Magazine Layout Process Book by Shysta Pandey

FALL2017 VISC 202 PROCESS B

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NICK KNIGHT

There are many things you can call Nick Knight: optimist, artist, iconoclast. But the one label he would rather you no longer attached to him is the most obvious one, the one by which the world knows and reveres him. That is, of course: photographer. His mind is fixed so firmly on the future that old world classifications are meaningless to him. And yet, Knight’s forward-thinking radicalism is placed at the service of a very deep and traditional humanism. There isn’t a morsel of dystopia in his vision. He believes passionately in a better world for all, in the primal power of human connection, in the joy of creation. His website SHOWstudio is a temple to human creativity in the Internet Age and has earned Knight another label: high priest, or maybe techno-shaman, opening doors to different realities, transmogrifying perceptions in the most visceral way, and all the while, he himself is the tall, elegant apogee of the Savile Row gentleman. Knight is still playing – mention the label “photographer” and it rankles him. “It’s a very restrictive description of what one does,” says he. “I feel if one has a restrictive vision of what one is, that stops you from expanding and being free to paint a wall one day, or create or sculpture. I don’t feel you should be restricted by one particular medium. I’ll happily work from film, to sculpture, to photography.” As a fashion photographer, he has consistently challenged conventional notions of beauty and is fêted for his groundbreaking creative collaborations with leading designers including Yohji Yamamoto, John Galliano and Alexander McQueen. Advertising campaigns for the most prestigious clients such as Christian Dior, Lancôme, Swarovski, Tom Ford, Calvin Klein or Yves Saint Laurent as well as awardwinning editorial for W, British Vogue, Paris Vogue, Dazed & Confused, Another, Another Man and i-D magazines have consistently kept Knight at the vanguard of progressive image-making for the past three decades. He has directed award winning music videos for Bjork, Lady Gaga and Kanye West. Photography for Knight, however, wasn’t the original choice. Initially, he enrolled to study human biology, the first step to becoming a doctor. He has confessed to occasionally wondering if studying medicine would have been a better choice. “Photography was a way of

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having some sort of social purpose, I guess,” he said, with hindsight, in a live online interview in 2006. “That’s an elevated way of saying, ‘It was a way of chatting up girls!’ That’s the truth. It started very mundanely, as a bit of social interaction. But I took it up as a career because I was doing something I hated [human biology], something I thought I had to do, to get to medicine. Photography was not on my path – it was a pleasure... Photography was the only thing I was any good at, the only thing in my education that I shone at.” He still does. But Knight has nevertheless chafed at photographic convention. “When I first started, there were an awful lot of presumptions about photography,” he reasons. “I began changing photography, painting on negatives, collages, a very manipulative approach.” Indeed: in the Nineties, Knight pioneered digital imagemaking, retouching and printing, not only investigating technological boundaries, but blurring the line between real and fantasy. He impaled the designer Lee Alexander McQueen on a digital bed of nails, morphed men into monsters, women into blow-up dolls, and sometimes men and women simply into each other. Knight enjoys transgressing boundaries – past, present, and future. Example: he recently completed a series of monolithic, impressionist views of roses, dribbly six-foot-something images that resemble photographic “paintings”. Knight would prefer to nix those quotations. “They are paintings,” insists Knight. “It’s the ink that gets shot out of the printer. But I’ve treated the paper so it can’t be absorbed. So you’re no longer dealing with the photographic process, you’re dealing with paint on paper. It’s to do with the orientation, with gravity, with moisture, with the chemicals we put in the dye… I think it’s interesting when all the boundaries are spreading and dissolving very quickly. This allows people to apply the laws of one medium to a different medium.” Knight studied photography at Bournemouth and Poole College of Art and Design and published his first book of photographs ‘Skinhead’ in 1982 when he was still a student at the school. He was then commissioned by i-D editor Terry Jones to create a series of portraits for magazine’s fifth-anniversary issue. His work caught the attention of art director Marc Ascoli, who commissioned Knight to shoot the 1986 catalog of Japanese designer Yohji Yamamoto in collaboration with Peter Saville. His first book of photographs, Skinheads, was published in 1982, winning a DandAD award in 1996. He has since produced Nicknight, a twelve year retrospective, and Flora, a series of flower pictures, both published by Schirmer Mosel. His latest book entitled Nick Knight was published by Harper Collins in 2009 .His work has been exhibited at such international art institutions as the Tate Modern, Victoria & Albert Museum, Saatchi Gallery, the Photographers’ Gallery, Hayward Gallery and the Gagosian Gallery. In 1993, he also produced a permanent installation, Plant Power, for the Natural History Museum in London. A long-standing commitment to experimenting with the latest technologies led to Knight launching his fashion website SHOWstudio in 2000, with an aim, in Knight’s own words, of ‘showing the entire creative process from conception to completion.’ SHOWstudio has pioneered fashion film and is now recognised as the leading force behind this new medium, offering a unique platform to nurture and encourage fashion to engage with moving image in the digital age. Since its inception, SHOWstudio has worked with the world’s most soughtafter filmmakers, writers and influential cultural figures to create visionary online content, exploring every facet of fashion through moving image, illustration, photography and the written word. “The main reason, if you want, to start SHOWstudio was the realisation that clothes are made to be seen in movement,” he states, emphatically. “We’ve accepted that the way to represent clothes is by static image. I went over that again and again in my mind, and I thought ‘Well, this can’t be true to the designer’s vision’, because the designer always imagines them to be in movement. So there was a desire

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to really get closer to the designer’s original vision and that’s something that’s given rise to fashion film, and it’s very much a feeling that it’s a better way of showing fashion.” A fastidious worker, Knight always wears the same outfit to shoot in - and the jeans were specially commissioned when they went out of production. Knight’s website, SHOWstudio.com, is an innovative fashion multimedia workshop which collaborates with leading creatives. Knight lives with his wife and three children in London. He was awarded the OBE in 2010 for his services to the arts. He is an honorary professor of the University of the Arts London and was awarded an honorary PHD by the same university. Knight was one of the first and most high profile imagemakers to adopt digital film as a medium for showing fashion. Knight made fashion history in November 1993 by adapting ring-flash photography to capture Linda Evangelista for a landmark, post-grunge cover of British Vogue. Since then, his work has graced no fewer than 36 covers. Editorially Knight has been decorated for his editorial work for Vogue, Dazed & Confused, i-D, The Face, W Magazine, Another Magazine, Arena Homme + and Visionaire, and the 2004 edition of the Pirelli Calendar. The image-maker Nick Knight cuts a remarkably sober figure. Conservative, even. He wears sharply tailored bespoke Savile Row suits, with an affinity for the fussfree cuts of Carlo Brandelli at Kilgour. The only sign of radicalism is his eschewing of a tie and unfastening of a top shirt button on an otherwise resolutely buttonedup exterior. Appearances, however, can be deceiving. While Knight may not bear the outward imprimaturs of eccentricity – like the slashed lipstick, ubiquitous hats and ball gowns for daytime sported by the late, great and right honourable Isabella Blow – he is nevertheless one of the most original and ground-breaking fashion auteurs of the past half-century. Incidentally, Blow’s name is affixed to an accolade he’s receiving on Monday 23 November, the Isabella Blow Award for fashion creator, at the 2015 British Fashion Awards. Nick Knight’s reputation for pushing boundaries technically and creatively at every opportunity and being at the forefront of innovation is deeply attractive. He has worked on a range of often controversial issues during his career - from racism, disability, ageism, and more recently fat-ism. He continually challenges conventional ideals of beauty.

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Jarring Distorted Bold Rhythmic Sensual Contorted Scattered Pollock-esque Powerful Disturbing Colorful Poised Damaged Abstract Varied Textured Composed Movement Decaying Sample

Odd Unnatural Haunting Contrast Bright Dark Eerie Dancer Collage-like Fragmented Explosive Alien Motion Sexual Captured Frozen Insightful Passionate Regal Relaxed Free Oustpoken Painting-like Surreal Fragile Fluid Blooming Creepy

Spooky Angular Dramatic Radiant Papery Splattered Wispy Ethereal Angular Organic Suggestive Fashion Refined Contradictary Layered Angelic Iconic Lust Hyperreal Icky Fake Staged Theatrical Lyrical Expressive Unconventional Bizarre Unsettling Challenging Unusual Dynamic Visionary Engineered Chemical Plastic Mocking Explicit Baring 5

DRAMATIC (of an event or circumstance) sudden and striking â&#x20AC;&#x153;a dramatic increase in recorded crimeâ&#x20AC;?

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SURREAL having the qualities of surrealism; bizarre. “a surreal mix of fact and fantasy”

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planned, organized, or arranged in advance (often of an event or situation intended to seem otherwise). â&#x20AC;&#x153;they have suggested that the entire episode was a staged eventâ&#x20AC;?

