{"id":89786,"date":"2016-08-01T16:49:53","date_gmt":"2016-08-01T15:49:53","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/?p=89786"},"modified":"2016-08-08T14:44:40","modified_gmt":"2016-08-08T13:44:40","slug":"terence-donovan-portraits","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/portrait_photography\/terence-donovan-portraits\/","title":{"rendered":"Terence Donovan: Portraits"},"content":{"rendered":"\t\t
\n\t\t\t\"French\t\t\t

French Elle, 2 September 1965, \u2018Les Manteaux arts modernes\u2019, coat by Pierre Cardin \u00a9 Archives Elle\/HFA<\/p>\n\t\t<\/div>\n\t\t\n

In the early 1960s, fashion photography went through a revolution that was led by three young and ambitious photographers: David Bailey, Brian\u00a0Duffy and Terence Donovan. Talented and determined, with a fresh and informal style, they quickly usurped established fashion photographers such as Cecil Beaton and Norman Parkinson.<\/p>\n

\u2018Before us, fashion photographers were tall, thin and camp,\u2019 Duffy famously commented. \u2018We\u2019re different. We\u2019re short, fat and heterosexual.\u2019 Beaton himself later praised \u2018The Terrible Three\u2019, as he called them \u2013 \u2018three cockney boys who rushed out of the somewhat staid John French\u2019s darkroom and gave a signature to their times.\u2019<\/p>\n

Actually they weren\u2019t all cockneys, nor did they all work at the studio of fashion photographer John French, but their photography did embody the\u00a0freewheeling spirit of the \u2018swinging sixties\u2019.<\/p>\n

All three went on to have successful careers in commercial and editorial photography. Today, Bailey is still active in his late 70s, while Duffy abandoned photography in the early 1980s, long before he died in 2010. Meanwhile, Donovan\u2019s career included fashion and portraiture, as well as directing pop videos and thousands of television commercials. His reputation for excellence led to him being nicknamed \u2018The\u00a0Guv\u2019nor\u2019.<\/p>\n

The best of times<\/h2>\n\t\t
\n\t\t\t\"French\t\t\t

French Elle, 1 September 1966 \u2018Du Nouveau sous le nouveau tunnel\u2019. Fashion by Pierre Cardin. \u00a9 Archives Elle\/HFA<\/p>\n\t\t<\/div>\n\t\t\n

The year 2016 is both the 20th anniversary of his death and the 80th anniversary of his birth. These anniversaries are being marked by a new book, Terence Donovan: Portraits, and a major exhibition at the Photographers\u2019 Gallery in London, titled Speed of Light. The exhibition is curated by photo-historian Robin Muir, who worked with Donovan at Vogue magazine and is an expert on his photography.<\/p>\n

For Muir, the work Donovan produced in the first decade of his career was undoubtedly his best. \u2018His photographs for me are just fascinating documents of the \u201960s,\u2019 he says. \u2018Between 1959 and 1969 he was just absolutely at the top of his game. His pictures give us a wonderful take on London and the fashion and people of the time.\u2019<\/p>\n

In those early years, Donovan\u2019s work for magazines such as Man About Town or Vogue had a gritty,\u00a0street documentary style. He\u00a0photographed glamorous models in\u00a0the latest fashions in outdoor locations such as blocks of\u00a0council flats or in parts of London\u00a0still derelict from wartime bomb damage.<\/p>\n

Donovan was particularly innovative in the way he photographed men\u2019s fashion. As he himself said, \u2018Up until then, all the pics of men in tweed coats had them on shooting sticks in Hyde Park. I shot them on a gasworks.\u2019<\/p>\n

Muir says, \u2018Donovan was a fantastic photographer of men and men\u2019s fashion, and he did a lot of wonderful black & white pictures depicting men\u2019s clothes. He took them into parts of the East End he knew and put them into these extraordinary backdrops. Nobody else was doing men\u2019s fashion in that way. And he did it very well. He was as good in the open air as he was in the studio and you can\u2019t often say that about photographers.\u2019<\/p>\n

