A Young and Handsome Robert Redford Photographed by Ron Greene in New York, 1959

Ron Greene first met Robert Redford in 1959 when Redford was a student at the American Academy of Dramatic Arts in New York and Greene was working as a photographer. Redford contacted Greene for head shots, and they had several photo sessions. Greene described Redford as a “natural before the camera” who required very little direction. Greene also mentioned visiting Redford and his wife, Lola, and believed a friendship had developed between them.

However, after a family tragedy where Redford and his wife’s infant son died, the contact between them was lost. Years later, when Greene saw Redford on a film set, he attempted to reconnect, but Redford did not remember him. Greene then recalled that Redford had not paid for a photograph he had ordered and was glad he had brought a copy with him, which Redford immediately recognized and paid the seven dollars he owed.

“Robert Redford was my friend. Or maybe he wasn’t. Time has a way of shifting the narrative.” Here’s the story as told by Greene:

“I met Redford in 1959 when he was a student at the American Academy of Dramatic Arts. I had come to New York earlier in the year hoping to become a fashion photographer. That ambition faded quickly when I realized I was more interested in the models than the clothes. Not quite ready to give up photography, I drifted into theater work.

“I was living in my second floor photo studio in Hell’s Kitchen, just scraping by, when Redford phoned about head shots. I had never heard of him, few people had. He came by a few days later and we started what would be the first of several photo sessions.

“I noticed immediately that he stood out from the other acting students who passed through my studio. He seemed more intense, more intelligent, and more introspective than most. I liked him immediately, I think because he was totally devoted to his career but not in the least pretentious. There wasn’t anything “theatrical” in his manner.

“But what a natural before the camera! Over the years people have asked how I got Redford to pose as he did. The answer is that I did very little directing; I just pointed the camera and he did the rest. People have also asked about the cigarettes. He didn’t inhale.

“Redford returned to the studio two or three of times over the next few weeks and I visited him and his wife Lola once or twice in their Upper East Side apartment. A friendship developed (at least in my mind), but was interrupted by a terrible family crisis. Lola and Robert’s month’s-old child, Scott, died of sudden infant death syndrome.

“I wanted to call to see how they were doing, but felt awkward and just couldn’t get myself to pick up the phone. It seems dumb now, but that’s the way it was.”

Greene’s story is a personal reflection on the nature of their relationship, questioning whether their connection was a true friendship or merely a professional one that he had exaggerated in his own mind.

See more»

35 Fabulous Photos of Shelley Winters in the 1950s

Shelley Winters (born Shirley Schrift; August 18, 1920 – January 14, 2006) was an American actress, whose film career spanned seven decades. In the 1950s, Winters underwent a massive career transformation, evolving from a Hollywood “blonde bombshell” into a highly respected, Academy Award-winning dramatic character actress.

At the start of the decade, Winters was under contract with Universal-International Pictures, where she was pushed into highly sexualized, “bombshell” roles. She frequently played femme fatales, barflies, and Western heroines in films like Winchester '73 (1950) and Frenchie (1950). During this time, she was celebrated as a symbol of mid-century glamour and style.

Disenchanted with being typecast, Winters actively fought for serious roles. Her definitive turning point came in 1951. In George Stevens’ A Place in the Sun (1951), she deliberately shed her glam image to play Alice Tripp, a desperate, plain factory worker. The performance earned her an Academy Award nomination for Best Actress and redefined her trajectory. She delivered iconic performances in Charles Laughton’s cult noir thriller The Night of the Hunter (1955) as Willa Harper and in Robert Aldrich’s The Big Knife (1955).

Frustrated by Hollywood’s continued reliance on shallow roles, Winters temporarily left Los Angeles for New York City in the mid-1950s. She joined the prestigious Actors Studio to study method acting and reestablished her critical reputation on Broadway, starring in the acclaimed, drug-themed play A Hatful of Rain (1955).

Winters capped off the decade with the ultimate validation of her artistic shift. She won her first Academy Award for Best Supporting Actress for her raw portrayal of Mrs. Van Daan in The Diary of Anne Frank (1959).

See more»

40 Vintage Photo Booth Portraits Capturing 1940s Women’s Hairstyles

These vintage photo booth portraits offer a charming and intimate glimpse into the hairstyles of women during the 1940s. From soft waves and victory rolls to carefully pinned-up styles, the images reflect the practical yet elegant beauty ideals of the wartime and postwar years.

Captured in simple, unposed moments, these black-and-white snapshots preserve the everyday glamour and personal style of ordinary women, providing a nostalgic record of one of the most distinctive fashion eras of the 20th century.

See more»

Platform Shoes Worn by Mae West

Hollywood legend Mae West was famous for her ultra-glamorous, larger-than-life persona, but she stood barely 5 feet tall. To gain a commanding screen presence and stand eye-to-eye with towering leading men like Cary Grant, she famously wore custom-made, “double-decker” platform shoes that added between 8 to 9.5 inches to her height.

