I was able to see the Avedon show at the Norton last Friday. Avedon Fashion: 1950 – 2000. It was an amazing day for me. I have seen several Avedon shows, but none focused totally on his fashion work. I must say up front that I believe him to be one of the greatest photographers, and seeing these exquisite prints just makes that belief even more strong.

The prints were hung in various small rooms according to the decade. The most amazing thing is how well the early work holds up in these modern times. “Holds up” probably doesn’t cut it… the images ROCK! They are so blind to the ruthlessness of time that if hey were shot yesterday, they would still be incredible. And remember that most of these were commissioned, editorial fashion work. Run them once, then gone. No one wants to see last years fashion shots. Well, except sometimes when the image transcends the use and becomes an important photograph on its own. Avedon created a lot of those.

I guess the most stunning thing for me was reconnecting with a true black and white print. It has been a while since I have been in a room with so many photographic, analog prints. Was immediately struck by the tonality, the sensuality of light and the depths of the blacks. I knew right then I need to get away from the screen and get out more… heh.

I will tell you that the book that accompanies the show will make an extremely powerful addition to your library (Amazon’s price is very nice, BTW). Especially if you are a people shooter. I have noticed that too many new photographers are not aware of some of the legacy of our art, and Avedon was simply one of the legends. It is an expensive book, but priceless in what it represents.

The Norton Gallery: Avedon Fashion: 1950 – 2000 The Norton Gallery site. If you are anywhere near there, I would recommend making a day of it. (And the Paul Fusco show of images taken from the Robert Kennedy Funeral Train are so wonderful, they would be worth the trip alone. More on Fusco’s work later.)

I discovered Richard Avedon very early in my photographic career. It was a set of images he had done of Twiggy and Verouschka that simply ignited me and caused me to veer more toward people photography. I would sit and look at my French, Italian, British and American Vogue and Bazaar’s and the Avedon work would simply jump off the pages. I love the energy, the quiet repose and the incredible emotional feeling he gets from the black and white print.

Once, I nearly had the chance to watch him work. I live in Phoenix and consider San Diego my second home in the summer. We travel that road frequently. Before the freeway went through, we would go through a little town called Plaster City, Ca, just near the base of the mountain range that takes you over to the coolness of the coastal range. We had rolled into there and were looking for something to drink when I saw a bunch of people, a large view camera, some umbrellas and a chunk of white seamless hung or taped to the wall of one of the buildings where they made plaster board. I considered going closer, but my friends were insistent on heading to the beach, so I thought nothing of it and off we went.

Many years later I bought a copy of “In the American West” and while glancing through the book came on the shot Avedon had done that day. It was Richard AVedon shooting against that wall. And I missed the opportunity to watch him work. Sigh.

Richard Avedon, Wikipedia is well endowed with lots of linkage goodness, so enjoy. Here are some images that were shown at the Norton Gallery.

Have a great day. Oh, and we have some openings in this weekends Omaha workshop. Just sayin’.

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