‘Reflecting New York' Holds a Mirror Up to NYC
Jan 26, 2025 8:00 AM A series from photographer Sefan Falke captures iconic views of New York City's boroughs both coming and going. Construction of the Brooklyn Bridge began in 1869, and it would become the longest suspension bridge in the world; its cables are made from 14,000 miles of wire. Photograph: Stefan Falke/Redux
What if there were a simple technique that let you photograph what's directly in front of you and what's behind you at the same exact time, in the same exact frame? Stefan Falke found a way to capture everything that's around him not in a distorted 360-degree image but a completely flat perspective.
It all started as a visual experiment. One day in 2023, Falke bought a handheld mirror from CVS for $10 with only a vague idea of what he wanted to do with it artistically. He wandered down to the Empire State Building and held the mirror up in front of the lens, directly in the middle of the frame. The squarish mirror captured the Hudson Yards in the reflection.
The Empire State Building and the Summit indoor observation deck at One Vanderbilt, New York. Photograph: Stefan Falke/Redux
The One Vanderbilt skyscraper and the Chrysler Building on 42nd street, New York. Photograph: Stefan Falke/Redux
Reflecting New York is a series of perfectly matched reflections, a pairing of both what's directly in front of the artist and what's behind him. Falke perfects the graphics of buildings, trees, and bridges with just a slight manual adjustment to what the mirror captures. 'I realized soon that the mirror was an actor in the image, not just the reflection in it,' says Falke. 'Then came my hand, which I tried to avoid showing at first, but it became an important part of the series. It became the story: A handheld mirror, my mirror, creates unusual visuals in familiar places.'
The 'Jenga Building' and a steam tube on Church Street in Lower Manhattan, New York. Photograph: Stefan Falke/Redux
Falke loves to shoot midday in bright light, when most photographers hide. He calls it the 'Kodak light.' He requires plenty of daylight because the f-stop is rather tight, controlling the amount of light that enters the lens in order to get sharpness throughout the mirrored picture and the background too. The shutter speed needs to be very fast, too, because the constantly moving mirror, wind factor, one-handed camera holding, and other factors make it difficult to freeze the reflected image. It is enormously difficult to hold the mirror with one hand and shoot with a fairly heavy Nikon D850 in the other and focus on two images at once, aligning everything perfectly.
Taxis at Madison Square Garden and Penn Station on 8th Avenue, New York. Photograph: Stefan Falke/Redux
The Oculus Transportation Hub at the World Trade Center in New York's financial district. Photograph: Stefan Falke/Redux
Falke never knows what he will shoot or in what direction he'll wander when he ventures out; he doesn't plan around the position of the sun, or plan at all really; everything is based on location, and every photograph in the series is found rather than scripted.
The Statue of Liberty and Manhattan's skyline, New York. Photograph: Stefan Falke/Redux
When I asked Falke what his favorite image from this series was, he claimed the photograph of Luna Park in Brooklyn's Coney Island with the Cyclone Roller Coaster in the mirror. 'It has the perfect composition, color, elements, mood, and my hand and mirror have the right energy,' he says. 'Love it.'
Luna Park and Deno's Wonder Wheel in Coney Island, New York. Photograph: Stefan Falke/Redux
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So it felt really special, and so did doing my first feature back with Disney again after not doing features for such a long time. It's a really nice thing. CF: You're coming home, in a way. LL: I know. I weirdly felt like that when I got to the lot. It felt really special, because I was 10 [when I auditioned for The Parent Trap ]; now I'm 38. And to be back there at this time and have a full life and be able to share it with my husband and my son, it definitely feels unique in a lot of ways, and it's nice. CF: There's truly something for everybody in this movie, and I just feel like you're bringing so much joy into the world. I got to see little bits of it, and I was like, 'This is exactly what we all want right now.' It's not cynical. It's… LL: It's easygoing. I feel like everything felt at ease when we were making it, and I feel that's the best way to describe how I felt when I watched it. It felt easy and fun, and fresh at the same time. There's not a lot bringing me to the movie theaters personally right now. [ Freakier Friday ] is a feel-good movie, which is what I want to give people. And it's fun. When I saw the second cut, I wanted to get up and dance at the end. I was like, 'Oh, this is cool. I like this song. I want people to do that.' 'When you bring a character back to life, in a sense, it's exciting. There's a comfort with are they like now?' CF: Well, you sing in this again. How was that? LL: It was good. Well, it was kind of nerve-racking at first, because I'm not singing as me. When I was doing [ Freaky Friday ], I was also recording an album, so it was part of my life at the time. In this movie, I was singing it as [my character] Anna, whereas before felt more like Lindsay singing. CF: And the band's back together for it? LL: Yes. The whole band came back. And it's so funny, because Christina Vidal [who plays Maddie] had just had a baby, and we were like, 'How weird is this? Are we still cool?' 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LL: I always want to make movies like that—things that make people happy and bring people together. I love making movies for that reason—for people to escape and find something that they can take into their own life and realize everything's going to be okay. But with Netflix, I was like, 'Okay, now we need to be thinking about other stuff.' I can't do movies like these forever. CF: It was so special for me to get to shoot a movie in L.A. Did you feel that at all? LL: Yeah. For the crew, they're so excited to be working here, where they go back home to their families. That's the difference you feel here. It's nice. I made it home every night, except for one, to tuck my son in. And it shows in the film—when you're happy behind the scenes, that comes through. And now, the film is such an homage to California after the fires, because we shot a lot in the Palisades and in Malibu. Even the house—the original Freaky Friday house—unfortunately, is gone. 