William Klein: Artist Profile

William Klein, a name synonymous with a raw, visceral, and often confrontational style of street photography, remains a pivotal figure. He wasn’t interested in the polite, the picturesque, or the perfectly composed. Instead, he embraced the chaotic energy of urban life: the blur, the grain, the awkward angles, and the sheer messiness of the world. His work, particularly his early street photography, crackles with a restless energy, a sense of immediacy that continues to resonate. He wasn’t a detached observer, but an active participant, his camera a weapon, a tool for exploration, and a means of engaging with the world on his own terms. “I was a kind of anti-photographer,” Klein once said, “I was going against all the rules.” This rebellious spirit is evident in every frame. As he later reflected, “I’m an outsider, I guess. I wasn’t part of any movement. I was working alone, following my instinct. I had no real respect for good technique because I didn’t know what it was. I was self-taught, so that stuff didn’t matter to me.”  

Klein’s influences are complex and, perhaps characteristically, somewhat contradictory. He wasn’t formally trained as a photographer. His background was in painting, studying with Fernand Léger in Paris. This artistic foundation undoubtedly shaped his visual approach, giving him a keen sense of composition, even when seemingly abandoning traditional rules. Léger, as Klein recalled, “told us not to worry about galleries and collectors, but to go out onto the city streets and paint murals.” It was while photographing some of his interior murals, “big hard-edged geometrical paintings,” that Klein had an epiphany. “Somebody turned one of the panels when I was shooting on a long exposure, and when I developed the photographs this already abstract shape was a beautiful blur. That blur was a revelation. I thought, here’s a way of talking about life. Through photography, you can really talk about what you see around you. That’s what I’ve been doing ever since.” One can see echoes of the bold lines and dynamic forms of Léger's work in Klein’s own compositions, albeit translated into the language of photography. However, Klein’s real education came from the streets, from the raw energy of New York City in the 1950s. He cites Weegee, the tabloid photographer known for his gritty depictions of crime scenes and urban life, as a key inspiration. “Weegee showed me that photography could be tough,” Klein said. But Klein’s work goes beyond Weegee’s sensationalism. He adds a layer of social commentary, a sense of irony, and a distinctly modern aesthetic.  


What sets Klein apart is his unflinching gaze, his willingness to confront the viewer with the raw reality of urban existence. His photographs are often confrontational, sometimes even aggressive. They capture the chaos, the noise, the sheer overwhelmingness of city life. In his iconic series “Life is Good & Good for You in New York,” the city becomes a stage for a kind of urban theatre, populated by characters who are both ordinary and extraordinary. The images are often close-up, sometimes blurred, capturing fleeting moments of interaction, expressions of joy, despair, and everything in between. “I wanted to show the city as I saw it,” Klein explained, “not as it should be.” This desire to capture the unvarnished truth, to embrace the imperfections and contradictions of urban life, is what makes his work so powerful. He wasn’t interested in creating a sanitised version of reality, but rather a visceral and immediate experience of the city. As he put it, “People said, ‘What a put-down — New York is not like that. New York is a million things, and you just see the seamy side.’” His view of New York, as he confessed, was that it was “like a big shithouse.”

Klein’s work evolved over the course of his career, moving beyond the raw immediacy of his early street photography. He ventured into fashion photography, bringing his distinctive style to the pages of Vogue. Even in this commercial context, he retained his rebellious spirit, pushing the boundaries of the genre. His fashion photographs are often dynamic, energetic, and sometimes even humorous, a far cry from the static and posed images that were typical at the time. He used wide-angle lenses, unusual perspectives, and blurred motion, creating a sense of immediacy and excitement. As Dorothy McGowan, a Vogue model who worked with Klein, recalled, “People were terrified of him, as though it was the lion’s den.” Klein himself acknowledged, “They were probably the most unpopular fashion photographs Vogue ever published.” This willingness to experiment and to challenge conventions is a hallmark of Klein’s work, regardless of the subject matter. He even made a film about the fashion world, “Who Are You, Polly Maggoo?”, which, as he recalled, “was completely foreign to the whole movie scene here in France.” Later, he made documentaries on figures like Muhammad Ali and Little Richard, drawn, as he said, to “great characters.”

