In the world of fashion photography, few names evoke as much mystery and allure as Deborah Turbeville (1932-2013). It’s arguable that more than anyone, she transformed the discipline from being purely commercial and functional to becoming an art form in its own right. And the mesmerising tapestry of haunting, dreamlike imagery she created along the way has left an indelible mark on both fashion and the creative world in general.

With a career spanning several decades, Deborah’s unique approach to photography challenged conventions and redefined the very essence of beauty and style. But don’t feel ashamed if you’re not familiar with her work. She’s one of the largely unsung heroes in a male-dominated history of photography and one whose work has only recently started to receive the respect it deserves.

Among those spearheading this reappraisal has been Nathalie Herschdorfer. An author and curator specialising in photography, Nathalie is the director of Photo Elysée, Lausanne, Switzerland, one of the most important museums dedicated to photography, and a curator with FEP (Foundation for the Exhibition of Photography). And she’s recently been working on Deborah Turbeville: Photocollage, a book that casts fresh light on her work and career.

We chatted with Nathalie to discover what’s different about this new book, the thinking behind the design and image choices, and why Deborah Turbeville remains a shining beacon for photographers in the world of 2023.

Who was Deborah Turbeville?

First, though, for the uninitiated: Who was Deborah Turbeville? In short, she was a renowned American fashion photographer known for her distinctive and avant-garde approach to photography.

Born in 1932 in Boston, USA, Deborah initially pursued a career in modelling. These experiences in the fashion industry provided her with a unique perspective when she later transitioned to photography. Her photography career took off in the 1970s when she began working for fashion magazines like Vogue and Harper’s Bazaar.

She quickly gained recognition for her unconventional and moody style, like nothing the industry had previously seen. Her images often featured models in surreal, dreamlike and atmospheric settings, and she was known for using soft focus and muted colours, creating a sense of mystery and ambiguity.

In other words, while fashion photographers at the time typically focused on showcasing clothing and accessories, Deborah’s images instead emphasised mood, emotion and storytelling. She also used unconventional locations and posed her models in ways that challenged traditional beauty standards.

This revolutionary approach influenced countless others and ultimately changed fashion photography forever. And yet, her name remains relatively unknown, something this new book will hopefully help to change.

The book’s creative journey

The journey towards Deborah Turbeville: Photocollage began a decade ago when Nathalie Herschdorfer embarked on a project focused on the history of fashion photography. Her objective was to explore the intersection of fashion photography and the art world, a theme that had been gaining significance but was still relatively underexplored.

This endeavour led her to the archives of Condé Nast, where she gained a deeper understanding of Turbeville’s work. Then, a few years ago, Nathalie was approached by the MUUS Collection, who invited her to look at their archives. “In terms of Deborah Turbeville’s work, they had everything,” she recalls. “It’s not like they had a few prints or a few series; they had the entire studio negatives, contact sheets, everything like that. So that was really interesting to me.”

And the timing couldn’t have been more perfect. “I’d been thinking that we curators should be paying more attention to female artists,” Nathalie explains. “And from what I could see, Deborah had been working away but not making a lot of noise, just doing what she had to do. So it was important to me, as a historian, a curator and a museum director, that we pay her a bit more attention.”

In that light, Nathalie was keen to move beyond the photographer’s best-known work and find the unseen gems in the collection. “So my initial approach was to work with the people in the archives and ask them specifically: What is unseen? What is unknown. What is not iconic? Even unpublished images: what else do you have?”

Unseen work

For Nathalie, one of the most striking revelations during the project was the discovery of Turbeville’s photo collages. These unusual works were created with scissors, pins, glue and other physical tools, leaving behind marks and traces of the artist’s process. And it was this very physicality and hands-on approach that most intrigued Nathalie.

“I was excited because we live in this digital world where everything is neat and clean but kind of flat and bright,” she explains. “And these collages I discovered, they were very physical objects. Sometimes, you see that she decided to glue and then changed her mind; she had another idea. But you can still see the mark where she put the glue, where it slightly damaged the paper.

“So I found it really interesting, in a world where everything’s so clean and pixel-perfect,” she adds. “And I realised these collages were a natural way for me to go back and reintroduce her legacy in a new light.”

Inspiring a new generation

As well as Deborah’s work itself, Nathalie also feels we can be inspired by her life and character. “She didn’t try to be fashionable,” she explains. “She didn’t try to copy what others did to be successful. She didn’t compromise too much. So I think she was quite a strong character. I interviewed some people who were around in the art world at the time, and they all remember she had her own style, a signature style.”

