In memory of Helmut Newton
Benedikt Taschen on Helmut Newton - the man who ended his more-than-rich life with a big crash
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Working with Helmut and June was wonderful for me. Not only did I learn more about photography than in all my previouos life but it was also a unique experience to work closely with a man who, at this point in his career, had achieved everything one can dream of. And who, in his late 70s, was still doing what I think, was among his greatest work. We changed the book hundreds of times and I learned to understand what Helmut meant by "stay flexible". What counts is the result, and Newton - as one of the Century's great imagemakers - was totally aware of this. My close proximity to the Newtons allowed me to observe the relationship he had with his wife, June, the most critical expert of his work. I had never seen a couple like this before, married for half a century and yet looking at each other with love, compassion and admiration, like a young boy and girl in the first weeks of their relationship.
From the beginning, Helmut was very supportive, always encouraging me and introducing me to his wide range of friends, from celebreties to barmaids to the sausage vendor in Berlin. Because he was open to everything and everyone, he observed nuances most people did not see and then translated them into the greatest of portraits.
I remember one evening sitting with two of the three men I most admired, Helmut Newton and Billy Wilder. There it was, my German heritage transplanted to Hollywood, seated around a table at Mr Chow's. As usual, most of the time, we spoke in German. It is ironic that the Austrian born Billy Wilder began his life in America, staying in a small room at the Château Marmount, over sixty years before. Our conversation was about the great humanity of Wilder's movies. At one point he said: "I'm not a comedy director. I'm not a drama director, I'm a just a director." Because people always try to put artists into categories, using Wilder's same words, I would like to say about Newton, the maker of so many iconic images,: " I'm not a fashion photographer, I'm not an erotic photographer. I'm a photographer."
Besides, Newton was the most succesful of the artists I ever published and a few months ago I told him that we made more money with his books in the last five years than with any other artist, including van Gogh. Helmut was very happy and I added: "And isn't this great, you still have two ears!".
Helmut Newton ended his more-than-rich life with a big crash, making headlines all over the world. Among the many obituaries, one line by an old friend from Helmut's time in Australia touched me the most because his public image was quite different from his private one.
She said: "How he was, he was to us." A great man.
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Working with Helmut and June was wonderful for me. Not only did I learn more about photography than in all my previouos life but it was also a unique experience to work closely with a man who, at this point in his career, had achieved everything one can dream of. And who, in his late 70s, was still doing what I think, was among his greatest work. We changed the book hundreds of times and I learned to understand what Helmut meant by "stay flexible". What counts is the result, and Newton - as one of the Century's great imagemakers - was totally aware of this. My close proximity to the Newtons allowed me to observe the relationship he had with his wife, June, the most critical expert of his work. I had never seen a couple like this before, married for half a century and yet looking at each other with love, compassion and admiration, like a young boy and girl in the first weeks of their relationship.
From the beginning, Helmut was very supportive, always encouraging me and introducing me to his wide range of friends, from celebreties to barmaids to the sausage vendor in Berlin. Because he was open to everything and everyone, he observed nuances most people did not see and then translated them into the greatest of portraits.
I remember one evening sitting with two of the three men I most admired, Helmut Newton and Billy Wilder. There it was, my German heritage transplanted to Hollywood, seated around a table at Mr Chow's. As usual, most of the time, we spoke in German. It is ironic that the Austrian born Billy Wilder began his life in America, staying in a small room at the Château Marmount, over sixty years before. Our conversation was about the great humanity of Wilder's movies. At one point he said: "I'm not a comedy director. I'm not a drama director, I'm a just a director." Because people always try to put artists into categories, using Wilder's same words, I would like to say about Newton, the maker of so many iconic images,: " I'm not a fashion photographer, I'm not an erotic photographer. I'm a photographer."
Besides, Newton was the most succesful of the artists I ever published and a few months ago I told him that we made more money with his books in the last five years than with any other artist, including van Gogh. Helmut was very happy and I added: "And isn't this great, you still have two ears!".
Helmut Newton ended his more-than-rich life with a big crash, making headlines all over the world. Among the many obituaries, one line by an old friend from Helmut's time in Australia touched me the most because his public image was quite different from his private one.
She said: "How he was, he was to us." A great man.
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Benedikt Taschen, Billy Wilder, Helmut Newton at the Chemosphere House, 1999
