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Archive for the ‘Photography’ Category

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Baby, take off your coat…real slow
Baby, take off your shoes…here, I’ll take your shoes
Baby, take off your dress
Yes, yes, yes
You can leave your hat on
You can leave your hat on
You can leave your hat on

image found on RetroDoll

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Images found on RealityAsylum

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Image found on LeftoverLondon

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The Great Laxey Wheel, Isle of Wight

The Laxey Wheel (also known as Lady Isabella) is the world’s largest working waterwheel, built in 1854 to pump water from the mine shafts, and now run as a tourist attraction.

Image and text from Lemon Tea & Earwig Biscuits

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Image found on mudwerks

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A winning smile from Cynthia Kowlessar, a 24-year-old clerk at Ealing Common rail depot, who was selected London Transport Charm Girl of 1964 at the annual sports gala at Osterley.

Image and text found on Leftover London

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A Picnic with Beer ….

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…. are there any other kind 😮

Image found on Born in the wrong era

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Beaton struck up an instant rapport with the Queen. His diary reveals that she was an active participant in the staging of her romantic portraits, suggesting suitable dresses and accessories. Here, Beaton combined a painterly eye with the elegant style of his Vogue fashion studies. Like those, each royal portrait would be carefully retouched under Beaton’s instruction, to define facial features and trim silhouettes.

From the Queen Elizabeth II by Cecil Beaton exhibition  at  Victoria and Albert Museum [ 8 February – 22 April 2012]

Image and text from Oh! so 30s

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Image found in AdventuresOfTheBlackgang

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…. or rather, several

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Women from the Land Army collecting the crop at Rhosmardy, Llandrillo sometimes during WWII -  And one local at least seem to enjoy the visit – Ted

Image (doctored) found on The National Library of Wales on Flickr

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In 1958, Life Magazine invited Marilyn Monroe and photographer Richard Avedon to recreate images of five celebrated actresses of different eras, one of these was Marlene Dietrich.  Entitled “Fabled Enchantresses,” the piece was part of the magazine’s December 22 “Christmas” issue and included an article by Marilyn’s playwright husband, Arthur Miller, entitled “My Wife, Marilyn.”

Avedon found in Marilyn an easy subject to work with, “She gave more to the still camera than every other actress – every other woman – I had the opportunity to photograph…” He added that she was more patient with him and more demanding of herself than others  and that she was more comfortable in front of the camera than when not posing.


Marlene Dietrich was born on December 27, 1901 in Berlin Germany.  Her real name was Maria Magdalene Dietrich and she took up acting in her late teens.  After failing an audition with Max Reinhardt in 1921, she joined the chorus line of a touring music revue.  In 1922, she re-auditioned for Reinhardt and this time was accepted in his drama school.  She began playing small roles on the stage and in German films, never getting anything more substantial than supporting roles. However, by the late 20’s she had risen to playing leads with moderate success.

Her big break came when she was spotted onstage by American director Josef Von Sternberg, who cast her to play a sexy, seductive vamp in The Blue Angel,1930, filmed in Germany.

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Von Sternberg became a dominant force in her life, moulding her into a glamorous, sensuous star. She got a Hollywood contract and left her husband and daughter behind, going on to star in six films for Von Sternberg.  Their collaboration made her a star equal in magnitude to Garbo.

She became an American citizen in 1939; meanwhile, her films were banned in Germany because she had refused a lucrative offer from the Nazis to return and star in German films.  During World War II she entertained U.S. troops, participated in war bond drives, and made anti-Nazi broadcasts in German; she was awarded the Medal of Freedom for "meeting a gruelling schedule of performances under battle conditions… despite risk to her life". She was also named Chevalier of the French Legion of Honour.

In the 50’s, as her film career slowed, Dietrich began a second career as a recording star and cabaret performer. Singing to packed houses in major cities all over the world she became famous as an on stage performer.  See section devoted to her music.

Late in her life, she was rarely seen in public, but she agreed to provide the voice-over for Maximillian Schell’s screen biography of her Marlene(1984).  She wrote three volumes of memoirs: Marlene Dietrich’s ABC (1961), My Life Story (1979) and Marlene (1987).  She lived a long life and was active until 1990; she died two years later on May 6, 1992

I attended a Dietrich concert with my parents at the Tivoli in Copenhagen back in the mid sixties. I can still remember that concert – Ted

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Great-grandson of Duncan Phyfe, the iconic furniture designer of the early republic, Herold Rodney Eaton "Hal" Phyfe was born in Nice, France, to a New York society family. Trained as a sculptor in France and a painter in Italy, Hal Phyfe began pursuing photography an an enlistee in World War I documenting an aviation unit of the U.S. Army in Europe. He made a specialty of aerial photography. After the war he supported himself as an illustrator supplying magazines with covers rendered in pastels. He opened his photography studio in 1926.

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During the 1920s he built a reputation for his theatrical portraiture (sketches and photographs) shot on commission for various magazines. He became the principal photographer for Florenz Ziegfeld during 1930-31. He became famous for his dictum that no smiles were allowed during sittings. During the late 1920s he owned a dog who became something of a Broadway celebrity. Legend holds that he turned down a remunerative long-term contract with a magazine in the wake of his dog’s death, which disabled him from talking business. During the early 1930s he habitually wore a black tie in mourning. His melancholy was somewhat tempered when bootlegger Owney Madden entrusted his red tabby cat to Phyfe’s keeping when he was put away in Sing Sing. Phyfe’s notorious eccentricity of dress extended to wearing moccasins instead of shoes and dressing down in denim at debutante balls during that period when he was official photographer to High Society.

