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Richard Avedon in The New Yorker, and a New Look for Photo Booth John Bayley and Iris Murdoch in London, December 1, 1995. For a Life and Letters piece by Ian Hamilton. T. Richard Avedon News Jack Manning/The New York Times Richard Avedon’s fashion and portrait photographs helped define America's image of style, beauty and culture for the last half of the 20th century. Mr. Avedon's photographs captured the freedom, excitement and energy of fashion as it entered an era of transformation and popularization. No matter what the prevailing style, his camera eye always found a way to dramatize its spirit as the fashion world's creative attention swayed variously from the "New Look" of liberated Paris to pragmatic American sportswear designed in New York, and from the anti-establishment fashion of London's Carnaby Street to sophisticated, tailored dresses and suits from Milan.
Richard Avedon biography Richard Avedon said of his photography: "A photographic portrait is a picture of someone who knows he's being photographed and what he does with this knowledge is as much a part of the photograph as what he's wearing or how he looks." • Born in New York on 15 May 1923, Richard Avedon was in possession of a Kodak Box Brownie camera by the age of 12 • Having studied philosophy at Columbia University in the late Thirties, Avedon went on to study photography under Alexey Brodovitch at the Design Laboratory of the New School of Social Research • Richard Avedon shot the Paris collections for almost 40 years, and was staff photographer for Vogue from 1966 until 1990 • Richard Avedon became the first ever staff photographer for The New Yorker in 1992, at the age of 69 From the start of his career, Richard Avedon's name became synonymous with fashion as well as portraiture.
The New York Times > Magazine > Richard Avedon, b. 1923<br>Henri Cartier-Bresson, b. 1908<br>Helmut Newton, b. 1920: Camera Men Published: December 26, 2004 omeday it may seem unbelievable that Henri Cartier-Bresson, Richard Avedon and Helmut Newton coincided historically: three major photographers, each highly influential, each with a style as distinct as a fingerprint. As unalike as three photographers could be, they nevertheless all worked for magazines, overlapping in the public eye for at least a couple of decades; thus they unintentionally collaborated to enlarge the public sense of what photography could do. If they had not also coincided with so many other great photographers, they might have constituted a golden age all by themselves. Cartier-Bresson, born in 1908 in France and trained as a painter, started taking pictures almost by happenstance -- he bought a secondhand camera while traveling in Africa in 1931. Newton, born Helmut Neust* dter in Berlin in 1920, and Avedon, born in 1923 in New York City, both decided on photographic careers when they were adolescents.