ALEXANDER GODUNOV

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ALEXANDER GODUNOV (GBE-AGO-01)

PORTRAITS
PAPER SIZE 39.5 X 29 INCHES
IMAGE SIZE 34.5 X 24 INCHES

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Alexander Godunov Photographed on October 22, 1982 Los Angeles, California Three years after actor-dancer (and member of the Bolshoi Ballet) Alexander Godunov defected from the Soviet Union to the United States (creating a major diplomatic event at the time). He was photographed by Gary Bernstein at Gary’s West Los Angeles studio as part of a multi-year, international advertising campaign entitled “Winners!” for French fashion designer, Jean-Paul Germain. Godunov appeared in the advertisement wearing shorts and a tank top. After the session, this image was made recording the look that captivated movie audiences for many years thereafter. Gary used a Nikon F3 with a 55mm f/3.5 Micro-Nikkor lens to capture the image on 35mm Kodak Kodachrome 25 color positive film. The image was converted to black and white by The Archives for this Limited Edition.

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CHARLTON HESTON

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CHARLTON HESTON
(GBE-CH-01)

PORTRAITS
PAPER SIZE 25.6 X 25 INCHES
IMAGE SIZE 20.6 X 20 INCHES

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Charlton Heston Photographed on October 30, 1985 Beverly Hills, California It was in October of 1985 that Gary Bernstein photographed the legendary actor, who appeared in 130 films and won an Oscar for Ben Hur. At the time Gary had a multi-year contract with ABC Television to design and photograph the advertising for the network. Heston had just signed with ABC to play the lead role of Jason Colby on “Dynasty” (and in the resulting spinoff, “The Colbys”). Heston was most comfortable being photographed at his home off Coldwater Canyon. This particular image was made on Heston’s tennis court late that afternoon. Gary combined a powerful electronic flash unit with natural light to capture the classic chiseled face of the man who played Moses on the big screen. The photograph was recorded on a Hasselblad el/m using an 80mm f/2.8 Zeiss Planar lens on Kodak Tri-X 6×6 black and white negative film.

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ELIZABETH TAYLOR

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ELIZABETH TAYLOR
(GBE-ET-001)

PORTRAITS
PAPER SIZE 35.2 X 35 INCHES
IMAGE SIZE 30.2 X 30 INCHES

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Elizabeth Taylor (GBE-ET-001) with wet hair Photographed on March 17, 1988 Hollywood, California This captivating image of Elizabeth Taylor was made by Gary Bernstein years after they started working together. Elizabeth’s incredibly busy schedule, combined with the demand for photographs of her, often resulted in Gary photographing her for a variety of clients in a single day’s work. However, this session was a fully-scheduled two day shoot for Elizabeth Arden/Unilever and Parfums International, the producers of the fragrance “Elizabeth Taylor’s Passion.” The day was exhaustive. Elizabeth had gotten ill the prior day which resulted in two days’ worth of work having to be completed in a single day. The principal shot of the day (for the international campaign) was of Elizabeth in a Roman bath. After the completion of the shot but before her hair had dried, Elizabeth changed into wardrobe adorned with Harry Winston jewels. Gary made this intense, unplanned photograph of Taylor . The image was captured on a Hasselblad el/m camera with a 150mm f/4.0 Zeiss Sonnar lens on Kodak Ektachrome 6×6 color positive film. In Taylor’s Foreword to Gary’s 1994 book, “Portrait Hollywood,” she writes of Gary, “…in the still moment, he captures the very essence of his subject…” This image of Elizabeth Taylor clearly shows Gary’s special trait.

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ELIZABETH TAYLOR

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ELIZABETH TAYLOR
(GBE-ET-002)

