If you've ever doubted that the work of the greatest photographerstranscends genre, one look at this evocative book of black and whitephotos by Peter Lindbergh will change your mind. The German-bornLindbergh is considered a fashion photographer, and almost everywork in this large-format exhibition catalog was shot for a fashionmagazine. Yet Lindberg often finds a gentle surrealism reminiscent ofFellini; his landscapes echo with the footsteps of people unseen. SaysLindberg, -Only if a person's soul appears in the photo do I as thephotographer feel I have achieved what I wanted. With anoutstanding essay by Klaus Honnef.
Lindbergh was born in Poland and grew up in Duisburg. He studied painting in art school, but began photography in 1971 and established himself as an advertising photographer. Moving to Paris in 1978, to concentrate on high-fashion, he photographed many top models including Christy Turlington, Naomi Campbell, Linda Evangelista, Cindy Crawford, Stephanie Seymour, Isabella Rossellini, Nastassja Kinski and Tatjana Patitz as well as other projects with Karl Lagerfeld, Daryl Hannah, Giorgio Armani and more. His photographs have been published by Stern, Harper's Bazaar and Vogue magazines. He also photographed Céline Dion for her perfume ad. A new upcoming project is an advert video shoot for Mariah Carey’s new fragrance, "M". He is considered to be one of the world's preeminent fashion photographers, particularly in black and white, and is credited with helping create the supermodel phenomenon of the 1990s. He prefers his model to have minimal make-up and a simple hairstyle. Wim Wenders is an admirer of his work.
Never off my coffee table. This book reminds me what Lindergh is capable of--capable of when he's not photographing, for Harper's Bazaar, whatever mediocore actress has a romantic comedy coming out this month. Julia Roberts and Catherine Zeta-Jones get the watered-down, occasionally color-film (blasphemy!) version of the style he forged in the editorial pages of Paris Vogue: gritty, dark-toned, noir-ish, Rodchenko-like, perfect for studies of a ferocious-looking Helena Christensen's tanned, coppery nakedness.
Toujours aussi belles et intemporelles que sont les photographies de Peter Lindbergh, dont je les ai trouvé plus brutes dans cet ouvrage (bien que j'avais déjà vu certaines dans d'autres de ses livres).
Toutefois, je ne comprends pas le positionnement des photographies dans l'ouvrage, pourquoi les couper si maladroiteusement, gâchant ainsi la photographie en elle-même.
Il y a une faute dans le texte en français à la page 12 en bas (colonne de droite), "femement" au lieu de "fermement".
Sinon je ne comprends toujours pas ce que font les images d'hommes dans cet ouvrage consacré aux femmes.