I ensure every photoshoot is a relaxed, fun and enjoyable experience. This helps produce the best pictures possible.
WE CAN ONLY MAKE A first impression once. When online, we largely rely on our profile picture to portray a trustworthy and professional image. The photo is the first thing our eyes naturally seek when looking at someone’s social media page.
A professional picture demonstrates the type of person we are and how we want others to view us. This is true of any social media platform, business website or even dating website.
Your online profile is permanently visible. If you write on a social media post or comment on other peoples pages, your profile picture will be seen again and again.
So the most important thing anyone can do, to make the best possible first impression, is hiring a professional photographer. A high-quality headshot will help you connect with others, acquire jobs or build business connections. It will also show you care, as well as being serious about the job you do.
There are more than 740 million users globally on LinkedIn alone. Many people create business connections and find jobs using this networking tool. You wouldn’t submit a CV with spelling mistakes and grammatical errors when seeking a job. You should attach the same importance to your profile photo.
When you have a professional profile photo it presents you in the best way, you can show prospective employers or business contacts that you are confident, friendly and professional. This all helps create trust, helps you get noticed and can help you find a new job or win a new contract.
Just as a great profile picture can have a positive impact, the reverse can happen with a poor photograph. Highly pixelated photographs demonstrate that you are not up-to-date, unprofessional and unaware of the latest technology. It can also affect how you are perceived. The same applies to unfamiliar photos, such as pictures of your pet or dream car – keep these for your private pleasure.
You can use a professional photo in several ways. You can use it for your profile image on your website and on different social media networks. Sometimes you may also need to provide a specialist photo for press releases, on business brochures, interviews and other media forms.
If you want to benefit from having a professional profile picture, to use on your various social media pages or business website, drop me a line. I am a Cotswolds based photographer, who started shooting professionally some ten years ago now. I’ve been commissioned to photograph everyone from actor’s, business owners, celebrities, dancers, families, models, musicians and writers.
Why me? I have all the experience and equipment necessary to ensure that every image I make accurately portrays you or your company perfectly. I ensure every photoshoot is a relaxed, fun and enjoyable experience. This helps produce the best pictures possible. I can provide my clients with photographs that can be used for all types of marketing, from online stores, social media to catalogues and personal portfolios.
Career. Baltermants originally planned to be a math teacher at a Military Academy. However, he fell in love and started a career as a photojournalist in 1939. Baltermants was an official Kremlin photographer. He also worked for the daily Izvestia as a photo editor and contributed to the popular magazine Ogonyok.
Baltermants was a World War II veteran who covered the battle at Stalingrad and the battles in Russia and Ukraine for the Red Army. He was twice injured.
Baltermants’ photos were censored by Soviet authorities in order to preserve images that showed the positive aspects of service, just like the Red Army photographers during wartime.
His most striking photos were not published and some of them became widely known in the 1960s. His work was noticed in the West, where it was distributed through the Sovfoto agency.
Jews in the Crimean city of Kerch. It depicts the pain of grieving village women searching for their loved ones’ bodies. The image is made even more dramatic by the powerful sky oversaturated, which was burned in during printing.
The development of Colour Chrome Effect is derived from a reversal film: fortia.
My stunning XPro-3 and I think all ‘newer’ Fujifilm X-Trans IV sensor cameras, have a ‘Colour Chrome Effect’ feature. If you have had the chance to shoot with the XPro-3 or say GFX, then you already know the effect from your hands-on experience.
The Colour Chrome Effect was created from a reverse film: fortia. In 2004, the film was released with the slogan “Higher contrast and vivider colour than Velvia”. The film was limited in production, so while many people talked about it, very few actually got to see it.
Fortia was highly praised by the enthusiasts. Many people asked us questions such as “How can I adjust the setting to make it look like fortia?” and “If you set Colour +4 Velvia mode, will it become fortia?”
Despite all your efforts in Velvia mode it will not turn into fortia. To begin with, the ideal colour reproduction is different. Reversal colour film has one characteristic: the tonality is maintained even in high contrast areas. Fortia images are not saturated, and the colour still achieves depth even when the contrast is greater than Velvia.
Fortia had a very limited run. This was due to the perception that this film was only useful in specific situations. In the digital age, the low saturation and high contrast characteristics of fortia are essential. We had to attempt fortia to replicate Velvia, PROVIA and ASTIA.
High brightness is a way to express colours like yellow, orange, yellow or yellow-green with high contrast. Tonality is impossible when brightness and contrast reach their maximums. The image will become very flat as a result.
The sensor surface can be detected by analyzing the light and the information it receives. However, there is a slight gradation. Colour Chrome Effect creates tonality and high contrast using this technique. This allows for images to be created without losing their depth.
This effect is universal. The difference is visible in both sRGB and Adobe RGB users. However, there is a side effect. You will need to have processing power. The X-Processor Pro takes about 1.0 seconds to process. To process the Colour Chrome Effect. This is fine if you only use the Colour Chrome Effect for a single shot. You can’t shoot continuously, or set the camera to AF-C.
