Bal Harbour

SOPHIE: Ok, let's pull out the jazz book. Well, then, when did you start photographing jazz musicians? ARTHUR: Oh, that was when I started working for Vogue, because they wanted shots of Wynton Marsalis. SOPHIE: What did you like about photographing jazz musicians— because they're doing something? ARTHUR: Not only that, they're good at what they do. These are the best players. SOPHIE: Let's talk about the picture on the cover of the book. Illinois Jacquet. So where was this picture? ARTHUR: It was in Paris. He was playing in a nightclub there. SOPHIE: And so you were in the front? ARTHUR: Yes, kinda the best seat. I was in front and he was up on stage. He's not very tall. But this way he looks tall. And he loved the shot. SOPHIE: And, you know, whenever you can, you use the available light. ARTHUR: You're damn right. So I had to hold it [still so it didn't shake]. SOPHIE: And you held it. You got it. ARTHUR: Not bad. SOPHIE: This is a great shot. This is Christy in the car, with the gems on her eyelids. Who was the makeup artist on this? ARTHUR: Sonia Kashuk. SOPHIE: That was Sonia, ahh. So good… Where did you shoot this from? Were you outside the car? ARTHUR: Yeah. SOPHIE: And she was in the car and the car was stopped? For some reason I always thought the car was moving, because it looks like it's moving! SOPHIE: When you first wanted to shoot with Christy, didn't you call up the modeling agency and say, "I want to shoot with her," and they said, "No, we have much better girls"? ARTHUR: I said, "You keep the better girls and I'll keep Christy, okay? We'll make a deal." SOPHIE: And so that was before people were shooting her, and then you shot her for Vogue right away. ARTHUR: I said, "She is going to be the next model." I think I was right! Illinois Jacquet, Paris, 1988, from the book "Jazz," (Damiani) Christy Turlington, New Orleans, LA, British Vogue, 1990 BAL HARBOUR 131

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