Who Shot Rock & Roll: The Film accompanies the photo exhibit of the same name. The short documentary focuses on the work of the show's nine featured photographers with original interviews and hundreds more rock & roll images. One of the interviewees, Mary McCartney, discusses her mother Linda's body of work. Watch a 3-minute clip of Mary talking about her mother's photos of Paul McCartney, Jimi Hendrix, Janis Joplin and many others above. A young Mary even makes an appearance in one of the photos she discusses.
Congratulations to WAR/PHOTOGRAPHY curators Anne Wilkes Tucker, Will Michels and Natalie Zelt winners of the 2013 Kraszna-Krausz Foundation's Best Photography Book Award for WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath. The awards are the UK’s leading prizes for books published in the fields of photography and the moving image.
The other award announced by the Foundation is in The Best Moving Image Book ategory. The winner of that award is Hollywood Costume by Deborah Nadoolman Landis. For more information about the Kraszna-Krausz Foundation, click here.
The 600-page catalogue covers conflicts spanning two centuries and six continents. Pick up your own copy, autographed by Anne and Will along with featured photographers Carolyn Cole, Ashley Gilbertson, Edouard H.R. Glück and David Hume Kennerly when you visit the WAR/PHOTOGRAPHY exhibition at the Photography Space now through June 2, 2013.
|R.E.M, Walter's Bar-B-Que, Athens, Georgia, 1984|
By Laura Levine
R.E.M. and I clicked from the moment we met at our first photo shoot in my Chinatown apartment back in 1982. We became close friends, and over the next few years as we spent an increasing amount of time together, I photographed them more than any other band before or since: on the road, at their homes, in my studio, backstage and onstage.
This particular photograph was taken in March 1984 in their hometown, of Athens, Georgia. The band was about to release its second album, Reckoning, and since their record label didn't have a budget to send a photographer to Athens to do a publicity session, I flew down on my own dime to shoot pictures, make a Super-8 film (Just Like a Movie) and spend a few days hanging out with my friends.
For the next few days I shot rolls and rolls of film as the five of us explored every nook and cranny in Athens that had photogenic possibilities - the railroad tracks, abandoned factories, trees blanketed in kudzu, outsider artist R.A. Miller's whirlygig yard and, of course, Walter's Bar-B-Que. Actually, this shot at Walter's wasn't even planned. We'd been taking photos all morning and we'd worked up quite an appetite, so we stopped into Walter's for lunch (It was the guys' favorite BBQ joint). While we were eating I looked around and saw a great photograph there, so I stepped behind the counter and quickly took a few frames (I'm afraid I didn't even allow them to eat their meals in peace). By the way, that's my plate of food in front of Michael Stipe.
This photograph has a special place in my heart not only because of our friendship, but because it documents a time and a place that disappeared soon thereafter. (Even Walter's is long out of business). I don't suppose any us of could have imagined how much would change in just a few years' time. It captures those last moments of innocence, just as they were on the cusp of stardom and about to embark on an adventure of a lifetime. But mostly, for me, when I look at this photograph, I see my four friends being themselves, smiling, relaxing, and chowing down on a good Southern meal.
See Laura Levine's other images in the Who Shot Rock & Roll exhibit, currently showing at the Annenberg Space for Photography. To learn more about the photographer and her work visit her official website.
Our next exhibit is the very first solo show at the Annenberg Space for Photography and boy is it a doozy. Helmut Newton: White Women • Sleepless Nights • Big Nudes presents the work of one of the most revolutionary and influential photographers of the past century. Newton's provocative images of women brought eroticism to fashion photography. In his photos, art, fashion, subverison and aspiration collide. The exhibit opens on Saturday June 29, 2013.
Watch the video teaser above for a sneak peek of the show.
I remember that night like it was yesterday. They say a camera stops time, and for me, in this case it’s proven to be true. One-quarter of a second exposure on my handheld Leica IIIf camera back in 1976 has endured via silver and megapixels all these years.
