Paul Newman

BLUE-EYED COOL

CONTENTS Foreword by Tom Zimberoff 06 Introduction 10 The Photographers Milton H. Greene by Joshua Greene 20 Lawrence Fried 62 Douglas Kirkland 80 Terry O’Neill 100 Al Satterwhite 166 Eva Sereny 214 Closing Thoughts by Carrie Kania 244 Photographers’ Biographies 246 Endnotes 248 Acknowledgements 249 Author’s Biography 249

Page 2: Paul Newman by Terry O’Neill, on the set of Pocket Money Page 5: Candid photo taken at Paul Newman’s Westport home by Milton H. Greene, circa mid-1960s

CONTENTS Foreword by Tom Zimberoff 06 Introduction 10 The Photographers Milton H. Greene by Joshua Greene 20 Lawrence Fried 62 Douglas Kirkland 80 Terry O’Neill 100 Al Satterwhite 166 Eva Sereny 214 Closing Thoughts by Carrie Kania 244 Photographers’ Biographies 246 Endnotes 248 Acknowledgements 249 Author’s Biography 249

Page 2: Paul Newman by Terry O’Neill, on the set of Pocket Money Page 5: Candid photo taken at Paul Newman’s Westport home by Milton H. Greene, circa mid-1960s

A Portrait of Paul Newman Foreword by Tom Zimberoff

Every day, I am stared at by Paul Newman.

His eyes follow me around the room like sapphire laser beams, though they radiate from an extravagantly large black-and-white photograph that hangs on a wall in my home: a portrait I shot in 1981 on location, in Miami, for the film Absence of Malice. At 56, with a head of hair gone gray, Newman’s azure headlights still made women swoon, and drew the envy of younger men, like me. I was 29.

I shot mostly color for my clients; in this case, Columbia Pictures, with syndication to magazines through Sygma Photos.

Nonetheless, I enjoyed creating a personal cache of noir portraits. And I wanted Newman’s baby-blues to have as much impact in black-and-white as in Technicolor.

Because I didn’t like the idea of fiddling around in the darkroom to light a fire in Paul’s pupils every time I set out to make a print, I’d have to do some hocus-focus up front, in camera, while Paul was on camera. I’d have to shoot a negative that could do the trick consistently thereafter, a template, if you will.

(Who could imagine Photoshop®, decades away?)

It’s necessary to understand, first, that blackand-white film is not monochromatic. It’s not a one-color medium, as people tend to describe it. The correct term is panchromatic.

Panchromatic film “sees” colors as discrete wavelengths of light and renders each one as an individual shade of gray, from darkest black (a total absence of reflected light) to brightest white and everything in between.

Each shade of gray corresponds to what our brains perceive as a different color.

Since panchromatic film is sensitive to all wavelengths of light, photographers can selectively filter which colors are allowed to pass through a lens to strike the film inside a camera, and which colors to hold back. Are you with me?

More blue light will pass through a lens covered by a blue filter because, to one extent or another, it blocks all colors but blue. That’s simple physics. On black-and-white negative film, things that are blue will appear lighter in a positive print because, when processing the negative in the darkroom, denser deposits of silver crystals form precisely where the film was struck by “rays” of blue light inside the camera,

Tom Zimberoff’s portrait of Paul Newman on location for Absence of Malice, Miami, 1981

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A Portrait of Paul Newman Foreword by Tom Zimberoff

Every day, I am stared at by Paul Newman.

His eyes follow me around the room like sapphire laser beams, though they radiate from an extravagantly large black-and-white photograph that hangs on a wall in my home: a portrait I shot in 1981 on location, in Miami, for the film Absence of Malice. At 56, with a head of hair gone gray, Newman’s azure headlights still made women swoon, and drew the envy of younger men, like me. I was 29.

I shot mostly color for my clients; in this case, Columbia Pictures, with syndication to magazines through Sygma Photos.

Nonetheless, I enjoyed creating a personal cache of noir portraits. And I wanted Newman’s baby-blues to have as much impact in black-and-white as in Technicolor.

Because I didn’t like the idea of fiddling around in the darkroom to light a fire in Paul’s pupils every time I set out to make a print, I’d have to do some hocus-focus up front, in camera, while Paul was on camera. I’d have to shoot a negative that could do the trick consistently thereafter, a template, if you will.

(Who could imagine Photoshop®, decades away?)

It’s necessary to understand, first, that blackand-white film is not monochromatic. It’s not a one-color medium, as people tend to describe it. The correct term is panchromatic.

Panchromatic film “sees” colors as discrete wavelengths of light and renders each one as an individual shade of gray, from darkest black (a total absence of reflected light) to brightest white and everything in between.

Each shade of gray corresponds to what our brains perceive as a different color.

Since panchromatic film is sensitive to all wavelengths of light, photographers can selectively filter which colors are allowed to pass through a lens to strike the film inside a camera, and which colors to hold back. Are you with me?

More blue light will pass through a lens covered by a blue filter because, to one extent or another, it blocks all colors but blue. That’s simple physics. On black-and-white negative film, things that are blue will appear lighter in a positive print because, when processing the negative in the darkroom, denser deposits of silver crystals form precisely where the film was struck by “rays” of blue light inside the camera,

Tom Zimberoff’s portrait of Paul Newman on location for Absence of Malice, Miami, 1981

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I’d like to be remembered as a guy who tried – tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being.

Paul Newman

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I’d like to be remembered as a guy who tried – tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being.

Paul Newman

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The Newman vibe was very liberal and forgiving. You could come as you are and do what you like. The lack of structured formality made the visits more enjoyable, particularly for children.

Joshua Greene

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The Newman vibe was very liberal and forgiving. You could come as you are and do what you like. The lack of structured formality made the visits more enjoyable, particularly for children.

Joshua Greene

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72

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114

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He was always a pretty normal guy.

Newman’s vibe was ‘I’m just here to race as one of the guys.’ For him it was serious: he was going to race to win. He had a serious competitive bent.

Al Satterwhite

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He was always a pretty normal guy.

Newman’s vibe was ‘I’m just here to race as one of the guys.’ For him it was serious: he was going to race to win. He had a serious competitive bent.

Al Satterwhite

176

177

234

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As one of the twentieth century’s most celebrated icons, Paul Newman’s image is instantly recognisable the world over.

Here, six extraordinary photographers share their memories and photographic archives of the icon, including classic, rare and never-before-seen images.

Photographers included: LAWRENCE FRIED MILTON H. GREENE DOUGLAS KIRKLAND TERRY O’NEILL AL SATTERWHITE EVA SERENY Foreword by Tom Zimberoff

ISBN: 978-1-78884-167-2

9 781788 841672

56500 £45.00/$65.00

www.accartbooks.com