PORTRAITS
PAPER SIZE 38.2 X 27 INCHES
IMAGE SIZE 33.5 X 22 INCHES

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Elizabeth Taylor (GBE-ET-002) Photographed on June 27, 1986 Hollywood, California This wonderfully warm image is from Gary Bernstein’s first photography session with Elizabeth Taylor. Elizabeth’s incredibly busy schedule combined with the demand for photographs of her, often resulted in Gary photographing for a variety of clients in a single day’s work; and such was the case on June 27th, 1986. It was an unusually hot and humid day when the air conditioning in Gary’s studio died only 2 hours before the session was scheduled to start. Gary quickly located a rental studio on La Brea Avenue in Hollywood, and contacted the entire entourage (required for sessions of this nature) with the location change. The primary client for the day was Columbia Pictures, who had hired Gary to produce the advertising campaign and photography for the made-for-TV Movie “There Must Be a Pony” starring Elizabeth and her long-time dear friend, Robert Wagner. This particular image, however, is an outtake from a part of the day’s shoot that was dedicated to producing a cover shot for Elizabeth’s book, “Elizabeth Takes Off” (Putnam, 1987). Lit with a single pan light against a seamless paper background, Gary used a Nikon F3 with a 105mm f/2.5 Auto-Nikkor lens to capture the image on 35mm Kodak Kodachrome 25 color positive film. The image was converted to sepia by The Archives for this Limited Edition.

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ELIZABETH TAYLOR

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ELIZABETH TAYLOR
(GBE-ET-003)

PORTRAITS
PAPER SIZE 33.68 X 25 INCHES
IMAGE SIZE 28.68 X 20 INCHES

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Elizabeth Taylor (GBE-ET-003) Photographed on December 22, 1986 New York, New York Gary Bernstein was commissioned to photograph elegant Elizabeth Taylor by Elizabeth Arden to produce the launch and press kit images for Elizabeth’s first perfume, Passion. Before the end of the session, Elizabeth approached Gary telling him that it was soon to be George Hamilton’s birthday (whom Elizabeth was dating at the time). She asked Gary if he had any ideas for a gift photograph. Gary suggested that Elizabeth wrapped in a white fur could be a very memorable gift. Elizabeth loved the idea! The image was made with a single light directly above the camera, a Hasselblad el/m affixed with a 150mm f/4.0 Zeiss Sonnar lens using Kodak Tri-X 6×6 black and white negative film. Gary hand processed the film back and printed the image through a surface contact etching screen. Then he selectively hand-colored the 11 x 14 Agfa print with Marshall Oil Colors. After which, he copied the print on 35mm Kodak Kodachrome 25 color positive film which was scanned to create this Limited Edition print.

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ELIZABETH TAYLOR

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ELIZABETH TAYLOR
(GBE-ET-3053-132)

PORTRAITS
PAPER SIZE 35 X 39.155 INCHES
IMAGE SIZE 30 X 34.155 INCHES

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Elizabeth Taylor (GBE-ET-3053-132) Photographed on June 15, 1987 Culver City, California Photographed by Gary Bernstein in his Culver City Studio, this photograph of the stunning Elizabeth Taylor is from what Elizabeth and Gary called “The Black Fur Session.” It is one of 4 different wardrobe changes produced during the course of a single day’s work for a variety of magazine covers. Elizabeth is seated on an adjustable, hydraulic stool, leaning on a white adjustable posing table. She is illuminated with a single electronic flash unit placed above and slightly to the right of the camera’s lens with a small silver reflector placed just out of camera range below the frame. The background (illuminated with two more lights) is the white coved wall of Gary’s studio, 20 feet behind Elizabeth. The image was photographed with a Hasselblad el/m camera with a 150mm f/4.0 Zeiss Sonnar lens using Kodak Ektachrome 6×6 color positive film. The image captures the intensity and depth of the persona that is Elizabeth Taylor.

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JOAN COLLINS

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JOAN COLLINS
(GBE-JCO-5423-14)

PORTRAITS
PAPER SIZE 36.637 X 27 INCHES
IMAGE SIZE 31.637 X 22 INCHES

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Joan Collins (GBE-JCO-5423-14) Photographed on February 20, 1990 Culver City, California The legendary status of Joan Collins was secured by her portrayal of Alexis Carrington on Television’s “Dynasty,” which was the number one program in America by 1985. Gary Bernstein had been retained by ABC to design and photograph many of the marketing campaigns for “Dynasty.” From that time on, Gary photographed Joan for countless magazine editorials and advertising campaigns. Gary also photographed Joan for 4 of her book covers. This particular image was shot for the cover of her second novel, “Love and Desire and Hate.” The image was made in Gary’s Culver City studio. Gary illuminated Joan’s classic features with a single focused spot light that allowed her face to be accented by a hot, hard light that fell off to gray tones in the rest of the composition. The background is a black and white painted muslin fabric. The turban and long gloves were Joan’s idea. They frame this portrait of a very beautiful and classic Joan Collins. The image was made with a Nikon F3 affixed with a 105mm f/2.5 Auto-Nikkor lens using Kodak Plus-X 35mm black and white negative film.

