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Interview with Henny Garfunkel

With a unique personality and a gift for photography, Henny Garfunkel has made a name for herself in the realm of film festival photography. We asked her to answer a few questions for our readers.

At 60+ years old, Henny Garfunkel has a lot of colorful stories from attending film festivals over the years.
At 60+ years old, Henny Garfunkel has a lot of colorful stories from attending film festivals over the years.

How did you get your start as a festival photographer?

I started going to film festivals back in 1993, at the invitation of an editor friend at DETAILS MAGAZINE. Festivals were much smaller then, and not the big productions they are today.  I went to Sundanace in 1994. While I was there, I was contacted by an editor at ENTERTAINMENT WEEKLY and they used my photos of some of the talent I had photographed.

After that, they sent me there to do their SUNDANCE coverage for the next six years and I started going to other film festivals as well like Cannes, Venice, Toronto. The work was much more reportage and documentary back then, and I often tried to include a sense of place and outdoors if possible. I would put talent in hot tubs,  in the street, on the tram, and in the snow. There was more time to play and come up with creative ideas.

The press corps at festivals back then was much smaller, and there were perhaps just a few photographers working at the festivals. It’s a whole different ballgame now. I do most of the work in a dedicated studio now, and the talent is brought to me and I do portraits in a much more controlled atmosphere.

I always joke around and say that I now do DMV photos! And it’s a bit like that. Shoots are very rushed, as the talent is doing a heavy press day, getting shuffled around and I am one stop along the way.  I try to create a photo that looks as if we spent hours together, not just a few minutes. That’s a challenge.

What’s the craziest impromptu shoot you’ve been a part of? Explain.

I think of myself mostly as street photographer, and certainly that is a great deal of my personal work. I love to walk around and look at what comes my way. It can be a great person, or a situation. I have a very relaxed and casual style and I work with one small 35 mm camera, and that’s it.

I like photographing people that many would consider outsiders and do not fit in the mainstream. I am attracted to people who may be considered a bit odd, or it may be a curious situation; and it helps if there is a bit of humor, as its always great to come upon a situation that makes me and others smile. It’s all quite casual and simple.

Usually I go up to people I would like to photograph and ask first, but not always. It depends on the moment and the timing. I love when I find something or someone, like the photo of the pants on the cactus. I was driving around Tucson, AZ and I just saw this odd still life. I went around the block, parked the car, and then went back to take the photo.

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An image that inspired Garfunkel to pull her car over and take a shot.

This other photo, the older lady was someone. I saw her on the street in NYC and I approached her and asked if I could do a portrait, and she asked, “Why?” I told her I thought she looked great, and it all happened really fast. One can see she looks a bit surprised! Sometimes it’s very fluid like that and, of course, it’s really great when that happens.

A woman Garfunkel met and felt drawn to take her photograph.
A woman Garfunkel met and felt drawn to take her photograph.

How does your unique style and personality contribute to your artistic style as a photographer?

I think the way I look and dress makes people curious about me. If anything, I think it adds something extra to a photo session. I am very friendly and I try to make people comfortable with me. I realize that I must try to connect with people, and make them feel secure and trust me in this short segment of time that we have with each other. That connection is very crucial to a good photograph, whether someone is a celebrity or not.

I do the same when I am approaching someone on the street that I would like to photograph who is not a celebrity. I think my look opens up that possibility of connection. People are drawn to and intrigued by interesting looking people. I really do not think much about it. I am more focused on a good rapport and getting a great photograph.

Please share a photograph that you’ve taken that you’re proud of and explain why it’s a favorite.

Many years ago, I did a fashion shoot for PAPER MAGAZINE, which is still quite memorable. I photographed Brooke Shields as a man, and in men’s fashion!

Several shots Garfukel took of Brooke Shields in men’s fashion.
Several shots Garfukel took of Brooke Shields in men’s fashion.

The late great Kevin Aucoin did her makeup, Kim Hastreiter styled the whole thing and it was a really incredible night. Everyone involved had so much fun. Brooke was totally into it, and we all had a great time. It went on for hours.

The photos were later bought by many major magazines from around the world, including MANNER VOGUE in Germany, which is a men’s fashion magazine.

Many others tried to copy that shoot, or at least were influenced by it. This was back in 1990, and quite a gender bender for back then.

At the end of every shoot, you snap a Polaroid of the celebrity you’re working with. Tell me a little about how this got started and how it has become your staple.

I had been photographing at film festivals for a few years, and wanted to start a project of sorts. I started bringing along my good old Polaroid camera, and doing a Polaroid at the end of a proper portrait with someone. I noticed that people really loved it, and would open up more, be spontaneous and have fun with it.

I usually encourage them to do whatever they like. I love the texture of Polaroid pictures and having people write or draw on it gives it a bit extra. The signature informs more about the person. I think it also harks back to the days of autograph albums in an odd way. I have hundreds of them, and with some people I have multiples from over the many years; like Tilda Swinton, Mark Ruffalo, and John Waters. I have been doing these for more than 12 years now, mostly at Sundance and Toronto.

6. What advice do you have for aspiring photographers?

To make things interesting, Polaroid went out of business; I have been using old stock when I find it and also film from The Impossible Project. It’s a challenge, that’s for sure. There are plans for a published book of some of these signed Polaroids to be released in 2015, by Aperture if all goes as planned.

I think it’s a hard time to be a photographer and yet I encourage people to follow what they love to do. Go for it. Try to be inspired and find your voice.

I encourage people to go and see lots of other artists’ work and learn to work with film cameras as well as digital cameras. One must always try new things no matter what the medium.

I am always inspired by interesting work that I see by young photographers. It’s hard to make a living at it, that’s for sure, and yet one must try and see if it’s for them. Have great fun doing it. Explore the possibilities.

Check out more of Henny Garfunkel’s work on her website.

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