![]() ![]() After a day of shooting, he would come home and share his Polaroids with his wife June who would sometimes use them as place cards at dinner parties. Helmut Newton started taking pictures with the Polaroid camera in the 1970s, using it to test lighting conditions and see instantly how a situation would appear photographically. Do I like what I see? Do I want to continue in this way or change my tactics? Somewhere along the line, and rather sooner than later, I must make a decision on how I want the sitting to go – in what direction. I use it often to take my "first look" at what I am about to do. These photographs were also published in Elle, and in 2007 they could be seen at the Helmut Newton Foundation.'It’s a wonderful sketchpad, the Polaroid. ![]() Two years later in 1971, he developed the so-called “Newton Photo Machine,” a delayed-action release contraption, with which the female models systematically photographed themselves (and their clothes) in front of a mirror – thereby checking their own poses against their reflection. With a sense of self-irony and media reflexivity about his medium that was unusual for the times, Newton slipped himself behind the work process and into the fashion image, and on occasion even put his own camera into the hands of the models. Dressed in black, his presence provided more than a mere tonal contrast to the light-colored Cardin and Lanvin clothing adorning the models. Five years later, Newton also captured “Elle’s” models within the confines of a mirrored room this time, however, the photographer himself appeared with his small-format camera behind the women. Helmut Newton, from: Pages from the Glossies, Zurich: Scalo, 1998Īfter Newton was fired from Vogue, Claude Brouet, who was Editor-in-Chief of Elle, offered him work at her magazine. I was to be a regular contributor until 1982.” During Francine’s regime, I did what I considered my best fashion work. So I was kicked out of the hallowed halls of Vogue only to return in 1969 when Francine Crescent was appointed editor-in-chief. I pointed out to her that I had no exclusive contract with Vogue, and it was of course understood that I would never divulge any ideas developed by French Vogue to Queen or vice versa. I was called into her office, we had a tremendous row, she accused me of treachery and disloyalty and wanted to know why I had not told her about this scoop. When Queen landed on the desk of Françoise de Langlade (then associate editor-in-chief of French Vogue) she hit the roof. The fashion editor, Claire Rendlesham, decided on a journalistic scoop showing only my Courrèges photos and excluding all other fashion houses from her Paris report. “Fired from French Vogue: In 1964 I was commissioned by Queen magazine to photograph the revolutionary collection by Courrèges. He was able to adapt his style to the policy of the many magazines he worked for. Helmut continued working for English and German magazines. The news of Helmut’s banishment from French Vogue soon reached Claude Brouet, the editor-in-chief of Elle magazine, who offered him work on the magazine. I was to be a regular contributor until 1982.” – Helmut Newton, from: Pages from the Glossies, Zurich: Scalo, 1998 ![]()
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