Featured Product
New York, NY, c.1966
Archival pigment print, printed 2025 · Edition of 25
Printed from the photographer’s original negative.
Françoise Hardy photographed early in her career. Woodward encountered Hardy through shared creative circles during the 1960s, capturing an intimate portrait at a moment when the singer was emerging as an international cultural figure. Photos were shared with Vogue.
Released by the Orator Woodward Archive
Please allow two weeks for unframed prints and 4-6 weeks for framed prints.
Negative reference: OW-1966-3224
Françoise Hardy was at the beginning of her career when she met Orator Woodward. These photographs were taken in a friend of Orator’s car garage near Studio 54 in New York City and were made for Vogue.
The images capture Hardy before international fame, in an informal setting that allowed for a more natural and unguarded portrait. The result is a rare view of a young artist at an early and defining moment in her career.
Limited edition archival prints made from the original negatives. Edition of 25.
Outside Geneva, Switzerland, c.1965
Archival pigment print, printed 2025 · Edition of 25
Printed from the photographer’s original negative.
Photographed during travels through Europe in the mid-1960s, a period when Woodward was documenting both cultural figures and the landscapes encountered between assignments.
Bernie Cornfeld, pictured playing backgammon here, was born in Istanbul, raised in Brooklyn, and became one of the most audacious financiers of the postwar era. His company, Investors Overseas Services, built a $2.5 billion mutual fund empire by operating deliberately beyond the reach of any single government — selling American funds to American servicemen in Europe, structured offshore, accountable to no one in particular. His pitch was famously direct: Do you sincerely want to be rich? Most people said yes. When the markets turned in 1970, the empire collapsed. A man named Robert Vesco came in as a white knight and looted what remained, then fled to Cuba. Cornfeld was arrested in Geneva in 1973, jailed for eleven months, and ultimately acquitted of all charges in 1979. My father knew him as a friend — curious, generous, and genuinely good company. He said Bernie was one of the smartest men he ever met. He just operated in a world that hadn't decided yet whether what he was doing was genius or fraud. It turned out to be both.
Released by the Orator Woodward Archive
Please allow two weeks for unframed prints and 4-6 weeks for framed prints.
Negative reference: OW-1965-0042
Jamaica, c.1966
Archival pigment print, printed 2025 · Edition of 25
Printed from the photographer’s original negative.
An observational photograph exploring light, reflection, and atmosphere—recurring themes throughout Woodward’s photographic work. Alberta Tiburzi poses for a fashion brand near the well known Dunns River Falls in Jamaica.
Released by the Orator Woodward Archive
Please allow two weeks for unframed prints and 4-6 weeks for framed prints.
Negative reference: OW-1966-0222
New York, USA, c.1976
Archival pigment print, printed 2025 · Edition of 25
Printed from the photographer’s original negative.
Photographed in New York during the 1970s, when Woodward was moving between editorial assignments and documenting the evolving life of the city. She was someone he encountered on the street in the city.
Released by the Orator Woodward Archive
Please allow two weeks for unframed prints and 4-6 weeks for framed prints.
Negative reference: OW-1976-3235
Current Selection
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.
Jamaica, c.1960
Archival pigment print, printed 2025 · Edition of 25
Printed from the photographer’s original negative.
Louise McGregor poses for a moment at sunset. Photographed for personal purposes.
Released by the Orator Woodward Archive
Please allow two weeks for unframed prints and 4-6 weeks for framed prints.
Negative reference: OW-1960-0222
Jamaica, c.1966
Archival pigment print, printed 2025 · Edition of 25
Printed from the photographer’s original negative.
Woodward photographed scenes of everyday life during travels through the Caribbean, often capturing unposed portraits of people encountered along the way.
Released by the Orator Woodward Archive
Please allow two weeks for unframed prints and 4-6 weeks for framed prints.
Negative reference: OW-1966-0230
Capri, Italy, c.1972
Archival pigment print, printed 2025 · Edition of 25
Printed from the photographer’s original negative.
Taken during Woodward’s time living and traveling along the Mediterranean, this photograph reflects the quiet observational moments that punctuated his life among artists and writers on the island of Capri. Orator describes Capri as his favorite place in the world, and all of his images from the special island are a pause from the commotion of life. Full Capri series coming in Spring 2026.
Released by the Orator Woodward Archive
Please allow two weeks for unframed prints and 4-6 weeks for framed prints.
Negative reference: OW-1972-1002
Cadaqués, Spain, c.1968
Archival pigment print, printed 2025 · Edition of 25
Printed from the photographer’s original negative.
Salvador Dalí photographed at his home in Cadaqués during one of Woodward’s visits to the Spanish coastal town where the artist spent much of his life. The photograph offers a glimpse into Dalí’s private environment beyond the public stage of Surrealism. Photos were for personal purposes and not shared with any publications. Orator and Dalí spent a few weeks making art together after they met on the party scene in New York City.
Released by the Orator Woodward Archive
Please allow two weeks for unframed prints and 4-6 weeks for framed prints.
Negative reference: OW-1968-0123
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. Limited edition archival prints made from the original negatives.
Jamaica, c.1966
Archival pigment print, printed 2025 · Edition of 25
Printed from the photographer’s original negative.
Fashion model Alberta Tiburzi photographed during a shoot in Jamaica. Woodward frequently moved between editorial fashion assignments and documentary photography, capturing moments that reveal both the subject and the atmosphere surrounding the image. He was most influenced by his mentor Clay Felker at New York Magazine.
Released by the Orator Woodward Archive
Please allow two weeks for unframed prints and 4-6 weeks for framed prints.
Negative reference: OW-1966-0228
Jamaica, c.1966
Archival pigment print, printed 2025 · Edition of 25
Printed from the photographer’s original negative.
Photographed while on assignment for a fashion brand, Alberta Tiburzi and Louise McGregor pose in robes aboard a fishing boat near the famous Golden Eye resort in Jamaica.
Released by the Orator Woodward Archive
Please allow two weeks for unframed prints and 4-6 weeks for framed prints.
Negative reference: OW-1966-0225
Near Acapulco, Mexico, c.1966
Archival pigment print, printed 2025 · Edition of 25
Printed from the photographer’s original negative.
Hugh Hefner photographed while traveling during the period when Playboy was expanding its cultural presence internationally. Woodward’s photograph captures the publisher in a moment between public engagements. Story published in New York Magazine
Released by the Orator Woodward Archive
Please allow two weeks for unframed prints and 4-6 weeks for framed prints.
Negative reference: OW-1966-0282
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
Rio de Janeiro, Brazil, c.1960
Archival pigment print, printed 2025 · Edition of 25
Printed from the photographer’s original negative.
Photographed during Carnival celebrations in Rio de Janeiro, Woodward documented the social energy and theatricality of Brazil’s most celebrated annual festival. His photographs from this period capture moments unfolding both within and beyond the formal spectacle. Photos were shared with Harper's Bazaar after the trip.
Released by the Orator Woodward Archive
Please allow two weeks for unframed prints and 4-6 weeks for framed prints.
Negative reference: OW-1960-1272
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.
