Word: bachrach
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Dates: during 1970-1979
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...Fred Silverman's troubled network cannot be counted out. Its winter replacement shows include United States, by the creator of M*A*S*H, and a new dramatic series, Skag, starring Karl Maiden. This summer NBC has the bonanza of the Olympic Games. Says Advertising Executive Chuck Bachrach: "The jury is out on Silverman. If he can maintain his standing until the Olympics, then I think everyone has a shot at No. 1 for next year...
That picture of a demure young bride-to-be is not by Bradford Bachrach but by a salesman lucky enough to have had a camera in hand when Olga Korbut tried on a wedding gown in a St. Louis suburb. The darling of the 1972 Olympics, who is on an eleven-city U.S. tour with the U.S.S.R. National Gymnastics Team, pulled out three crisp $100 bills in J.C. Penney's to buy the gown and matching veil (total: $225). Olga, 21, plans to be married back home next year. Who is the lucky guy? "Just an ordinary boy," shrugs...
...Many of the photographers whose pictures are contained in Wedding seem to recognize the dichotomy of "portrait vs. candid," and define themselves and their work in those terms. "I don't want to put down candids, but we portraitists have our eyes on something--a moment of grandeur," Bradford Bachrach says. "Candids are for the moment but portraits are for all time." Martin Schweig presents the opposite view. "I prefer candids; in the studio everything is phony except the photographer." Splitting Wedding between "Formal Portraits" and "Candids" (with a short "History" section), Norfleet has enforced this division...
...status--bridal pictures from the turn of the century contain Victorian carpets, chairs and paintings. The tradition hasn't disappeared; John Howell's brides still pose in front of windows draped in velvet, or parade on polished marble in front of elegant settees. But more and more, as Bachrach says, "The upper middle class kids are turning away from wanting formal portraits. They want only candids and stainless steel. It is the ethnic groups who now want the formal portraits and silver." One class aspires to the values of another and imitates them, changing the symbols they adopt even...
...photos are steeped in symbolic importance. The participants are visibly tense; they want to get it right, this eternal image. None of the men know what to do with their hands. One of Martin Schweig's brides clutches a bouquet and stares terrified into the camera. A row of Bachrach bridesmaids stand cracking smiles in their porcelain white faces, as alike as the ticky-tacky boxes they stand in front...