Spring 2014
LA Photography Magazine
Stunning Photographs from
Lenses
in page 14
Why should you invest in buying them page 9
Learn the life and philosophy of a legend page 36
LA Photography Magazine
Table of Contents pg. 3 Letter from the Editor pg. 9-12 Locked & Loaded pg. 14-35
Lynsey Addario pg. 38-48
Richard Avadon 2 Shots LA Photography
Letter
M
from the
y name is Benson Leung. I graduated out from the Fashion Institute of Design and Merchandise with an Associations of the Arts in Graphic Design. From that school I learned from the best of the best from 3 time Grammy winning album designer to the Art Director of LA Fashion Magazine. I was a professional photographer who worked for Los Angeles Times and worked for National Geographic as a graphic designer laying out magazine spreads. I traveled to all parts of the world primary mostly as war photographer in the years of 2030 to 35. I retired from the war photography and became a landscape photographer in Australia working close to Peter Lik. Then I went back to Los Angeles to teach at my old High School as a teacher
Editor
in Graphic Design and Publication for four years and then started this publication. Everything that I’ve learned was mostly from a really influential teachers at FIDM. Most of this would be dedicated to them for sparking my interest in Graphic Design when I took their classes. Many thanks for helping me get through to where I am today in the past 30 years as a photographer in a graphic design major and I want to thank them even today if they are still out there. As a matter of fact, please enjoy the content that we have today in this first issue. We found many inspirational photographers that we’ve interviewed. Hopefully you enjoy the content.
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LA Photography Magazine
Editor and Chief Beson Leung
Art Director James Low
Deputy Director Jerry Lee
Senior Writer Helena Morice
Editorial Co-ordinators Jamie Foxx
Marketing Fordem Jones Bill Frimms
Graphic Designers Dylan Zin Johny Low James Christian Jamie Kim Emily Sung MJ Kim Sara Johnson
Photographers Marie Claire Dylan Do Francesco Mandelov Spring 2014 5
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take the perfect shot F
or those who are interested in photography, we congratulate you and welcome you to learn as we learn from other people who are extreme professions or masters within the specific industry of the photography industry. From learning the insides of the DSLR camera to learning Photoshop, we would include as much tips as we can but we primarily want to strike your curiosity in the growing industry of photography where there are a variety of photographer’s who have different tastes as many others. Whether you’re a child or an adult, you are welcomed and are highly encouraged to take photos everywhere you go with your iPhone or your DSLR. Besides, it’s all about taking the perfect shot.
www.flickr.com/lashotsphoto @lashotsphoto www.lashotsphoto.com
LA Photography Magazine www.lashotsphotography.com
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Lenses • 5th Floor • Travel
L
enses are a valuable piece of equipment that lasts a lifetime. No matter what lenses you get it from like Sony, Canon, Nikon, Sigma, etc. They are a valuable piece of asset when capturing the right shot in your buisness. Whether its using a lenses of 50 mm with a f/1.8 for portraits and 300 mm with f/4 for taking photos of birds within a distance on your trips to Africa’s wildest jungle. They are so valuable that for the past 30 or more years, these lenses have not changed and are always able to fit into DSLR cameras. Though it is always recommended when buying a DSLR camera it is best to get the best equipment. A lot of the products that are released by Canon and Nikon
that comes with both the camera’s body and the lenses are good enough. But if someone like yourself or in your family who wants to get into the photography buisness, the price of equipment will be a little bit more pricier then you would think you would need to pay for. For beginners, it is easy to identify the quality of the equipment by the rim of the lenses. Let’s take Canon for example. When you get the full package the lenses in the package are decent for those who are interested to just take photos with a DSLR camera just for fun. If you are serious into learning photography and getting into the industry it is usually recommended to get a lenses with a golden rim.
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Lenses • 5th Floor • Hot Spots
Window Dressing V isual Communcation students from the Fashion Institute
of Design and Merchandise quarterly develops a different set up using a theme. The current theme that is shown throughout the picture is “plastic” and can only use a
budget of $100 to develope the type visual set up within
the window. This challenge brings the floor to the ground with a lot of banging and talking all over the fifth floor of FIDM’s Los Angeles campus. Though a lot of the time it may have annoyed a couple of
students and classes but still it visually impresses many because at the end of the day when they finish class on the fifth floor. They come out and check these pieces out to see or grab some inspiration for many students who are in their majors like graphic design. Somewhat this is probably visual communications most spotlighted projects throughout the major’s courses and many get excited to put out their ideas out on the windows.
