My father actually met Richard Avadon a couple times, he was even in his studio. We have some of his prints and his book, super awesome stuff. Great video!
His interviews with Charlie Rose were amazing. One of my favorite quotes "To be an artist, you have to nurture the things that most people discard." That quote alone inspired me to start my own personal projects.
I absolutely hate how art translates to internet viewing. I am a painter mainly, photographer second, and I have had people go hmmm ok not bad when seeing my work online, but when in a gallery, or in person, they go OMG I didn't realize there was that much detail, color shifts, or whatever. People please go out and support seeing work in person because you can't truly appreciate an artists work on a quick instagram scroll with a 5" screen.
Aside from finally gifting a long overdue copy of this book to myself for Christmas (the perfect gift for everyone's self). I was fortunate enough to work at a rental studio in New York where he was occasionally booked at. I remember everyone time we got a booking for him, the studio would buy fresh boxes of foam core, and I'd have the lovely task of putting together crisp foam core books for his shoots. At the least 30 sheets to be used. All to block off the set/cyc. Obviously, if that studio even needed a robe, you know one of us was trying to run up and see him in action. I'm not sure where this is, but I know I have an 810 polaroid (ripped perfectly in half in the trash) of Philip Seymour Hoffman as Capote. Very much grateful for that time.
Great video! I'm a lifelong Avedon fan and I've worked with his family foundation on several exhibitions, and yet I will never stop enjoying hearing how his work, especially the American West, has been an inspiration
We're headed to Ft Worth in early May, and the Avedon show is already in the schedule. The Amon Carter is always a must-see whenever we're in the area. Ted, you're over on Hulen? I might just have to swing by and say Hello!
Love the idea of going deeper. My question for R. Avedon about The American West would be: "When taking photographs back then, did you struggle with concerns about suffering a backlash? Like people will perceive these images negatively for some reason? That the whole thing would be somehow misunderstood?"
Very much appreciate this video, Ted. Thank you. Had occasion to see an Avedon exhibit in Philly not long ago, and remembered why I got into photography in the first place: when done well, it's magical.
Ted, your videos are the most interesting and inspirational thing I consume every week. Thank you for sharing your experience and view point of photography with us... Keep on keeping on!
So nice to see photography videos by someone who really knows about photography. Avedon is a great subject because he has done so much. His small camera work would be interesting, as he did quite a bit of it especially earlier in his career. Thanks for the great channel!
TED ! Clearly keeping it alive and keeping it real ! Its refreshing in this ever changing and sometimes depressing era of photography business. In any event thank-you. IF Richard Avedon were alive I'd probably ask: - what his vison is on the romantic relation we had with film as a medium and that era v/s the new medium and format that is digital and this era, how we driving with it. -as John Rohrbach had mentioned in the preface of "In tHe American West" that the subjects were "unexpected" or "unasked for attention" in nature; How would he differ in approche considering this whole new era of "This is who I am", clustered and flooded with selfies and ego portraits? So many people expecting and asking for it.
I love this idea for a deep dive series on a particular photographer or body of work. As for a question, many that I would like to also ask have already been posted, but specifically any questions on achieving rapport with the subject/how did Avedon approach subjects to start with etc.
Yes and hooray! Can't wait to follow the series. My two questions would be 1) What was the driving force behind his work? 2) what does he wish photographers today would pay more attention to?
I love your channel and how you have progressed with it over time, back in the seventies I was a freelance assistant and worked with Avedon, Penn, Scavullo just to name a few. When you asked your subs as to what question you would ask them, I can certainly understand where you are coming from, it's a excellent thought. Yet if you were to do that in the studio ... you wouldn't be working there for very long. Dick was always telling stories as he did most of the talking, where as Irving and Franchesco were the silent type and disliked talking period. Just by being in the studio wether it be on set or in the darkroom, all of your questions were soon answered, kind of by osmosis. By the way ... it was very intense work and also a lot of fun. Best wishes,
question for Mr. Avedon - What is your thought process for the people in the American West that you photograph. Did you talk to them, did they have to meet some level of interest to you, or did you already have something in mind and you simply scouted this person or that person out?
..and a follow on question(s) to Mr. Avedon: What characteristics did your subjects want portrayed about themselves? How did they view themselves and their stations in life? How did they view their relationship with America? ...with "cultural elites"? ...with the non-West areas of America?
I would probably ask him if he were my age with my skill set and in my position, what would he do. Or I would ask how he goes about connecting with his models/ subjects. How to get the expression he is looking for from them. Great stuff Ted. Thanks for always inspiring.
Out of every question I'd ask Avedon, I would ask what inspired him to be a professional photographer. And... what his favorite body and lens combination was. I am very inspired personally by Avedon's work, he is the direct reason I wanted a Hasselblad actually.
