The documentary on Richard Avedon showcased his ability to interact with his subjects and to elicit from them a specific response which he considers to be a look of contradiction, which shows the complexity of not only the human face, but of the subject. His methods of photographing were really interesting, as they seemed to produce exceptionally beautiful photographs. For instance with most of his portrait pictures he used a white background and soft white light falling on the subject. There were no props for his portrait pictures, just the person, who was insolated by the white background. It makes sense to photograph a person with out props, as a portrait is about the person alone. Although there are a lack of props in his pictures, by eliciting a complex response from the subject the viewer of the picture gains some incite about that person and their place in the world. What I also found interesting was how relentless Avedon was with his work. I could not imagine taking pictures all day in Paris and going out at night to dance and party, and essentially get no sleep and repeat it all the next day. He seemed to truly be fully immersed in his work. His work was his life, and he loved life, which I think is encapsulated in the pictures he took. There really is a human quality about the pictures, aside from the obvious human subject. One can tell that Avedon took his time with his photographs. The most interesting part of the documentary I found was when the documentary cut between Avedon and his son discussing the photographs of Avedon’s father when he was dying. His son found them to be invasive, however, Avedon justifies this by stating that all of his work is invasive and disturbing, but a “good disturbing.” In other words, his pictures are meant to provoke questions and thought from an audience. I agree with his philosophy about photography, in that I do not consider a photograph a successful piece of art unless there is a mysterious or ambiguous element in it that makes me look and think about the photograph beyond its superficial/denotative attributes.
I think the documentary on Richard Avedon did a fantastic job showing the effort and intention Avedon went through in order to produce a striking image. I particularly liked how Avedon continually sought more than just a beautiful picture- he strove to make you think about the image and ponder. His intention was to show the true nature of the person he was photographing, and he went to great lengths to do so. My favorite moment from the documentary that detailed this was when Avedon was describing photographing a particular well-to-do couple. They would stand there and smile for the camera, showing the faces they generally showed the public. However, Avedon used his knowledge of their love of dogs, informing them that his taxi had hit one on the way over. By doing so, he managed to elicit the exact reaction he was looking for, creating a more telling, honest image.
While some described this style as invasive, I think it gives his photographs more depth and makes them significantly more thought-provoking. The only part that made me a little uncomfortable about his invasive style was the use of it when taking his dying father's portrait. While I don't necessarily think it was a bad invasive, looking at the images as they were on display in a museum made me questions his motives a bit. His relationship with his father was described as strained, so it makes me wonder what he was trying to accomplish by pulling his father out of his hospital bed, dressing him up, and photographing him. However, this may have been his intention, as it seems his photography sought to make one think about.
One thing I particularly appreciated about his photography was his lack of using props. Almost all of his images were taken in front of a plain white background, showcasing the true nature of a person, rather than describing them through props. However, I thought it provided a very interesting contrast when he used "props", such as the photograph of the man with the bees, or the woman posed with the snake. These images also demonstrated that Avedon was a man with a particular intent for each photograph he took. I think these elements make his work even more intriguing and thought-provoking, providing for more-than-beautiful images.
It’s clear that Richard Avedon has had great success in his artistic career. His revolutionary work in fashion photography has captured critics and fans worldwide, over an impressive span of several decades. His eccentric personality lent itself to visions unbeknown to the world around him; undiscovered ways of taking images that would change the way portrait photographers work for years to come. What resonates in my mind from viewing the documentary was the absolute abandonment of customary interaction when sitting and photographing a person. Avedon seemed to perfect the art of reaching deep into his subjects. For example, when he probed into the Duke and Duchess of Windsor’s endearment for dogs, he honed in our the aspect of disgust and sadness they’re undoubtedly show when hearing that he ran over a dog on the way to the shoot. To some, this white lie may seem cruel and unusual; Avedon did what any talented artist had to do to get the results he wanted. As a photographer, I most easily relate to Avedon on his views of the interaction between the sitter and himself, and the subsequent results. Avedon admits to the possibility of each of his pictures showing something of himself, as if it were actually a picture of him. Not only do I share a passion for photographing people with Avedon, but also I connect with him on that personal intrusion basis. I often find it difficult to set aside every emotion I’m in touch with in order to truly portray the subject I’m photographing. As a result, my images of myself creep through in the photographs I take of others. As an inspiration to many, I see Avedon’s greatest contributions as those of free will and abandonment. If nothing else, I took from the documentary a deeper desire to find raw emotion when taking portraits.
