As most New Yorkers know, the subway system is the lifeline of New York City. In 1946 Stanley Kubrick set out as a staff photographer for LOOK magazine to capture the story of New York City’s subway commuters.
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April 30, 2012
April 28, 2012
15 Extraordinary Color Photographs Capture Street Life of the U.S in the 1970s
These pictures are from a photo collection called The Seventies. The majority of them were taken on the streets of Pittsburgh - where the photographer lived. There's also a couple of shots of hippies and a flower selling girl in Oklahoma. The traffic jam and overturned taxi cab pictures were taken in Pittsburgh after the 1971 World Series victory.
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April 27, 2012
Good Morning Vietnam: Kate Moss by Bruce Weber for Vogue US, June 1996
Bruce Weber writes about the editorial “Good Morning Vietnam” on Vogue US, June 1996:
“The huge crate arrived in Saigon. It looked like it was built for a pygmy elephant, but in it was a John Galliano dress from Paris. Photographing in Vietnam is a challenge to begin with, let alone carrying around a dress the size of a John Deere tractor. Fortunately, we never lost that dress, but the idea of looking for an elder Vietnamese man with a beard to be photographed with Kate Moss became my obsession.
“As soon as we arrived in Saigon, we started looking for him. I saw hundreds of motor scooters all around. Some of these tiny scooters held families of three or more, carrying a plate-glass window, or a mattress. It looked like everyone was waiting for an accident to happen. Yet, in a van with seats covered in white cotton and embroidered with flowers, Chris and Terry Lawrence – our forever faithful production team – would serve us hot tea and Pringles chips as I stared out the window looking and praying for the older Vietnamese man to pass by on a bicycle.
“On our second day, we went to The Sunshine School, founded by Christina Noble, an Irishwoman who wrote a book called Bridge Across My Sorrows. She rescued orphaned children from the streets, gave them medical care and clothes them. It was wonderful to watch Kate, Brana Wolf – the Vogue editor – and my crew playing with the kids. I took a lot of pictures, and I think that was the day that I fell in love with photographing Kate.
“Finally, on our last day, the crate was opened in a field north of Saigon. It was in the middle of nowhere and reminded me of our ranch in Montana. Brana, Nan, Kim (our guide) and Terry unpacked the dress, which was so huge that it needed all of them to carry it and dress Kate. The sun was about to go behind a grove of trees, when all of a sudden this elderly Vietnamese farmer with a white beard, dressed in his pajamas (which incidentally matched Kate’s dress), walked toward us from out of nowhere. Kim politely asked him where he was going, and he calmly said that he was ‘walking across this field to say goodnight to my grandchildren.’ She then asked him if he would mind posing with Kate, and he bowed his head in an elegant gesture. His grandchildren came out in the field and couldn’t imagine their grandfather being photographed in his pajamas with this beautiful young girl. He left us just like he came, just disappearing into the softness of the evening.”
“The huge crate arrived in Saigon. It looked like it was built for a pygmy elephant, but in it was a John Galliano dress from Paris. Photographing in Vietnam is a challenge to begin with, let alone carrying around a dress the size of a John Deere tractor. Fortunately, we never lost that dress, but the idea of looking for an elder Vietnamese man with a beard to be photographed with Kate Moss became my obsession.
“As soon as we arrived in Saigon, we started looking for him. I saw hundreds of motor scooters all around. Some of these tiny scooters held families of three or more, carrying a plate-glass window, or a mattress. It looked like everyone was waiting for an accident to happen. Yet, in a van with seats covered in white cotton and embroidered with flowers, Chris and Terry Lawrence – our forever faithful production team – would serve us hot tea and Pringles chips as I stared out the window looking and praying for the older Vietnamese man to pass by on a bicycle.
“On our second day, we went to The Sunshine School, founded by Christina Noble, an Irishwoman who wrote a book called Bridge Across My Sorrows. She rescued orphaned children from the streets, gave them medical care and clothes them. It was wonderful to watch Kate, Brana Wolf – the Vogue editor – and my crew playing with the kids. I took a lot of pictures, and I think that was the day that I fell in love with photographing Kate.
“Finally, on our last day, the crate was opened in a field north of Saigon. It was in the middle of nowhere and reminded me of our ranch in Montana. Brana, Nan, Kim (our guide) and Terry unpacked the dress, which was so huge that it needed all of them to carry it and dress Kate. The sun was about to go behind a grove of trees, when all of a sudden this elderly Vietnamese farmer with a white beard, dressed in his pajamas (which incidentally matched Kate’s dress), walked toward us from out of nowhere. Kim politely asked him where he was going, and he calmly said that he was ‘walking across this field to say goodnight to my grandchildren.’ She then asked him if he would mind posing with Kate, and he bowed his head in an elegant gesture. His grandchildren came out in the field and couldn’t imagine their grandfather being photographed in his pajamas with this beautiful young girl. He left us just like he came, just disappearing into the softness of the evening.”