Mr Avedon, you seem to have mastered the art of posing your subjects and directing them to produce a "decisive moment", revealing a little slice of their souls. How did you manage to do that so consistently? Any tips would be much appreciated. Ps. Do we get free Leica's when we get to heaven? With all my respect and gratitude!
The August 2016 edition of "Professional Photography" magazine had an interview with Avedon's master printer, Ruedi Hofmann. This was interesting, not just from the perspective of the person in whom Avedon placed so much faith but also because Hofmann was preparing to sell some of the work that Avedon left to him.
Apparently he negotiated them. It's explained in the article and was done entirely with Avedon's permission. Hofmann had 126 of them, all unsigned. Hofmann was the master printer on this exact series (the American West) and went on to become a fashion photographer on his own.
Richard Avedon a true artist of photography! I only wish that I could see the exhibition in person, but sadly I live in the UK. Excellent collection of videos exposing people to some of the most creative photographers to have lived. Keep up the good work.
I'd ask Richard Avedon about his process of connecting with his subjects. It might be a difficult question to answer, but it's key in achieving his results.
@The Art of Photography Ted this would still be a fantastic video series I’d love a video of you going over the In the American west series even though this video is quite old now.
Thanks Ted for the heads up! I was going to drop in on my last free day and alas it was Monday= closed. Now I will make a point to get into the Carter when I'm home.
I am so excited to find your channel, I was led here because of your piece on Richard Avedon. I saw the American West in Boston in 85 I believe. It has been with me artistically ever since. So when I had the opportunity to shoot a portrait in a home which this approach seemed perfect I went for it producing three images for them about three weeks ago. So to see this video. Tada. Thanks so much glad I landed here!!!!looking forward to your continued explorations. I also just did a surrealist piece using red as the sparkle point. That's some weird timing on both
Thank you for introducing me to this body of his work. I always glance over it. I am such a fan of yours and Avedon is one of my heroes. I love his work. My favorite of his is from the institution shot in Jackson, Louisiana. I would want to know what he and Judy Garland talked about.
Richard knew they liked dogs. They had their facial masks on which was not what he wanted to capture. So he told them his dog was run over by a car. It was a lie but he got the expression he was hoping for. Richard mentioned that in an interview. You could probably find it on youtube. Richard was great in interacting with people.
I knew this story. The question I would have liked to ask is this one: did he think that, through this bit of trickery , he was actually getting closer to the true characters of the pair? Or was this irrelevant in the first place?
"Hey Ricky, your images usually eliminated any background to focus on "the thing itself". Do you see your subjects as personalities or as visually interesting compositions?"
Yes, I`m very interested to know how much effort he puts into the mood of the shoot beforehand. Does he just read the person at the time or prepare carefully with different questions?
Once again, an insightful and stimulating video Ted. Thanks for helping me to question my own motivations every time I pick up a camera. A question for Richard Avedon: when you were shooting your subjects in The American West, did you feel you were one of them, or did you feel like you were observing them from an outsider's perspective and (OK, sorry, a second question...), how did your sense of that relationship impact on how you worked?
hello Ted, im a relatively new photographer here, i've been dabbling in photography for 2 years and i start studying your video for the past 4 months and your perspective on it as a teacher is really highlighting upon multiple part of the art left behind by more "mainstream" teacher in photography, i realised some of my photography have some similarity to Avedon work and i think i can relate to his vision, the same way i do with H-C bresson and vivian mayer, i find it quite strange as i never really took a liking to other photographers work before last month and now i began to work with film (i've yet to process my film yet) and i feel like there is some sort of difference in the approach to film as to digital as you do end up stripping a lot of the support wheels we usually use, like the micro correction of exposure that we try to achieve with digital and we forget with film. i know you are busy with work as of right now, but if at any point you would be interested with doing more skype video with new and/or more experimented photographer with difference in style of composition i would really be interested into getting your opinion and communicating with you through email or skype conversation, i know you dont really do student anymore, but if you would ever be interested in it i would really appreciate your feed back on my portfolio and maybe some insight into how i could experiment more with the craft! in hope you get back to me, have a good day Ted :)
WOW!! just came across your Channel and thoroughly enjoy every episode. Thanks so much. I particularly love anything related to Avedon. His "In the American West" series inspired me while studying photography at Ryerson University. It has inspired a personal odessy that has spanned more then 20 years and over 10 countries (self funded). I bring my white sheet to parks and plazas and always imagine Avedon meeting the subjects and perhaps feeling the absolute rush and humility that I feel. Its so interesting that people like you and me and many others can love this series SO MUCH, while others are almost...offended? I would want to ask him why he thinks some people are afraid to look at these portraits? Why is honesty, character and individuality so scary to some people? Is it fear of the unknown? Perhaps it would be a wonderful short doc, and an ode to Avedon to ask people these questions today, whether they be gallery curators, subjects, relatives etc. Thanks for doing what you do!!
