The photos were taken in the courtyard of his studio in open air because of the lack of artificial light in those days. In this series of work, I have used old photographs from a famous Iranian photography studio, Chehrenegar, in the city of Shiraz. About death of a peaceful life, when we didn’t live in a global village, the time when we lived with our own cultures, when life was not as fast as now - a life without electronic social networking, without so many environmental disasters and wars, a life with more peace in mind and the world. Rana Javadi about When You Were Dying: For me, the When You Were Dying series tells a story about the death of a beautiful era. © Rana Javadi, from the series ‘When You Were Dying’.
Shooting mainly in black and white, she portrayed women as specters her subjects play the role of distant relatives whose pictures we might hang on our mantle. Within an atmosphere of fashion photography dominated by highly sexualized, saturated images of women taken by men, Turbeville’s images are haunting. Her editorial fashion shoots would later be featured in Vogue, Harper’s Bazaar, Nova, and the New York Times Magazine, among others, and she also worked with advertising clients such as Comme des Garçons, Guy Laroche, Valentino, and Calvin Klein. Beginning as fashion editor at Harper’s Bazaar, Turbeville’s entry into image making in 1966 was a six-month photography workshop taught by Richard Avedon and the art director Marvin Israel. More about Deborah Turbeville‘s work here.ĭeborah Turbeville was one of the most revered fashion photographers working during the 1970s and ’80s, and her legacy has shifted the way we view women in fashion imagery. © Deborah Turbeville, Untitled (Comme des Garçons collage), 1980.
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