Madman's Nathan Stoan's, "Strictly Academic," for Fenuxe Magazine.

Akin Girav for MODA Magazine.

Madman's Lara Rossignol for Southern Flourish Magazine.

MadMan's Akin Girav's spread for Men's Health Magazine, Istanbul, Turkey.

MadMan's Jane Shirek on working with Diana Krall

The wonderful Creative Director for Neiman Marcus, Margo Weathers booked me to shoot Diana Krall because she said I knew how to bring out people who may not necessarily feel comfortable in front of the camera. I love a challenge, and was excited to photograph this talented artist. Margo and I planned the shoot a year in advance because of Diana’s busy touring schedule. I secured an amazing location in Tribecca with the cobblestone streets and narrow alleys that really capture the timeless jazzy feel of old New York.

I woke up the morning of the shoot to a torrential downpour. We had not planned to use a studio, and there was no rain day. On location the sky was still black, and the rain was relentless. My industrious assistant Olivia sped to a hardware store with water flying off her roller-blades to buy enough plastic for an outdoor tent. What resulted was what Diana called

“her James Dean Portrait.” 

She was so happy with the Neiman’s shoot she introduced me to the great Hollis King of Verve Records who then approved me to shoot her next album cover. I was now really pumped to shoot her album cover. We were going to shoot at a top secret location, which now I don’t mind saying was the home of Clint Eastwood in Carmel, California. Clint is a jazz pianist as well as composer and his son is also a jazz musician. This photograph was taken in front of Clint’s grand piano.

Diana brought her recording of ‘When I look into Your Eyes,’ to inspire me to create an image that reflected the soul of her album. I was blown away.

We had two days to shoot publicity and her album cover. Our very last shot was to be the cover. Hollis and I had picked out the spot. It was a cliff overlooking the Pacific Ocean and the surf crashing on the rocks below. I patiently waited for her hair, makeup, wardrobe, to be finished. We were quickly losing light. By the time she came out of the RV ready to shoot, it was pitch black night outside.

There was no way I could light up an ocean and sky, but the show must go on! I had my assistants, Chris and Yuri, set up strobes. The wind was so strong it almost blew us off the cliff. We held tight. I told Diana, “Face into the

wind, and feel the power.” Once again, divine intervention. 

Our next shoot was a year later in New York city. We went back to our favorite spot in Tribecca, and once again it poured. Diana said, “Jane, we seem to take great pictures in the rain.” But it was also freezing, so when it got too cold and rainy Diana was looking uncomfortable. Hollis said, “Why don’t we put her in my car.” This was by far the best shot of the day. We had very little light and I didn’t want to strobe her through the window, so I faced the car toward the sun setting with a giant reflector, and Viola! This was to be for publicity and the great photographer Bruce Weber had already shot her album cover in Miami. They loved our rain photograph so much, that it became a two sided album. Bruce’s image on one, and mine on the other. Diana has a timeless quality about her. When I photographed her she was shy and soulful at heart. I hope these images reflect this.

Portrait for photographer Steve Thackston's, "Yes," campaign.

Lou Freeman-Stoecklein Ranch, Idaho

Madman's Paul Thatcher shoots,"The Outlaw," Dan Hardy for Fight Magazine.