Having had a lifelong love affair with the West and having tried to interact and photograph random people out there myself, I would ask Mr. Avedon how he established the first contact and how he interacted with them during the session. PS: I am new to your channel and just want to say that I like your style, intellect - and the lack of hype and dumb background music!
Mr. Avedon.How when and where did you think about changing fashion photography? How long did it take to make the photograph of Nastassjia and the snake? And finally, how to put so much feeling in a photograph?
Mr. Avedon, Did you ever take a series of photos or photo, hate it, put it to the side, return to it at a later date, and with new eyes/perspective, fall in love with the image you first hated? What photography equipment (other than the camera) , is your favorite and has aided you in taking photos (in studio or out and about)?
How did you get some of these people into your studio in the first place? Surely they would have cleaned up a bit if the shoot was planned, so I assume they weren't exactly scheduled in advance. What did you say to motivate them to drop what they were doing and take the time to be photographed the way they were in the moment?
Ted - great work as always! I'm especially looking forward to going deeper on a subject, the internet has lots of people talking about surface stuff but not many dive deeper, and that's where the good stuff is. In terms of Avedon, I'd ask "What did you learn through making the series that no-one talks about?"
I absolutely love your plan to dive deep into the works of photographers, Ted! I can't wait to see how it goes! Dinner with R. Avedon. Me: How 'close' were you to your subjects in 'American West'? How did your relationship with them affect the portraits which came out of it?
How did he approach these people to photograph them? Did he walk up an ask? Did his assistant gather them for him? I would be really interested to know how one gets the subjects for a piece like this.
really looking forward to this series! especially because I don't know enough about 'the greats' and this is definitely a photographer that fits in that catagory. A possible question for him would be: do you have a few photographers that are younger in their career than you that inspire you? and thanks again ted!
Ask a question to Late Richard Avedon, Well Thanks for The Art Of Photography for having created this opportunity.! Question to Richard : What do you see deep down in your heart beyond the status of celebrity & Working class people ? What made you to cast them ?
Question for Avedon: Were you concerned that your audience might not have found your photos of the working class in the American West as captivating as the celebrities you photographed previously? @Ted: Love your content, as usual! :)
Hi Ted, One of the types of videos that first brought me to your channel was the encyclopaedic body of introductions to significant photographers, going back years, where you simply flicked through one of their monographs or whatever. I can imagine you may view each of those photographer introductions as "done" but we now have a more mature, experienced, and sophisticated Ted, and I wonder how a reprise of such types of videos might bring a new perspective? And many times those old videos show that you're almost frustrated that a 10 minute video can barely scratch the surface of someone like Fan Ho. I'm not talking about a straight repetition (no one likes a remake) but more of an extension by either adding more photographers, or extending the coverage of previously "done" photographers as I'm hoping you're about to do with Richard Avedon. Kind Regards, Ric
I would want to know how he was able to get these people to be so open to him. These photographs look like they were taken by someone who had earned an immense trust. How can you do that with your subject, especially when they may be so different from yourself?
his portraits doubtless are good. nonetheless they do not rank amongst the greatest. a truly great portrait is one you look at every day for years without diminution of pleasure. I have in my possession what I consider the greatest portrait photo ever taken. It only took 30 years to nail it."Catoptric image of the mien of the metaphysician".
My question would be: How do you decide the crop on your portraits? I just got one of his photo books an find his cropping pretty unconventional. It works but I can’t figure out the pattern behind it if there is one.
Question I would like to pose to Richard Avedon: So much of your photography has such movement in the images, a life jumping off of the page. What was your thought process to make the choices you did with "The American West" with the images so much more fixed and truly juxtaposed to the grandeur of the fashion photography.
Here's my question. Mr Avedon, when you start a series this one or any other, where do you see it going? Do you feel you are creating art, recording history or just having fun while making a living? While doing a series does the end work change from what your initial idea was? Thanks Ted for the chance to be part of your show.
My questions are very similar: what was the original vision for this project and how closely does the end result match the that vision? Did the subjects affect the end product or did you intentionally direct them in order to fit your vision?
Question: What was the interaction you held with these people, before taking a picture? Meaning, how did you manage to get them, what was your approach , conversation. Question: How did you get to this particular composition, what inspired it?
Many thanks Ted for another insightful video. Question for Richard Avedon - "What photographic series / projects from your career gave you the most fulfilment as a photographer, and why?"
