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Raymond Meier was born in Switzerland in 1957. After his apprenticeship at the Zurich Art School, he opened his first studio at the age of twenty, where he focused primarily on industrial and corporate photography.
NEW YORK TIMES MAGAZINE, 2007
He applied his conceptual thinking and photographic experimentation to the field of commercial image-making. His work evolved to include portraiture, advertising, and ultimately still life and fashion.
NUMERO TOKYO, CHANEL 2010
VOGUE CHINA, 2013
In 1986, he moved his studio to New York City where he has been a major influencer upon publications at points of innovative change including Harper’s Bazaar, Vogue, and The New York Times.
MARC JACOBS, DECADENCE
HARPER’S BAZAAR, 1994
VOGUE JAPAN, 2000
In the 1990s, Raymond was among the first photographers to shoot color negatives and provide c-prints to magazines and advertising clients. By 1992 he was on the forefront of digital scanning and retouching.
VOGUE GERMANY, 1999
NARS COSMETICS, ORGASM 2018
Meier’s long lasting relationships with major fashion, jewelry and cosmetic brands have shaped their visual identities for three decades.
Anna Wintour describes Meier’s work; “Raymond Meier has that unerring ability to infuse technically masterful compositions with charm and punch. When Meier casts his eye on something, it soars beautifully.”
VIKTOR & ROLF, 2014
TIFFANY & CO, 2015
MARC JACOBS BEAUTY, 2018
MARC JACOBS BEAUTY, 2018
VOGUE, LOUIS VUITTON 2008
With his intense understanding and constant experimentation with the properties of analog and digital photography, Meiera articulates the complexity and subtleties of the medium.
“I have always been more interested in how to photograph rather than actual subject matter. Entering into the space between the literal and the perceptual is where I find true creative freedom”.
VIKTOR & ROLF
Dedicated to an independent photographic practice, Raymond has worked on a multiplicity of projects including CUBES, PLEXI, RUBBER, LEMON JUICE and also UNIFORM COLOR SPACE and RENDERINGS : both series that hinge upon our capacity to construct meaning from what we visually register.
RUBBER, INSTALLATION VIEW, 2009
LEMON JUICE , 2012
UNIFORM COLOR SPACE, 2009
“In THE REDUCED ARCHIVE, (2010 – ongoing). using data analytics, I have abstracted twenty years of my commercial work. A new ‘picture’ is created by algorithmically reading the color structure of my images, altering their coordinates, and reducing each image to its most prevalent colors.”
THE REDUCED ARCHIVE, 2010-ONGOING
The two-volume set of his book LOUIS KHAN DHAKA (2004). features the architecture of the capital complex in Dhaka, Bangladesh
It is a poetic photo tribute to what is possibly the most moving, timeless, and underappreciated work of architecture built in the last 50 years.
LOUIS KHAN DHAKA, PUBLISHED BY SIMONETT 2004