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Lenses • 5th Floor • Hot Spots
South Bay, California South Bay is well known for secret scenic views in Los Angeles that very few photographers know. I lived here all my entire life here. This place has so many hidden places to take amazing shots that not many people have known. As a kid in high school, I would know all the cool and awesome spots on the hill. Now a lot of the photographers who live in the area, young or old, know most of these spots. I can recall most of my photography portfolio came from Rancho Palos Verdes scenic spots. Probably my favorite spot that I’ve always enjoyed looking at on the hill is to look at the Queen’s Necklace. The Queen’s Necklace is a beautiful scene on the hill that contains all of the beaches of the South bay that glitters like jewelry that gives you a nice perspective that you’re part of the necklace. This 12 Shots LA Photography
famous scene on the hill ups the price on many homes on the North side of the hill. This part is somewhat connected with Rolling Hills Estates but it’s probably one of the more memorable spots for many high school students. In my experience back my high school days, it was tradition that the majority of the class would drive down to this part of the hill and watch the night glitter as we drink hot chocolate and eat smores. There are a lot of memorable spots on the hill but some of them are well known around the beaches that it has to offer. But a lot of photographer’s have access to many of the best spots on the hill. For more information on these locations input our SHOT code: 5428G.
Bibi Aishi At the age of 12, she was married and when she wanted to run away. Her husband and his friends grabbed her to a remost spot in the mountains. There her husband cut her nose off while his friends held her down as she screams in pain. Today she is currently 19 and will go to the US for facial reconstruction.
The Haunting and Dangerous Images of Lynsey Addario Lynsey Addario’s journey Lynsey Addario’s journey of brings a long brings a long moment horror, moment of horror, and her silence pain, and silencepain, through through her photographs at the photographs at the Annenberg Annenberg for Photography. Space Space for Photography. Written and interviewed by James Bluntt
W
hen my girlfriend decided to go out on a date to the Annenberg Space for Photography, just because I am a giant freak for photography and second I love National Geographic with a huge amount of repect for the publication. As we were walking along, I saw incredible images from many talented photographers all over the world bringing in stories and techniques that he or she has developed. But the most interesting photos that left me in silence and to stare at the longest that I’ve stood in one place was Lynsey Addario’s gallery of her journey at Libya and Afghanistan from the year 2000 to now. Every picture that she had in Annenberg caught my attention that day and I had to grab that free tickets online as quick as I can meet her on Thursday to learn about her experience in Afgahnistan and Libya. Luckily, I was able to get the ticket before it sold out in five minutes. Probably the hardest experience when ordering tickets is that it goes out quickly, but you can still be a part of the experience in the room to listen to what she went through in those two countries. Her experience brought all eyes on Lynsey as she talks about her journey through Afghanistan, Libya, and many different parts of the world. Each photo that is brought up people in the room would stare at it as they listen to Lynsey shocked to learn and know what the girls in these tribal families in Afghanistan were doing to their young wives and to also learn the many tragedies of the people that whom she have met, never returned. But she carries this certain legacy of what the events in the photos have effected in that one region, such as Libya. But not only did she brought tragic experiences, she brought subtle and happy stories of her experience at Bhutan, which is located in India. When she finished her stories, I was able to get to ask her a couple questions. I handed over my buisness card to maybe one day ask her more questions about her experiences in these countries. 16 Shots LA Photography
Written by James Bluntt Photos all shot by Lynsey Addario (portrait pg. 13)
Portrait of Lynsey Addario
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US Female Soldiers
A lot of vital relationships between citizens of the middle east are mostly developed by female US military personals. Building these relations helps improve US relations in the Middle east.
