“‘You should take my picture sometime,’” photographer Mark DePaola recounts a model saying to him during his story of how he really got into photography. “We made a plan for her to come over to shoot and eventually photographed. As I was shooting, I realized that photography was an extremely powerful medium.” Mark’s story is the idol of many photographers. He’s a purist who refuses to do any retouching or post-production. He shoots editorials for Gucci, McQueen, Miyake, VOGUE, and others. He’s also got a brand new 402-page monograph called Five Years and Sixty Seconds. But more than anything, Mark focuses on creating. We talked with him about his philosophy on shooting, why he doesn’t shoot with a flash, and his photography methods.

You can view this article and much more with minimal ads in our brand new app for iOS, iPadOS, and Android.

This blog post is presented by Leica. All images are being used with permission from Mark DePaola. Be sure to check out his website and Instagram.

The Essential Camera Gear of Mark DePaola

Leica M-P (typ 240)

Leica M Monochrom (typ 246)

Leica M7

Leica SL2-S

Leica Cine 50mm f0.95 Noctilux

Leica 50mm f1.2 Noctilux

Leica 35mm f2 Summicron-M

Leica 35mm f2 Summicron-M ASPH

“I am a Leica M shooter at heart. I’ve been shooting the M camera since I was twelve years old. I currently shoot the Leica MP240 for its’ exquisite color sensor, the M246 Monochrome “Your Mark”, and the M7. I also have recently loved shooting the SL2-S for much of my commercial work and portraiture sessions. The dynamic range I can achieve particularly in the shadows and for darker exposures is remarkable. For optics, I am a 50mm shooter. I shoot the f0.95 Leitz Cine 50mm Noctilux, the new 1.2 Noctilux, the 35mm 8-element Summicron, and the 35mm Summicron ASPH 2. My lenses never come off of wide-open aperture.”

Tell us about the first moment you fell in love with photography.

Mark DePaola: That’s a great question. I grew up shooting as a kid because my family was in the business. My father Alessio (Alex) de Paola was one of the top photographers in New York at the time shooting magazine covers, REVLON, Diet Pepsi, and the jazz greats of the time like Billie Holiday and Judy Garland. His contemporaries and friends were Mr. Penn and Avedon. My mother was a model with Ford and my stepfather was a high-level creative director at an advertising agency during the mad men era.

Taking pictures was a part of my family culture and was innate to me. However, I did not fall in love with photography or have that moment when I knew this is who I would be in my life, until I was 12.

Just after I had saved up enough money, and with an M3 on my shoulder, I was at a newsstand looking through the current fashion magazines of the time. A young girl my age came up behind me and asked, “Are you a photographer?” I turned around. She was a beautiful redheaded girl. I said, “Yes.” She replied, “You should take my picture sometime.” She ran off.

We made a plan for her to come over to shoot and eventually photographed. As I was shooting I realized that photography was an extremely powerful medium. I could actually have a piece of someone in memory through my own unique perspective. I fell in love with photography.

Some photographers delve into photographing all sorts of things. But you’ve specifically focused on people. What made you want to photograph people?

Mark DePaola: Early on in my development as a young boy I discovered that the camera was my way of connecting with people and a conduit to learn another’s story. I am actually a very shy person inside although it may not seem like it. The camera is a seamless introduction to meet new people and to capture some part of them.

Your work is a combination of fine art, editorial, and fashion. But obviously, at the end of the day, it’s all “Mark DePaola.” When we look at Picasso’s work, we know those pieces are his because they were obviously part of his identity. What do you think makes for a Mark DeP...