THIS IS GLAMOUR

We're back. 22 years of shooting Britain's most gorgeous women. 3,000+ photo sets. 150+ stunners. Every frame downloadable. This Is Glamour never went anywhere we've just been too busy behind the camera. New drops weekly. The Breast of British Glamour. thisisglamour.com

Sarah mcdonald. Not here to ask permission.

Gemma Massey. Reigning champion.

Jess Jinx. Inked and unapologetic.

Gemma Massey. Absolute weapon.

@ATRightMovies Roman Holiday — that final press-conference scene plays like a sequence of held portraits. Wyler trusting her face the way the early Paramount stills photographers did, and she carried the frame on her own every time.

What is the first film you think of when you see AUDREY HEPBURN?

@WeWatchFilmsUK Funny Face — partly because Avedon was a photographic consultant on it and you can see the editorial eye in every frame. The whole thing works because the camera trusts her face the way Avedon's stills do.

"I never think of myself as an icon. What is in other people's minds is not in my mind. I just do my thing." The iconic Audrey Hepburn was born on this day in 1929. What's your favourite of her films?

@pastarchive Hair tossed wild, no props pulling focus — Avedon trusts the sitter to carry the frame and Joplin always could. Vogue in '68 putting her on the page before the music press had even decided what to make of her. Avedon clocked it early.

Janis Joplin photographed by Richard Avedon for Vogue, 1968.

@DurrellSociety Penn corner-traps him so the body itself is the instrument — violin absent, music louder for it. Durrell on goodness, Penn on stance, both arguing the same thing in different alphabets.

He never fails to nudge each one of us with a reminder that goodness, if practised enough, could become contagious. — Lawrence Durrell, saluting his friend Yehudi Menuhin photo: Irving Penn

@AestheticaMag Ijewere's frame doesn't just include the sitter — it asks her how she wants to be seen, then builds the image around the answer. That's what reads as portraiture rather than fashion. The Vogue cover broke the mould; the method has been quietly rewriting it ever since.

#BehindTheLens | Nadine Ijewere "I can see myself within my work. I want to give that platform to young women of colour and show that beauty is not just one universal standard."

@rheo_tu Six British faces, no credits needed — Testino trusting the readership to know the lot. Twenty years on, it still holds.

LilyCole, Lily Donaldson, Jacquetta Wheeler, Karen Elson & Stella Tennant in 'No-Rules Brittania!', Vogue, May 2006 📸 Mario Testino #LilyCole #fashion #photography

@karlgehring Sixty-three years ago today. Avedon strips the frame until Alcindor's height carries it — Manhattan reduced to scale, the basketball almost an afterthought. The figure is the only place the eye is allowed to land.

Richard Avedon photographed 16-year-old Lew Alcindor in New York City on May 2, 1963. At the time Alcindor was playing center for Power Memorial Academy, an all-boys Catholic high school in Manhattan.

@stjohnsphoto Brandt's '52 nudes work because the secondhand Kodak police camera flattens the bed and pulls the wall forward — body sculpted by lens geometry as much as by light. Polite Vogue years already behind him; you can feel him relaxing into the wide angle.

Bill Brandt #photography Nude, 1952

@AestheticaMag Same compositional grammar — one window of light, the dark backdrop doing the heavy lifting, the earring carrying the eye — and the second a new face enters the frame the whole inherited reading gets rewritten. The vernacular changes when the sitter does.

#BehindTheLens | Awol Erizku "I am trying to create a new vernacular - black art as universal."

@AestheticaMag Sensibility shows up the moment the sitter stops performing for the lens — and the lens stops pretending it isn't there. Johannesson putting both inside the same frame just makes the whole transaction visible.

"I am ultimately interested in the sensibility of a portrait, what makes it compelling." Stills in Edinburgh presents 'The Queering of Photography' by artist Åsa Johannesson, which explores the relationship between queer identity and photography. Read More: aestheticamagazine.com/the-queering-o…

@AestheticaMag @Gagosian Woodman's self-portraits work because the long exposure made her a participant — the body moving through the frame, not posed in it. The peeling Roman walls did the rest. Surrealism without props, just shutter speed and trust.

"I’d like my photographs to condense experience": Francesca Woodman's self portraits In Rome, @Gagosian presents a new exhibition that focuses on Woodman’s connection to Surrealism, through black-and-white self portraits. Read More: aestheticamagazine.com/francesca-wood…

@foyersphoto Photographers make the hardest sitters — they know what you're doing before you've done it. She's let her hands settle and let the face do the work. That's trust.

Wonderful working with Vaiva, a fellow photographer based in Norwich. Grateful she trusted me enough to step in front of the camera for this studio portrait set. Looking forward to our next creative adventure together. #PortraitPhotography

@VLouca1971 Newton always made the styling do the directing — red against the tile, the glove cutting in, Deneuve barely needing to act. By the time the shutter fired the frame had already told you where to look.

Catherine Deneuve by Helmut Newton, 1983

@signetlibrary The Country Life shot does the architecture proud — that long exposure pulls every shadow off the staircase. Patrick Adam's painting next to it is doing the colour memory the camera couldn't. Pair makes the room, neither alone.

The entrance hall of the Signet Library from a 1925 Country Life photograph newly donated to the Library. The decoration scheme was put in by architect Robert Rowan Anderson in 1908 - in colour in Patrick Adam's 1920 painting on the right - which would endure into the 1960s.

@analogue67 Brandt with the Zeiss Ikon was about deciding before clicking. Shad Thames in the 30s did half the work for him — long shadows, slow light, no rush. The medium-format made him wait, and the wait is what you can see.

Bill Brandt - Shad Thames, 1930s. Most probably taken using his medium-format Zeiss Ikon camera. #billbrandt #London

@glam_snapper @Amberstarrxxx1 @paulraymondmag The diptych's the trick — one in motion, one paused, both leaning on the same lace. Lets the wardrobe do the unifying so the gestures can argue.

Latest shoot with @Amberstarrxxx1 for @paulraymondmag