The Hand of Miles Davis, New York, 1986, by Irving Penn Find out what it was like working with the photographic master here ➡️
, learned a tremendous amount assisting Penn for 13 years. Freson credits Penn’s training as a painter in helping shape the artist’s approach to the medium of photography. “Penn was very aware of the chiaroscuro quality of the light,” he says. “Most of the work was done with daylight, but sometimes he duplicated that kind of light in the studio with artificial light so that we could work any time of the day.
Using the camera as a painter wields a brush, Penn was always open-minded and ready to experiment. “He was very ambitious to discover new methods as well as old practices of photography,” Freson remembers. “He would go back to the beginning to explore old methods that had been eliminated by then because there was no longer a need for them.”
Penn’s innovative approaches not only advanced the medium but made him highly sought out by advertisers wishing to follow his lead. “Agencies usually come to photographers asking them to realise a project they have already developed and sold to a client,” says Freson. “But with Penn it was the other way around. They would come and talk to him, and Penn would make a little sketch showing them what he would do. They would bring that back to the client, who would say, ‘Fantastic! Let’s do it.
“Penn’s photography was very honest,” Freson says. “Penn knew all about the people he photographed and was able to lead the conversation to get people to react to him. Then he would photograph them. Once he established the circumstance to make the photograph, he would stay with it. At a certain point, he got through to the reality of the person behind the facade – and that moment is valid forever.
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