I spent a lot of time in 1976 looking through the French photographer Brassai’s photographs of Paris nightlife in the 1930s, and had worked out a way to shoot photographs at night by natural light without flash. In looking back now, it was all of another time – pushed tri-x film, arcane developing chemicals, nights in the darkroom. But it enabled me to return night after night to CBGB’s with boxes of pictures to show off my experiments to my friends in a budding scene and create my “Documents for Artists.”
It was in between sets when everyone headed out from within CBGB’s, to the raw air under the Bowery streetlights. Patti Smith was standing in mid-conversation that night, when I tapped her on the shoulder and asked if I could take her photograph. I know I saw the Bleecker Street sign in the background and thought “perfect.” I knew that she was standing in the right spot, under the streetlamps. All the elements were in place. So when she turned my way and brought her hand to her face – I knew in that moment, the photo was mine to have or screw up. Shooting at night, handheld – no tripod - meant both Patti and I would have to be perfectly still. I did my part that night, and obviously Patti more than did hers. One-quarter of a second stopped forever. Time on my side.
Congratulations to Arclight Productions on their recent win at the New Media Film Festival here in Los Angeles. Their film, Digital Darkroom: The Art of 3D won Best in Category for 3D Content. The short documentary film was presented exclusively at the Annenberg Space for Photography's Digital Darkroom exhibition.
The 4th annual New Media Film Festival was held on June 11 & 12, 2013 at the Landmark Theater in Los Angeles.
Watch Digital Darkroom: The Art of 3D (in either 3D and 2D!) in its entirety here.
|© Ian Dickson|
By Ian Dickson
This shot of the Red Hot Chili Peppers was taken in Hamburg, Germany in 1992. I photographed the band while on an assignment for Vox magazine, a monthly music publication in competition with Q Magazine and now sadly defunct.
Henry Rollins, who was the support act that night, claimed his band blew the Chili Peppers off stage.
The band’s energy is infectious and you get caught up in the rhythm while taking pictures – such great fun. Each time you have to stop to load a new film, it feels like a rude interruption.
|© Estate of Helmut Newton|
By Vibeke Knudsen
Rue Aubriot is one of the most enduring photographs I have had the privilege of being a part of.
It was the last shot in a series of photographs for the collections for French Vogue. Working with Helmut Newton was always “charged," as he was a god among fashion photographers.
The shoot took place at night. That was the only time that the collections were available for photography. We had breezed through the other shots and it was about 2 am when we pulled up in front of Helmut’s studio to do this last shot in the street.
As I came out of the (small) mini van, where we changed outfits, and stood under a single streetlight, it very quickly became clear that the energy had shifted and heightened.
It wasn’t just that the photographer was Helmut, the editor for the shoot was Francine Cressant, the hairdresser was Alexandre (lui meme), the makeup artist Jacques Clement, and that the suit being shot was a perfect example of YSL - at his best. It was, indeed, a collaboration of masters of their trade… and then there was a moment of magic thrown in. It seemed that we were all aware that something special was attached to the moment.
Helmut insisted on shooting with the streetlight only, which meant I had to stand completely still for two seconds - that’s a long time in stilettoes on cobblestones!
At this point, the atmosphere was that of total focus. No one but Helmut spoke.
While he was shooting, Helmut asked us all to come back the following night. He was already planning his next shot. He wanted me to use the same pose with a nude model (Aya) standing next to me. I was asked to wear the same suit. Aya was not completely nude in this shot; she wore high heels and a hat with a veil. Helmut included both shots in his book, White Women.
Since then, the two photographs have often appeared side by side. They have remained relevant, modern and perfectly classic.
There have been many attempts to replicate this photo, many ”inspirations” to ”duplicate” this photo. I have been part of a few indirect homages and even when they were beautiful, they have always fallen short.
Such is the special vision, focus and quality of Helmut Newton. All hail to the king!
And as for ”behind every great man, stands a great woman.” Never was this more true than in the collaboration of Helmut and June. June Newton, aka Alice Springs, was Helmut’s muse, inspiration and partner. June is a wonderful photographer in her own right and Helmut was her greatest fan. The woman behind Helmut was a part of his greatness.