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JOAN COLLINS

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JOAN COLLINS
(GBE-JCO-ART-01)

POLAROID TRANSFER
PAPER SIZE 29.223 X 22 INCHES
IMAGE SIZE 27.223 X 20 INCHES

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Joan Collins (GBE-JCO-ART-01) Polaroid Transfer Photographed on February 20, 1990 Culver City, California The legendary status of classically beautiful Joan Collins was secured by her portrayal of Alexis Carrington on Television’s “Dynasty,” which was the number one program in America by 1985. Gary Bernstein had been retained by ABC to design and photograph many of the marketing campaigns for Dynasty. From that time on, Gary photographed Joan for countless magazine editorials and advertising campaigns. Gary also photographed Joan for four of her book covers. This particular image is an outtake from the cover session of her second novel, “Love and Desire and Hate.” At the time, Gary had a contract with Polaroid Corporation who had supplied him with an 8 x 10 inch Polaroid printer. This special image is a Polaroid Transfer (a means of transferring the pigment of the print to a substrate via roller). Gary added enhancements to the image using brushes to add both water color and acrylic paints as the print was drying. The result is a mixed-medium rendition that is both painted and photographic and bears Gary’s hand inscription “Joan Collins” at the top of composition.

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JOAN COLLINS

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JOAN COLLINS
(GBE-JCO-ART-02)

POLAROID TRANSFER
PAPER SIZE 29.223 X 22 INCHES
IMAGE SIZE 27.223 X 20 INCHES

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Joan Collins (GBE-JCO-ART-02) Polaroid Transfer Photographed on November 21, 1986 Century City, California The legendary status of classically beautiful Joan Collins was secured by her portrayal of Alexis Carrington on Television’s “Dynasty,” which was the number one program in America by 1985. Gary Bernstein had been retained by ABC Television to design and photograph many of the marketing campaigns for Dynasty. From that time on, Gary photographed Joan for countless magazine editorials, advertising campaigns and book covers. This particular image was made at the end of Gary’s first session with the English beauty at the ABC Television studios in Century City. During the session, Gary shot a series of half- and full-length sensual images capturing Joan romantically involved with her “Dynasty” co-star John Forsythe. At the end of the session, Gary produced a series of glamorous portraits of Joan that would be used for a variety of purposes, including the cover of Joan’s first novel, “Prime Time” (Simon & Schuster 1988). This image was one of Joan’s and Gary’s personal favorites that was never published commercially. The photograph was captured with a Nikon F3 affixed with a 105mm f/2.5 Auto-Nikkor lens using Kodak 35mm Kodachrome 25 color positive film. This special image is a Polaroid Transfer (a means of transferring the pigment of the print to a substrate via roller). Gary added enhancements to the image using brushes to add both water color and acrylic paints as the print was drying. The result is a mixed-medium rendition that is both painted and photographic and bears Gary’s hand inscription “Joan” at the top of composition.

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LENA HARRIS

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LENA HARRIS
(GBE-LENA-002)

POLAROID TRANSFER
PAPER SIZE 28.29 X 22 INCHES
IMAGE SIZE 26.29 X 20 INCHES

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Lena Harris (GBE-LENA-002) Polaroid Transfer Photographed June 1976 Aruba, Netherlands Antilles In 1974, Gary Bernstein met his muse, the sensual and beautiful Lena Harris, a superstar model with the Eileen Ford Agency and later with The Wilhelmina Agency. Together they produced the classic book, “Burning Cold,” which contains Gary’s photographs of Lena combined with the prose of Elton John’s lyricist, Bernie Taupin. Over the years their collaboration has resulted in images for collectors and many of the world’s top clients. Lena Harris is now an author and a filmmaker, and her documentary, “Big Willie Robinson, Our Story, as Told by Sergeant Bill Chaffin,” premiered at the 2013 Cannes Film Festival. This particular photograph is an outtake from “Burning Cold.” It was taken late afternoon with hot direct sunlight as the only light source striking Lena’s face and form. She is adorned in a Scott Barrie dress. In the background are the ruins of an old staircase on the island. The image was made on a Nikon F3 affixed with a 105mm f/2.5 Auto-Nikkor lens using Kodak 35mm Kodachrome 25 color positive film. This special image is a Polaroid Transfer (a means of transferring the pigment of the print to a substrate via roller). Gary introduced pictorial enhancements to the image using brushes to add both water color and acrylic paints as the print was drying. The result is a mixed-medium rendition that is both painted and photographic, and has the appeal of a contemporary Venus rising from the sea.

