View allAll Photos Tagged ELIZABETHTAYLOR,
whenever am bored , i go to my bed with magazines and chocolates then i take some photos .. if you got bored of that kind of photos i don't care cuz i enjoy it lol ;p !
The movie, "Giant" was made in and around Marfa, Texas. John Cerney installed this gigantic roadside mural to honor the movie - James Dean's last. For perspective, I probably come up to Elizabeth Taylor's ring. You have to check out this YouTube video to see how it was accomplished - www.youtube.com/watch?v=qOwfjaK1V0Y
Hollywood actress Elizabeth Taylor was born in North London, not far from this scene. As far as I know, the graffiti has been there for at least a couple of years.
In 1956, one of the most iconic American western films was shot in Marfa, Texas…”Giant.” There’s not much left of the set today, but in 2018, artist John Cerney made huge outdoor murals on plywood of the movie’s stars. James Dean and Elizabeth Taylor are the feature murals on highway 90 on the Wyatt Ranch, along with the famous Benedict house and the yellow convertible from the film in the backdrop. Rock Hudson is behind the wheel of the convertible.
info: authentictexan.com
Elizabeth Taylor's Cleopatra and Charlie Chaplin. By Australian artist Brad Robson, on the side of Los Feliz Theater in Los Angeles.
And a rare picture of Auntie Pascale, who was known as the least successful paparazzo of her generation.
We're Here: Celebrities and ME!
(With apologies to Gianni Bozzacchi)
Elizabeth...a portrait on Liz Taylor on a Victoire body.
Testing out the new light tent and lights...;)
Last night, I had a good and necessary talk with my beloved Awesome Lady: International Edition. Today, a most lovely person wrote a most lovely blog entry about a most awesome afternoon we spent hanging out together. Today, while I'm doing my work, I'm sitting here thinking about the list of parcels I have to send out, and of the list I've received.
And it occurs to me. These people, these photos, these amazing things are all here because of this crazy site.
Flickr is a lot of things. We can argue about what flickr is and isn't, what it should be for and what it shouldn't. It's definitely a huge time suck, so I'm going to make this brief. But it is also (ALSO) a source of inspiration and friendship. Sometimes, magically, those two come combined in one.
Thank you for being my friends. Thanks to those of you out there who have inspired me. And thank you, those of you, who have been my friends AND who have inspired me. You are the best venn diagram I have ever found.
Monday is the first day of the week. Let's start every week with seeds of inspiration, and seeds of new friendships.
Thank you. And, I hope, nice to meet you.
1. Untitled, 2. Another Study, 3. fatal insomnia, 4. Untitled, 5. swallowed up by the sea, 6. the sad trees, 7. good bye, 8. Untitled, 9. madrid in photos 1 - the waiter, 10. Untitled, 11. Making muffins, 12. *, 13. Untitled, 14. abandoned ship, 15. at work, 16. enter, 17. You won't see me, 18. choke, 19. Untitled, 20. veiled silhouette, 21. Untitled, 22. Untitled, 23. islands in the sun, 24. Untitled, 25. Untitled, 26. Untitled, 27. ...thank you..., 28. Take Me To The River, No.20, 29. Jonathon03, 30. Dior's new look, 31. Joltin' Joe has left, 32. Jim Cook, 33. Untitled, 34. 24.05.09, 35. IMG_8825a, 36. Untitled
Created with fd's Flickr Toys.
Strobist: AB160 with gridded 60X30 softbox camera right. AB800 with Softlighter II camera left. Triggered by Cybersync.
Final edit
Shot with two flashes both with honey comb heads ..
One positioned at the rear to highlight the background .. the other above and to the right of her facing down.
Check the pics out on mobiuscycle.com they look good on black.
Try and catch Emily out and about for some Glitz, Glam, and sensual purple passion from MJs best friend.
Roadside art just outside Marfa, Texas celebrating the 1956 movie "Giant" starring James Dean, Liz Taylor and Rock Hudson, filmed near Marfa, Texas
to my little helper, the Elf on the shelf... and Happy Thanksgiving... ya filthy animals!
Liz is wearing a fashion (blouse & skirt) by the amazing Ryan Liang of SHANTOMMO. Shop the fashions at shantommo.com.
