Photographer Richard Avedon worked on different levels of the photography scene – starting as an advertising photographer in a departmental store, and then working as the art director for Harper’s Bazaar. By 1945, his work began appearing in Junior Bazaar. In 1946, his own studio came up, as did a steady stream of images ready for Vogue and Life, and culminating in his status as the chief photographer for Harper’s Bazaar. Within a few years from then, he began contributing actively to Life, Look and Graphis and in 1952, he became the Staff Editor and photographer for the Theatre Arts Magazine.
Photo Credits: Wikipedia
What set Richard Avedon apart from the rest was that he did not conform to the standard technique of taking studio fashion photographs. His models did not stand emotionless and indifferent to the camera. Instead, Richard Avedon broke the glass ceiling by showing models full of emotion, smiling, laughing, and, many times, in action in outdoor settings which was revolutionary at the time. By the end of the 1950s, since he became dissatisfied with daylight photography and open air locations, he turned to studio photography, using strobe lighting.
Photo Credits: Avedon Foundation
By the 1960s, he diversified beyond fashion into the world of studio portraits of civil rights workers, politicians and cultural dissidents in different cadres in America. With time, he photographed patients of mental hospitals, the Civil Rights Movement in 1963, protesters of the Vietnam War, and later the fall of the Berlin Wall.