Actors Headshot photography!
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Portrait of a the actor of theater "big people". very interesting contrasting costume, a lot of makeup and expressive eyes. photo taken during a festival in the park Muzeon (Moscow).
In the Brecon Beacons National Park, Wales.
That is the actual James Bond Aston Martin DB5 as first seen in Goldfinger in 1965. Probably the most iconic and famous car in the world and likely priceless too. If you google that licence registration BMT216A, it will confirm that it also appeared in Thunderball, Golden Eye, Tomorrow Never Dies, Casino Royale, Skyfall, Spectre and No Time to Die. Or you can see the registration here -
www.007.com/the-vehicles/aston-martin-db5/
And now here it is on the Flickr page of old Magoo - who’d have thunk! A scoop or what? Here it has its latest modification to its front bumper - a guy in.a luminous orange jacket trying to take a photograph.
So how did old Magoo bumbling around with his white stick and who can’t tell a farmers truck from a pedal cycle happen to bump into it in the back of beyond on the Brecon Beacons, how did he know what it was and more importantly, is that the real James Bond behind the wheel?
So there I was on a very quiet mountain road in the middle of nowhere when I hear the throaty roar of a vehicle coming up behind me. The road isn’t wide enough for man and car so I step off to allow it through, but it pulls to a halt alongside.…
“You’re looking very official by the side of the road” Says James Bond. It puzzles me for a second and I realise he must be referring to my luminous coat. (I later realise he must have been looking for the camera crew and thought I was with them).
“Oh the jacket” I say “It’s so I can be seen by cars because I can’t see them” and I hold up my white stick. And then, listening to the sweet purr of the engine I say “That’s a beautiful sounding car you have there, what is it?
“An Aston Martin DB5” Bond says.
“Wow” says I “How old?”
“59 years” replies 007 without hesitation because if anyone would know he would, right? “It’s the James Bond car” he adds.
I wrongly presume he means ‘like the James Bond car’ not the actual car itself and so like an idiot I ask - “How long have you had it?”
“We are actually filming here for a couple of days” says James by way of explanation.
“Are you James Bond then?” I ask with a wry grin.
“Well, sort of “ he replies with a chuckle. I expect he was being covert. I’m stood there close enough to touch the car and am wondering whether or not this is Daniel Craig or the new Bond guy driving - I certainly can’t tell, the car is just a fuzzy haze to me and the driver non existent, when he politely excuses himself and drives off. I’m left wondering whether he was pulling old Magoo’s leg or whether this really was the real Bond car and then feel more than a little disappointed that I didn’t get a photo. Wouldn’t you?? Let’s face it, it’s not the sort of thing you expect is it?
I continue on my deflated way when after about half a mile I pass a group of people by the side of the road. There is absolutely never anyone here and even though I cannot see their equipment I presume it must be the film crew. I wander on thinking they must be waiting for me to walk on through so they can do the take, which means the Licence to Kill and his car must be up ahead somewhere - and sure enough, a couple hundred yards on I catch that sweet throaty purr again.
“Would you mind if I take a photograph of your car Mr Bond, so I can see it on the big screen when I get home?”
“Be my guest” says James. Realising I was probably holding things up and I would have only time for one shot I quickly took it and wandered up to his window and showed him the back of the camera and asked if it looked okay?
“Haha” Laughs the Licence 2 Kill “It’s right in the middle”. Well, that was good enough for me, a crackshot secret agent with such an eye for the ladies and who bumps off global super villains for fun should be able to judge a photo right? And after thanks, I wanders on me way, and when I was clear he must have got the ‘camera - action’ instruction because the pedal hit the metal and it leapt away towards the cameras with a glorious roar.
So was that the real James Bond, or another actor filling in for him? I have absolutely no idea, couldn’t see him at all - but I’ll go this far……it wasn’t Sean Connery or Roger Moore, I would have recognised those voices for sure…….
A big thanks to the photography gods for causing James Bond to stop and talk, because if he hadn’t I would have had no idea there was filming taking place and wouldn’t have got the shot - and a double big thanks to 007 for being sociable and letting me take the photo! If you see a tramp in a bright orange coat cluttering up the movie - that’ll be old Magoo……
153314 and 153309 on the approach to Cantley station with 2J82 Norwich to Lowestoft seen approaching the delightful co-acting signals, traction and signaling now just a memory.
proof from stephanie's headshot session. not for public consumption; for review purposes only.
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We were fortunate to have Matt visit our photography group again, he kindly sat for us for a few portraits.
Matt Sproit is known for his work on Stan Lee’s Lucky Man (2016), East Enders (1985) and Guerrilla (2017), he also appears in the BBC Drama series Luther and Call The Midwife.
Pézenas le 21 Juillet 2014. Nous sommes un lundi.
Une chaleur étouffante.
Nous avons désormais fait de Pézenas notre ville de nostalgie et d'amour pour Molière, lorsque nous descendons sur Sète.
Indiciblement voués à ces rues, ces façades et ... à ses nombreux Théâtres.
D'abord celui appelé "Théâtre de Molière" ,
invraisemblable et authentique théâtre fin d'un siècle, mais avec lequel l'auteur à joué et séjourné lors d'un hiver difficile dans le Languedoc ...
