“There’s something else that makes a woman interesting, something beyond being young, or being old,” Lindbergh says, breaking into his quick, warm laugh. Not that he’s done looking, or learning, for that matter. It took 40 years before I understood that.” And tomorrow you’ll be a totally different person, because tomorrow is another moment. You become another person, a little bit you become that person that you feel that you are at that moment, and it makes you beautiful, or different, and that’s what’s on the film. It’s not one person documenting another person, it’s a photograph of that relationship you have in that moment. That feeling, that giving and taking, that is what you photograph. I like that honesty, that moment, the way that you look at me and the way I look at you, and that then there’s something kooky in between these two people. “You look for honesty, and it strikes you, and then you start to have feelings about that person that you photograph, and that might sound strange, but then that feeling about that person leads them to feel that you understand her she gives you a bit more than she might give other people. “What do you photograph, after all?” Lindbergh asks. It is not about the next big thing, the newest fresh face, or fashionable favorite (though that often happens, too), but of conveying the feeling of knowing someone, and of being known. There is an undeniable personal nature to Lindbergh’s photography-his focus on the eyes of his subjects, on their energy, the way in which women blossom under his lens-that reaches for a kind of beauty that exists beyond the surface. Nobody can look like that when they’re 25 years old.” This is one of the last pictures we did together, and look how she looks. 'And that word already, people say, you know, ‘Oh, Peter, she’s not a grandmother, don’t say that,’ but I mean, grandmother is nothing bad. That’s a picture of a grandmother,” Lindbergh says, and the actress used the photograph for the promotional materials for her 2011 documentary self-portrait The Look, in which Lindbergh played a prominent role. ' turned from the most breathtaking young beauty into kind of a grandmother, really. It’s so ridiculous to say that?” It is not a traditionally commercial, airbrushed, poreless veneer that attracts him, not by a long shot. “Probably ‘different,’ no? You cannot say that one woman is ‘more beautiful’ than another, though people always do. You cannot imagine anybody more beautiful-' Here, the photographer stops himself. “I’ve been shooting her for nearly 38 years, maybe,” Lindbergh says of Rampling, “and all of the adjectives that I would use to describe her are really unbelievable.

Peter lindbergh images of women ii