Honest and authentic<\/h2>\n

But what else sets Donovan\u2019s work apart? \u2018As the \u201960s gained momentum, a lot of his contemporaries\u2019 work became much more polished and glossy,\u2019 says Muir. \u2018Whereas although Donovan did a lot in the studio, there\u2019s a certain sort of naturalness about it. His work looks more authentic, more honest. It just looks different.\u00a0That quality lasted the whole decade.\u2019<\/p>\n\t\t

\n\t\t\t\"Terence\t\t\t

Terence Stamp, Vogue, July 1967. Photographed on the set of John Schlesinger\u2019s Far From the Madding Crowd \u00a9 The Cond\u00e9 Nast Publications Ltd<\/p>\n\t\t<\/div>\n\t\t\n

Donovan certainly worked hard, sometimes shooting three or four sittings a day, and was soon established as a leading fashion photographer. However, in the 1970s, he began to work much more in the lucrative worlds of print advertising and television commercials. From this point on, Muir believes his work lost something of its appeal.<\/p>\n

\u2018Photographers have to mature and change, but I got the impression that Donovan\u2019s heart wasn\u2019t really in editorial photography any more,\u2019 he says. \u2018I think he lost his way a little bit when he discovered moving\u00a0film and advertising. There was big money in advertising and you can\u2019t blame him for wanting to go in that direction. It didn\u2019t demand much from him in the way that earlier editorial photography had. Notwithstanding, he still produced a lot of wonderful stuff in the \u201970s and \u201980s.\u2019<\/p>\n\t\t

\n\t\t\t\"\u2018Dressed\t\t\t

\u2018Dressed Overall\u2019, Fashion Feature for Nova, March 1974 \u00a9 Terence Donovan Archive<\/p>\n\t\t<\/div>\n\t\t\n

By the mid-1980s, Donovan had been away from regular editorial photography for so long that he was often overlooked for commissions. However, his reputation for taking definitive and iconic photographs led to commissions for official royal portraits, including a number of sittings with Princess Diana. He was also chosen to photograph Margaret Thatcher while she was prime minister.<\/p>\n

Muir, who was present at some of Donovan\u2019s portrait sittings for Vogue in the 1990s, says by this time his portraits were done as quickly as possible. \u2018He was as charming as everybody said he was, delightful, and a very good photographer,\u2019 Muir recalls, \u2018But\u00a0he had got his portrait photography down to a very fine art and a very quick art. There was no hanging around, no analysing what we were about to\u00a0do; he just did it. Everybody was in and out in probably about an hour.<\/p>\n\t\t

\n\t\t\t\"\t\t\t

A suit by Hussein Chalayan, British Vogue, \u2018Made in England\u2019, 1995 \u00a9 Terence Donovan Archive<\/p>\n\t\t<\/div>\n\t\t\n

\u2018I thought it was extraordinary, because with other photographers like Snowdon and Albert Watson there would be a lot of preparation, and a lot of chatting before the day. Terence got past all that and went straight into the photographs. I\u2019m not sure whether that in itself was a good or bad thing, but the pictures he took latterly at Vogue weren\u2019t among his best.\u2019<\/p>\n

Nevertheless, Donovan was to have one memorable return to form in 1996 when he was commissioned to photograph major music stars of the day, including Jarvis Cocker and Bryan Ferry, for GQ magazine\u2019s \u2018Cool Britannia\u2019 issue.<\/p>\n

In the Speed of Light exhibition, Muir will be devoting space to this final portfolio among more than 130 Donovan prints, together with work from throughout his career, as well as some of his sketchbooks, contact sheets, videos and filmed\u00a0interviews.<\/p>\n

