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This photograph captures a moment when leisure and power quietly overlapped. Set above Lake Geneva, it shows Bernie Cornfeld at ease inside the world he helped bring into being—one shaped by speed, ambition, and the thrill of a newly global economy. In the 1960s, Cornfeld wasn’t just accumulating wealth; he was accelerating finance itself, moving capital faster than governments could react. My father, Orator Woodward, was drawn to that velocity. He was fascinated by modern power, by the way money, media, and personality were rewriting the rules of the century. Their relationship was one of friendship and shared curiosity, not strategy. Over fifteen years, my father photographed Cornfeld as a man fully inhabiting his moment—sunlit, confident, and unknowingly testing the limits of the global financial system, improbably, in swim trunks.
Photographed on a Minox 35GT. Available in standard sizes in an edition of 25.
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Orator Woodward spent a few weekends with Salvador Dali at his home in Cadaques, Spain. They created art with friends, drank wine, and took in the Spanish scenery. At the time, Dali was not the person we all know him to be—he was a struggling artists who was promoting his work all over the world for anyone who would take a look at it. Orator and he were friends.
Edition of 25. Available in various sizes. Digital reproduction signed by the photographer and his archivist.
This photograph captures Hugh Hefner in transit—literally and culturally. Shot on a boat off the coast of Mexico in the late 1960s, it documents a scouting trip near Acapulco for Nirvana, a proposed Playboy resort that ultimately was never built. The image shows Hefner not as fantasy, but as operator: pipe in mouth, beer in hand, surrounded by men, mid-discussion. At the height of his influence, Hefner was exporting an idea as much as a brand—leisure as modern philosophy. Photographed by my father, the moment feels unguarded, pragmatic, and human, revealing how casually cultural power was negotiated during an era defined by expansion, experimentation, and excess.
Photographed on a Leicaflex in April, 1970
Taken during Carnival in Rio de Janeiro in 1964, this photograph captures a moment of unfiltered immersion. At a time when international travel was still rare and deliberate, my father traveled to Brazil with friends, camera in hand, simply to experience the world. Carnival then was not a performance for visitors, but a lived, communal eruption of music, movement, and joy. Shot from within the crowd, the image pulses with rhythm and closeness—bodies in motion, sound almost visible. Free of assignment or agenda, the photograph endures because it preserves something increasingly rare: presence.
Photographed on a Leica M3. All prints available in editions of 25.