STAGED

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ETHEREAL extremely delicate and light in a way that seems too perfect for this world “her ethereal beauty”

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poignant and evocative; difficult to ignore or forget. â&#x20AC;&#x153;the melodies were elaborate and of haunting beautyâ&#x20AC;?

HAUNTING

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HYPERREAL exaggerated in comparison to reality. â&#x20AC;&#x153;the painting is hyperreal in its rendering of light and darkâ&#x20AC;?

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RICHARD BURBRIDGE Richards work is instantly recognizable. Richard is not afraid to take the ugly and put it right in your face. So close to your face that you cannot help but see the beauty in it. His work, along with the team that he works with, is nothing short of surreal. Dazed and Confused has been a perfect fit for Richard, seemingly giving him free reign. We thank them for that. As far as hair goes, Richard works with the best in the business. From our buddy James Pecis, Bob Recine, to Rutger. You know the hair has to be something otherworldly to keep up with these high concepts. That being said, The hair does not steal the show, nor should it. This is one of the reason we do not feature much work from the likes of NAHA, and other hairdressing competitions. We strongly feel that hair, while it is sometimes considered the most important feature in an editorial photograph, it is still only one player in the show. Often, regardless of the talent that goes into these over the top hair creations, the beauty is lost. The result is something that feels out of balance. There are times though, that the stylist and the photographer harmonize, and create something great together, and the right judge will be there to recognize when this happens.

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“Richard Burbridge’s technically ambitious photography explores the alchemical properties of the medium. Transforming his subjects fashion, portraiture, beauty and still life photography, Burbridge subverts the expected. Based in New York for twenty years, his work covers fashion, beauty, portraiture and still life, and is regularly published in Italian Vogue, Dazed & Confused and The New Yorker. His advertising clients include Tom Ford, Chanel and Cartier.” In the rarefied atmosphere of fashion photography, Richard Burbridge’s unconventional photographs are a breath of fresh air. The UK native, who is part of the furniture at design bible i-D, has brought his hyper-attenuated eye and perfectionism to Harper’s Bazaar, W and French Vogue. Burbridge is also noted for his penetrating portraits of celebrities such as Sean Penn and Iggy Pop, as well as designers Alexander McQueen, Vivienne Westwood and Jeremy Scott. Richard began a career in photography in the early 1990s and moved to New York in 1993, where he is still based. His first contribution to i-D was a picture of an exploding firework, and he has gone on to shoot numerous i-D covers. Richard collects old scientific and optical devices and his interest in science is often reflected in his photography. Primarily a studio photographer, Richard also shoots a variety of subjects. He is currently working on a portrait exhibition. “Initially, I stayed away from fashion, but I’ve always thought fashion photography is some of the best photography there is. I was recently looking at next season’s advertising campaigns—like Versace, Dolce & Gabbana and Missoni—and I think it’s outstanding.” Richard Burbridge is one of the greatest fashion photographers alive. Kanye posted the mask series he did for Livraison Magazine, which is a good introduction to the kind of sharp, monochrome work he’s since done for Italian Vogue and Dazed

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and Confused(including their February 2013 Thom Yorke cover).

Richard Burbridge regularly collaborates with fashion magazines such as Harper’s Bazaar, Numéro and Vogue. These last few years, he has even perfectionist but he is equally a futuristic. His shots are either very colored, black or white, graphic or aerial. Richard Burbridge has also been th Westwood, Givenchy, Armani, Gucci and Calvin Klein, among others. Richard Burbridge is also known for his celebrity portraits. He has capture Vivienne Westwood, and Jeremy Scott. Recently, the fashion photographer has been called upon by the fast-food chain McDonald’s for their advertisement campaign. To underline the f displayed shots of anonymous people in the ad. His goal was to capture the reality in people’s face by focusing on their changing facial expression

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become one of i-Dâ&#x20AC;&#x2122;s permanent photographers. Burbridge is a he photographer for the advertisement campaigns of Vivienne ed celebrities such as Sean Penn, Iggy Pop, Alexander McQueen,

fact that everybody is welcome in this fast food restaurant, he n. The ad was a real success.

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Who is Herb Lubalin? Herbert F. (Herb) Lubalin (pron. “looba’-len”; March 17, 1918 – May 24, 1981) was an American graphic designer. He collaborated with Ralph Ginzburg on three of Ginzburg’s magazines: Eros, Fact, and Avant Garde, and was responsible for the creative visual beauty of these publications.

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Who is Alexey Brodovitch? Alexey Vyacheslavovich Brodovitch was a Russian-born photographer, designer and instructor who is most famous for his art direction of fashion magazine Harperâ&#x20AC;&#x2122;s Bazaar from 1934 to 1958. He gained public recognition for his work in the commercial arts by winning first prize in a poster competition for an artistsâ&#x20AC;&#x2122; soiree called Le Bal Banal on March 24, 1924.

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Who is Johnathan Hoefler? Jonathan Hoefler (born August 22, 1970[1]) is an American typeface designer. Hoefler (pronounced “Heffler”) founded The Hoefler Type Foundry in 1989, a type foundry in New York. In 1999 Hoefler began working with type designer Tobias Frere-Jones, and from 2005– 2014 the company operated under the name Hoefler & Frere-Jones until their public split.[2]

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Who is Gail Anderson? In her youth, Anderson used to create Jackson 5 and Partridge Family pretend magazines. As she got older, she began to look into what was then called â&#x20AC;&#x153;commercial artâ&#x20AC;? as a possible career field.[2] She graduated from the School of Visual Arts with a BFA in 1984,[3] where she was taught by Paula Scher.

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Who is David Carson? David Carson (born September 8, 1955[1]) is an American graphic designer, art director and surfer. He is best known for his innovative magazine design, and use of experimental typography. He was the art director for the magazine Ray Gun, in which he employed much of the typographic and layout style for which he is known.

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Who is Tibor Kalman? Tibor Kalman (July 6, 1949 â&#x20AC;&#x201C; May 2, 1999) was an American graphic designer of Hungarian origin, well known for his work as editor-in-chief of Colors magazine.

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Who is Neville Brody? Neville Brody (born 23 April 1957) is an English graphic designer, typographer and art director.[1] Neville Brody is an alumnus of the London College of Communication and Hornsey College of Art, and is known for his work on The Face magazine (1981â&#x20AC;&#x201C; 1986), Arena magazine (1987â&#x20AC;&#x201C;1990), as well as for designing record covers for artists such as Cabaret Voltaire, The Bongos, and Depeche Mode.

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As a fashion photographer, he has consistently challenged conventional notions of beauty and is fêted for his groundbreaking creative collaborations with leading designers including Yohji Yamamoto, John Galliano, Alexander McQueen. Advertising campaigns for the most prestigious clients such as Christian Dior, Lancôme, Swarovski, Tom Ford, Calvin Klein or Yves Saint Laurent as well as awardwinning editorial for W, British Vogue, Paris Vogue, Dazed & Confused, Another, Another Man and i-D magazines have consistently kept Knight at the vanguard of progressive image-making for the past three decades. He has directed award winning music videos for Bjork, Lady Gaga and Kanye West.

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Nick Knight is among the world’s most influential and visionary photographers, and founder and director of award-winning fashion website SHOWstudio.com.

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Nick Knight is among the world’s most influential and visionary photographers, and founder and director of award-winning fashion website SHOWstudio.com. As a fashion photographer, he has consistently challenged conventional notions of beauty and is fêted for his groundbreaking creative collaborations with leading designers including Yohji Yamamoto, John Galliano, Alexander McQueen. Advertising campaigns for the most prestigious clients such as Christian Dior, Lancôme, Swarovski, Tom Ford, Calvin Klein or Yves Saint Laurent as well as award-winning editorial for W, British Vogue, Paris Vogue, Dazed & Confused, Another, Another Man and i-D magazines have consistently kept Knight at the vanguard of progressive image-making for the past three decades. He has directed award winning music videos for Bjork, Lady Gaga and Kanye West. His first book of photographs, Skinheads, was published in 1982, winning a DandAD award in 1996. He has since produced Nicknight, a twelve year retrospective, and Flora, a series of flower pictures, both published by Schirmer Mosel. His latest book entitled Nick Knight was published by Harper Collins in 2009 .His work has been exhibited at such international art institutions as the Tate Modern, Victoria & Albert Museum, Saatchi Gallery, the Photographers’ Gallery, Hayward Gallery and the Gagosian Gallery. In 1993, he also produced a permanent installation, Plant Power, for the Natural History Museum in London.

