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Helmut Newton, a legendary German-Australian photographer, revolutionized fashion photography with his provocative and subversive imagery. His bold, often controversial portraits challenged conventional notions of beauty and gender, pushing boundaries and sparking debate while leaving an indelible mark on the world of photography.
"Well, it takes a certain amount of money. And I've got to see pictures of the person ahead of time. If I don't like the way the person looks I won't do it."
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"Well, it takes a certain amount of money. And I've got to see pictures of the person ahead of time. If I don't like the way the person looks I won't do it."

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"They often ask me to shoot for them. But I say no. I think an old guy like me ought not take pages away from young photographers who need the exposure."
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"They often ask me to shoot for them. But I say no. I think an old guy like me ought not take pages away from young photographers who need the exposure."

Old,
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"Technically, I have not changed very much. Ask my assistants. They'll tell you, I am the easiest photographer to work with. I don't have heavy equipment. I work out of one bag."
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"Technically, I have not changed very much. Ask my assistants. They'll tell you, I am the easiest photographer to work with. I don't have heavy equipment. I work out of one bag."

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"The whole series is black-and-white, so when I went to shoot one of the women I only had black-and-white film with me. She had reddish hair and was a very pretty girl, a nice girl."
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"The whole series is black-and-white, so when I went to shoot one of the women I only had black-and-white film with me. She had reddish hair and was a very pretty girl, a nice girl."

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"I like photographing the people I love, the people I admire, the famous, and especially the infamous. My last infamous subject was the extreme right wing French politician Jean-Marie Le Pen."
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"I like photographing the people I love, the people I admire, the famous, and especially the infamous. My last infamous subject was the extreme right wing French politician Jean-Marie Le Pen."

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"It's that I don't like white paper backgrounds. A woman does not live in front of white paper. She lives on the street, in a motor car, in a hotel room."
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"It's that I don't like white paper backgrounds. A woman does not live in front of white paper. She lives on the street, in a motor car, in a hotel room."

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"I have mixed feelings about those sorts of things. When I see it done by interesting young people, I think it's very valid. But when established photographers, people in their forties, copy me and get a lot of money, well, I find that to be very stupid."
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"I have mixed feelings about those sorts of things. When I see it done by interesting young people, I think it's very valid. But when established photographers, people in their forties, copy me and get a lot of money, well, I find that to be very stupid."

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"In the photographs themselves there's a definite contrast between the figures and the location - I like that kind of California backyard look; clapboard houses, staircases outdoors."
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"In the photographs themselves there's a definite contrast between the figures and the location - I like that kind of California backyard look; clapboard houses, staircases outdoors."

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"My job as a portrait photographer is to seduce, amuse and entertain."
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"My job as a portrait photographer is to seduce, amuse and entertain."

Job,
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"I spend a lot of time preparing. I think a lot about what I want to do. I have prep books, little notebooks in which I write everything down before a sitting. Otherwise I would forget my ideas."
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"I spend a lot of time preparing. I think a lot about what I want to do. I have prep books, little notebooks in which I write everything down before a sitting. Otherwise I would forget my ideas."

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"I used to hate doing color. I hated transparency film. The way I did color was by not wanting to know what kind of film was in my camera."
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"I used to hate doing color. I hated transparency film. The way I did color was by not wanting to know what kind of film was in my camera."

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"People gave us everything for free. We were allowed only so much film per picture, but there was no limit to the creativity. I like to say that they let us loose like wild dogs in the streets of Paris."
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"People gave us everything for free. We were allowed only so much film per picture, but there was no limit to the creativity. I like to say that they let us loose like wild dogs in the streets of Paris."

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