Usually the portraits are black-and-white, which also seems less flattering or forgiving. Additionally, Avedon's signature white backgrounds offer no context there is no story but that of the face and body of the subject. The effect of the close-up is not only to provide details, including physical imperfections, but to also make the viewer feel as if they are intruding into the sitter's private, personal space. His subjects take up much of the composition, sometimes even exceeding its boundaries and thus seeming inexplicably cropped.
Avedon's portraits are most often unsettling and in many cases deeply disturbing. His deeply candid, emotive portraits, often photographed and printed in large format, helped reconfigure photography as an expressive art form. 
His customary practice was to establish an intimacy between himself and his sitter, gaining a subject's trust became an art form in itself for Avedon.
Avedon's mastery of portraiture had as much to do with his rapport with his subjects as his technical ability or sense of aesthetics. There is often an underlying narrative as he realized that fashion photography wasn't simply about selling a product, but rather it was the overall spirit of the image that the viewer/consumer desired. Avedon took models that seemed to be somewhat frozen in time and gave them vigor, personalities, and even flaws. Avedon's style of fashion photography brought a refreshing, humanistic quality to the genre. While he didn't design the clothes that Veruschka or Twiggy or Brooke Shields wore, he created innovative contexts for both model and wearer, fashioning visually arresting, memorable images that altered the course of many facets of American culture. His photographs, claimed the New York Times, "helped define America's image of style and beauty and culture" since the 1950s. Ranging between the commercial work he did as a fashion photographer and the ground-breaking fine art portraiture, the breadth and creativity of Avedon's body of work has made him one of the most influential photographers of the 20 th century. He is probably best known, however, for his arresting, black-and-white and often large-format portraits of people, whether celebrities or unknowns, which are as much psychological studies as physical ones. Instead the exuberant young photographer who legendarily never stood still, enlivened his models and, most importantly, showed their human side, flaws and all. 
In a gesture of supreme, youthful confidence, Richard Avedon did away with the standard trope of statue-like, frozen-in-time models of conventional fashion photography.
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