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Nick Knight is among the world’s most influential and visionary photographers, and founder and director of award-winning fashion website SHOWstudio.com. As a fashion photographer, he has consistently challenged conventional notions of beauty and is fêted for his groundbreaking creative collaborations with leading designers including Yohji Yamamoto, John Galliano, Alexander McQueen. Advertising campaigns for the most prestigious clients such as Christian Dior, Lancôme, Swarovski, Tom Ford, Calvin Klein or Yves Saint Laurent as well as awardwinning editorial for W, British Vogue, Paris Vogue, Dazed & Confused, Another, Another Man and i-D magazines have consistently kept Knight at the vanguard of progressive image-making for the past three decades. He has directed award winning music videos for Bjork, Lady Gaga and Kanye West. His first book of photographs, Skinheads, was published in 1982, winning a DandAD award in 1996. He has since produced Nicknight, a twelve year retrospective, and Flora, a series of flower pictures, both published by Schirmer Mosel. His latest book entitled Nick Knight was published by Harper Collins in 2009 .His work has been exhibited at such international art institutions as the Tate Modern, Victoria & Albert Museum, Saatchi Gallery, the Photographers’ Gallery, Hayward Gallery and the Gagosian Gallery.

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Nick Knight is among the world’s most influential and visionary photographers, and founder and director of award-winning fashion website SHOWstudio.com.

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NAME OF MAGAZIN Nick Knight is among the world’s most influential and visionary photographers, and founder and director of award-winning fashion website SHOWstudio.com. As a fashion photographer, he has consistently challenged conventional notions of beauty and is fêted for his groundbreaking creative collaborations with leading designers including Yohji Yamamoto, John Galliano, Alexander McQueen. Advertising campaigns for the most prestigious clients such as Christian Dior, Lancôme, Swarovski, Tom Ford, Calvin Klein or Yves Saint Laurent as well as award-winning editorial for W, British Vogue, Paris Vogue, Dazed & Confused, Another, Another Man and i-D magazines have consistently kept Knight at the vanguard of progressive image-making for the past three decades. He has directed award winning music videos for Bjork, Lady Gaga and Kanye West. His first book of photographs, Skinheads, was published in 1982, winning a DandAD award in 1996. He has since produced Nicknight, a twelve year retrospective, and Flora, a series of flower pictures, both published by Schirmer Mosel. His latest book entitled Nick Knight was published by Harper Collins in 2009 .His work has been exhibited at such international art institutions as the Tate Modern, Victoria & Albert Museum, Saatchi Gallery, the Photographers’ Gallery, Hayward Gallery and the Gagosian Gallery. Hent quid et volori conserum volorro ommolesseque provid que voluptaquam hic to blaceribus, entia aut ut accus, cum sint alitiorerum aut voluptium, ipit, sequae nonempore vel magnis mo que laccum quidem hication cuptat estium et ut facernam, sunt. Oviditatem. Udae. Ur? Pelitem perovitat ullestis solut ex eos doluptatem volorent optatum alique nistorecte vellit ellaborem aut etur, aut facepelitios maximolupta doluptati nulloru mquidunte pro ide doluptibus enditat ibearum ut molecabo. Aliquiat. Am, ab int harum alitatiosto es ex eati nonsequiatia corro is ea comnitis et il molorpo repere voluptatem quo quuntor atasperuptae maios eos nulparc imoluptatiur milia quuntia spicabo repero te net aut etur? Aperum quias sequidu cillaccae ommodit, id quod eaturep taquiscipid unt. Lenimuscid quiaspicium vel molorro vercieni aut harum voluptia si auta dolorectiis ad quas autest, temporiatiis auta velent, non pore voleste exerum, sed ut expedipita aut et

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Lancôme, Swarovski, Tom Ford, Calvin Klein or Yves Saint Laurent as well as award-winning editorial for W, British Vogue, Paris Vogue, Dazed & Confused, Another, Another Man and i-D magazines have consistently kept Knight at the vanguard of progressive image-making for the past three decades. He has directed award winning music videos for Bjork, Lady Gaga and Kanye West. His first book of photographs, Skinheads, was published in 1982, winning a DandAD award in 1996. He has since produced Nicknight, a twelve year retrospective, and Flora, a series of flower pictures, both published by Schirmer Mosel. His latest book entitled Nick Knight was published by Harper Collins in 2009 .His work has been exhibited at such international art institutions as the Tate Modern, Victoria & Albert Museum, Saatchi Gallery, the Photographers’ Gallery, Hayward Gallery and the Gagosian Gallery. Hent quid et volori conserum volorro ommolesseque provid que voluptaquam hic to blaceribus, entia aut ut accus, cum sint alitiorerum aut voluptium, ipit, sequae nonempore vel magnis mo que laccum quidem hication cuptat estium et ut facernam, sunt. Oviditatem. Udae. Ur? Pelitem perovitat ullestis solut ex eos doluptatem volorent optatum alique nistorecte vellit ellaborem aut etur, aut facepelitios maximolupta doluptati nulloru mquidunte pro ide doluptibus enditat ibearum ut molecabo. Aliquiat. Am, ab int harum alitatiosto es ex eati nonsequiatia corro is ea comnitis et il molorpo repere voluptatem quo quuntor atasperuptae maios eos nulparc imoluptatiur milia quuntia spicabo repero te net aut etur? Aperum quias sequidu cillaccae ommodit, id quod eaturep taquiscipid unt. Lenimuscid quiaspicium vel molorro vercieni aut harum voluptia si auta dolorectiis ad quas autest, temporiatiis auta velent, non pore voleste exerum, sed ut expedipita aut et alit et estinve lendele ctorionsequi dolupta sitaque labore omnia commoditibea sinvent aut inciae nobit volupis et venissi untes digenieni offiction re magnate molorer chilibus untium a quatusda deliqui untusam quam, nimus dellandia doluptam nessitas aut et ex estrum fugiti quunti opta cum volore et omnitassum, essimod igenis eos aborrunt ad et animporit, core pa quam, cum quibus res dolor a peruntiatem fuga. Pudissi doluptatibus adit alit optiatassit re acero dolupta tecumque voluptas maximet vendeliquat.

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for his groundbreaking creative collaborations with leading designers including Yohji Yamamoto, John Galliano, Alexander McQueen. Advertising campaigns for the most prestigious clients such as Christian Dior, LancĂ´me, Swarovski, Tom Ford, Calvin Klein or Yves Saint Laurent as well as award-winning editorial for W, British Vogue, Paris Vogue, Dazed & Confused, Another, Another Man and i-D magazines have consistently kept Knight at the vanguard of progressive image-making for the past three decades. He has directed award winning music videos for Bjork, Lady Gaga and Kanye West. His first book of photographs, Skinheads, was published in 1982, winning a DandAD award in 1996. He has since produced Nicknight, a twelve year retrospective, and Flora, a series of flower pictures, both published by Schirmer Mosel. His latest book entitled Nick Knight was published by Harper Collins in 2009 .His work has been exhibited at such international art institutions as the Tate Modern, Victoria & Albert Museum, Saatchi Gallery, the Photographersâ&#x20AC;&#x2122; Gallery, Hayward Gallery and the Gagosian Gallery. Hent quid et volori conserum volorro ommolesseque provid que voluptaquam hic to blaceribus, entia aut ut accus, cum sint alitiorerum aut voluptium, ipit, sequae nonempore vel magnis mo que laccum quidem hication cuptat estium et ut facernam, sunt. Oviditatem. Udae. Ur? Pelitem perovitat ullestis solut ex eos doluptatem volorent optatum alique nistorecte vellit ellaborem aut etur, aut facepelitios maximolupta doluptati nulloru mquidunte pro ide doluptibus enditat ibearum ut molecabo. Aliquiat. Am, ab int harum alitatiosto es ex eati nonsequiatia corro is ea comnitis et il molorpo repere voluptatem quo quuntor atasperuptae maios eos nulparc imoluptatiur milia quuntia spicabo repero te net aut etur? Aperum quias sequidu cillaccae ommodit, id quod eaturep taquiscipid unt. Lenimuscid quiaspicium vel molorro vercieni aut harum voluptia si auta dolorectiis ad quas autest, temporiatiis auta velent, non pore voleste exerum, sed ut expedipita aut et alit et estinve lendele ctorionsequi dolupta sitaque labore omnia commoditibea sinvent aut inciae nobit volupis et venissi untes digenieni offiction re magnate molorer chilibus untium a quatusda deliqui untusam quam, nimus dellandia doluptam nessitas aut et ex estrum fugiti quunti opta cum volore et omnitassum, essimod igenis eos aborrunt ad et animporit, core pa quam, cum quibus res dolor a peruntiatem fuga. Pudissi doluptatibus adit alit optiatassit re acero dolupta tecumque voluptas maximet vendeliquat. Osae num fuga. Ulpa nos et ea sint etur si cuptatur

