American Photographer Richard Avedon
那双深邃的眼睛里透露着智慧
Caroline Kennedy
纯真温馨的画面（兄妹情）
温柔的母爱（杰奎琳·肯尼迪·奥纳西斯和她的孩子）
父女情深（肯尼迪和他的女儿）
凝视
看到这幅摄影 想起了吉它曲《镜中的安娜》
时尚迷人
魅力无穷
飘逸的舞姿
舞起来
潇洒双人舞
冰上浪漫曲
雨中行 
婷婷玉立
Singer And Songwriter Bob Dylan
观理查德·阿维顿摄影有感
理查德·阿维顿是美国的摄影家，早年从事时尚摄影，后来转为艺术摄影。我喜欢他的人物摄影，颇有个性特色，既有美感又有动感，他把人物瞬间细微的表情定格在他的镜头里，拍摄的很生动。《The New York Times》是这样评价理查德·阿维顿的摄影作品的：“Richard Avedon's fashion and portrait photographs helped define America's image of style, beauty and culture for the last half-century.”
在理查德·阿维顿的这组摄影作品里，有亲情的温馨，杰奎琳·肯尼迪·奥纳西斯和她的孩子那张摄影，温柔的母爱流淌在我的眼前；有舞蹈的韵律，那飘逸的舞姿摄影充满了动感。有生活的特写，那雨中行是如此的生动。有恋人的幸福，冰上浪漫曲这张摄影里表现的颇为浪漫。
昨天我还把冰上浪漫曲这张摄影用在了我的英语歌曲《I Run To You〉帖子里。歌曲是福田和我分享的，当音乐响起时，我就喜欢上这首歌曲的旋律，乡村歌曲我听的不多，还是第一次听到Lady Antebellum演唱的这首歌曲。一听到歌曲，我的脑海里就想起了理查德·阿维顿的这幅摄影作品，随即就把歌曲做成了帖子。（请点击欣赏英语歌曲：I Run To You）
我喜欢理查德·阿维顿的摄影作品，他的摄影作品的独特的动感，深深地印在我的记忆力里，难以忘怀。下面是摘自《Wikipedia》对理查德·阿维顿详细的介绍，和大家分享。
林贝卡 2010年11月3日 秋 于美国
Richard Avedon
From Wikipedia, the free encyclopedia
Richard Avedon (May 15, 1923 – October 1, 2004) was an American photographer. Avedon capitalized on his early success in fashion photography and expanded into the realm of fine art.
Avedon was born in New York City to a Jewish-Russian family. After briefly attending Columbia University, he started as a photographer for the Merchant Marines in 1942, taking identification pictures of the crewmen with his Rolleiflex camera given to him by his father as a going-away present. In 1944, he began working as an advertising photographer for a department store, but was quickly discovered by Alexey Brodovitch, the art director for the fashion magazine Harper's Bazaar. In 1946, Avedon had set up his own studio and began providing images for magazines including Vogue and Life. He soon became the chief photographer for Harper's Bazaar. Avedon did not conform to the standard technique of taking fashion photographs, where models stood emotionless and seemingly indifferent to the camera. Instead, Avedon showed models full of emotion, smiling, laughing, and, many times, in action.
Avedon was always interested in how portraiture captures the personality and soul of its subject. As his reputation as a photographer became widely known, he brought in many famous faces to his studio and photographed them with a large-format 8x10 view camera. His portraits are easily distinguished by their minimalist style, where the person is looking squarely in the camera, posed in front of a sheer white background. Avedon would at times provoke reactions from his portrait subjects by guiding them into uncomfortable areas of discussion or asking them psychologically probing questions. Through these means he would produce images revealing aspects of his subject's character and personality that were not typically captured by others.
He is also distinguished by his large prints, sometimes measuring over three feet in height. His large-format portrait work of drifters, miners, cowboys and others from the western United States became a best-selling book and traveling exhibit entitled In the American West, and is regarded as an important hallmark in 20th Century portrait photography, and by some as Avedon's magnum opus. It was a six-year project Avedon embarked on in 1979, that produced 125 portraits of people in the American west who caught Avedon's eye.
Avedon was drawn to working people such as miners and oil field workers in their soiled work clothes, unemployed drifters, and teenagers growing up in the West circa 1979-84. Avedon was also lauded for treating his subjects with the attention and dignity usually reserved for the politically powerful and celebrities. Laura Wilson served as Avedon's assistant during the creation of In the American West and in 2003 published a photo book documenting the experiences, Avedon at Work, In the American West.
Avedon became the first staff photographer for The New Yorker in 1992. On October 1, 2004, he died of a brain hemorrhage in San Antonio, Texas while shooting an assignment for The New Yorker.
