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Photographers who concentrate on shooting
celebrities can usually be lumped into one of two categories.
There are the irascible paparazzi, despised by celebrities
for their tenacious, sometimes obsessive pursuit of
catching the stars during their most private moments.
Then there are the stereotypical studio photographers
who are usually commissioned to capture the perfectly
composed and lit portrait of flawlessly made-up celebrities
that does much to perpetuate the myth that they are
somehow above mere mortals.
Then there's Jerry Avenaim, one of Hollywood's hottest
photographers to the stars, who is quickly and quietly
earning the reputation for his ability to capture celebrities
as they really are. And he even makes the photo sessions
an enjoyable experience, which has resulted in Avenaim
becoming one of the more sought-after photographers
in the industry
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 With
more than a decade of experience shooting some of Hollywood's
most famous, as well as infamous, faces and more than two
decades as a professional photographer, Avenaim has put together
a formula that has set him apart from his competition. "You
not only have to be good at what you do, you have to be consistent
and work well under pressure," explains Avenaim. "I
try to set an easy and relaxed atmosphere for my clients,
the celebrities, and their publicist." Shooting a celebrity
can be difficult, and most of the work you see is done prior
to the shoot. Avenaim will spend extensive amounts of time
researching his subject's work and finding ways to show both
the characters they play on the screen and who they are off-screen.
The celebrity portraiture of Avenaim comprises some of the
more insightful images ever taken of stars. Looking at his
work is like looking into the souls of his subjects, showing
all the humanity buried inside the godlike status of celebrity.
By treating each of his subjects in such a personal manner,
Avenaim has captured images of celebrities with such raw,
unfiltered emotion that the work stands as some of the most
genuine shots you will see today. It's this kind of work and
ability to get to the bare essence of a person that has left
Hollywood begging for more of Avenaim. Being in such high
demand, he receives the offers most photographers would dream
of. Avenaim was recently selected by the editors of TV Guide
as the only photographer to shoot actors starring in this
fall's new lineup of shows. Shooting exclusively for TV Guide's
Fall Preview, as well as for cover shots throughout the coming
season, was an honor he didn't take lightly. "What made
it even more special for me was the fact that this year there
was a lot of veteran screen and television stars involved
in the new lineup," says Avenaim.
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 Going
to work each morning meant working with some of Hollywood's
greats, including the notable faces of James Caan, Alicia
Silverstone, Rob Lowe, Charlie Sheen, and Mark Harmon, as
well as some of the newer faces of Hollywood, such as Kelly
Ripa and Carla Gugino. However, with such a lineup, a lot
of expectations and time constraints follow.
One of Avenaim's favorite shoots for TV Guide, and ironically
one of his most stressful, was the cover shot of American
Idol judges Simon Cowell, Paula Abdul, and Randy Jackson.
Avenaim admits he and his wife are huge fans of the hit show,
but also admits that shooting the cover was undertaken during
tremendous stress. "This shoot took place in the evening
following a live broadcast of the show," explains Avenaim.
"In attendance were the executives of FOX, the editors
of TV Guide, a British TV crew, and another video crew filming
my pre-lighting techniques-about 40 people in all. There was
absolutely no margin for error." The end result was one
of the more memorable images of 2003 with Cowell tied and
gagged to a chair by his fellow judges.
Working under pressure and difficult situations is something
every celebrity photographer must face, whether it is surrounding
pressure from executives, the time constraints put on them
from the schedule of the star, or at times simply the celebrity.
When Avenaim was assigned to photograph Dr. Phil for the cover
of Newsweek, and it seemed like everything was going to go
wrong, his work ethic and how it inspires all those around
him made everything go just right. "But it almost didn't
happen. We were scheduled to finish the shoot before lunch
to allow Dr. Phil to keep a scheduled television interview,
but time had slipped away.
