FASHION PHOTOGRAPHERS:JOHN FRENCH

John French  was an English fashion and portrait photographer. He was born in Edmonton, London,  in 1907. French originally trained and worked as a commercial artist, becoming a photographic director in an advertising studio just before World War II, during which he served as an officer in the Grenadier Guards. In 1948 he founded his own photography studio.  Working originally with the Daily Express he pioneered a new form of fashion photography suited to reproduction in newsprint, involving where possible reflected natural light and low contrast. He also undertook portrait photography. French was one of London’s top fashion photographers of the 1950s and 1960s. He devoted much attention to the set and posing of his models, but left the actual triggering of the shutter to assistants, amongst whom were Terence Donovan and David Bailey.
The models he worked with included the most famous of the time and many were debutantes who went on to become well-known society figures. John persuaded the art editors of the national press to use his flawlessly lit images of top models and his work appeared in virtually every newspaper and magazine. After his death the John French's archive was donated by his wife, the fashion journalist Vere Denning, to the Victoria and Albert Museum in London.
He was once described as "the man who brought a new glamour to fashion photography". John French essentially captured elegance. Unlike other photographers of the early 1960s he had a certain magic, incorporating both a sense of 1950s refinement whilst also showcasing contemporary 1960s style and muses - Jean Shrimpton being just one.
Through photography of French, fashion is free of static poses, imposed by the clichés of the time dictated by Vogue and Harper’s Bazaar, to focus on freedom of expression and on the naturalness of the shots. His images are characterized by a compositional research tending to perfection, with an obvious care and attention to detail and the poses of the models within the structure. Using a black and white sweet, the British photographer invents an innovative style and fresh that exploits the natural lights to create structured lines essential that emphasize the contrasts and chiaroscuro.

FASHION PHOTOGRAPHERS:MARCO GLAVIANO

Marco Glaviano was born in Palermo, Sicily in 1942, he started taking pictures at the age of 5. An uncle working in cinema gave him his first camera. Then he worked on lots of different and interesting projects: set design, graphic, a little bit of painting and lots of jazz. His uncle is Gino Severini, the great futurist painter. He studied architecture at the University of Palermo and during the time he developed his interest in photography. In 1967 Glaviano made the decision to pursue photography as a career and moved briefly to Rome, then to Milan and New York City where he established residence in 1975 and where he was soon under exclusive contract for American Vogue, and then from 1982 to 1994 with Harper’s Bazaar. His works also appeared frequently in other American and European magazines such as Elle and Italian Vanity Fair. He has photographed over 500 covers and editorials for these publications. He plays the drums and the xylophone in several amateur avant-garde bands since his teenage years and he also photographed many legendary jazz musicians, including Chet Baker, Sonny Rollins, Jon Faddis, Red Norvo, Dizzy Gillespie and Tony Scott. His strong interest in digital photography led him to publish the first ever digital picture in American Vogue in 1982. Glaviano divides his time between Milan and New York and that, through the span of his long international career – especially in the United States – has experimented with several forms and means of expression including portrait, fashion, advertising and landscape art. His works have been purchased by museums and private collectors worldwide. He is the co-founder of Pier 59 Studios in New York City.
Marco Glaviano nasce a Palermo, in Sicilia nel 1942, ha iniziato a fotografare all'età di 5 anni.
Uno zio che lavora nel cinema gli regala la sua prima macchina fotografica.  Lavora sad un sacco di progetti diversi e interessanti: scenografia, grafica, pittura e tanto jazz. Suo zio è Gino Severini, il grande pittore futurista. Ha studiato architettura presso l'Università di Palermo e nel tempo ha sviluppato il suo interesse per la fotografia. Nel 1967 Glaviano prende la decisione di perseguire la fotografia come  carriera e si trasferisce brevemente a Roma, poi a Milano e New York City dove  stabilisce la sua residenza nel 1975 e dove presto viene messo sotto contratto in esclusiva per Vogue America, e poi dal 1982 al 1994 per Harper Bazaar. I suoi lavori sono apparsi anche frequentemente in altre riviste americane ed europee come Elle e Vanity Fair Italia. Ha fotografato oltre 500 copertine ed editoriali. Suona la batteria e lo xilofono in diverse band d'avanguardia amatoriali fin dalla sua adolescenza,  ha fotografato molti leggendari musicisti jazz, tra cui Chet Baker, Sonny Rollins, Jon Faddis, Red Norvo, Dizzy Gillespie e Tony Scott. Il suo forte interesse per la fotografia digitale, lo ha portato a pubblicare la prima immagine digitale per Vogue America nel 1982. Glaviano divide il suo tempo tra Milano e New York e, attraverso l'arco della sua lunga carriera internazionale - soprattutto negli Stati Uniti - ha sperimentato  diverse forme e mezzi espressivi, tra cui ritratto, moda, pubblicità e arte del paesaggio. Le sue opere sono state acquistate da musei e collezionisti privati ​​di tutto il mondo. E' il co-fondatore di Pier 59 Studios di New York City.