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LENA HARRIS

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LENA HARRIS
(GBE-LENA-007)

PORTRAITS
PAPER SIZE 43.4 X 35 INCHES
IMAGE SIZE 38.4 X 30 INCHES

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Lena Harris (GBE-LENA-007) Sepia Headshot Photographed on September 11, 1996 Culver City, California In 1974, Gary Bernstein met his muse, the sensual and beautiful Lena Harris, a superstar model with the Eileen Ford Agency and later with The Wilhelmina Agency. Together they produced the classic book, “Burning Cold,” which contains Gary’s photographs of Lena combined with the prose of Elton John’s lyricist, Bernie Taupin. Over the years their collaboration has resulted in images for collectors and many of the world’s top clients. Lena Harris is now an author and a filmmaker, and her documentary, “Big Willie Robinson, Our Story, as Told by Sergeant Bill Chaffin,” premiered at the 2013 Cannes Film Festival. In 1996, Gary photographed Lena Harris for a national ad campaign for Hasselblad Cameras. The company selected a full-length image of Lena sitting in a director’s chair looking directly at the camera. Lena used the same image (cropping it as a headshot) for the cover of her 2005 book for actors, “Twenty-Five 5-Minute Power Scenes” (Smith and Kraus). Gary used a portrait outtake from the session for the cover of his 1997 book, “The Glamorous World of People Photography” (Marathon Press). This particular rendition is variation of that same headshot tipped and printed in sepia tones by The Archives. The image was made with a hard main spotlight that casts a shadow across Lena’s eyes, reminiscent of a 40′s black and white film. A reflector fill and a second light to add highlights to her hair complete the lighting. This image was captured with a Hasselblad el/m camera affixed with a 150mm f/4.0 Zeiss Sonnar lens using Kodak Plus-X 6×6 black and white negative film. The image allows the viewer to study the pristine beauty of Lena Harris.

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LENA HARRIS

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LENA HARRIS
(GBE-LENA-CAT-001)

PORTRAITS
PAPER SIZE 30.573 X 27 INCHES
IMAGE SIZE 25.573 X 22 INCHES

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Lena Harris (GBE-LENA-CAT-001) Lena Harris and the Leopard Photographed August 1979 Culver City, California In 1974, Gary Bernstein met his muse, the sensual and beautiful Lena Harris, a superstar model with the Eileen Ford Agency and later with The Wilhelmina Agency. Together they produced the classic book, “Burning Cold,” which contains Gary’s photographs of Lena combined with the prose of Elton John’s lyricist, Bernie Taupin. Over the years their collaboration has resulted in images for collectors and many of the world’s top clients. Lena Harris is now an author and a filmmaker, and her documentary, “Big Willie Robinson, Our Story, as Told by Sergeant Bill Chaffin,” premiered at the 2013 Cannes Film Festival. American Express and Cartier together commissioned Gary Bernstein and Lena Harris to produce a national advertisement for their companies. A baby lion and a baby leopard were brought in as Lena’s co-stars. Each animal had an attention span of only a few shots before it became very playful. Consequently, the animals were shifted back and forth, repeatedly during the session. In the final analysis, not only did Lena have to pose herself, but she also had to position and pose the baby cats so as to display properly the Cartier emerald and diamond necklace. This image from the session depicts the leopard cub wearing the Cartier million dollar jeweled collar. It also captures the feline appeal of Lena Harris which just may outshine that of the leopard’s. The image was recorded with a Hasselblad el/m camera affixed with a 150mm f/4.0 Zeiss Sonnar lens on Kodak Plus-X 6×6 black and white negative film.