Questions: Why did you choose the American West? How do you draw out that range of emotion from your sitters? What expressions are you looking for - something interesting, or something 'authentic'?
Great video. Really enjoying your videos that cover some of the great photographers in the history of photography. Would love hear your thoughts and see a video on Rodney smith if you don't have one that already exist.
Here is my question: The movie Funny Face was loosely written about you, with you working on the set. How accurate does it describe the relationship you had with the magazine's publishers? Avedon is known to have made magazines with his eye for art and fashion but how much influence did these publishers have on him?
Seeing Avedon's work displayed large in Canberra, in the Australian National Portrait Gallery, was an unforgettable experience! How did he get to choose his subjects?
Frame of mind? Connection? Get in the zone? I would like to ask Richard what does he personally do right before he goes out to take the shot. Ted, I've always wondered how and what other photographers do if anything to prepare to go out like an athlete physically stretches before the race. How do photographers get in the zone? I personally do Quick Coherence, a short heart meditation, to get myself centered on the inside.
Given his relationship with the higher echelons of society, I would ask Richard Avedon what similarities and difference he saw between the people who were wealthy and those who were the subjects of "In the American West" who were clearly less privileged.
I like the idea of this series very much. Apart from his name I don't know anything about Richard Avadon (although I know the picture of the guy with bees) so I don't have a meaningful question, other then: what would you like to drink mr. Avadon? And perhaps: What made you want to do The American West. How was it funded? What was idea when starting out, what were your expectations? And did it match with what you found? Something like that.
One question I’d ask is, “was there ever a time in your photography career where you doubted your work? A time that you maybe lacked a bit of confidence?
I would like to know what he thinks about phone photography and what are the qualities that make a good portrait. And, maybe, what's the diference between the artists and the "common" people in a picture.
Interesting that you chose this body of work! It's been heavily criticized during - and after - it's opening reception for it's exploitive nature of the people within the images.
I'd ask him how can you arrange a portrait session with working class subjects in their usual outfit and whowever clean or dirty they are at the moment without having them to feel upset.
I would ask Avedon these questions: 1) Which artist (photographer or non-photographer) do you consider is your biggest influence? 1) What's your favorite body part to photograph?
I feel like there aren't any questions you could ask Richard that would give you or me direction to go in our lives that would give us the opportunity to make photos like his. Making great compositions is something many people can do, but what drives great artists is usually something special, something you normally cant recreate. I would ask him the most challenging things or times in his life, after hundreds or thousands of interviews I would want to know what hurt him or challenged him the most because often those things are the best things in peoples lives as well.
Dear Richard Avedon what was some of the things (photographs, books, life situations) that you would call seriously influential in your life, I already know of the Munkasci photograph and the death of his father being a few, but I would be interested in knowing what other things there were
I would like to know what it was like to go from photographing celebrities to these working class people? Did he prefer one over the other? What were the similarities and differences between working with these two seemingly opposite subjects?
Hey Ted! Love your videos please keep making them :) I tried to look for a way to email you but couldn't find it so I'll try to make this a concise comment. I do commercial and consumer photography to pay the bills but I would love to specialize in art photography and I don't know the best way to do this. How does an art photographer make money? Any thoughts? Thanks!! -Noah
Need to get inspired about photography? Here are a few suggestions - czcams.com/video/tDjVoI59kYc/video.html
Richard Avedon is my favorite photographer! His work is so inspiring to me.
My father actually met Richard Avadon a couple times, he was even in his studio. We have some of his prints and his book, super awesome stuff. Great video!
His interviews with Charlie Rose were amazing. One of my favorite quotes "To be an artist, you have to nurture the things that most people discard."
That quote alone inspired me to start my own personal projects.
I absolutely hate how art translates to internet viewing. I am a painter mainly, photographer second, and I have had people go hmmm ok not bad when seeing my work online, but when in a gallery, or in person, they go OMG I didn't realize there was that much detail, color shifts, or whatever. People please go out and support seeing work in person because you can't truly appreciate an artists work on a quick instagram scroll with a 5" screen.
So sadly true.
Aside from finally gifting a long overdue copy of this book to myself for Christmas (the perfect gift for everyone's self). I was fortunate enough to work at a rental studio in New York where he was occasionally booked at. I remember everyone time we got a booking for him, the studio would buy fresh boxes of foam core, and I'd have the lovely task of putting together crisp foam core books for his shoots. At the least 30 sheets to be used. All to block off the set/cyc. Obviously, if that studio even needed a robe, you know one of us was trying to run up and see him in action. I'm not sure where this is, but I know I have an 810 polaroid (ripped perfectly in half in the trash) of Philip Seymour Hoffman as Capote. Very much grateful for that time.