Fujifilm suggests that you disable the feature when shooting and turn it back on when you are processing raw files in-camera. The XPro-3 has the ability to output Super Fine JPEG and TIFF. The XPro-3 can convert raw files directly from the camera and then use your Mac or computer to edit the final image.
Fujifilm asked the Colour Chrome Effect creator to show Fujifilm how he replicated the Colour Chrome Effect using image processing software. He replied, “Yes, but it would take an hour for me to complete each image.” I need to be able to identify the sensor characteristics for each image.
The film simulation is not the final touch to the colour, according to the image design team. Every photographer wants a different color. If a few clicks with the camera can save you an hour of labor, you may as well take advantage.
Fujifilm hopes to make film simulations perfect so that editing is not necessary. However, if that means only a starting point it is perfectly acceptable.
Early life and background Her parents were Jewish intellectuals. They emigrated from Ukraine (then Russia) in 1905 to the United States and settled in Brooklyn. She was born in Brooklyn and Greenwich Village in New York. She attended the Textile High School in Manhattan and studied with Alexey Brdovitch, a future artist.
Career. Bassman was a fashion photographer from the 1940s to the 1960s for Junior Bazaar. Later, she worked at Harper’s Bazaar where she promoted the careers and work of Robert Frank, Richard Avedon, Louis Faurer, Arnold Newman, and Robert Frank. She began photographing her models in black and white under the direction of Alexey Brodovitch (a Russian immigrant). From 1950 to 1965, Harper’s Bazaar published most of her work.
Bassman’s fascination with pure form in fashion photography was no longer in fashion by the 1970s. Bassman began to take up photography and stopped taking fashion photos. She threw out 40 years worth of negatives, prints, and other material that had been her life’s work. Over 20 years later, a bag containing hundreds of images was found. In the 1990s, Bassman’s fashion photography work was rediscovered.
In her nineties, she used digital technology and abstract colour photography to create new work. Her image manipulation was done using Photoshop.
Her photographic work is notable for its high contrasts between dark and light, graininess in the final photos, and the precise placement of subjects and camera angles. Bassman was one of the most important women photographers in fashion history. Bassman’s pioneering photography, and Alexey Brodovitch, her mentor, were an inspiration for Sam Haskins’ black and white work in the sixties.
Bassman died on February 13, 2012, at age 94.
Personal life At six years old, she met her future husband Paul Himmel (born 1914) on Coney Island. She was 13 when they met again and began living together at 15. They got married in 1935 and had two children. After 73 years of marriage, Himmel died in 2009.
David Royston Bailey CBE (born 2 January 1938) is an English fashion and portrait photographer.
It’s impossible to talk about Photographers without mentioning David Royston Bailey. He was born January 2, 1938. He is a portrait and English fashion photographer.
David Bailey was born in Leytonstone at Whipps Cross University Hospital to Herbert Bailey, a tailor’s cutter, and Gladys Bailey, a machinist. He lived in East Ham since he was three years old.
Bailey discovered a passion for natural history and photography. He was diagnosed with undiagnosed dyslexia and had problems in school. Clark’s College, Ilford was his private school. He claims they taught him less than the basic council school. He also has dyslexia and the motor skill disorder dyspraxia.
He claims that he attended only 33 school days in a single school year. On his fifteenth birthday, he left school to become a copyboy at the Fleet Street offices for the Yorkshire Post. After a string of low-paying jobs, he was called up to National Service in 1956. He served with the Royal Air Force at Singapore in 1957. He was forced to look for other creative outlets after his trumpet was stolen. In 1957, he purchased a Rolleiflex camera.
In August 1958 David was demobbed. Determined to make a career out of photography, he purchased a Canon rangefinder camera. Because of his poor school record, he was unable to get a spot at the London College of Printing. He became a second assistant to David Ollins in Charlotte Mews. He was a studio dogbody and earned PS3 10s (PS3.50). He was thrilled to be invited to interview John French, a photographer.
Career in the professional sector
Bailey’s image of London gangsters Ronnie Kray and Reggie Kray. Bailey was hired as a photographic assistant for John French’s studio in 1959. In May 1960, Bailey was working as a photographer for John Cole’s Studio Five. He then became a British Vogue fashion photographer later that year. A lot of his freelance work was also done by Bailey.
Bailey, Terence Donovan, and Brian Duffy helped to create the 1960s ‘Swinging London’ culture: fashion and celebrity chic. They became celebrities after they began to socialize with musicians, actors, and royalty. Norman Parkinson called them ‘The Black Trinity‘, and they became the first celebrity photographers.
Blowup (1966), a film directed by Michelangelo Antonioni depicts the life and times of a London fashion photographer. It is played by David Hemmings who was inspired by Bailey. His Box of Pin-Ups (1964), a collection of posters featuring 1960s celebrities such as Terence Stamp, Mick Jagger and Jean Shrimpton, was a fitting reflection of the ‘Swinging London‘ scene. It included posters of famous 1960s figures like Terence Stamp, Rudolf Nureyev, Rudolf Nureyev, Cecil Beaton, Rudolf Nureyev, Rudolf Nureyev, and East End gangsters the Kray twins. The Box was a unique commercial release. This was a reflection of the changing status of the photographer, that one could sell a series of prints this way. Lord Snowdon, a fellow photographer, strongly objected to the inclusion of the Krays in the American edition of “Box”. A second British edition was also not released. According to reports, the record sales for a copy of ‘Box of Pin-Ups’ were ‘north of PSD20,000.’
