I have admired and been captivated by the visually stunning work of celebrity photographer Magnus Hastings for quite some time.
Soon after arriving in Sydney in 2005, Hastings’ creative eye took him on an upward trajectory to where he is today. His name has been intimately linked to capturing beautiful images of drag queens like no other photographer.
Hastings’ decade-long interest is now embodied in his new coffee-table book, Why Drag? being released on May 17 by Chronicle Books. Inspired by the photographer’s renowned New York art exhibition, the book features Hastings’ gorgeous photos of the Drag industry’s top talent, accompanied by short stories – marked by humor and, oftentimes, sincerity – on why they do drag. In 2010, Hastings worked with Boy George on his coffee-table book The King of Queens. Boy George now writes the forward for Hastings’ Why Drag?
Some of the queens in Why Drag? include Bianca Del Rio, Courtney Act, Jackie Beat, Adore Delano, Jinkx Monsoon, Lady Bunny, Detox, and Sharon Needles. The legendary Boy George writes the book’s foreword.
I was privileged to catch up with Hastings on the “heels” of his attendance at this year’s DragCon to discuss his artistic style, the release of the book, his experience in branding his work, and his own drag name.
As a highly successful and well-known artist, what influences your thinking, photography, and artistic path?
My drag work is very much a collaboration. I am inspired by the people I choose to work with and I can often meet someone and immediately know what I want to do with them. I am kind of known amongst my friends for having absolutely no filter so I do love things that are a bit confrontational and unapologetic. But that is drag to me and probably one of the many reasons I am drawn to that world.
Do you have a signature approach to photography? How would you describe it?
I think the main thing is I shoot fast and I shoot everything. I like to leap around and capture the moment just after the obvious moment. If that makes sense. I mean the test shot could turn out to be THE shot, but I also am not bogged down with the idea of having the best of everything. To me, it’s all about using light and composition not having the latest, most expensive camera.
You take some very fun and incredibly smart images. What is the concept and collaboration process like on your shoots?
If I plan a shot it is usually my idea that I pull together. I planned on putting Sharon in a straight-jacket, and Ginger in a pool with a rubber ring (that’s what we call hem in the UK!). The ideas are often inspired by the subject but sometimes I would just say turn up with a couple of looks and we will play. And I love that too; totally having to think on your feet and try something. Just being on the corner of a street or against a wall and even if the model is a bit confused, I can see it. I know what it will look like but if it isn’t working I’ll try something else without flogging a dead horse.
As a celebrity photographer, what makes for the most challenging and successful shoots? What is your process like on set?
Well, the “making it work” process is pretty challenging but immensely rewarding. I get nervous before every shoot, always second guessing myself. But I do pretty much always, make it work. I do see the process as a journey. I am always thinking a few steps ahead so if anyone chimes in while I am shooting and directing I tend to bite their head off as it totally stops my flow. Firstly they don’t know where I am going in my head and also they can’t see what I see through my lens. Having said that, my shoots are always filled with laughter. I mean we are not curing cancer here it’s a fucking photograph. People have fun on my shoots and I get very excited and happy when I can tell it’s working. I mean I feel like I am at my happiest when I am shooting really.
We loved seeing all the “Why Drag?” portraits at your 2014 exhibition at the Out Hotel here in NYC and are looking forward to the release of the book. What is your connection with drag? What is interesting about photographing drag queens?
I always say I am a participant, not an observer. I am coming from the inside. I was a little cross-dressing drag child who was forever putting on shows dressed as the female lead and performing for my exasperated mother. My dad was cool with it, actually.
And then I grew up. When I arrived in Sydney in 2005 it was like I had arrived home. It was where I belonged – in that world. And I think that shows in my work. At least I am told it does. Good drag excites me and is magical and funny and just Art (bad drag is really dull but I am showing the best). I want to take you by the hand and show you wonderland, full of artistic creations seen through my eyes, and hopefully for those who have a pre-conceived idea or are bored with drag they will see it in a whole new light, seeing what I see.
How many images are included in the book “Why Drag?” and what is the balance between previous work and never before seen images?
I think it’s 60% new images. I wanted to keep the NYC show in there because feedback was that people really wanted a book of the show and also I was very proud of those images. How many? Hmm…about 135 images, maybe a bit more. Many are spread across two pages as I wanted to recreate the feeling I achieved at the Out Hotel. You entered into this other world with huge canvases and this is what I wanted. Open the book and get lost in these pages that are as expansive as possible.
After spending more than a decade traveling the world and photographing such a wide range of queens, what one experience stands out the most?
Well, the life changing one was the oldest picture in the book of Vanity Faire in Sydney. I had just arrived in Sydney and she didn’t know me from Adam, but I showed her a few of my photos and she agreed to shoot with me. Turning up 3 hours late for a natural light shoot leaving us the last 20 mins of weak light to work with, she drawled at me “shame it is so dark.” As I smiled through gritted teeth I was forced to push the film and do every trick I could to utilize what I had. And the shots we took were just magical. I mean she became a huge inspiration and we have worked together many times but that shot is still my favorite and hangs in my living room.
As an artist what have you learned from photographing so many drag queens?
Tell them their call time is 2 hours before you actually need them.
And as an entrepreneur, what have you learned along the way as it relates to the work involved in producing your brand and this book?
I find the business side kind of hard because I just want to take my pictures and stay up all night seeing what I have captured and playing with them. I love the creative process. I am trying now to actually turn it into a more branded business with merchandise, etc. as that is the only real way to make money in the drag world. But already I have found my work and merch being stolen and illegally reproduced. It’s all a goddam headache. I have a really great publisher in Chronicle Books, who are really laid back and cool and totally get what I am doing. They have supported my vision completely which has made the book part not only smooth going but really exciting and fun.
You’ve mentioned in other interviews that drag is an art form. If you were to do drag, what would be your name and persona? Why? And how might you stylize your own portrait?
I am constantly thinking up drag names with friends as I think it’s hysterical. I have Lazy Susan, alluding to a night in Mykonos! Candy Labra was an old one because I am posh. My friend was Shandy Leer because he was not posh (maybe that only works in the UK). Dolores Always-Open was a new one. They all seemed hysterical at the time!
I have reams of them and obviously can’t think now. I actually don’t really want to do drag. I convinced myself I was too tall and awkward ages ago. I kind of would love to be painted by some masterful queen but I am not shaving my beard!
Our magazine is geared to gay men with an edge. We like to ask all our interviewees, “What is something you have done that would be considered edgy, unconventional, or tight-lipped?”
My Mykonos experience was quite edgy and unconventional and I am remaining tight-lipped!