Again a great pesentation of an artist and his work. Don't understand the poeple that "thumbs down" the vid.
Wow great photographer... I could imagine seeing his work in person.. like Paul Gauguin .. seeing copies but in person was breath taking
Great video! I'm a lifelong Avedon fan and I've worked with his family foundation on several exhibitions, and yet I will never stop enjoying hearing how his work, especially the American West, has been an inspiration
We're headed to Ft Worth in early May, and the Avedon show is already in the schedule. The Amon Carter is always a must-see whenever we're in the area. Ted, you're over on Hulen? I might just have to swing by and say Hello!
Love the idea of going deeper. My question for R. Avedon about The American West would be: "When taking photographs back then, did you struggle with concerns about suffering a backlash? Like people will perceive these images negatively for some reason? That the whole thing would be somehow misunderstood?"
Very much appreciate this video, Ted. Thank you. Had occasion to see an Avedon exhibit in Philly not long ago, and remembered why I got into photography in the first place: when done well, it's magical.
Great film, I’ve been inspired. Thanks.
Mr. Avadon, what were you talking to your subjects about while you photographed them get such a natural expression.
Ted, your videos are the most interesting and inspirational thing I consume every week. Thank you for sharing your experience and view point of photography with us... Keep on keeping on!
Great idea!
I am a complete novice in art history. You have helped me by keeping things basic. Thanks.
I loved the Avedon exhibition when it came through Perth (Western Australia) a couple of years ago.
So nice to see photography videos by someone who really knows about photography. Avedon is a great subject because he has done so much. His small camera work would be interesting, as he did quite a bit of it especially earlier in his career. Thanks for the great channel!
Very nice viedeo thank you for the inspiration!
TED ! Clearly keeping it alive and keeping it real ! Its refreshing in this ever changing and sometimes depressing era of photography business. In any event thank-you. IF Richard Avedon were alive I'd probably ask:
- what his vison is on the romantic relation we had with film as a medium and that era v/s the new medium and format that is digital and this era, how we driving with it.
-as John Rohrbach had mentioned in the preface of "In tHe American West" that the subjects were "unexpected" or "unasked for attention" in nature; How would he differ in approche considering this whole new era of "This is who I am", clustered and flooded with selfies and ego portraits? So many people expecting and asking for it.
I love this idea for a deep dive series on a particular photographer or body of work. As for a question, many that I would like to also ask have already been posted, but specifically any questions on achieving rapport with the subject/how did Avedon approach subjects to start with etc.
Avedon! The best!
Oh, man! This will be a great series.
Yes and hooray! Can't wait to follow the series. My two questions would be 1) What was the driving force behind his work? 2) what does he wish photographers today would pay more attention to?
I love your channel and how you have progressed with it over time, back in the seventies I was a freelance assistant and worked with Avedon, Penn, Scavullo just to name a few. When you asked your subs as to what question you would ask them, I can certainly understand where you are coming from, it's a excellent thought. Yet if you were to do that in the studio ... you wouldn't be working there for very long. Dick was always telling stories as he did most of the talking, where as Irving and Franchesco were the silent type and disliked talking period. Just by being in the studio wether it be on set or in the darkroom, all of your questions were soon answered, kind of by osmosis. By the way ... it was very intense work and also a lot of fun.
Best wishes,
Actually ... none of them ever said that
Brilliant reply ... how did I possibly function without your presence in the studio
Exactly ... you don't
I do think, however, that there are questions that cannot be answered by merely examining an artist's works.
Irving Penn?!?!? Wow. Now there's another interesting subject for a video (if Ted hasn't done it already).
question for Mr. Avedon - What is your thought process for the people in the American West that you photograph. Did you talk to them, did they have to meet some level of interest to you, or did you already have something in mind and you simply scouted this person or that person out?
..and a follow on question(s) to Mr. Avedon: What characteristics did your subjects want portrayed about themselves? How did they view themselves and their stations in life? How did they view their relationship with America? ...with "cultural elites"? ...with the non-West areas of America?
I would probably ask him if he were my age with my skill set and in my position, what would he do. Or I would ask how he goes about connecting with his models/ subjects. How to get the expression he is looking for from them.
Great stuff Ted. Thanks for always inspiring.
Out of every question I'd ask Avedon, I would ask what inspired him to be a professional photographer. And... what his favorite body and lens combination was. I am very inspired personally by Avedon's work, he is the direct reason I wanted a Hasselblad actually.
This is so outstanding!
