Photography is often celebrated for its ability to document the world, but in Douglas Kirkland’s final 'love letter' to the medium, it serves a far more visceral purpose.
Douglas and Francoise Selfie at L'Hotel 1972
This posthumous collection is not merely a retrospective of a legendary career – it is a deeply personal exploration of intimacy, curated through a lens of profound 'hopeless romanticism'.
Although this photobook is mainly a compilation of famous personalities caught sometimes in 'real' moments, sometimes contrived – it does demonstrate Kirkland's ability to have an innate trust with his subjects.
From a photographers perspective – it is a study in psychological access. To be trusted implicitly is key.
For Kirland – he possessed the charisma necessary to become invisible in plain sight, possessing a quiet gravity that allowed his subjects to feel seen without feeling watched. He is a prime example of how photography is 'personality-based'.
About Douglas Kirkland
Kirkland’s journey into photography began in Toronto, where he was inspired by the Life magazines his father brought home from work. After moving to the U.S. and refining his craft as an assistant, he eventually joined the staff of Look magazine.
His career skyrocketed in 1961 following an iconic photo session with Marilyn Monroe, captured just months before her passing; these intimate images not only defined her legacy but established Kirkland as a premier talent in the industry.
Over the following decades, Kirkland became one of the most prolific portrait photographers of the 20th century. His lens captured a staggering array of cultural giants, ranging from fellow artists like Man Ray and Andy Warhol to global icons like Audrey Hepburn, Michael Jackson, and Elizabeth Taylor.
His ability to evoke raw emotion – famously seen in his portrait of a crying Judy Garland – earned his work a permanent place in prestigious institutions like the National Portrait Gallery in London.
Kirkland was a photographer who saw the world better through a camera than without it. The camera was his vehicle to transport him into the phantasmagorical world of Hollywood.
Beyond individual portraits, Kirkland left an indelible mark on Hollywood, serving as a stills and 'special stills' photographer for over 150 major films, including 2001: A Space Odyssey, The Sound of Music, and Titanic. His work often bridged the gap between set photography and fine art, resulting in the first-ever photobook to top the New York Times Best Seller list – Titanic.
Recognised with a Lifetime Achievement Award (Society of Operating Cameramen) in 1995, Kirkland’s legacy remains defined by his unique capacity to humanise the world's most famous faces across more than half a century.
The photobook – Romance
The book’s genesis is as moving as the imagery within. Conceived by his wife and long-time collaborator – Françoise – shortly after Douglas’ death, the project emerged from a moment of despair at a Julie Blackmon exhibition.
Realising that Douglas would 'no longer take pictures', Françoise turned to the archives to find solace in images that spoke of connection and togetherness. The result is what she aptly describes as a 'pictorial dictionary of romance'.
While he is world-renowned for his high-profile celebrity portraits, Romance strips back the 'famous' veneer to reveal his true gift: the ability to reveal the stories within the stories.
A particularly poignant anecdote recalls a portrait session with Kirkland where the subjects didn’t even realise they were being photographed until they heard a faint 'click' – resulting in the only portrait they felt truly captured their essence.
Whether he was photographing men, women, or couples, his subjects were never just objects of study – they were partners in a relationship. This openness brought out images that are uniquely tender, nuanced, and occasionally sparked by a sexual tension.
This 112 page book features more than 100 photos including: established couples such as Paul Newman and Joanne Woodward, Peter Sellers and Britt Ekland; on-screen couples such as Nicole Kidman and Hugh Jackman; behind-the-scenes shots of on-screen couples having a moment; Kirkland's famous Marilyn Monroe shoot; and many an intimate or very public show-of-affection (eg. the famous Lady Diana and Prince Charles Royal Wedding balcony kiss).
The photobook is well orchestrated with variance, balancing the raw, unscripted textures of behind-the-scenes life with the idealised beauty of his 'special' gallery portraits.
The text and photos throughout the book paint a picture of a man who walked into rooms and filled them with light. At times he captures the euphoria of creativity and the surrender required for true romance.
The text and images make you want to believe in love, and consider what romance, and therefore what love – really is. Is 'modern love' a fantasy fed to us on a platter by Hollywood? Has 'love' been relegated to just a quick fix from a dating app?
This photobook makes you want to believe in 'enduring love' or a happily-ever-after love, no matter what the cynic in you may say. It makes you consider that perhaps the world does need a little bit more love and romance – as it certainly has to be better than the alternatives: fear and indifference.
(RIGHT) Richard Harris and Vanessa Redgrave, Camelot, Burbank 1967 © Douglas Kirkland
Romance is a seductive, intriguing, and a treasure trove of film history. It is a testament to a photographer who didn’t just document life but helped define a way of living together.
You can see more on the Damiani Publishing website, or more of Douglas Kirklands images on his website.