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David Carson (born September 8, 1955[1]) is an American graphic designer, art director and surfer. He is best known for his innovative magazine design, and use of experimental typography. He was the art director for the magazine Ray Gun, in which he employed much of the typographic and layout style for which he is known. In particular, his widely imitated aesthetic defined the so-called “grunge typography” era. In 1995, Carson left Ray Gun to found his own studio, David Carson Design, in New York City. He started to attract major clients from all over the United States. During the next three years (1995–1998), Carson was doing work for Pepsi Cola, Ray Ban (orbs project), Nike, Microsoft, Budweiser, Giorgio Armani, NBC, American Airlines and Levi Strauss Jeans, and later worked for a variety of new clients, including AT&T Corporation, British Airways, Kodak, Lycra, Packard Bell, Sony, Suzuki, Toyota, Warner Bros., CNN, Cuervo Gold, Johnson AIDS Foundation, MTV Global, Prince, Lotus Software, Fox TV, Nissan, quiksilver, Intel, Mercedes-Benz, MGM Studios and Nine Inch Nails. He named and designed the first issue of the adventure lifestyle magazine Blue, in 1997. David designed the first issue and the first three covers. Carson’s cover design for the first issue was selected as one of the “top 40 magazine covers of all time” by the American Society of Magazine Editors.[5] In 2000, Carson closed his New York City studio and followed his children to Charleston, South Carolina, where their mother had relocated them. Since then he has lived in San Diego, Seattle, Zurich, and Tortola . Currently he lives and works in NYC. In 2004, Carson became the freelance Creative Director of the Gibbes Museum of Art in Charleston. That year, he also designed the special “Exploration” edition of Surfing Magazine and directed a variety of TV commercials, including Lucent Technologies, Budweiser, American Airlines, Xerox, UMPQUA Bank and numerous others. In 2011 Carson worked as worldwide creative director for Bose Corporation. He also served as Design Director for the 2011 Quiksilver Pro Surfing contest in Biarritz, France, and designed the branding for the 2012 Quiksilver Pro in New York City. He designed a set of three posters for the San Sebastián International Film Festival in Spain and the covers for Huck, Little White Lies, and Monster Children magazines. He has been featured in over 280 interviews worldwide. The international design magazine CASA called Carson, in a cover story in 2014 “The Most Famous Graphic Designer in the World”. Carson was invited to judge the European Design Awards in London (DD+A) in both 2010 and 2011, and was the keynote speaker of the Fuse branding conference in Chicago in 2014 and the international creativity festival in Dubai in 2015. Since 2010, he has lectured, held workshops and exhibitions across Europe, South America and the United States. in 2015, Carson was commissioned to design the posters and publicity for the Harvard Graduate School of Design, for the 2015–2016 school year, including a set of over 30 poster designs for events and speaker series.

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In the 1970s Kalman worked at a small New York City bookstore that eventually became Barnes & Noble. He later became the supervisor of their in-house design department. In 1979 Kalman, Carol Bokuniewicz, and Liz Trovato started the design firm M & Co., which did corporate work for such diverse clients as the Limited Corporation, the new wave group Talking Heads, and Restaurant Florent in New York City’s Meatpacking District.[5] Kalman also worked as creative director of Interview magazine in the early 1990s. Kalman became founding editor-in-chief of the Benettonsponsored Colors magazine in 1990. In 1993, Kalman closed M & Co. and moved to Rome, to work exclusively on the magazine.[3] Billed as ‘a magazine about the rest of the world’, Colors focused on multiculturalism and global awareness. This perspective was communicated through bold graphic design, typography, and juxtaposition of photographs and doctored images, including a series in which highly recognizable figures such as the Pope and Queen Elizabeth were depicted as racial minorities. Later life[edit] Kalman remained the main creative force behind Colors, until the onset of non-Hodgkins lymphoma forced him to leave in 1995, and return to New York. In 1997, Kalman re-opened M&Co and continued to work until his death in 1999 in Puerto Rico, shortly before a retrospective of his graphic design work entitled Tiborocity opened its U.S. Tour of the San Francisco Museum of Modern Art. A book about Kalman and M&Co’s work, Tibor Kalman: Perverse Optimist, was published by Princeton Architectural Press in 1999. Today the influence of M&Co is still strong, both as a result of its work and that of the many designers, like Stefan Sagmeister, Stephen Doyle, Alexander Isley, Scott Stowell, and Emily Oberman, who worked there and went on to start their own design studios in New York City. Howard Milton and Jay Smith who worked with Kalman in 1979 went on to found Smith & Milton in London. Tibor Kálmán was a member of Alliance Graphique Internationale (AGI) and one of the 33 signers of the First Things First 2000 manifesto.

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In her youth, Anderson used to create Jackson 5 and Partridge Family pretend magazines. As she got older, she began to look into what was then called “commercial art” as a possible career field.[2] She graduated from the School of Visual Arts with a BFA in 1984,[3] where she was taught by Paula Scher.[4] Upon graduating, she worked as a designer at Vintage Books (Random House) and then worked at The Boston Globe Sunday Magazine from 1985 to 1987.[5] She became the senior art director of Rolling Stone, where she worked for fifteen years from 1987 to 2002, starting out as a designer and deputy art director.[6] In 2002, she became the creative director at SpotCo, an agency specializing in advertising for the arts and entertainment, where she stayed until 2010. [7] Her first piece for Spotco was a subway poster for the play [Harlem Song].[2] Anderson was also in charge of the typeface library at SpotCo during her time there.[7] She is currently a partner at Anderson Newton Design with Joe Newton.[8] Anderson is a faculty member at the School of Visual Arts in the Designer as Author MFA department,[5] where she also teaches graduate, undergraduate, and pre-college courses in graphic design.[1] She was among AIGA’s 2008 medalists to recognize her accomplishments in Graphic Design.[7] She serves on the advisory board for the Adobe Design Achievement Awards. [5] Anderson served as the Director-At-Large for the Type Directors Club from 2014 to 2016.[9] Working with Steven Heller for over twenty years,[5] she has co-published books on graphic design including New Modernist Type, American Typeplay, The Savage Mirror, and Graphic Wit.[1] Her philosophy for type design is that “the process has to be fun and you need to be willing to step outside your comfort zone”[7] Anderson is a contributor to magazines like Imprint and Uppercase.[10]

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Neville Brody (born 23 April 1957) is an English graphic designer, typographer and art director.[1] Neville Brody is an alumnus of the London College of Communication and Hornsey College of Art, and is known for his work on The Face magazine (1981–1986), Arena magazine (1987–1990), as well as for designing record covers for artists such as Cabaret Voltaire, The Bongos, and Depeche Mode. He created the company Research Studios in 1994 and is a founding member of Fontworks. His work is included in the permanent collection of the Museum of Modern Art (MoMA).[2] He is the Head of the Communication Art & Design department at the Royal College of Art, London. Brody’s experimentation with his self-made sans-serif typography, along with his Pop Art and Dadaism influence, caught the attention of music record companies such as Fetish Records and Stiff records after he left college. His record cover designs lead toward a grudgy and a punk scene. The album Micro-Phonies by Cabaret Voltaire was art directed by Brody in 1984. His infamous typography features on the front and a bandaged figure spouting liquid from the mouth stares blankly at the viewer.[4] Brody made his name largely popular through his revolutionary work as an art director for “The Face” Magazine. He changed up the “basic” and “structural” rules that existed in the British culture into a more artsy and vibrant aesthetic. His designs provoked some form of emotion to the extent that people would stick to one page instead of turning pages like they would normally do when reading a novel. Other international magazine and newspaper directions have included City Limits, Lei, Per Lui, Actuel and Arena, together with the radical new look for two leading British newspapers The Guardian and The Observer (both newspaper and magazine).[citation needed] Brody has pushed the boundaries of visual communication in all media through his experimental and challenging work, and continues to extend the visual languages we use through his exploratory creative expression. In 1988 Thames & Hudson published the first of two volumes about his work, which became the world’s best selling graphic design book.[citation needed] Combined sales now exceed 120,000.[citation needed] An accompanying exhibition of his work at the Victoria and Albert Museum attracted over 40,000 visitors[citation needed] before touring Europe and Japan. Amongst countless other projects, in 1989, upon request by the then-director Gerhard Coenen, to Neville Brody, the young Swiss graphic artist and typeface designer Cornel Windlin, then working at the then called “Neville Brody Studio” designed the Corporate Identity for the Haus der Kulturen der Welt (House of World Cultures) in Berlin, Germany. Subsequently, Brody, Windlin, and staff Simon Staines, Giles Dunn and others visited Berlin more than once on projects; resulting in several collaborations with Berlin-based graphic artist and typeface-designer Kolja Gruber and artist Nina Fischer for the Haus der Kulturen der Welt in the following years.

