Latest news with #Illustrated
Los Angeles Times
28-04-2025
- Entertainment
- Los Angeles Times
Capturing the Journey
How long does it take to build a successful photography career? While the art of capturing that perfect image is a lifelong pursuit, some photographers find their niche in a stellar fashion. Take Canon Explorer of Light Laretta Houston - who in just thirteen years went from snapping on a point-and-shoot camera on her lunch breaks to being the first Black woman to photograph the ultra-prestigious Sports Illustrated Swimsuit Issue cover in 2019. Today, she's a hugely sought-after fashion, beauty, advertising and portrait photographer whose client list includes celebrities, TV networks, magazines and multiple major brands. 'When I take pictures, there's always a little bit of me - it doesn't matter what the subject is,' she said, chatting from her home in Downtown L.A.'s Arts District. 'If I'm not genuine, it's not me; it's not my work.' Houston's talent, tenacity, and indomitable spirit have taken her from humble beginnings to the globe-trotting life of an elite photographer. And she continues to lead by example in kicking down doors for Black women in her industry on both sides of the lens. From her very first camera, Canon gear has been at her side throughout, and Houston was invited to become a Canon Explorer of Light in 2021. Born in the Philippines to a Black American father and Filipina mother, Houston lost her mom from Lupus at the age of 13 and two years later emigrated to Long Beach. Mostly in foster care until age 21, she then bounced around various cities, ambitions and occupations - including barber school, working in grocery stores - before earning a multimedia and web design degree while juggling single motherhood. It was while working as a web designer and developer in Atlanta that a client saw potential in the photos Houston was taking during her downtime. Encouraged, she took the advice of a pro photographer on Flickr and bought a Canon EOS 5D Mark II digital SLR, which had just been released. Appreciative of the consistency and intuitiveness of Canon's interface, the interchangeability of their lenses, and their cameras' sheer quality and versatility, she has been all Canon ever since. Houston's work occupies a signature space between clean commercial aesthetics and editorial edginess, characterized by vibrant palettes, vivid lighting and a highly cultured sense of composition. Her complimentary abilities as a director of photography bring a holistic perspective to her visual storytelling, creating an instantly recognizable intersection of artistic instinct and immaculate technique. Meticulous choice of models, establishing a rapport with each before shoots and her visual storytelling style have further enhanced the resonance of Houston's diverse portfolio, which has spanned ABC's 'Dancing with the Stars,' Princess Cruises for Tyra's SMiZe & Dream, VH1, MAC Cosmetics, Broadway Shoes and many more. Ten years ago, Houston relocated from Atlanta to L.A., where she thrives amidst the city's vibrant fashion scene and myriad professional prospects. 'I would not have reached my full potential - I would not have enough growth,' she explained. 'There are more opportunities out here. We have a lot of big brands here.' It wasn't long before Houston's Instagram account caught the eye of supermodel and TV personality Tyra Banks. Before she knew it, she was flying first class to the Bahamas to shoot for the Sports Illustrated Swimsuit Issue, including an iconic cover portrait of Banks. It was a huge achievement for Houston, who laughingly recalled how her original photo agent back in Atlanta had wanted to promote her as the future first Black woman to shoot the Sports Illustrated Swimsuit Issue ('I didn't even think about it because I was, like, 'that's never gonna happen!'') As with all her work, Houston's exquisite 2019 Sports Illustrated shots were created with Canon equipment. Currently, her go-to body is the Canon EOS R5 Mark II, released last year - her first mirrorless camera. 'It's easier for me to shoot, especially shooting ad campaigns, fast-paced shoots, or if I'm shooting products,' she enthused. 'Because it just nails the sharpness of each shot.' The R5 Mark II is remarkably responsive autofocus tracking has proven a boon when Houston is capturing models in mid-movement, conveying their energy without sacrificing clarity. A self-described 'lone wolf' who doesn't always adhere to photographic conventions, Houston's favorite lens is a 24-70mm - an unusual choice for portraiture. Currently, she packs Canon's RF 24-70mm F/2.8 L IS USM glass for almost every shoot. (IS denotes built-in digital image stabilization; USM stands for Canon's quick, precise, and quiet Ultra Sonic autofocus motor.) 'It's very unusual for portraits but, at the same time, it's versatile,' Houston explained of the RF 24-70mm. 