All of this was pretty rare in the early 1970s, especially for a woman. “It was a world that was quite tough,” explains Nathalie. “It was about big names and big guys. And so for me, knowing that she was a woman and had to struggle in that world to be recognised makes me even more inspired by her.”

Strangely contemporary

Perhaps most striking about the book is that the selection of Deborah’s work, despite being half a century old, actually feels remarkably contemporary. That’s surely a testament to how influential she’s been and how her refusal to conform to popular trends has left an enduring impact on the world of photography.

Creating a book that does justice to this legacy, in itself, is no small feat. Nathalie worked closely with the MUUS collection and the archives to uncover the hidden gems within Turbeville’s body of work. The book’s design and layout have been meticulously crafted to evoke the materiality and physicality of Turbeville’s collages, ensuring that readers can appreciate the unique qualities of her art.

Deborah Turbeville: Photocollage not only pays homage to a pioneering artist but also sheds light on the underappreciated aspects of her work. Nathalie’s passion for uncovering hidden treasures within the archives has resulted in a book that is not just a by-numbers retrospective but a vivid and engaging celebration of an enduring influence and artistic integrity.

As we navigate a world of new technologies, it’s a breath of fresh air to discover (or rediscover) Deborah Turbeville’s work. This superbly edited and produced book offers a great deal to a new generation of artists and photographers.

Deborah Turbeville: Photocollage by Nathalie Herschdorfer is published by Thames & Hudson. Photo Elysée presents the exhibition Deborah Turbeville: Photocollage between now and 25 February 2024. All information: Deborah Turbeville – Photo Elysée at elysee.ch.

In the latest horror film produced by Owensboro’s PJ Starks and filmed in Kentucky, country music legend Bobby Sweet has been the world-renowned face of “Sweet Meats” since establishing his first restaurant with his wife in 1978. But how has his restaurant taken off so quickly and what makes the meat sweet?

A release from Starks about the film says “Sometimes a ‘secret ingredient’ should stay that way. They always say, ‘you’d be disgusted if you knew what you were really eating!’ They might be right…”

The film is produced by Starks (“New Fears Eve”), Chris Morris (“All Your Friends Are Dead”), and Mike Flinchum (“Hell’s Gate”).

The horror-comedy musical is being produced in association with TROMA. The film is being shot in Kentucky and Ohio — mostly at Bobby Mackey’s, which is the haunted bar that’s been featured on Travel Channel’s “Ghost Adventures.” The writer and director, Ricky Glore, is a Kentucky filmmaker. 

“We’ve completed principal photography … The additional funds acquired through our Indiegogo will go towards post-production and will help tremendously,” Glore said. “We’re excited to be featuring the heavy metal rock band DEMONSCAR in the film, who will also be getting an epic death, as well as a collaborative song between the band and myself, entitled ‘Eat the People,’ which was filmed at Pennsylvania’s infamous haunt attraction Jason’s Woods in Lancaster, Pennsylvania.”

The “Sweet Meats” cast features Timmy Barron (“Chicago Fire”), Eileen Earnest (“All Your Friends Are Dead”), Andrew Gordon (“The Forest Hills” and “Amityville Karen”), Amanda Chilelli (“Playboy Playmate”) and Ricky Glore (“All Your Friends Are Dead” and “Dry Bar Comedy”).

For more information about the film and a teaser, click here.

In their newly opened Paris Ridge Photography studio, Krissy Walker and Samantha Blackmore are at the end of a two-hour long session with a ten-day old infant. As his mom, big brother and big sister look on, Walker and Blackmore reposition the softly fussing newborn for the camera. A recording of a gentle, quiet voice plays in the background. ”Shhh…shhh…shhh…”

Newborns are not known for being easy subjects to photograph. Blackmore said tiring babies out is ideal; they photograph better if they are asleep. Their vision is not fully developed at birth, and their eyes tend to cross, which explains all the idyllic pictures of sweetly sleeping babes.

Walker specializes in newborn photography, but for her, the relationship between family and photographer often begins before a baby’s birth, with a maternity photo session. As the baby grows, there will be a session at six months — at the height of baby cuteness — and a first birthday session.

Blackmore referred to the first birthday session as a “Smash and Splash.” Babies are photographed doing a cake smash and then photographed in a bathtub.

Paris Ridge Photography came about when Walker, of “Kaptured by Krissy,” partnered with longtime friend Blackmore to open a studio in Williamstown. Walker, who had her own photography business in Georgetown for 12 years, outgrew the space and decided to open a larger studio in northern Kentucky. Williamstown’s location between Lexington and Cincinnati made it an ideal choice.

