I will have to get my books out. I am wondering what he did between 1950 and 1990.
I will have to get my books out. I am wondering what he did between 1950 and 1990.
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
I've had long conversations with one of Hurrell's main assistants, and have seen a lot of work negatives, and even big 5X7 Kodachromes taken of celebrities. Them was the days. Our extended family collection includes a huge Hurrell original print - the famous image of Jane Russell lying in the hay with a gun, mentioned in that flick, but not one of the more tentative versions actually shown. Quite an operation in its time. But it is amusing to see that this was sponsored by Canon. Hurrell used real cannons - 5x7 tricolor cameras, a lot of 8x10 and 11X14 shots, larger negs being easier to retouch, red dye or pencil-blur, whatever.
Threads like this almost make me wish I were 87 years old instead of twenty years younger...
Thanks Bernice!
This made my day.
"I would feel more optimistic about a bright future for man if he spent less time proving that he can outwit Nature and more time tasting her sweetness and respecting her seniority"---EB White
George Hurell used highly "Hurell" flavored classic 3 point cinema lighting. George Hurell took this basic cinema lighting concept and made it all his very own in his very special way.
George Hurell knew precisely what his image goals were, then worked HARD with the portrait sitter to achieve his image goals. Lighting, camera-lens, assistants and all were mere tools required to achieve these image goals. He knew how to get effective emotional expression his portrait sitters, added composition and lighting to greatly enhance these images.
Result _!_
Bernice
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