1. THE PERSUASIVE IMAGE commercial photography as art photographers who combine art and commerce

2. PAUL OUTERBRIDGE
In 1922 Outerbridge produced this commercial still life photograph for a clothing client. It was published in the fashionable Vanity Fair magazine.
In recent years, the photograph has been perceived as an important example of modernist art and in the year 2000 was sold at Christies auction for a large sum.
Paul Outerbridge, Ide Collar, 1922 advertisement for Vanity Fair magazine

3. Christies auction price: $314,000
Paul Outerbridge, Ide Collar, 1922 advertisement for Vanity Fair magazine

4. Edward Steichen, Douglass lighters, 1928
EDWARD STEICHEN In 1923 photographer Edward Steichen became the highest paid photographer in the world. He worked in fashion, celebrity portraiture, industrial and advertising photography. Steichen had been an artist and helped to establish photography as a fine art in the early 1900s
Edward Steichen, Douglass lighters, 1928

5. Edward Steichen, Douglass lighters, 1928
In the 1920s, consumers were introduced to the new styles of modern and design. They came into contact with examples of Cubism, Futurism and Art Deco design.
Edward Steichen, Douglass lighters, 1928

6. Edward Steichen, Douglass lighters, 1928

7. Luigi Rossolo,
Dynamism of an Automobile 1912
Futurist painting

8. A.M.Cassandre, Nord Express 1927
Art Deco poster

9. Steichen’s style in the 1920s and 30s was dynamic and energetic.
Compare this modernist photograph of a bridge to his earlier Pictorialist photograph from 1903 …
Edward Steichen, 1931
George Washington Bridge,

10. Edward Steichen, Brooklyn Bridge, 1903
George Washington Bridge,

11. Edward Steichen, The Flatiron 1904
Edward Steichen, Brooklyn Bridge, 1903
Edward Steichen, The Flatiron 1904

12. Steichen took elegant portraits of celebrities which were published in Vogue and Vanity Fair
Edward Steichen, Margaret Horan, c1931

13. Edward Steichen, Joan Crawford, c1931
Edward Steichen, Margaret Horan, c1931

14. Edward Steichen, Joan Crawford, c1931
Edward Steichen, Anna Mae Wong, c1931

15. Edward Steichen, Anna Mae Wong, c1931

16. Steichen experimented with abstracted patterns in still life photographs. They were commissioned by the Stehli Silk company to be used as fabric patterns.
Edward Steichen, 1926 photograph for Stehli Silks pattern

17. Edward Steichen, 1926 photograph for Stehli Silks pattern
Stehli Silks fabric 1927

18. He was one of the first fashion photographers, and is credited with establidshing the new genre through his work for Vogue in the 1920s.
Edward Steichen, 1927
Ad for Evening shoes by Vida Moore,

19. Edward Steichen,
Tamaris with Art Deco scarf, 1926
Edward Steichen, 1927
Ad for Evening shoes by Vida Moore

20. Edward Steichen,
Tamaris with Art Deco scarf, 1926
Edward Steichen, Vogue page, 1920s

21. Steichen is also given credit for helping to establish the new genre of advertising photography.
Edward Steichen, nude photograph, 1936

22. Edward Steichen, nude photograph, 1936
Edward Steichen, Portrait of Lee Miller
Ad for Kotex sanitary products

23. Edward Steichen, Lee Miller, 1928
Edward Steichen, Portrait of Lee Miller
Ad for Kotex sanitary products

24. Photograph by Anton Bruehl, 1932
“The popularisation of Freudian ideas and the romanticisation of the photographer as creative artist justified Anton Bruehl’s photographic distortions to illustrate a larger psychological reality: the inferiority complex.”
Photograph by Anton Bruehl, 1932

25. Salvador Dali, detail from The Lugubrious Game, 1929
Photograph by Anton Bruehl, 1932

26. Photography dramatises the advertising pitch
“Buyers do not question photographic evidence of merit. They believe what the camera tells them because they know that nothing tells the truth so well.” Photographers Association of America c1932