Bailey shot covers for Vogue in just a few months. At the peak of his productivity, Bailey managed to shoot 800 pages of Vogue editorial within a year. Penelope Tree, his ex-girlfriend, described him as “the King Lion on the Savannah”: extremely attractive with a dangerous vibe. He was the power, the brightest and most powerful, most talented, and most energetic person at the magazine.
Grace Coddington, American Vogue’s creative directors, was then a model and said that Bailey was an unbelieveably beautiful man. He was everything you could want him to be, just like the Beatles but more accessible. Everyone went in when he went on sale. Although he quickly bonded with Jean Shrimpton, we were all a bit too greedy to be his model.
Bailey said of Jean Shrimpton, a model: “She was magic and she loved the camera too. She was also the most affordable model in the world. You only had to take half of a roll of film, and you were done. She was a natural, and she had the ability to know where the light was.“
Bailey has directed many television documentaries and commercials since 1966. From 1968 to 1971, he produced and directed TV documentaries entitled Beaton, Warhol, and Visconti. Bailey also photographed album sleeves for many musicians, including The Rolling Stones’ Marianne Faithfull. Bailey is most well-known for his famous work depicting the Rolling Stones, including Brian Jones who died in 1969 after being under the influence of drugs and alcohol. He stands slightly apart from the rest.
Chris Blackwell, Island Records’ photographer, hired Bailey in 1970 to take publicity photos of Cat Stevens for the upcoming album Tea for the Tillerman. Stevens, now Yusuf Islam, claims that he didn’t like having his photograph on the cover of his albums. However, he did allow Bailey to have his photographs on the inner sleeves of the album.
Bailey photographed Alice Cooper, a rock singer, for Vogue magazine in 1972. She was almost naked, with the exception of a snake. The group’s hit album, ‘Billion Dollar Babies,’ was shot by Cooper again in 1972. The shoot featured a baby wearing shocking eye makeup, and allegedly one billion dollars worth of cash. It required the shooters to be under an armed guard. Bailey and David Litchfield published Ritz Newspaper in 1976. Bailey was taking pictures of stars at the 1985 Live Aid concert at Wembley Stadium in 1985. He later recalled that the atmosphere was fantastic. “One point, I felt a tap on my shoulder. Then, I spun around. I felt a huge tongue coming down my throat. It was Freddie Mercury!“
Bailey was the director of Who Dealt?, a BBC drama that aired in 1992. Story by Ring Lardner. Juliet Stevenson stars. He directed and wrote The Lady is a Tramp, a South Bank Film about his wife Catherine Bailey. He directed Models Close Up with Ginger Television Production in 1998, which was commissioned by Channel 4 Television.
The BBC produced a 2012 film about Bailey’s 1962 New York photoshoot. It was called We’ll Take Manhattan and starred Aneurin Barnard.
Bailey participated in Art Wars at Saatchi Gallery, curated by Ben Moore, in October 2013. The artist received a stormtrooper helmet that he turned into art. The proceeds went to Ben Moore’s Missing Tom Fund to help find Tom, his brother who has been missing since more than ten years. As part of Art Below Regents Park, the work was also displayed on Regents Park’s platform.
Macmillan Books published Bailey’s Memoir, Look Again in October 2020. This was a review of his life and work.
Bailey started working with Jaeger fashion brand in the 1950s, when Jean Muir was appointed as a designer. Bailey was officially appointed by Vogue in 1962 after he had worked alongside Norman Parkinson and other fashion photographers.
Jean Shrimpton was Jean Shrimpton’s first shoot in New York City. She wore a variety of Jaeger, Susan Small clothing including a camel suit with green blouse, and a suede jacket with kitten heels. The shoot was called ‘Young Idea Goes West’.
Bailey, after 53 years, returned to Jaeger for their AW15 campaign. James Penfold was a menswear model and wore tailored tweed jackets and a camel coat. The shoot also featured Elisa Sednaoui, model, filmmaker, and philanthropist, as well as Martin Gardner, GQ’s most stylish man 2003.
In popular culture
Bailey was robbed of some equipment in the 1970s and replaced it with Olympus’ new OM system equipment. It was significantly smaller and lighter than the equipment from contemporary rivals. The Olympus OM-1 35 mm single lens reflex camera was then promoted by Bailey. The Olympus Trip camera was then promoted by him in several TV commercials.
Personal life Bailey was married four times. He was married to Rosemary Bramble in 1960, to Catherine Deneuve in 1965 (divorced in 1972), to Marie Helvin in 1975, to American model and writer Marie Helvin in 1975 and to Catherine Dyer in 1986. He is still married to Catherine Dyer. He is a vegetarian who has abstained from alcohol for many years. His company address is in London. He is an art-lover and has a long-held passion to Picasso’s works. His wife, Catherine Caliope Bailey is listed as Director. They are also the photographer, Fenton Fox Bailey. The family has a home in Dartmoor near Plymouth. Sascha Taday Bailey is his youngest son, born June 1994. He is an art curator.