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LENA HARRIS

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LENA HARRIS
(GBE-LENA-22)

PORTRAITS
PAPER SIZE 27.24 X 27 INCHES
IMAGE SIZE 22.24 X 22 INCHES

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Lena Harris (GBE-LENA-22) Aruba Headshot Photographed June 1976 Aruba, Netherlands Antilles In 1974, Gary Bernstein met his muse, the sensual and beautiful Lena Harris, a superstar model with the Eileen Ford Agency and later with The Wilhelmina Agency. Together they produced the classic book, “Burning Cold,” which contains Gary’s photographs of Lena combined with the prose of Elton John’s lyricist, Bernie Taupin. Over the years their collaboration has resulted in images for collectors and many of the world’s top clients. Lena Harris is now an author and a filmmaker, and her documentary, “Big Willie Robinson, Our Story, as Told by Sergeant Bill Chaffin,” premiered at the 2013 Cannes Film Festival. This particular photograph is an outtake from “Burning Cold.” It was taken late afternoon with hot direct sunlight as the only light source striking Lena’s face and form. She is adorned in a Scott Barrie dress. In the background are the ruins of an old staircase on the island. The image was captured using a Nikon F3 affixed with a 105mm f/2.5 Auto-Nikkor lens on Kodak 35mm Kodachrome 25 color positive film. Gary and Lena shot the book with no art directors, no stylists, no assistants and no crew. The simplicity of the shoot is echoed in this striking image of Lena Harris with wet hair in a timeless rendition of classic sensuality.

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FATHER AND CHILD – PENN STATE

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FATHER AND CHILD – PENN STATE
(GBE-PST-001)

EARLY WORKS
PAPER SIZE 37.49 X 27 INCHES
IMAGE SIZE 32.49 X 22 INCHES

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Penn State . Early Works Penn State (GBE-PST-001) Early Works 1967, Father and Child, State College, Pennsylvania Gary Bernstein graduated from Penn State University in June of 1971 with a Bachelor of Architecture degree. He had been a photo-hobbyist from a very young age, starting to make images with his parent’s classic Kodak Box Brownie camera. It was on the Penn State campus that Gary began to hone his photographic skills and started shooting professionally while still an undergraduate. In 2013, Gary was asked to lecture via Skype to the photography classes at his alma mater, Penn State’s College of Arts and Architecture. This culminated with a live lecture he gave at The Palmer Museum on the Penn State campus in December of 2013. This image of a father and daughter is a candid photograph that was made outside of State College, Pennsylvania in 1966 by available light. It was captured with a Minolta SRT-101 affixed with a 55mm f/1.7 Nikkor lens on Kodak Plus-X 35mm black and white negative film. The image was converted to sepia by The Archives for this Limited Edition.

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WOMAN AND BRASS BED – PENN STATE

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WOMAN AND BRASS BED – PENN STATE
(GBE-PST-003)

EARLY WORKS
PAPER SIZE 37.497 X 27 INCHES
IMAGE SIZE 32.497 X 22 INCHES

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Penn State (GBE-PST-003) Early Works 1970, Woman and Brass Bed, State College, Pennsylvania Gary Bernstein graduated from Penn State University in June of 1971 with a Bachelor of Architecture degree. He had been a photo-hobbyist from a very young age, starting to make images with his parent’s classic Kodak Box Brownie camera. It was on the Penn State campus that Gary began to hone his photographic skills and started shooting professionally while still an undergraduate. In 2013, Gary was asked to lecture via Skype to the photography classes at his alma mater, Penn State’s College of Arts and Architecture. This culminated with a live lecture he gave at The Palmer Museum on the Penn State campus in December of 2013. This image of a girl in front of a brass bed, was part of a series of images that Gary produced of co-eds who were enrolled at Penn State. The photograph was lit by available light coming through a window behind Gary and to his right. It depicts the essence of much of Gary’s work, in which the subject confronts the viewer with direct eye contact. The photograph was captured with a Nikon F affixed with a 50mm f/1.4 Auto-Nikkor lens on Kodak Plus-X 35mm black and white negative film. The image was converted to sepia by The Archives for this Limited Edition.

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MOONLIGHT LANDSCAPE – PENN STATE

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MOONLIGHT LANDSCAPE – PENN STATE
(GBE-PST-004)

