Avedon portraits how too

Any links as to how Avedon set up some of his portraits. I recall a

white background and subjects in the shade of a structure of some

type.

 

Any tips, books, links?

I am sure he has many techniques. Can you please show an example of what you would like

to copy

If you google "avedon's lighting setup" you'll get some interesting links, like from previous assistants etc. Also realize that Avedon's genius was in the "eye" and his interaction with the subject. He probably, over time, had favorite setups, but I suspect the favorites evolved over time as a by-product of his photographic evolution (internal and external). That said, there are a number of lighting setups that can give the same result that you see in Avedon. Better to study what you can see in the shots that reflects the interchange between the artist and the subject- sometimes intimate, sometimes detached.

1. Try his Web site, richardavedon.com. There are some good quotes from him:

"I've worked out of a series of no's. No to exquisite light, no to apparent compositions, no to the seduction of poses or narrative. And all these no's force me to the "yes." I have a white background. I have the person I'm interested in and the thing that happens between us.

Richard Avedon, 1994"

 

2. http://www.digitaljournalist.org/issue0406/wilson.html is about Laura Wilson's book on Avedon's American West photos, a series commissioned by the Amon Carter Museum in Fort Worth, Texas. I believe the title of Ms. Wilson's book is Richard Avedon At Work In The American West. An excellent book about superlative photographs and the taking of them. Includes explanations of setups and photos of Avedon shooting. She was with Avedon on that multi-year project.

 

There are several books of his art.

 

Bill

He used a rather large Super Angulon on an 8x10 Deardorff 'in close' to take the 'candid'

portraits you're describing in his book about the southwest. He managed to bend that lens in

the middle, somehow. <p>The structures you're wondering about were reflectors and flags

used outdoors, just as when filming a movie.

Thank you those links are just what I needed

Pick up <I>Avedon at Work in the American West</I> by Laura Wilson. It's a great book

showing his road-trip journey portraying the making of <I>In The American West</I>, which

you should also buy now that it's back in print at a reasonable price. Wilson's book is great

because it's full of stories to go along with the photos made at many of the stops.<P>

 

Also get Avedon's DVD, <I>Darkness and Light</i>, from the American Masters series. A

bargain at $22 and will give you so much insight into the man.

There are two ways that come to mind having analyzed several of his books and read an authorized account. One way was pretty straight-forward w/ 8x10 camera and various light reflectors. The other way that he preferred and that I find interesting was a one light set-up and 6x6 camera. With the one light set-up he had an assistant holding an umbrella/strobe follow the subject around at about 4 feet distance all the while Avedon shooting. SKREBNESKI uses a similar one light set-up, but here the light is fixed.

 

The Avedon preferred shooting scheme was discussed w/ Avedon in American Photographer about 10 years ago. Its the only AP mag that I kept.

 

Having read other accounts, what I walked away with was that Avedon really sought to capture the subject in incredible/graphic detail. One can make this deduction from Avedon's account of photographing his father shortly before his fathers passing.

If you Google Avedon with "In the American West" and "<B>creepy</B>" you'll get over 130 hits. It is easily one of the creepiest portrait collections in photographic history, in its own way rivaling Joel-Peter Witkin's work, or Jock Sturgis' kiddie-nudes. Where on earth did he find those subjects, and what did he say to them or inject them with to get them to look like that?

<I>Where on earth did he find those subjects,...</I><P>

 

In oil fields, diners, slaughter houses, mines, a prison, ranches, snake skinners, vagrants

on the road, etc. 752 subjects photographed of which 123 were selected. During a time

when the romantic notion of the West was defined by Hollywood and from the fruits of

technological expansion, Avedon sought out subjects that were the stock and

representative of the <I>un-glamorized</I> West. Creepy is relative...<P>

 

<I>...what I walked away with was that Avedon really sought to capture the subject in

incredible/graphic detail.</I><P>

 

I suspect Avedon would be spinning in his grave hearing that was the take-away from

engaging his photographs.

<I>During a time when the romantic notion of the West was defined by Hollywood and from the fruits of technological expansion, Avedon sought out subjects that were the <B>stock and representative</B> of the un-glamorized West</I><P>

 

(emphasis, above, mine) But Avedon's subjects are no more representative of the west than Hollywood cowboys! Avedon was an east-coast fashion photographer who didn't have a clue about the American west. His book is a bit like a photographer from Rapid City, SD, visiting New York City for the first time, publishing a book called "The People of New York" that featured only pimps, drug addicts, homeless people, and guards and inmates at Riker's Island.

"But Avedon's subjects are no more representative of the west than Hollywood cowboys! "

 

Agreed. Not forgetting that one of the most celebrated images in the book, that of the bald

headed guy with the bees swarming around, was literally dreamt up by Avedon. He then

made a sketch of the character from his dream and instructed his assistants to find such a

person.

 

This is such a weird story that I feel like I've dreamt it up myself but I have read about this in

more than one feature.

<I>But Avedon's subjects are no more representative of the west than Hollywood cowboys!

</I><P>

 

Was never his view his subjects were more representative. But he did want to portray a side

that most didn't know about or identify with the glamorous West.

In my opinion, Avedon's portraits of the American West are totally unique and the Crown Jewel of his career.