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 "When
I met him, I found that he was the same person privately that
he is publicly. I wanted to capture that larger-than-life
image. After going through several backgrounds, I knew I wanted
to focus solely on his face. That meant I needed to shoot
him 'black-on-black.' The changing of the lighting and the
backgrounds to do this would take a little extra time, time
I felt we would not have, and I thought I was going to have
to let those shots go." Dr. Phil came to me and simply
asked me if it would help me out if he switched his interview
until later in the day so that we could keep shooting. I emphatically
told him I would give him a hug if he could make the switch
and allow me to finish the shoot. As I went to shake his hand
he exclaimed, "Now don't be a welcher, I want that hug!'"
A shot that resulted from Dr. Phil's willingness to alter
his schedule became the cover of Newsweek. Unfortunately,
not all celebrities are willing and able to be as flexible
as Dr. Phil. A case in point would be former Baretta star
Robert Blake. The actor was not only unwilling to alter his
schedule to stay longer, he didn't even want to be there in
the first place. However, shooting at his own home, Blake
had little choice. Never has the attitude and ethic of Avenaim
resulted in more powerful images. From the get-go, everyone
knew there would be a problem shooting the reclusive Blake.
Immediately, there was a simple creative difference of Blake
disagreeing with the wardrobe for the shoot. Avenaim politely
asked whether his reluctant subject would just do him the
favor of putting on some or any of the clothing the stylist
pulled for him and they would be done quickly and painlessly.
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 To
be done quickly might have been appealing to Blake, but making
this shot painless for Avenaim was clearly not. He refused
to wear the clothing, which left Jerry with only one option.
He challenged his agitated subject, "Blake, if you don't
like the clothes, don't wear anything at all. Just go out
there naked."
Just when everyone at the ranch thought the shoot was over
before it began, in an act of defiance Blake answered the
challenge by walking out on his porch with only a beret and
a cigarette, ready to be photographed. The results are the
only professional portraits of the actor taken in nearly two
decades.
"My patience was running thin with Robert, just as his
patience was running thin with me and my crew, but you can't
let that dictate the tempo of a shoot," explains Avenaim.
"As the photographer, you set the tempo of a shoot. If
you start to unravel, so does everyone around you, and it
shows in the work at the end."
A native of Chicago, Avenaim's fascination with photography
began as a teen when he became enthralled with the photographs
of famed fashion photographer Richard Avedon. Studying his
life and works through books and magazines, Avenaim would
stare at the catchlight in his subject's eyes and try to replicate
the style of those who inspired him by shooting friends in
his backyard. This was one of the first steps Avenaim undertook
as he began to develop his own shooting style.
Keeping things in tempo is one of the critical lessons Avenaim
learned as a photographer, a lesson he came to understand
on his first job assisting the legendary Patrick Demarchelier.
"On my first day, I was nervous and in awe. Here I was
with of one of the industry's greatest photographers, along
with stunning supermodel Christy Brinkley and an intricate
lighting setup-everything was perfect. As Patrick continued
shooting, I remember thinking to myself, This is a very long
roll of film. Patrick looked at the camera and then at me
and calmly stated that there was no film in the camera. I
quickly loaded the camera, thinking my first day would definitely
be my last. Without missing a beat, Patrick continued shooting
as if nothing had gone wrong. He got his shots and, amazingly,
I kept my job. It was a strong message of how to take care
of both subjects and assistants. One I never forgot."
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 To
this day, Avenaim is both haunted and humored by his film-loading
scenario. But as fate would have it, the same thing happened
to him again, except this time the roles were reversed. The
camera was loaded and Avenaim kept shooting, never breaking
tempo and setting an example for his assistant. Avenaim is
a believer in spreading the wealth when it comes to tricks
of the trade, whether it is lessons learned in the art of
photography or in life. "Many of the things Jerry taught
me about lighting I use in my films today," comments
Rick Thomas, a lighting director on such films as Road to
Perdition and The Alamo and before that an assistant of Avenaim's
during the late 1980s and early '90s. "When I began working
with Jerry, I thought I knew everything about lighting and
photography. After learning from Jerry, I realized I knew
nothing at all. There is a little bit of Jerry's teachings
in everything I do today." It wasn't just technical knowledge
either; learning lighting was only the tip of the iceberg.