Sadly, the GQ shoot wasn\u2019t published until after Donovan\u2019s sudden death in November 1996. For Muir, it is both a reminder of Donovan\u2019s talent and an indication of the work he might have gone on to produce.<\/p>\n

\u2018This wonderful portfolio for GQ\u00a0would have been his way back into editorial photography,\u2019 Muir continues. \u2018It was an amazing roll call of the great and good of British music, and I think it would have been a great calling card. I genuinely believe it would have re-established his career, and if he\u00a0was alive today he would have been a proper \u201cgrand old man\u201d of photography.\u2019<\/p>\n

Thermodynamic, 1961<\/h2>\n\t\t
\n\t\t\t\"03_PressImage-l-Terence-Donovan,-Man-About-Town,-Thermodynamic-1961-\"\t\t\t

\u00a9 Terence Donovan Archive<\/p>\n\t\t<\/div>\n\t\t\n

This shot was taken for About Town magazine and published as part of a fashion feature in January 1961. The model, Peter Anthony, one of the few male models of the period, was wearing a Jaeger suit. It was taken at Grove Road Power Station in St John\u2019s Wood, London.<\/p>\n

\u2018This kind of image, where Donovan has photographed his model against the backdrop of industrial London, was typical of his work in the early \u201960s,\u2019 says Robin Muir. \u2018It was very dramatic to show the model against the plume of steam. Other photographers have done similar things since, but this was the first time it had been done in a mainstream magazine. There was no regard for health and safety! You couldn\u2019t get away with it now.\u2019<\/p>\n

Terence Donovan, 1936-1996<\/h2>\n\t\t
\n\t\t\t\"19_PressImages-l-Terence-Donovan-l-Terence-Donovan,-Self-portrait-1996-\"\t\t\t

\u00a9 Terence Donovan<\/p>\n\t\t<\/div>\n\t\t\n

Terence Donovan was born in Stepney, East London, in 1936. The son of a long-distance lorry driver, Donovan spent most of the Second World War travelling around England with his father. He began a part-time apprenticeship in lithography at the age of 11 and studied block making at the London School of Photo-Engraving and\u00a0Lithography.<\/p>\n

At 15, he began working as a photographer\u2019s assistant at a printing company. After National Service, he worked at the studio of fashion photographer John French. Then, aged 22, he set up his own studio.<\/p>\n

He shot editorial images for magazines such as Man About Town\u00a0and Vogue (from 1963 onwards). He also shot fashion and portraits for Nova, The Sunday Times Magazine and others.<\/p>\n

He concentrated on advertising photography from the early 1970s, and in the \u201980s and \u201990s, focused on the moving image. He shot around 3,000 TV commercials and directed influential pop videos, including Robert Palmer\u2019s Addicted to Love.<\/p>\n

He produced just three publications in his lifetime: the booklet Women Throooo the Eyes of Smudger Terence Donovan (1964); a book of erotic nudes, Glances (1983); and provided the images for Katsuhiko Kashiwazaki\u2019s instructional book Fighting Judo (1985). Judo was one of Donovan\u2019s passions, and he achieved black-belt level.<\/p>\n

In 1996 he was appointed visiting\u00a0professor at Central Saint Martins School of Art. He committed suicide later the same year after suffering from severe depression. He left behind an archive of around a million images.<\/p>\n

Terence Donovan: Portraits<\/h2>\n\"Terence_Donovan_Portraits\"\n

Terence Donovan: Portraits, edited by Diana Donovan and David Hillman and featuring an accompanying essay by Philippe Garner, is published by Damiani and priced at \u00a335. It includes portraits made throughout Donovan\u2019s career, including Diana, Princess of Wales; Laurence Olivier; Margaret Thatcher and Sean Connery.<\/p>\n

Visit www.damianieditore.com<\/a> for more details.<\/p>\n

Terence Donovan: Speed of Light, in association with Ricoh, is on display at The Photographers\u2019 Gallery from 15 July, www.tpg.org.uk<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

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