Kirkland never worked as an official unit photographer. His work on those films was mainly for publications such as“It was a time when the unit photographers were generally shooting black-and-white with Rolleis and just one focal length,”magazine. “There was a certain kind of photo the studios wanted, but they couldn’t get dramatic effects or really capture the essence and the look of a film,” but that’s what the glossy magazines wanted.
“I want white silk sheets, Frank Sinatra records and Dom Perignon champagne,” Kirkland remembered the actress saying. Watch the interview below. Kirkland’s photography resides in the collections of the Academy of Motion Picture Arts and Sciences, the Smithsonian, the National Portrait Gallery in Canberra Australia, the National Portrait Gallery in London, the Eastman House Museum in Rochester, the Houston Center for Photography and the Annenberg Space for Photography in Los Angeles.
When asked in 2017 which of his works he would change if he could go back and create them again, KirklandCNN, “All of them. There is no reason to believe that the only image captured is the best you could have done. I always believe that I could have done better.” Born in 1934 in Toronto, Kirkland moved to New York in 1957 and landed a job assisting legendary photographer Irving Penn. He got into print by shooting for an eclectic group of publications such as
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