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Herbert F. “Herb” Lubalin (pron. “loo-ba’-len”; March 17, 1918 – May 24, 1981) was an American graphic designer. He collaborated with Ralph Ginzburg on three of Ginzburg’s magazines: Eros, Fact, and Avant Garde, and was responsible for the creative visual beauty of these publications. He designed a typeface, ITC Avant Garde, for the last of these; this font could be described as a reproduction of art-deco, and is seen in logos created in the 1990s and 2000s. Lubalin’s private studio gave him the freedom to take on any number of wide-ranging projects, from poster and magazine design to packaging and identity solutions. It was here that the designer became best known, particularly for his work with a succession of magazines published by Ralph Ginzburg: Eros, Fact, and Avant Garde.[4] Eros, (Spring 1962 to issue four 1963) which devoted itself to the beauty of the rising sense of sexuality and experimentation, particularly in the burgeoning counterculture, it was a quality production with no advertising and the large format (13 by 10 inches) made it look like a book rather than a quarterly magazine. It was printed on different papers and the editorial design was some the greatest that Lubalin ever did. It quickly folded after an obscenity case brought by the US Postal Service. Ginzburg and Lubalin followed with Fact, largely founded in response to the treatment Eros received. This magazine’s inherent anti-establishment sentiment lent itself to outsider writers who could not be published in mainstream media; Fact managing editor Warren Boroson noted that “most American magazine, emulating the Reader’s Digest, wallow in sugar and everything nice; Fact has had the spice all to itself.”[4] Rather than follow with a shocking design template for the publication, Lubalin chose an elegant minimalist palette consisting of dynamic serifed typography balanced by high-quality illustrations. The magazine was printed on a budget, so Lubalin stuck with black and white printing on uncoated paper, as well as limiting himself to one or two typefaces and paying a single artist to handle all illustrations at bulk rate rather than dealing with multiple creators. The end result was one of dynamic minimalism that emphasized the underlying sentiment of the magazine better than “the scruffy homemade look of the underground press (or the) screaming typography of sensationalist tabloids” ever could.[4] Fact itself folded in controversy as Eros before it, after being sued for several years by Barry Goldwater, the Republican presidential candidate about whom Fact wrote an article entitled “The Unconscious of a Conservative: A special Issue on the Mind of Barry Goldwater.” Goldwater was awarded a total of $90,000, effectively putting Fact out of business.[4]

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On nights and weekends away from the Ballets Russes, Brodovitch began sketching designs for textiles, china, and jewelry. By the time his work for the ballet had finished, he had already compiled an extensive portfolio of these side projects and was selling his designs to fashionable shops.[12] He worked part-time doing layouts for Cahiers d’Art, an important art journal, and Arts et Métiers Graphiques, an influential design magazine. While working on layouts, Brodovitch was responsible for fitting together type, photographs, and illustrations on the pages of the magazines. He had the rare opportunity of having influence over the look of the magazine as there was no art director. [13] The Bal Banal poster on the streets of Paris He gained public recognition for his work in the commercial arts by winning first prize in a poster competition for an artists’ soiree called Le Bal Banal on March 24, 1924. The poster was exhibited on walls all over Montparnasse along with a drawing by Picasso, who took second place. [14] Brodovitch remained proud of this poster throughout his career, always keeping a copy of it pinned to his studio wall. The graphic, light-to-dark inversion of its mask shape, type, and background suggest not only the process of photography, but also represents the process of trading one’s identity for another when wearing a mask.[15] It is the oldest surviving work by Brodovitch. He continued to gain recognition as an applied artist due to his success at the Paris International Exhibit of the Decorative Arts in 1925. He received five medals: three gold medals for kiosk design and jewelry, two silver medals for fabrics, and the top award for the Beck Fils pavilion “Amour de l’Art.”[16] After these wins, Brodovitch’s career as an applied artist took off. In 1928 he was hired by Athélia, the design studio of the Parisian department store Aux Trois Quartiers, to design and illustrate catalogues and advertisements for their luxury men’s boutique, Madelios.[17] Brodovitch was aware that many of the customers were fairly traditional in their tastes, so he balanced out his modern designs with classical Greek references. An ad for Athélia by Brodovitch Although employed full-time by Athélia, Brodovitch offered his service as a freelance designer on the side. He started his own studio, L’Atelier A.B., where he produced posters for various clients, including Union Radio Paris and the Cunard shipping company. He was also commissioned by the Parisian publishing house La Pléiade to illustrate three books: Nouvelles by Alexander Pushkin, Contes Fantastiques by Fyodor Dostoyevsky, and Monsieur de Bougrelon by Jean Lorrain.[18] Brodovitch embraced technical developments from the spheres of industrial design, photography, and contemporary painting. His broad curiosity began to assimilate the most interesting aspects of all these fields into his work, eventually making them his own.[14] He later instilled this same curiosity in his students, encouraging them to use new techniques like the airbrush, industrial lacquers, flexible steel needles, and surgical knives.[19] By the age of 32, Brodovitch had dabbled in producing posters, china, jewelry, textiles, advertisements, and paintings. Eventually specializing in advertising and graphic design, he had become one of the most respected designers of commercial art in Paris. By 1930, however, Paris had lost its luster for Brodovitch. The once-flourishing spirit of adventure and experimentation was fading away. Although he was offered many design positions, Brodovitch turned them down, presumably looking for new locales to advance his designs.

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A long-standing commitment to experimenting with the latest technologies led to Knight launching his fashion website SHOWstudio in 2000, with an aim, in Knight’s own words, of ‘showing the entire creative process from conception to completion.’ SHOWstudio has pioneered fashion film and is now recognised as the leading force behind this new medium, offering a unique platform to nurture and encourage fashion to engage with moving image in the digital age.

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In 1993, he also produced a permanent installation, Plant Power, for the Natural History Museum in London.

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is based on the belief that showing the entire creative process - from conception to completion - is beneficial for the artist, the audience and the art itself.

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A fastidious worker, Knight always wears the same outfit to shoot in - and the jeans were specially commissioned when they went out of production. Knightâ&#x20AC;&#x2122;s website, SHOWstudio.com, is an innovative fashion multimedia workshop which collaborates with leading creatives.

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Knight lives with his wife and three children in London. He was awarded the OBE in 2010 for his services to the arts. He is an honorary professor of the University of the Arts London and was awarded an honorary PHD by the same university.

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In 1993, he also produced a permanent installation, Plant Power, for the Natural History Museum in London. A long-standing commitment to experimenting with the latest technologies led to Knight launching his fashion website SHOWstudio in 2000, with an aim, in Knight’s own words, of ‘showing the entire creative process from conception to completion.’ SHOWstudio has pioneered fashion film and is now recognised as the leading force behind this new medium, offering a unique platform to nurture and encourage fashion to engage with moving image in the digital age. Since its inception, SHOWstudio has worked with the world’s most soughtafter filmmakers, writers and influential cultural figures to create visionary online content, exploring every facet of fashion through moving image, illustration, photography and the written word. A fastidious worker, Knight always wears the same outfit to shoot in - and the jeans were specially commissioned when they went out of production. Knight’s website, SHOWstudio.com, is an innovative fashion multimedia workshop which collaborates with leading creatives. Knight lives with his wife and three children in London. He was awarded the OBE in 2010 for his services to the arts. He is an honorary professor of the University of the Arts London and was awarded an honorary PHD by the same university.

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Nick Knight is among the world’s most influential and visionary photographers, and founder and director of award-winning fashion website SHOWstudio. com.

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As a fashion photographer, he has consistently challenged conventional notions of beauty and is fêted for his groundbreaking

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creative collaborations with leading designers including Yohji Yamamoto, John Galliano, Alexander McQueen. Advertising campaigns for the most prestigious clients such as Christian Dior, Lancôme, Swarovski, Tom Ford, Calvin Klein or Yves Saint Laurent as well as award-winning editorial for W, British Vogue, Paris Vogue, Dazed & Confused, Another, Another Man and i-D magazines have consistently kept Knight at the vanguard of progressive imagemaking for the past three decades. He has

directed award winning music videos for Bjork, Lady Gaga and Kanye West.