Mr Avedon, you seem to have mastered the art of posing your subjects and directing them to produce a "decisive moment", revealing a little slice of their souls. How did you manage to do that so consistently? Any tips would be much appreciated. Ps. Do we get free Leica's when we get to heaven? With all my respect and gratitude!
Avedon is my inspiration I love his capturing of unconventional beauty. Hope to become an artist like him :D
The August 2016 edition of "Professional Photography" magazine had an interview with Avedon's master printer, Ruedi Hofmann. This was interesting, not just from the perspective of the person in whom Avedon placed so much faith but also because Hofmann was preparing to sell some of the work that Avedon left to him.
Apparently he negotiated them. It's explained in the article and was done entirely with Avedon's permission. Hofmann had 126 of them, all unsigned. Hofmann was the master printer on this exact series (the American West) and went on to become a fashion photographer on his own.
Easily one of my favourite photographers, great video as always.
Richard Avedon a true artist of photography! I only wish that I could see the exhibition in person, but sadly I live in the UK. Excellent collection of videos exposing people to some of the most creative photographers to have lived. Keep up the good work.
I'd ask Richard Avedon about his process of connecting with his subjects. It might be a difficult question to answer, but it's key in achieving his results.
great content as always
@The Art of Photography Ted this would still be a fantastic video series I’d love a video of you going over the In the American west series even though this video is quite old now.
You are such an invaluable source. Thanks.
Thanks Ted for the heads up! I was going to drop in on my last free day and alas it was Monday= closed. Now I will make a point to get into the Carter when I'm home.
Ted, would you share which camera you use to make this videos? the quality is absolutely perfection.
A good friend of mine has the large print book of this series, it's what inspired to take photography seriously.
great video
I am so excited to find your channel, I was led here because of your piece on Richard Avedon. I saw the American West in Boston in 85 I believe. It has been with me artistically ever since. So when I had the opportunity to shoot a portrait in a home which this approach seemed perfect I went for it producing three images for them about three weeks ago. So to see this video. Tada. Thanks so much glad I landed here!!!!looking forward to your continued explorations. I also just did a surrealist piece using red as the sparkle point. That's some weird timing on both
Thank you for introducing me to this body of his work. I always glance over it. I am such a fan of yours and Avedon is one of my heroes. I love his work. My favorite of his is from the institution shot in Jackson, Louisiana.
I would want to know what he and Judy Garland talked about.
hey ted, would you consider doing a video dedicated to harry gruyaert (photographer series) ?
love your videos
Here's a question: in the portrait of the duke and duchess of Windsor, what did you say to them to get those facial expressions?
That's a good one ;-)
Richard knew they liked dogs. They had their facial masks on which was not what he wanted to capture. So he told them his dog was run over by a car. It was a lie but he got the expression he was hoping for. Richard mentioned that in an interview. You could probably find it on youtube. Richard was great in interacting with people.
I knew this story. The question I would have liked to ask is this one: did he think that, through this bit of trickery , he was actually getting closer to the true characters of the pair? Or was this irrelevant in the first place?
I'm really liking your past couple thumbnails.
"Hey Ricky, your images usually eliminated any background to focus on "the thing itself". Do you see your subjects as personalities or as visually interesting compositions?"
Yes, I`m very interested to know how much effort he puts into the mood of the shoot beforehand. Does he just read the person at the time or prepare carefully with different questions?
by the way Ted which is the camera you using to shoot that video? amazing quality like woooow,
thank you for another lesson :)
Hey Ted where can I find your deep dive into the American West series? Thanks for the great content man!
Once again, an insightful and stimulating video Ted. Thanks for helping me to question my own motivations every time I pick up a camera.
A question for Richard Avedon: when you were shooting your subjects in The American West, did you feel you were one of them, or did you feel like you were observing them from an outsider's perspective and (OK, sorry, a second question...), how did your sense of that relationship impact on how you worked?
hello Ted, im a relatively new photographer here, i've been dabbling in photography for 2 years and i start studying your video for the past 4 months and your perspective on it as a teacher is really highlighting upon multiple part of the art left behind by more "mainstream" teacher in photography, i realised some of my photography have some similarity to Avedon work and i think i can relate to his vision, the same way i do with H-C bresson and vivian mayer, i find it quite strange as i never really took a liking to other photographers work before last month and now i began to work with film (i've yet to process my film yet) and i feel like there is some sort of difference in the approach to film as to digital as you do end up stripping a lot of the support wheels we usually use, like the micro correction of exposure that we try to achieve with digital and we forget with film.
i know you are busy with work as of right now, but if at any point you would be interested with doing more skype video with new and/or more experimented photographer with difference in style of composition i would really be interested into getting your opinion and communicating with you through email or skype conversation, i know you dont really do student anymore, but if you would ever be interested in it i would really appreciate your feed back on my portfolio and maybe some insight into how i could experiment more with the craft!
in hope you get back to me, have a good day Ted :)
WOW!! just came across your Channel and thoroughly enjoy every episode. Thanks so much.