"Most importantly, he taught me about how to treat people
and how to put forward a professional attitude on every shoot.
He never hesitated in sharing his knowledge with me, and I
don't think I ever asked him a question he was afraid to answer."
Avenaim's assistants are not the only people who have access
to his wisdom and guidance. He frequents photographic events
and workshops and has never hesitated in showing aspiring
photographers how to better their work. While most photographers
will guard their technical secrets, Avenaim will go out of
his way to explain how he did even his most famous of images.
The photograph of Halle Berry he shot last year has graced
the covers of countless magazines including People's Yearbook
2003 issue. It is the most recognizable shot in Avenaim's
portfolio and has become the template for celebrity glamour
portraiture. If you asked any other photographer how he did
it, you might get laughed at, but with Avenaim you get a diagram
with specifications of where the lights were set up and insight
into how to create the perfect key light. Furthermore, he
would continue to explain how he would soak Rosco Tuff Spun
in Lipton tea to get the perfect color temperature for Berry's
skin.
There are many stories behind Avenaim's most famous sessions,
many of which will be included in his forthcoming book, Luminosity,
which, according to the artist, will be a "10-year retrospective
on my celebrity photographs that will include the technical
aspects of the shot as well the stories behind the images."
Some of the more humorous stories come from the mid- 1980s,
when Avenaim was ready to break away from the world of the
assistant and become the well-balanced photographer he is
today.
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 "I
phoned every country in the world that publishes an edition
of Vogue and told the editors that I wanted to shoot a cover
for them." Avenaim got a conditional green light. The
Vogue staff responded, "If you can get Cindy Crawford,
we'll give you the cover." This was not a difficult task
for Avenaim. "Cindy and I are both got our start in Chicago
and our paths had crossed many times over the years, so I
simply phoned her and asked. She agreed to the shoot, and
my first assignment at age 24 ended up being a cover for Vogue."
Even those who have not crossed paths with Avenaim can't help
but want to work with him "Everyone loves Jerry from
the first time they meet him," said Gaye Ann Bruno, who
is the photo department publicist for CBS. "He makes
his subjects feel secure; he's very professional, very energetic,
and has the innate ability to get along with people. When
I know Jerry is involved in a shoot, I can rest easy knowing
it's going to be a great one."
After spending several years in Milan, Avenaim headed for
L.A. in 1992, where he is currently based. This began a new
evolution in his career and a path that would put some of
Hollywood's most famous and infamous faces in front of his
lens.
"When I moved to Los Angeles, there was a transition
period between shooting supermodels and celebrities. During
the early '90s, you began to see a trend where celebrities
had become the models. I have always had a great respect for
actors and their craft, so this next evolution in my career
was a natural transition for me."
A transition that his agent, Wendy Schneider, says has both
celebrities and their magazine editors talking. "Jerry
is extremely popular among members of the industry because
his easygoing personality makes him approachable and makes
celebrities feel comfortable around him. Clients love him
because there is never a question about his ability, he can
work with tight schedules and different personalities, and
he somehow manages to capture the best from his subjects,
often in very little time."
Time is something that seems to be at a premium in Hollywood,
and occasionally the elements are against Avenaim. While shooting
a feature of Ben Stiller, he had to resort to what can be
best described as guerrilla celebrity photography. Stiller
and Avenaim had to jump over fences, and racing against the
setting sun, he had to shoot quickly and efficiently so that
there would be enough light. The reward for winning the race
against time was yet another cover and feature.
You would think such an experience would leave celebrities
shying away from shooting with Avenaim, but it's the experience
of sitting for him that keeps them coming back.
An example of one of Avenaim's early subjects who willingly
returned to face his lens is actress Alicia Silverstone. "Jerry
first photographed me for Elle magazine more than a decade
ago, and working with him again on a recent shoot was just
as pleasurable an experience as the first time. He has an
incredible ability to put people at ease, and I found myself
still having fun in front of his camera. I never worry about
how I'll come across. I look forward to working with Jerry
again."