Portraits of Punk Rockers in the Late 1970s
Punk rock music and fashion blew out of New York City, exploded in London, and caught like wildfire in San Francisco, Los Angeles and the world over. It developed concurrently everywhere, and every region had it’s own identity. But it was in San Francisco and L.A. where the most radical behavior in stateside punk rock style and attitude was exhibited. It was anti-hippie, anti-disco, anti-parent and anti-“nice”. And it was shockingly new. These photos are ground zero of punk rock style—delirious innovation and a snarling takeover of youth culture still resonating more than 20 years hence.
Jim Jocoy, traveling between S.F. and L.A., shot portraits of every interesting punk rock personality who caught his eye—with each subject posed amidst the scene’s ruinous and chaotic environment. Some were musicians and some were artists. All were fans and enthusiasts. And they were the original creators of what is regarded as the most potent subculture of the late 20th century. Some of the more celebrated individuals of punk legend featured in this book are Darby Crash, Iggy Pop, Lydia Lunch, Sid Vicious, John Waters, Bruce Connor and members of X, The Cramps, The Avengers, Flipper, The Screamers, The Nuns, and many others.
Jim Jocoy, traveling between S.F. and L.A., shot portraits of every interesting punk rock personality who caught his eye—with each subject posed amidst the scene’s ruinous and chaotic environment. Some were musicians and some were artists. All were fans and enthusiasts. And they were the original creators of what is regarded as the most potent subculture of the late 20th century. Some of the more celebrated individuals of punk legend featured in this book are Darby Crash, Iggy Pop, Lydia Lunch, Sid Vicious, John Waters, Bruce Connor and members of X, The Cramps, The Avengers, Flipper, The Screamers, The Nuns, and many others.
April 26, 2012
When Brigitte Bardot Met Pablo Picasso at His Studio Near Cannes in 1956
In 1956, in Cannes, France, there was a special meeting of two completely different stars – the movie actress, Brigitte Bardot, and the famous artist, Pablo Picasso. The latter had several workshops and a house, Villa La Californie, in this city. LIFE magazine sent photographer Jerome Brierre to capture the meeting.
At that time, he was 74 years old, and she was only 21. The ‘Cubist’ pioneer had a long and successful career as an artist behind him, while Bardot starred in 17 films and was considered a sex symbol.
The actress came to France for the 9th Cannes Film Festival, where a 78-minute documentary film, The Mystery of Picasso by Henri-Georges Clouzot, was presented. Apparently, a young beauty also wanted to figure out some of the secrets of the painter-innovator. Of course, no one knows the exact reason why she decided to visit him, but it seems the actress dreamed of her portrait to be done by Picasso.
Picasso never painted Bardot, but Lydia Corbett, one of Picasso’s frequent models at the time, claimed Bardot saw her at Cannes and adopted her blonde-haired, ponytailed look as her own. It is assumed that he preferred modest, even timid women. Confident in her own irresistibility, the screen star could not inspire him in any way. And she did not inspire him. So, their meeting had no continuation.
At least, there was a dozen of stunning pictures taken during a few hours she was staying at his house.
At that time, he was 74 years old, and she was only 21. The ‘Cubist’ pioneer had a long and successful career as an artist behind him, while Bardot starred in 17 films and was considered a sex symbol.
The actress came to France for the 9th Cannes Film Festival, where a 78-minute documentary film, The Mystery of Picasso by Henri-Georges Clouzot, was presented. Apparently, a young beauty also wanted to figure out some of the secrets of the painter-innovator. Of course, no one knows the exact reason why she decided to visit him, but it seems the actress dreamed of her portrait to be done by Picasso.
Picasso never painted Bardot, but Lydia Corbett, one of Picasso’s frequent models at the time, claimed Bardot saw her at Cannes and adopted her blonde-haired, ponytailed look as her own. It is assumed that he preferred modest, even timid women. Confident in her own irresistibility, the screen star could not inspire him in any way. And she did not inspire him. So, their meeting had no continuation.
At least, there was a dozen of stunning pictures taken during a few hours she was staying at his house.
April 24, 2012
Rare and Amazing Color Photographs of the German Front During World War I
Although color photography has existed since at least 1879, it didn't become popular until many decades later. The overwhelming majority of photos taken during World War I were black and white, lending the conflict a stark aesthetic which dominates our visual memory of the war.
Hans Hildenbrand, one of nineteen photographers employed by the Kaiser to document the war, was the only German to take photos of the war in color.
Hildenbrand, who first started experimenting with the “autochrome” color technique in 1909, founded a society for color photography in 1911 his native Stuttgart. His scenes are all posed, not for reasons of propaganda, but rather because the film he was working with wasn’t sensitive enough to capture movement.
These incredible color photographs of the German battlefront taken by Hans Hildenbrand during the First World War, 1914-1918,
Hans Hildenbrand, one of nineteen photographers employed by the Kaiser to document the war, was the only German to take photos of the war in color.