I particularly love anything related to Avedon. His "In the American West" series inspired me while studying photography at Ryerson University. It has inspired a personal odessy that has spanned more then 20 years and over 10 countries (self funded). I bring my white sheet to parks and plazas and always imagine Avedon meeting the subjects and perhaps feeling the absolute rush and humility that I feel. Its so interesting that people like you and me and many others can love this series SO MUCH, while others are almost...offended?
I would want to ask him why he thinks some people are afraid to look at these portraits? Why is honesty, character and individuality so scary to some people? Is it fear of the unknown?
Perhaps it would be a wonderful short doc, and an ode to Avedon to ask people these questions today, whether they be gallery curators, subjects, relatives etc. Thanks for doing what you do!!
Having had a lifelong love affair with the West and having tried to interact and photograph random people out there myself, I would ask Mr. Avedon how he established the first contact and how he interacted with them during the session.
PS: I am new to your channel and just want to say that I like your style, intellect - and the lack of hype and dumb background music!
Mr. Avedon.How when and where did you think about changing fashion photography? How long did it take to make the photograph of Nastassjia and the snake? And finally, how to put so much feeling in a photograph?
Mr. Avedon, Did you ever take a series of photos or photo, hate it, put it to the side, return to it at a later date, and with new eyes/perspective, fall in love with the image you first hated?
What photography equipment (other than the camera) , is your favorite and has aided you in taking photos (in studio or out and about)?
Hey Ted, what about more on the Artists Series...... thanks
How did you get some of these people into your studio in the first place? Surely they would have cleaned up a bit if the shoot was planned, so I assume they weren't exactly scheduled in advance. What did you say to motivate them to drop what they were doing and take the time to be photographed the way they were in the moment?
Ted - great work as always! I'm especially looking forward to going deeper on a subject, the internet has lots of people talking about surface stuff but not many dive deeper, and that's where the good stuff is.
In terms of Avedon, I'd ask "What did you learn through making the series that no-one talks about?"
I absolutely love your plan to dive deep into the works of photographers, Ted! I can't wait to see how it goes!
Dinner with R. Avedon.
Me: How 'close' were you to your subjects in 'American West'? How did your relationship with them affect the portraits which came out of it?
How did he approach these people to photograph them? Did he walk up an ask? Did his assistant gather them for him? I would be really interested to know how one gets the subjects for a piece like this.
really looking forward to this series! especially because I don't know enough about 'the greats' and this is definitely a photographer that fits in that catagory.
A possible question for him would be: do you have a few photographers that are younger in their career than you that inspire you?
and thanks again ted!
Ask a question to Late Richard Avedon, Well Thanks for The Art Of Photography for having created this opportunity.!
Question to Richard : What do you see deep down in your heart beyond the status of celebrity & Working class people ? What made you to cast them ?
Question for Avedon: Were you concerned that your audience might not have found your photos of the working class in the American West as captivating as the celebrities you photographed previously?
@Ted: Love your content, as usual! :)
Hi Ted,
One of the types of videos that first brought me to your channel was the encyclopaedic body of introductions to significant photographers, going back years, where you simply flicked through one of their monographs or whatever. I can imagine you may view each of those photographer introductions as "done" but we now have a more mature, experienced, and sophisticated Ted, and I wonder how a reprise of such types of videos might bring a new perspective? And many times those old videos show that you're almost frustrated that a 10 minute video can barely scratch the surface of someone like Fan Ho.
I'm not talking about a straight repetition (no one likes a remake) but more of an extension by either adding more photographers, or extending the coverage of previously "done" photographers as I'm hoping you're about to do with Richard Avedon.
Kind Regards,
Ric
I would want to know how he was able to get these people to be so open to him. These photographs look like they were taken by someone who had earned an immense trust. How can you do that with your subject, especially when they may be so different from yourself?
his portraits doubtless are good. nonetheless they do not rank amongst the greatest. a truly great portrait is one you look at every day for years without diminution of pleasure. I have in my possession what I consider the greatest portrait photo ever taken. It only took 30 years to nail it."Catoptric image of the mien of the metaphysician".
My question would be: How do you decide the crop on your portraits? I just got one of his photo books an find his cropping pretty unconventional. It works but I can’t figure out the pattern behind it if there is one.
Question I would like to pose to Richard Avedon: So much of your photography has such movement in the images, a life jumping off of the page. What was your thought process to make the choices you did with "The American West" with the images so much more fixed and truly juxtaposed to the grandeur of the fashion photography.