Blackmore, who owns Jane’s Saddlebag in Union, brings to the venture years of marketing and event planning experience, as well as her own interest in photography.

Their storefront at 104 Paris Street has been completely renovated by owner Hans Philippo, but they still have a few finishing touches to add, such as curtains to cover the front windows, which will allow them to control the light coming into the space.

In addition to maternity and baby sessions, Walker and Blackmore will do graduation photos, couples photos, family portraits, headshots, maternity photos, senior portraits, sports photography, and any other special occasions. Not tied to the studio, they will also do outdoor and in-home sessions.

The creative business partners have fun plans for the upcoming holidays as well, with Christmas sessions both elegant and whimsical. Crittenden’s popular Santa will be on hand for three days of photo sessions. The Grinch will also be lurking about.

“One of our husbands doesn’t know it, but he’s going to be the Grinch,” Blackmore grinned.

Paris Ridge Photography will be hosting a grand opening on Friday, Nov.10 from 5-6:30 p.m. Everyone is invited to stop by, see the studio, and have a photo taken in Whoville or with one of their other Christmas backdrops for $20. For more information about the studio and upcoming holiday sessions, visit their Facebook page at Paris Ridge Photography.

Event Review: TOOL

Live Nation Presents: TOOL with Steel Beans

No Audio/Video Recording

PPL Center

Allentown, PA

Tuesday, November 7, 2023 – 7:30PM

A Monstrosity of Art with a Kaleidoscope of a “Chocolate Chip Trip.”

That’s truly the best way to describe this concert. It was a south bath with shadow work, and Rorschach wishes he could have been invited.

Allentown, PA. The PPL Center, home of The Lehigh Valley Phantoms, and home to a variety of some of the most incredible talent ever. On November 11, 2023, you can see The Lehigh Valley Phantoms take on The Hershey Bears at the PPL Center. The energy tonight was mystical and magical. There was something in the air. I want to say a HUGE THANK YOU to Monica, she knows who she is. As a writer, I love MUSIC, I MEAN I LOVE MUSIC. Music is a source of happiness, sadness, therapy, motivation, a LIFE. It means a lot.

Inside the iconic PPL Center TOOL took the stage after the opening act Steel Beans. This gentleman rocked all the instruments. He is definitely rolling in the talent. TOOL came onstage at almost exactly 8:30PM-ish. I will say this, I have been to so many concerts in my life, I have watched crews set up stages, take them apart, I’ve been backstage, onstage. You name it. I have NEVER seen a crew more efficient than TOOL’s entire stage and road crew. They had the stage taken apart as soon as the band left.

I have never seen TOOL live; I know I’m also shocked and sad but what a kaleidoscope of vibrant psychedelic wild, I want to walk in the forest, and just vibe with all the creatures. Honestly, it felt like a sound bath or a Reiki session. I feel as if Maynard James Keenan inviting us all into his kaleidoscope of trippy, wild art.

TOOL is made up of Maynard James Keenan, Adam Jones, Danny Carey, and Justin Chancellor. They played their heart and souls out. They offered a quick threat to call us Allentown folks, “Philly,” and the crowd ERRUPTED. Philly and New Jersey probably heard us.

The one thing that every single soul was discussing was the NO PHOTOS, NO AUDIO, NO RECORDING. It was the first time in a long time that I have been to a concert with no phones swaying back and forth, people trying to capture a favorite song or just one photo. TOOL’s security and PPL Security worked all night keeping people off of phones. I must say, I will ADMIT. It was kind of nice. It was BEING IN THE MOMENT!!! TRULY BEING IN THE MOMENT. I saw people look up at the spectacular lights and laser lights that were jamming along with the music. Granted, I will admit, I do kind of feel a little sad, I didn’t get a little bit of the show. I didn’t take any photos. I felt this overwhelming calm. I felt the need to respect the band, and just let it go. I wanted to be in the moment. I wanted to feel the songs. I do no matter what but not having that extra worry, it was cool.

People whipped the phones out at the very end. The band was finishing up after a very grown-up intermission. There was no chanting of “ONE MORE SONG!” They added a countdown on the screen and they came back.

They performed a little bit of everything including: “Fear Inoculum,” “Jambi,” “The Pot,” “Pneuma,” “The Grudge,” “Invincible,” and a stunning, absolutely STUNNING performance where the band came together and sat in the front of the stage and performed. It felt like I was at Sound Bath, I wanted to meditate and work on shadow work, and be one with nature all at once, I already am pretty much one with nature.

