{"id":762028,"date":"2026-04-22T15:48:46","date_gmt":"2026-04-22T13:48:46","guid":{"rendered":"https:\/\/numero.com\/?p=762028"},"modified":"2026-04-22T15:48:49","modified_gmt":"2026-04-22T13:48:49","slug":"albert-watson-shares-the-story-behind-five-iconic-shots-from-steve-jobs-to-andy-warhol","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/photography\/albert-watson-shares-the-story-behind-five-iconic-shots-from-steve-jobs-to-andy-warhol\/","title":{"rendered":"Albert Watson shares the story behind five iconic shots, from Steve Jobs to Andy Warhol"},"content":{"rendered":"\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
The book cover of
Albert Watson. Kaos<\/em> (2025), Taschen Publishing.<\/figcaption><\/figure>\n\n\n\n

Albert Watson looks back on 50 years of photography in a book published by Taschen<\/h2>\n\n\n\n

Although his name might not be familiar to the public, his images rank among the most recognizable of the 20th and 21st centuries. At 83, Albert Watson<\/strong> is opening an exhibition at A. Galerie<\/strong> until December 20th, 2025. There, he has gathered some of his greatest shots in a sumptuous book published by Taschen<\/strong> and coming out on November 28th. Across 400 pages, readers can journey through poetic landscapes of the Scottish moors and graphic images captured in Rome in 2024\u2026 Not to mention his legendary portraits of celebrities like Mick Jagger<\/strong>, Sade<\/strong>, and Michael Jackson<\/a><\/strong>. This book, which Albert Watson<\/strong> himself sees as a kind of \u201cchaos\u201d, hence the title, brings together decades of work in which all mediums blend together, from film photography to digital prints.<\/p>\n\n\n\n

In tune with the times, the Scottish photographer envisions this series of images like an \u201cInstagram feed,\u201d where various subjects intertwine, with no thematic grouping or chronological order. \u201cMy approach is rather unusual because I mix genres<\/em>,\u201d Albert Watson tells us with a wry smile. \u201cI wouldn\u2019t go so far as to say my word can’t be put in one category. But if I had to define it, I\u2019d say it\u2019s the sum of my studies and my passions. I studied graphic design, cinema, and applied arts. All those influences show up in the graphic structure and cinematic feel of my images<\/em>.\u201d<\/p>\n\n\n\n

Who can better sum up his work than the photographer himself? So Num\u00e9ro<\/em> lets Albert Watson take us behind the scenes of five photographs<\/a> that have defined his career, including his iconic portraits of Steve Jobs<\/strong>, Andy Warhol<\/strong>, and Alfred Hitchcock<\/strong>.<\/p>\n\n\n\n

\"Portrait\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Alfred Hitchcock. Los Angeles<\/em> (1976) by Albert Watson. \u00a9 Albert Watson, 2025.<\/figcaption><\/figure>\n\n\n\n

Alfred Hitchcock: First celebrity ever photographed by Albert Watson (1976)<\/h2>\n\n\n\n

\u201cThis portrait of Alfred Hitchcock<\/strong> isn\u2019t my best picture, but it is important to me because it was my very first big commission for a magazine. The director was supposed to share a recipe on how to cook a goose in Harper\u2019s Bazaar for their Christmas issue. At the time, I had never photographed anyone famous. I was terrified before I got to the set. Just imagine being told you\u2019re going to shoot Hitchcock when you\u2019re still a film student!”<\/em><\/p>\n\n\n\n

“Even so, I trusted my instincts and ended up proposing a completely different concept from what the magazine had planned. They wanted him to pose with a prepared dish, but I suggested he hold the raw goose by the neck. I thought it was funnier and more Hitchcock. I even added a little ribbon to the bird to echo the Christmas decoration! This portrait marks the start of my career and reminds me of the confidence I had to muster at the time\u2026 Even though I can\u2019t help but notice the lighting mistakes [laughs]<\/em>.\u201d<\/p>\n\n\n\n

\"Portrait\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Steve Jobs, Cupertino, California <\/em>(2006) by Albert Watson. \u00a9 Albert Watson, 2025.<\/figcaption><\/figure>\n\n\n\n

The legendary portrait of Steve Jobs (2006)<\/h2>\n\n\n\n

\u201cThe meeting was scheduled at 9am. I arrived there two hours early to set up the lighting and prepare everything down to the last detail. I knew Steve Jobs<\/strong> was a busy man and I only had an hour to shoot his portrait. Just a few minutes before the session, a PR guy from Apple came in and told me that Steve didn’t like photographers. But at this point in my life, I was far more confident than I used to be when I first started out. I didn’t care if he was a pain in the neck, I only cared about doing a good job.<\/em>“<\/p>\n\n\n\n

“So, I thought about how to make the session run smoothly<\/em>. When he walked in, I said to him, \u2018I have good news for you. I only need you for thirty minutes!\u2019 He smiled and asked what I wanted him to do<\/em>. I\u2019d managed to put him at ease. I asked him to pose as if he were in a meeting, sitting across the table from people who disagreed with him, but knowing deep down that he was right. He replied, \u2018No problem, I do that every day.\u2019<\/em> And just like that, the shot was done in a few minutes.<\/em>“<\/p>\n\n\n\n