Richard Avedon was a photographer that challenged and changed the mood of fashion photography. Over the course of his life he devoted his energy to create photographs that had vitality and shock value. This fact, while potentially distressing to some was the very essence of his work. As he said in the documentary, if his work didn’t disturb, it would be seen as a “failure” in his eyes. After being presented with many of his images in the documentary, I firmly believe that he did create works that have a vivid impact on every viewer. I find this to be the case from some of my own reactions to his works. I did indeed find some unsettling, such as the man covered in bees or the woman with a snake kissing her. These two photos touched a cord with me because the creatures involved in the photo are creatures that I do not like to encounter. Thus, the photos resonated in my mind very vividly. On the other side of the spectrum, one of his fashion photos that featured a woman with two elephants also impacted me. However, the photo of the elephants and the woman was a more positive association for me because it reminded me of memories I have of seeing elephants and even getting to ride on one. The other point that I really saw reflected in his works as evidenced in the documentary was the importance of intentionality to his works. Avedon saw the relationship of a photographer to his works as that of a sculptor to clay. This point is evident in the various emotions and expressions that he captured in his various photos. This example resonated in me as I work to complete project two because it makes me want to find a way to truly capture a person, even if it means taking some risks with my or my subjects comfort zone.
The documentary of Richard Avedon- American Masters revealed the photographers’ ability to capture emotions as well as his personal motivations. Avedon was shown to have the ability to elicit emotions from his subjects that were hidden from the public eye, maybe even the subject themselves. For example, he photographed celebrities who were always seen as “perfect”, such as Marilyn Monroe. However, Avedon influenced, or even manipulated, the subject into showing an image that would be a contradiction to their normal appearance, almost disturbing, giving the photograph a deeper meaning than just a portrait.
One of his signature touches to his portraits would be an isolation of the subject from any kind of distractions through a white background, drawing the viewers’ eye directly to the subject. I appreciated this aspect of his work because most photography I have seen has had some sort of a background that sometimes detracts from the subject. In Avedon’s work, the subject is the only thing present, seeming to be permanently isolated from the rest of the world.
Most of Avedon’s works seemed to focus on either the face. I enjoyed viewing the crevices, valleys, and seemingly other imperfections in his subjects. I feel it provided a connection between the viewer and the subject, allowing them to interact. The eyes of some subjects seemed to be starring right out of the picture, for example the man from the west describing his initial reaction to seeing himself on a ten-foot tall poster and feeling like he was looking into himself. This aspect of his work related back to creating a disturbing feeling, but in a positive way that makes the viewer really think about Avedon’s works on a deeper level. As stated in the documentary, I also feel Avedon’s work will continue to be a significant part of portrait work for many years to come.
Richard Avedon was a photographer of unique caliber. Avedon used his abilities to push the boundaries of both fashion and artistic photography. He was capable of drawing out specific emotions of his subjects to create images that many would find disturbing. This disturbing quality to his photographs is how he judged the quality of his work, stating that if it didn’t disturb, he viewed it as a failure, though many might disagree. While watching the documentary, I could not help but agree that his photographs invoked many different emotions that I could not help but feel. To see a photograph that is portraying an emotion that looks so natural but know it is so intentional is an incredible feat that I find impressive.
Avedon was a perfectionist that was exacting and precise with every detail in his photos. By being a perfectionist, Avedon had to be patient in some instances to get the image he was looking for. The famous image of the woman with the snake took hours to get right. It was only through his endurance and tenacity that he was able to get the photograph of the exact moment when the snake ‘kissed’ her ear. I greatly respect a person with patience due to it being an aspect that seems to be slowly disappearing as technology and society become increasingly about instant gratification. Avedon’s work was the result of time and an infinite amount of patience to get the shot.
Avedon’s intentionality was evident with the portrayal of emotions in his photographs, but with the documentary it was revealed to what lengths he goes to invoke a specific emotion. Avedon could be viewed as a profiler; he would study his subjects carefully, observing their behaviors and what their likes and dislikes were in order to use that knowledge as a way to get at a specific emotion. This was evidenced by the Duchess of Windsor and her husband showing sadness and unhappiness in front of the camera because he told them about a dog being run over on the way to the shoot, using the couple’s fondness for dogs to draw out the emotion he wanted them to portray to the camera. Avedon’s tenacity and perfectionist tendencies once again show that he knew what he wanted to portray and would use any means to make that happen. I am not sure if I can condone such tactics but I cannot deny that I appreciate the results that came from them. I believe that Richard Avedon was an amazing photographer that will influence people of all kinds for many years to come due to his hard, exacting work.