Puis le Théâtre de plein air "Verdure", où chaque année une troupe de haut niveau et véritable nomade d'une programmation entièrement dédiée aux grands classiques de Jean Baptiste Poclain ...nous déclame sur des planches éphémères un bonheur truculent.
Dans les silences nous entendons même le vent dans les feuilles des platanes...
Pour ne citer qu'eux ...
Un territoire qui est devenu notre, de jour comme de nuit.
La ville est très belle et particulièrement vivante. Elle fut la route des arts qui menaient les argentiers encore récemment de Naples à Barcelone sur ce chemin de Compostel des arts ... Il ne reste plus que quelques antiquaires pour argentiers moins fortunés. Il parait qu'on les nomme BoBo .. j'ai pas vérifié car je n’arrive pas a rencontrerune personne qui m'en donne une même définition .. mystère des temps modernes...
Bref ..
Puis les volets languedociens hauts en couleur de jour comme de nuit.
Comme les yeux souriant de ma Chris qui me font de doux BoBo au coeur !
...
Pezenas 21 July 2014. We are a Monday.
A stifling heat.
We have now made our town of Pezenas nostalgia and love for Molière.
Inexpressibly devoted to these streets, these facades ... and its many theaters.
First one called "Molière Theatre"
incredible and authentic theater end of a century, but which one ...
Then the Outdoor Theatre "Greenery", where each year a high-level troops and true nomad of programming dedicated to the great classics of Jean Baptist ... declaims us on board a truculent ephemeral happiness.
In silence we hear the wind in the leaves of the trees ...
To name a few.
Then the high Languedoc shutters color day and night.
A territory that became our, day or night.
The city is beautiful.
As my eyes smiling Chris.
In early spring of 2009 I met Foster Burden. He is a model and actor and we were looking to do some work together. At the time, he was growing his hair out in order to donate it to a company which makes hair pieces for people with cancer enduring chemotherapy treatment. Foster suggested doing a modern day Samson and Delilah theme. Brilliant! So... I began searching for the perfect female to play Delilah. Low and behold I met Charmaine and she was more than willing to go along with it all. This was my first time working with both Foster and Charmaine and I definitely appreciate their patience and professionalism. It's been several months since Foster's hair went from being about 16 inches long to only 1. I apologize for the delay in posting these but hopefully they are worth the wait.
Model - Foster Burden
Directing Dave New
Raghavendara Rajkumar in conversation with Public TV during 18th Lok Sabha Election 24 at Sadashivanagar, Bengaluru.
Raghavendra Rajkumar is an Indian actor, singer and producer of Kannada cinema. He is the son of actor Dr. Rajkumar and film producer Parvathamma Rajkumar.
derek jacobi today in soho, the epitome of an actor. note to any young and not so young hopefuls who may have dramatic aspirations, study the bbc production of iclaudius, a work of true genius, which in my opinion was completely unrivalled as tv drama until the appearance of the sopranos.
William Eythe, giving the lens a rather intense - stare. Probably a portrait taken for "Mr. Reckless", 1948
Actors in a historical play head to a performance in Popayan, Colombia.
Popayan, Colombia, 2013
All images © Michael Evans
All Rights Reserved
I'm pleased to announce my new photo book, My Colombia: The First Seven Years.
You can preview and purchase the book at: bit.ly/2qFiAAy
To learn more about my life in Colombia, check out this article: bit.ly/2qxcFyX
Photoshoot with Matthew Raetz
Actor/Model
Learn more about Matt here
and here
Lake Vista
New Orleans, Louisiana
Burt Lancaster in the 1947 film "Desert Fury". My restoration and colorization of a Hal Wallis Productions publicity photo.
Daniel Mangin has described how Lancaster´s incredibly movie career got started:
"For an actor whose screen debut, the 1946 film noir classic "The Killers," made him an instant star, Burt Lancaster's first few seconds on celluloid are remarkably subdued. He lies motionless in bed, his face in shadow. The brightest light in the shot shines on his T-shirted chest as he learns that two hit men are on their way to rub him out. He's nearly invisible as he passively accepts his fate, his face in shadow until just before he's murdered."
"As Kate Buford points out in her absorbing new biography of the actor, Lancaster, who was born in 1913 and died in 1994, had the makings of a star: broad shoulders, a chiseled face, brilliant blue eyes, defiantly wayward hair and an iconic smile -- much mimicked by impersonators during his heyday -- that he called "The Grin." Though he was a big man, he moved with grace on-screen, thanks to years of touring as a circus acrobat.
David O. Selznick, the legendary producer of "Gone With the Wind," had the chance to put him under contract in the mid-1940s but declined. Following the paradigm of Hollywood's golden age, Selznick looked for personality types he could showcase in a series of similar roles, and he'd already signed one ravishing hunk, Guy Madison (a star remembered these days only by fey folk of a certain vintage). Who needed another?"
"Selznick's rejection was actually a stroke of luck -- one of many -- for Lancaster. He hooked up with Harold Hecht, an agent who accurately gauged the social and economic forces transforming the motion-picture business after World War II. Within a few years, not only had Hecht helped engineer Lancaster's superstardom (Lew Wasserman, the head of MCA, also played a key role), Hecht and Lancaster had become the producers of "Marty," "Trapeze" (Lancaster's homage to his circus days) and other hits. In the 1950s and early 1960s their company was the most successful independent outfit distributing through United Artists."
(Salon)