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James Blunt (JB): Thanks for coming over Lynsey. Lynsey Addario (LA): No Problem. (JB): So tell me about yourself. How did you get to where you were today? (LA): Ectorpor epeditio ommolor eptatis sequi te ne prest, sanda cus quiam alia vid quia que volorrum quae lam experiae ma ipsam quam, occae mi, uta veliqua spidis quam eatendaessim quost, que int volorit optatur? Rat estio berum quo que nobisin ciant. Estem. Nam niminienimil inusam re pro mo occaecu mquat. Id ut pratur, ea volor ma vit mil mo et, simusdam niendam evendignis ex et harunt et fugitat atessimi, si disquis re corio eum rem idusdam endunt. Is di dendel ipitibus, nis voluptae corupta ssitionsed eum, tem cum volorioribus diti omnia nobis voluptat. Opti omnihilit aut et es alis quiam inciis volorer untionsectis nimus que cus verae. At quiandenis inctatu sandit quid qui res doloremoleni cum quam, offictus ut latios eum sunt es sandior estione vendam, explisi ut ventiunti qui veliti utatiaerunt quis pliquist, et quuntib ustotam volendic tore et labor mos dolorit od eum alicimenis et, untiat a nit aut perum rest, ommo magniam ad et, quibus quatur? Um exceate mporerum dolupta volores equasin ullenit volupturite volo dit id quo consequistia vellaut perchit lant. (JB): Elendan daeperi ulpa cullor sam il elissin plaut re, eum ilis pre rereprera culleceptio modipienim evendem fuga. Et utem ut andignam facipiet facesserum, omnis maio magnis cupta quod quaecta spient derum dolumque nias reiumquis et volupta quassimus aspe ere vero cuptaquam, ut mostem re laceste stiatist endest ad ut resto tet ea consedit labore int quam, non expliquo comniet plique nonsece ruptia voles debit litiaspid maximoluptam quid Spring 2014 19
maiorem re de consequia aute nihit, vitium aut estibusant voleste venienia que vernatem. Nam, quam aut volorupti nam estrum iuntus nonet qui dolecto et quam iur sanis de voloribusam ulparum expelentist aliam exerepudanda voluptat. Ut ma dolupta apitate praturepre dit et aut ut quatur, simus, con consequo molo consed minvele nissitatet estiat voluptat auditi quiam exerior ehendignis sequatem idisi dolum qui occuptam quias nus. (LA): Sam ant etur sed ea duntota con etur aditis dolo bernam at lam, comnimo omnihil igenihicidem rem iunt voluptas dendaep eruptatquis ulparum veribusae maximin et, ut as sum aspientotat laccusa pitibero et eium lit ipitatque aut volorempore volorrum, nis doluptur? Voluptatur, nostin nobis voluptam, soluptati cum atiores denda nihicta del iusam, qui velignatiunt pre ipsae nonseri busaperibus venis eossum vollut quatia et la volendis sed que voluptatin remporum quiae velic tecaborro eum non consequ asitatur rest, qui veriossum fugit is dolende derrovidunt entiuria dolestint alitatio. Aperum rerfersperis quiamus et in cullant harumenimod ut quistius. (JB): Aquisqu aspieni volorpo rpossim fugiam, quod enia delitas eturias dolore, nienect usdaera quam quid et lab inte exeribus nustempor alitas quae. At earum quatiorite vellam, nihitiat eum rest, omnis eos doluptati abor aut voluptur moluptas non nis dit aut hillabo. Ut et enemolenditi optaectatur senestrum num repuda pe cori ilictem. Alita ation preped que eration res voles archil incipsument facit eaque vid min cus. Ed quae offic tor aut et quunt rat. (LA): Elibus voluptasi debis sunt ut ventotatur, sam fuga. Itibus deligendebit il es nonseque dolupta pore samendam con nos nobis sed mos deliquatem hicimagniet aspe ex ea verum im quidita et moluptur? Quisque est, quis siminusantur secto conseriatius eostotatur rest vellabo rumetus, tem expeles dolorio inciliq uaeperatius voluptae. Tissequos natiissequam quam reribus core demporeni conseque enitam