It was so strange though not seeing a sea of cell phones, people were sort of forced to deal with themselves, to be aware of what was going on around them. It seemed like some people were having even more fun. There was nothing to worry about. NO… Oh, did I get the video? Oh, they are playing, “Culling Voices.” (*Screams Internally*)

The band stayed till the very end. They greeted and thanked the fans. I must say the Allentown Police department had traffic moving fast. The security did an amazing job as always. I spotted some friends, and chatted with people from New York, Philly, New Jersey, and far and wide. Maynard did an amazing job; the entire band was just BEOND AWESOMENESS. Maynard worked with Puscifier and more. Maynard can usually be seen in the darkness. They don’t truly light a stage a lot. I imagine it’s because they don’t want people taking photos.

Also, the confetti drop was so beautiful. If you ever get a chance to see TOOL live, Sprint, RUN, drive, go see them. DO IT! Justin Chancellor had our section head banging and rocking out with him. Shout out to the awesome people in my section, and the fun group that walked to my car with me.

Going to a concert is so much more than just listening to a band. It’s an experience. The visceral, extreme, dark and beautiful images that played throughout the night. It’s motivating, it’s art in the most form, surrounding music. Thank you, Monica, and THANK YOU PPL Center. There is no place like you.

“Since the 2019 release of TOOL’s critically-acclaimed album, Fear Inoculum, the band has won a GRAMMY Award® (Best Metal Performance for “7empest”), completed sold-out tours of both the U.S. and Europe, and headlined Bonnaroo, Welcome to Rockville and the Sonic Temple Arts & Music Festival. TOOL marked the 30th anniversary of the Opiate EP with the 2022 release of “Opiate²,” a re-imagining of the EP’s title track, released in tandem with a breathtaking, 10-minute short film crafted by Adam Jones and visual artist Dominic Hailstone (“Alien: Covenant”, “The Eel”).

Reviews from TOOL’s sold-out 2022 tours praised the four-piece, with Loudwire dubbing the performances as “a masterclass of immersion, sound and stage design, musicianship… and levels of ungodly tightness.” The Austin Chronicle described the incomparable live experience as an “unbridled exchange of catharsis between performers and fans.” More recently, Revolver, covering Welcome to Rockville 2023, said “TOOL delivered a stunning… set featuring classic fan favorites, newer Fear Inoculum standouts and choice deeper cuts … the striking visuals also included a psychedelic laser and projections show bar none.”

https://www.toolband.com/feeds?req_type=html&k=4d58aff6

https://www.pplcenter.com/events

https://music.youtube.com/channel/UC1wUo-29zS7m_Jp-U_xYcFQ

November 9, 2023

PHOTOS

New iPhone photography exhibition debuts in Paris on November 10

The two-day event held at the Salon Corderie features work from five esteemed photographers, all shot on iPhone

“I Remember You,” a two-day photography exhibition opening in Paris on Friday, November 10, will highlight original work shot on iPhone 15 Pro Max celebrating the intersection of photography and nostalgia. The collective work of esteemed artists Malin Fezehai, Karl Hab, Vivien Liu, Mika Ninagawa, and Stefan Ruiz incorporates people, places, and things that move them, exploring the transience of their most precious memories and the power of photography to preserve them. And in doing so, they showcase the utility, ease of use, and image quality enabled by the impressive capabilities of the camera system on their iPhone 15 Pro Max.

“‘I Remember You’ brings together five photographers who share their deeply personal conceptions of memory, connection, and nostalgia,” explains Isolde Brielmaier, Ph.D., the exhibition’s curatorial advisor. “It is a moving glimpse of life, preserved in time.”

A picture has the power to both preserve and amplify a memory. It can transport people to a moment in time, evoke a feeling, and reveal new perspectives in a nearly universal visual language. And with iPhone 15 Pro users having access to a professional camera in their pocket — with the equivalent of seven pro lenses and an all-new 5x Telephoto camera on iPhone 15 Pro Max to capture stunning detail from afar, as well as a 48MP Main camera that offers a new super-high-resolution 24MP default with incredible image quality — everyone around the world is empowered to document their experiences.

In celebration of the opening, each artist spoke about how iPhone has contributed to their creative process and what they hope people will remember from their featured work.