His books are as important to his oeuvre as his individual photographs. “Life is Good & Good for You in New York,” published in 1956, is considered a landmark in the history of photobooks. Its raw energy, its unconventional layout, and its unflinching portrayal of urban life made it a radical departure from the prevailing aesthetic of the time. The book itself becomes a kind of extension of Klein’s photographic practice, a dynamic and immersive experience for the viewer. Other notable books include “Tokyo” (1964) and “Moscow” (1964), both of which capture the unique character of these cities through Klein’s distinctive lens. These books are not simply collections of photographs; they are visual essays, capturing the spirit and energy of a place. As he described his approach to his books, “The sequencing of the New York book, and even the composition of individual images, also seems to owe something to comic-books.” His first book, however, met with resistance. “They just didn’t get it,” he said of the initial reaction to “Life is Good & Good for You in New York.” “They thought it should not have been published, that it was vulgar and somehow sinned against the great sacred tradition of the photography book. They were annoyed for sure.”  


Klein’s exhibitions have also played a significant role in shaping his reputation. His work has been shown in major museums and galleries around the world. One particularly important exhibition was his retrospective at the International Center of Photography in New York in 1996. This exhibition brought together a wide range of his work, from his early street photography to his fashion work and his films, providing a comprehensive overview of his career. It highlighted the diversity of his practice and his consistent willingness to challenge conventions. Even in his exhibitions, Klein sought to create a dynamic and engaging experience for the viewer, reflecting the energy and immediacy of his photography. More recently, a joint retrospective with Japanese photographer Daido Moriyama at Tate Modern explored the similarities in their depictions of New York and Tokyo. Klein, however, remained characteristically nonchalant about the exhibition. “I think it’s kind of stupid,” he said, shrugging, “but a lot of things happen without me really being involved. There’s a connection all right, but…”

Klein’s work sits squarely within the tradition of street photography, but it also transcends it. He shares with photographers like Henri Cartier-Bresson a fascination with the decisive moment, but his approach is radically different. While Cartier-Bresson sought to capture the perfect composition, the harmonious balance of form and content, Klein embraced the chaos and the unpredictability of the street. His work is more akin to that of Robert Frank, whose book “The Americans” also challenged the conventions of the time, but Klein’s work has a distinct energy, a sense of urgency that is all his own. “I’m not a documentarian,” Klein has said. “I’m an artist. I’m interested in my own vision of the world.”

Klein’s influence can be seen in the work of many photographers who followed. His bold use of composition, his willingness to embrace the imperfections of the medium, and his unflinching portrayal of urban life have all had a lasting impact. While it's difficult to pinpoint specific individuals, his influence is more pervasive, a kind of spirit of rebellion that encourages photographers to break the rules, to challenge conventions, and to find their own unique voice. He showed that photography could be more than just a record of reality; it could be a powerful means of expression, a way to engage with the world on a personal and visceral level.

William Klein’s legacy is one of innovation, experimentation, and a relentless pursuit of his own vision. He wasn’t afraid to challenge the established norms of photography, to push the boundaries of the medium, and to capture the world as he saw it, in all its messy, chaotic, and often beautiful complexity. His work continues to inspire and provoke, reminding us that photography can be a powerful tool for exploring the world around us and for engaging with the human experience in all its richness and diversity. He showed us that the streets can be a gallery and that life itself is the greatest subject of all. As Orson Welles said of Klein’s film “Broadway by Light,” “the first film I've seen in which colour was absolutely necessary.” This sense of innovation and pushing boundaries is a hallmark of Klein’s entire oeuvre, from his early street photography to his fashion work and his films.

The Evolution of Photographic Lighting Techniques: Past, Present, and Future

Photography is an art that has been shaped by light since its inception. From the earliest days of the camera obscura to the modern era of high-speed LED lighting, the techniques used to illuminate subjects have evolved significantly. The history of photographic lighting is a testament to human ingenuity, scientific progress, and the ever-growing desire to capture the world in its best light. This essay explores the journey of photographic lighting, from its humble beginnings to the innovations of today and the exciting possibilities of tomorrow.

