British photographer Jonathan Worth, actor Heath Ledger, who died in 2008, and the designer of TAKAHIROMIYASHITATheSoloist. Takahiro Miyashita, 3 talents had worked on the limited t-shirts and which will be available in limited quantities at the TAKAHIROMIYASHITATheSoloist. store in Aoyama, Kanazawa, and Fukuoka, as well as on the official website, from 12 noon Japan time, on Saturday, July 2nd.
The print not only features never-before-seen photographs of Heath taken by Jonathan at the Bowery in New York City in 2001, but also includes phrases taken from episodes of the shoot that Jonathan recalls. In order to express the realistic texture of Polaroid film, a three-dimensional print with depth is achieved by special processing. There is a cigarette pocket on the left sleeve that can be rolled up and fastened with snap buttons. "I AM HEATH LEDGER." is printed on it.
color . Black / White、Size 44 / 46 / 48 / 50 / 52 / 54
Episode at the time of shooting by Jonathan Worth
Photoshoot with Heath Ledger
On a cold day of 2001, at the Bowery NY
by Jonathan Worth
So there were lots of little moments in the Heath Ledger shoot that made it really special. arrived on time, alone and unhurried.
The first thing he did was tell the [mandatory] hair and make-up guy from the magazine that he didn't need anything doing. I don't know if that will mean much to people but, only two people have done that with me. One was Heath and the other was Casey Affleck.
The make-up guy was fine with that, he was glad to get out early as he'd still get paid, but he asked "Are you sure you don't want me to cover the spot on your cheek?"
Heath answered, "Why? No it's fine - I have a spot - people get spots."
And that kind of set the tone. Here was a guy who was polite, without artifice, but with a strong sense of himself.
I loved him.
trained as a documentary photographer and would seldom use studios, hair/makeup etc etc. I always wanted to make pictures with and of people. I wanted to document a meeting. A conversation. And when you look at a shoot you can follow how the relationship develops in their faces, their mannerisms, the closeness of the camera and photographer etc.
Heath made that process easy. To the point where the best pictures were the ones that happened between the set-ups I'd prepared. Literally as we walked from one spot to another or whilst I changed rolls of film. At one point we were on the corner of the street (then a rough area but now gentrified) I was squatting changing rolls (trying not to get my kit stolen) when Heath did an enormous full-body stretch. I called out to him to stop as I needed to 'get that' - which he laughed at but gamely did repeat his stretch, and then spun around and bent over backwards.
Random. But fun.
And all of this with no one else there but me and my [then][then] assistant. She appears on the last contact sheet - a couple of frames that were left in the camera that I used on her. The three of us locked in that last contact sheet. Those two looking back at me from a little moment, twenty years ago.
As an afterword - by coincidence a friend of ours worked at a bar in Brooklyn, which, it turns out was owned by Jud (old friend of Heath's). Heath had helped his friend to buy the bar but never got the chance to eat there. When it opened they asked if they could have a print from the shoot which, I'm told, they still hang every year on the anniversary of his death.
Gavi (my assistant) remembers the shoot: