The Helmut Foundation Newton of Berlin sets out for the first time 300 instantaneous images of the photographer of the sensuality. It used them in publishing houses fashionable by the urgency to know the result. A book with a selection compiled by the widow of Newton is also published. When in 1992 he published the book Pola Woman, Helmut photographer Newton (1920-2004), that already was a world-wide openwork eminence, was criticized because the images, when being Polaroid snapshots, did not have the finished habitual technician in their work, were not sufficiently perfect. ” That is what it makes exciting, spontaneity, the speed ” , it responded.
The intimate relation of Newton with the Polaroid film of immediate developing returns to be clear in the exhibition of 300 unpublished photos, used by like bosquejos or previous for some of the hundreds of publishing houses fashionable, sensual and erotic notes, that laid the foundations the fame of the retratista. Helmut Newton Polaroids is in poster in soothes central of the Helmut Foundation Newton in Berlin (Germany). In parallel to the sample multinlnge is published in version the book of the same title (Taschen). To know ‘ beforehand; look’ of the photo From the Seventies Newton it used with assiduity the Polaroid film. In some occasion it adduced that the instantaneous photos satisfied their urgency to know the results, look of the situations, without having to happen before through the laboratory. They were as the book of bocetos of the photographer to try if its idea were attainable, besides allowing him to verify the illumination and the composition.
Many of the Polaroid presented/displayed in Berlin, selected and compiled by the widow of the artist, have in wild notes written by hand raised by Newton in the same moment in which the photo was revealed. Been born in Berlin, although resident throughout their life in Singapore, Australia, London, Paris, Monte Carlo and Los Angeles (where she died after an automobile accident), Newton was one of the favorite photographers of several of international editions of Rows. Also it worked for Elle, Marie Claire, Playboy, Vanity Fair and Stern. It published numerous books and it established a style, very imitation, based on the anatomical voyeurismo and bodegones, where the feminine bodies appeared equipped with a dominant and illuminated presence with as cold perfection as germanic.