Mark Shaw

Mark Shaw is best known for his photographs of Jacqueline and John F. Kennedy, which he shot originally for LIFE magazine and later as the Kennedys’ “unofficial” family photographer. He developed a strong friendship with JFK and Jackie and regularly visited the White House during their time there. Jackie Kennedy in Portofino 1961 by Mark Shaw.

Shaw was afforded an unusual proximity to the models and designers of the 1950’s and 1960’s, allowing for a rare look behind the highly stylized presentation of fashion in the period. His work allows the viewer a true sense of the humanity behind what became archetypes of glamour. “Couture in Paris Courtyard #2” Fashion Photo by Mark Shaw 1955

The celebrities Mark Shaw photographed for LIFE and other publications included: Pablo Picasso, Brigitte Bardot, Elizabeth Taylor, Grace Kelly, Danny Kaye, Cary Grant, Yves St. Laurent, Nico of the Velvet Underground and Coco Chanel. His photographs of Audrey Hepburn, originally shot for LIFE in 1953, are the subject of the book Charmed by Audrey which was published in 2009. The Audrey Hepburn negatives had been lost after Mark Shaw’ death, and were only found in 2006. Photographed in 1957, Coco Chanel is seen entering her boutique in Paris. According to LIFE, Coco is “…credited with either inventing or popularizing the short skirt, the flat chest, the sling pump, turtlenecks…” She is shown here in her “ever present” hat.
“ The only reason I wear my hat all the time is so I can tell people I don’t want to see that I am on my way out”. A frequently reproduced photo of Audrey Hepburn, published in LIFE in December, 1953. Audrey is shown strolling in front of her Beverly Hills apartment during the shooting of the film Sabrina. Henrietta Tiarks, the Dutchess of Bedford, models a green suit by Jules Francois Crahay of Nina Ricci. The location is the Palais Royale in Paris.

Mark Shaw worked as a top print advertising photographer until his untimely death in 1969 at the age of 47. After his death, most of his work was hastily put into storage. All but a small number of photographs remained unseen for almost 30 years. In 1999, his only child, David Shaw, and David’s wife, Juliet Cuming, moved the collection to Vermont, where they now maintain the archive of Mark’s extensive body of work. One of Mark Shaw’s favorite photographs, this Christian Dior gown was published in 1954 in LIFE.

Licensing Information for Mark Shaw’s Photographs:

The Mark Shaw Photographic Archive is the sole legal proprietor of Mark Shaw images. Contact the Mark Shaw Photographic Archive’s agent for licensing and syndication: MPTV, The Motion Picture Television Archive, in Los Angeles at (818) 997-8292 (818) 997-8292 or visit mptv.net.

Official Site: http://markshawphoto.com/

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In the Street: Helen Levitt

Helen Levitt

Helen Levitt was an American photographer. She was particularly noted for “street photography” around New York City, and has been called “the most celebrated and least known photographer of her time. Helen Levitt, New York, circa 1945

Ms. Levitt captured instances of a cinematic and delightfully guileless form of street choreography that held at its heart, as William Butler Yeats put it, “the ceremony of innocence.” A man handles garbage-can lids like an exuberant child imitating a master juggler. Even an inanimate object — a broken record — appears to skip and dance on an empty street as a child might, observed by a group of women’s dresses in a shop window. Helen Levitt / Paul Kopeikin Gallery)” New York,” circa 1942

As marvelous as these images are, the masterpieces in Ms. Levitt’s oeuvre are her photographs of children living their zesty, improvised lives. A white girl and a black boy twirl in a dance of their own imagining. Four girls on a sidewalk turning to stare at five floating bubbles become contrapuntal musical notes in a lovely minor key. Helen Levitt / Estate of Helen Levitt) “Kids With Masks,” New York, 1942

In Ms. Levitt’s best-known picture, three properly dressed children prepare to go trick-or-treating on Halloween 1939. Standing on the stoop outside their house, they are in almost metaphorical stages of readiness. New York, circa 1940, © Helen Levitt. Courtesy Laurence Miller Gallery and/or powerHouse Books

The girl on the top step is putting on her mask; a boy near her, his mask in place, takes a graceful step down, while another boy, also masked, lounges on a lower step, coolly surveying the world. Helen Levitt, New York City 1940 circa

“At the peak of Helen’s form,” John Szarkowski, former director of the photography department at the Museum of Modern Art, once said, “there was no one better.” Helen Levitt, New York City

The late 1930s and early ’40s, when Ms. Levitt created an astonishing body of work, was a time when many noted photographers produced stark images to inspire social change. Ms. Levitt also took her camera to the city’s poorer neighborhoods, like Spanish Harlem and the Lower East Side, where people treated their streets as their living rooms and where she showed an unerring instinct for a street drama’s perfect pitch. In his 1999 biography of Walker Evans, James R. Mellow wrote that the only photographers Evans “felt had something original to say were Cartier-Bresson, Helen Levitt and himself.”

