Vincent Peters began his career taking pictures while traveling through Thailand in the 1980’s
These pictures were later published by GEO Magazine. Vincent moved to New York in 1989 and found work as an assistant photographer. Soon after, Vincent decided to pursue his own creative vision. His work diverged from the path of commercial photography and focused on photography as fine art. The resulting body of work was exhibited extensively throughout Europe and was published in numerous portfolios in fine art periodicals. In 1990, Vincent Peters rededicated himself to the world of fashion and celebrity photography. Since there he is based in between Paris and New York.
His work has been published in Italian Vogue, L’Uomo Vogue, French Vogue, British Vogue, Spanish Vogue, German Vogue, Japanese Vogue, Numero, ELLE, British GQ, Italian GQ, Spanish GQ, Arena, Dazed and Confused, and The Face. His clients have included Celine, Bottega Veneta, Dunhill, Hermes, Diesel, Philips, Nike, Adidas, Plein Sud, Armani, Joop, Miu Miu, Samsonite, Yves Saint Laurent, Louis Vuitton, Guerlain, Lancôme, Sonia Rykiel, Rochas, La Perla and many more.
I never changed my camera since I was 17. I have a Mamiya RZ medium format. I always shoot film you know. I have some clients that say “you don’t shoot digital we don’t work with you” and I’m like okay no problem. But I don’t like digital. I think the whole process did a lot of damage to the industry and there isn’t a single photographer I spoke to who didn’t agree with that. The technique defines the art so… If there’s a digital art it’s not my art. I think it does define the expression. Digital is not just a process of capturing images. Digital is a different concept. The shoot is different. Your relation with the model is different. Anyway, I hardly know how to read an email.
Sometimes you shoot an actress and you’re like “cool it’s going to be easy” and you start shooting and it simply doesn’t work and you know it’s not gonna be easy. Sometimes it’s different, they’re really doing it, like Charlize Theron: it was a fucking nightmare until she was in the studio and then she’s just a complete different person. That’s because they are so protected by publicists so until you get in the studio, you don’t know. It’s like a store opening! You don’t judge it by the line outside, you have to get inside! Leatitia Casta is really nice to shoot because she never wants to be the pretty girl. She’s really involved in the process and that’s really helpful.