“I gave him a Polaroid version of the portrait. He looked at it for a moment, then said, \u2018That\u2019s maybe the best photo of me that\u2019s ever been taken.\u2019<\/em> He later told me he kept it on his desk for years. I also remember how surprised he was to see me shooting on film, not with a digital camera. I told him digital still couldn\u2019t deliver the results I was after. He nodded and told me it would soon. He was right, of course!<\/em>\u201d<\/p>\n\n\n\n

\"Portrait\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Andy Warhol. New York City <\/em>(1986) by Albert Watson. \u00a9 Albert Watson, 2025.<\/figcaption><\/figure>\n\n\n\n

When Andy Warhol saw himself as the Terminator (1986)<\/h2>\n\n\n\n

\u201cAt the time, Andy Warhol<\/strong><\/a> was at a modeling agency, meaning he was available. You could book him for a shoot the same way you would book Naomi Campbell. If the job was interesting, he would do it. He liked posing for pictures, just as much as he enjoyed shaping the artistic direction. He had even co-founded Interview magazine. So when German Vogue asked me to shoot a sunglasses campaign featuring Warhol, I immediately said yes. I had known him for years and had already worked with him many times. I knew exactly how he worked<\/em>.”<\/p>\n\n\n\n

“But this time, it was he who came to me with a concept for the shoot. He asked me if we could do a portrait in the style of the <\/em>Terminator movie poster with Arnold Schwarzenegger<\/strong> <\/em>[released in 1984, ed.]. He even pulled the image out of his pocket to show me, pointing out every detail he liked. I couldn\u2019t help but smile and said we could try. I shot him from a low angle, to stay true to the original photo, and we played with the reflections in his sunglasses. He loved the result. Imagining himself as the Terminator really made him laugh. Andy was genuinely a funny and brilliant person.<\/em>\u201d<\/p>\n\n\n\n

\"photograph\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Banks of Loch Fada. Isle of Skye, Scotland<\/em> (2013) by Albert Watson. \u00a9 Albert Watson, 2025.<\/figcaption><\/figure>\n\n\n\n

Nature as the main character in the frame<\/h2>\n\n\n\n

\u201cIt was the end of the day, in wintertime. We were driving and decided to stop near a loch <\/em>[\u2018lake\u2019 in Scottish, ed.]. At that precise moment, the sun came out. I had my digital camera with me, and when I pointed the lens at the lake, I saw these rays of light piercing through the screen. Then I took a second shot, which turned out completely different because the wind had shifted everything in the frame. And yet, I hadn\u2019t moved. I was in the exact same spot<\/em>.”<\/p>\n\n\n\n

“I looked at these two photos, so similar yet entirely distinct, and I decided to continue the series, simply letting nature change each image. The movement on the surface of the water, the wind, the light, the reflections, the clouds\u2026 Everything around me was moving, constantly altering the composition. The photographs almost look like a series of abstractions or impressionist paintings \u2014 very graphic, with a conceptual edge, since the eye can\u2019t latch onto anything concrete. I especially like that idea, as it stands in stark contrast to my celebrity portraits, which are usually immediately recognizable<\/em>.\u201d<\/p>\n\n\n\n

\"photograph\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Giovanni Placidi. Ostia, Rome<\/em> (2024) by Albert Watson. \u00a9 Albert Watson, 2025<\/figcaption><\/figure>\n\n\n\n

A different take on Rome, between mafia and no-man\u2019s land<\/h2>\n\n\n\n

\u201cI\u2019m very fond of this picture. I took it during my latest project, in Rome<\/strong>. The shot was captured at the harbour in Ostia<\/strong>. I was walking around the area when I came across this diving board, probably dating back to the 1920s. IT was completely abandoned, crumbling, and fenced off with heavy wire mesh. The minute I saw the structure, I knew I was a good idea to include it in the series. But that\u2019s when the trouble began\u2026 It was incredibly difficult to access. The diving board stands behind a nightclub run by the mafia, and the land is owned by the city of Rome, which prohibits anyone from crossing it in hopes of eventually isolating the club and forcing the mafia to leave.<\/em>“<\/p>\n\n\n\n

“To take my photo, I needed two permissions: one from the city of Rome, and one from the mafia! Once I managed to get both \u2014 the mafia only gave me thirty minutes, negotiated through some unofficial conversations at a bar. I asked a swimmer from the Italian national team to pose at the top of the diving board. The result is highly graphic and tells a story. That\u2019s why I\u2019m so attached to it.<\/em>\u201d<\/p>\n\n\n\n

Albert Watson. Kaos (2025), published by Taschen<\/a> (Hardcover in slipcase, 408 pages, Multilingual Edition \u2013 German, English, French).<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Albert Watson looks back on 50 years of photography in a book published by Taschen […]<\/p>\n

Read More… from Albert Watson shares the story behind five iconic shots, from Steve Jobs to Andy Warhol<\/span><\/a><\/p>\n","protected":false},"author":8,"featured_media":758435,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[76,80],"tags":[10071],"class_list":["post-762028","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-design","category-photography","tag-albert-watson"],"acf":[],"yoast_head":"\nPhotographer Albert Watson shares the story behind 5 iconic shots<\/title>\n<meta name=\"description\" content=\"Albert Watson and Taschen unveil a beautiful book. 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