Autumn de Wilde was born on October 21, 1970. She is an American photographer and film director best known for her portraiture and commercial work photography of musicians, as well as her music video works. De Wilde was born in Woodstock, New York. Her father, Jerry de Wilde, is an art and commercial photographer noted for his photos of Jimi Hendrix, the Monterey Pop Festival and other icons of the 1960s. Autumn de Wilde had no formal education in photography, but learned photography from her father. De Wilde has photographed CD covers for Miranda Cosgrove, Elliott Smith, She & Him, Jenny Lewis with the Watson Twins, The Raconteurs, The White Stripes, Fiona Apple, Beck, Built to Spill, Wilco, Monsters of Folk, New Found Glory, and a number of other musicians. In addition, she has directed music videos for The Decemberists, Elliott Smith, Spoon, Ingrid Michaelson, The Raconteurs, Rilo Kiley and Death Cab for Cutie. Her portrait subjects include Willie Nelson, Sean Watkins, Ryan Adams, Sonic Youth, Tegan and Sara, and Wolfmother. De Wilde's live concert documentary work includes The Flaming Lips, Spoon, and the Arcade Fire. De Wilde's photos have appeared on the cover of Spin magazine and in the pages of Rolling Stone, Filter, Nylon, Los Angeles Times, Entertainment Weekly, and The New York Times. Autumn de Wilde also documents the couture designers Kate and Laura Mulleavy of Rodarte. In 2007 Chronicle Books released a book, Elliott Smith, that has photographs de Wilde had taken of the musician Elliott Smith. The book includes handwritten lyrics, interviews with close friends and family, and a bonus CD of a live performance. In 2010, De Wilde offered commentary in a series of reissues for the back catalog of Nick Cave & The Bad Seeds, appearing in the accompanying documentaries entitled "Do You Love Me Like I Love You." In 2011, her work was extensively featured in the Limited Edition Deluxe Box version of The Decemberists album The King Is Dead. The box set included a one-of-a-kind Polaroid photograph by Autumn from the Impossible Project/Decemberists series, as well as a 72-page hardcover book featuring over 250 unique Polaroid photographs by Autumn and illustrations by Carson Ellis. De Wilde made her directorial feature film debut with the 2020 film Emma, adapted from Jane Austen's novel of the same name, starring Anya Taylor-Joy. It was important to work with women for her. She went on to say: “I hire talent. But I know that for many years, I wasn’t invited to these kinds of meetings. I’ve met so many women and men who were qualified to do this film, and the heads of departments I chose were because I felt the chemistry between everyone was going to be right. A lot of them were women, but I wasn’t doing anyone any favors. Diversity needs to come from being able to see a lot of people’s work. A movie will fail if you doubt any hiring decisions, and that person won’t succeed. I worked with Deborah Saban as my first assistant director. She’s a legend. A lot of people would think a woman couldn’t handle that role, but she was an incredible force. In the first meeting with her, I knew I needed her to protect me and guide this ship, but I didn’t necessarily think I needed a woman by my side. I felt proud on set. I’m 6’2”, and she’s not very tall. We were working with women and men, old and young, people who have made a ton of movies, as well as production assistants, and they all looked up to her and loved her. She’s a powerhouse and was very inspiring to have on set. We had a lot of women on set. We had production design by Kave Quinn; costume design by Alexandra Byrne; and our set design by Stella Fox. Christopher Blauvelt, our cinematographer, and I have worked together for years. I have a loyalty to that relationship, which was an essential part of doing this movie.”

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