How Dance Shaped Photographer Emily Lipson’s Lens

Emily Lipson, Photographer

Hometown: New York City, NY
Based: Paris/NYC

How did you first discover your passion for photography, and what specifically led you into the world of fashion photography?
For me, dance is what really brought me into photography. I grew up a very, very serious, technically trained dancer, and it gave me an appreciation for the hyper-specificity you can achieve through the smallest movements of the body. The tiniest micro-movements can shift the tone of something in a colossal way. The power that movement can yield is really exciting to me. I became obsessed with channeling that same sense of electricity into taking pictures.

How would you describe your work? What’s your trademark?
My work has taken a few aesthetic twists and turns, but at its core I am always searching for honesty in the image. People who know and closely follow my work often tell me they sense that as well. In the past, my trademark was a more consistent use of applied texture, whereas now the texture feels more theoretical than purely aesthetic. It is not always visible on the surface, but I need to feel a sense of truth in the image. I think this will come into focus when people see my first book, which is set to be released in about a month.

Do you ever imagine full stories behind your images, or do you prefer to let the viewer create their own interpretations?
I definitely do. It comes naturally to me to create characters and imagine a scene or situation for them to exist in. When I work with groups, I absolutely have to do this, because nothing is worse than five people standing there, staring at you like they have no idea what they are doing or why they are there. Everyone needs motivation.

What do you love most about what you do?
The intimacy of it. The moment when someone drops the performance, and we are just there together. The process of working together on set is cathartic and healing. It is quite a vulnerable experience, and it requires so much trust, care, and play with the people around you. I imagine that it is similar to making movies.

What have you watched, heard, or read lately that has inspired you?
I watch a lot of movies. I am a bit anal retentive about it. I keep a constantly updated list, and I’m always trying to watch as many movies as I can. Most recently, a friend recommended Lovers on the Bridge to me, and I thought it was outstanding. Stylistically sublime, and the main characters were both so well performed. Musically, I see a lot of live music, but for some reason, what is sticking out to me right now is a recent performance by the duo Cry. I did cry, ha, right after, and I also drew a bunch of illegible images on my phone of the ones I want to make while squatting in the crowd, which is something I do a lot.

What’s something outside of your work that you would like people to know about you?
I am constantly writing and drawing. I am really bad at drawing, but I do it because I like that the drawings are bad. My work as a photographer can be really precise, and I like to make drawings that feel imprecise and a mess. I really enjoy putting those two things together.

Who’s one to watch?
I’m really into what Eamonn Freel, Carla Rossi, and Gui Boucher are doing. Artists who are basically not afraid to make work that feels elevated while also poking fun at the ridiculousness of the moment we are in.

Selected Work

Diesel Resort ‘26
I really respect the work Glenn (Martens) and Ursina (Gysi) have done together, and being brought into their world felt very special to me. We honestly had so much fun on set. Isabel Bush street-cast 50 local Italian people to appear in the background. I also got to work with Michele Rizzo, who I have admired since his piece Higher Mountain at MoMA, and we became fast friends. The whole experience felt very kismet.

Celina Ralph for Novembre Magazine
I remember Samia (Giobellina) and I were both really excited when Franziska Bachofen Echt got Celina Ralph on board for the cover. We both felt she had this very evocative, special look and quality to her. The initial inspiration for the story was Britney Spears shaving her head, and of course Celina, with her short hair, has this modern essence of that.

Maje Pop Icon Spring 2023
This was really exciting for me. It was my first time shooting in Paris, I worked with Jean-Baptiste Talbourdet-Napoleone and Lolita Jacobs of LJBTN Studio, who are both absolute icons and so lovely. It was a treat.

Note D’Insieme for Vogue Italia
When the magazine approached me about doing a choir-inspired holiday story, I was a bit hesitant at first. Then Luca (Galasso) and I imagined a picture of a row of choir members holding their books, and it became one of my favorite images I have ever taken. The energy on set was really fun, and it was also such a joy to work with Pat Boguslawski, who I adore.

‘In Mostra’ for Alla Carta Magazine
One of my favorite shoots. The idea was to show a group of photographers packed into the pit at the end of a fashion show runway. They are all kind of on top of each other, screaming, with their on-camera flash DSLRs. One of my compulsions is taking pictures that are about taking pictures, and you can see that here. I am constantly thinking about and talking about the act of looking.

Re-Edition Magazine, 2023
Michelle (Laff) is one of my favorite models I have ever worked with. There is something about her that is both very animated and very quiet. I loved this shoot because I experimented a lot with collage and layering, which is something I am returning to now in my forthcoming book and the next phase of my photography.

Vivienne Westwood F/W 23/24 ‘Worlds End’
For this Vivienne Westwood campaign, we were inspired by Juergen Teller’s go-sees. It was really easy with Mila, who could snap her fingers and move into something like 99 different acrobatic positions on the ground. It is always kind of electrifying to step into the middle of the street and ask someone to command attention in a public space like this. It kind of feels like streaking, or like peeing behind a car.