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He was one of the best amateur cooks in Manhattan, with recipes appearing in papers as far away as Los Angeles. In 1931 he was hired on a three month contract by Fox. He went to Hollywood and was besieged for portrait sittings. He preferred the social life of New York, so he returned to New York and resumed a career as one of the central society and theater photographers in the city. A sociable man, he was invariably on the committees for the beaux arts balls in the 1930s, or serving as judge in various charity photo contests. In June 1950 he leased a penthouse in the Parke-Bernet Galleries at 980-990 Madison Avenue for his studio.

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Specialty

As adept at portraying men as women, Phyfe produced some of the most dynamic male portraits of the late 1920s. He preferred not to portray performers in costume. A master of middle grays, his exhibition and portfolio prints of the late 1920s display exquisitely refined shading. During the late 1920s he indulged in the penchant among New York portraitists to vignette heads. There would be strong graphic intervention at the perimeters of the image, suggesting a drawing. In the 1930s he opted for a straighter style of portraiture, full body, often with the subject seated. His Society portraits of the 1930s are well posed and understated, suggesting refinement rather than ostentation. His popularity among Hollywood performers derives from his disinclination to overstate elegance. He signed original prints in red crayon in distinctive squared letters. His Hollywood portraits are signed on the negative in white.

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Periodically Phyfe published advice about how women should prepare for a photo shoot. These are from January 1940.

[1] A clean face, with a dusting of fine Rachel powder. 
[2] No foundation cream of grease beneath the powder. 
[3] A light lipstick–red photographs black–but an indelible one. Shape the lips in their usual lines, rub in the lip rouge, press the lips against a facial tissue to remove every speck of excessive rouge. 
[4] Very little mascara, and what you use concentrated on the tips of the lashes to accent their length. Artificial eyelashes are fine if they are the kind which are applied at the end of each natural lash, and not the fringe strip type which drag the eyelids down out of shape. 
[5] Natural eyebrows–of course yours are habitually disciplined to a clean, well groomed line, camera sitting or no!–unless you are a very pale blonde, when a teeny bit of mascara may be used. The lens, however, will catch considerable accent from even blonde eyebrows. 
[6] No greasy highlights. Let the photographer add them if he wishes, about the eyelids. 
[7] A little dry eye shadow discreetly applied. 
[8] Choose a natural, simple and familiar hairdo, certainly one which will not date you. Your dress should be a pastel shade with a neckline which does not chop your head from your body, and it better not be of print fabric. The effect may detract from your face, confuse the issue. Too, print designs tend to date you, as do hats and strange hairdos."Facial construction must be definite, even bold. And the eyes must be the pivot of the expression. For if the eyes have "it" everything else will be forgotten in their vivid, compelling attraction. Eyes create individuality, they are the spokesman for the soul, the character, the mind. For the rest–complexion, hair, features–for he knows that art and the will to achieve a certain amount of beauty can, and does do wonders."

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Phyfe on faces: "Facial construction must be definite, even bold. And the eyes must be the pivot of the expression. For if the eyes have "it" everything else will be forgotten in their vivid, compelling attraction. Eyes create individuality, they are the spokesman for the soul, the character, the mind. For the rest–complexion, hair, features–for he knows that art and the will to achieve a certain amount of beauty can, and does do wonders."

Text from BroadwayPhotographers

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Kusakabe Kimbei (日下部 金兵衛) (1841–1934) was a Japanese photographer. He usually went by his given name, Kimbei, because his clientele, mostly non-Japanese-speaking foreign residents and visitors, found it easier to pronounce than his family name.

Image found on Turn of the Century – Text from Wikipedia

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In context

Prince Birabongse Bhanudej Bhanubandh (born 15 July 1914 in Bangkok, Thailand; died 23 December 1985 in Barons Court Station, London), better known as Prince Bira of Siam (now Thailand) or by his nom de course B. Bira, was the only Thai race car driver to race in Formula One. He raced in Formula One and Grand Prix races for the Maserati, Gordini, and Connaught teams, among others. He also was an Olympic sailor in the Melbourne Olympics, 1956 in the Star, Rome Olympics, 1960 in the Star, Tokyo Olympics, 1964 in the Dragon and the Munich Olympics, 1972 in the Tempest. In the 1960 Games he competed against another former Formula One driver, Roberto Mieres, who finished 17th and ahead of the prince in 19th. Birabongse was the only Southeast Asian driver in Formula One until Malaysia‘s Alex Yoong joined Minardi in 2001. Prince Bira was not only a racing driver, he was also an excellent pilot of gliders and powered aircraft. In 1952 he flew the remarkable distance from London to Bangkok with his own twin engine Miles Gemini aircraft.

Prince Bira accepting the trophy for winning the London Grand Prix at Crystal Palace in 1937, having driven his ERA.

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Text from Wikipedia

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….. your knickers elastics snap

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Smart Dog

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a12093_dices

…… should be considered cheating.

Image found on shorpy.com

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Picture found on shorpy.com

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