EARLY WORKS
PAPER SIZE 37.683 X 27 INCHES
IMAGE SIZE 32.683 X 22 INCHES

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Penn State (GBE-PST-004) Early Works 1967, Moonlight Landscape, State College, Pennsylvania Gary Bernstein graduated from Penn State University in June of 1971 with a Bachelor of Architecture degree. He had been a photo-hobbyist from a very young age, starting to make images with his parent’s classic Kodak Box Brownie camera. It was on the Penn State campus that Gary began to hone his photographic skills and started shooting professionally while still an undergraduate. In 2013, Gary was asked to lecture via Skype to the photography classes at his alma mater, Penn State’s College of Arts and Architecture. This culminated with a live lecture he gave at The Palmer Museum on the Penn State campus in December of 2013. Gary often returned to his home outside of Washington, D.C. on weekend trips from Penn State. Leaving late one Friday evening, he encountered a frozen lake outside of the campus. This image was made around midnight, and what appears to be the sun is in fact the moon captured using a long time exposure on a tripod. It was captured with a Minolta SRT-101 affixed with a 58mm f/1.4 Nikkor lens with a star filter on Kodak Tri-X 35mm black and white negative film. The image was converted to sepia by The Archives for this Limited Edition.

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HORSE IN FIELD – PENN STATE

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HORSE IN FIELD – PENN STATE
(GBE-PST-006)

EARLY WORKS
PAPER SIZE 27 X 37.493 INCHES
IMAGE SIZE 22 X 32.493 INCHES

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Penn State (GBE-PST-006) Early Works 1967, Horse in Field, State College, Pennsylvania Gary Bernstein graduated from Penn State University in June of 1971 with a Bachelor of Architecture degree. He had been a photo-hobbyist from a very young age, starting to make images with his parent’s classic Kodak Box Brownie camera. It was on the Penn State campus that Gary began to hone his photographic skills and started shooting professionally while still an undergraduate. In 2013, Gary was asked to lecture via Skype to the photography classes at his alma mater, Penn State’s College of Arts and Architecture. This culminated with a live lecture he gave at The Palmer Museum on the Penn State campus in December of 2013. Many of Gary’s earliest published works were photojournalistic in nature. The lush surroundings outside of Penn State in Centre County, Pennsylvania were also ideal for capturing nature, as evidenced in this photograph made during the winter of 1967. It was captured with a Minolta SRT-101 affixed with a 55mm f/1.7 Nikkor lens on Kodak Plus-X 35mm black and white negative film. The image was converted to sepia by The Archives for this Limited Edition.

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SOPHIA LOREN

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SOPHIA LOREN
(GBE-SL-01)

PORTRAITS
PAPER SIZE 33.79 X 25 INCHES
IMAGE SIZE 28.79 X 20 INCHES

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Sophia Loren (GBE-SL-01) Photographed on January 28, 1994 Culver City, California In a 1990 television interview Gary Bernstein was asked if there were any celebrities that he wanted to photograph who had yet to come before his camera. His answer was Sophia Loren. That goal was realized in January of 1994, when noted celebrity fashion designer Nolan Miller (and designer for Sophia Loren) called Gary telling him that there was a woman in his studio who wanted to speak with him. Sophia got on the phone, and they scheduled an impromptu photo session a few days later at Gary’s Culver City Studio. This is one of the images produced during that 6-hour session with Italy’s greatest import: two-time Academy Award Winner Sophia Loren. Gary always keeps remnant fabrics around the studio to be used as backgrounds, one of which was a leopard print. Gary suggested using the fabric as the background for a shot. Sophia liked the idea, and tore off a strip of the fabric from the bottom of the bolt, and fashioned the wrap dress she is wearing in the photograph. Using one pan light as Sophia sat on a bentwood studio chair, the photograph was made with a Nikon F3 affixed with a 55mm f/3.5 Micro-Nikkor lens on Kodak Plus-X 35mm black and white negative film. It has been converted to sepia by The Archives for this Limited Edition.

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SOPHIA LOREN

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SOPHIA LOREN
(GBE-SL-3446-39)

PORTRAITS
PAPER SIZE 48.7 X 35 INCHES
IMAGE SIZE 43.7 X 30 INCHES

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Sophia Loren (GBE-SL-3446-39) Photographed on January 28, 1994 Culver City, California In a 1990 television interview Gary Bernstein was asked if there were any celebrities that he wanted to photograph who had yet to come before his camera. His answer was Sophia Loren. That goal was realized in January of 1994, when noted celebrity fashion designer Nolan Miller (and designer for Sophia Loren) called Gary telling him that there was a woman in his studio who wanted to speak with him. Sophia got on the phone, and they scheduled an impromptu photo session a few days later at Gary’s Culver City Studio. This is one of the images produced during that 6-hour session with Italy’s greatest import: two-time Academy Award Winner Sophia Loren. This is part of a series photographed on the white concrete cove in Gary’s Culver City studio. In the session, sensual Sophia is wearing a white fur and is seated on the floor of the studio. With the use of 4 powerful electronic flash units, the image is overexposed creating a soft, dreamlike vision of the legendary actress as she feels the breeze from an electric fan. The photograph was made with a Nikon F3 affixed with a 105mm f/2.5 Auto-Nikkor lens on Kodak 35mm Kodachrome 25 color positive film.