Karen Samfilippo, who is a personal publicist to many of Avenaim's
subjects, said that the feeling is contagious. "Going
into a photo shoot is usually an event my clients feel is
something they have to do, but when they hear Jerry is the
photographer, it becomes something they want to do."
Avenaim has created the images that have become the defining
shots for such celebrities as Halle Berry, Milton Berle, and
Dr. Phil.
"Celebrities know I would never do anything to make them
look silly-it's my image as well. As artists, we all have
to take chances sometimes to come up with the truly memorable
images. But not everything is going to go as planned, and
that's the beautiful part about the creative process. The
key is to be malleable-be prepared to change to fit the situation
or mood of the celebrity. It's that ability to change that
often gets you the gems you hadn't planned on."
Avenaim believes it is important to be prepared prior to shooting.
"You have an intention when going into a shoot but know
that it is just a template for the creative process. At the
end of the day, success will be based upon how you and your
subject can work together."
The way Avenaim and his subjects have been able to collaborate
in the creative process has resulted in some of the more memorable
images Hollywood has seen in recent years. It is his creativity
and ability to be inspired by his subjects that make Avenaim
so appealing to the networks.
Lauren Townsend, who is a press manager at NBC, knows that
her clients are in good hands with Avenaim. "In the case
of TV Guide's Fall Preview issue, he screened all shows of
his subjects prior to them being aired. From this he absorbed
the essence of the characters they play and was able to illustrate
those traits in the photographs he took."
While photographing his subjects, Avenaim will often be inspired
as the shooting progresses, feeding off the vibe exhibited
by his subjects. "When I photographed Angela Bassett
for Detour magazine, I could tell very early on that we shared
a creative connection," Avenaim confesses. With the creative
connection comes an undying trust, and it was that trust that
allowed Avenaim to experiment.
"It wasn't until I was almost finished shooting that
I came up with an experimental idea. I approached her about
the idea, and Angela agreed." Without hesitation, he
began preparing for what would become yet another iconic image
of one of today's most recognizable celebrities. Avenaim asked
his assistant to go to the kitchen and grab all the milk they
had, a broom handle, and a pan. We taped the pan to the handle,
and my assistant stood over her head on a 12-foot ladder.
Avenaim instructed Bassett to scream as the milk poured over
her head. The best shot came at the end, with milk streaming
down her face and a peaceful calm settled on a classically
beautiful face.
Avenaim has been known to go
to great lengths to create an image or theme with his celebrities.
When his creative juices begin to flow, and the subject becomes
inspired, the results can be stunning. While doing a shoot
for Paper magazine of Patricia Arquette, her past work influenced
the theme of the shoot.
"I remember how much I loved Patti in True Romance and
wanted to tap into that character," explains Avenaim.
He worked with the surroundings for the shoot, which coincidently
was right where he landed off of his flight and took place
in a nearby hangar.
Avenaim recalled the inspiration Arquette had on the shoot.
"We put her in a black wig and used dark eye shadow and
a black backdrop. Her porcelain-white skin and ice-blue eyes
with smoke in light wisps from the corner of her mouth made
the images striking, almost surreal."
His ability to combine his subjects' sensitivity and vulnerability
as well as their wild, uninhibited side is a trait that Avenaim
does not limit to celebrities. In what he considers his "soul
cleansing" work, he has taken intimate portraits of those
not in the spotlight. His upcoming book, Naked Truth, is just
another example of how he can find emotion buried beneath
the surface of his subjects. "The greatest voyage of
discovery is not in seeking new landscapes, but in having
new eyes," he declares. With that comes a certainty that
Avenaim will remain true to a vision but remain open to the
art and opportunity that lay ahead of him.
To see more of Jerry Avenaim's work please visit his web site at www.jerryavenaim.com
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