HP: DISCOVER

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DISCOVER

We challenge the photographer to make it look like they're in a world with no limits. Our desire to provide a community with insight into the history of the fashion photograph juxtaposed against modern cultural stories is why we set out on this venture.

THE MASTERS

A MASTER IS A PERSON WHO EXCELS IN A PARTICULAR FIELD. WE INVITE YOU TO DISCOVER OUR HONORED MASTERS.

GOSTA PETERSON Volume 2 honored fashion photographer master self portrait at work in his studio

The New York Times 1967, Gosta Peterson

GOSTA PETERSON

Volume 2 featured master

relates an anecdote from early in his career, writes Lyle Rexer, about being introduced to Irving Penn at a MoMA opening and hearing the best thing a young photographer can hear from a master: “I love your work”. Looking at Peterson’s fashion photographs especially from the 1960s and 70s we can feel the same enthusiasm. These are pictures to love.

The New York Times 1965, Gosta Peterson

Henri Bendel 1979, Gosta Peterson

Mademoiselle 1966, Gosta Peterson

Harpers Bazaar 1967, Gosta Peterson

MASTER WITH LINDA RODIN

Gus and Linda have been friends for over forty years. rodin, known for her Rodin Olio Lusso lux skincare line confided to us, "then and Now", He simply is the best. Their story started many years ago when Rodin wanted to be a fashion photographer. Every photo she tore out of a magazine at the time was by Gosta Peterson. She decided to meet him and found his address in the telephone book, 87th street off 3rd avenue. He offered her a job as a photo assistant , and they've been best friends ever since! Vol. 2 features the two of them in conversation.

Juergen teller Volume 1 honored MASTER Fashion photographer, Father and Sun, Bubenreuth 2005

I USED TO BE A BOWMAKER

for violins. And was under an apprenticeship for 3 years and after 1 year I had asthma attacks so I had to stop that. my doctors sent me on an air change and my cousin who was studying medicine and was a very enthusiastic hobby photographer was in Tuscany and every time he would stop when the sun was going down in beautiful Tuscany...And at the end of the day when we would stop when we found a camping ground with the beautiful sun set and trees and everything and I thought what the hell is he doing? I wanted to just put the tent up on the bloody camping ground. So after I looked at It, I looked through his camera and thought this is what I want to do. That was it.

- Juergen teller

Courtesy of Juergen Teller

THE WHOLE THING POINT AND SHOOT

I don't like that at all. Its such a labor, such a hard thing to do. My body aches, its very physical when I work. I work with three cameras at the same. I'm like an animal coming toward my prey, I'm moving around like this, and then I work on it on the edit, which picture I'm going to use. While I'm doing it, I kind of use it in a way that I'm trying to find out and come close the thing that I want to do. And also the reason I photograph each subject so many times is to calm my nerves. I'll just shoot it and go closer to the thing. And it also calms the other person down and has a hypnotizing effect. Which is great! It helps me.

- juergen teller

Courtesy of Juergen Teller

TAKE A PEEK!

Click through a selection of PHOTOGRAPHS from our print editions showcasing featured artists.