Anna Palma takes us “Far and Away”

Get away from the cold with this swimwear editorial and interview with photographer Anna Palma.

For IRK Magazine, photographer Anna Palma delivers an editorial that feels like an instant passage into summer. On this occasion, she shot on a sunlit boat in Venice, California, where the story blends soft luxury, retro spirit, and natural ease.

In this interview, Anna Palma explains her creative process, from building intimacy within high-end productions to shaping emotion through light, color, and movement. She defines luxury as a feeling rather than a setting and highlights spontaneity as essential on set. Furthermore, drawing from fashion, film, motherhood, and youth culture, Palma shows how authenticity guides her work at every level.

Throughout her career, Palma has built a strong reputation for combining emotional storytelling with precise visual craft. Major global brands including L’Oréal, Shiseido, Coca-Cola, Levi’s, Chandon, and Violet Grey have commissioned her work. She also leads large-scale international campaigns and global rebrands, collaborating with top creative teams on projects for Ford, Hewlett-Packard, and Martini. Across photography and film, she creates imagery that feels personal, human, and visually refined. All in all, this IRK conversation explores contemporary fashion photography, creative direction, and the evolving connection between classic image-making and new visual technology.

IRK: This editorial feels like a shortcut to summer. What was the core fantasy you wanted to deliver for IRK?

We were out to tell an easy, breezy tale; a light spirited vibe with a node to the past

IRK: What did “luxury” mean on this set: location, styling, light, mood, or something else entirely?

Anna Palma: Every pre-production aspect was thought out and was meant to elevate our summer story, from casting to crew to location to styling to mood… We lucked out in getting to shoot on a beautiful boat in Venice California. And sunny California did not disappoint that day!

IRK: What was the single non-negotiable frame you knew you needed before you even started shooting?

I’m not sure I had one in mind other than just capturing this certain vibe. I had an open mind. I like to run around, find where the light hits beautifully, keep capturing images, and be open to how the story reveals itself in the most interesting way.

IRK: Anna Palma images often feel sun-warmed and soft, even when the scene is big and glamorous. How do you keep intimacy inside a luxury setting?

Anna Palma: My approach is always personal and intimate. I prepare the talent about what we wanna achieve (when possible), before they show up to the shoot. I show them inspiration and get them excited to be a part of the project. Once on set I encourage them to take on the character but to make it their own at the same time.

IRK: Your color palette leans gentle and lived-in. Are you building that in-camera, in styling, or in post?

Anna Palma: Every shoot of mine slightly differs in color and feel, depending on the concept. For me color is a huge part of the creative direction. Since this story had a retro concept, I decided on a lived in color vibe. I play with it in the computer until it feels right. I also show it to the team during the shoot; styling, hair and makeup, model…. as I love and welcome input.

IRK: What do you look for first when you arrive on location: direction of sun, reflections off water, or something else?

Anna Palma: Yes I look for those elements mainly, but also look at the colors, the scene (landscape/architechture), in this case the marina. I think about the story we wanna tell and in my mind map out spots that help communicate the storyline.

IRK: Water and bright light can flatten skin and kill nuance. What are your go-to tricks to keep texture and emotion?

Anna Palma: Experience has taught me to work with all the elements technically, to lean into them, to compensate in a way that feels right. I often will try to shoot a scene front lit and back lit and then I can decide later which one I prefer. I work fast to keep things spontaneous and fun. For personal projects and editorials I often work without an assistant. It’s empowering to me to do the lighting and digital teching on my own.

IRK: Anna you are known for creating energy on set. What do you actually do to pull real spontaneity out of a model in the first 10 minutes?

Anna Palma: I love people! As a mother 3 daughters in their 20s, it probably makes talking to models very natural and easy. I love hearing where they come from, how they started, etc. One of my secrets is to look at the models’ Instagram to get a feel for them, and if I have access to their portfolio, I love seeing various images of the models. I hang out with them as they are in hair and makeup, to get to know them a bit. Once on set, I have a feel for them, and I encourage them to be expressive and free and have fun.

IRK: What is your biggest red flag on a shoot, the thing that tells you the images will go stiff if you do not fix it fast?

I am not big on being contrived and posey, so I try to shake the models out of that as soon as possible.

IRK: Do you direct more with words, movement, music, or blocking? What works best for you and why?

Anna Palma: I direct with words, movement, and music, and try to be clear about what sentiment we are looking for. Moreover, I lean into the team for input too and love an inclusive set. Everyone’s ideas are valid and awesome.

IRK: For this IRK story, what were you asking the talent to feel: freedom, seduction, play, calm, mischief?

Anna Palma: All of it… it’s fun to come up with stuff on the spot too. There is always room for spontaneity.

IRK: The Anna Palma portfolio moves between children, fashion, elevated lifestyle, and beauty. What is the common thread you are always chasing?