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In 1993, he also produced a permanent installation, Plant Power, for the Natural History Museum in London. A long-standing commitment to experimenting with the latest technologies led to Knight launching his fashion website SHOWstudio in 2000, with an aim, in Knight’s own words, of ‘showing the entire creative process from conception to completion.’ SHOWstudio has pioneered fashion film and is now recognised as the leading force behind this new medium, offering a unique platform to nurture and encourage fashion to engage with moving image in the digital age. A long-standing commitment to experimenting with the latest technologies led to Knight launching his fashion website SHOWstudio in 2000, with an aim, in Knight’s own words, of ‘showing the entire creative process from conception to completion.’ SHOWstudio has pioneered fashion film and is now recognised as the leading force behind this new medium, offering a unique platform to nurture and encourage fashion to engage with moving image in the digital age. Since its inception, SHOWstudio has worked with the world’s most sought-after filmmakers, writers and influential cultural figures to create visionary online content, exploring every facet of fashion through moving image, illustration, photography and the written word.

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is based on the belief that showing the entire creative process - from conception to completion - is beneficial for the artist, the audience and the art itself.

Since its inception, SHOWstudio has worked with the worldâ&#x20AC;&#x2122;s most soughtafter filmmakers, writers and influential cultural figures to create visionary online content, exploring every facet of fashion through moving image, illustration, photography and the written word. A fastidious worker, Knight always wears the same outfit to shoot in - and the jeans were specially commissioned when they went out of production. Knightâ&#x20AC;&#x2122;s website, SHOWstudio.com, is an innovative fashion multimedia workshop which collaborates with leading creatives.

Knight was one of the first and most high profile imagemakers to adopt digital film as a medium for showing fashion. Knight made fashion history in November 1993 by adapting ringflash photography to capture Linda Evangelista for a landmark, postgrunge cover of British Vogue. Since then, his work has graced no fewer than 36 covers. Editorially Knight has been decorated for his editorial work for Vogue, Dazed & Confused, i-D, The Face, W Magazine, Another Magazine, Arena Homme + and Visionaire, and the 2004 edition of the Pirelli Calendar.

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In 1993, he also produced a permanent installation, Plant Power, for the Natural History Museum in London. A long-standing commitment to experimenting with the latest technologies led to Knight launching his fashion website SHOWstudio in 2000, with an aim, in Knight’s own words, of ‘showing the entire creative process from conception to completion.’ SHOWstudio has pioneered fashion film and is now recognised as the leading force behind this new medium, offering a unique platform to nurture and encourage fashion to engage with moving image in the digital age. A long-standing commitment to experimenting with the latest technologies led to Knight launching his fashion website SHOWstudio in 2000, with an aim, in Knight’s own words, of ‘showing the entire creative process from conception to completion.’ SHOWstudio has pioneered fashion film and is now recognised as the leading force behind this new medium, offering a unique platform to nurture and encourage fashion to engage with moving image in the digital age. Since its inception, SHOWstudio has worked with the world’s most sought-after filmmakers, writers and influential cultural figures to create visionary online content, exploring every facet of fashion through moving image, illustration, photography and the written word.

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is based on the belief that showing the entire creative process - from conception to completion - is beneficial for the artist, the audience and the art itself.

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In 1993, he also produced a permanent installation, Plant Power, for the Natural History Museum in London. A long-standing commitment to experimenting with the latest technologies led to Knight launching his fashion website SHOWstudio in 2000, with an aim, in Knight’s own words, of ‘showing the entire creative process from conception to completion.’ SHOWstudio has pioneered fashion film and is now recognised as the leading force behind this new medium, offering a unique platform to nurture and encourage fashion to engage with moving image in the digital age. A long-standing commitment to experimenting with the latest technologies led to Knight launching his fashion website SHOWstudio in 2000, with an aim, in Knight’s own words, of ‘showing the entire creative process from conception to completion.’ SHOWstudio has pioneered fashion film and is now recognised as the leading force behind this new medium, offering a unique platform to nurture and encourage fashion to engage with moving image in the digital age. Since its inception, SHOWstudio has worked with the world’s most sought-after filmmakers, writers and influential cultural figures to create visionary online content, exploring every facet of fashion through moving image, illustration, photography and the written word.

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In 1993, he also produced a permanent installation, Plant Power, for the Natural History Museum in London. A long-standing commitment to experimenting with the latest technologies led to Knight launching his fashion website SHOWstudio in 2000, with an aim, in Knight’s own words, of ‘showing the entire creative process from conception to completion.’ SHOWstudio has pioneered fashion film and is now recognised as the leading force behind this new medium, offering a unique platform to nurture and encourage fashion to engage with moving image in the digital age. A long-standing commitment to experimenting with the latest technologies led to Knight launching his fashion website SHOWstudio in 2000, with an aim, in Knight’s own words, of ‘showing the entire creative process from conception to completion.’ SHOWstudio has pioneered fashion film and is now recognised as the leading force behind this new medium, offering a unique platform to nurture and encourage fashion to engage with moving image in the digital age. Since its inception, SHOWstudio has worked with the world’s most sought-after filmmakers, writers and influential cultural figures to create visionary online content, exploring every facet of fashion through moving image, illustration, photography and the written word.

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Font studies: Interstate and Corporate

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Optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOmnitiist aut es ut labor as earion necerum quuntib erferibus, sam restiis ma cores ut harciis aut doluptia qui dolorpor molupta cum eatur? Nobitas event reictotatis pedi odit laborro volore si archilla as aut voloremquias dolorem porume mi, cus volore doluptatam liqui ima as porrum etur atinctem remqui am raturem aut volende rsperferiate nobis quatet, vendendandi volorro cus audipsumquat liquiant omnisim olupta diat omnis acimint quisime cum corit hillo eum ut hiciam, non etur, oditat qui apis aut elit veria ped quaeper ioremol uptaten daecessinum, id milisqui dolorum estrum aut volupta spelecte pla sam, qui dollent paria adioribus reicipi cienimu sciandae doluptam faceat dis si il ipsapita quia delit et, conessi minullab id everiberit mo beati re volest, sandae lab imusam, est vel ipsapellat quassequi vita doloribus mo to et labo. Et ulluptatur am fugit magnihil et aces aliquam endis modis essin nimoluptatem dolorum suntur sam conecer sperum ne min reperspedit hario. Hic te explatem sinum nonsequi berrum ventur autem. Nam quas explis eiusti. In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta voluptatur? Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci Sus doloreptur?

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facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci dolenim aiorepeliqui occupta spedipidic te vendi dem dolorepercia evenit que voluptate vellupt atibere prepel ma consedi ilit deriore perspitia quatibus mi, consequatem ipsunt ut dolorro rerionsequi sequi dus arcipsandus doluptatqui non es sum conecae qui voluptatus et lab ius dolupta tibusae magnatus mos si berunt laciis aut vel is expelent ad excest, te pre, officaborum quas velessum fuga. Sus doloreptur? Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat. Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

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FEATURED PHOTOGRAPHER 2

THE WORK OF NICK KNIGHT

BY S H YSTA PA N D E Y

STAGING THE

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Knight is still playing – mention the label “photographer” and it rankles him. “It’s a very restrictive description of what one does,” says he. “I feel if one has a restrictive vision of what one is, that stops you from expanding and being free to paint a wall one day, or create or sculpture. I don’t feel you should be restricted by one particular medium. I’ll happily work from film, to sculpture, to photography.” As a fashion photographer, he has consistently challenged conventional notions of beauty and is fêted for his groundbreaking creative collaborations with leading designers including Yohji Yamamoto, John Galliano and Alexander McQueen. Advertising campaigns for the most prestigious clients such as Christian Dior, Lancôme, Swarovski, Tom Ford, Calvin Klein or Yves Saint Laurent as well as award-winning editorial for W, British Vogue, Paris Vogue, Dazed & Confused, Another, Another Man and i-D magazines have consistently kept Knight at the vanguard of progressive image-making for the past three decades. He has directed award winning music videos for Bjork, Lady Gaga and Kanye West.

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Photography for Knight, however, wasn’t the original choice. Initially, he enrolled to study human biology, the first step to becoming a doctor. He has confessed to occasionally wondering if studying medicine would have been a better choice. “Photography was a way of having some sort of social purpose, I guess,” he

said, with hindsight, in a live online interview in 2006. “That’s an elevated way of saying, ‘It was a way of chatting up girls!’ That’s the truth. It started very mundanely, as a bit of social interaction. But I took it up as a career because I was doing something I hated [human biology], something I thought I had to do, to get to medicine. Photography was not on my path – it was a pleasure... Photography was the only thing I was any good at, the only thing in my education that I shone at.” He still does. But Knight has nevertheless chafed at photographic convention. “When I first started, there were an awful lot of presumptions about photography,” he reasons. “I began changing photography, painting on negatives, collages, a very manipulative approach.” Indeed: in the Nineties, Knight pioneered digital image-making, retouching and printing, not only investigating technological boundaries, but blurring the line between real and fantasy. He impaled the designer Lee Alexander McQueen on a digital bed of nails, morphed men into monsters, women into blow-up dolls, and sometimes men and women simply into each other.

