![]() ![]() At least from time to time.” – Helmut Newtonīy the time Helmut Newton said the above, he was a successful and rich photographer. Because making money gives me a kick, but also because I think it’s important for me to have the discipline, to work for somebody within a given frame. “This is why I continue accepting commissions, even though economically I don’t have to. Create structure and discipline in your work © Estate of Helmut Newton He ended his life brilliantly- crashing his Cadillac into the famed Chateau Marmont hotel (where he lived).īelow are some lessons that Helmut Newton has taught me about photography lessons you can apply to your photography as well. ![]() Helmut Newton lived an illustrious life as a fashion photographer, and was also very commercially successful in his lifetime. He didn’t do much shoots against white backdrops, because he felt that they weren’t as real. ![]() © Estate of Helmut Newtonįurthermore, he was famous for shooting in hotels, pools, and on the streets. Once an art director brought in a bunch of fancy lights for him to use, Newton put them all away, and just used his simple setup. He often just shot with a simple Canon 35mm SLR camera, with all automatic settings, and a simple flash connected to the top of his camera. One thing that also drew me to Newton’s work was how simple his gear and his shooting style was. The difference between Helmut Newton’s work is that they were much more flamboyant, less calculated, yet more sexualized. I’m highly inspired by Richard Avedon and Guy Bourdin-two photographers who tippy-toed between fashion photography and “fine art” photography.Įnter Helmut Newton - another of the main titans of fashion photography from the era. Furthermore, I love the spontaneity that happens a lot in fashion photography, as well as the sense of mystery in the images. ![]() I’m currently inspired by a lot of the fashion photographers- how they were able to create alternate realities with their photographs. Why I wanted to study Helmut Newton © Estate of Helmut Newton Warning: Some photos in this post show nudity and are NSFW (not safe for work): I remember one of his images printed about 20 feet tall. His photos of women showed them as powerful, assertive, sexual, and also dominant. The photos were also printed larger-than life. I went to the exhibition, and was blown away by the powerful images of Helmut Newton. I was in Paris, randomly walking around, when I saw posters for these huge nude photographs. Von Wangenheim’s subversive streak gave his images their potential to shock his painterly technique provided those images with their staying power.I remember the first time I came across the work of Helmut Newton. Valentino himself, he was a committed formalist. His shots were as polished as a Valentino couture look, which accounted for their glamour, and like Mr. Whichever mode he was working in, though, Von Wangenheim never shot an un-beautiful photo. There’s an undercurrent of danger to many of his images-an attitude he made playful in that pistol-brandishing Valentino campaign, but which he drew in darker colors elsewhere in his work. Von Wangenheim managed, at once, to capture both the hedonistic dazzle of Studio 54-era New York, and the fraught energy of the city at large. Gloss, out this month from Rizzoli, is the first complete monograph of Von Wangenheim’s work, and it ought to restore his reputation: Authors Mauricio and Roger Padilha have compiled a wide range of shots by Von Wangenheim, everything from his cheery early work with Anna Piaggi at Vogue Italia to his risqué shots-outtakes from editorials for the likes of Harper’s Bazaar and Vogue-of models such as Gia Carangi and Christie Brinkley. His influence continues to be felt today. But throughout the 1970s, he reigned as one of the key image-makers in fashion, and alongside Guy Bourdin and Helmut Newton, he helped to establish a subversive new tone. Von Wangenheim’s star has faded since his tragic death in a car accident in 1981. ![]()
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