Sieff called this the freezing of the instant into the permanence of effigy, the creation of "so many small whitestones helping us, according to our mood, rediscover feelings and forgotten faces". Regarding fashion (and society), the Seventies were indissolubly tied to a synthesis of the sexes, which first occurred through the widespread use of trousers, and the affirmation of seductive femininity. Ironically, that symbol of joyous liberation called the miniskirt made way for new portrayals of the female body in public. A woman’s success was no longer measured by the shortness of a hem, which now came in a wide variety of lengths. In Paris, women discovered the androgyny of the tuxedo. In New York, they flaunted their figures in body-hugging wrap dresses. Helmut Newton and Guy Bourdin played at hyper-sexualizing bodies and creating a photography style that was blatantly sexy, which infuriated the feminists who did not catch the irony of the gesture. Newton’s message was clear: women are objects – the Alpha women of the future. Jeanloup Sieff worked for four years as a freelance photographer. His work was never published. He got work for three years at Elle magazine. He resigned and joined Magnum, but resigned after a year. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.

His Death Valley and British landscape photos were considered by many political in nature, especially when incorporated in fashion work. But he tended to downplay that side of his work in the tumultuous 60’s. Paris. ‘Living with my Abyssinian cats, working for French Vogue, still wandering around with my old Leica.’ And that’s kind of how it was for the rest of his life. For a while, he was again the new kid in town, making pictures which brought the scent of the world to Paris – a city so often parochialised by its own self-regard. It was then and there he made the work that made him famous beyond the tight world of art directors – the nudes, luscious yet never lascivious. You never get the sense he was poking his lens through the keyhole – as you do in, say, Steichen. Nor, though, is there the dangerous thrill of Newton, let alone Mapplethorpe or Goldin. The archetypal – if not the best – Sieff image of female sexuality is the smart, sweet picture of his wife Barbara exposing her breasts in Death Valley, smiling. Like Brandt, like Courbet, he makes landscape and flesh seem like the same things. There is very little doubt that it was the American and French cinema of the time that greatly influenced his work. His Vogue fashion shoots of wide angle and swinging London in the 1960s are some of the most recognizable images of the decade, …probably even more so than his contemporaries of the time. Ballet dancers of the day were a special interest he had, including the very famous Rudolph Nureyev, probably the most famous jet setting dancer of the time. When asked about this fascination with dance, he said he was attempting to capture the space filled with movement. Sieff was really trying to reproduce the French art masters, Rodin, Seurat, etc., in film, and applied this to his fashion shoots. 60’s Politics His work is owned by major museums in France, Germany, Switzerland and the US, and he exhibited in all those places as well as in London (where he held his first show in 1967) and Tokyo (where the erotic aspect of his work was well regarded). Other books, which eschewed silly titles, were called The Ballet (1962) or Best Nudes (1980) - although he couldn't resist calling one volume Bottoms (1994). Sieff argues that dancers have a 'corporeal intelligence' that enables them to fill space with their movements. 'Among the models I photograph for the fashion magazines, I recognize immediately the ones that have studied dance. They know how to carry their heads, they have a certain way of sitting and a natural elegance that the mastery of their bodies has shaped forever.'

SONIA SIEFF — Jeanloup’s pictures were accurate, in the same way that Yves’ clothes were perfectly cut! He died, aged 66, of cancer, in his beloved Paris on September 20, 2000. ‘I don’t believe in God,’ he had written. ‘But women and trees are proof of his existence.’ I imagine him watching people – especially the women – as he sits at his table at Café de Flore. In fact, Jeanloup Sieff writes in his memoirs: “With each woman that passes, I live out a love affair, fleeting but complete. When I see them some way off and their silhouette attracts me, our idyll begins. The closer they come, the more I love them. At ten metres it is passion; at six, painful jealousy; at four, it’s unbearable: the heart-rending separation has already begun. And by the time they pass me, I am released and relaxed and smile calmly at them. They have become my friends, and we can exchange the conspiratorial glance of those who have experienced many things together and remember them all.” Radiant Photo– Radiant Photo superior quality finished photos with perfect color rendition, delivered in record time.Your photos — simply RADIANT.The way they are meant to be. SONIA SIEFF — He loved literature. He loved words. His secret dream was to become a writer and to win the Prix Goncourt! Portrait of Charlotte Rampling for Vogue France, 1970

OLIVIER ZAHM — He’s famous for his nudes. How did he get his models to be so confident in front of his lens? The great French photographer Jeanloup Sieff died on 20th September 2000 at the Laennec hospital in Paris. He was 66.He joined the Magnum photographic agency in 1958, before his fashion forays, and was applauded covering the death of Pope Pius XII. He worked for them throughout Europe until he left for New York and started with Harpers Bazaar, immersing himself in the diametrically opposed world of fashion. Remember, his use of a wide angle lenses in fashion and celebrity portraiture was groundbreaking at the time. Then, somehow, he went from tyro to elder statesman – maybe even has-been – seemingly without passing through the status between. He had a first act and a third but no second. ‘Can it be true that after 41 one merely repeats oneself? I refuse to believe it, but I fear it may be true.’ All aspects of photography interest me,” Sieff says, “and I feel for the female body the same curiosity and the same love as for a landscape, a face or anything else which interests me. In any case, the nude is a form of landscape.”

Marvelous,” said Sonia Sieff, when asked about her childhood with the late Jeanloup Sieff, her father and one of France’s great fashion photographers. “Marvelous, because he took good care of my brother and me … He taught us about the beauty in the world.” Long before Sonia’s birth, Jeanloup made his first fashion photo in 1952, and he spent the next two decades working for French Elle, Harper’s Bazaar, Queen, Jardin des Modes, and Vogue, producing some of the iconic images for which he’s now known — like Astrid Heeren, cigarillo-in-mouth, in Palm Beach.SONIA SIEFF— He was neither a playboy nor secretive. He was just a good photographer with irresistible charm. Elle US, 1995."This is from the same series, and it was taken in Normandy... more Adriana Karembeu, fashion Dolce & Gabbana, Normandy, France,