{"id":1011,"date":"2026-07-21T10:36:31","date_gmt":"2026-07-21T10:36:31","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=1011"},"modified":"2026-07-21T10:36:31","modified_gmt":"2026-07-21T10:36:31","slug":"a-celebrity-photographers-hidden-stash-of-polaroids","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=1011","title":{"rendered":"A Celebrity Photographer\u2019s Hidden Stash of Polaroids"},"content":{"rendered":"<div>\n<div>\n<div>\n<div>\n<div>\n<p>The first decade of the twenty-first century\u2014what are we calling it, again? The two-thousands? The aughts?\u2014is far enough in the rear-view mirror that we can finally start seeing it as a discrete pop-culture era. Recent documentaries (\u201cReality Check,\u201d \u201cQuiet on Set\u201d) have reckoned with the dark side of its television; books such as \u201cMeet Me in the Bathroom\u201d and \u201cGirl on Girl\u201d have dissected its music and misogyny. Its hipster fashion has been revived as \u201cindie sleaze.\u201d Like anything just old enough to be retro, the period both allures and repels. Sure, we were weirdly fixated on Paris Hilton, but some of us could really pull off those Buddy Holly glasses and skinny jeans.<\/p>\n<p>Read more <a href=\"https:\/\/cityrelocationnews.com\/?p=1009\">Florentina Holzinger\u2019s Naked Ambition<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<div>\n<div>\n<p>A previously unpublished cache of Polaroids by Emily Shur, dating from 2002 to 2009, provides a portal to this distant age. At the time, Shur was an in-demand celebrity photographer for such magazines as <em>GQ<\/em>, <em>Spin<\/em>, <em>Rolling Stone<\/em>, <em>Entertainment Weekly<\/em>, <em>Wired<\/em>, <em>Elle<\/em>, and <em>People<\/em>, with subjects ranging from movie stars and rappers to the boy-faced Mark Zuckerberg. Some of her pictures capture the self-conscious whimsy that was popular in celebrity photography: kooky props, candy-bright flowers, stars posing in bathtubs or with corded landlines. Shur shot on a large-format camera, which required \u201ca million light-meter readings,\u201d she told me recently. Then she\u2019d have the film developed at a lab. In the days before digital, she couldn\u2019t see exactly how the image would turn out while she was on set. The best she could do was to take a Polaroid as a quick reference, then mark it up with directions (\u201cBRIGHTER,\u201d \u201cMATCH\u201d) for the lab.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<div>\n<div><\/div>\n<\/div>\n<div>\n<div>\n<div>\n<div>\n<p>The Polaroids were meant as throwaways\u2014an intermediate step in a process that would culminate in a glossy final image\u2014but Shur never threw them out. She kept them, in meticulously labelled <em>IKEA<\/em> drawers, at her home office, in Los Angeles. \u201cI never wanted to get rid of them, because they\u2019re one of a kind,\u201d she said. \u201cAnd the color palette is so specific. It\u2019s actually very hard to get those tones on film.\u201d Sometimes her favorite photos from a shoot were the Polaroids. \u201cMaybe it\u2019s a moment when the talent isn\u2019t being too self-conscious, because they\u2019re, like, Oh, it\u2019s just a Polaroid. So they\u2019re able to chill out a little bit and give you something that they\u2019re not going to give you when you declare that we\u2019ve started shooting for real.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<div>\n<div><\/div>\n<\/div>\n<div>\n<div>\n<div>\n<div>\n<p>Revisiting the pictures recently, Shur realized that they represent a time capsule in two ways\u2014culturally, since the faces on display capture a bygone era of fame, and technologically, since the rise of digital photography soon obviated the need for reference images. Shur\u2019s first digital shoots were around 2006, but \u201cI really tried to hold off as long as I could,\u201d she said. \u201cIt\u2019s a very different way of composing a picture. It\u2019s a very different way of interacting with the subject.\u201d Digital was quicker and cheaper, so magazines eventually started requiring it. But the instant results meant that celebrities (and their publicists and stylists) could hover over Shur\u2019s shoulder. She missed the mystery of the large-format camera and the power it gave her.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<div>\n<div>\n<p>Shur grew up in Houston and discovered photography in high school. Her bedroom walls were covered in torn pages from fashion magazines: \u201cvery nineties high-school vibes, like supermodels and Annie Leibovitz.\u201d She studied photography at New York University and worked as a photo and art department assistant at <em>Rolling Stone<\/em>, until her boss told her, \u201cI can tell you\u2019re not loving this job. You want to be shooting.\u201d In 2001, she got what seemed like her big break, a multipage spread of three car designers for <em>Rolling Stone<\/em>. At one of the shoots, someone broke into her car and stole her equipment. The next day was 9\/11. She didn\u2019t know what would happen to the car-designer feature, but it came out in the November issue. The following year, she landed her first gig for <em>Interview<\/em>, shooting up-and-coming musicians\u2014one of whom was Avril Lavigne, who quickly became a household name. \u201cJust having her in my portfolio was extremely big for me,\u201d Shur said.