As someone who has worked as a photographer for over ten years, I have a particular way of working when I attend an event.
As a photographer for over ten years, I have a particular way of working when I attend an event, whether it is at my local football club or local Equestrian events.
Much has been said about what camera and lenses to use, but, for me, preparation is a key factor in getting better shots. The better prepared you are, the better your images will turn out, and this doesn’t just apply to sports photography; it is right for all genres. Below are my top ten tips for shooting fast action sport.
Know Your Sport
Before you can shoot something well, you need to know your subject. If you know how an event is run, then you have a better chance of anticipating the action unfolding in front of you.
If you are shooting a sport for the first time, do some research online – YouTube is an excellent resource for sports videos. Watch the sport, but also make a note of where the photographers are standing.
Contact the Teamor Event
If you are attending an event where you have to pay an entry fee, such as a football stadium, then it is best to check in advance that cameras with interchangeable lenses are allowed in. There is nothing worse than turning up at the gate to be stopped from going into the stadium because you have a ‘professional’ camera.
Horse Jumping is one sport where you are actively encouraged to bring a camera, and your local football club at the local park will probably also have no issues. But as a rule of thumb, if you are going into a stadium and paying for a ticket, its best to give them a ring first, to make sure you are allowed to take your camera.
Know Your Camera
I liken using a camera to driving a car. Experienced drivers don’t think about changing gear or turning the steering wheel; it’s second nature when you drive regularly. It should be the same with your camera and lenses. If you are fiddling with the controls at a critical moment, then you might miss the shot.
I also have all my cameras set the same way so I can move quickly and smoothly from one camera to the other, which reduces the need to swap lenses.
Dress for the Conditions
Billy Connolly is quoted as saying “There is no such thing as bad weather – only the wrong clothes.” Never a more accurate word has been spoken when it comes to sports photography as you have to be out in all weathers and conditions.
You could be indoors, but you’ll still need to wrap up warm if you are shooting, say an ice hockey match. In the summer, wear clothes that will keep you cool and protected, especially if you are out in the sun.
Always check the weather forecast 24 hours in advance and plan accordingly, and that means planning for the worst-case scenario – because you never know with British weather!
Get into Position
Choose your shooting positions carefully and always look at the backgrounds for distractions. It could be some parked cars or a steward in a bright yellow jacket or something else that will take the viewer’s eye from the subject.
For most sports, make sure you stay behind the barriers and you never stand in what are classed as Red Zones (danger areas). If you are attending as a spectator try to get a position where you can shoot over the fences to get a clear shot, or get up close and shoot through a linked fence using a wide aperture to blur out the links.
If you are shooting team sports at your local club, you should be able to move around. Try and shoot head on to the players but make sure you don’t cause a distraction. I also like to get down low to give a better angle. At the big games, we usually sit on stools behind the goal or try line so we are shooting lower than if we were standing up. This is actually a good perspective to shoot.
Choosing the Right Camera and Lens
Now, this obviously depends on the sport you are shooting. To be honest, any X Series camera with interchangeable lenses is capable of shooting sport but, obviously, the top end bodies like the new Fujifilm X-Pro3 or GFX cameras offer certain advantages, especially when it comes to autofocus speed and accuracy.
It is the lenses that makes the difference, and you should always buy the best you can afford. The good news is all XF lenses offer great optical quality. The focal length of the lens is an important consideration. There is no point trying to get a frame-filling action shot at a motorsport event with an XF18-55mm zoom, but you can still get great shots with that lens if you shoot to show the environment around the subject.
The best choice for sports photography is either the XF 200mmF2 and 1.4x converter or the XF 70-300mm F4-5.6. If you don’t need such a long focal length, then consider the brilliant XF50-140mmF2.8 (with or without converters) or the highly capable XF55-200mmF3.5-4.8. Don’t ignore standard and wide-angle lenses for sport; just choose your subjects wisely.
Capturing the Action
For team sports freezing the action usually means setting a fast shutter speed (1/1000s or faster). However, it depends on your subject. For example, a horse rider on the course doing 30mph will be frozen if you shoot at 1/2000s, which doesn’t convey the sense of speed you get while watching the race. With static legs, the horse can look like it stopped on the course rather than moving at high speed.
You can use high shutter speeds for Equestrian events, but it is usually used for horse racing, when they are battling for a position or for head-on shots, such as the start shot. If you drop the shutter down to 1/125s or slower and follow the subject as you press the shutter release (a technique known as ‘panning’) you can inject a real sense of speed into the image.
This technique can also be used in other sports to give a different image from the norm. Don’t be afraid to experiment with shutter speeds.
Think Out of the Box
When attending a sports event, it is very easy just to concentrate on the action on the field or on the track. Look around you and try to capture a flavour of the whole event. It could be fans enjoying the event, the celebrations of the winning team or the dejected look of the losers. Look beyond the obvious photo opportunities.
Automatic or Manual Exposure?