Cindy Crawford

Paulina Porizkova

Claudia Shiffer

Chet Baker

PHASHION PHOTOGRAPHERS:LOUISE DAHL-WOLFE

Louise Dahl-Wolfe was an American photographer. She is known primarily for her work for Harper's Bazaar, in association with fashion editor Diana Vreeland.
She born in 1895 in San Francisco and she studied art, painting and design before focusing on photography from 1919. In her early 20's she visited the studio of Anne Brigman who had been one of the photographers associated. During the 1930s, she photographed rural life during the Great Depression. Dahl-Wolfe often juxtaposed her models with famous works of art, resulting in surprising and irreverent compositions. Fashion assignments led her to locations around the world, where she posed her models outdoors, in natural light.  Dahl-Wolfe was known for taking photographs outdoors, with natural light in distant locations from South America to Africa in what became known as "environmental" fashion photography.
 In 1936, she joined Harper’s Bazaar and contributed to the major changes magazine publishing and fashion photography were going through with her straightforward and skillfully composed images.  With Diana Vreeland and Carmel Snow, Louise Dahl-Wolfe depicted the new concept of sportswear fashion designed by such creators as Claire McCardell, highlighting a typical American style and a modern active woman - epitomized by a young Lauren Bacall - in outdoors and under a natural light.
She is known for having discovered a teenage Lauren Bacall. She was a great influence on photographers Irving Penn and Richard Avedon. She was also a very fine portrait photographer. Notable portraits include: Mae West, Cecil Beaton, Eudora Welty, W. H. Auden, Christopher Isherwood, Orson Welles, Carson McCullers, Edward Hopper, Colette and Josephine Baker. One of her favourite subjects was the model Mary Jane Russell, who is estimated to have appeared in about thirty percent of Dahl-Wolfe's photographs. From 1958 until her retirement in 1960, Dahl-Wolfe worked as a freelance photographer for Vogue, Sports Illustrated, and other periodicals.

 Louise Dahl-Wolfe è stata una fotografa americana, conosciuta soprattutto per il suo lavoro per Harper's Bazaar, in collaborazione con la fashion editor Diana Vreeland.
 Nata nel 1895 a San Francisco  ha studiato arte, pittura e design prima di concentrarsi sulla fotografia dal 1919. Nei primi anni '20  visita lo studio di Anna Brigman e diviene una dei fotografi associati. Nel corso del 1930, ha fotografato la vita rurale durante la Grande Depressione.
 Dahl-Wolfe spesso giustappone i suoi modelli con famose opere d'arte, con conseguente composizioni sorprendenti e irriverenti. I servizi di moda la portano in giro per il mondo, dove fotografa i suoi modelli all'aperto, con luce naturale.  Dahl-Wolfe era nota per scattare fotografie all'aperto, con luce naturale in luoghi distanti dal Sud America all'Africa in quella che divenne nota come fotografia di moda "ambientale".
Nel 1936, entra a far parte di Harper's Bazaar e contribuisce ai grandi cambiamenti che la rivista stava subendo grazie anche alle sue immagini semplici e sapientemente composte.
Con Diana Vreeland e Carmel Snow, Louise Dahl-Wolfe raffigura il nuovo concetto di moda con  abbigliamento sportivo progettato da designers come Claire McCardell, mettendo in evidenza uno stile americano tipico di una donna moderna e attiva -  con una giovane Lauren Bacall -  all'aperto e sotto una luce naturale. Dahl-Wolfe è infatti nota per aver scoperto un' adolescente Lauren Bacall. Ha avuto una grande influenza per i fotografi Irving Penn e Richard Avedon. E' stata anche un'ottima ritrattista. I suoi ritratti  includono: Mae West, Cecil Beaton, Eudora Welty, W. H. Auden, Christopher Isherwood, Orson Welles, Carson McCullers, Edward Hopper, Colette e Josephine Baker. Uno dei suoi soggetti preferiti è stata la modella Mary Jane Russell,  si stima che sia apparsa a in circa il trenta per cento delle fotografie di Dahl-Wolfe. Dal 1958 fino al suo ritiro nel 1960, Dahl-Wolfe ha lavorato come fotografa freelance per Vogue, Sports Illustrated, e altri periodici.