Perhaps one of the most interesting aspects of the study of this brilliant photographer was his brilliant intensity, and his brilliant intentionality. From the white background, to the pages of rejected contact sheets, these elements helped blend into a creative whirlpool of unexpected events, which Avedon repeatedly referred to as a "gift". These sporadic moments may have been completely unplanned, but in his inner photographer's eye, Avedon always knew exactly what he wanted.
Not only was this beautiful interaction between sporadic, creative action and intentionality illustrated in his later work, but his earlier work showed hints of this as well. He was referred to as "revolutionary" and reinventing the fashion photography scene, by integrating the element of sporadic yet completely intentional movement into his photos. Avedon was often described as "dancing" with his subjects, not content to let them sit still, but wanted them to act out a story, his story. Avedon was always in control.
Portraiture is something that I am very interested in. Humans, as he expressed, are some of the most fascinating creatures on earth. Perhaps it is because we understand so little about ourselves and we fashion that we understand a person more by looking at the details of their face… And that is true. Sometimes the details in a human face or body or expression lend insight into who they are as a person, and sometimes as a person they do not even realize that they are, as well. Avedon said a few things that stuck with me, both in the visuals represented in the film and in his words. When taking portrait photographs, he said, look for contradiction and connected complexity. In order to be a successful portrait photographer you must understand the veneer of your subject, so you can catch them when they show something deeper or let the mask slip. He expressed that there are no absolutes in this kind of work, that you are working through a person and you must express yourself through the people you are shooting at that moment. His work followed a line of growth. He focused on the exploding person and then the serenity he could convey in an image. He interacted with star and performers, those whose lives were defined by the camera and could be comfortable, but whose vulnerability was rare to be seen. Some of my favorite portraits are the ones that are facial close-ups that show unexpected details about the person being photographed. Avedon specialized in such work and I think that is why I admired him so much. Gabriela Bulisova does similar work; finding the story behind the face and exposing that when she photographs. If I could choose one vein of photography to pursue, it would be that of portraiture because of the secrets I feel that it reveals in the process.
Dick Avedon’s photos were revolutionary for his time. His first series of photos were against the grain because the engaged the subject and the frame because of movement. He hated portraits that were stagnant and flat, he called them statues. He wanted youth and vitality in his photos which is a very appropriate feeling for a youthful personality to convey. Avedon made it very clear that all of his portraits were planned out endlessly. He directed all movement and feeling in his photo shoots. The subjects even said how the shoots were exhausting because of his relentless directions such as “jump… jump higher… jump higher still.” I would be hesitant to take control like he does. However, once he was an established photographer he was invited to shoot prestigious and influential people. He used the terminology “gifts” to signify certain poses that people would subconsciously or consciously give him. However, Avedon made them composition in that he was in the right time at the right place and seized the moment to transform it into a lasting feeling. The documentary was definitely inspiring in that I will go about my portrait photo project with more care and attention to detail. I will also look out for the gifts that come to a photographer who is ready for them.
First recall of this documentary left me with the overt insight provided first-hand by Avadon himself, by critics, and also by the reception of his work. Avedon describes his fascination with the face, with the subjective. The film reveals his focus (through the face) on contradiction, complexity, and connectedness, all of which contribute to the prodigious breadth of depth that characterize his photographs. He tips us off to his methodology and describes his approach to the shoot with a series of no’s, the most pronounced of which was a no to props. The white background emphasizes his subjective focus through a sense of isolation and aloneness while at the same time establishing a context in which the subject pertains and is connected to. Especially in the case of his American west collection, this context creates a story that is conveyed by the character, depicted through the human face and captured by Avedon. Finally, the reception of his images, what his work evokes in the subject, is dynamic to their artistic function. This is best exemplified by the story of Billy Mudd, the trucker.
On second recall I began to question the incredible circumspect nature of Avedon’s work. Can he be considered the absolute auteur of the composition with complete intent, or incredibly genius with knowing when to capture the image? He is obviously a combination. His intentionality is clear when he incited the well-to-do dog-loving couple by mentioning the death of a dog. His capture of the entwined model and snake with the tongue of the snake reaching the model’s ear proves his prescience of the moment to capture the photo.