Hildenbrand, who first started experimenting with the “autochrome” color technique in 1909, founded a society for color photography in 1911 his native Stuttgart. His scenes are all posed, not for reasons of propaganda, but rather because the film he was working with wasn’t sensitive enough to capture movement.
These incredible color photographs of the German battlefront taken by Hans Hildenbrand during the First World War, 1914-1918,
Amazing Vintage Photos of Kansas City in the late 1930s
Kansas City 80 years ago - These are what this city looked like in 1938.
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Amazing Photos of a Young Barbra Streisand in Her Early Career in 1966
Barbra Streisand has been such a force on the entertainment scene for so long (her 1963 debut album, recorded when she was just 20, won an Album of the Year Grammy) that a glimpse back at her first years in show business offers fascinating insights into her evolution as a performer, and a person.
In 1966, LIFE published a cover story on the then-23 year old Brooklyn native that portrayed the young star as a “fear-ridden girl” terrified that her early success “could suddenly all fall apart.” Of course, creative people who have enjoyed (or endured) fame right out of the gate almost invariably, at one point or another, suffer lacerating self-doubts; Streisand, however, appears to have examined her own talents and achievements with the same tenacity that she brought to, say, mastering the nuances of a new tune or the timing of a comedic line.
In 1966, LIFE published a cover story on the then-23 year old Brooklyn native that portrayed the young star as a “fear-ridden girl” terrified that her early success “could suddenly all fall apart.” Of course, creative people who have enjoyed (or endured) fame right out of the gate almost invariably, at one point or another, suffer lacerating self-doubts; Streisand, however, appears to have examined her own talents and achievements with the same tenacity that she brought to, say, mastering the nuances of a new tune or the timing of a comedic line.
“Why Barbara Streisand has to know what people think of her every time she performs is an astounding, and wrenching, phenomenon,” wrote Diana Lurie in the March 18, 1966, issue of LIFE. “At 23, she is an undisputed queen of musical comedy, television and records. Every one of the seven records she has made sold a million copies. She gets $50,000 per concert appearance. For nearly two years she pulled in standing room-only audiences for an otherwise undistinguished musical, Funny Girl... Everybody knows Streisand is on top. So does she. And the more she is hailed, the more scared and unsure she feels. ‘I win awards and everything but one of these days something is going to bomb. It's a scary thing.’”Here, a collection of some of fascinating photos that offers a window into the intense, emotionally fraught world Streisand inhabited and, in a sense, created for herself with her own outsized insecurities and perfectionism early in her career.
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| Barbra Streisand in 1966. |
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| In [a] TV recording studio session, Barbra, listening to a song being played back, vacillates wildly between doubt, delight and despair. |
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| Barbra Streisand in a recording studio in 1966, listening to herself sing. |
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| Barbra Streisand in a recording studio in 1966, listening to herself sing. |
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| Barbra Streisand at a 1966 recording session. |
Rare Photographs of Jack Nicholson at Home in Los Angeles, 1969
In September 1969, not long after Nicholson had charmed moviegoers and critics alike with his deceptively easygoing performance as a sweet-natured, booze-sodden, small-town lawyer in Dennis Hopper’s Easy Rider, LIFE magazine sent Arthur Schatz to photograph the 32-year-old actor at his new home on Mulholland Drive, overlooking Franklin Canyon in Los Angeles. The photographs from that shoot that were never published in the magazine.
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| Jack Nicholson at home in Los Angeles, 1969. In an issue of LIFE from March 1970, the magazine noted that Nicholson "is a rock fan who enjoys his music with a headset." |
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| Jack Nicholson at home in Los Angeles, 1969. |
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| Jack Nicholson at home, 1969. |
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| Jack Nicholson plays with his daughter, Jennifer, on the deck of his home overlooking Franklin Canyon, Los Angeles, 1969. |
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| Jack Nicholson and his daughter, Jennifer, on the deck of his home overlooking Franklin Canyon, Los Angeles, 1969. |
Psychedelic Art – Trip the Light Fantastic With LSD-Inspired Art in the 1960s
On April 19, 1943, a Swiss chemist named Albert Hofmann dosed himself with 250 micrograms of a new, virtually unknown, clinically-synthesized compound, lysergic acid diethylamide, or LSD — becoming, in the process, the first human being to intentionally trip on acid. (A few days earlier, Hofmann had experienced the very edge of LSD’s power when he ingested a miniscule amount through his fingertips while handling the drug.)
Here, Dr. Hofmann’s wild ride with a gallery of artworks created in the 1960s by a group calling itself USCO (an abbreviation for “the Us Company, ” or “the Company of Us”) — a collective of artists, film makers, engineers, poets and other creative folks who staged interactive, acid-inspired art shows in lofts, galleries and museums around the country.
Here, Dr. Hofmann’s wild ride with a gallery of artworks created in the 1960s by a group calling itself USCO (an abbreviation for “the Us Company, ” or “the Company of Us”) — a collective of artists, film makers, engineers, poets and other creative folks who staged interactive, acid-inspired art shows in lofts, galleries and museums around the country.