This really depends on what you are shooting. I shoot in manual exposure and control the shutter speed on the rear dial of my X-Pro3, the ISO on the front dial and the aperture on the lens.
Some photographers prefer to use shutter priority with the aperture left on its widest setting, the shutter set to the speed needed to capture the action and the ISO left on auto. However, when shooting sport where sunlight hits the water or headlights on a car, it could cause the image to be underexposed. Conversely, capturing skiing or ice skating could mean the predominantly white background means the images are underexposed. In these situations, you need to override the automatic setting by dialling in some exposure compensation.
This is the main reason I choose to shoot in manual exposure and use my experience, and what I see in the EVF, to judge the exposure.
Bumping Up the ISO
Don’t be afraid to bump the ISO up to 6400 or even 12800 if you can’t maintain an action freezing shutter speed with the maximum aperture of the lens you are using. The latest X-Trans sensors can handle high ISO settings really well.
It is far better to have a noisy image rather than a blurred image due to the shutter speed not being high enough. You can always add a bit of noise reduction in post.
I have also underexposed an image when shooting RAW files and then adjusting the exposure in post-production. Be careful, however, if you are using this method as this can introduce noise into the final image.
Richard Avedon was born in New York City to a Jewish family. His father, Jacob Israel Avedon, was a Russian-born immigrant who advanced from menial work to starting his own successful retail dress business on Fifth Avenue called Avedon’s Fifth Avenue.
Richard Avedon, born May 15, 1923 and died October 1, 2004, was an American fashion photographer. He was a photographer for Harper’s Bazaar, Vogue and specialized in the capture of movement in still photographs of fashion, theatre, and dance. According to The New York Times, his fashion and portrait photos helped define America’s culture, style, and beauty over the past half-century.
Early Life and education Avedon was born to a Jewish family in New York City. Avedon’s father, Jacob Israel Avedon was a Russian-born immigrant. He rose from menial labor to open his own successful Fifth Avenue dress shop, Avedon’s Fifth Avenue. Anna Avedon was Richard’s mother. She came from a family with a dress-manufacturing firm. Avedon’s love for photography was sparked when he joined a Young Men’s Hebrew Association’s (YMHA), Camera Club at the age of 12. He used his Kodak Box Brownie to both feed his curiosity and to get away from his own personal life. His father was a harsh and distant disciplinarian who demanded that one be financially strong, educated, and wealthy to make it through life. Louise, his younger sister, was his first muse. In her teens, she was diagnosed with schizophrenia after undergoing psychiatric treatments. Avedon’s early influences from fashion and family would have a profound impact on his life and career. Avedon was often driven to photograph tragic beauty.
Avedon attended DeWitt-Clinton High School in Bedford Park (Bronx), where he was an editor on The Magpie school newspaper with James Baldwin. Avedon won the Scholastic Art and Writing Award while he was a teenager. After graduating from DeWitt, Clinton that year he enrolled in Columbia University to study philosophy. However, he dropped out of school after only one year. His father had given him a Rolleiflex camera and he began to photograph the Merchant Marines crewmen. Avedon studied photography from 1944 to 1950 with Alexey Brodovitch in his Design Laboratory at The New School for Social Research.
Photography career. In 1944 Avedon was an advertising photographer for a department shop. But, Alexey Brodovitch was quick to endorse Avedon, who was then art director for Harper’s Bazaar. Avedon’s Harper’s career was promoted by Lillian Bassman. His photos began to appear in Junior Bazaar, and then Harper’s Bazaar one year later.
Avedon started taking photographs for magazines like Vogue, Life and other publications in 1946. He quickly rose to become Harper’s Bazaar’s chief photography photographer. He began contributing photographs to Life, vague Look and Graphis in 1950. In 1952, he became the Staff Editor and Photographer for Theatre Arts Magazine. Avedon was not a traditional photographer who took studio fashion photographs. He didn’t have models that were posed in a static pose and appeared to be indifferent. Avedon displayed models in a variety of emotions, including smiling, laughing, and even in action outdoors. This was groundbreaking at the time. He became frustrated with open-air photography and daylight photography towards the end the 1950s and turned to studio photography using strobe light.
Avedon was hired by Diana Vreeland in 1962 to be her staff photographer. Avedon was promoted to lead photographer of Vogue. He photographed all the covers between 1973 and 1988, when Anna Wintour became editor-in-chief. He also shot the Calvin Klein Jeans campaign, which featured Brooke Shields as a 15-year-old. He also directed her in the television commercials. Avedon was first to work with Shields for a Colgate toothpaste commercial in 1974. Avedon shot Shields for Versace, 12 American Vogue covers, and Revlon’s Most Unforgettable women campaign. Avedon wrote in the February 9, 1981 issue of Newsweek that Brooke was a lightning rod. She brings out the anger people feel about the decline of contemporary morality, and the destruction of innocence around the world. Interview magazine, May 1992: Shields said that Avedon intimidates many people when he walks into the room. He is so creative and sensitive when he is working. He doesn’t like when anyone is there or speaking. He clicks the shutter and there is mutual vulnerability as well as a moment when they fuse. It’s either you get it or not.
