✨AI Reimagines the Masters✨ Brian Duffy|225/1000

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Brian Duffy (15 June 1933 – 31 May 2010) was an English photographer and film producer, best remembered for his fashion and portrait photography of the 1960s and 1970s.

In 1955 Duffy began freelancing as a fashion artist for Harper's Bazaar where he first came into contact with commercial photography. Inspired by the photographic contact sheets he saw passing through the art director's desk he sought a job as a photographer's assistant. Unsuccessfully, he applied for a job with John French and was subsequently employed at Carlton Studios and then at Cosmopolitan Artists. Duffy went on to work as an assistant to the photographer Adrian Flowers during which time he received his first photographic commission from Ernestine Carter, who at the time was the fashion editor of The Sunday Times.

www.duffyarchive.com

https://www.duffyarchive.com/

In 1957 Duffy was hired by British Vogue working under art director John Parsons where he remained working until October 1962. During this time he worked closely with top models Jean Shrimpton (whom he introduced to David Bailey), Paulene Stone, Joy Weston, Tania Mallet, Marie-Lise Gres, Jennifer Hocking, and Judy Dent.

With fellow photographers David Bailey and Terence Donovan, Duffy was a key player in the 'Swinging Sixties' - a culture of high fashion and celebrity chic. Together the 'Black Trinity' as affectionately named by Norman Parkinson (and only ever referred to by their surnames), redefined not only the aesthetic of fashion photography but also the place of the photographer within the industry. Socialising with actors, pop stars, royalty, and the notorious Kray Twins, they represented a new breed of a photographer and found themselves elevated to celebrity status. Duffy commented on the culture shock the three were to the industry:

"Before 1960, a fashion photographer was tall, thin, and camp. But we three are different: short, fat, and heterosexual!" After leaving Vogue, Duffy still provided fashion photography for the magazine. He also worked for numerous publications including Nova, London Life, Cosmopolitan, Esquire, Town, Queen, The Observer, The Sunday Times Magazine, and the Telegraph Magazine. He worked for Swiss art director Peter Knapp and later Foulia Elia for French Elle for two periods the first between 1962 and 1966, and then again between 1974 and 1979. Duffy claimed that he did some of his best work working with French Elle. Duffy was also a highly successful commercial advertising photographer shooting award-winning campaigns for both Benson & Hedges and Smirnoff in the 1970s as well as designing the concept for Silk Cut which he sold to Paul Arden at Saatchi & Saatchi.

In 1965 Duffy was asked to shoot the second Pirelli calendar which was shot on location in the south of France. He was commissioned to shoot the calendar again in 1973 (one of the very few photographers commissioned to shoot two) which he created in collaboration with British pop artist Allen Jones and airbrush specialist Philip Castle. In 1968 he set up a film production company with Len Deighton called Deighton Duffy and went on to produce Only When I Larf, based on Deighton's book (1967),[4] and Oh! What a Lovely War, which was released in 1969. Continuing Duffy's lifelong interest in the First World War, in 1985 he directed Lions Led By Donkeys for Channel Four.

Duffy had an eight-year working relationship with the artist David Bowie and shot five key sessions over this period providing the creative concept as well as the photographic image for three album covers: Aladdin Sane (1973) when Duffy interpreted Bowie's original title of 'A Lad Insane' as 'Aladdin Sane', Lodger (1979) and Scary Monsters (and Super Creeps) (1980).[5] Duffy also photographed Bowie as his character Ziggy Stardust in July 1972, and on the set of Nicolas Roeg's cult film The Man Who Fell to Earth (1976) on location for The Sunday Times. Duffy's input had a significant influence on the creation of Bowie's chameleon-like public image and in 2014 Chris Duffy and Kevin Cann co-authored a book chronicling these shoots titled Duffy Bowie: Five Sessions.

In 1979 Duffy abruptly gave up photography, attempting to burn many of his negatives in his studio yard. Fortunately, his neighbours objected to the acrid smoke, and the council was called to step in, and much of his work was saved.[6] Although a large number of his images were lost the ones that remain stand collectively as a comprehensive visual history of twenty-five years of British culture and fashion.

The story of his life and work is documented in a BBC Four documentary aired in January 2010 titled [The Man Who Shot the 60s.