Studio Portraits of Joni Mitchell Taken by Ed Thrasher in 1968

These black and white portraits capture Joni Mitchell in 1968 during a studio promotional photo session shot by Ed Thrasher. Thrasher was the Chief Art Director at Warner Bros. / Reprise Records during the late 1960s and 1970s. He designed and art-directed hundreds of iconic album covers for artists ranging from Frank Sinatra and Jimi Hendrix to Neil Young and Joni Mitchell.

This session took place around the launch of Mitchell’s debut studio album, Song to a Seagull (1968), released under Reprise Records. Having recently moved to California after being discovered by David Crosby in Coconut Grove, Florida, Mitchell was transitioning into an influential figure in the Laurel Canyon folk scene.

The images showcase a classic studio setup featuring stark backlighting and a wind machine blowing her hair to create dynamic motion. Images from this session were used for Reprise promotional materials, press releases, magazine feature layouts, and inside gatefolds for early Reprise pressings and archival retrospectives.

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20 Stunning Portraits of Argentine Actress Mona Maris When She Was Young in the 1920s

During the 1920s, Argentine actress Mona Maris (November 7, 1903 – March 23, 1991) established herself as a rising international star, transitioning from a high-society background in Buenos Aires to becoming a sought-after talent in both European silent films and early Hollywood. Her multicultural appeal and sophisticated, exotic persona allowed her to capture the attention of major global film producers before the decade closed.

Maris began her professional cinematic journey in Europe. She made her screen debut in the British-produced film The Apache (1925). Because of her mastery of French and German, she easily secured roles in France and England, eventually landing a contract with the prestigious Universum Film AG (UFA) studio in Germany. Between 1927 and 1928, she starred in several prominent German features, including Der Fürst von Pappenheim (1927) and Los Esclavos del Volga, building a reputation as a sultry, elegant screen presence.

While performing in Berlin in 1927, Maris caught the attention of Joseph Schenck, the president of United Artists. Recognizing her global appeal, he offered her a path to a Hollywood career. Maris officially relocated to the United States in 1929 after signing a contract with Fox Film Company. She made her American debut in the late silent film Romance of the Rio Grande (1929).

While her multi-language fluency was initially a selling point for studios looking to expand their global reach, the sudden widespread arrival of “talkies” in 1929 posed a significant hurdle. Maris’s English was heavily strained and initially deemed nearly unintelligible by Hollywood producers. This vocal barrier ultimately shaped the trajectory of her later 1930s career, steering her toward “femme fatale” archetypes and Spanish-language versions of mainstream American movies.

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The Mid-Century Muse: Barbara Mullen and the New Face of Fashion

Barbara Mullen (1927–2023) was an American fashion model who helped redefine beauty in the postwar era. She was discovered while working as a mannequin at Bergdorf Goodman, and rose to prominence after her first appearance in Vogue in 1947.

With her unconventional features, slender frame, and expressive presence, Mullen stood apart from the classic Hollywood ideal and became a favorite of photographers such as Richard Avedon, Lillian Bassman, William Klein, and Norman Parkinson. Throughout the 1950s, she was one of the most sought-after and highest-paid models of her generation, appearing in major fashion magazines around the world. Her distinctive look helped usher in a new, more modern standard of beauty that would influence the decades to come.

These elegant photos celebrate Barbara Mullen, the mid-century muse who quietly transformed the face of fashion.

Barbara Mullen wearing a pink dress with a sheer pink veil, 1947

Barbara Mullen in burgundy and gray dress with gray waist band and gray cotton gloves, all by Mildred Orrick, photo by Herbert Matter, February 1948

Barbara Mullen standing in a blue short sleeve dress with a full skirt and a flower at the neckline by Clare McCardell, red suede gloves by Fuchs, photo by Horst P. Horst, Vogue, May 1, 1948

Barbara Mullen wearing a black jacket with a stand-up collar, printed with Zodiac symbols in stained glass colors, by Ceil Chapman, with a yellow-banded gray side-tilted helmet by John Frederics, photo by Herbert Matter, February 15, 1948

Barbara Mullen wearing a fern shadowed dress in green by Herbert Sondheim with beads around neck wearing matching green gloves, photo by Herbert Matter, 1948

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35mm Transparency Studio Photos of Dana Plato on the Sitcom “Diff'rent Strokes”

Dana Plato portrayed Kimberly Drummond on the hit sitcom Diff'rent Strokes from 1978 to 1984, starring as the sweet, level-headed teenage daughter of wealthy white businessman Phillip Drummond. Originally introduced as a recurring face, her instant charisma and relatability with young female viewers quickly elevated her to a core series regular.