You can also follow Shantommo on instagram at: www.instagram.com/shantommo/
Elizabeth Taylor by Mattel as Repainted and with styled hair for www.myfarrah.com by Noel Cruz of www.ncruz.com. Elf on the shelf from the Tiny Frock Shop on eBay www.ebay.com/usr/tiny-frock-shop and at tinyfrockshop.com.
Elf on the shelf, dollhouse, toy bear from the Tiny Frock Shop on eBay www.ebay.com/usr/tiny-frock-shop and at tinyfrockshop.com.
The Barbie Style Head 1/6 scale is from www.ebay.com/usr/guningunina on eBay.
More repainted art by Noel Cruz are featured in the 1Sixth Winter Hardbound Edition available in Hardback/imagewrap or paperback cover. Also as a PDF or eBook. Order here: www.blurb.com/b/9320555-1sixth
eBook: www.blurb.com/b/9320555-1sixth?ebook=690084
Photos by Steve McKinnis of stevemckinnis.com
From the 1940s through the 1970s, Philippe Halsman's sparkling portraits of celebrities, intellectuals, and politicians appeared on the covers and pages of the big picture magazines, including Look, Esquire, the Saturday Evening Post, Paris Match, and especially Life. His work also appeared in advertisements and publicity for clients like Elizabeth Arden cosmetics, NBC, Simon & Schuster, and Ford. Photographers, amateur as well as professional, admired Halsman's stunning images. In 1958, a poll conducted by Popular Photography named Halsman one of the "World's Ten Greatest Photographers" along with Irving Penn, Richard Avedon, Ansel Adams, Henri Cartier-Bresson, Alfred Eisenstaedt, Ernst Haas, Yousuf Karsh, Gjon Mili, and Eugene Smith. Altogether, Halsman's images form a vivid picture of prosperous American society in the middle years of the twentieth century. "Philippe Halsman: A Retrospective" is the first historical survey of his work.
Philippe Halsman (1906-1979) was born in Riga, Latvia. He studied engineering in Dresden before moving to Paris, where he set up his photographic studio in 1932. Halsman's bold, spontaneous style won him many admirers. His portraits of actors and authors appeared on book jackets and in magazines; he worked with fashion (especially hat designs), and filled commissions for private clients. By 1936, Halsman was known as one of the best portrait photographers in France.
Halsman's career came to a dramatic halt in the summer of 1940, when Hitler's troops invaded Paris. His wife, daughter, sister, and brother-in-law, who all held French passports, immigrated to America, but as a Latvian citizen, Philippe Halsman could not obtain a visa. For several long months he waited in Marseilles along with many others who were forced to escape fascist Europe. Finally, through the intervention of Albert Einstein (who had met Halsman's sister in the 1920s), Halsman obtained permission to enter the United States, and he arrived in New York in November 1940 with little more than his camera.
Halsman's big break came when he met Connie Ford, a striking young model who agreed to pose in exchange for prints for her portfolio. When publicists at Elizabeth Arden saw Halsman's photograph of Ford against an American flag, they used the image to launch a national campaign for "Victory Red" lipstick. A year later, in the fall of 1942, Life asked Halsman to shoot a story on new hat design. To Halsman's delight, his portrait of the model smiling through a feathery brim landed on the cover. One hundred more covers followed before the magazine ceased weekly publication in 1972.
When Halsman began working for Life, the magazine was only six years old, and photojournalism was still a new field. Before the existence of Life and its competitors, Americans learned about the world from newspapers, radio, and newsreels. But the new picture magazines published pages filled with bright, dramatic photographs, bringing Americans vivid information that no other media could match. In the spirit of a variety show, or a world's fair, magazines combined stories about international politics, everyday life, news events, celebrities, exotic scenery, and humor to prove that "so much of the world, so judiciously selected, had never been seen before in one place." Today, to understand the significance of those great magazines, we need only look at the many forms of mass media that have come to replace them. Now, we find photographs on television and billboards; in special publications devoted to news, people, fashion, or sports; in newspapers; in museums and galleries; and on the Internet. And, ironically, the more places there are to see photographs, the harder it is to attract viewers. But in 1942, when Philippe Halsman's portrait simply appeared on the cover of Life and immediately reached a large, united audience.