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SOPHIA LOREN

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SOPHIA LOREN
(GBE-SL-3446-52)

PORTRAITS
PAPER SIZE 39.54 X 29 INCHES
IMAGE SIZE 34.54 X 24 INCHES

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Sophia Loren (GBE-SL-3446-52) Photographed on January 28, 1994 Culver City, California In a 1990 television interview Gary Bernstein was asked if there were any celebrities that he wanted to photograph who had yet to come before his camera. His answer was Sophia Loren. That goal was realized in January of 1994, when noted celebrity fashion designer Nolan Miller (and designer for Sophia Loren) called Gary telling him that there was a woman in his studio who wanted to speak with him. Sophia got on the phone, and Gary and Sophia scheduled an impromptu photo session a few days later at Gary’s Culver City Studio. This is one of the images produced during that 6 hour session with Italy’s greatest import, two time Academy Award Winner, the beautiful Sophia Loren. This is part of a series photographed on the white concrete cove in Gary’s Culver City studio. In the session, sensual Sophia is wearing a white fur and is seated on the floor of the studio. With the use of 4 powerful electronic flash units, the image is overexposed creating a soft, dreamlike vision of the legendary actress as she feels the breeze from an electric fan. The photograph was made with a Nikon F3 affixed with a 105mm f/2.5 Auto-Nikkor lens on Kodak 35mm Kodachrome 25 color positive film.

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VANITY

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VANITY
(GBE-VAN-3159-69)

PORTRAITS
PAPER SIZE 35.7 X 35 INCHES
IMAGE SIZE 30.7 X 30 INCHES

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Vanity Matthews (GBE-VAN-3159-69) Photographed on September 23, 1988 Culver City, California Throughout his career, Gary Bernstein has produced a balance of advertising, portrait and editorial images for hundreds of clients. One of his monthly magazine clients was Black Elegance Magazine, for which he shot shooting covers and celebrity fashion layouts. When this image was captured in 1988, Vanity Matthews (a lead singer for pop icon, Prince) had already been recognized internationally as a singer-songwriter, model and actress. On September 23, Gary photographed her individually and with her sisters for the magazine’s fashion feature. This image, which captures Vanity in her often-donned look of black leather with black leather gloves, was made at day’s end with a single pan light as the main light source and double background lights that created the high-key background. The image was photographed on a Hasselblad el/m camera with a 150mm f/4.0 Zeiss Sonnar lens on Kodak Ektachrome 6×6 color positive film. The image captures the beauty and character of multi-ethnic Vanity Matthews.

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UVA HARDEN

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UVA HARDEN
(GBE-UHA-003)

PORTRAITS
PAPER SIZE 33.68 X 25 INCHES
IMAGE SIZE 28.68 X 20 INCHES

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Uva Harden (GBE-UHA-003) Photographed in June 1974 Malibu, California Uva Harden may be the most successful male model of all time. For a period, he was also an actor and the owner of the most legendary club of all time, Studio 54. He became friends with Gary Bernstein soon after Gary moved from Washington, D.C. (the location of his first studio) to New York City in 1974. At the time Uva was already the top male model in the world represented by The Wilhelmina Agency. It was also in 1974 that Gary began shooting the editorial fashion pages for Esquire Magazine (a client he would have for many years). In June of 74, Gary flew to California (his first time on the west coast) to shoot an 8-page Esquire Magazine layout that featured Uva Harden. It was Gary’s very first layout for Esquire. This candid image of Uva was captured a day prior to the Esquire shoot, while Gary was scouting locations and relaxing in Malibu with Uva and their friends Margaux Hemingway and her husband, entrepreneur businessman Errol Wetson. The original image was shot with a Nikon F3 affixed with a 105mm f/2.5 Auto-Nikkor lens on Kodak 35mm Kodachrome 25 color positive film. It was converted to black and white by The Archives for this Limited Edition print.

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