'If I'm shooting for a brand and I'm shooting a whole set, I can actually go in and shoot a real close up of the product.' Certain assignments call for Canon's RF 100mm F2.8 L Macro IS USM, with hybrid image stabilization that compensates for camera shake during even the most detail-oriented shoots. 'That's useful when I'm shooting products like MAC Cosmetics, or any cosmetic brand or shoe brand,' said Houston. 'If I'm shooting jewelry, I can see all the details, and that is of major, major importance to clients.' On occasion, she'll also use Canon's super-sharp RF 14-35mm f/4L IS UM on her striking fashion shoots. 'I use it to bring more character to my storytelling when I shoot fashion,' said Houston. 'It just makes everything pop out and for me that's really important. I love the creativity and shape, depending on how close you get to the subject - it's my fun lens!' As someone who recalls struggling financially early in her career, Houston appreciates that amateur photographers can seldom jump straight into pro gear. For enthusiasts seeking to step up from their phone camera, she recommends Canon's famously user-friendly starter cameras. Starting with the classic Rebel, a 35mm film model introduced in 1990, Canon has continued introducing and innovating starter model DSLRs for budding photographers, like their current simple, compact and mirrorless EOS R50. While continuing to shoot for some of the world's biggest brands and media outlets, Houston also plans to write what she terms a 'fiction/memoir' book in 2026. And she continues to passionately give back to the photography community that has so keenly embraced her. 'For me, the continuation of opening doors for other Black photographers to come in is not even my choice,' she concluded. 'It's my destiny.'
Telegraph
27-03-2025
- Telegraph
Surf!: Middle England, here's why you owe surfers a debt of thanks
There's a Cornish word, mordros, for the relentless sound of the sea. You barely hear it in Falmouth harbour, outside the National Maritime Museum Cornwall; but inside their new exhibition, Surf!, it's inescapable. The very first video, on a passage wall, gives you both that roar and a surfer's-eye view of a perfect tube. You glide across water like blue-green glass. The wave curls and breaks above you, foam at its leading edge. This, to any surfer, is bliss. Surf! is a whirl of 350 objects, ranging from surfboards and vintage magazines to a VW campervan in '60s trim. You survey the century-old history of Cornish surfing, which amounts – since Cornwall was where Britons got on their boards – to discovering what this old Polynesian hobby, or sport, or lifestyle, has done for our culture generally. Curator Sam Bleakley, a man with salt sea in his veins, has spent over a year sourcing these objects, then laying them out among briskly informative labels and videos in which surfers ride and fall. The heroes are the boards, 103 of them, elegant monoliths arranged around the hall. As their shapes and sizes change, so does social history. The first one, from the 1920s, resembles a coffin lid, and was carved by the local undertaker in nearby Perranporth. Back then, 'prone' riding was the way: surfers lay flat, as bodyboarders do. The assimilation, as you learn, was at this point going well. A 1930 Southern Railway poster offers 'Bude, for Sunshine and Surfing'. Woollen swimsuits abound. On the cover of a 1945 issue of Illustrated magazine, a smiling young woman stands in the shallows, toting a wooden board: 'a war worker on holiday'. Over the next few decades, the boards got longer and the riders leapt to their feet. Some beaches, in the late 1960s, banned surfers from doing this, notionally for reasons of safety but with an understreak of disdain. The police would descend on beaches to keep the middle-class picture of peace. Surfing acquired, or was given, an edge – hippies, Californians, 'alternative' types, allergic to mainstream society – a profile that endures. But society owes them thanks. In 'Activism', a section that might have been larger, you see how the collective Surfers Against Sewage, formed in 1990, fired an early salvo in what's now a war, waged from across the political spectrum, against the poisoning of our waterways. This exhibition means something to me: I grew up surfing in south Wales, which in climate, atmosphere and (whisper it) quality of surf, could be Cornwall's Celtic twin. I was inclined to be impressed, then, and I feel churlish in suggesting flaws – that the show's a little overstuffed for the modest space; that some corners seem accordingly cramped; that the small skateboarding display wasn't, to my mind, justified. In every other respect, Surf! is relentlessly fascinating, and shows how an apparently marginal activity captured Britain's changing face. At the same time, it conveys something more elemental: what it is to paddle out, turn back to the shore, and feel momentarily free.
