Focus

Focus
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The Secret, Sexy, Sometimes Sordid World of Fashion Photographers

مشارکت: عنوان و توضیح کوتاه هر کتاب را ترجمه کنید این ترجمه بعد از تایید با نام شما در سایت نمایش داده خواهد شد.
iran گزارش تخلف

فرمت کتاب

ebook

تاریخ انتشار

2016

نویسنده

Michael Gross

ناشر

Atria Books

شابک

9781476763484
  • اطلاعات
  • نقد و بررسی
  • دیدگاه کاربران
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نقد و بررسی

Publisher's Weekly

May 2, 2016
Gross (Model: The Ugly Business of Beautiful Women) opens this paradoxically unfocused book with an interesting exegesis on the grandfathers of fashion photography, Richard Avedon and Irving Penn. These men practically invented the oeuvre, with technical and stylistic innovations, including seamless backdrops and candid snapshots, “in direct contrast to what was being done” by others in the industry. Their segue from portraiture and penury into successful careers as fashion photographers is a study in upward mobility in America. But after a strong start, the text devolves into an endless litany of photographers, models, photo shoots, and magazine layouts. Far too much attention is given to magazine publishers and the various editors at Vogue and Harper’s Bazaar, including Edna Chase, Carmel Snow, Diana Vreeland, and finally Anna Wintour. The parts involving art directors Alexei Brodovitch and Alexander Liberman are fascinating in their own right, but they dim the book’s already faltering emphasis on fashion photography.



Kirkus

May 1, 2016
The reality of fashion photography "can be murky, often decadent, and sometimes downright ugly."In a gossipy expose focused less on aesthetic vision than biographical dirt, journalist Gross (House of Outrageous Fortune: Fifteen Central Park West, the World's Most Powerful Address, 2014, etc.) follows the careers of the talented, arrogant, philandering, combative, self-aggrandizing photographers whose work appeared in, and defined, such iconic fashion magazines as Harper's Bazaar, Vogue, Glamour, and Elle from 1947 to 1997. Richard Avedon (1923-2004) gets major attention, since he was the darling of Harper's Bazaar before Diana Vreeland lured him to Vogue in 1962. Avedon, writes Gross, created "a hybrid of street photography that sought to capture reality and the elegant remove of past fashion photography." As successful as he was, the overbearing, egotistical Avedon saw all other photographers--most notably Irving Penn ("the abiding genius of Vogue")--as rivals. When he chose a model, no one else could use her. "He was one of the great contributors to fashion," said photographer Melvin Sokolsky, "but he had no space for anybody but himself. If anybody else took a picture, he couldn't give it credit." Gross portrays Penn and Avedon as divas, but they were not alone. Gilles Bensimon, "chief shutterbug" of French Elle, was another: he liked to twirl his penis in public. "The biggest dick in the business," commented a fellow photographer. Sex, consensual or not, permeated the business. Bert Stern, who took a notorious series of photos of Marilyn Monroe, nude, shortly before she died, used "those images of Monroe at the end of her rope" to sustain himself for the rest of life, as his career tanked, his marriage to long-suffering ballerina Allegra Kent ended, and drug addiction landed him in hospitals. Interviews, some conducted for Model, Gross' previous foray into the fashion industry, reveal piles of sometimes-tangy, often scurrilous gossip. Not a pretty picture of sex, drugs, beautiful women, and raw ambition.

COPYRIGHT(2016) Kirkus Reviews, ALL RIGHTS RESERVED.



Library Journal

April 15, 2016

Since the 1940s, fashion photographers have competed for the prestigious covers of such magazines as Vogue and Harper's Bazaar. At the top of their game, these notoriously ambitious players include "game changer" Richard Avedon--as well as Terry and Bob Richardson, Bert Stern, Irving Penn, Bruce Weber, Steven Meisel, and Mario Testino. The selection of artists is based on Departures contributing editor Gross's (House of Outrageous Fortune) own criteria: those "who were unavoidable, who changed the conversation...but also ones who I am drawn to and whose stories were somehow accessible." Along with tales of famous shoots and industry backstories during the "glory days" of the genre, Gross writes of the sexual promiscuity and recreational drug use of these (mostly male) photographers in this expose. Although the subtitle is a bit on the nose, the subject matter will be historically significant to those who are concerned with the photo artist's role in the golden age of modern fashion photography. VERDICT Recommended for enthusiasts of fashion and fashion photography.--Shauna Frischkorn, Millersville Univ., PA

Copyright 2016 Library Journal, LLC Used with permission.




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