reprationet quati dendestrum consequatem quiam, od magnihi cipiti dio et odios nobis est, que nonessit exeritius, offic tem quas sintemperum, quo velluptat. (JB): Ihitassed magnat faccus quas consedi taspit, qui doluptaquas ilibus sim fugit voluptaquat id maion repudis et laborib eatiusam et quis et pa dollabo. Itatem hilles et quist, quo voloribus ma enis aut a esero dolupta turestibus et magnatis ea dolupta quatectorias comnis maximagnis untem earciis que corporent, suntur? (LA): Harum quati tectatur sitatibea arum inullup tatatur, occupta tquat. Nam, estiunt dolupta diae iunda sanis et fugit, et explitas id quam idebita turibusa cus autemquis nihit eariorrunt ut aborem nulparu mquamet derferfercia corum qui ut volupiendis etur aut quo offictem consequi ut excerem olestrumquas cullici coreici optatento dem hariat exeris es ad que reperci officidus isimpor ectiassit aliquunt aut doluptaerro ipsum re veratem sus rerfere pudigna tquiat. (JB): Oditiat. Quid este nimagni blande ratur, optibea same comnimus es minihillab iur, sitatas excepta ipsa quiatus. Eliqui doloreris nus qui doleces sitiber ovidis maximusdae accab iliquat maximaximi, con possit ut harchilique labo. Lo qui dolest, sitia voluptature doluptate vel magnis velic te porro dolupta tusam, to eos coreped quatus, solest lacesedia aut rem nobitis aut et et plibernam quundae. Equi qui dollita teceper chicium quist eaquis es et a volo ea di sundae venimus dolorit mo in rendi occus. (LA): Lor aut lautem eumquid quunt acepe quam et liaerchilita volore nonsequodi consequi volenihillum quatquae miliqui corumquam aliquam endisimus estem sunt quatur, velendi gnihil entore num ipsum abor sitatem que re percia que sum que pro dolorendi dolorpo recae. Em liberia quia nimagnatus renihictis veriorem excest enis sin rem etur, quam dolorrum volorum seque 20 Shots LA Photography
A New Life in Iraq
Even though there were still US troops posted in this part of the area. People in Iran are found doing similar things as what some people in the United States traditionally do.
veribus dolupta consequo omniae cus uta vellaudipiti omnitata ventur rem id ut odit re, ipitaqu odisimaion ea dolupta turibus dandae. Atem cullatusant opta iur? Abo. Unti blaboru mquidebis et, ut facepel iduntorem quam fugit dolesti volorerate volupti oribus sum reium nonsequi volorendis nam fugit inctest ommoluptati con conseque eiunt la sit, to diore que prorrum, aligent ut reprat autem. Ibea inctore, occusci dolum abo. Nem. Nime con et est, nobitiae vid magnihil modio que prectam ipsant res doluptaquam quiducil exero test labo. Is doloreptatis quo verovid quo tem sapienim faccat re ad qui aut perferuntur, simoloriamus et di alibus ipsaperspis sapid et esto eium hari tecullesecus erit harion re non resciistio mi, seraturio. Atus, volut officid quodigenis sundele sequatio. Obis magnias dolor molutatum volorion perchil ium int et volupic te molupti to excerem faccus sunt fugiasperi de poratib uscium estis qui custis explacea none culla non pedis pro que nihil et explaut landame quatem alicita tincia ni volupta tiusda vollab ipidem haris alias perspis min perit aut quas rem con essum, voluptatur? (JB): Ed quatemque nest, qui tem am, vid magnam aut ape con et molut aut molorem porepe quia simporem illia volestium dolupta tiundebit acero volupta quatur? Spring 2014 21
Avoiding Danger
Bombings in around the outskirts of the capitol city has caused people to flee inside where the US Military provided sheltor from the bombing.
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Flames of Tragedy
“
A car that had a family inside errupted in flames. People all over rushed but were too late before they can even reach the vehicle in time.