Avedon continued his fashion work and began making studio portraits in the 1960s of civil rights workers, politicians, and cultural dissidents from various stripes. Avedon’s photographs were taken in America, a nation divided by violence and discord. Avedon began to photograph patients in mental hospitals, Civil Rights Movement activists in 1963, as well as protesters against the Vietnam War and the fall of Berlin Wall.
A personal book called “Nothing Personal,” with a text by his high school classmate James Baldwin, appeared in 1964. Avedon also produced two sets of well-known portraits of The Beatles. The first was shot in 1967 and became one of the most famous rock poster series. It featured five psychedelic portraits featuring the Beatles. These included four individually solarized colour portraits and a black-and white group portrait. The Beatles LP included more subtle portraits in 1968. Avedon photographed them again the following year. Avedon photographed Electric Light Orchestra in 1973 with all its members showing their bellybuttons to record On the Third Day.
Avedon was always curious about how portraiture captures the soul and personality. He began photographing famous people in his studio, using an 8×10-inch view camera. Buster Keaton was photographed with Marian Anderson, Ezra Pound (Isak Dinesen), Dwight D. Eisenhower and Andy Warhol. His portraits are distinctive by his minimalist style. They feature the subject looking straight at the camera in front a plain white background. Avedon eliminated the need for props and soft lights, which allowed him to be more focused on the inner worlds his subjects. This enabled him to elicit emotions and reactions. Avedon could sometimes provoke emotions from portrait subjects by asking them probing psychological questions or leading them into uneasy areas. These methods allowed him to capture aspects of his subjects’ personalities and character that are not normally captured by other photographers.
Avedon’s murals featured iconic figures such as Andy Warhol, The Factory players and stars, and The Chicago Seven, political radicals accused of conspiracy to incite an riot at 1968 Democratic National Convention. The Mission Council is a group made up of military and government officials who managed the United States’ participation during the Vietnam War.
Avedon created a series of clever advertisements for Christian Dior in 1982, which was based on the concept of film stills. These photographs featured Andre Gregory, Vincent Vallarino, Kelly Le Brock, and director. The colour photographs were intended to depict the wild antics of a fictional Dior family, a trio of menage a trois, while still wearing elegant clothes.
Avedon was the first New Yorker staff photographer in 1992. His post-apocalyptic, wild fashion fable, “In Memory of Mr. and Mrs. Comfort, featuring Nadja Auermann as a model and a skeleton was published in 1995. There were many other images for the magazine. These included the first publication in 1994 of previously unpublished Marilyn Monroe photos, as well as a striking rendering of Christopher Reeve in a wheelchair and nude photographs Charlize Theron’s 2004. His portraits of Hillary Clinton, Toni Morrison and John Kerry are some of his most controversial New Yorker portraits. He continued his contributions to Egoiste in his later years. His photographs were published from 1984 to 2000. Avedon took the cover photos of Hikaru Utada, a Japanese-American singer’s album Addicted To You in 1999.
Annie Leibovitz, photographer, names Avedon as a major inspiration. She describes Avedon’s style as “personal reportage”, which is a way to build a relationship with your subjects.
In the American West The cover of Avedon’s book In the American West (1985). Avedon’s large prints often measure over three feet high, which is one of his strengths as a photographer. Avedon’s large-format portraits of western Americans, including cowboys, miners and drifters, became a bestseller and a traveling exhibit called In the American West. It is considered Avedon’s greatest work in portrait photography and is considered to be his masterpiece.
Avedon suffered from severe heart inflammations in 1974. Avedon was forced to create a compelling collection by looking at things from a different perspective after this difficult time. Mitchell A. Wilder (1913-1979), director of Fort Worth’s Amon Carter Museum, asked him to complete the “Western Project” in 1979. Wilder wanted the project to show Avedon’s view of the American West. Avedon’s career was transformed when he emphasized everyday working-class subjects like miners who were dirty in their work clothes, housewives and farmers on larger-than life prints. Instead of focusing on famous public figures or the grandeur and openness of the West, this project became a turning point. The five-year project culminated in an exhibition and a catalog. Avedon and his team were able to photograph 762 people, and expose around 17,000 sheets 8×10 Kodak TriX Pan film. Avedon admitted that the collection revealed a story in his subjects’ innermost selves, something that would not have been possible if his sense of mortality from severe heart conditions and ageing had not occurred. Avedon visited the state fair rodeos, carnivals and slaughterhouses in order to identify subjects. Avedon returned to his subjects in 1994 to talk about In the American West aftermath, and its direct consequences. Billy Mudd was a trucker who spent long periods on his own, away from his family. Before Avedon allowed him to take his portrait, he was depressed, lonely, and disconnected. Mudd was shocked to see Avedon’s portrait for the first times. He revealed something about Mudd which allowed him to realize the need to make changes in his life. Mudd was transformed by the portrait and he decided to quit his job to be with his family.
Avedon: Darkness and Light is a 1996 American Masters documentary by Helen Whitney. It shows an aging Avedon who identifies In the American West with his greatest body of work. Avedon wanted to find new dimensions in himself. He was a Jewish photographer from East who documented the lives of prominent public figures to an older man trying to uncover the inner-worlds and stories of his rural Western subjects.