Avedon daringly pushed the boundaries throughout his successful career, beginning with fashion photography at Harper’s Bazaar as a teen to capturing his father’s final moments. His work is highly pre-meditated, and not reliant on luck or chance. I find his work a little ironic because he strives for real, raw human emotion, but often uses deception to capture this emotion in his photographs. For example, when he manages to snap the reality of a married couple by lying to them about running over a dog. The pure horror, disgust, and shock of the message definitely translate through the image. However, I cannot overcome the truth that their horrified emotion does not reflect the portrayal of a broken marriage, but rather their shared love of dogs. In this way, Avedon can be considered a magician in the art of photography. He deceives the audience into believing that what he shows them is the truth. The documentary reveals the secrets behind most of his work, which I became to resent by the end of the film because it removed the magic from his work. I found this especially true when the film showed the complete contact sheets for his final photo choices. Although I appreciate understanding the master’s secrets, I believe that some secrets are better left untold. Obviously Avedon does not think this to be true because he agreed to be a part of the revealing documentary. I assume this was his final testament to expose his personal truth, no matter what the cost. He was often criticized for invading the personal space and lives of his subjects, even though they agreed to be photographed. This documentary could be viewed as an equivalent invasion of Avedon’s personal space, revealing his secrets to help paint a more truthful picture of the artist. I appreciate this personal documentation of his work because now I have a fuller understanding of portrait photography. Something I could have never gotten by simply viewing his photos in an exhibit or flipping through a photo book. After learning about Avedon I am pushed to extract more substance from my subject than the literal face value. Although there is simplistic beauty in capturing the face, Avedon showed me that there if even more beauty in capturing the complexity of human emotion.
Oops. Sorry. This is what happens when you decide to leave the world of technology for a week. Things go CRAZY. Boy, are we screwed if 2012 is really about a techno disaster. Anyway...
My mother calls me obsessed. I'm obsessed with Spanish and travel, and according to her, I would do anything to hop on a plane and speak Spanish somewhere rather than go to a family dinner. The second half is somewhat true. But the point being, I don't find myself to be so much obsessed with the language and the travel, as I am with the people I meet along the way. I am in love with the people who speak the Spanish and live the culture. If you take away all of the obviously appealing things about the travels I take, and get right down to the heart of my obsession, you see simple, every day people.
Avadon appeals to me so much because he takes away all of the outside distractions from the face, and makes it just what it is; a face. He gets down to the very basic essence of a person, the thing we remember most about them, and he sucks the deepest emotion out with his camera. This is how I feel when I go places. I seek adventures, but the things that will always be clear in my memories are the people who shaped my adventures. Avadon does this in such a way that you stop seeing a famous persons as someone so differente from the rest of us. They become just as simple, as troubled, and imperfect as every single one of us.
At the same time, Avadon can take a person who seems lost to the world, and give him/her life. In his photography out in the west he showed the rest of America his view of a region that doesn't usually receive that much attention. He even managed to give the emotion and glammor of an actor to a bee keeper. He takes the unexpected out of a person, and puts it on film.
I respect Avadon because of his attention to human nature, the true identity of every subject, and the reality of life.
Richard Avedon was a multifaceted photographer, who got involved in fashion, political and celebrity photography. One of the most interesting quotes Avedon said that I was draw to was during the Vogue shoot with Nastassja Kinski and the boa constrictor when he said “everything came together, you can’t plan that.” I like this statement because photography, especially portraits, are about one moment that is captured. If he had missed the shot, it probably would not have happened in that exact same way again.
Avedon used this aspect of photography to his advantage. He was known for photographing people in not always the kindest light, capturing real images of them. For instance, when he photographed Marilyn Monroe, he chose an image where she was not looking as perfect as she had been in other photographs. His portraits elicited emotions in his subjects, creating expressions that were real and true. When he shot the Duchess of Windsor and her husband, he captured a moment of horror and shock when Avedon told her that he ran over a dog earlier that day. He knew that she had a love for dogs and he wanted to catch a real moment of emotion since she usually tried to look regal and poised. This is one of Avedon’s many strengths, and the one I was most drawn to, that was highlighted in the documentary.
The documentary on Richard Avedon showcased his ability to interact with his subjects and to elicit from them a specific response which he considers to be a look of contradiction, which shows the complexity of not only the human face, but of the subject.
