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Monday, 3 October 2016
via http://ift.tt/2dDNfHF:
losetheboyfriend:
Margie Cato [test shoot], New York; captured by Lillian Bassman (1950)
losetheboyfriend:
Margie Cato [test shoot], New York; captured by Lillian Bassman (1950)
hauntedbystorytelling: Robert Doisneau :: Romi’s
Monday, 3 October 2016 09:10via http://ift.tt/2dknbpp:
hauntedbystorytelling:
Robert Doisneau :: Romi’s Art Gallery, Paris, 1948 [during the experiment ‘Un Regard Oblique’]
The resulting images from this assignment / experiment can be seen here
more [+] this photographer, also here
hauntedbystorytelling:
Robert Doisneau :: Romi’s Art Gallery, Paris, 1948 [during the experiment ‘Un Regard Oblique’]
The resulting images from this assignment / experiment can be seen here
more [+] this photographer, also here
via http://ift.tt/2dkcD9W:
hauntedbystorytelling:
Robert Doisneau :: Un regard oblique / A Sidelong Glance, Romi’s art Gallery, Paris, 1948
For his Life magazine assignment, Doisneau hid his Rolliflex camera behind an antique chair on display at Romi’s art gallery in the 5th arrondissement in Paris. With his usual flair for humor, he had set his camera at the correct angle to a nude painting [the other works in display are not seen in the series of pictures taken] in order to take a series of furtive photos of potential (mainly male) admirers. The resulting photographs cleverly constructs a tight, circular connection between the two paintings – only one of which we can actually see – and the protagonists.
more [+] this photographer, also here
Romi’s art gallery from the outside, here
hauntedbystorytelling:
Robert Doisneau :: Un regard oblique / A Sidelong Glance, Romi’s art Gallery, Paris, 1948
For his Life magazine assignment, Doisneau hid his Rolliflex camera behind an antique chair on display at Romi’s art gallery in the 5th arrondissement in Paris. With his usual flair for humor, he had set his camera at the correct angle to a nude painting [the other works in display are not seen in the series of pictures taken] in order to take a series of furtive photos of potential (mainly male) admirers. The resulting photographs cleverly constructs a tight, circular connection between the two paintings – only one of which we can actually see – and the protagonists.
more [+] this photographer, also here
Romi’s art gallery from the outside, here
via http://ift.tt/2cWE1Ib:
marilyn-monroe-collection:
Marilyn Monroe photographer by Slim Aarons, 1952.
marilyn-monroe-collection:
Marilyn Monroe photographer by Slim Aarons, 1952.
