wills Westbourne Grove store until 13:12:2009.
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Timing is everything. Irony sells. All artists are egotists; to name but a few. As for music photography there is surely only one axiom; Music photography always looks best when shot in shades of black and white. This was clearly evident as the immaculately dressed gathering, complimentary tipple in hand, perused the durum coloured, garment clad walls of 188 Westbourne Grove. For between each elegantly hung vestment their eyes met a somewhat smaller set of eyes, peering right back at them in perfect monochrome.

Drew Reynolds is a self-confessed music junkie and the living embodiment of eating, sleeping, and breathing work. His passion for music is no more evident than when looking at the range of artists he has chosen to display for this, his touring exhibition The Panel Project. There are indeed some renowned acts shot here; The Kills as ever glower feverishly, grit and sweat engrained in the creases of their leather jackets and gig worn faces; whilst the White Lies (Joy Division for the text generation) looked on-and-out, suitably solemn and dressed sleekly in black, a nod to their moody, knell-toll sound. Juxtaposing the archetypal and somewhat somber portraits were Friendly Fires' wild eyed Cheshire cat grins spread mischievously across their faces, the comic book, big spectacle, trucker capped electro gaze of EAR PWR and the soft focus, butter wouldn't melt, bug eyed stare of Little Boots - a fine balance indeed.

The Panel Project galvanises Drew’s meritorious abilities as a music photographer. Although at first sight the photos look relatively small - this simply encourages the viewer to get involved, up-close and personal - every image captures effortlessly the personality and underlying mood of each artist, which is the sign of great portraiture.

The Panel Project is on display until the 20th September, A book of the same title is to be released later this year.

www.drewreynolds.com
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