This article is a condensed version of the original piece from our recent Dark Romance issue. You can read it by clicking here.
Glorifying the multidimensional character of a woman, three photographers recreate the woman as muse under a lens of subdued romanticism, nostalgia, and cinematic flair.
Known as the Anti-Helmut, Deborah Turbeville slightly skews her focus away from the beautiful dreamy clothes and centers her narrative on her female canvasses. They fall effortlessly into their roles with discreet stylized imperfections exuding authenticity and anti-glamour in Turbeville’s first book Wallflower (1978).
David Hamilton depicts the moment a girl becomes a woman through his grainy and dreamlike photography. Creating an escapist world where hazy innocence glides on the rim of eroticism, The Best of David Hamilton (1976) comprises of his model-nymphs artfully nude blending purity and sensuality.
Honing in on the strength of a woman through cinematic storytelling, Sam Haskins showcases women who are not submissive wallflowers. Defiantly staring down the camera negating the female gaze, his muses are beautiful, sensual, and unapologetic. Haskins’ Prix Nadar winning book Cowboy Kate and Other Stories: Director’s Cut (1964) tells a tale of fearless cowgirls show-stopping in lingerie but who won’t hesitate to pull a gun on you.