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Thread: George Hurrell, Documentary

  1. #11

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    Re: George Hurrell, Documentary

    I will have to get my books out. I am wondering what he did between 1950 and 1990.

  2. #12
    William Whitaker's Avatar
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    Re: George Hurrell, Documentary

    Quote Originally Posted by Bernice Loui View Post
    Much of GH images were about lighting-shadows-composition and greater less about camera-lens as camera-lens alone can NEVER produce the results GH got in his images.
    That wasn't my point. But never mind.

  3. #13
    Tin Can's Avatar
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    Re: George Hurrell, Documentary

    Bernice, as recently as 1995 my second and last wife Marnie was retouching 8x10 chromes of Playboy models. She would not show me how. They film was sent by courier. I never saw what she did.

    She also painted set backdrops.


    Quote Originally Posted by Bernice Loui View Post
    Much of GH images were about lighting-shadows-composition and greater less about camera-lens as camera-lens alone can NEVER produce the results GH got in his images.

    Yes, that is a Kodak Commercial Ektar used by GH in this doc, but GH used a variety of lenses over the course of his work. He also used Mole-Richardson lighting which was very common in Hollywood. Notice the clothesline clip together with cardboard lens shade and curious dark cloth and... GH also used a Canon EOS towards the end of this doc as promo...

    As previously mentioned, what was not discussed-mentioned are the highly skilled negative re-workers that so completely altered these negatives to meet what was needed in the images to be produced. This IS the similar-identical to "Photoshop" of today.


    Bernice
    sin eater

  4. #14
    Les
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    Re: George Hurrell, Documentary

    Thanks, Bernice. That was v. cool. One of these days I'll try to emulate that style for few (maybe 1/2 dozen) shots. I have a Joann Woodward small photo on my desktop, sort of as a reminder (?), that was taken in 1960. It's not relevant to me who took it or what lens was used, but I do like the lighting.

    Les

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