All Images copyright by Helen Levitt

Via : Wikipedia and NYT

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Tom Palumbo

Tom Palumbo

“In America, the photographer is not simply the person who records the past, but the one who invents it.”

Susan Sontag

Personal & Family Photos

Portrait in Palumbo studio on Park Avenue South with family Studio, mid 1950’s Anne with Johnny Anne and Tom Model Anne St. Marie in San Francisco, 1964 (Palumbo was married to Anne St. Marie) Probably taken around 1959-1960 One of my favorite photos of Anne, circa 1959 Anne St. Marie for Vogue, circa 1960 Legendary Anne St. Marie

Fashion photos Harper’s Bazaar, 1956/57 Fashion for THE NEW YORK TIMES (the backdrop in a foggy day) 1956 Vogue, 1958 Appeared in Harper’s Bazaar circa 1956 Bazaar May 1957 A shot taken for Bazaar, 1954 Advertisement, mid 1950’s Appeared in Harper’s Bazaar in 1958 Saks In the mid 1950’s (Your Attention, Please!)

Tom Palumbo (1921–2008) was a United States photographer and director. He was born in Molfetta Italy in 1921. His family moved when he was about 12 years old to New York City. As a young man Palumbo was employed first building scale models for ships in an engineering company. Later he was employed as an assistant by photographer James Abbe. His experience working with Abbe led him to commercial work in fashion photography. His early campaign work for Peck & Peck Department Store appears in Vogue and Bazaar Magazines from 1949 to 1953.

Celebrities

Audrey Hepburn on set

Cary Grant Opening of To Catch a Thief, 1955 James Stewart & Family for Bazaar, 1956 Grace Kelly for BazaarTruman Capote, Gloria Vanderbilt & Friend Jack Kerouac

He was a staff photographer of Vogue from 1959 until 1962 and at Harper’s Bazaarfrom 1953 until 1959, where he worked with the great art directors, Alex Liberman and Alexi Brodovitch. He was a vice-president of creative productions at Ted Bates, where he oversaw all TV commercials. He was a life-long member of the Actors Studio. He taught photography at Rhode Island School of Design, and he taught directing at the School of Visual Arts in New York City. He directed plays off-Broadway and in regional theatres. His last production was An Evening of Proust at Lincoln Center.He was a member of the Lincoln Center Directors Lab.

Tom Palumbo was married to Patricia Bosworth. Tom died in October 2008.

Best Shot

Anne St. Marie Swimming Unpublished

I love his work, so alive and fresh, even today. Thanks Tom

Biography via: Wikipedia

Official Site : http://www.tompalumbo.com/

Copyright © 2005 Tom Palumbo, All Rights Reserved.

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Irving Penn

In his memory, here is a selection of memorable images from Irving Penn. Irving Penn Irving Penn’s studio, Paris, 1950. © Irving Penn

Irving Penn was born June 16, 1917 in Plainfield, N.J. Educated in public schools, he enrolled at the age of 18 in a four-year course at the Philadelphia Museum School of Art, where Alexey Brodovitch taught him advertising design. While training for a career as an art director, Penn worked the last two summers for Harper’s Bazaar magazine as an office boy and apprentice artist, sketching shoes. At this time he had no thought of becoming a photographer. Cocoa-colored Ba lenciaga dress by Irving Penn, 1950 Copyright 1950 (renewed 1978) by Condé Nast Publications Inc. Cafe in Lima by Irving Penn, Vogue. Feb. 15, 1949

His first job on graduating in 1938 was art director of the Junior League magazine, later he worked in the same capacity for Saks Fifth Avenue department store. At the age of 25, he quit his job and used his small savings to go to Mexico, where he painted a full year before he convinced himself he would never be more than a mediocre painter. “Woman with Roses on her Arm” Lisa Fonssagrives-Penn, New York, 1950

Returning to New York, he won an audience with Alexander Liberman, art director of Vogue magazine, who hired Penn as his assistant, specifically to suggest photographic covers for Vogue. Man Lighting Girl’s Cigarette, New York, 1949

The staff photographers didn’t think much of his ideas, but Liberman did and asked Penn to take the pictures himself. Using a borrowed camera, and drawing on his art background and experience, Penn arranged a still life consisting of a big brown leather bag, beige scarf and gloves, lemons, oranges, and a huge topaz. It was published as the Vogue cover for the issue of October 1, 1943, and launched Penn on his photographic career.Woman in Moroccan palace (Lisa Fonssagrives-Penn), Marrake
Irving Penn 1951