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<div>\n<div>\n<p>For the rest of the decade\u2014the years represented by these Polaroids\u2014she was booked and busy. \u201cIt was such a period of growth for me as a photographer,\u201d Shur told me. \u201cI really found myself, I\u2019d say.\u201d (She\u2019s since released monographs exploring her <em>travels to Japan<\/em> and her <em>neighborhood in L.A.<\/em>) The Polaroids, meanwhile, tell some unexpected tales. Some of her subjects, then at the pinnacle of fame, have since gone down strange paths. Cheryl Hines, whom she shot for <em>Entertainment Weekly<\/em>, was known at the time for \u201cCurb Your Enthusiasm.\u201d One Polaroid shows a concept that wasn\u2019t ultimately used, with Hines\u2019s mascara running down her stoic face\u2014a defiant-martyr look that carries an unintended irony, now that Hines is notorious as the wife of Robert F. Kennedy, Jr.<\/p>\n<p>Read more <a href=\"https:\/\/cityrelocationnews.com\/?p=1007\">Madonna and the Muppets Made the Case for Love<\/a><\/p>\n<p>Other Polaroids capture the musical moment: a grinning Ghostface Killah (\u201cHe was very bummed that he was smiling\u201d); a shirtless Coolio (\u201cCoolio was late\u201d); a frilly Nicole Scherzinger, then the ascendant lead vocalist of the Pussycat Dolls. Kid Rock, whom she shot for <em>Spin<\/em>, at his property in Michigan, was known as a flashy country rocker and not yet as a Trumpist firebrand. The shoot, Shur said, involved a lot of \u201cloud\u201d poses of the artist in his \u201cugly leather jacket and hat,\u201d but the Polaroid catches him looking uncharacteristically subdued at his keyboard: \u201cI was unsure if he was going to be down to take those quieter pictures, and he was.\u201d<\/p>\n<p>Some of the male actors evoke the indie-boy cool factor of the time: Adam Brody, Jason Schwartzman, Peter Sarsgaard. The \u201cScrubs\u201d star Zach Braff, who defined a certain twee-depressive counterculture with his 2004 film \u201cGarden State,\u201d posed for <em>Interview<\/em> in a tweedy jacket. \u201cI had a very innocent, professional crush on him at the time,\u201d Shur recalled with a sigh. \u201cI was, like, In another life, me and this nice Jewish boy from New Jersey could have been great.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<div>\n<div>\n<p>Mark Zuckerberg was still a hoodied Harvard-dropout tech phenom\u2014not yet known for his Cuban-link chains and congressional testimonies\u2014when Shur photographed him for <em>Wired<\/em>, at Facebook\u2019s headquarters. Unlike many of her other subjects, Zuckerberg wasn\u2019t a performer, and he was \u201cdifficult to break through to,\u201d she recalled. In the Polaroid, he has the same dead-eyed stare that he had in every other picture she took. \u201cI have a couple different Polaroids of him, and you almost can\u2019t tell the difference.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div>\n<div>\n<div>\n<p>In the shoots she recalls most fondly, the subjects were collaborators, willing to go to eccentric places. Shur shot the fashion designer Jeremy Scott in her back yard at the time, in Echo Park, in front of her cow statue. Mike Gordon, the bassist for Phish, ended up in a bathtub with his instrument. \u201cThe progression to get to that shot was impactful for me personally,\u201d she said. \u201cI didn\u2019t always know exactly how to ask for what I wanted, and he kind of offered it up.\u201d Similarly, Danger Mouse decided that he wanted to pose with a guy dressed as the Grim Reaper and make grilled cheese: \u201cThat\u2019s one of those pictures where I really felt, like, I fucking nailed this.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<div><\/div>\n<\/div>\n<div>\n<div>\n<div>\n<div>\n<p>Not all Shur\u2019s Polaroids from the naughty aughties are of hip young talents. For <em>People<\/em>, she shot Tony Curtis, then eighty-three, lounging in his pool in Nevada and thrilled to his classic-Hollywood charisma. \u201cThere were old movie posters of him everywhere, and he was just so handsome,\u201d she said. \u201cIt was real movie-star shit.\u201d Photographing Jane Goodall, for <em>Discover<\/em>, Shur was determined to appear poised and professional, but \u201cI remember being really frazzled,\u201d she recalled. \u201cWe shot in a hotel room, and I was worried about her tripping on wires and cords. I was, like, Please, please, be careful! She said something, like, \u2018Honey, I live in the jungle.\u2019\u00a0\u201d<\/p>\n<p>Read more <a href=\"https:\/\/cityrelocationnews.com\/?p=1005\">I Give My Kid the Talk<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>In a Photo Booth, Michael Schulman writes about the photography of Emily Shur, who shot pictures for magazines in the early two-thousands.<\/p>\n","protected":false},"author":1,"featured_media":1010,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[],"class_list":["post-1011","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-photo-booth"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>A Celebrity Photographer\u2019s Hidden Stash of Polaroids - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=1011\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Celebrity Photographer\u2019s Hidden Stash of Polaroids - 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