Surrealism
In Paris, Halsman studied the work of other artists and photographers, especially the surrealists, from whom he learned to make images that surprised his viewers. By including homely, and ultimately disturbing, details, he gave his subjects memorable tension. Through subtle lighting, sharp focus, and close cropping, he turned formal fashion shots into serious investigations of character. When Halsman posed NBC comedians against bare white paper, eliminating all defining context, their isolation made them look both frail and funny. Most important of all, from the surrealists' exploration of the erotic unconscious, Halsman learned how to combine glamour, sex, and wholesome energy in one portrait. This unusual ability made him Life's favorite photographer for sensual stars like Marilyn Monroe and Brigitte Bardot. Halsman's sympathy for surrealism also led to his long, productive friendship with Salvador Dali. Halsman met Dali on assignment in 1941, and over the next three decades they became partners on many projects, including a series of playful tableaux that had all the disturbing irrationality of dreams or a painting by Dali. Their most notable production was "Dali Atomicus", in which the artist, his canvas, furniture, cats, and water all appear suspended in air.
Psychological Portraiture
Over the course of his career, Halsman enjoyed comparing his work to that of a good psychologist who regards his subjects with special insight. With his courtly manners and European accent, Halsman also fit the popular stereotype at a time when Americans regarded psychology with fascinated skepticism. In fact, Halsman was proud of his ability to reveal the character of his sitters. As he explained, "It can't be done by pushing the person into position or arranging his head at a certain angle. It must be accomplished by provoking the victim, amusing him with jokes, lulling him with silence, or asking impertinent questions which his best friend would be afraid to voice."
In the spring of 1952, Halsman put his signature technique to work when Life sent him to Hollywood to photograph Marilyn Monroe. Halsman asked Monroe to stand in a corner, and placed his camera directly in front of her. Later, he recalled that she looked "as if she had been pushed into the corner cornered with no way to escape." Then Halsman, his assistant, and Life's reporter staged a "fiery" competition for Monroe's attention. "Surrounded by three admiring men she smiled, flirted, giggled and wriggled with delight. During the hour I kept her cornered she enjoyed herself royally, and I . . . took between 40 and 50 pictures."
In this widely familiar portrait, Monroe wears a white evening gown and stands with her back against two walls, one dark, the other light, her eyes half closed and her dark, lipsticked mouth partly open. Yet Halsman deftly avoided any explicit representation of the true subject of the picture. Using the euphemistic language of the time, Halsman's assistant admired the photographer's ability to make "suggestive" pictures of beautiful women which still showed "good taste," emphasizing "expression" rather than "physical assets." And then the assistant added, "Halsman is very adept at provoking the expression he wants."
Jumpology
In 1950, NBC asked Halsman to photograph many of its popular comedians. Milton Berle, Ed Wynn, Sid Caesar, Groucho Marx, Bob Hope, Red Skelton, and many others came to Halsman's studio, where they performed while he captured their antics on film. A single session could generate two or three hundred pictures. When Halsman compared these comic images to more traditional portraits, he found that comedians often jumped and always stayed in character. Desperation (and good humor) finally drove him to ask others to jump for his camera when the Ford Motor Company commissioned him to make an official family photograph in honor of the company's fiftieth anniversary. Halsman spent a long, tiring session with nine edgy adults and eleven restless children. Afterward, Halsman's irrepressible humor inspired him to ask matriarch Mrs. Edsel Ford, "May I take a picture of you jumping?'" The astonished Mrs. Ford replied, "You want me to jump with my high heels?" Next, her daughter-in-law, Mrs. Henry Ford II, requested a turn. The "jump" pictures had surprising charm, and over the next six years, Halsman asked many clients to jump for him. Van Cliburn, Edward R. Murrow, and Herbert Hoover declined Halsman's invitation, but most people realized they had nothing to lose. (Some gained considerably, like the suddenly buoyant and likable Vice President Richard Nixon, who jumped for Halsman in the White House.) Halsman claimed the jumps revealed character that was otherwise hidden. "When you ask a person to jump, his attention is mostly directed toward the act of jumping and the mask falls so that the real person appears."