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Early Lighting Techniques: Natural Light and Simple Enhancements

In the early 19th century, when photography was in its infancy, natural light was the primary source of illumination. Photographers relied on sunlight streaming through windows or outdoor settings to capture their subjects. The first photographic processes, such as the daguerreotype, required long exposure times, sometimes lasting several minutes. This meant that early photographers had to carefully position their subjects in well-lit areas and use reflective surfaces, such as mirrors or white walls, to bounce light onto the subject.

As the demand for portrait photography grew, studios were designed with large north-facing windows to provide soft, even light. The use of diffusers, such as sheer curtains, helped control the intensity of sunlight and reduce harsh shadows. However, this dependence on natural light limited the flexibility of photographers, especially in poor weather or at night.

The Advent of Artificial Lighting: Oil Lamps and Gas Lights

In the mid-19th century, photographers began experimenting with artificial lighting. One of the earliest forms of artificial illumination was the use of oil lamps and gas lamps. These provided a consistent light source, though they were dim compared to sunlight and required long exposure times. The quality of light was warm and flickering, often producing an uneven illumination that photographers struggled to control.

The introduction of magnesium flash powder in the 1860s revolutionized artificial lighting. This highly combustible mixture produced an intense burst of light when ignited, allowing photographers to capture images in much shorter exposure times. While effective, flash powder was hazardous, producing smoke and posing a fire risk. Despite these dangers, it remained a popular lighting solution until safer alternatives were developed.

Electric Light and the Rise of Studio Photography

The late 19th and early 20th centuries saw the advent of electric lighting in photography. The invention of the incandescent light bulb by Thomas Edison in 1879 provided photographers with a more stable and controllable light source. Studios began incorporating tungsten lamps, which emitted a continuous warm light that could be adjusted in intensity.

The 1920s and 1930s marked the golden age of studio photography, with Hollywood and fashion photography leading the way in lighting innovation. Large, powerful arc lamps and tungsten floodlights allowed photographers to achieve dramatic, high-contrast images. Three-point lighting—comprising a key light, fill light, and backlight—became a standard technique to sculpt and define subjects.

Chiaroscuro Lighting and its Influence on Hollywood Portraiture

Chiaroscuro lighting, a technique originating from the Renaissance era and famously used by painters like Caravaggio and Rembrandt, found a significant place in photographic portraiture. The method, which emphasizes strong contrasts between light and dark, creates a dramatic effect that enhances depth and emotion in an image.

In Hollywood's Golden Age, chiaroscuro lighting was extensively used by portrait photographers such as George Hurrell and Clarence Sinclair Bull, who crafted iconic images of silver-screen legends like Marlene Dietrich and Humphrey Bogart. The interplay of highlights and shadows in their portraits gave the subjects a mysterious and glamorous appeal that became synonymous with classic Hollywood photography.

Today, many contemporary photographers continue to employ chiaroscuro techniques in innovative ways. Photographers like Dan Winters, known for his moody and cinematic portraits, and Gregory Crewdson, whose meticulously lit scenes resemble stills from film noir, use dramatic lighting to create depth and emotion. Their work demonstrates the enduring power of chiaroscuro lighting in modern photography.

The Evolution of Flash Photography

Flash technology continued to evolve, with the introduction of the flashbulb in the 1930s. Flashbulbs contained magnesium or aluminium filaments that burned in an oxygen-filled glass bulb, producing a brief but intense burst of light. This innovation eliminated the dangers of flash powder while offering more predictable results.

By the 1950s, electronic flash units became widely available. These strobes, powered by capacitors, could be triggered instantaneously, making them ideal for freezing motion and capturing sharp details. The development of portable flash units enabled photographers to work outside of studios and document fast-paced events such as sports, journalism, and street photography.

The Rise of Ring Flash Photography

The ring flash was developed in the 1950s by Lester A. Dine for use in dental photography, providing even, shadow-free illumination for clinical images. However, its unique aesthetic—a striking, shadowless look with a halo-like catchlight in the eyes—soon caught the attention of fashion and portrait photographers.

