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 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. 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.

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, 1903Edward Steichen, 1931 George Washington Bridge,

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

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

13. Edward Steichen, Joan Crawford, c1931

14. Edward Steichen, Anna Mae Wong, c1931Edward Steichen, Joan Crawford, 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, 1927 Ad for Evening shoes by Vida Moore, He was one of the first fashion photographers, and is credited with establidshing the new genre through his work for Vogue in the 1920s.

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

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

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

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

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

23. “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

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

25. 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

27. Advertisement for Listerine

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

30. Transport Accident Commisson billboard, 1990s

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

32. Erwin Blumenfeld, Alexander Lieberman art director, 1945

33. Erwin Blumenfeld, Alexander Lieberman art director, 1945 Erwin Blumenfeld, Alexander Lieberman art director, 1950

34. Vogue magazine, April 1950 Photographer: Irving Penn Art Director: Alexander Lieberman

35. 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

36. 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

37. Irving Penn, Jean Pachett 1950 Irving Penn, Jean Pachett 1950

38. Irving Penn at work on a still life

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

40. Irving Penn, Frozen foods, 1970

41. Irving Penn, Edifice, 1980

42. “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

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

44. Irving Penn, Still Life with Shoe, 1980

45. Irving Penn, Collapse, 1980

46. Irving Penn, Clinique ad, 1980s 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

47. Irving Penn, Clinique ad, 1980s

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

49. Albert Renger-Patszch, ad 1930s

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

54. Peter Keetman, Schaubenpumpe, 1960

55. 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.

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

57. Cazanueve engineering, Switzerland

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

59. Wolfgang Sievers Gears for Mining Industry, Vickers Ruwolt WOLFGANG SIEVERS Wolfgang Sievers was a commercial photographer for almost 50 years. He specialized in industrial and architectural photography. Sievers almost never exhibited his work as art, although he is now regarded as one of Australia’s great photographic artists.

60. Australian postage stamp 1990 Wolfgang Sievers Gears for Mining Industry, Vickers Ruwolt,

61. Wolfgang Sievers at work c1970 Wolfgang Sievers Gears for Mining Industry, Vickers Ruwolt,

62. “This illustration is to our mind an example of an outstandingly successful treatment. The glimpse of sky between the reflecting boiler shells and the pictorial effect of the close lying rails of the gangways add up to a photographic gem which should win admiration even from the aesthete and the devotee of the abstract.” Photography in Industry, Munich 1967 Wolfgang Sievers Sulphuric Acid plant,Tasmania, 1959

63. Wolfgang Sievers Gears for Mining Industry, Vickers Ruwolt, Melbourne 1967 Nordberg Crusher ‘before’ Wolfgang Sievers, Vickers Ruwolt, Nordberg Crusher, 1969

64. Wolfgang Sievers Gears for Mining Industry, Vickers Ruwolt, Melbourne 1967 Wolfgang Sievers, Vickers Ruwolt, Nordberg Crusher, 1969

65. Wolfgang Sievers, Escalator site at Parliament Station, 1977