Liz Gibbons as photographer- 1938

Herper's Bazaar - 1938

Mary Sykes with postcards, Puerto Rico- 19338

Night Bather - 1938

Lauren Baccall in Helena Rubenstein's bathroom - 1942

California Desert - 1948

Mary Jane Russell in Dior - 1950

Natalie in Grès coat - 1950

Dior Ballgown, Paris - 1950

Mary Jane Russell - 1951

Suzy Parker in Jacques Fath Gown - 1953

Luki in Balenciaga coat - 1953

Coco Chanel in her apartment, Paris - 1954

Evelyn Tripp, Herper's Bazaar - 1955

FASHION PHOTOGRAPHERS:WILLIAM KLEIN

William Klein was born in New York City in 1928. He's an American-born French photographer and filmmaker noted for his ironic approach to both media and his extensive use of unusual photographic techniques in the context of photojournalism and fashion photography.
 In 1948, Klein enrolled at the Sorbonne, and later studied with Fernand Léger. At the time, Klein was interested in abstract painting and sculpture. Klein experimented with kinetic art, and it was at an exhibition of his kinetic sculptures that he met Alexander Liberman, the art director for Vogue. He moved on to photography and achieved widespread fame as a fashion photographer for Vogue.
 He has directed feature-length fiction films, numerous short and feature-length documentaries and has produced over 250 television commercials. The world of fashion would become the subject for the first feature film Klein directed in 1966, Who Are You, Polly Maggoo?
He has described his work as "a crash course in what was not to be done in photography."
“I photograph what i see in front of me, I move in close to see better and use a wide-angle lens to get as much as possible in the frame.

"Who are you Polly Magoo?"-1966

"Who are you Polly Magoo?"-1966

"Who are you Polly Magoo?"-1966

"Who are you Polly Magoo?"-1966

Dorothy light-Paris 1962

Dorothy light-Paris 1962 

Simone and Sophia Loren-Rome Vogue1960

Smoke and veil-1958

Does lips- Paris 1956

André Courreges-1965

Veruschka- 1967

FASHION PHOTOGRAPHER:BARON ADOLF DE MEYER

Baron Adolf De Meyer was born in Paris, he was the first official fashion photographer for the American magazine Vogue and Vanity Fair in 1913, a post he abruptly abandoned in 1923 to work for rival Harper's Bazaar, he was meticulous, eccentric, a dandy, an arbiter of taste and trends who immortalized the first three decades of twentieth-century society and shaped the genre of fashion photography. De Meyer married Olga Caracciolo, an Italian noblewoman, and Olga would be the subject of many of her husband's photographs. The de Meyers' marriage was one of marriage of convenience rather than romantic love, since the groom was homosexual and the bride was bisexual or lesbian. Meyer wrote "Marriage based too much on love and unrestrained passion has rarely a chance to be lasting, whilst perfect understanding and companionship, on the contrary, generally make the most durable union."
 On the outbreak of World War I, the de Meyers moved to New York City, where he became a photographer for Vogue from 1913–21, and for Vanity Fair. In 1922 de Meyer accepted an offer to become the Harper's Bazaar chief photographer in Paris, spending the next 16 years there. De Mayer began doing flattering photographs of Belle Époque aristocrats, actors, financiers, and industrialists. His portraits of the sparkling beauties of the fin de siècle Smart Set were his calling card to a position and profession in Edwardian society. He introduced the use of dramatic lighting, of a male model, and of two or more models in the same picture. His influences included the Impressionists, and the Symbolist artists Klimt and Watts, as well as Whistler. A great manipulator of light and shadow, he also veiled his lens in gauze, extensively used backlighting, inserted light sources in unexpected places, and retouched directly on the negative.
 In the 1920s, the de Meyers returned to Europe. As they aged, it is reported, they became increasingly dependent on cocaine and opium. The baron’s career deteriorated as younger photographers, armed with the new 35mm camera, began stepping out of the confines of the studio and scoffing at the soft-focus lens. After Olga died, de Meyer destroyed much of his work and adopted his young lover as his son. He dies in Beverly Hills penniless and forgotten in Hollywood.

Jeanne Eagels

Elizabeth Arden-Advertisement-1926

1921 Baron de Meyer, Ballerina Desiree Lubovska Desiree Lubovska standing by a window, wearing a dark dress in Georgette crepe, with fringed waist, by Jean Patou

Elizabeth Arden-Advertisement-1926

Gertrude Vanderbilt Whitney -AmericanVogue1917

Nijinsky in L'après-midi d'un faune - 1912

Vogue 1921