Irving Penn was a master of photographic technique and used a variety of camera gear throughout his career, often adapting his equipment to suit the specific needs of his projects.
Here's a breakdown of the types of cameras and some specific models he was known to use:
Cameras
- Large Format View Cameras: These were his most frequently used cameras for studio work, allowing him to capture exceptional detail and tonality. Specific models mentioned include Deardorff and Sinar. He also owned and used a Linhof III Technika 4x5 camera.
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| Irving Penn and camera |
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| Linhof 4x5 Technica III |
- Medium Format Cameras: He used medium format cameras, including the Rolleiflex (which he purchased as his first camera in 1938) and Hasselblad. He took five Rolleiflex twin-lens reflex cameras for his ethnographic work where he used a portable studio.
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| Rolleiflex |
- 35mm Cameras: Penn began using 35mm cameras, such as Leica, for his magazine travel assignments starting in 1950. In the late 1950s, he transitioned to a Nikon system from Leica.
Lenses
For his large-format work, he often used standard or slightly longer focal lengths, such as 150mm or 210mm, to create flattering portraits with minimal distortion.Specific Linhof lenses he owned included:
- Schneider-Kreuznach 90mm Super-Angulon f8
- Schneider-Kreuznach 150 Symmar f5.6 Convertible
- Schneider-Kreuznach 180 Symmar f6.8 Double Convertible
- Schneider-Kreuznach 360mm Tele-Xenar f5.5
- When using 35mm cameras for travel, he frequently used a telephoto lens with his Leica to capture distant images.
Lighting
Penn favored a mix of natural light and artificial sources, including tungsten, strobe, and continuous lighting, to achieve his signature lighting style. He often used a single light source, replicating the look of natural northern light.
Studio Setup and Techniques
A key element of Penn's photographic style was his use of simple, plain backgrounds, often a gray or white cloth, or a theatrical curtain he brought from Paris. This allowed him to isolate his subjects and focus on their essence.
For his ethnographic work in distant locations, he developed a portable outdoor natural light studio, a custom-built tent structure that was 11 feet high with a 10 x 18 foot floor, augmented with an 8 x 12 reflective screen.
He also famously used narrow corner spaces in his studio, created by angling two stage flats, which physically and psychologically confined his sitters, leading to unique portraits.