ReplyDeleteHis methods of photographing were really interesting, as they seemed to produce exceptionally beautiful photographs. For instance with most of his portrait pictures he used a white background and soft white light falling on the subject. There were no props for his portrait pictures, just the person, who was insolated by the white background. It makes sense to photograph a person with out props, as a portrait is about the person alone. Although there are a lack of props in his pictures, by eliciting a complex response from the subject the viewer of the picture gains some incite about that person and their place in the world.
What I also found interesting was how relentless Avedon was with his work. I could not imagine taking pictures all day in Paris and going out at night to dance and party, and essentially get no sleep and repeat it all the next day. He seemed to truly be fully immersed in his work. His work was his life, and he loved life, which I think is encapsulated in the pictures he took. There really is a human quality about the pictures, aside from the obvious human subject. One can tell that Avedon took his time with his photographs.
The most interesting part of the documentary I found was when the documentary cut between Avedon and his son discussing the photographs of Avedon’s father when he was dying. His son found them to be invasive, however, Avedon justifies this by stating that all of his work is invasive and disturbing, but a “good disturbing.” In other words, his pictures are meant to provoke questions and thought from an audience. I agree with his philosophy about photography, in that I do not consider a photograph a successful piece of art unless there is a mysterious or ambiguous element in it that makes me look and think about the photograph beyond its superficial/denotative attributes.
I think the documentary on Richard Avedon did a fantastic job showing the effort and intention Avedon went through in order to produce a striking image. I particularly liked how Avedon continually sought more than just a beautiful picture- he strove to make you think about the image and ponder. His intention was to show the true nature of the person he was photographing, and he went to great lengths to do so. My favorite moment from the documentary that detailed this was when Avedon was describing photographing a particular well-to-do couple. They would stand there and smile for the camera, showing the faces they generally showed the public. However, Avedon used his knowledge of their love of dogs, informing them that his taxi had hit one on the way over. By doing so, he managed to elicit the exact reaction he was looking for, creating a more telling, honest image.
ReplyDeleteWhile some described this style as invasive, I think it gives his photographs more depth and makes them significantly more thought-provoking. The only part that made me a little uncomfortable about his invasive style was the use of it when taking his dying father's portrait. While I don't necessarily think it was a bad invasive, looking at the images as they were on display in a museum made me questions his motives a bit. His relationship with his father was described as strained, so it makes me wonder what he was trying to accomplish by pulling his father out of his hospital bed, dressing him up, and photographing him. However, this may have been his intention, as it seems his photography sought to make one think about.
One thing I particularly appreciated about his photography was his lack of using props. Almost all of his images were taken in front of a plain white background, showcasing the true nature of a person, rather than describing them through props. However, I thought it provided a very interesting contrast when he used "props", such as the photograph of the man with the bees, or the woman posed with the snake. These images also demonstrated that Avedon was a man with a particular intent for each photograph he took. I think these elements make his work even more intriguing and thought-provoking, providing for more-than-beautiful images.
It’s clear that Richard Avedon has had great success in his artistic career. His revolutionary work in fashion photography has captured critics and fans worldwide, over an impressive span of several decades. His eccentric personality lent itself to visions unbeknown to the world around him; undiscovered ways of taking images that would change the way portrait photographers work for years to come.
ReplyDeleteWhat resonates in my mind from viewing the documentary was the absolute abandonment of customary interaction when sitting and photographing a person. Avedon seemed to perfect the art of reaching deep into his subjects. For example, when he probed into the Duke and Duchess of Windsor’s endearment for dogs, he honed in our the aspect of disgust and sadness they’re undoubtedly show when hearing that he ran over a dog on the way to the shoot. To some, this white lie may seem cruel and unusual; Avedon did what any talented artist had to do to get the results he wanted.
As a photographer, I most easily relate to Avedon on his views of the interaction between the sitter and himself, and the subsequent results. Avedon admits to the possibility of each of his pictures showing something of himself, as if it were actually a picture of him. Not only do I share a passion for photographing people with Avedon, but also I connect with him on that personal intrusion basis. I often find it difficult to set aside every emotion I’m in touch with in order to truly portray the subject I’m photographing. As a result, my images of myself creep through in the photographs I take of others.
As an inspiration to many, I see Avedon’s greatest contributions as those of free will and abandonment. If nothing else, I took from the documentary a deeper desire to find raw emotion when taking portraits.
