Los Angeles-based Sarah Pardini is the photographer behind all four cover shoots from our 40th Anniversary zines, out now. There are few artists capable of making a set comfortable enough for Halsey to smash her feet into a plate of spaghetti or for Doechii to become her male alter ego in nothing but a jockstrap. Pardini’s preference towards spontaneity and rawness in her work makes it all possible. "Having too many rules and expectations will kill a shoot,” she says. Below, PAPER gets to know Pardini, and talks about growing up in Hawaii, the color blue and her hot dog obsession.
How did growing up on Maui influence your work as a photographer?
Growing up on Maui influenced my work in so many ways. I think the most obvious influence you can see is the use of vibrant colors. That directly reflects the ocean and the crazy green foliage you see in Hawaii. It’s beyond colorful there.
At what point did you pick up a camera?
My mom gave me a cute point-and-shoot camera when I was a kid, and I would take close ups of everything: blades of grass, dolls. When I got a little older it was the MySpace era, so I took a lot of high-angle selfies and emo photos of my friends.
What was the first camera you owned?
The first legit camera I owned was a Canon Rebel. At the time I thought it was super HD and I loved the detail I could get when I was shooting in macro.
What perspective do you think you bring to photography today?
A less serious way of being a serious photographer, if that makes sense. Showing people in a raw way as if their homie just took their photo, but it’s a bit more polished.
What do you love to shoot the most?
I love shooting sex workers the most. They are so chill, comfortable and I’m the most inspired by erotic art. I don’t even have to shoot sexy photos of a sex worker. Sometimes it’s just beauty or fashion, but just from experience, that’s who I vibe with the most.
Now you're based in LA. What impact has that had on your photography or outlook on life?
Being in LA completely changed my life. There’s so much opportunity if you’re an artist, so many different people you can work with. I’m really grateful and lucky to be able to live and work in LA. It definitely made my work more legit. I finally had access to good talent, makeup, hair, styling.
How important is spontaneity in your work?
Spontaneity is the most important. Something I’ve learned is: go along with the basic rules of being a photographer, make the mood board and listen to everyone’s ideas, but in the end if someone hires you for something they are trusting you. Sometimes it’s uncomfortable in the moment to switch things up, but if it’s going to benefit everyone in the end you have to just go for it. You never know what will happen on a shoot. Having too many rules and expectations will kill a shoot.
Talk through your shooting process, between multiple cameras. You use so many on set, how do you know which to grab in a moment’s notice?
I’ve literally tested so many cameras in my life. I’m testing like three cameras right now. They all do something a little different because when I shoot I move very quickly, so I have to be able to keep up the energy. I think that’s why I rotate so much. A lot of film cameras are very slow, they have to forward to the next photo, the flash has to recharge. It affects my flow to have to wait even five seconds. As far as what to grab: just seeing how the talent is moving, if it’s time for a close up or a full shot, I know which camera would be best for that.
Is there a camera you love the most?
Yes, and I won’t tell you what it is. Not because if you go buy it your work will instantly look like my work, it’s because I literally spent years thrifting, testing, breaking and fixing cameras to find one that I love so much. I think every photographer should to the same. Try things, find what you love. There’s photographers' work I love and I literally sought out there camera, tried it and actually hated it.
Blue is such a defining color in your work. Why are you drawn to that particular shade and how did you first start using it?
I think it’s the most flattering on any person. Blue has been my favorite color since I can remember anyone asking what my favorite color was. My mom is the coolest and collects Barbies. In most Barbie books the dolls are shot on a blue backdrop. I think that also influenced me shooting everyone on that shade of blue. It’s been programmed into my brain since I was a kid.
What’s the story behind the hot dog and how did that become your signature?
It honestly started as a joke. My friend Pallas invited me on a road trip to see Lana Del Rey in SF. It was supposed to be a four-day road trip and we ended up doing 12 days, I think? When she picked me up, I thought it would be funny to bring a cooler of hot dogs. We called our road trip the 28 Hot Dog Tour. We took a bunch of random videos and from then on everyone knew us as the hot dog girls.
I worked at a movie theater when I lived with my dad in Boonville and I would eat two hot dogs per shift. I would always bring hot dogs with me camping. I got grounded once for cooking a hot dog over a candle as a kid. I started drawing hot dogs and I have a few hot dog tattoos. People send me hot dog videos and memes and photos literally every day. I love being the hot dog girl. I shoot hot dogs with all my favorite muses. I am so happy that when people think of hot dogs they associate that with me. I have to keep that legacy alive.
What’s your favorite memory of shooting PAPER’s 40th Anniversary portfolio? We were on set four days straight, back to back.
I have so many favorite moments, oh my god. Major moment was Halsey putting her toes in the pasta for me. Her and I work together so much. She’s one of my favorite people on this planet, and her and I both needed that moment. She’s a legend for that, god I love her. Second favorite moment was me actually crying so hard at the end. We all had a little cheers and I had to turn around because I couldn’t even look at anyone or speak because I was crying so hard. I’m so grateful to have been the photographer for this entire project.
Photography: Sarah Pardini and Devin Szydlowski
Muse: Tori Alexandria