Halsman also pursued this project to discover something about himself. "I assure you that often, before approaching the person, my heart would beat, and I would have to fight down all my inhibitions in order to address this request to my subject. At every time when the subject agreed to jump, it was for me like a kind of victory." How did Halsman persuade so many to abandon their composure for his camera? Somehow, he managed to convince each one that the risk was all his own.
Like many who escaped Hitler's Europe, Philippe Halsman rarely discussed the past. He rightly insisted that his most important work took place in America, and in many ways his adopted country became his subject. One typical review noted his patriotic flair, praising Halsman's "unsanctimonious and immensely intense portrayal of American bounce." From a historian's perspective, it seems clear that Halsman invented a glowing image of the nation as he saw it, using light, persuasion, nerve, imagination, psychology, and experience. This place and these faces are his creation.
Halsman's perpetual quest for hidden truth also recalls his personal history as an artist and a refugee. Halsman knew that the effort to establish one's identity had significance far beyond the needs of the celebrity marketplace. "This fascination with the human face has never left me. . . . Every face I see seems to hide and sometimes, fleetingly, to reveal the mystery of another human being. . . . Capturing this revelation became the goal and passion of my life."
Mary Panzer
Curator of Photographs
National Portrait Gallery, Smithsonian Institution
This building is a classic mid-century modern structure with a huge cantilevered roof and a well-designed parking garage under the structure. The sign used to be illuminated and could be seen for miles, as there were no other high rises around it at that time of its construction.
The following are building facts taken from emporis.com:
The Hollywood Bread Building consists of five floors of office space perched above a 6-level parking deck.
Built by Home Federal Savings & Loan Association, which built the adjacent Home Towers Condo and wanted to add a parking garage. Original plans called for an 18-story mixed-use tower with offices, apartments, and parking.
The makers of Hollywood Bread, National Bakers Service, leased the airspace above the garage for the office building. The bakery offices operated out of the 9th and 10th levels as well as the penthouse.
Eleanor Hansberry, the founder and president of Hollywood Bread, was photographed in her penthouse office for a 1969 issue of Vogue magazine.
Credit for the data above is given to the following website:
www.emporis.com/buildings/138084/hollywood-bread-building...
hollywoodgazette.com/2018/09/26/the-fascinating-tale-of-h...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Portraits
Repainted and restyled by Noel Cruz of ncruz.com photographed in a Regent Miniatures 1/6 scale diorama.
Liz is also eatured in the 1Sixth Winter Hardbound Edition available in Hardback/imagewrap or paperback cover. Also as a PDF or eBook. www.blurb.com/b/9320555-1sixth eBook: www.blurb.com/b/9320555-1sixth?ebook=690084
Photos by Steve McKinnis of stevemckinnis.com
The artists have arrived. The fog has rolled in. The rooms are turning into studios. Tomorrow is going to be a fun night.
Elizabeth Taylor is wearing a pink gown by
t.d.fasiondollst.d.fasiondolls of www.ebay.com/usr/t.d.fasiondolls of eBay.
Featured in a diorama by Ken Haseltine and both repainted and restyled by artist Noel Cruz.
Photos by Steve McKinnis of stevemckinnis.com
www.youtube.com/watch?v=VGbSJ-q4dvg
They don't make 'em like they used to
To view my most interesting photos, click the link below
www.flickriver.com/photos/the_midnight_rambler/popular-in...
Audrey Hepburn and Elizabeth Taylor as repainted and restyled by artist Noel Cruz in a dress for fashion royalty, Poppy Parker, Silkstone Barbie, fr2 , 12'' Fashion Doll by Rimdolll www.etsy.com/shop/Rimdoll on ETSY.
Check out the 1Sixth Fashion Issue on AMAZON at www.amazon.com/1Sixth-Stephen-McKinnis/dp/1006611258/ref=...
Or On Blurb at www.blurb.com/user/smckinnis
On iTunes at books.apple.com/us/book/id1451386070?utm_campaign=prod_ce...
Visit the 1sixth.co site or 1sixthworld.com
Photos by Steve McKinnis of stevemckinnis.com