Richard Avedon was a photographer that challenged and changed the mood of fashion photography. Over the course of his life he devoted his energy to create photographs that had vitality and shock value. This fact, while potentially distressing to some was the very essence of his work. As he said in the documentary, if his work didn’t disturb, it would be seen as a “failure” in his eyes. After being presented with many of his images in the documentary, I firmly believe that he did create works that have a vivid impact on every viewer.
ReplyDeleteI find this to be the case from some of my own reactions to his works. I did indeed find some unsettling, such as the man covered in bees or the woman with a snake kissing her. These two photos touched a cord with me because the creatures involved in the photo are creatures that I do not like to encounter. Thus, the photos resonated in my mind very vividly. On the other side of the spectrum, one of his fashion photos that featured a woman with two elephants also impacted me. However, the photo of the elephants and the woman was a more positive association for me because it reminded me of memories I have of seeing elephants and even getting to ride on one.
The other point that I really saw reflected in his works as evidenced in the documentary was the importance of intentionality to his works. Avedon saw the relationship of a photographer to his works as that of a sculptor to clay. This point is evident in the various emotions and expressions that he captured in his various photos. This example resonated in me as I work to complete project two because it makes me want to find a way to truly capture a person, even if it means taking some risks with my or my subjects comfort zone.
The documentary of Richard Avedon- American Masters revealed the photographers’ ability to capture emotions as well as his personal motivations. Avedon was shown to have the ability to elicit emotions from his subjects that were hidden from the public eye, maybe even the subject themselves. For example, he photographed celebrities who were always seen as “perfect”, such as Marilyn Monroe. However, Avedon influenced, or even manipulated, the subject into showing an image that would be a contradiction to their normal appearance, almost disturbing, giving the photograph a deeper meaning than just a portrait.
ReplyDeleteOne of his signature touches to his portraits would be an isolation of the subject from any kind of distractions through a white background, drawing the viewers’ eye directly to the subject. I appreciated this aspect of his work because most photography I have seen has had some sort of a background that sometimes detracts from the subject. In Avedon’s work, the subject is the only thing present, seeming to be permanently isolated from the rest of the world.
Most of Avedon’s works seemed to focus on either the face. I enjoyed viewing the crevices, valleys, and seemingly other imperfections in his subjects. I feel it provided a connection between the viewer and the subject, allowing them to interact. The eyes of some subjects seemed to be starring right out of the picture, for example the man from the west describing his initial reaction to seeing himself on a ten-foot tall poster and feeling like he was looking into himself. This aspect of his work related back to creating a disturbing feeling, but in a positive way that makes the viewer really think about Avedon’s works on a deeper level. As stated in the documentary, I also feel Avedon’s work will continue to be a significant part of portrait work for many years to come.
Richard Avedon was a photographer of unique caliber. Avedon used his abilities to push the boundaries of both fashion and artistic photography. He was capable of drawing out specific emotions of his subjects to create images that many would find disturbing. This disturbing quality to his photographs is how he judged the quality of his work, stating that if it didn’t disturb, he viewed it as a failure, though many might disagree. While watching the documentary, I could not help but agree that his photographs invoked many different emotions that I could not help but feel. To see a photograph that is portraying an emotion that looks so natural but know it is so intentional is an incredible feat that I find impressive.
ReplyDeleteAvedon was a perfectionist that was exacting and precise with every detail in his photos. By being a perfectionist, Avedon had to be patient in some instances to get the image he was looking for. The famous image of the woman with the snake took hours to get right. It was only through his endurance and tenacity that he was able to get the photograph of the exact moment when the snake ‘kissed’ her ear. I greatly respect a person with patience due to it being an aspect that seems to be slowly disappearing as technology and society become increasingly about instant gratification. Avedon’s work was the result of time and an infinite amount of patience to get the shot.
Avedon’s intentionality was evident with the portrayal of emotions in his photographs, but with the documentary it was revealed to what lengths he goes to invoke a specific emotion. Avedon could be viewed as a profiler; he would study his subjects carefully, observing their behaviors and what their likes and dislikes were in order to use that knowledge as a way to get at a specific emotion. This was evidenced by the Duchess of Windsor and her husband showing sadness and unhappiness in front of the camera because he told them about a dog being run over on the way to the shoot, using the couple’s fondness for dogs to draw out the emotion he wanted them to portray to the camera. Avedon’s tenacity and perfectionist tendencies once again show that he knew what he wanted to portray and would use any means to make that happen. I am not sure if I can condone such tactics but I cannot deny that I appreciate the results that came from them. I believe that Richard Avedon was an amazing photographer that will influence people of all kinds for many years to come due to his hard, exacting work.
