In Focus: Stephen Stickler
Portrait of a Portraitist

by Vinny Cecolini on Monday, May 4, 2015

Relaxed. Comfortable. Honest. Real. Those are just a few of the words used to describe the subjects of Stephen Stickler’s portraits. Although many have said the veteran photographer has a “distinct style,” he prefers to call it “a philosophy.” He refuses to fawn or gush over his celebrity subjects. He remains professional.

“When you’re famous, everyone wants something from you,” he explains. “Fans want autographs. Managers want answers. Publicists want time. I want nothing [for myself]. When the artist arrives at my studio, I introduce myself and then point them in the direction of the hair and makeup people.”

This disarming approach not only helps his subjects decompress and relax, but also shed their facades; their invisible masks or personas they’re forced to wear to hide from the intrusive public. It is something he confesses to borrowing the late, legendary fashion photographer Helmut Newton, who often told his subjects not to be themselves. Newton gave his subjects the freedom to embody whoever they wanted to be as long as they were not themselves.

“Yes, I also employ [reverse] psychology,” Stickler admits. “Celebrities are traditionally insecure. Letting them hide behind something will often bring out more emotion and more character than they were willing to share.”

An artist from a young age with a natural talent for drawing and painting, Stickler was attracted to photography while in high school because of another interest.

“Girls,” he admits with a smile. “I had crushes on a few girls and photography was a good excuse for me to hang out with them. What really did it for me was when I started shooting and developing photos of this one girl. I remember seeing her beautiful face slowly appearing in the [dark room developing] tray. It took my breath away. It was magical.”

Instructors took note of the photographer’s growing ability and offered Stickler a scholarship to Los Angeles’ prestigious Art Center, which not only provided a “dense” education, but also allowed him to assist some of the art form’s biggest names.

“Photography is one of the few professions were you can still learn by serving as an apprentice,” he explains. “During my time at the Art Center, I worked with between 50 and 60 different photographers, the most famous of which were Matthew Rolston, Bonnie Schiffman and Wayne Mazur. I also worked with some shitty photographers, but I learned something from each one.”

After graduation, Stickler indulged both his passion for photography and music by joining the fledgling Ray Gun Magazine as its photo editor. Soon he was being offered assignment by such publications as Rolling Stone, Entertainment Weekly and Spin. Major music labels also took notice and began hiring him to shoot album covers. As he continued to develop his craft, he expanded into celebrity portraiture. After working celebrities from all walks of pop culture, he remains most impressed by those who arrive at photo sessions without entourages.

“It means they’re confident, established and don’t require [coddling],” he says.

One such artist remains the subject of one of his favorite portraits: Chris Cornell (Soundgarden, Audioslave), whom he captured in 2000.

“Chris arrived at the Seattle rental studio armed with a six-pack of Heineken,” the photographer recalls. “We sat down, cracked open a few beers and shot the shit for hours.”  The photographer laughs. “We were having such a good time that we nearly forgot why we were there.”

The atmosphere led to one of Stickler’s most familiar images: Cornell, comfortable and relaxed sitting in a chair, appearing reflective.

Another artist that impressed Stickler: Snoop Dogg, who the photographer says has not forgotten his roots. After the hip hop star’s burly security guards secured the photographer’s studio, Snoop Dogg parked his Escalade in the studio’s lot and entered the studio, where he spent the next six hours. One of neighborhood locals noticed the star’s arrival and by the time he exited, there were dozens of people milling around outside. Snoop Dogg’s security quickly ushered him to his vehicle, but instead of driving away, he turned around and parked in front of the building. As if it was practiced, the crowd immediately stood up against the studio wall, forming a single-file line and, one by one, they approached his driver’s-side window with something for him to sign.

Stickler was a Snoop Dogg fan before that day, but watching him signing autographs for everyone in line “took it over the edge.”

“That guy is fucking cool,” he says

Another of the photographer’s lasting images was captured in mere minutes. In 2002, armed with his camera and a single prop—spray-painted headphones adorned with small pavement reflectors—Stickler arrived at a Los Angeles Apple store in-store appearance by Moby. The photographer went along the line of fans and asked, “Who wants to be in a photo with Moby?” He then sat the electronica favorite down, had him put on the headphones and instructed the chosen fans to put their fingers on him. Once, Stickler felt everything was right, he shot one roll—just 12 frames—of film. He refers to it as a “successful portrait.”

“It says something about Moby through his fans,” he says. “It says he’s accessible and down to earth. I’m also pleased with the image’s technical aspects. The headphones really pop and his face appears ‘halo-like.’”

Another of the photographer’s favorite subjects is Dave Grohl (Foo Fighters, Nirvana) with whom he recreated the classic 1983 Maxell audio cassette commercial.

“The image has been parodied before,” he admits, “but I updated it a bit using an iPod. The assignment was for Sound & Vision Magazine and I was asked to film the session for the magazine’s online edition.

The edited footage can currently be found on vimeo.com by searching on the photographer’s name.

Stickler also had the good fortune of working with Grohl when he contributed drums to Queens of the Stone Age’s Songs for the Deaf (Interscope, 2002). Shot in New York City for Spin Magazine, Stickler’s image features Grohl and the band buried up to their necks in dirt. Ironically the photo was creating with the help of Photoshop with each participant filmed separately wearing a prop made of plywood, cloth and other material. The image was one of Spin’s featured photos during the magazine’s 30th anniversary celebration.

Commenting on the picture, Queens of the Stone Age leader Josh Homme said, “[Stickler] really saw where the band was at point in our career: in over our heads.”

Through his work, Stickler had the privilege of befriending the late Jeff Buckley, who sadly passed without realizing the immense potential hinted at on his now-classic debut Grace (Columbia, 1994). Stickler’s is responsible for one of Buckley’s most well-known images, a portrait of the singer-songwriter wearing a green dress shirt.

“The girls loved him and he loved the girls,” the photographer fondly recalls. The photo session [that produced the image] was held at the Hollywood apartment of a model Stephen introduced to Jeff the night before. ‘What a fucking guy!’ Stickler recalls, ‘he was just so full of life. He was something to behold and I miss him.”

 

Check out all of Stephen’s photographs that are available on Limited Runs, click here.

 

 

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