Anna Palma: It varies… sometimes it’s going after what to me is beautiful, but other times the thread can be energy, motion and emotion. Beautiful light and color, freedom and ease, collaboration, cool composition. All the elements are important. Your team of hair, makeup, styling is crucial and so are the models.

IRK: How do you keep authenticity when the production is high and the stakes are commercial?

Anna Palma: I have confidence in myself and my team. I don’t stress about having a hundred people on set. We are all in it together. We are all there to do the best possible job. I do my homework as far as what is to be achieved and then I always try to deliver more than what is asked. I stay true to my authentic self as far as how I approach the actual image making.

IRK: Anna you are Iceland-born and now based in New York. What did Iceland give your eye that New York sharpened?

Anna Palma: Such interesting questions! Iceland gave me an appreciation for beautiful light, gorgeous landscape and great family/friendship values. I brought that sentiment to the gorgeous and energy filled city scape of NYC and ran with it. I love swimming in a bigger pond than what Iceland provided.

IRK: Do you think your relationship to light comes from growing up with extreme seasons and dramatic sky?

Anna Palma: YES! Absolutely! I was a flight attendant for Icelandair in my 20’s. Being up at all hours and flying all over the world also helped me realize how truly special the Icelandic light and sky-scape is.

IRK: You have an acute awareness of youth culture, and you are also a mother of three daughters. How has motherhood changed the way you see femininity on camera?

Anna Palma: Motherhood is my most cherished role. My three daughters have always been my main muses and my teachers. As for femininity, I am aware of capturing it, if that’s a trait the model/person possesses, but I try not to force it. To me natural and authentic is the most beautiful.

IRK: Particularly, your directorial style is a big part of your signature. What does film let you reveal that a still image cannot?

Anna Palma: It’s a very different hat, photo vs film. I enjoy both equally. Both are lighting and team specific, but film asks more of the model/actor. It’s harder to “fake it” in film. For me film takes more pre-planning, but it’s so satisfying when you love the end result.

IRK: When you are directing, what matters more to you: narrative clarity or raw feeling?

Anna Palma: I love both the narrative and the raw feeling and they are often equally important depending on what you are setting out to do creatively. With the narrative, the story comes together in the edit room, and often the challenge becomes about how much can you say in the least amount of time. Like with poetry; it’s challenging to use the minimum amount of words needed to capture an emotion or a vibe.

I have always worked a lot on projects with kids and I continue to be inspired by their raw emotion and spontaneous being. That sentiment is what I try to go for in a lot of my work.

IRK: In particular, you have worked with brands like L’Oreal, Shiseido, Coca-Cola, Levi’s, Chandon, and Violet Grey. What do the best clients do that makes the work better?

Anna Palma: They hire you for what you do well and give you freedom and trust to make imagery that is reflective of you as a photographer/director/artist, but still within their needs for the specific project. I love working on big projects with great creatives and teams and I love to collaborate in order to get the best possible results.

IRK: What does Anna Palma refuse to compromise on, even in big commercial jobs?

Anna Palma: Every job is different, which I love! I always show up prepared and ready to go, that’s a given.

Hmmm, sometimes I have to compromise and that’s ok! But leading up to the project, when possible, I involve myself in important pre-production elements, such as casting, location, props and team of course. I try to push for what in my mind will give us the best result.

IRK: What is one trend in photography right now that you think is overplayed, and what direction feels genuinely next?

Anna Palma: I honestly love every new trend. Some I choose to incorporate into my own work and other trends I skip. Technology of image making is changing every single day. AI is having a huge impact on visuals, which I welcome, as long as it’s respectful of the players involved. Since image making is so democtatized these days (iphones and social media enabled this), I do feel that what having good taste and being artful stands out.

The direction forward feels like a mesh between THE NEW which via AI technology has endless visual potential, and the more “classic” photography that came before. Right now the edges are raw and jagged but they will smoothen. By and large, we are in this creative field and embracing change is a part of the creative process.

IRK: If this IRK editorial had a soundtrack, what would it be?

Anna Palma: “Joe le taxi” by Vanessa Paradis

IRK: What do you Anna Palma, want viewers to feel after five seconds with these images?

Anna Palma: That they wanna be there!

IRK: Anna, summing up, what advice do you have for young photographers?

Anna Palma: Stay true to yourself and your artist within. No-one sees the same way as you. Embrace that! Keep learning, keep changing, keep’em guessing. So, work hard and keep doing it, experiment, play and have fun with it. Every time I shoot I learn something new and that’s the spirit I will keep embracing forever.

---

Credits: Far and Away

Photography: Anna Palma
Styling: Lara Einzig
Makeup: Riku Campo @Walterschupfermanagement using MAC Cosmetics
Hair: Taku @walterschupfermanagement
Models: Tea @Elite / Alejandro @LAModels

Les Rencontres d’Arles 2025 : Four Bold Visions

“Lost Time”, a New Film by Anna Radchenko