Facing the famous with independent vision Timothy Greenfield-Sanders creates big images at Sundance

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Timothy Greenfield-Sanders & Sundance, Artist Studio, Polaroid Corporation Facing the famous with independent vision Timothy Greenfield-Sanders creates big images at Sundance hat does Polaroid's

1 Timothy Greenfield-Sanders & Sundance, Artist Studio, Polaroid Corporation Facing the famous with independent vision Timothy Greenfield-Sanders creates big images at Sundance hat does Polaroid's 20X24 Camera have to do with the Sundance Film Festival, the independent film extravaganza that brings the world's hottest talent to Park City, Utah each year? Glamour!, lights, town cars (the camera's half the size of one), excitement, beautiful people and, this year, a leading role in the festivities. ccupying a studio at least as comfortable as the biggest honchos' hospitality suite, the 20X24 camera, directed by famed portrait photographer Timothy Greenfield-Sanders, caught the faces of many of the famous at the festival, including Laura Dern, Glenn Close, Alec Baldwin, Jacqueline Bisset, Eric Stoltz, and Helen Mirren. (1 of 2) [6/18/2000 9:18:01 PM]

Timothy Greenfield-Sanders & Sundance, page 2 ow, you may ask, did Greenfield-Sanders get these huge name celebrities, burdened with worries about winning awards and having their films picked up by

2 Timothy Greenfield-Sanders & Sundance, page 2 ow, you may ask, did Greenfield-Sanders get these huge name celebrities, burdened with worries about winning awards and having their films picked up by distributors, to pose in front of our big and surprising 20X24? t helped, sources tell us, that he himself is famous for shooting such film legends as Bette Davis, Alfred Hitchcock and Ingmar Bergman as well as more recent personalities like Hillary Clinton. Like Andy Warhol who also used the 20X24 camera to capture his life and times Greenfield-Sanders is a chronicler of the contemporary cultural scene. His 1999 Grammy award winning video, Lou Reed: Rock and Roll Heart, produced for the American Masters Series on PBS, appeared at last year's festival to rave reviews and gave him an insider's advantage with the stars. f course the 20X24 camera looked gorgeous as well. It's been restored recently with stylish red bellows and glossy reconditioned woodwork. Adding more panache and flavor, the makeshift 20X24 studio in Park City formerly an empty old storefront was retrofitted with a cappuccino machine, cell-phones and cushy furniture to make the PIBs (People In Black) feel at home. (1 of 2) [6/18/2000 9:18:13 PM]

3 Timothy Greenfield-Sanders & Sundance, page 2 (2 of 2) [6/18/2000 9:18:13 PM]

Timothy Greenfield-Sanders & Sundance, page 3 o they came, they were photographed, they looked beautiful naturally in a loose upbeat atmosphere that was as much a party as a photo shoot.

4 Timothy Greenfield-Sanders & Sundance, page 3 o they came, they were photographed, they looked beautiful naturally in a loose upbeat atmosphere that was as much a party as a photo shoot. ood cheekbones are a godsend, but high credit goes to Greenfield-Sanders for creating the masterly pictures you see here. Since 1988, he has used the 20X24 camera to make portraits that have been described as magisterial and brooding. With simple lighting, usually from the upper right, and a narrow focus on his subject's eyes, he achieves a sculptured, muted effect that only intensifies his intimate, immediate and compelling images. think most people, celebrities included, view the 20X24 camera as glamorous," says Greenfield-Sanders. "You get very large flattering photographs that you can see instantly. It's an extremely collaborative way to shoot. Subjects see the results, make suggestions, connect with it it takes very few frames to get a good picture." (1 of 2) [6/18/2000 9:18:24 PM]

5 Timothy Greenfield-Sanders & Sundance, page 3 (2 of 2) [6/18/2000 9:18:24 PM]

Timothy Greenfield-Sanders, page 4 e has used the 20X24 for more than a decade of privileged shoots like two weeks with Robin Williams and Steven Spielberg on the set of Hook and he's experienced

6 Timothy Greenfield-Sanders, page 4 e has used the 20X24 for more than a decade of privileged shoots like two weeks with Robin Williams and Steven Spielberg on the set of Hook and he's experienced some curious reactions. "The camera, while technologically sophisticated, is somewhat comic and oversized," he says. "It has an old fashion hardware feel that makes it appealing, engaging, perhaps even dramatic to be photographed before." he images he creates are not only dramatic but technically precise as well. Polaroid's large format camera is often selected by commercial and fine art photographers because of the fine detail it renders, another reason Greenfield-Sanders chose it. A number of his photos from Sundance are being negotiated for a new advertising campaign for an international designer-shoe company and others appear in the April issue of In Style magazine along with coverage of the festival. * * * * * hile it's now sundown at Sundance, some questions are still in the air. What does the future hold for Polaroid's indomitable camera? Will it have a shot at a role at next year's Oscars? Is a cameo at Cannes in store for our trusty 20x24? And more important, where can one rent this glamorous, high-performance, unique and delightful photographic instrument? (1 of 2) [6/18/2000 9:18:33 PM]

7 Timothy Greenfield-Sanders, page 4 (2 of 2) [6/18/2000 9:18:33 PM]

by Julie Powell AUTUMN/WINTER 2018

PORTRAIT by Julie Powell AUTUMN/WINTER 2018 One day your children will look for those cherished photos of you, don t hide behind the camera, celebrate the woman you are. HAT IT S ALL ABOUT... I create