Vintage Portraits of Harrison Ford at His Home in 1984

In August 1984, photographer Paul Harris took photographs of Harrison Ford, who gained worldwide fame for his starring role as Han Solo in the Star Wars movie series, and as the titular role of the Indiana Jones film franchise, at the actor's home in Mandeville Canyon, Beverly Hills, California. An avid woodworker, Ford enjoyed making tables and chairs for his house, where he shared with his second wife, screenwriter Melissa Mathison. The couple got married in March 1983.

Take a look at the actor at his home through 10 portraits below:

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Paris in 1980 Through Fascinating Photos

“I was 28 years old in 1980 and worked at the warehouse at Husqvarna AB and every week there was a man with his truck and picked up chainsaws and goods for delivery to the Paris area.”

Paris in July 1980

“The truck was nice and new 1980, I slept at night in the overbed. I went with him and stayed in Paris in different overnight places for five days. The money I had left was enough for a train ticket.”

These fascinating photos George Kindbom took street scenes of Paris in July 1980. “I had no contact with the people on the pictures, I touched me gently, quickly with the camera.”

Pre-party in the evening sun

After the party

Even the birds need love

Fashion model at the Eiffel Tower

Fashion model at the Eiffel Tower

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We Should All Be “Rubbing Thumbs” Instead of Kissing Everyone, a Suggestion From 1919

This was the alternative for kissing during the Spanish Flu pandemic in 1919. Will it work for COVID-19?

(From The Australasian, Melbourne, February 15, 1919)

The 'Queen of Tejano Music': Gorgeous Photos of Selena Taken by John Dyer in 1992

John Dyer is a professional photographer, with over 30 years experience, based in San Antonio. Early influenced by the work of Russell Lee and Garry Winogrand, he has spent his career documenting the people and culture of San Antonio, South Texas and his native Montana.

John has produced photographs for, among others, Time magazine, Newsweek, Elle, Fortune, Business, Money, Texas Monthly, Mas, Los Angeles magazine and Travel & Leisure. He shoots annual reports for many of the Fortune 500 companies and works for many national advertising agencies.

John’s work has been selected for publication in American Photography, Print Magazine (Certificate of Design Excellence), Communications Arts Photography Annual, Graphis Photo, Flash Magazine (Creative Excellence Award) and HOW Magazine (Self-Promotion Award). He added motion (video) to his capabilities 7 years ago and has shot a feature film (“Our Father”),  short documentaries and branding videos for a variety of clients.

John has exhibited his photographs extensively over the past 20 years at such museums and galleries as: McNay Art Museum, Museo Alameda, Witte Museum,  Bismarck Gallery, Greasewood Gallery (Marfa), Houston Museum of Fine Arts, the Briscoe Museum of Western Art and others.

These gorgeous photos are a part of his work that John took the 'Queen of Tejano Music' Selena in 1992.

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Drew Barrymore, the Ultimate 90’s Fashion Muse

Drew Barrymore is the quintessential child star: Granddaughter to John Barrymore, at 11 months she had her first acting gig and stole the show in 1982’s cult movie, E.T. At 13 years old she was a regular at Studio 54 and by 1990 she had an autobiography under her high-waisted belt.

Along with Winona Ryder and Kate Moss, Drew Barrymore gloried in grunge back in the ’90s. The E.T actor loved a pair of well-worn boots and a battered leather jacket just as much as she did her colorful cardis and Vivienne Westwood heels. With her cherubic curls and daisy choker chains, Barrymore tempered her goth aesthetic with cutesy touches.

Frequently adding a slick of wine lipstick and a statement-making crucifix to her girlish, silky slips, Barrymore honed a style that was all her own on her early ’90s outings – frequently undertaken with fellow grunge queen Courtney Love in tow. It didn’t go unnoticed by the industry: not only did she become a face of Guess in 1993, she fronted a Miu Miu campaign two years later in 1995.

Ever the red-carpet rule breaker, Barrymore was as likely to show up at a premiere in ripped jeans and an oversized shirt, with a “Fuck” bum bag and a cigarette in hand, as she was to attend in a designer gown. Towards the end of the decade, she introduced a new polish, ramping up her look with crushed velvet coats and micro-handbags, but keeping a tight grasp on those playful floral accessories.

Here, take a look at some of Drew’s iconic fashion styles in the 1990s:

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Candid Portraits of British Drivers in 1994

When it comes to the car, drivers willingly give spontaneous, virtually automatic explanation – we could call ‘structural stories’ – to justify their use of it. (Freudendal–Pedersen, 2009).

In spite of the passing landscapes, motorways and drivers with their hair blowing in the wind, these photographs look deeply at the issue of social mobility. British photographer Martin Parr emphasizes social mobility to show its close correlation to travel made possible by use of a car. With this work, he revisits the social structure of English society, showing both its vertical and horizontal dimensions.

Horizontally, statements by drivers reveal how they take on a unique role behind the wheel. Even though people often play a role in their daily lives outside of the car, this role immediately becomes more intense upon contact with the later. Women described enjoying games of seduction in their cars, which offer a safe, protected environment. Men saw their company cars as symbols of their social status and rank within the company hierarchy.

Vertically speaking, the photos reveal the success and social ascension long addressed by classic sociology. The magnitude of the car’s social role makes this necessary. In such a context, alternative modes are categorically eliminated from among the possibilities. Thus does the artist reveal social spaces wherein altermobilities have very little chance of emerging.

Born in 1952, photographer Martin Parr – himself the son an amateur photographer – has authored many works in his field. He has likewise distinguished himself as an editor (of his numerous exhibitions), a professor and a documentary film production assistant. With his unique, frank view on British society, his work - what one could call a ‘social documentary’ - has earned him international recognition and acclaim.

“I feel that other women on the road react to me in a nasty hostile sort of way. For some reason this hate comes across. I mean, I give way to them so why don’t they give way to me.”

Driving in a convertible with cuddly toys on the dash board. 

“I like to think I’m quite successful because I’ve got a Cavalier 2 litre GLi. I sell industrial packaging machines – something with a bit of esteem not like Derek in Coronation Street who sells novelty items out of a bloody suitcase.”

“As far as my social life is concerned, the Metro is a no-go area. I think I’d look so much better sat in an XR2.”

G.B. ENGLAND. 1994.

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An English Wedding in the 1980s Through Beautiful Photos

The 1980s were a dramatic time marked by excess, self-expression, and rapid advancement. All aspects of the ‘80s wedding day were bigger: the dresses, the cakes, the guest lists. The goal was to get as near to Princess Diana’s bridal ensemble as possible on a regular budget.

Dresses were meant to take up space, with dramatic elements and as many frills as possible. Gowns with high lace necklines, larger and puffier gathered sleeves, and lacey details were all the rage.

Along with the grander dresses of the time, equally substantial beauty routines and accessories became popular too. Brides wanted cathedral-length veils and cascading bouquets of baby’s breath and gardenias.

These beautiful photos documented the wedding of Paul Clarke and his wife Sarah on 1st Oct., 1983 at Holy Innocents Church at Great Barton, Suffolk, England.

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