“Photographing a cake can be art,” Irving Penn asserted when he opened his studio in 1953. Before long he was backing up his statement with a series of advertising illustrations that created a new high standard in the field and established a reputation that has kept him in the top bracket ever since. Penn has won renown as much in editorial photography as in advertising illustration, and his innovations especially in portraiture and still life have set him apart stylistically. In later years he turned to television commercials as a outlet for his unique talent. One of the most imitated among contemporary photographers, his work has been widely recognized and extolled. Lisa Fonssagrives-Penn in Balenciaga, 1950 Lisa Fonssagrive by Irving Penn. She was the first great supermodel and worked between 1930’s to 1950’s and was married to fashion photographer Irving Penn

In addition to his work for Vogue magazine (the American, British, and French editions) Penn has been represented in many important photographic collections, including those of the Museum of Modem Art, the Metropolitan Museum of Art, the Addison Gallery of American Art, and the Baltimore Museum of Art. In 1958 Irving Penn was named one of “The World’s 10 Greatest Photographers” in an international poll conducted by Popular Photography Magazine. Penn’s statement at the time is a remarkable summation of purpose and idealism: “I am a professional photographer because it is the best way I know to earn the money I require to take care of my wife and children. Penn for Vogue Black and white, 1950

” “Irving Penn’s perception of form is at the highest end of what’s possible. He’s the only photographer I think of when I admire fine art and commercialism at the same time – his personal work and commercial portfolio are melded beautifully. I love that. I find it really inspiring. Everyone hopes for that, because everyone wants to make a living. It’s so easy to get swept up in market success. Irving Penn keeps a high level of integrity in both. Whether you see a reproduction in Vogue or a print at PaceMacGill Gallery, each is as physically beautiful as the other.”

By Nicholas NixonRichard Avedon photographed by Irving Penn, 1978 Diane von Furstenberg, Vogue, c. 1968 Large Sleeve (Sunny Harnett), New York, 1951 Irving Penn © Archives du Palais Princier-Monaco
Grace Kelly

My favorite shot

Shalom’s impenetrable elegance by Irving Penn. Vogue, 1996

Via: http://www.photo-seminars.com/

Official Site: http://www.irvingpenn.com/

“Photographing a cake can be art,” he said in 1953. Irving Penn is one of my favorite photographers. His works are considered icons.

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Henry Clarke

Born in Los Angeles in 1918, Henry Clarke, the renowned fashion photographer, discovered his calling in 1945 whilst working as an accessorist at Condé Nast in New York. During an encounter with the great Cecil Beaton during a photography session at Vogue’s studio, Clarke was entranced by the photographic image. Clarke’s Studio, 1951

He promptly abandoned his fashion job, borrowed a Rolleiflex camera and began taking pictures.
Deciding to try his luck abroad, Clarke moved to Paris in 1949. There his friend, Robert Randall, reintroduced him to the fashion world. He quickly found work at Fémina, L’Album de Figaro and Harper’s Bazaar. Clarke at work, 1951

The next year he began a fruitful collaboration with the French, English and American editions of Vogue that would last more than a quarter-century. With the help of women like Suzy Parker, Ann Sainte Marie and Bettina, the most glamorous models of the day, Clarke captured the elegance of the modern woman: young, lively, carefree and seductive. Bettina, Lanvin, 1951

He also took celebrity portraits: Anna Magnani, Coco Chanel, Sophia Loren and Maria Callas were among his best known subjects. In the 1960’s, Diana Vreeland, the formidable editor of Vogue, sent him to such exotic locations as Syria, Iran, India and Mexico to create exciting fashion layouts. Upon his death in 1996, it was revealed that Henry Clarke had named the Institut Pasteur as universal legatee of his estate. He bequeathed his historical collection of photographs to the Musée de la Mode et du Costume in Paris.