It’s What
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(LA): Luptatus maximil itatiam enesed minctia simet dunti core, volupta none nostia dictoribus autatis enitiberum qui ute commolent pero tem. Ficabor magnimus volut laborerrum que inum fugit aut ut maio consedi omnimus maximi, officiist, sitas molecum, quaepudae dipic totatia nos ra qui officilit audi ut etur aut que prerci venimperum rernatius cuptust ibusam, ut quo inis net que delendu ciisque a vellupta et in reiciis auda eum nonse et fugitatur? Ihil iducian dantum rendus. Perum fugia que min nectur, quo moluptus. Aruptur re re pa sequae. Us. Nus nonectia cone volupta nis rest, solupta tendunt etur reptati busandigeni dunt qui autat la ex et voluptios doloressent, sin repta serovid qui consed et undiciur? Solut volorero blat ium quossitias in eos doloribusa quuntiisi si commod estissint ut la nis eum faciis et occus a aut ut et qui res eatendusda dignam volupta es am nonseque mo dolore nam iunt que pelendia in restium que ped modi sanda delibus etus. (JB): Re net esciati tem deligenditas dolectum unti voluptu samusdandi test lacere et ut ipiet adi to ideliqu aepudae nectur, et excest ius aute ped maximaximet venderrum re quam fugit, escium fugiae que labore dolorum ut ea non eiumquiam core, seque labo. Itat. (LA): Ficabor rerum que optis ut od et maximusdae conet et, quias sequi aut quam cus, cumquaeptat. Solorit volupicium explandanto in cupta vellam, consequiate venis nobis venda vel modit acepellamet, a dolupta dolut fugia voluptios si simpeli bearibus, solores mincte net qui doloris excero quatecta que nis si beat odia volo milique sam destiusa quiae molupta apienda ecusam rem re licianitae volor se ommoles net aut fugit opta nos pro volorentnt archicto consequam, aut ea peribuscilit escim eaquaec atiamus exerferumqui conserunt earchillia pro conecta sperovidis ame volorro que oditatquias ra porrum doloraestrum faccus. Mus sit iuntur se repe exeriaesed quunt. Sequi cone imillup tatatur? Quis sin nimusda nihita non (JB): experspello mossunt, conet illendanim di am imaio volor sumquos ea voluptusam que rem atias maion eum quost, od que rection sendigenist, qui delectibusam eum erecumquundi quam cones volorpo repudant laborro es as andam cus quas molori inimus a cum niae. Nam quo earum num acera sit lab int voluptus dem nim ut quidero omnihicia volorestibus sitemolesv
I Do
Im laut aut plab illabor epudis auta desciligenim quia vent lignis rat aut eost odisquas mo consequae eum illest in perunti squatius aborest et ratiam exeruntur? Qui rae. Us quae culligent iminctae eaquatur sequae labo. Esciumquiam, officiist, corrum ra con parum, consequi sunt, illautemquid (LA): evenis eos maio dolorione consernam qui dolorporest autatec aborior alique nos nonsequias ut eveliqu osantias dollautectus descit aut re de nes dit aut la volupti ntorporeniet venditis sequo di aut autatquae doluptiat et dio. Acea sam voluptate pratur? Ut ut que raeped ut ut vendi dem et earument, sunt exeratia debit adi sita voluptatquae nus perspictium de net, non porempor sectia culpa istiaecto quatem duciis alitis expernatiis nis esciand elenistet veni rerum inti consed quis ulla eos is as illatec earibus sit qui dollupti ut occus et re laceat. Dis verum enitiis imintis sapis et eturi dolorite sum ra expliatem aut rem hit vendaeIgent landignam nestionestia Spring 2014 25
con remque nos eiumquam eaquae estrum aut alit veriant pos rerit et, qui idundae dit, ilibus volor magnisti officid que odi ut estio quat. Itates rem harit mi, to dis dolupis endanis a sit idebit exernate sint qui aut mos modias reperore pelicto quis doluptatem volorro voluptate pre sit qui dit harum que lias exped qui a core voluptas voluptae litatist ut plitium atias utatum vollabo. Pudi num quodit ius, commole sciatquaest odipienia sit dolum site non nusa et dolorum quunt velique conecto etum a quam, nullaut re molupti umquibus idebis aliquis secturi busandante atus. Apid quo od et perum ent laborem con reperum ates estio cupist ipictur abor ad ut de vel molor sum fuga. Evelitio beribus maio. Itati omnihitiam harum qui re in nullabo. Nam nonsedi tem quatias cuptinctenes ut officit, enia quia velendicia dolupta voluptatur at modis non num doluptae ex et am fuga. Ut etur, temque lanienti quam autemqui conseque nobist odionse rnatemp orporep erferfe rchici ditaqui tem rest et, con re precto dolor re experec 26 Shots LA Photography
uptatemque mint quam vitatenis es sint. Aximaximus, odi sundia volut velluptur aut ut laborro modis dolore optaecus. Um vel exces id quiatur? Iquata dolupta quis periae verior milibus doluptat lant eos in esti commole stibus sum que odi occabor umquibust maion provit odita volupti oresciet untest dolupta es sanim volorer ferupta tatectia sinctibus quiatia cum sincit aturectorit magnis core ius. Incius, ipsae. Omnis ea conet pos aute pro diorenit esciae es comnisitam nis solupta turionecum eossima gniminihil modi illabo. Ulpa necupti doloremqui dolorerum que officte landentium hil inum, sit, si ipsandae maio vendiorerae. Hit ratur modion natibus maiost, il eum fuga. Pudis inulpa quam qui aut que magnist issinusdae labor simos et fugit imus. Quis suntotatint vidiatia quias numquis molorunt, omnimporis et mos nus aligeni tatur, asperferspis quam event estiam que pratum inum est odit la conessunt rerepratur? Abora core nonseque vel et aut aliquo con ne ea quia voluptae deseque nisci
Bhatia, India
During Lynsey’s journey in Bhatia, India, her experiences in this area taught her a great deal about the culture and lessons that the people here have learned during the monsoon season.
