Born 1933 in New York City, American photographer and film director Melvin Sokolsky had no formal training in photography, but started to use his father's box camera at about the age of ten.
Around 1954, Sokolsky met Robert Denning, who at the time worked with photographer Edgar de Evia, at an East Side gym. “I discovered that Edgar was paid $4000 for a Jell-O ad, and the idea of escaping from my tenement dwelling became an incredible dream and inspiration.”
Though he is best known for his editorial fashion photographs for publications such as Harper's Bazaar, Vogue, and The New York Times, Sokolsky’s work is not limited to that field. Three quarters of his print photography has been for advertising, which does not usually carry a byline. As Sokolsky said in an interview: “I resented the attitude that ‘This is editorial and this is advertising’. I always felt, why dilute it? Why not always go for the full shot?”
Toward the end of the 1960s, Sokolsky worked as both commercial director and cameraman. He did not, however, abandon the world of print photography; in 1972, he was asked to photograph the entire editorial content of McCall's magazine, a first for any photographer.
These stunning photos are part of his work that Sokolsky took portraits of classic beauties from the 1960s.
(Photo © Melvin Sokolsky)
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| Portrait photography by Melvin Sokolsky in the 1960s |
Around 1954, Sokolsky met Robert Denning, who at the time worked with photographer Edgar de Evia, at an East Side gym. “I discovered that Edgar was paid $4000 for a Jell-O ad, and the idea of escaping from my tenement dwelling became an incredible dream and inspiration.”
Though he is best known for his editorial fashion photographs for publications such as Harper's Bazaar, Vogue, and The New York Times, Sokolsky’s work is not limited to that field. Three quarters of his print photography has been for advertising, which does not usually carry a byline. As Sokolsky said in an interview: “I resented the attitude that ‘This is editorial and this is advertising’. I always felt, why dilute it? Why not always go for the full shot?”
Toward the end of the 1960s, Sokolsky worked as both commercial director and cameraman. He did not, however, abandon the world of print photography; in 1972, he was asked to photograph the entire editorial content of McCall's magazine, a first for any photographer.
These stunning photos are part of his work that Sokolsky took portraits of classic beauties from the 1960s.
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| Isabella, Match, New York, by Melvin Sokolsky, 1960 |
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| Simone d'Aillencourt by Melvin Sokolsky, July 4, 1960 |
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| Simone d'Aillencourt by Melvin Sokolsky, Muir Woods, Marin County, California 1960 |
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| Simone d'Aillencourt, bare bulb, screen, by Melvin Sokolsky, Harper's Bazaar, 1960 |
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| Ivy Nicholson by Melvin Sokolsky, 1961 |
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| Kouka Denis is wearing a feathered hat by Canessa at Bonwit Teller, make-up by Revlon, photo by Melvin Sokolsky, Harper's Bazaar, June 1961 |
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| Antonia wears a curtain of beads hung as if dew-dropped with pearls by Christianella of Florence, make-up by Revlon, photo by Melvin Sokolsky, Harper's Bazaar, December 1962 |
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| Christine Kaufmann by Melvin Sokolsky, cover of Show, 1962 |
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| Kouka Denis by Melvin Sokolsky, Harper's Bazaar, 1962 |
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| Mia Farrow by Melvin Sokolsky, 1962 |
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| Natalie Wood by Melvin Sokolsky, Show cover, 1962 |
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| Angela Howard as ‘Ariadne’, coiffure by Enny of Italy, photo by Melvin Sokolsky, Harper's Bazaar, April 1964 |
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| Angela Howard as ‘Venus’, make-up by Fabergé, photo by Melvin Sokolsky, Harper's Bazaar, April 1964 |
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| Benedetta Barzini by Melvin Sokolsky, 1964 |
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| Deborah Dixon as ‘Aurora’, make-up by Max Factor, photo by Melvin Sokolsky, Harper's Bazaar, April 1964 |
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| Jean Shrimpton by Melvin Sokolsky, Harper's Bazaar, 1964 |
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| Tilly Tizzani as ‘Diana’, make-up by Germaine Monteil, photo by Melvin Sokolsky, Harper's Bazaar, April 1964 |
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| Tilly Tizzani by Melvin Sokolsky, Harper's Bazaar, March 1964 |
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| Veronica Hamel by Melvin Sokolsky, Harper's Bazaar, 1964 |
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| Donna Mitchell by Melvin Sokolsky, 1965 |
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| For Mitsouko perfume by Guerlain ad, photo by Melvin Sokolsky, 1965 |
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| Lips by Melvin Sokolsky, 1965 |
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| Paula Pritchett by Melvin Sokolsky, 1965 |
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| Twiggy, Radio City Music Hall, photo by Melvin Sokolsky, 1966 |
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| Dorothea and Nati Abascal by Melvin Sokolsky, 1967 |
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| Twiggy by Melvin Sokolsky, Harper's Bazaar, 1967 |
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| Tilly Tizzani by Melvin Sokolsky, circa 1960s |
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| Yvette Mimieux by Melvin Sokolsky, circa 1960s |
(Photo © Melvin Sokolsky)
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