Malin Fezehai is an Eritrean/Swedish photographer, filmmaker, and visual reporter currently living in New York. She has worked in over 40 countries in the Middle East, Africa, Asia, and America. Fezehai is a National Geographic explorer, and in 2023, she became a Climate Pledge grantee. She is working on a project about adaptation to living on water. Her career started in her native Sweden, where she studied photography before attending the International Center of Photography in New York. Her work focuses on communities of displacement and dislocation around the world. She was commissioned by the United Nations Development Programme to photograph survivors of violent extremism across sub-Saharan Africa and published a book titled Survivors. She has received a 2015 World Press Photo Award and the Wallis Annenberg Prize, and was named one of the “30 Emerging Photographers to Watch” in 2015 by Photo District News. Her image depicting a wedding of Eritrean refugees in Israel was the first iPhone photo ever to receive a World Press Photo Award.

“The integration of the iPhone into my photography workflow marked a significant shift in how I perceive and capture the world around me — feeling more inclined to capture life as it happens — the fleeting, candid moments that often define the human experience,” Fezehai says. “Its ease of use and ability to capture high-quality images effortlessly enables me to explore and document the ordinary in extraordinary ways. That sentiment is embodied in the work I created for the show.”

Karl Hab, born in 1990 and currently residing in Paris, is a well-established photographer who also holds a certification as an aeronautics engineer. When he’s not on the move, Hab’s passions for aviation, design, art, and fashion come to the forefront. His frequent travel allows him to immerse himself in international fashion and street culture, which serve as inspiration for his personal projects. A true wanderer at heart, Hab has been capturing the world through his lens for over 15 years, and there’s no sign of him slowing down. His natural inclination leads him toward action-packed moments, and with his new iPhone 15 Pro Max, his work has gained a new perspective.

“Shooting with iPhone is like having a third hand that could capture exactly what I wanted when I wanted,” Hab says. “I know I can rely on iPhone to precisely match what I see on the screen. And with this recent model, the 5x lens made me see things differently. You can truly push the limits of the device and showcase a different perspective on your work.”

Vivien Liu is a photographer based in Hong Kong. She received her Master of Architecture degree at Harvard University’s Graduate School of Design, where she was awarded the prestigious Clifford Wong Prize in Housing Design. After 15 years in architecture, Liu discovered a passion for photographing the urban scenes of Hong Kong and other cities around the world. Because of her professional background, she is known for portraying space and subjects with a trained architectural eye. The synergy between people and space is a consistent theme in her work, which has brought an international spotlight on the cultural identity of Hong Kong, highlighting its architecture, people, and natural landscape.

“iPhone first became an integral part of my process when I started traveling and snapping scenes from my journeys,” Liu recalls. “I’ve come to rely on it for my commercial work at various stages in the creative process with its wide array of focal lengths and shooting modes. The 5x lens on iPhone 15 Pro Max was indispensable when trying to zero in on the details and textures of the aged buildings around me. Combined with the abundance of natural lighting, I was able to create images that are full of contrast between light and shadow.”

Mika Ninagawa is a Tokyo-based multidisciplinary artist who works in photography and film. In 2020, she published her photo book, TOKYO. The appeal of her photography can best be summed up by a signature approach that is bathed in vivid, dreamlike colors. Whether it is portraiture, landscape, or still life, at the heart of her work are themed looks that rotate between flora, fauna, landscapes, and empowered women to create Ninagawa’s lush tableaux. Ninagawa is one of Japan’s most celebrated photographers. Her retrospective, “Mika Ninagawa: Into Fiction / Reality,” opened at Beijing Times Art Museum in spring 2022.

Stefan Ruiz is based in Brooklyn, New York. He has taught art at San Quentin State Prison in California and was the creative director at COLORS magazine. His work has appeared in publications such as The New York Times Magazine, The New Yorker, Vogue, and TIME. His photographs have been exhibited at International Center of Photography Museum in New York, the Photographers’ Gallery in London, Les Rencontres d’Arles, PHotoEspaña, Havana Biennial, and the CONTACT Photography Festival in Toronto. He has published four monographs, including The Factory of Dreams, a book on Mexican soap operas published by Aperture in 2012, and Mexican Crime Photographs, published by GOST Books in 2016.

“The iPhone is able to make my shoots feel less formal, which helps make the subjects feel comfortable,” Ruiz says. “When they’re able to pass the phone around to see and comment on the images, it makes the whole process feel more collaborative.”

“I Remember You” will be on display at the Salon Corderie in Le Marais in Paris on Friday, November 10, and Saturday, November 11, from 11 a.m. to 7 p.m.

Press Contacts

Lisa Israel

Apple

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