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Especially when you have a kid, routine is the most important thing. And whatever their routine is, I've got to live by that. Chris Colls Faux fur coat, Roberto Cavalli. Tights, Falke. CF: What does he think about you being an actress? LL: I don't think he really knows yet. In my trailer, one day I was watching the original guitar scene and practicing movements, and he was there and he was like, 'Mama,' pointing at the screen. CF: Are you excited to get to do more dramatic work with your TV series, Count My Lies ? LL: Yeah, I am. I love the book. But when I was reading it, I had to put it down for a day because I was like, 'I'm stressed now.' But I liked that. It's going to be nice to do something different. I was talking to the writers and showrunners yesterday and told them, 'I don't know if you realize, but this is the first time where I don't have to have a romantic interest, where I don't have to kiss someone at the end of the movie.' Which is so refreshing—to not have to be that girl for once. CF: Any other acting projects you'd like to take on? LL: I would love to find a dark comedy like Mean Girls . That kind of meaty, good, funny movie—a smart comedy. Not a rom-com, just a straightforward funny movie. I'm excited to be doing this drama. I'd love to work with some dream directors. CF: Like who? Let's start manifesting this. LL: Maybe Quentin Tarantino. Also, I'd love to work with Julianne Moore—I don't know why I've never played her daughter. Maybe now I'd be her younger sister. I'd also love to work with Robert De Niro and Al Pacino. Maybe something Sopranos -y, since I am Italian. CF: Anything other than acting in your future? LL: I am developing my own line. Chris Colls Faux fur coat, Ludovic de Saint Sernin. Bodysuit, tights, Fleur du Mal. Heels, Balenciaga. Chris Colls Jacket, Khaite. Camisole, pants, Zadig & Voltaire. CF: Fashion? LL: More along the beauty line. It's taking a long time because I'm very specific, because I'm crazy about my skin and health. CF: Oh my God, I'm so excited. I am that person. I got a facial last week in New York with an aesthetician who claims she's never done Botox. And you obviously have skin of dreams, so honey, whatever you're selling, I'm buying. LL: Everyone does Botox. CF: Last night at dinner, I was with somebody, and they're like, 'I've never had it.' And I was like, 'What? Are you kidding?' LL: Who are you? It's like, 'You lie.' ELLE: I have to say, Lindsay, I've been staring at your skin this whole time. You look amazing. Can you tell us your secrets? LL: Oh, God, I don't even know how to answer that. I drink this juice every morning. It's like carrot, ginger, lemon, olive oil, apple. I also drink a lot of green tea, a lot of water. I'm a big pickled beets person, so I put them in almost everything. My skin care is very specific. I'm trying out some serums now that I'm doing—I'm testing them. Also, I'm a big believer in ice-cold water on your face when you wake up. I drink lemon juice a lot; I also put tons of chia seeds in my water. Eye patches, I do every morning. I'm into lasers. CF: Me too. They're life-changing. LL: There's a new at-home one I saw that Julianne Moore was using that looked really good. It's good for around your mouth. I've heard it all. CF: I just kind of show up and say, 'Salmon sperm, whatever—just put it on. I don't care.' LL: I've heard that it's not really real. CF: Also, Fraxel changed my life, but it is intense. Chris Colls Faux fur jacket, gown, David Koma. Ring, Van Cleef & Arpels. LL: Did I do Fraxel? I don't think so. I did Morpheus8 once, and then I realized my skin is so thin that I can't be doing that. My skin changed after having my son. It got really sensitive. That's what really made me change my whole routine and diet and everything. I did blood tests, and I was like, 'I want to know everything I'm allergic to.' So I cut everything out, and that's kind of when everything started to change for me. CF: Really? So much to look forward to. LL: Yeah, my skin got even more sensitive after him. It doesn't happen to everyone. But I'm glad it happened to me, because it made me aware of how to take care of my skin long term. CF: I feel like in the media, there's the awful portrayal of motherhood, and you're like the complete opposite. You're radiant, you've had a glow-up, you're thriving—the world is obsessed. What a great inspiration for all of us. LOHAN'S PUBLICIST: Yeah, but you know what the problem is with you being beautiful women—the second she looks any different, they assume she had her face lifted at 37 or 38, that she ripped apart this or that. It's so mean. LL: I'm like, when? With what time? Where? LOHAN'S PUBLICIST: Yeah, I tried to figure that out, Linds, in the last three years, when you had time to do anything, because I know your schedule. So the haters can hate and be jealous. It just sucks that that's where they go with women in today's world. Women can't just look good to look good and change their lifestyle to be more healthy. LL: You just have to do it and ignore everyone else. CF: It's always so weird, like, 'What are you doing?' It's like, 'I'm just taking care of myself. Go fuck yourself.' You know what I mean? Well, I think it's amazing that you're taking this annoying way that women are treated and you're going to make a product. I'll be first in line. Hair by Ward Stegerhoek for Bumble and Bumble; makeup by Kristofer Buckle at OPUS Beauty; manicure by Eri Ishizu at The Wall Group; set design by Happy Massee at Lalaland Artists; produced by Dana Brockman at Viewfinders. This story appears in the Summer 2025 issue of ELLE.
