“A photographic portrait is a picture of someone who knows he’s being photographed, and what he does with this knowledge is as much a part of the photograph as what he’s wearing or how he looks. He’s implicated in what’s happened, and has a certain real power over the result” – Richard Avedon, 1994
Richard Avedon is, in my opinion, one of the most prolific photographers of the twentieth century. He was born in New York City in 1923, and by the age of twelve was extremely interested in photography. Avedon’s first job as a photographer was with the U.S. Merchant Marines taking identification pictures, a job he started in 1942. After leaving the Merchant Marines in 1944, Avedon began working as an advertising photographer for a department store, where he was quickly discovered by his mentor, Alexey Brodovitch. Avedon photographed the Paris collections for almost forty years, and worked as staff photographer for Vogue from 1966 to 1990. Avedon also became the first ever staff photographer for The New Yorker in 1992, he was 69.
Avedon did not conform to the standard technique of having models pose for the camera in a seemly disconnected, unemotional way. Instead, he took photographs in which the models portrayed emotion and movement. Avedon’s style is very distinguished, it screams sophistication and simplicity. For example, the majority of Avedon’s portraits are well lit and are set against a white backdrop. It is this simplicity that contributes to the power of his subjects, allowing the viewer to see them in a more intimate way. In addition to this, Avedon had a talent for capturing a person’s essence in his portraits.
Avedon’s Work
Dovima with Elephants, 1955
This photograph is probably one of the most iconic fashion images of all time. Here Avedon breaks all the rules, shooting his model in a pose that implies movement and emotion. The result is an elegant image of a woman showing affection towards the elephants on either side of her, who ‘just happens to be wearing a beautiful dress’. The stark contrasts in the image also draw the viewer in. The even starker contrast of black and white of the dress and the model’s skin, as well as her placement in the frame work together, making her and more importantly, the dress, the focal image.
Elizabeth Taylor, 1964
In this portrait, Avedon combines minimalism, aesthetics, and good lighting to create an intriguing image of Elizabeth Taylor. The image looks natural, un-posed, and there is a glimpse of something real in Taylor’s eyes. Again, the strong contrasts and the simplicity of the scene draw the viewer in, forcing him/her to focus on the intended subject.
Savion Glover, 2003
This photograph of Savion Glover once again uses high contrast to draw attention to the subject. The movement captured in this image is fantastic, because it helps to reveal a part of Glover’s personality, as well as the vibrance involved in the work he does. I love this image because of its holistic nature, as the composition cleverly reveals Glover’s character and profession, and gives the viewer the impression that he/she might be watching Glover on stage.