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The group image of all five women came to light in the early 1990s, thereby publicly revealing Stephanie, Cindy, Christy, Tatjana, Naomi, Hollywood for the first time and representing not only the rise of the supermodel but also the rise of Los Angeles as a fashion capital, as noted by Ritts' contemporary, photographer Matthew Rolston.
The camera weighed 8 pounds (3.6 kg), recorded black-and-white images to a compact cassette tape, had a resolution of 0.01 megapixels (10,000 pixels), and took 23 seconds to capture its first image in December 1975. The prototype camera was a technical exercise, not intended for production.
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The color boom was aided by the breakup of Technicolor's near-monopoly on the medium. The last stand of black-and-white films made by or released through the major Hollywood studios came in the mid-1960s, after which the use of color film for all productions was effectively mandatory and exceptions were only rarely and grudgingly made.
Adox was a German camera and film brand of Fotowerke Dr. C. Schleussner GmbH of Frankfurt am Main, the world's first photographic materials manufacturer. In the 1950s it launched its revolutionary thin layer sharp black and white kb 14 and 17 films, referred to by US distributors as the 'German wonder film'. [1]
The Battle for the Bs: 1950s Hollywood and the Rebirth of Low-Budget Cinema. New Jersey: Rutgers University Press. ISBN 978-0813552538. Dixon, Wheeler Winston (2013). Cinema at the Margins. Anthem Press. ISBN 978-0-85728-186-9. Fawell, John (2008). The Hidden Art of Hollywood. Westport Conn.: Praeger Press. McGilligan, Patrick (1985).
American film and television studios terminated production of black-and-white output in 1966 and, during the following two years, the rest of the world followed suit. At the start of the 1960s, transition to color proceeded slowly, with major studios continuing to release black-and-white films through 1965 and into 1966.
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