MY AVEDON STORY
Richard Avedon was my first photography teacher,
and remained one of my inspirations during all my years as a professional photographer.
Every time I would finish a photo shoot I would ask myself:
« What would Dick think of this? »
and remained one of my inspirations during all my years as a professional photographer.
Every time I would finish a photo shoot I would ask myself:
« What would Dick think of this? »
Introduction
In 1965 a «life changing form» was enclosed in the middle of Popular Photography magazine. I filled it out and sent it to the «Famous Photographers School of Photography». With the document, I sent a half dozen black and white prints, believing I would not be accepted.
Bert Stern
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The ad read: Bert Stern made $50,000 a year before he reached the age of 30. And his camera won him 6 Art Director awards.. |
«Great life for a man».
I am not certain the same text could be used today
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The Famous Photographers School of Photography.
Instruction and homework assignment books
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Chapter 1
A few months later, after mailing the form and prints, I received a visit from a man who represented the
Famous Photographers School of Photography. Two images I had taken of my girlfriend (who later became my wife) had caught the attention of the teachers. That same day I signed up with the School and was remitted a series of books that covered many subjects from, editorial, travel, portrait, architecture, wedding, fashion, darkroom, film processing, etc. One binder was a homework assignment book. Once I had completed an assignment, I sent my B&W prints and negatives by mail to New York to be appraised by the teacher-photographer who would send me back the material with the results. I then continued on to the next assignment.
Famous Photographers School of Photography. Two images I had taken of my girlfriend (who later became my wife) had caught the attention of the teachers. That same day I signed up with the School and was remitted a series of books that covered many subjects from, editorial, travel, portrait, architecture, wedding, fashion, darkroom, film processing, etc. One binder was a homework assignment book. Once I had completed an assignment, I sent my B&W prints and negatives by mail to New York to be appraised by the teacher-photographer who would send me back the material with the results. I then continued on to the next assignment.
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Chapter 2
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Irving Penn and Richard Avedon were my most influential teachers.
Time and time again I studied their images. The most striking images taken by Irving Penn were his portraits of South American people and indigenous tribesmen of Borneo that he photographed in his home-made portable soft light studio that he carried in the jungle. As for Mr. Richard Avedon, he made me cogitate about the process of photography. Avedon was a philosopher and a thinker as well as an inspirational image-maker. All my life as a studio and travel photographer, Avedon seemed to be in my shadow. After a commercial photo assignment, I would often ask myself: « what would Dick think of this?» |
Following are the names of a few of these
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Chapter 3
I admired Avedon’s work but I also appreciated his attitude vis-à-vis portraiture and picture taking. In the introduction to a book he did on the faces of the American West, Avedon said:
« A portrait is not a likeness. The moment an emotion or a fact is transformed into a photograph, it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.» ( Avedon )
Don Winslow, editor of News Photographer magazine, said it was hard to say what was Avedon's greatest work as :
« He kept surpassing himself with everything he ever did. He worked with this huge crate of a camera that allowed him to fulfil his vision. He had a minimal approach; the backgrounds were white or grey. The lighting was straight on. He had his subject confront the camera but the subject was really confronting the photographer.» ( Don Wilson )
Chapter 4 |
The 1994 Whitney Museum Story
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In 1994, I read in a Montreal newspaper that Richard Avedon was having an exhibition at the Whitney museum.
I immediately decided to drive to New York City as it was the last weekend of Avedon's exhibition.
On the Saturday, Avedon was doing book signings.
I took my place at the back of the long line of people and waited nervously.
I immediately decided to drive to New York City as it was the last weekend of Avedon's exhibition.
On the Saturday, Avedon was doing book signings.
I took my place at the back of the long line of people and waited nervously.
Chapter 5 |
Meeting my Teacher and Mentor.
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When my turn came up,
I presented the EVIDENCE book and as he was signing it I said: « Mister Avedon, you were one of my first teachers.» He knew what I was talking about. « Yes, too bad, the School went bankrupt but I still have those books and I refer to them now and then.» ( Avedon ) |
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I will always remember Avedon’s clear and sharp response after asking him to sign the back cover of the book, which shows a portrait of himself:” I never sign on a photo of myself.” ... I wanted to hide under table...
Chapter 6 |
Images of the Exhibition |
Chapter 7 |
Reportage in the « Berlin Wall » room
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On the Sunday, the last day of the show, I returned to the Whitney. While I was in the room where large prints of the «The Chicago Seven » were exhibited, I saw a man with long white hair walking rapidly to the next room,
followed by a group of people rushing behind him.
I immediately thought of a dragon with its long tail.
I walked into the room where the dragon had entered. There he was, Mr. Avedon! Sitting on a wooden crate, signing books and answering questions. I was the only one in the room with a camera or maybe I was the only one who defied the sign on the wall indicating «No photos allowed.».
He seemed to find my behaviour disturbing, but remembering his teachings in those Famous Photographers book, I kept taking photos: « A moment in time that will never happen again ».
followed by a group of people rushing behind him.
I immediately thought of a dragon with its long tail.
I walked into the room where the dragon had entered. There he was, Mr. Avedon! Sitting on a wooden crate, signing books and answering questions. I was the only one in the room with a camera or maybe I was the only one who defied the sign on the wall indicating «No photos allowed.».
He seemed to find my behaviour disturbing, but remembering his teachings in those Famous Photographers book, I kept taking photos: « A moment in time that will never happen again ».
Chapter 8 |
A letter from Richard Avedon |
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When I returned to Montreal, I processed the B&W films and made a series of prints of those moments in the Whitney.
Like I had done in the 1965 assignements, I sent the prints to Mr. Richard Avedon's studio. Expecting no answer in return. But, low and behold, similar to 30 years before, my teacher sent me back a reply in a form of a wonderful letter saying: « Dear Carl Valiquet. Thank you so much for the photographs. I will treasure them for always.» ( Avedon ) The day I received Avedon's letter, I felt that the circle had been completed.
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From Richard Avedon
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Epilogue :
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My Avedon Story does not end here. |
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In 2003, a major Richard Avedon exhibition titled "Richard Avedon-Portraits" was at
The Metropolitan Museum of Art in New York. I made an 8 inch x10 inch negative from the 35mm original negative of a photograph I had taken at the Witney in 1994. From this 8 x 10 negative, I had a large 42 inch x 60 inch print made, that I sent by courier to the Metropolitan Museum of Art. A few weeks later I received this letter from Mr. Avedon. |
Carl holding the 8 x 10 negative next to the contact print
from the negative
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Avedon received a print of this photo measuring 42 inches x 60 inches
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Letter from Avedon that he sent to me after receiving th large B&W print
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Richard Avedon (May 15, 1923 – October 1, 2004)
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Richard Avedon passed away on October 1, 2004. His shadow is still following me. His spirit lives on, and I often say to myself when I look at some of my images: «what would Dick think of this?». |
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