Kirsten Freeman
Art History Research
Block 6
12/27/13
4
Bob Willoughby-Audrey Hepburn Today not to many things are uncommon or unheard of for very long. With this in mind I began to look for more unique photographs that capture candid moments instead of more sculpted picturesque photographs. Bob Willoughby worked with countless famous actors and actresses. Being know as, “ ‘…the man who virtually invented the photojournalistic motion pictures still [today].’ – Popular Photography” (Willoughby). Thinking differently then other well known photographers of the stars he brought a new unique style to the table that made his work stand out. Having a clear idea of what he wanted to make him self as a photographer or photojournalist in the future, Bob went on to study cinema at USC at night and design with Saul Bass. All the while apprenticed with a number of Hollywood photographers, such as; Wallace Seawell, Paul Hesse, and Glenn Embree, glenning technical and business know-how (Willoughby). Dave Brubeck once wrote that Willoughby, “ Not only had a good eye”, but “a keen ear, and seemed to know when to snap at an inspired moment”(Photography). With most of his pictures focused on the artists themselves, rarely capturing pictures of large crowds, but even so the same emotions are conveyed. Working with Audrey since the beginning of her career, becoming a trusted friend, photographing her in every stage of her life. The photos themselves historic by Willoughby’s perfectionist, tender photographs that brought out the facets of Audrey’s beauty and elegance throughout her life (Willoughby Audrey). One photograph in particular of Adurey on the set of one on the movies she was making in 1962, Paris When It Sizzles. Waiting for her next scene Willoughby captured her in almost a portrait style photo but at the same time captures something that cant just be planned out into a staged photograph. The ladder and ropes in the background and the actors chair where Adurey is sitting, allows for the viewer to connect and gather that she is somewhere where they are making a flim or show. Making the photograph lenghth wise instead of longways lets you see more of the ladder, making the picture somewhat longer makes the photo stronger than if it was cropped. Also rule of thirds is present in this piece placing Audrey to the left so that the latter is looks more to the right. The diagonal lines going down either side of the photo and the linear lines of the ladder steps, combined with the position of Audreys hands and overall contrast difference of Audreys bright clothes against the more harsh background made of different shades of black and grey. In my photo remix of Bob Willoughby’s I tried to capture that same emotion that Bob captured with Audrey. Changing it up a little I switchted the foregrounds shade of contrast with the background and middlegrounds shade of contrast. Using my friend Claudia Conrad as Audrey in the photo remix. We made sure to keep her makeup very natural with Audrey big statement always being her eyebrows mainly because her eyes were already naturally beautiful. Switching Audrey’s white bowed hat for Claudia’s (Audrey Dopilganger) black hat with flower off to the right instead of the bow in the center. Also changing the white large buttoned coat for a bright red large buttoned coat when transferred into black and white creates a much darker contrast. With the final touches being lepored gloves instead of white gloves and an office chair rather than the original metal chair. Then placing that
