Below is a documentary called "The man who shot the sixties" that I have recently watched about photographer Brian Duffy. It concentrates on his fashion work he did in that era and how he stepped away from photography in the 70s, but then goes back to it decades later in 2007 and starts shooting one of his former models again, Joanna Lumley. Although Duffy's work is seen as essentially fashion, it can also be considered as portraits as well as other editorial and adverts he has produced. Duffy worked with Elle and Vogue magazine's during his career in the 1960's and 70's, his photography style appealed to the fashion world because it was so different to what they were used to. Duffy would not let the models pose the 'normal' way, but would bring a electric vibe to his shoots that would turn out to look more like theatrical poses and have a exaggerated angles that no other fashion photographer had brought to these magazines before. Joanna Lumley who was featured in the documentary, mentioned that Duffy would not let her stand in certain ways, so that it would create unique poses that would interest the reader. By 1979 Duffy was unhappy and scrapped photography all together as it apparently made him unhealthy as became much more of a routine rather than a passion and burned most of his negatives in his studio back garden, however many of them were saved resulting in some of his work being published many years on after his absence in the photography world. His work is generally more black & white, which is what he believed brought more power to an image, the total opposite to colourful glossy images what his clients in the fashion industry would of wanted, however his colour photography was also powerful. The portraits that I have included below are they pieces of work that show Duffy had his own style of photographing, but also the appearance of the images that was popular at the time to what was similar to David Bailey's portraits, who was also a close friend. Looking through his archive on his website, all of his portraits seem to bring a sense of emotion and forcefulness about them, which is what I think makes them successful.