A marvel of vintage footwear engineering, these shoes literally featured one shoe bolted on top of another. A set of white platform straps sat atop a lower pair of wooden silver pumps. The bottom section created a “fake foot” illusion to fool onlookers. Hidden beneath her signature floor-length gowns, only the bottom silver toes would peek out from the hemline. This kept her massive height advantage a complete secret from audiences.

Her towering footwear directly birthed her trademark cinematic style. West could not take normal steps in 9-inch wooden blocks, so she adopted a slow, rhythmic, swaying sashay. What audiences perceived as a deliberate, seductive stride was actually a gait born out of pure necessity to keep from falling over.

Several pairs of her custom platforms survive in prominent historical fashion archives. ASU FIDM Museum holds several pairs (including 1950s performance shoes measuring 9½ inches total, plus her foot traces used for custom lasts) and has displayed the “double-decker” style. The George Washington University Museum and The Textile Museum has shown a pair of her 1950s wooden/metallic-leather platforms (around 8 inches). Other pairs have appeared in exhibitions such as the Museum of Fine Arts, Boston’s Hollywood glamour shows.

1930 Packard 745 Deluxe Eight Convertible: American Luxury of the Classic Era

The 1930 Packard 745 Deluxe Eight Convertible was one of the most elegant American automobiles of the Classic Era. Built on Packard’s long 145.5-inch wheelbase chassis and powered by a smooth 385-cubic-inch straight-eight engine producing 106 horsepower, it combined refined performance with exceptional craftsmanship.

Many examples featured exclusive coachwork from renowned builders such as Dietrich, Waterhouse, Derham, and Brewster, resulting in graceful convertible designs that epitomized prewar luxury. With its long hood, balanced proportions, and sophisticated styling, the Packard 745 remains a highly prized symbol of American automotive elegance.

These stunning photos capture the timeless grace and refined luxury of the rare 1930 Packard 745 Deluxe Eight Convertible, a true classic of the Golden Age of American motoring.

See more»

40 Stunning Portraits of Maureen O’Hara in the 1950s

In the 1950s, Maureen O’Hara (August 17, 1920 – October 24, 2015) reached the absolute pinnacle of her career, solidifying her status as Hollywood’s definitive “Queen of Technicolor.” Known for her striking red hair, fierce independent screen presence, and electric chemistry with John Wayne, she dominated the decade through iconic Westerns, action-packed adventure films, and television appearances.

Her working dynamic with director John Ford and co-star John Wayne defined her decade. She starred as Mary Kate Danaher in The Quiet Man (1952), delivering an iconic performance marked by fiery independence and physical commitment, followed by Western classics like Rio Grande (1950) and The Wings of Eagles (1957).

Studios leaned heavily into three-strip Technicolor specifically to feature O’Hara’s signature vibrant red hair, emerald-green eyes, and flawless complexion, making her a box-office staple in high-budget adventure films.

Known for insisting on performing her own stunts, O’Hara played fiercely capable leads in swashbucklers and adventure pictures like At Sword's Point (1952), Flame of Araby (1951), and Against All Flags (1952) alongside Errol Flynn.

In 1957, O’Hara famously sued the tabloid magazine Confidential for libel after it published fabricated stories about her, becoming one of the first major Hollywood stars to challenge gossip rags in court and win.

See more»

30 Elegant Fashion Portraits of Agneta Darin From the 1960s

Agneta Darin was a fashion model active in the mid-1960s, known for her refined features and sophisticated presence in high-fashion editorials. She appeared in major magazines such as Harper’s Bazaar, where she was photographed by leading photographers of the era including Saul Leiter, Francesco Scavullo, and William Helburn. Her work captured the clean lines, modern elegance, and youthful energy of mid-decade fashion.

Though less widely documented than some of her contemporaries, Darin’s striking looks and poised style made her a memorable face of 1960s fashion photography. These vintage photos capture the refined elegance and timeless style of Agneta Darin, a sophisticated model of the 1960s.

Agneta Darin in green matte Cohama vinyl sailor suit by Robert Sloan, sunglasses by Fashion Eyewear Group, photo by James Moore, Harper's Bazaar, January 1966

Agneta Darin in Bucol fabric silver streak dress molded high and strapless, a long stole wrapped around her head, by Castillo for Elizabeth Arden, photo by Francesco Scavullo, Harper's Bazaar, April 1966

Agneta Darin in glorious free-form prints of chiffon over crêpe from neck to hem with wing-sleeves in chiffon by Galanos, flowing pageboy by Michel Kazan, photo by Francesco Scavullo, Harper's Bazaar, April 1966

Agneta Darin in silky white Indian lamb coat with gilt-edged pearl buttons and edged in delicate gold braiding by Maximilian, photo by Francesco Scavullo, Harper's Bazaar, October 1966

Agneta Darin in striped dress of blazing sequins spun in shock colors and chalk white jolts, bead fringes above the wrist and knee by Norman Norell, photo by Francesco Scavullo, Harper's Bazaar, April 1966

See more»