Kimberly is the biological child of Mr. Drummond. When her father adopts Arnold (Gary Coleman) and Willis Jackson (Todd Bridges), the sons of his late housekeeper, she warmly embraces them as her brothers. Kind-hearted, stylish, and sweet, Kimberly served as the grounded big sister who often mediated conflicts between her father and new brothers.

In 1984, during the show’s sixth season, 19-year-old Plato became pregnant in real life. The producers felt a teenage pregnancy would tarnish her character’s wholesome, “squeaky-clean” image. Instead of incorporating the pregnancy into the plot, the writers abruptly wrote Kimberly out of the main narrative by sending her character to study abroad in Paris. After giving birth to her son, Plato was permitted to return exclusively for a handful of guest appearances, but she never regained her status as a primary cast regular before the show concluded in 1986.

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25 Wonderful Promotional Photos Feature Sally Field for ABC’s “Gidget” (1965–1966)

Sally Field’s time on the set of Gidget (1965–1966) was a whirlwind experience that launched her Hollywood career when she was just 18 years old. Landing the leading role of 15-and-a-half-year-old Francine “Gidget” Lawrence over 75 other teenage girls, Field transitioned overnight from an unknown Pasadena teenager into a major television star.

To win the coveted role during her audition, Field exaggerated her surfing experience by claiming she knew how to surf, when in reality she had never set foot on a board. Once cast, Screen Gems hired Phil Sauers as the show’s “surfing technical consultant.” Sauers had to give Field crash-course surfing lessons before and during production so she could convincingly pretend to catch waves for the cameras.

The production of Gidget was notable for being among ABC’s first regularly scheduled color programs. Because early color television required heavy cosmetic application to look correct on screen, Field had to adjust to intense studio styling. When a reporter from The Pittsburgh Press visited the set and asked the 18-year-old if she had ever worn that much makeup before, Field shot back, ”You kidding? My parents wouldn’t even let me wear makeup.”

Despite having the job locked down and exuding a perky, confident demeanor on screen, Field admitted to being incredibly intimidated by the scale of the production. She noted during filming that she was “still pretty scared” and constantly got “the excited kind of scared” butterflies while walking onto the set.

Though the show later developed a massive cult following through summer reruns, Field began to feel creatively restricted by the sitcom format. In later years, she reflected on the role as a steep learning curve, admitting that she felt creatively stifled by the show’s simple premise and grew to actively dislike the repetitive nature of the material.

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30 Stunning On-Set Portraits of Monica Bellucci From “Malèna” (2000)

These stunning on-set portraits capture Monica Bellucci during the filming of Giuseppe Tornatore’s Malèna (2000). In the film, she plays the beautiful and enigmatic young widow whose presence disrupts a small Sicilian town during World War II. The photos reveal her natural elegance, expressive eyes, and quiet intensity both in character and between takes.

Shot in the sun-drenched streets and interiors of Sicily, these images highlight the timeless beauty and emotional depth that made her performance unforgettable. They offer a captivating glimpse of one of Bellucci’s most iconic roles.

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24 Stunning Photos of a Young and Beautiful Irene Ware in the 1930s

Irene Ware (born Irene Catherine Ahlberg; November 6, 1910 – March 11, 1993) was a blonde American actress, beauty queen, and showgirl whose main career activity occurred in the 1930s. She entered the decade as a pageant winner and Broadway performer, then moved into Hollywood films (roughly 29 credits from 1932–1940).

In 1929, while working as a stenographer, she won Miss Greater New York and Miss United States and placed as first runner-up in the International Pageant of Pulchritude (“Miss Universe”) in Galveston, Texas. She debuted on stage that year and appeared in Earl Carroll’s Sketch Book and the 1930–1931 Vanities on Broadway (replacing Lillian Roth in a prominent spot in the 1930 edition). Fox signed her to a contract; she changed her name to Irene Ware and relocated to Hollywood.

Following an uncredited debut in Society Girl, she scored her breakthrough role as Princess Nadji in Chandu the Magician (1932), starring alongside Edmund Lowe and Bela Lugosi. She is most famously remembered as Jean Thatcher, the main female lead in Universal’s The Raven (1935), starring opposite horror legends Boris Karloff and Bela Lugosi.

Throughout the mid-to-late 1930s, Ware appeared in nearly 30 films, primarily working in genre features, mystery thrillers, westerns, and B-movies. Notable titles include Whispering Smith Speaks (1935), False Pretenses (1935), Murder at Glen Athol (1936), O’Malley of the Mounted (1936), and Gold Diggers of 1937.

After her Fox contract ended she worked at Universal and Poverty Row studios. Critics and later commentators have described her as one of the many attractive “also-rans” of 1930s Hollywood who received solid early opportunities but settled into decorative or secondary parts. Her performance in The Raven is frequently cited as one of the film’s stronger elements. Ware retired from screen acting following Outside the Three-Mile Limit (1940).

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