george hurrell lighting

[1] He first began to use photography only as a medium for recording his paintings. During this time especially, Hurrell's photographs did more than just promote a film or a celebrity; for many, the glamour, romance, and drama of these photos provided a momentary mental escape from difficult times. Hurrell's signature use of precision lighting, spotlights, shadows, and hand-retouching on the negatives produced romantic portraits that became his trademark style and the definition of glamour for the movie industry. Grace Kelly, 1954 (b/w photo) Photo. Before Hurrell's time, promotional stills throughout the movie industry were in a homogeneous style, characterized by soft-focus, generic studio settings, and standard lighting placement. During this time especially, Hurrell's photographs did more than just promote a film or a celebrity; for many, the glamour, romance, and drama of these photos provided a momentary mental escape from difficult times. Early life. During this time especially, Hurrell's photographs did more than just promote a film or a celebrity; for many, the glamour, romance, and drama of these photos provided a momentary mental escape from difficult times. Where he had worked hard to create an idealised image of his subjects, the new style of Hollywood glamour was more earthy and gritty, and for the first time in his career Hurrell's style was not in demand. When Kelly came to me she was just doing modeling and building her. co.vu give you free domain name that you can use to host your Personal Website, Resume, Blog, Online Shop and many more things, George Hurrell was noted for his mastery of studio lighting and ability to capture Hollywood stars. Classically trained as a painter, Hurrell employed fine art techniques in his compositions. In the early 1940s Hurrell moved to Warner Brothers Studios photographing, among others Bette Davis, Ann Sheridan, Errol Flynn, Olivia de Havilland, Ida Lupino, Alexis Smith, Lauren Bacall, Humphrey Bogart and James Cagney. - IMDb Mini Biography By: 100% satisfaction guaranteed. Hurrell, whose clients ranged from Ramon Novarro in 1928 through Clark Gable, Humphrey Bogart and Marlene Dietrich in the 1940s and 1950s and on to Michelle Pfeiffer and Michael Douglas in the 1980s, Hurrell labored in an era when celebrities aspired to appear flawless. Hurrell also found that photography was a more reliable source of income than painting. While the current crop of actors strive for an earthy unpretentiousness, it fell to Hurrell to light his subjects so they appeared mysterious and aloof, bigger than life and much as they seemed on the motion picture screen. Hurrell took several pictures of the star of "Ben-Hur," who showed them to actress Norma Shearer, whom he also photographed and who was then married to MGM Vice President Irving Thalberg. Hurrell joined the MGM staff as a still photographer in 1930 and began the odyssey.

Beginning in 1930, Hurrell worked as a portrait photographer for most of the major Hollywood motion picture studios, first with Metro-Goldwyn-Mayer. How would one go Beginning in 1930, Hurrell worked as a portrait photographer for most of the major Hollywood motion picture studios, first with Metro-Goldwyn-Mayer. After moving to Laguna Beach, California from Chicago, Illinois in 1925 he met many other painters who had connections. Re: George Hurrell lighting Attempting to create the Hollywood portraiture look of the 1930's is more difficult than it appears. View agent, publicist, legal and company contact details on IMDbPro. The very notion is so familiar, and the images that most perfectly illustrate the concept are so readily conjured, that most movie fans are unaware that one man - a single photographer - is largely responsible for the look and feel of the classic film-glamour ideal.

|  Hurrell took her advice and on the flight back to Laguna Beach, Hurrell 'wing walked' on her plane in celebration. Hurrell is credited with creating the standard for the idealized Hollywood glamour portrait. One of those connections was Edward Steichen who encouraged him to pursue photography after seeing some of his works. Hurrell, whose clients ranged from Ramon Novarro in 1928 through Clark Gable, Humphrey Bogart and Marlene Dietrich in the 1940s and 1950s and on to Michelle Pfeiffer and Michael Douglas in the 1980s, Hurrell labored in an era when celebrities aspired to appear flawless.

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