The New Yorker magazine as frame . . .
John Bayley and Iris Murdoch in London, December 1, 1995. For a Life and Letters piece by Ian Hamilton.
Salman Rushdie in London, September 26, 1994.
Saul Bellow in 2003. For a Life and Letters piece by Joan Acocella.
Toni Morrison in 2003. For a Profile by Hilton Als
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The New Yorker has been around since 1925, but didn’t publish a single photograph for its first forty-six years. That changed in 1971, when a tiny photo of a bonnet-clad piglet made an appearance on page 64 of the issue of January 30th. Twenty-one more years passed until the magazine took on its first staff photographer: Richard Avedon.
“When Tina Brown brought him to The New Yorker, in 1992,” Adam Gopnik wrote in his 2004 Postscript on Avedon, “she was rupturing a long-standing taboo against photography, and even those who loved his work must have had their doubts. But his photographs, in their epigrammatic compression of a whole subject into a single black-and-white image, were New Yorker profiles in miniature, and within weeks it was as if he had always graced these pages.”
Two years ago, The New Yorker’s embrace of photography expanded to include Photo Booth—the blog you’re looking at now—and today we’re introducing a new design for Photo Booth, including a new fullscreen slide-show function. (Just click on the red arrows 
in the upper right corner.) In celebration of our renovation, here’s a look back at Avedon’s portraits of writers commissioned by The New Yorker, including the portrait of Salman Rushdie that appears in our current issue, alongside Rushdie’s account of his life after the fatwa. “A portrait is not a likeness.” Avedon wrote in his book “In the American West.” “There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.”
in the upper right corner.) In celebration of our renovation, here’s a look back at Avedon’s portraits of writers commissioned by The New Yorker, including the portrait of Salman Rushdie that appears in our current issue, alongside Rushdie’s account of his life after the fatwa. “A portrait is not a likeness.” Avedon wrote in his book “In the American West.” “There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.”Read more http://www.newyorker.com/online/blogs/photobooth#ixzz26ZI4xyfn