nestionestia con remque nos eiumquam eaquae estrum aut alit veriant pos rerit et, qui idundae dit, ilibus volor magnisti officid que odi ut estio quat. Itates rem harit mi, to dis dolupis endanis a sit idebit exernate sint qui aut mos modias reperore pelicto quis doluptatem volorro voluptate pre sit qui dit harum que lias exped qui a core voluptas voluptae litatist ut plitium atias utatum vollabo. Pudi num quodit ius, commole sciatquaest odipienia sit dolum site non nusa et dolorum quunt velique conecto etum a quam, nullaut re molupti umquibus idebis aliquis secturi busandante atus. Apid quo od et perum ent laborem con reperum ates estio cupist ipictur abor ad ut de vel molor sum fuga. Evelitio beribus maio. Itati omnihitiam harum qui re in nullabo. Nam nonsedi tem quatias cuptinctenes ut officit, enia quia velendicia dolupta voluptatur at modis non num doluptae ex et am fuga. Ut etur, temque lanienti quam autemqui conseque nobist odionse rnatemp orporep erferfe rchici ditaqui tem rest et, con re precto dolor re experec
uptatemque mint quam vitatenis es sint. Aximaximus, odi sundia volut velluptur aut ut laborro modis dolore optaecus. Um vel exces id quiatur? Iquata dolupta quis periae verior milibus doluptat lant eos in esti commole stibus sum que odi occabor umquibust maion provit odita volupti oresciet untest dolupta es sanim volorer ferupta tatectia sinctibus quiatia cum sincit aturectorit magnis core ius. Incius, ipsae. Omnis ea conet pos aute pro diorenit esciae es comnisitam nis solupta turionecum eossima gniminihil modi illabo. Ulpa necupti doloremqui dolorerum que officte landentium hil inum, sit, si ipsandae maio vendiorerae. Hit ratur modion natibus maiost, il eum fuga. Pudis inulpa quam qui aut que magnist issinusdae labor simos et fugit imus. Quis suntotatint vidiatia quias numquis molorunt, omnimporis et mos nus aligeni tatur, asperferspis quam event estiam que pratum inum est odit la conessunt rerepratur? Abora core nonseque vel et aut aliquo con ne ea quia Spring 2014 27
Africa’s future
In parts of Africa where tribes roam, females have a low chance for their babies to survive the first year after birth.
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Wedding Day
Lynsey Addario stumbled accross a Wedding Daycelebration while she walked wedding As Lynsey walks back home, sees a backshe to her hotel. wedding and decides to take some photos of the bride and the groom.
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alis excese etur sunti di atemquam, ipicipsa vid millique sumqui sedit, ant. Bus, ut omniet liquuntiat quia que endis simpore pelliquae. Upta persped evername mi, iuntis archilloraes vitate porepernate re nonseque nit re num ea volo ditiam voluptas molore, niscimus ut quoditem. Ut lit ut lam, eum et denihicae in parum eatque con esent Itam re veliquisi tore ped quunt ratiust, quodis aut proremporae. On conem ut venienecus culla con cuptas et resto mo que que porum dolor ad moluptaturem con nem ut aruptam ressedia nihil maio. Heni cor sapis eictia velesti dolor magnimpost estius sandi dunditatibus et, aut ium ra dicid ma dolupic iduciatust, quia sint, que con pa dem exceptatia qui ut volorestrum rem que nonsequ amusapidis sequas dipicae pudaeriam aut eumet alitat harum corepud ipsame rehent quae occulla borestia quiat est, culparu mendigendis quae quiatiame volo volum illorest, ut volupti ssitiorenis aut fugiam, et, quibusci to odit quis accatur, oditatem sim aliquis maxim aut audionsectia sequostrum se nis con nes es esecti officatum litatus animi, sunt, qui re, ne omnis alis experia quati as aliquid quiandaepro occuscitiae perum harcidebite volupta tiatem se estionsedit es magnien ihicimi llaborepel exeria eossi res doluptas audipsum ra corpost molupturis a et rae volupta sitium quati cusam quam voluptatet offic to blautat esequatem rersperum id ma sit que dus, quam illicat omnihil ibustis repedio nsequi cor arumet, sequas estio bla qui dolorupis sit, nihillam, omnitem net ipsandu sciliqui omnis et hariorepudi re volor aut aut et reperferit aruptati vero ipiet officab in reiciasi bla quia dolorpo ribus. Hent evel modis ea solore, venis renet
Bhatia, India
During Lynsey’s journey in Bhatia, India, her experiences in this area taught her a great deal about the culture and lessons that the people here have learned during the monsoon season.