I feel very fortunate to have worked as much as I did with Helmut Newton and very proud to be the model in Rue Aubriot. Thank you Helmut, thank you June.
Vibeke Knudsen was born in Denmark and has worked as a model in Europe and America for 40 years. In the 70's she often worked with Helmet Newton and considers herself fortunate to have collaborated with many of her profession's most gifted photographers. She now spends her time traveling. See this image and over 100 others at the Annenberg Space for Photography in Helmut Newton: White Women • Sleepless Nights • Big Nudes.
|© Albert Watson|
By Albert Watson
This was the first and only time I worked with Michael Jackson. We were booked for a two-day shoot for the Invincible album cover and some inside photos. The shooting was divided into one day of portraits and one day of dance shots at my studio in New York.
I already owned a mirror rig that allowed me to adjust eight mirrors individually. And, of course, before Michael arrived, the mirrors and lighting were completely prepared on the set. To give Michael more flexibility (and to add a little fun) I gave him what was essentially a stripper's pole on a white Plexi stage. When he arrived on the set, Michael spent two or three minutes stretching and then started dancing in front of the mirrors to "Billie Jean," which we played over the studio stereo system. Because of the set-up and the preparation, it was hard not to get some magical shots in almost every frame during the roughly 30 minutes he danced in front of the camera. This was Michael Jackson dancing, after all. How could you go wrong?
I found Michael charming, cooperative, totally professional, and a pleasure to deal with. The shooting was actually quite easy. After seeing the contact sheets from the shoot, the final print was essentially one gigantic contact sheet. From far away, the print looks almost like a piece of wallpaper, but close up, it gives you a very good idea of the entire shooting, and the charisma and power of Michael's dancing."
By Sylvia Gobbel
The first time I met Helmut Newton was when my agency sent me to a casting call for French Vogue for the haute couture summer collections which were shot by Helmut Newton. I was 19 and had been in Paris for just two weeks. A long line of beautiful models was waiting to be recieved by the master and suddenly Helmut stood up, looked at me and asked me to step forward….He interviewed me about my origins and since I’m Austrian, we started to speak German immediatly together. Helmut spoke a very fine and charming upperclass German from Berlin, which pleased my ear.
He told me that he would love to shoot the haute couture French Vogue with me but was much more interested in seeing if I would like to shoot some nudes for his next book. I had never posed nude before, but, since I loved his work, I accepted right away.
Helmut was tired that day; he just had his third heart attack and he was in convalescents.
Soon we shot for French Vogue and, a few days after, our first nude titled Sylvia In My Studio. At that time Helmut still had his studio in Paris (rue de L’Abbé de l’Epée), where he was living with his wife June. After makeup and hair, just so I wouldn’t be embarrassed in front of everyone, Helmut sent everybody else home. The only person who remained with us was June, who made the shoot really comfortable for me.
June and Helmut were the most loving couple I’ve ever met. Such a complicity, so much sense of humor and tenderness…
We worked until late at night and we shot a great pic standing at the window, while it was dark outside….I had to wear very high heel shoes, such as Louboutins, but in the eighties you only could find those kind of shoes in Pigalle, the shopping and working area for prostitutes and transvestites. Helmut loved to go shopping in that neighborhood for his shoots, because he could find all kinds of strange accessories for his work.
After that first shoot I had the chance to work with Helmut quite a bit. I was his muse for a few years…You can see many of the nudes that we did together at Helmut Newton: White Women • Sleepless Nights • Big Nudes, currently at the Annenberg Space for Photography. I also had the chance to be on the cover of his book, Big Nudes (published in 1981) which he dedicated to me. We shot lots of campaigns together such as VERSACE POMELLATO AMICA..etc. I lost contact with Helmut once I stopped working as a model. My biggest regret is that I didn’t meet him one last time to thank him for everything he did for me.
Images of Sylvia Gobbel modeling for Helmut Newton can be seen in Helmut Newton: White Women • Sleepless Nights • Big Nudes. For more information about Gobbel, please see her official website here.