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/ I feel if one has a restrictive vision of what one is, that stops you from expanding and being free to paint a wall one day, or create or sculpture /

Knight enjoys transgressing boundaries – past, present, and future. Example: he recently completed a series of monolithic, impressionist views of roses, dribbly six-foot-something images that resemble photographic “paintings”. Knight would prefer to nix those quotations. “They are paintings,” insists Knight. “It’s the ink that gets shot out of the printer. But I’ve treated the paper so it can’t be absorbed. So you’re no longer dealing with the photographic process, you’re dealing with paint on paper. It’s to do with the orientation, with gravity, with moisture, with the chemicals we put in the dye… I think it’s interesting when all the boundaries are spreading and dissolving very quickly. This allows people to apply the laws of one medium to a different medium.” Knight studied photography at Bournemouth and Poole College of Art and Design and published his first book of photographs ‘Skinhead’ in 1982 when he was still a student at the school. He was then commissioned by i-D editor Terry Jones to create a series of portraits for magazine’s fifth-anniversary issue. His work caught the attention of art director Marc Ascoli, who commissioned Knight to shoot the 1986 catalog of Japanese designer Yohji Yamamoto in collaboration with Peter Saville. His first book of photographs, Skinheads, was published in 1982, winning a DandAD award in 1996. He has since produced Nicknight, a twelve year retrospective, and Flora, a series of flower pictures, both published by Schirmer Mosel. His latest book

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ntitled Nick Knight was published by Harper Collins in 2009 His work has been exhibited at such international art institutions as the Tate Modern, Victoria & Albert Museum, Saatchi Gallery, he Photographers’ Gallery, Hayward Gallery and the Gagosian Gallery. In 1993, he also produced a permanent installation, Plant Power, for the Natural History Museum in London.

A long-standing commitment to experimenting with the latest echnologies led to Knight launching his fashion website SHOWstudio in 2000, with an aim, in Knight’s own words, of ‘showing the entire creative process from conception to ompletion.’ SHOWstudio has pioneered fashion film and is now ecognized as the leading force behind this new medium, offering a unique platform to nurture and encourage fashion to engage with moving image in the digital age. Since its inception, SHOWstudio has worked with the world’s most sought-after filmmakers, writers and influential cultural figures to create visionary online ontent, exploring every facet of fashion through moving image, llustration, photography and the written word. “The main reason, f you want, to start SHOWstudio was the realisation that clothes are made to be seen in movement,” he states, emphatically. “We’ve accepted that the way to represent clothes is by static image. I went over that again and again in my mind, and I thought ‘Well, his can’t be true to the designer’s vision’, because the designer always imagines them to be in movement. So there was a desire o really get closer to the designer’s original vision and that’s

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something that’s given rise to fashion film, and it’s very much a feeling that it’s a better way of showing fashion.” A fastidious worker, Knight always wears the same outfit to shoot in - and the jeans were specially commissioned when they went out of production. Knight’s website, SHOWstudio.com, is an innovative fashion multimedia workshop which collaborates with leading creatives. Knight lives with his wife and three children in London. He was awarded the OBE in 2010 for his services to the arts. He is an honorary professor of the University of the Arts London and was awarded an honorary PHD by the same university. Knight was one of the first and most high profile imagemakers to adopt digital film as a medium for showing fashion. Knight made fashion history in November 1993 by adapting ring-flash photography to capture Linda Evangelista for a landmark, postgrunge cover of British Vogue. Since then, his work has graced no fewer than 36 covers.

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Editorially Knight has been decorated for his editorial work for Vogue, Dazed & Confused, i-D, The Face, W Magazine, Another Magazine, Arena Homme + and Visionaire, and the 2004 edition of the Pirelli Calendar. The image-maker Nick Knight cuts a remarkably sober figure. Conservative, even. He wears sharply tailored bespoke Savile Row suits, with an affinity for the fuss-free cuts of Carlo Brandelli at Kilgour. The only sign of radicalism is his eschewing of a tie and unfastening of a top shirt button on an otherwise resolutely buttoned-up exterior. Appearances, however, can be deceiving. While Knight may not bear the outward imprimaturs of eccentricity – like the slashed lipstick, ubiquitous hats and ball gowns for daytime sported by the late, great and right honourable Isabella Blow – he is nevertheless one of the most original and ground-breaking fashion auteurs of the past half-century. Incidentally, Blow’s name is affixed to an accolade he’s receiving on Monday 23 November, the Isabella Blow Award for fashion creator, at the 2015 British Fashion Awards.

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Nick Knight’s reputation for pushing boundaries technically and creatively at every opportunity and being at the forefront of innovation is deeply attractive. He has worked on a range of often controversial issues during his career - from racism, disability, ageism, and more recently fat-ism. He continually challenges conventional ideals of beauty.

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THE WORK OF NICK KNIGHT

BY S H YSTA PA N D EY

STAGING THE

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/ I feel if one has a restrictive vision of what one is, that stops you from expanding and being free to paint a wall one day, or create or sculpture /

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A te SH of co re un m ha w co ill if ar ac w th al to

ntitled Nick Knight was published by Harper Collins in 2009 His work has been exhibited at such international art institutions s the Tate Modern, Victoria & Albert Museum, Saatchi Gallery, he Photographers’ Gallery, Hayward Gallery and the Gagosian Gallery. In 1993, he also produced a permanent installation, Plant ower, for the Natural History Museum in London.

A long-standing commitment to experimenting with the latest echnologies led to Knight launching his fashion website HOWstudio in 2000, with an aim, in Knight’s own words, f ‘showing the entire creative process from conception to ompletion.’ SHOWstudio has pioneered fashion film and is now ecognized as the leading force behind this new medium, offering a nique platform to nurture and encourage fashion to engage with moving image in the digital age. Since its inception, SHOWstudio as worked with the world’s most sought-after filmmakers, writers and influential cultural figures to create visionary online ontent, exploring every facet of fashion through moving image, lustration, photography and the written word. “The main reason, you want, to start SHOWstudio was the realisation that clothes re made to be seen in movement,” he states, emphatically. “We’ve ccepted that the way to represent clothes is by static image. I went over that again and again in my mind, and I thought ‘Well, his can’t be true to the designer’s vision’, because the designer lways imagines them to be in movement. So there was a desire o really get closer to the designer’s original vision and that’s

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HISTORICAL PHOTOGRAPHER 1 Richards work is instantly recognizable. Richard is not afraid to take the ugly and put it right in your face. So close to your face that you cannot help but see the beauty in it. His work, along with the team that he works with, is nothing short of surreal. Dazed and Confused has been a perfect fit for Richard, seemingly giving him free reign. We thank them for that.

D A Z E D

As far as hair goes, Richard works with the best in the business. From our buddy James Pecis, Bob Recine, to Rutger. You know the hair has to be something otherworldly to keep up with these high concepts. That being said, The hair does not steal the show, nor should it. This is one of the reason we do not feature much work from the likes of NAHA, and other hairdressing competitions. We strongly feel that hair, while it is sometimes considered the most important feature in an editorial photograph, it is still only one player in the show. Often, regardless of the talent that goes into these over the top hair creations, the beauty is lost. The result is something that feels out of balance. There are times though, that the stylist and

PHOTOGRAPHY BY RICHARD BURBRIDGE BY S H YSTA PA N D EY

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the photographer harmonize, and create something great together, and the right judge will be there to recognize when this happens. “Richard Burbridge’s technically ambitious photography explores the alchemical properties of the medium. Transforming his subjects fashion, portraiture, beauty and still life photography, Burbridge subverts the expected. Based in New York for twenty years, his work covers fashion, beauty, portraiture and still life, and is regularly published in Italian Vogue, Dazed & Confused and The New Yorker. His advertising clients include Tom Ford, Chanel and Cartier.” In the rarefied atmosphere of fashion photography, Richard Burbridge’s unconventional photographs are a breath of fresh air. The UK native, who is part of the furniture at design bible i-D, has brought his hyper-attenuated eye and perfectionism to Harper’s Bazaar, W and French Vogue. Burbridge is also noted for his penetrating portraits of celebrities such as Sean Penn and Iggy Pop, as well as designers Alexander McQueen, Vivienne Westwood and Jeremy Scott.

