©2016 hein waschefort - Nadar - Beaton - Hoppe - Blumenfield - Skrebneski - Avadon - Warhol - Rankin

GLAMOUR PORTRAITURE:

hein waschefort

 

Glamour portrait my way: Translated

Victor Skrebniski was revolutionary in his approach to glamour portraiture, almost like the impressionist in the arts. He would not only celebrate the model and glamour but added a personal element, as photographer, with very clever use of form, composition and lighting.

His earlier work incorporated strong manipulation of shadow, in these earlier photos he already made use of his signature square format composition. Using the square format in portraits, he would, either crop very close or, use hair and clothing to expand and fill the square frame. With head-to-hip shots he would crop the head, to create two separate negative, fields which logically are smaller and balances better with the positive form. not cropping the head would leave a huge linked area in total in-balance with the positive form (portrait).

Story and all photos below by Hein Waschefort 2016

Hein Waschefort -32

Hein Waschefort -33

Hein Waschefort -34

 

Hein Waschefort -36

Hein Waschefort -31

Hein Waschefort -35

 

 

Hein Waschefort -38-2

Hein Waschefort -43

 

 

In the 1970s Victor Skrebneski employed his ‘Black Turtleneck’ style which became his signature style for his black-and-white portraits used by a variety sitters including; Orson Welles, David Bowie, Truman Capote, Bette Davis, and Andy Warhol. His sitters would wear a black turtleneck /polarneck sweaters in front of a charcoal backdrop. Employing his square format he would often float a smallish portrait in the frame at acute asymmetrical positions and or angles. This was a minimal style with black as the dominant field. Traditionally minimal images were created using whites and high-key photography, as was the case with Blumenfield.

Story and all photos below by Hein Waschefort 2016