If you’re a fan of photography, chances are you’ve seen the works of Miles Aldridge and know his palpable love to capture women. In his first monograph, Miles Aldridge: I Only Want You To Love Me (Rizzoli), he carefully curates a world of women in a world of surrealist perfection meeting an ultimate destiny of emptiness and vacancy within. He now matches that with Please Return Polaroid, his archive of 20 top-notch years shooting for magazines.


Polaroids will be polaroids. If you’ve been lucky enough to snap and archive any—as in the original kind and not an app treatment on a digital contraption—you know just how precious they are, whatever state they may be in.

In the case of true storyboarding and process, so does Aldridge. Plenty of his oldies were either intentionally or accidentally damaged while working on different assignments and stories, whether it was trimming, adjusting, marking, cutting or outlining details for them to be enhanced, modified or in some cases, discarded. He revamped the images from their original state to adapt a new life and characteristics: Enlarging and arranging the Polaroids in unexpected ways, each image comes into its own to breed a rare perspective into this photographer’s journey. #SetLife.


*The London-born photographer grew up in a celebrity vibe, with John Lennon, Eric Clapton and Elton John as close family friends. Now those are the types.