Famous Shot

Coco Chanel Designing Clothing, 1954

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Fashion Photos Givenchy, 1952 Chanel, 1954

Dior, 1954 Jean Desses, 1954

Model Wearing Givenchy Short-Sleeved Dress, 1955 Model in front of London store window, wearing tweed sheath coat dress and hat, both by Dior, 1955 Model in collarless suit with straight skirt and Persian lamb scarf, both by Balenciaga, leaning against railing, 1955 Model in front of Mercedes, wearing tweed dress, matching coat with fur collar, fur hat, and gloves (all by Patou), holding handbag, with L’Arc de Triomphe in background, 1955 Model Wearing Balenciaga Dress with Double-Breasted Skirt, 1955 Fath, 1956 December 1957

Savoir-faire, December 1957 Cottons on Holiday: Pretty Sun-Seekers, July 1956 Griffe, 1958 Madeleine de Rauch, 1956 Dior, 1957 Givenchy, 1959

Gloved model holding a cigarette, wearing a vented, red plaid steamer coat that reveals a long dress of silver and white paillettes; with diamond necklace, earrings and bracelet; being escorted by a gentleman in tuxedo across the Promenade at the New York theatre. Dress and coat by Ben Reig. Jewelry by Harry Winston, 1958 Model in Otter Hide Coat with Snow Leopard Lining, 1959 Model wearing hat of feathers, worked to look like silk, in a pale orange, by Adolfo of Emme. Worn with brown wool tweed coat, pinned with Verdura brooch, 1959 Model at the harbor next to the ship Oriana, greeting someone in the distance, wearing khaki travel suit by Frederick Starke, 1962

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Muse Muse Anne Saint-Marie pour Balenciaga, 1955 Anne Saint-Marie pour Balenciaga, 1955 Anne Sainte-Marie pour Jacques Fath, 1955 Anne Sainte-Marie pour Lanvin, 1955 Anne Saint-Marie pour Chanel, 1955 Canada Furs, 1957 Anne Saint-Marie test de maquillage, 1955

———————————————————————————Portraits Anna Magnani, 1950

Suzy Parker, Dior, Monte Carlo, 1954 Vicomtesse de Ribes, 1956 Mrs. Loel Guinness and Daughter Modeling, 1957 Marie-Helene Arnaud pour Desses, 1957 Comtesse Consuelo Crespi, 1952 Margaret Philips, 1957 Gabrielle Chanel Sitting at Home Wearing Jersey Suit, 1954 Dorian Leigh pour Jacques Heim, 1955 Gilbert Orcel, 1956 Designer Marie-Helene Arnaud in Suit by Chanel, 1959

Marella Agnelli, Wife of Fiat Heir, Italy’s Unofficial First Lady Baroness Fiona Thyssen-Bornemisza, 1962 Cary Grant in Kiss Them for Me, 1957 Mimi Darcangues pour Chanel, 1958 Joanna McCormick pour Dior, 1957 Simone D´Alliencourt, 1959 Anne Saint-Marie pour Lilly Dache, 1958 Marie-Helene Arnaud pour Chanel, 1958 Joanna McCormick pour Chanel, 1957 Betsy Pickering pour Dior, 1959 Claudette Colbert Modeling Satin Dress, 1959 Rosalind Russell, 1959 Sophia Loren, 1959

Suzy Parker, Vuitton/Chanel, 1960 Mrs. Loel Guinness wearing hat, pearl necklace and earrings, and diamond pin, which she designed and which was constructed by Cartier, 1961

Anouk Aimée pour Vogue, 1963 Orson Welles, 1962 Head shot of Ana Maria de Moraes Barros wearing large silk headdress with several layers of ruching around the face and under the chin, from Lanvin Boutique, 1965 Veruschka wearing striped wool full-length coat over striped chiffon dress by Valentino, 1966 Baroness Fiona Thyssen-Bornemisza sporting Cover Girl makeup shades, white coolie hat with cigaline veiling by Anello, 1966 Barbara Bach straddles tile steps of the Castello San’Nicola outside Palermo, Sicily; wearing a bright red dress with brass buttoned belt and low pockets, by Teal Traina, with broad brimmed red hat by Halston, 1967

Benedetta Barzini pour Pauline Trige, 1967 Samantha Jones pour Foquet, 1967 Actor James Coburn wearing a block-printed silk shirt, matching scarf, and white pants, all by Bill Blass for P.B.M, 1968 Marisa Berenson posed on rocks of Sardinian coastline, (Italy)wearing a Pucci slip, in brightish pastel colors, and wearing a wreath of white flowers in her hair, 1967

Monica Vitti, 1969 Sophia Loren sitting down taking care of her wigs as she packs them, 1972 Actress Raquel Welch wearing a chiffon and gold lame blouson with dyed fox collar and cuffs by Valentino, 1972

———————————————————————————Cover Vogue 1951

Vogue 1955 Vogue 1955 Twiggy, Vogue, 1967

———————————————————————————Best Shot Model descending staircase outside of the Marqueza de Santos house in Rio, Brazil, with a young carnival ‘hero’ wearing cloak of many jewels. Model is dressed in chartreuse asymmetrical floor length chiffon dress by Malcolm Starr and Joseph Warner bracelets, 1966

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