By the 1970s and 1980s, the ring flash had become a popular tool in high-fashion photography. It was championed by photographers such as Helmut Newton and Richard Avedon, who used it to achieve a crisp, high-contrast look that emphasized facial features and skin texture. The technique became synonymous with edgy, hyperreal portraiture and has remained a staple in fashion and beauty photography.

Contemporary photographers such as Rankin and Juergen Teller continue to use ring flash to create bold, direct, and sometimes surreal images. Its signature aesthetic—flattening the subject while producing a bright, stark quality—makes it a favourite for editorial and commercial work.

The Influence of Disposable Cameras and Snapshot Aesthetics

The rise of cheap disposable cameras in the late 20th century led to a raw, spontaneous style of photography that emphasized imperfection, overexposure, and high contrast. This unpolished aesthetic, once considered amateurish, became a deliberate choice in fashion photography, where it was used to capture candid, intimate moments that felt authentic and unfiltered.

In the 1990s and 2000s, photographers such as Terry Richardson and Corinne Day popularized the snapshot aesthetic in high fashion. Richardson’s direct-flash style, often shot with compact point-and-shoot cameras, became a defining look for campaigns by Gucci and Supreme. Meanwhile, Corinne Day’s documentary-style images of Kate Moss in the early ’90s helped redefine beauty standards in fashion, favouring naturalism over polished perfection.

Today, this aesthetic continues to be influential, with photographers like Juergen Teller and Petra Collins incorporating elements of the snapshot style into editorial and advertising work. The accessibility of smartphone cameras and social media has further cemented the appeal of this raw, unfiltered look in contemporary visual culture.

The Return to Naturalism: The Dusseldorf School

The late 20th and early 21st centuries witnessed a resurgence of interest in natural light and a more straightforward approach to photography.

1 This shift was significantly influenced by the Dusseldorf School, a group of photographers who emerged from the Kunstakademie Düsseldorf in the 1970s and 1980s.

Figures like Andreas Gursky, Thomas Ruff, and Thomas Struth, among others, championed a style characterized by a cool, almost clinical aesthetic. They often employed available light, eschewing dramatic studio setups and artificial illumination. Gursky, for example, captured vast landscapes and architectural structures with a stark, almost documentary-like approach, emphasizing the inherent beauty of the subject matter rather than manipulating it with elaborate lighting. Ruff's portraits, meticulously composed and often shot in daylight, sought to strip away artifice and reveal the underlying essence of his subjects, whether they were self-portraits or portraits of strangers.

This return to naturalism reflected a desire to move away from the artifice and manipulation often associated with commercial and fashion photography. The Dusseldorf School sought to establish photography as a more objective and documentary form of art, emphasizing the inherent truthfulness of the image. Their work challenged the prevailing trends of the time, which often involved elaborate staging, heavy retouching, and the use of artificial lighting to create idealized and often unrealistic representations of reality.

The influence of the Dusseldorf School can be seen in the work of countless contemporary photographers. Their emphasis on natural light, careful composition, and a focus on the inherent beauty of the subject matter has become a significant force in contemporary photography, inspiring a new generation of artists to explore more authentic and less manipulated approaches to image-making.

Future Innovations in Photographic Lighting

As technology continues to progress, the field of photographic lighting is undergoing exciting transformations. LED lighting has become increasingly popular due to its energy efficiency, adjustable colour temperatures, and portability. Photographers like Lindsay Adler and Jake Hicks are known for their creative use of coloured LED lights, producing bold and dramatic imagery that pushes the boundaries of traditional lighting techniques.

Other innovations include the use of programmable lighting setups, such as DMX-controlled LED panels, which allow for dynamic, cinematic effects that were once only possible in high-end film production. Additionally, photographers like Erik Almas and Benjamin Von Wong are experimenting with unconventional light sources, including neon lights and fibre optics, to create unique visual aesthetics.

Looking ahead, advancements in AI-driven lighting, holographic projection, and even bioluminescent sources could revolutionize the way photographers shape and manipulate light. As technology continues to evolve, the future of photographic lighting will be defined by an ever-expanding palette of creative possibilities, allowing photographers to craft images that are more immersive and visually striking than ever before.