Avedon faced problems in sizing quality printing papers during the production period. Avedon tried platinum printing but eventually settled on Portriga Rapid. This double-weight, fibre-based gelatin-silver paper is manufactured by Agfa–Gevaert. Each print was meticulously created, requiring an average of thirty-to forty manipulations. As artist proofs, two exhibition sets of In the American West were produced. One set was to be kept at the Carter and the other to be used by the artist to travel to the six remaining venues. The printing process took nine months and covered approximately 68,000 square feet (6.300 m2) of paper.
Although In the American West is Avedon’s most famous work, critics have often criticized it for voyeuristic themes and exploiting his subjects. Critics ask why a photographer who has been primarily focused on public figures and models would travel to the West to photograph the suffering and hardship of the working class. Avedon’s intent is to provoke and influence condescending emotions in the viewer, such pity.
Avedon hosted many museum exhibitions all over the globe. In 1970, his first major retrospective took place at the Minneapolis Institute of Arts. In 1978 and 2002, the Metropolitan Museum of Art in New York presented two solo exhibits. The University Art Museum, Berkeley organized a second retrospective in 1980. Major retrospectives were held at the Whitney Museum of American Art in New York (1994) and the Louisiana Museum of Modern Art in Humlebaek (Denmark), 2007; the latter hosted a series of major retrospectives. The curators also travelled to San Francisco, San Francisco, Paris, Berlin and Amsterdam from 2007 to 2009. The International Center of Photography, 2009, presented Avedon’s work, from his earliest sun-splashed photos in 1944 to portraits that show his fashion fatigue in 2000. The Corcoran Gallery of Art also presented Richard Avedon: Portraits of Power in 2009. This exhibition brought together Avedon’s political portraits for first time
Art Market Christie’s achieved a record price for a seven-foot high print of Dovima in 2010. It was a rare, seven-foot tall image of Dovima posing in a Christian Dior evening gown with elephants from Paris’ Cirque d’Hiver in 1955. Maison Christian Dior purchased this print, which is the largest of the image, in 1978 to commemorate Avedon’s fashion retrospective at New York’s Metropolitan Museum of Art.
Personal life and death. In 1944 Avedon married Dorcas Marie Nowell (19 year old bank teller), who became the actress and model Doe Avedon. They did not have any children and split in 1949. Family and colleagues have attested to Avedon’s bisexuality. They lived in Cherry Grove, Fire Island. Nowell’s departure left Avedon devastated.
He married Evelyn Franklin in 1951. She died March 13, 2004. John Avedon, their son, was born to them. He has written extensively on Tibet.
Avedon bought a former carriage house in Manhattan’s Upper East Side to serve as his studio and apartment. He purchased a house with four bedrooms on a Montauk estate of 7.5 acres (3.0 ha). It was located between the Atlantic Ocean, Montauk Nature Preserve, and was sold for nearly $9 million in 2000.
Avedon’s nephew Loren Avedon, a martial arts actor.
Avedon’s great-grandson is Michael Avedon, a photographer.
Avedon confided to Norma Stevens (the long-time studio director), about his homosexual relationships. Avedon also had a decade-long affair, according to Stevens.
Avedon, who suffered complications from a cerebral hemorhage on October 1, 2004, died in San Antonio, Texas. Avedon was in San Antonio filming an assignment for The New Yorker. He was working on Democracy, which focuses on the run-up for the 2004 U.S. Presidential election.
Legacy Avedon created the Richard Avedon Foundation, a private foundation that operates. It was established shortly after Avedon’s death in 2004. The foundation, based in New York is the repository of Avedon’s negatives, publications and papers. Avedon’s personal collection, which was displayed at the Pace/MacGill Gallery in New York and the Fraenkel Gallery in San Francisco, was on display from 2006 to raise funds for the Avedon Foundation. The collection featured photographs by Edward Steichen, Man Ray, Martin Munkacsi and Edward Steichen. Eye of the Beholder: Photographs from the Collection of Richard Avedon (Fraenkel Gallery) is a slim volume that collects the majority of the collection. It consists of five booklets: “Diane Arbus”, “Peter Hujar”, and “Irving Penn”, which include 19th- and twentieth-century photographers.
I grabbed this shot on the evening before the end of the second Covid lockdown. It was taken with an old Olympus 35mm film camera
I grabbed this shot on the evening before the end of the second Covid lockdown. It was taken with an old Olympus 35mm film camera, loaded with Kodak Gold film – I then used a ‘little’ post-production to remove some of the grain, giving the image more clarity and structure.
Nobuyoshi Araki known primarily for photography that blends eroticism and bondage in a fine art context, he has published over 500 books.
Nobuyoshi Araki (Born May 25, 1940) was a Japanese photographer, contemporary artist, and professional known as Araki. He is best known for his photography which blends eroticism with bondage in fine art contexts. He has published more than 500 books.
Early life and education Araki was born May 25, 1940 in Tokyo. He graduated in 1963 from Chiba University with a degree for film and photography. He was employed at Dentsu as an advertising agent, where he met his future spouse, the essayist Yoko Aki.
