Lillian Bassman was born on June 15, 1917 in Brooklyn. She had a thriving career as a fashion photographer for Harper's Bazaar primarily creating black-and-white images to offer a stronger contrast between her subjects and the clothes being displayed. This approach was unique at the time, and Bassman's work was groundbreaking, allowing for a more artistic approach in an industry that traditionally had strict formats. This experimentation, combined with the close rapport she establishes with her models, has resulted in pictures memorable for their emotional atmosphere, impressionistic mood, and subtlety of intimate gestures. In the period dominated by Avedon and Irving Penn, Bassman was one of the few female photographers in the fashion business, and her work had a distinctly different cast from the outset, one less distancing. In most of the lingerie pictures, for example, the faces are averted or obscured, the result of the Ford agency’s insistence that its models not be identifiable in such provocative advertising. The effect of this constraint is not cold anonymity but an unusual intimacy that leaves the images feeling almost entirely divorced from commodity, as if they were the visual entries in the personal journals of the women photographed. “I am completely tied up with softness, fragility, and the problems of a feminine world.” Being a woman advantaged her, Ms. Bassman felt. “The models thought about this a lot,” she said. “It was a sexually very different thing when they worked with men. They felt a charge. They were posing for men. I caught them when they were relaxed, natural, and I spent a lot of time talking to them about their husbands, their lovers, their babies.” She shifted gears in the early 1970s in response to changing tastes, opting to create her own photo projects and disposing of most of her previous work in the process. Other notable aspects of her work include the graininess of the pictures and the use of geometrics in her subject placement. Interest in her work for Harper's Bazaar was renewed in the 1990s when some photos thought lost were found in the magazine's archives. Bassman passed away in 2012. #wcw #herstory #timeless

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Lillian Bassman was born on June 15, 1917 in Brooklyn. She had a thriving career as a fashion photographer for Harper's Bazaar primarily creating black-and-white images to offer a stronger contrast between her subjects and the clothes being displayed. This approach was unique at the time, and Bassman's work was groundbreaking, allowing for a more artistic approach in an industry that traditionally had strict formats. This experimentation, combined with the close rapport she establishes with her models, has resulted in pictures memorable for their emotional atmosphere, impressionistic mood, and subtlety of intimate gestures. In the period dominated by Avedon and Irving Penn, Bassman was one of the few female photographers in the fashion business, and her work had a distinctly different cast from the outset, one less distancing. In most of the lingerie pictures, for example, the faces are averted or obscured, the result of the Ford agency’s insistence that its models not be identifiable in such provocative advertising. The effect of this constraint is not cold anonymity but an unusual intimacy that leaves the images feeling almost entirely divorced from commodity, as if they were the visual entries in the personal journals of the women photographed. “I am completely tied up with softness, fragility, and the problems of a feminine world.” Being a woman advantaged her, Ms. Bassman felt. “The models thought about this a lot,” she said. “It was a sexually very different thing when they worked with men. They felt a charge. They were posing for men. I caught them when they were relaxed, natural, and I spent a lot of time talking to them about their husbands, their lovers, their babies.” She shifted gears in the early 1970s in response to changing tastes, opting to create her own photo projects and disposing of most of her previous work in the process. Other notable aspects of her work include the graininess of the pictures and the use of geometrics in her subject placement. Interest in her work for Harper's Bazaar was renewed in the 1990s when some photos thought lost were found in the magazine's archives. Bassman passed away in 2012. #wcw #herstory #timeless


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