Richard Avedon

Visiting Avedon's exhibition made it possible to apply the knowledge that we have so far of photography and to observe specific styles, techniques used as well as its overall effect.

From portraiture to fashion photography, Avedon greatly captures realism in his subjects.  His works show creativity and originality.  He plays with lighting and through intentional camera movement he further shows meaning.  Both gesture and expression can be observed in Avedon's portraits.  An example of gesture informing his portrait is the one of Audrey Hepburn with Simone.  In this portrait, Audrey, while not looking at the camera, is centered with her body slightly turned and one arm is positioned  at an angle on the side of her head.  The remaining subjects are to the left and right of her with their entire body from head to feet positioned at an angle thus revealing a great balance effect.             



Audrey Hepburn and Art Buchwald with Simone, Barbara Mullen, Frederick Eberstadt, and Dr. Reginald Kernan, Evening dresses by Balmain, Dior, Patou, Maxim's, Paris, August 1959

Averdon's portraits were captivating, but I found myself drawn to his pieces on fashion.  He showed great detail in the clothes and at times it appeared as though the outfits had life in them.  Again, there's a definite originality to Avedon's work.  His fashion photos are not what is typical in a magazine.  He is able to accomplish this through his play on lighting where he captures detailed highlights and movement.  My favorite piece is below and it's memorable for me because it depicts a number of Avedon's techniques.  Though the models face isn't visible, her gestures help bring the dress to life.  The lighting shows the fine details in the dress and its flowing effect.   





Jean Shrimpton, evening dress by Cardin, Paris studio, January 1970. © Richard Avedon.