Here's my question. Mr Avedon, when you start a series this one or any other, where do you see it going? Do you feel you are creating art, recording history or just having fun while making a living? While doing a series does the end work change from what your initial idea was? Thanks Ted for the chance to be part of your show.
My questions are very similar: what was the original vision for this project and how closely does the end result match the that vision? Did the subjects affect the end product or did you intentionally direct them in order to fit your vision?
Question: What was the interaction you held with these people, before taking a picture?
Meaning, how did you manage to get them, what was your approach , conversation.
Question: How did you get to this particular composition, what inspired it?
Yes here iee
Many thanks Ted for another insightful video.
Question for Richard Avedon - "What photographic series / projects from your career gave you the most fulfilment as a photographer, and why?"
Love the video's Ted - looking forward to the Avedon series. Mr. Avedon, what would you be doing if you had not become a photographer?
Questions:
Why did you choose the American West?
How do you draw out that range of emotion from your sitters?
What expressions are you looking for - something interesting, or something 'authentic'?
Great video. Really enjoying your videos that cover some of the great photographers in the history of photography. Would love hear your thoughts and see a video on Rodney smith if you don't have one that already exist.
Here is my question: The movie Funny Face was loosely written about you, with you working on the set. How accurate does it describe the relationship you had with the magazine's publishers? Avedon is known to have made magazines with his eye for art and fashion but how much influence did these publishers have on him?
Seeing Avedon's work displayed large in Canberra, in the Australian National Portrait Gallery, was an unforgettable experience! How did he get to choose his subjects?
Frame of mind? Connection? Get in the zone? I would like to ask Richard what does he personally do right before he goes out to take the shot. Ted, I've always wondered how and what other photographers do if anything to prepare to go out like an athlete physically stretches before the race. How do photographers get in the zone? I personally do Quick Coherence, a short heart meditation, to get myself centered on the inside.
now i get why victoria likes his photos...
Given his relationship with the higher echelons of society, I would ask Richard Avedon what similarities and difference he saw between the people who were wealthy and those who were the subjects of "In the American West" who were clearly less privileged.
simple and straightforward question "what do you look for when you pic a winning photo"?
I like the idea of this series very much. Apart from his name I don't know anything about Richard Avadon (although I know the picture of the guy with bees) so I don't have a meaningful question, other then: what would you like to drink mr. Avadon? And perhaps: What made you want to do The American West. How was it funded? What was idea when starting out, what were your expectations? And did it match with what you found? Something like that.
really makes me want to pick up my camera again. nice.
One question I’d ask is, “was there ever a time in your photography career where you doubted your work? A time that you maybe lacked a bit of confidence?
I've never heard of him so I would ask him what he does, and why he loves it.
I would like to know what he thinks about phone photography and what are the qualities that make a good portrait. And, maybe, what's the diference between the artists and the "common" people in a picture.
Interesting that you chose this body of work! It's been heavily criticized during - and after - it's opening reception for it's exploitive nature of the people within the images.
Mr. Avedon, is there anybody you would´ve liked to take a portrait of but you never did? Who and why
1) what makes for a good portrait
2)any tips on how to direct?
I'd ask him how can you arrange a portrait session with working class subjects in their usual outfit and whowever clean or dirty they are at the moment without having them to feel upset.
My question to avadon would be: How do you illicit such emotion and when do you know to click that shutter?
I would ask Avedon these questions:
1) Which artist (photographer or non-photographer) do you consider is your biggest influence?
1) What's your favorite body part to photograph?
🙏🙏🙏
Question: How did you find your subjects and convince them to a portrait?
I feel like there aren't any questions you could ask Richard that would give you or me direction to go in our lives that would give us the opportunity to make photos like his. Making great compositions is something many people can do, but what drives great artists is usually something special, something you normally cant recreate.
I would ask him the most challenging things or times in his life, after hundreds or thousands of interviews I would want to know what hurt him or challenged him the most because often those things are the best things in peoples lives as well.
Dear Richard Avedon what was some of the things (photographs, books, life situations) that you would call seriously influential in your life, I already know of the Munkasci photograph and the death of his father being a few, but I would be interested in knowing what other things there were
I would like to know what it was like to go from photographing celebrities to these working class people? Did he prefer one over the other? What were the similarities and differences between working with these two seemingly opposite subjects?
Hey Ted! Love your videos please keep making them :) I tried to look for a way to email you but couldn't find it so I'll try to make this a concise comment. I do commercial and consumer photography to pay the bills but I would love to specialize in art photography and I don't know the best way to do this. How does an art photographer make money? Any thoughts? Thanks!! -Noah