Perhaps one of the most interesting aspects of the study of this brilliant photographer was his brilliant intensity, and his brilliant intentionality. From the white background, to the pages of rejected contact sheets, these elements helped blend into a creative whirlpool of unexpected events, which Avedon repeatedly referred to as a "gift". These sporadic moments may have been completely unplanned, but in his inner photographer's eye, Avedon always knew exactly what he wanted.
ReplyDeleteNot only was this beautiful interaction between sporadic, creative action and intentionality illustrated in his later work, but his earlier work showed hints of this as well. He was referred to as "revolutionary" and reinventing the fashion photography scene, by integrating the element of sporadic yet completely intentional movement into his photos. Avedon was often described as "dancing" with his subjects, not content to let them sit still, but wanted them to act out a story, his story. Avedon was always in control.
Portraiture is something that I am very interested in. Humans, as he expressed, are some of the most fascinating creatures on earth. Perhaps it is because we understand so little about ourselves and we fashion that we understand a person more by looking at the details of their face… And that is true. Sometimes the details in a human face or body or expression lend insight into who they are as a person, and sometimes as a person they do not even realize that they are, as well. Avedon said a few things that stuck with me, both in the visuals represented in the film and in his words.
ReplyDeleteWhen taking portrait photographs, he said, look for contradiction and connected complexity. In order to be a successful portrait photographer you must understand the veneer of your subject, so you can catch them when they show something deeper or let the mask slip. He expressed that there are no absolutes in this kind of work, that you are working through a person and you must express yourself through the people you are shooting at that moment.
His work followed a line of growth. He focused on the exploding person and then the serenity he could convey in an image. He interacted with star and performers, those whose lives were defined by the camera and could be comfortable, but whose vulnerability was rare to be seen.
Some of my favorite portraits are the ones that are facial close-ups that show unexpected details about the person being photographed. Avedon specialized in such work and I think that is why I admired him so much. Gabriela Bulisova does similar work; finding the story behind the face and exposing that when she photographs. If I could choose one vein of photography to pursue, it would be that of portraiture because of the secrets I feel that it reveals in the process.
Dick Avedon’s photos were revolutionary for his time. His first series of photos were against the grain because the engaged the subject and the frame because of movement. He hated portraits that were stagnant and flat, he called them statues. He wanted youth and vitality in his photos which is a very appropriate feeling for a youthful personality to convey.
ReplyDeleteAvedon made it very clear that all of his portraits were planned out endlessly. He directed all movement and feeling in his photo shoots. The subjects even said how the shoots were exhausting because of his relentless directions such as “jump… jump higher… jump higher still.” I would be hesitant to take control like he does.
However, once he was an established photographer he was invited to shoot prestigious and influential people. He used the terminology “gifts” to signify certain poses that people would subconsciously or consciously give him. However, Avedon made them composition in that he was in the right time at the right place and seized the moment to transform it into a lasting feeling.
The documentary was definitely inspiring in that I will go about my portrait photo project with more care and attention to detail. I will also look out for the gifts that come to a photographer who is ready for them.
First recall of this documentary left me with the overt insight provided first-hand by Avadon himself, by critics, and also by the reception of his work. Avedon describes his fascination with the face, with the subjective. The film reveals his focus (through the face) on contradiction, complexity, and connectedness, all of which contribute to the prodigious breadth of depth that characterize his photographs. He tips us off to his methodology and describes his approach to the shoot with a series of no’s, the most pronounced of which was a no to props. The white background emphasizes his subjective focus through a sense of isolation and aloneness while at the same time establishing a context in which the subject pertains and is connected to. Especially in the case of his American west collection, this context creates a story that is conveyed by the character, depicted through the human face and captured by Avedon. Finally, the reception of his images, what his work evokes in the subject, is dynamic to their artistic function. This is best exemplified by the story of Billy Mudd, the trucker.
ReplyDeleteOn second recall I began to question the incredible circumspect nature of Avedon’s work. Can he be considered the absolute auteur of the composition with complete intent, or incredibly genius with knowing when to capture the image? He is obviously a combination. His intentionality is clear when he incited the well-to-do dog-loving couple by mentioning the death of a dog. His capture of the entwined model and snake with the tongue of the snake reaching the model’s ear proves his prescience of the moment to capture the photo.
