Pop open the latest issue of a consumer
magazine and chances are you'll come across a tantalizing creation
by Antoine Bootz.
Bootz, born and educated in France, though New York-based since the late '80s, is in high demand these days. Clients know his style beckons all lookers, with its lush color palette, soothing illumination, and a divine sense of design.
An avid interior shooter, Bootz admits that product and fashion work is hotter than ever. His legion of commercial and editorial clients know he can do it all with great elan. His lofty clientele includes American Express, Bloomingdale's, Calvin Klein, Home Depot, Tommy Hilfiger, Neiman-Marcus, House & Garden, House Beautiful, IKEA Space, InStyle, Marie Claire Maison, Martha Stewart Living, Metropolitan Home, New York Magazine, Rizzoli, and The New York Times Magazine.
With such diversity of subject matter and mission, what's his mind-set when he takes on a new assignment?
"Every job has its own requirements and limitations," says Bootz. "Whatever you're working on at the time, whatever genre or purpose, you try to make the best possible images, pushing yourself just a bit more each time.
"Clients may want you to create something you don't feel is the best interpretation, so you have to work together until you find a balance, a place where you both can agree."
COLOR, CRISP & CLEAN
Even a fleeting glance at Bootz's images reveals his passion for color, lighting, and design. Whether he's creating an ad image or an editorial scene, his signature style comes through.
Take the escalator image, shot in New York's Hudson Hotel for The New York Times the day before the hotel opened. Amidst the chaos of last-minute construction, Bootz captured a stunning perspective and confined the yellow glow emanating from the escalator to the foreground.
For his image of a black leather couch with a one-of-a-kind wood sculpture by French sculptor Jerome Abel Seguin in the background, stark lighting, a subdued palette, and serene design create an Oriental accent for Pucci International, which represents fine furniture designers.
To achieve the luminous effect Calvin Klein wanted for the bedroom shot Bootz had to rig a 30x30-foot diffused netting in front of the window. Subdued colors plus the background grid add a Japanese accent to the scene.
The bicycle image that opens this article as well as both white coffee table images were shot for Marie Claire Maison in a trendy London loft. The owner had just moved in, so Bootz and co. handpicked everything they wanted to fill the empty space.
THE EDIT/AD DIFFERENCE
Despite apparent similarities, editorial and advertising assignments are fundamentally different, in Bootz's view.
"Editorial involves shooting a location in a way that appeals to the editor and works for the story. Sometimes you get to see scouting shots in advance; if there's time, you check out the place yourself first. The photographer is generally in control of the concept since it's your interpretation they're interested in. The better the design of a place, the better your results, but the image still depends on what you bring to it.
"The editor definitely sets the mood at the shoot, however. Some prefer a lot of things going on, a lot of commotion. Others like a calm set. To me, it's work, not a party."