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Richard began a career in photography in the early 1990s and moved to New York in 1993, where he is still based. His first contribution to i-D was a picture of an exploding firework, and he has gone on to shoot numerous i-D covers. Richard collects old scientific and optical devices and his interest in science is often reflected in his photography. Primarily a studio photographer, Richard also shoots a variety of subjects. He is currently working on a portrait exhibition. “Initially, I stayed away from fashion, but I’ve always thought fashion photography is some of the best photography there is. I was recently looking at next season’s advertising campaigns—like Versace, Dolce & Gabbana and Missoni—and I think it’s outstanding.” Richard Burbridge is one of the greatest fashion photographers alive. Kanye posted the mask series he did for Livraison Magazine, which is a good introduction to the kind of sharp, monochrome work he’s since done for Italian Vogue and Dazed and Confused(including their February 2013 Thom Yorke cover).

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Richard Burbridge regularly collaborates with fashion magazines such as Harper’s Bazaar, Numéro and Vogue. These last few years, he has even become one of i-D’s permanent photographers. Burbridge is a perfectionist but he is equally a futuristic. His shots are either very colored, black or white, graphic or aerial. Richard Burbridge has also been the photographer for the advertisement campaigns of Vivienne Westwood, Givenchy, Armani, Gucci and Calvin Klein, among others. Richard Burbridge is also known for his celebrity portraits. He has captured celebrities such as Sean Penn, Iggy Pop, Alexander McQueen, Vivienne Westwood, and Jeremy Scott.

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Recently, the fashion photographer has been called upon by the fast-food chain McDonald’s for their advertisement campaign. To underline the fact that everybody is welcome in this fast food restaurant, he displayed shots of anonymous people in the ad. His goal was to capture the reality in people’s face by focusing on their changing facial expression. The ad was a real success.

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Richards work is instantly recognizable. Richard is not afraid to take the ugly and put it right in your face. So close to your face that you cannot help but see the beauty in it. His work, along with the team that he works with, is nothing short of surreal. Dazed and Confused has been a perfect fit for Richard, seemingly giving him free reign. We thank them for that. As far as hair goes, Richard works with the best in the business. From our buddy James Pecis, Bob Recine, to Rutger. You know the hair has to be something otherworldly to keep up with these high concepts. That being said, The hair does not steal the show, nor should it. This is one of the reason we do not feature much work from the likes of NAHA, and other hairdressing competitions. We strongly feel that hair, while it is sometimes considered the most important feature in an editorial photograph, it is still only one player in the show. Often, regardless of the talent that goes into these over the top hair creations, the beauty is lost. The result is something that feels out of balance. There are times though, that the stylist and

PHOTOGRAPHY BY RICHARD BURBRIDGE BY S H YSTA PA N D EY

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In the rarefied atmosphere of fashion photography, Richard Burbridge’s unconventional photographs are a breath of fresh air. The UK native, who is part of the furniture at design bible i-D, has brought his hyper-attenuated eye and perfectionism to Harper’s Bazaar, W and French Vogue. Burbridge is also noted for his penetrating portraits of celebrities such as Sean Penn and Iggy Pop, as well as designers Alexander McQueen, Vivienne Westwood and Jeremy Scott.

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PHOTOGRAPHY BY RICHARD BURBRIDGE BY S H YSTA PA N D EY

D AZ E D Richards work is instantly recognizable. Richard is not afraid to take the ugly and put it right in your face. So close to your face that you cannot help but see the beauty in it. His work, along with the team that he works with, is nothing short of surreal. Dazed and Confused has been a perfect fit for Richard, seemingly giving him free reign. We thank them for that. As far as hair goes, Richard works with the best in the business. From our buddy James Pecis, Bob Recine, to Rutger. You know the hair has to be something otherworldly to keep up with these high concepts. That being said, The hair does not steal the show, nor should it. This is one of the reason we do not feature much work from the likes of NAHA, and other hairdressing competitions. We strongly feel that hair, while it is sometimes considered the most important feature in an editorial photograph, it is still only one player in the show. Often, regardless of the talent that goes into these over the top hair creations, the beauty is lost. The result is something that feels out of balance. There are times though, that the stylist and

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“Richard is not afraid to take the ugly and put it right in your face.”

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Molly Bair by Richard Burbridge

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HISTORICAL PHOTOGRAPHER 2

D A Z E D

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Unusal Concept by Richard Burbridge

This is one of the reason we do not feature much work from the likes of NAHA, and other hairdressing competitions. We strongly feel that hair, while it is sometimes considered the most important feature in an editorial photograph, it is still only one player in the show. Often, regardless of the talent that goes into these over the top hair creations, the beauty is lost. The result is something that feels out of balance. There are times though, that the stylist and

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Ladyfag by Richard Burbridge

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Wiman Combing Her Hair by Richard Burbridge

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Lindsey Wixson by Richard Burbridge

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Lindsey Wixson by Richard Burbridge

Sheen by Richard Burbridge

“Initially, I stayed away from fashion, but I’ve always thought fashion photography is some of the best photography there is. I was recently looking at next season’s advertising campaigns—like Versace, Dolce & Gabbana and Missoni—and I think it’s outstanding.” Richard Burbridge is one of the greatest fashion photographers alive. Kanye posted the mask series he did for Livraison Magazine, which is a good introduction to the kind of sharp, monochrome work he’s since done for Italian Vogue and Dazed and Confused(including their February 2013 Thom Yorke cover). Richard Burbridge regularly collaborates with fashion magazines such as Harper’s Bazaar, Numéro and Vogue. These last few years, he has even become one of i-D’s permanent photographers.

photographer for the advertisement campaigns of Vivienne Westwood, Givenchy, Armani, Gucci and Calvin Klein, among others. Richard Burbridge is also known for his celebrity portraits. He has captured celebrities such as Sean Penn, Iggy Pop, Alexander McQueen, Vivienne Westwood, and Jeremy Scott. Recently, the fashion photographer has been called upon by the fast-food chain McDonald’s for their advertisement campaign. To underline the fact that everybody is welcome in this fast food restaurant, he displayed shots of anonymous people in the ad. His goal was to capture the reality in people’s face by focusing on their changing facial expression. The ad was a real success.

Burbridge is a perfectionist but he is equally a futuristic. His shots are either very colored, black or white, graphic or aerial. Richard Burbridge has also been the

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Dazed and Confused by Richard Burbridge the photographer harmonize, and create something great together, and the right judge will be there to recognize when this happens. “Richard Burbridge’s technically ambitious photography explores the alchemical properties of the medium. Transforming his subjects fashion, portraiture, beauty and still life photography, Burbridge subverts the expected. Based in New York for twenty years, his work covers fashion, beauty, portraiture and still life, and is regularly published in Italian Vogue, Dazed & Confused and The New Yorker. His advertising clients include Tom Ford, Chanel and Cartier.” In the rarefied atmosphere of fashion photography, Richard Burbridge’s unconventional photographs are a breath of fresh air. The UK native, who is part of the furniture at design bible i-D, has brought his hyper-attenuated eye and perfectionism to Harper’s Bazaar, W and French Vogue. Burbridge is also noted for his penetrating portraits of celebrities such as Sean Penn and Iggy Pop, as well as designers Alexander McQueen, Vivienne Westwood and Jeremy Scott.

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“Richard is not afraid to take the ugly and put it right in your face.”

Ladyfag by Richard Burbridge

Richard Burbridge is one of the greatest fashion photographers alive. Kanye posted the mask series he did for Livraison Magazine, which is a good introduction to the kind of sharp, monochrome work he’s since done for Italian Vogue and Dazed and Confused(including their February 2013 Thom Yorke cover).

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Lindsey Wixson by Richard Burbridge

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HUMANKIND lingers unregenerately in Plato’s cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads -- as an anthology of images. TO collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard’s Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King’s Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that MichelAnge and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard’s gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood. TO photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge -- and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire.

PHOTOGRAPHS, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them. FOR many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality -- photographs are fragile objects, easily torn or mislaid -- and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker’s film, Si j’avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books. PHOTOGRAPHS furnish evidence. Something we hear about, but doubt, seems proven when we’re shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what’s in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph -- any photograph -- seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something “out there,” just like the Polaroid owner for

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/ Images that idealize are no less aggressive than work which makes a virtue of plainness /

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whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life. WHILE a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film -- the precise expression on the subject’s face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity -- and ubiquity -- of the photographic record is photography’s “message,” its aggression. IMAGES which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography’s glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images.

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THAT age when taking photographs required a cumbersome and expensive contraption -- the toy of the clever, the wealthy, and the obsessed -- seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the

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/ Images that idealize are no less aggressive than work which makes a virtue of plainness /

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provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography as

ART.

IMAGES which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography’s glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images. THAT age when taking photographs required a cumbersome and expensive contraption -- the toy of the clever, the wealthy, and the obsessed -- seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization

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