Avedon daringly pushed the boundaries throughout his successful career, beginning with fashion photography at Harper’s Bazaar as a teen to capturing his father’s final moments. His work is highly pre-meditated, and not reliant on luck or chance. I find his work a little ironic because he strives for real, raw human emotion, but often uses deception to capture this emotion in his photographs. For example, when he manages to snap the reality of a married couple by lying to them about running over a dog. The pure horror, disgust, and shock of the message definitely translate through the image. However, I cannot overcome the truth that their horrified emotion does not reflect the portrayal of a broken marriage, but rather their shared love of dogs. In this way, Avedon can be considered a magician in the art of photography. He deceives the audience into believing that what he shows them is the truth.
ReplyDeleteThe documentary reveals the secrets behind most of his work, which I became to resent by the end of the film because it removed the magic from his work. I found this especially true when the film showed the complete contact sheets for his final photo choices. Although I appreciate understanding the master’s secrets, I believe that some secrets are better left untold. Obviously Avedon does not think this to be true because he agreed to be a part of the revealing documentary. I assume this was his final testament to expose his personal truth, no matter what the cost. He was often criticized for invading the personal space and lives of his subjects, even though they agreed to be photographed. This documentary could be viewed as an equivalent invasion of Avedon’s personal space, revealing his secrets to help paint a more truthful picture of the artist.
I appreciate this personal documentation of his work because now I have a fuller understanding of portrait photography. Something I could have never gotten by simply viewing his photos in an exhibit or flipping through a photo book. After learning about Avedon I am pushed to extract more substance from my subject than the literal face value. Although there is simplistic beauty in capturing the face, Avedon showed me that there if even more beauty in capturing the complexity of human emotion.
Oops. Sorry. This is what happens when you decide to leave the world of technology for a week. Things go CRAZY. Boy, are we screwed if 2012 is really about a techno disaster. Anyway...
ReplyDeleteMy mother calls me obsessed. I'm obsessed with Spanish and travel, and according to her, I would do anything to hop on a plane and speak Spanish somewhere rather than go to a family dinner. The second half is somewhat true. But the point being, I don't find myself to be so much obsessed with the language and the travel, as I am with the people I meet along the way. I am in love with the people who speak the Spanish and live the culture. If you take away all of the obviously appealing things about the travels I take, and get right down to the heart of my obsession, you see simple, every day people.
Avadon appeals to me so much because he takes away all of the outside distractions from the face, and makes it just what it is; a face. He gets down to the very basic essence of a person, the thing we remember most about them, and he sucks the deepest emotion out with his camera. This is how I feel when I go places. I seek adventures, but the things that will always be clear in my memories are the people who shaped my adventures. Avadon does this in such a way that you stop seeing a famous persons as someone so differente from the rest of us. They become just as simple, as troubled, and imperfect as every single one of us.
At the same time, Avadon can take a person who seems lost to the world, and give him/her life. In his photography out in the west he showed the rest of America his view of a region that doesn't usually receive that much attention. He even managed to give the emotion and glammor of an actor to a bee keeper. He takes the unexpected out of a person, and puts it on film.
I respect Avadon because of his attention to human nature, the true identity of every subject, and the reality of life.
Richard Avedon was a multifaceted photographer, who got involved in fashion, political and celebrity photography. One of the most interesting quotes Avedon said that I was draw to was during the Vogue shoot with Nastassja Kinski and the boa constrictor when he said “everything came together, you can’t plan that.” I like this statement because photography, especially portraits, are about one moment that is captured. If he had missed the shot, it probably would not have happened in that exact same way again.
ReplyDeleteAvedon used this aspect of photography to his advantage. He was known for photographing people in not always the kindest light, capturing real images of them. For instance, when he photographed Marilyn Monroe, he chose an image where she was not looking as perfect as she had been in other photographs. His portraits elicited emotions in his subjects, creating expressions that were real and true. When he shot the Duchess of Windsor and her husband, he captured a moment of horror and shock when Avedon told her that he ran over a dog earlier that day. He knew that she had a love for dogs and he wanted to catch a real moment of emotion since she usually tried to look regal and poised. This is one of Avedon’s many strengths, and the one I was most drawn to, that was highlighted in the documentary.