A classic combination: legendary photographer, Michel Haddi and lots of their top models and celebrities. Some of Haddi’s black and white portraits will be on display as part of the Photo of London 2023 because 29 ART IN PROGRESS LIBRARY. Additionally, as part of Photo London, Haddi will be signing copies of the latest addition to his Legends anthology, this time focusing on Kate Moss.
Over the years, my public relations with the gallery 29 ART IN PROGRESS have given me the opportunity to speak with some of the legends of photography. This time, I had the opportunity to chat with one of the photographers who inspired me to point my camera at people instead of buildings and landscapes, Michel Haddi. 
Haddi’s image has always felt like a stolen moment to them. They represent the need to capture the moment when you can, lest you lose it forever. They also have an audacity that reminds you to take a chance. This approach says something to me as a photographer as well as a person.
From the orphanage to the famous photographer – Have No Fear
Haddi’s origin story is widely known in photography circles. Haddi spent the first few years of his life growing up in an orphanage on the outskirts of Paris. Looking around, Haddi thinks he will either become a gangster or die young, possibly both. It’s no surprise that Haddi was initially inspired by war photographers like Donald McCullin and Sean Flynn, both of whom took enormous risks to get their shots. As an additional note, Flynn disappeared while covering the conflict in Vietnam while pursuing a story, his body was never found. Perhaps this led young Haddi to indulge in risk versus reward. Certainly the idea of the ephemeral moment, that everything, people and emotions pass in life has stuck with Haddi.
Haddi’s family moved back to Saint-Germain-des-Prés, Paris, where his mother, a chambermaid at several luxury hotels in Paris, would bring home copies of French Vogue for a young Haddi impressive. Inspired by a particular virality of Helmut Newton, Haddi’s interest moved to fashion and he decided that he had to become a photographer. Embarking on this path, Haddi made a promise to himself that he would either work for Vogue magazine by the age of 25 or he would quit his job as a fashion photographer.
Haddi’s photography education is built around viewing magazines; he learned what he did without benefiting from any formal education. Haddi worked as an assistant in London for several years, occasionally photographing models for the Daily Mail fashion site. In a short time, Haddi has scored a major portfolio of work for Creative Dressing.
Haddi’s work gained attention and within a few years he opened his first studio and began working for GQ, Jardin de Modes, British Vogue, and many others.
Speaking of her early years, Haddi wanted me to remind people that fear can be a big obstacle; that as a photographer, sometimes you just have to take the plunge, let go of your fears, find yourself and your style as you move on.
Philosophy on Set
As I mentioned above, Haddi’s on-set or campaign images have an impermanent feel to them. They often feel like Haddi has found the key moment when spending time with his model subjects, choosing frames to immortalize from among dozens. I asked Haddi how he ran his set to achieve this. To explain, Haddi told me he was always interested in movies. For Haddi, each of the individual frames of the typical 24 frames per second is not important or decisive, rather, it is the emotion that is transmitted from one frame to another that makes sense. Translated into stills or short films, Haddi is always on the lookout for this emotion, something unique to capture. He compares the moments he’s looking for to bursting soap bubbles. One minute there for the camera, and the next they’re gone forever.
Similar to his love of cinema, Haddi has a deep admiration for Richard Avedon and Irving Penn. During our conversation, he explained to me that he felt that Avedon’s images had a particular feeling or emotion to them. For Haddi, only Avedon was able to capture the kind of radiant energy he tries to find on his set.
So yes, Haddi directs on his set, but he also lets his model subjects do things their own way. As for Haddi, they are professionals; they know what they’re doing. Haddi would rather work alongside his models, to figure out where they’re going together and then let them go there on their own, going their own way. Essentially, for Haddi, he’s writing scripts for his shots or shots and then giving way to the random situations that come from giving his model the freedom to be who they are. This requires some chemistry or common sense, which is something he works hard to promote.
Let the artist be an artist.
Working with Moss
In addition to his part in Photo London, Haddi will also be signing copies of the new addition to his anthology, Legends. This season features Haddi’s work with Kate Moss. Haddi first met Moss while filming another scene. A friend of a friend, Moss only appeared on set. Over the years, Haddi has had the opportunity to work with Moss a few times, but in our conversation, it can be seen that Haddi wishes he had had more opportunities to do so.
On that first meeting, struck by the confidence of a relatively unknown Moss, Haddi wished he had sent an assistant to pick up more films so that when filming was over he could get to work. work with her immediately.
Inspired again by Avedon’s ‘legendary’ images for Blackglama, Haddi asserts that while myth is a big word, it fits Moss. Here, as in most of his work, it is the connection between Haddi and Moss that distinguishes the images. You can see Haddi and Moss working together to find and preserve those fleeting but fleeting moments.
I should work more with her. I should have picked up the phone.
It’s no surprise that some of Moss’ images in the book were taken on Polaroids, perhaps the most impermanent of all modern means of working photography. Haddi revealed that one of his next books will be dedicated to Polaroids. Given Haddi’s ability to capture fleeting moments of mutual understanding, I can’t wait to see what he shares.
For Haddi, Polaroid has a special Je ne sais quoi.
I cannot wait.
All images provided by Michel Haddi And 29 ART IN PROGRESS LIBRARY. Haddi’s work will be on display at gallery booth 29 ARTS IN PROGRESS, G27 during a photo session in London from 10-14 May Courtyard Pavilion – Somerset House London.