28. Advertisement for Listerine

29. Photography played a role in advertising scare campaigns through the use of dramatic documentary photographs.

30. Photography played a role in advertising scare campaigns through the use of dramatic documentary photographs.

31. Transport Accident Commisson billboard, 1990s

32. Following World War II, modern art from Paris made an impact on commercial photography and graphic design.
Picasso, portrait of Dora Maar, 1937

33. Picasso, portrait of Dora Maar, 1937
Erwin Blumenfeld,
Alexander Lieberman art director, 1945

34. Erwin Blumenfeld, Alexander Lieberman art director, 1950

35. IRVING PENN
Vogue magazine, April Photographer: Irving Penn Art Director: Alexander Lieberman

36. Irving Penn, Jean Pachett 1950
Tone and plane are set in sleek opposition — a horizontal black brim above a vertical white scarf, sleeves precisely diagonal to both. Behind a veil the eyes of the model Jean Patchett - The Telegraph.
Irving Penn, Jean Pachett 1950

37. Irving Penn, Jean Pachett 1950 Irving Penn, Jean Pachett 1950
Tone and plane are set in sleek opposition — a horizontal black brim above a vertical white scarf, sleeves precisely diagonal to both. Behind a veil the eyes of the model Jean Patchett - The Telegraph.
Irving Penn, Jean Pachett 1950
Irving Penn, Jean Pachett 1950

38. Irving Penn, Jean Pachett 1950

39. Irving Penn at work on a still life

40. Irving Penn’s fashion photographs are like still lifes and his still lifes are like fashion photographs.
Irving Penn, After Dinner Games, 1947

41. Irving Penn, Frozen foods, 1970
Irving Penn, After Dinner Games, 1947

42. Irving Penn, Frozen foods, 1970
Irving Penn, Edifice, 1980

43. “For some years I had been accumulating scraps of material that obsessed me: bits of glass, metal and bone; a human cranium, old sewing machines, a variety of dusts.” - Irving Penn
Irving Penn, Edifice, 1980

44. Irving Penn, Ospedale, 1981
Irving Penn, Edifice, 1980

45. Irving Penn, Still Life with Shoe, 1980

46. Irving Penn, Collapse, 1980

47. Penn employed a spare and elegant approach to the Clinique brand from its inception.
He would photograph single products or arrange them in simple group compositions, monumentalizing the simple product containers by reducing background elements and emphasizing recognition of the brand's logo.
- Irving Penn archives
Irving Penn, Clinique ad, 1980s

48. Irving Penn, Clinique ad, 1980s

49. Sheila Metzner is a New York photographer specializing in fashion & beauty. She has worked for international brands such as Fendi and Ralph Lauren. She exhibits her photographs widely.

50. Metzner uses a special technique called the Fresson process only available in Paris, to create the antique, impressionistic tones.

51. Fendi Uomo perfume ad, 1989
Sheila Metzner, 1989

52. Fendi Uomo perfume ad, 1989
Sheila Metzner, 1989

53. Sheila Metzner, The Passion of Rome, 1986, for Fendi perfume

57. Industrial photography

58. PETER KEETMAN
Peter Keetman was a German industrial photographer. His abstract approach was part of a movement called Subjective Photography.
In 1953 he spent a week photographing the Volkswagen factory in Wolfsburg and produced a promotional book.
The 1950s style was related to the 1930s style of ‘New Photography’

59. Albert Renger-Patszch, ad 1930s

62. Peter Keetman used one of the new Hasselblad cameras which gave sharp focus and rich tones.

64. Peter Keetman, Schaubenpumpe, 1960

65. Escher Wyss engineering, Switzerland, 1950
The new industrial photography was part of a revolution in 1950s graphc design, called International Style.
Like the photographs themselves, it was clear and functional and made with technical precision.
Escher Wyss engineering, Switzerland, 1950

66. Escher Wyss engineering, Switzerland, 1950
Swiss Locomotive and Machine Works, 1948
Escher Wyss engineering, Switzerland, 1950

67. Swiss Locomotive and Machine Works, 1948
Cazanueve engineering, Switzerland

68. Building with steel, Bell Engineering, Switzerland
Cazanueve engineering, Switzerland