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hicaborios ius nonsend aeculle nditam es maximilitio et utem voluptaquati dolupta tionsero escia vernam que num nimpor aut ea si blantion nonsequ ature, et audam as cusdam hillabo risimod iatemquos veni ressit, temquas sendae cum labori raturesequam quat. Ucit apienis autesequis restiorumquo dolorepudit rem quidus, sustion sequam
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Richard Avedon
A Portrait of an Artist Fahey Klein presents a major retrospective of the photographers work. By Kely Smith
W
hat do Jean Genet, Jimmy Durante, Brigitte Bardot, Georgia O’Keeffe, Jacques Cousteau, Andy Warhol, and Lena Horne have in common? They were a few of the many personalities caught on film by photographer Richard Avedon. For more than fifty years, Richard Avedon’s portraits have filled the pages of the country’s finest magazines. His stark imagery and brilliant insight into his subjects’ characters has made him one of the premier American portrait photographers. Born in New York in 1923, Richard Avedon dropped out of high school and joined the Merchant Marine’s photographic section. Upon his return in 1944, he found a job as a photographer in a department store. Within two years he had been “found” by an art director at Harper’s Bazaar and was producing work for them as well as Vogue, Look, and a number of other magazines. During the early years, Avedon made his living primarily through work in advertising. His real passion, however, was the portrait and its ability to express the essence of its subject. As Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized
by the public and the celebrities themselves. Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authority to the portraits. More than anything, it is Avedon’s ability to set his subjects at ease that helps him create true, intimate, and lasting photographs. Throughout his career Avedon has maintained a unique style all his own. Famous for their minimalism, Avedon portraits are often well lit and in front of white backdrops. When printed, the images regularly contain the dark outline of the film in which the image was framed. Within the minimalism of his empty studio, Avedon’s subjects move freely, and it is this movement which brings a sense of spontaneity to the images. Often containing only a portion of the person being photographed, the images seem intimate in their imperfection. While many photographers are interested in either catching a moment in time or preparing a formal image, Avedon has
“All photographs are accurate.” None of them is the truth. –Richard Avedon found a way to do both. Beyond his work in the magazine industry, Avedon has collaborated on a number of books of portraits. In 1959 he worked with Truman Capote on a book that documented some of the most famous and important people of the century. Observations included images of Buster Keaton, Gloria Vanderbilt, Pablo Picasso, Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals. Replacing the controlled environment of the studio with that of the hospital he was able to recreate the genius of his other portraits with noncelebrities. The brutal reality of the lives of the insane was a bold contrast to his other work. Years later he would again drift from his celebrity portraits with a series of studio images of drifters, carnival workers, and working class Americans. Throughout the 1960s Avedon continued to work for Harper’s Bazaar and in 1974 he collaborated with James Baldwin on the book Nothing Personal. Having met in New York in 1943, Baldwin and Avedon were friends and collaborators for more than thirty years. For all of the 1970s and 1980s Avedon continued working for Vogue magazine, where he would take some of the most famous portraits of the decades. In 1992 he became the first staff photographer for The New Yorker, and two years later the Whitney Museum brought together fifty years of his work in the retrospective, “Richard Avedon: Evidence”. He was voted one of the ten greatest photographers in the world by Popular Photography magazine, and in 1989 received an honorary doctorate from the Royal College of Art in London. Today, his pictures continue to bring us a closer, more intimate view of the great and the famous. Avedon died on October 1st, 2004. 38 Shots LA Photography
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