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I like the way Peter has selected just a section of the Humber Bridge to demonstrate graphic characteristics that might not show so well when the bridge is captured as a whole. The sidelighting has worked wonders to create a keyline along the side of the pipework, which really emphasises the tubular properties. It’s a great exposure, too, giving us a dark and mysterious bridge while retaining plenty of detail in the sky. You may have noticed, however, that Peter has broken the golden rule of architectural photography – which is, you have to get the building straight in the frame.

The new ones are way too sharp. Mine is too abrupt in how it goes from one tonal density to another, but I think it makes the images more voluptuous. I shoot almost exclusively in autumn because I find the conditions much richer than in summer when the light is flat, the mosquitoes are biting and hordes of tourists are about. In these conditions my lens struggles with the light and gives me this dark result. ’ Klavdij thrives on the element of surprise. Shooting from the hip, many images are grab shots for which he has guessed the exposure and focus, and he’s not entirely sure what he’s captured until he sees his contact sheets weeks later.

It was shown as part of a 14-page report on the latest Paris fashions, together with another picture of Dovima posing with the elephants. In the second picture, she was in a white dress with long black gloves. ’ Avedon went on to become one of America’s most celebrated and influential photographers, particularly for his fashion and portraiture, and was still creating new work up to his death at the age of 81 in 2004. Dovima, however, was less fortunate. After her modelling career ended she appeared in a few minor film roles before ending her working life employed as a pizza restaurant hostess.

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