The nuit blanches fizzled as Jeanloup started a family with his wife Barbara, but Sonia, now 33, remembers being integrated into her father’s routine. “Like many photographers during that time, the studio and the apartment were in the same place, so we were always living photography,” Sonia said. “I think I really got to know the trade in the most artisan manner possible. And then, there was a glamorous side — meeting actors, actresses, writers, and singers that passed through the house. Usually, my dad would ask me to make them a coffee and I would be so happy to do it, to meet them. I was 6 years old.” Sonia eventually grew up to be a photographer, remarking, “I never felt the weight of a heritage, but more the richness of it.” Machine translation, like DeepL or Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia. He was, unsurprisingly, a great admirer of the Anglo-German photographer Bill Brandt and the French painter Pierre Bonnard – both also great poets of the female bottom. ‘For it is the most protected, the most secret part of the body, and retains a childish innocence long since lost by gaze or hands.’

Elle magazine and fashion shoots. 1958: Magnum, the unlikeliest of homes for such a sensualist. 1959: Jardin des Modes and a tight working relationship with the magazine’s art director Jacques Moutin who, according to Sieff, was ‘attempting to do what Alexey Brodovitch had done in New York.’ That is, revolutionise fashion photography via a small group of new photographers – notably Sieff and Frank Horvat, who shared a studio for a while. Tamron – Need lightweight, compact mirrorless lenses? Tamron has you covered, with superior optics perfect for any situation. With weather sealing and advanced image stabilization, you’ll open up your creative possibilities.

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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.

By the seventies, Jeanloup’s studio doubled as a salon for Paris’s boldface names. “My father was really close with Yves Saint Laurent and Pierre Bergé, and a handful of other people in their group — Loulou de la Falaise, Betty and François Catroux, Hélène Rochas, Thadée Klossowski, Fernando Sánchez, and Paloma Picasso — whom they saw regularly over the course of a few years,” Sonia told us. “They were all really, really creative. Everyone had a place — Yves was the designer, my father was the photographer, François-Xavier and Claude Lalanne were the sculptors, François-Marie Banier, the writer. They had big dinners, they would film each other, they all did projects together — my father took that very famous image of Yves Saint Laurent nude. They did it all so easily and with humor, without taking it so seriously. Maybe that’s why everything turned out so well.” He received his first camera, a Photax, from his uncle when he was no older than 14 years old. “If I hadn’t received that camera, today I’d maybe be an actor, film maker, writer or gigolo.” He was published for the first time in 1950 in Photo Revue. Four years later he decided to work as a freelance photographer, but his work was never published. He finally worked with Elle for 3 years before resigning to work for Magnum which he also resigned from a year later. He always stressed the pleasure of taking photos. If his favourite source of that pleasure was in what was behind us, it was also in behinds themselves. No one can ever have been more taken by and taken more pictures of female bottoms. (In French, derrières.) Not arses, note. Or bums. Bottoms, always. ‘It is the bottom that remembers; it faces the past, whereas we advance inexorably into the future,’ he wrote.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. OLIVIER ZAHM — Was there something specific about your father’s photography that Saint-Laurent liked?

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. In the collective imagination, the Seventies were considered a period of accumulation: of styles, ideas, images and colours. Jeanloup Sieff worked by elimination. The set was reduced to a bare minimum, lighting was calibrated to an almost unreal perfection, and the body emerged in all of its purest simplicity. Sieff made an aesthetic choice that was an important statement: he opted for the freedom of portraying beauty that transcended the aesthetic rules of those years. He continued to amaze us through images that were only apparently simple. In that decade of confusion, Jeanloup Sieff created a world of unity and harmony. He did not portray fashion the way it was or the way it should have been, but seemed to arrange elements in a new socio-sensual narrative. A dandy all his life, early risers in Paris grew used to the longhaired and elegant man driving his tremendously stylish, vintage English sports car for an early breakfast in the St Germain district. It was always hard to tell how much of that playboy languor was only show; he certainly knew how to enjoy himself, but he was also a deeply serious man at the very top of his profession. Almost everybody knows a picture or two of Sieff's, even if they perhaps don't know that the image is his - and that is an extraordinary legacy. OLIVIER ZAHM — We really don’t know so much about his life. Was he a playboy in the ’70s and ’80s? Was he secretive?

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Jeanloup Sieff once described his approach which would become a personal hallmark as: “the pleasure in crazy light, the pleasure in making forms visible, to compose spaces and encounters”. The exhibition “Shadow Lines” unites his particular joy of photography, his unusual and often humorous pictorial language, and shows a compilation of dreamlike landscapes and poetic nudes from the late 1960s to the 1990s. Consider adding a topic to this template: there are already 5,876 articles in the main category, and specifying |topic= will aid in categorization. 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. SONIA SIEFF — They all knew each other. In the early ’70s they dined together nearly every night, at La Coupole or Jeanloup’s studio. It’d be Betty and the band — Francois Catroux, Thade Klossowski, Clara Saint, Hélène Rochas, Paloma Picasso, François Marie Banier, Philippe Collin, and Claude and François-Xavier Lalanne. They’d go together to see shows at L’Alcazar and the Casino de Paris.

SONIA SIEFF — Jeanloup’s pictures were accurate, in the same way that Yves’ clothes were perfectly cut! OLIVIER ZAHM — What was the relationship between your father, the photographer Jeanloup Sieff and Yves Saint

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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). Elle US, 1995."This is from the same series, and it was taken in Normandy... more Adriana Karembeu, fashion Dolce & Gabbana, Normandy, France, Though his Vogue fashion shoots of fur-trimmed and pampered London in the 1960s are some of the most recognizable of the decade, Sieff also took countless opportunities to photograph dancers. Possibly his most important project is his chronicle of dancers who have appeared with the Paris Opera Ballet, including Rudolph Noureev, Carolyn Carlson, Claire Motte and Nina Vyroubova. If there is a typical Sieff model, she is a teenage dancer with gathered up hair, pictured at practice, flexed and craning. 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.’