Art careers Araki is one the most popular Japanese artists. His photographs often feature erotic images that cross the line between art and pornography. His photography books include Sentimental Journey (1971) and Tokyo Lucky Hole (90). Sentimental Journey (1972-1992) is a journal of his life with his wife Yoko. She died from ovarian cancer in 1990. Sentimental Journey’s first section shows the couple on their honeymoon and in sexual relations. Winter Journey published photos taken by Yoko during her last days.
Parr and Badger include four Araki books in the first volume their photobook history.
Araki contributed photography to the Sunrise anime series Brain Powerd.
Araki directed High School Girl’s Fake Diary in 1981 for Nikkatsu. It was a roman porno movie. It was disappointing for Araki’s fans as well as fans of pink films.
Bjork, an Icelandic musician, is a fan of Araki’s work and was one of his models. He photographed her cover and inner sleeves of Telegram’s 1997 remix albumTelegram at her request. He has also photographed Lady Gaga, a pop singer.
Travis Klose, an American filmmaker, made a documentary on Araki in 2005 called Arakimentari. It discusses Araki’s life and work.
Araki was diagnosed in 2008 with prostate cancer. He underwent successful surgery.
Araki’s cat Chiro died in 2010 from old age.
Araki lost his vision in his right eye in October 2013 due to a retinal obstruction. The experience inspired the 74-year old artist to show Love on the Left Eye, which was held at Taka Ishii Gallery in Tokyo on 21 June 2014.
Bottega Veneta in Italy commissioned Araki to photograph Saskia De Brauw and Sung Jin Park in Tokyo as part of its spring/summer 2015 campaign.
Araki is well-known for his intimate access to models. Araki claimed that he was granted access to models through sex in 2011 when he was asked.
Kaori, a former model who photographed for Araki between 2001 and 2016, wrote a blog entry about her relationship with Araki. In it she accused him both of artistic and financial exploitation. Kaori claimed that she was working without a contract and was forced to participate in explicit shoots in public in front of strangers. She also stated that her nude photos were frequently used without her permission. Kaori wrote to Araki in 2017 requesting that he cease republishing and exhibiting photographs of her. The experience caused her psychological trauma and mental ill-health. Kaori said that she was encouraged to speak out by the Me Too movement. These accusations raise questions about the power dynamics of a photographer and his subject. To raise awareness about Kaori’s claims the activist group Angry Asian Girls Association protested Araki’s December 2018 exhibition at C/O Berlin.
The X-Pro range of cameras I use has two options for ‘Depth of Field Scale’: Pixel basis and Film format basis. This will enable you to adjust the camera setting to suit your need and style.
Where do you set the focus? This is a question we should always consider. How accurately do you want to focus? That is another critical question is on what basis are you adjusting the focus? Does it suit your needs and style?
The X-Pro range of cameras I use has two options for ‘Depth of Field Scale‘: Pixel basis and Film format basis. This will enable you to adjust the camera setting to suit your need and style.
Technically, the only region that is in focus is one particular plane parallel to the optical axis. All other areas will be out of focus, even when moved by 1mm. All other planes are in ‘bokeh‘; theoretically that is. The reality is that the amount of bokeh is so tiny that it appears to be sharp. You can basically ignore it. ‘Depth of Field‘ is about the plane in focus and areas in front and back of the plane that appear to be in focus (although it is defocused in theory).
The bokeh in the defocused area is referred to as ‘circle of confusion’. The ‘permissible circle of confusion‘ is the bokeh that is almost indistinguishable. Bigger the maximum permissible circle of confusion, the deeper the depth of field it gets. They are proportionally related.
The problem is this ‘permissible circle of confusion‘ changes depending on the image sensor resolution and the viewing condition.
The resolution of the image sensor is much higher than that of the silver-halide films, and the circle of confusion is therefore smaller. In addition, pixel-peeping has gotten popular, so the ‘permissible‘ circle of confusion is much more restricted—the ‘shallower‘ depth of field demands for much more accurate focus position and area. The depth of field scale on a pixel basis is optimised for such needs.
However, for some people, the depth of field becomes useful only when it is deep. Snap shooting, for example, takes advantages of the deepness of the depth of field and does not demand a more accurate and strict scale.
Go out in the street. Set the aperture to f/8. Search for the light. Find the composition. Predict the subject movement. Set the focus position based on the prediction. Do not get overly concerned about the accuracy; the ‘depth of field‘ will cover the error…. You can see that in such a style of photography, one benefits from the greater permissible area.
This is something that is inherited from the silver-halide film days. And to match this sense of feeling, we have the ‘Film format basis’. (*The value is based on the 4P print viewed at a standard distance.)
There is no correct answer. You should make the selection based on your style and needs. If the viewing size is already determined, then you can make your choice based on it. You do not have to stick to one basis either; you can always go back and forth.
For your information, the XF14mm, XF16mm, and XF23mm has a depth of field scale on the lens barrel based on the film format. If your style is to grab a shot by eye measurement or manual focus, these three lenses can help you.