Photograph junius estep (1 Ergebnisse)

No Binding. Zustand: Near Fine. Original Photograph. Original Photograph, Image 7 5/8"X 7 7/8". Inscribed By The Subject To Her Sister, And Signed "Aletha", Possibly The Film Actress Aleth Dore Aka Aleta Dore (Who Appeared In Pearl Of Love, 1925). Born March 22, 1877 In Ohio, Junius (June) D. Estep Moved To Chicago, Where He Worked As A Merchant And Married In 1900. Some Time Thereafter, Wanderlust Drove Him Westward Towards Los Angeles. By 1907, He Was Running His Own Commercial Photography Business With F. H. Taber Under The Name, Estep And Taber, At 206 1/2 S. Broadway. Estep Joined With C. C. Pierce In 1908 At 127 W. Sixth St. In A Commercial Photography Business Taking Photographs As Well As Selling Photographic Supplies. Estep Established His Own Studio In 1910 Per The July 27, 1910 Los Angeles Herald, Taking Out A Business Permit To Establish A Photography Studio At 617 S. Broadway In A Building Owned By The Morton Estate. Needing Help Financially, He Joined With M. D. Kirkpatrick In Forming Kirkpatrick Estep In 1912, Located On The Second Floor Of 535 S. Broadway. While Maintaining The Studio, Estep Began Shooting Freelance Work For Film Companies, Starting With The Selig Polyscope Film Company In 1912. His Portraits Of The West Coast Players Display One Of The Earliest Credits And Copyright Notices For A Hollywood Stills Photographer. David Shields Notes In His Book, "Still: American Silent Motion Picture Photography," That Estep Quickly Gained A Reputation For Being Both Versatile And Proficient At Shooting Posed Studio Portraits As Exterior Scenes. Estep Established An Independent Studio Again In 1915 On The Fourth Floor At 219 W. 6Th Street, While Continuing To Shoot Stills For The Hollywood Film Industry. He Shot Sessions At Lko Comedies In 1918, Especially Cheesecake Portraits Of Their Starlets Posing In Pajamas Or Bathing Costumes, As Well As Fashion Studies Of Such Stars As Julanne Johnston In 1923-1924. Estep Also Worked For The Elco Company, A Defense Company, In 1918. In Order To Be Closer To His Work In Hollywood, Estep And His Family Moved To 6667 Selma Avenue In The Early 1920S. Western Star William S. Hart Admired Estep'S Versatility, Hiring Him As A Stills Man For His Productions At Triangle Films. "June" Estep Devised Elegant And Sometimes Breathtaking Visuals Of The Dramatic Western Landscape, Revealing The Grandeur And Vastness Of The Open American Prairie In His Scene Stills. Shields States That Estep "Mastered Making A Visual Field Dynamic Symbolically," Especially Through The Use Of Binary Tensions Between Light/Dark And Interior/Exterior. The October 5, 1925 Los Angeles Times Revealed That Experts Were Calling His Stills For Hart'S 1925 Film, "Tumbleweeds," Perfect Because Of Their High Quality. Upon Hart'S Retirement That Year, Estep Joined Up With The Ambitious Young Director Josef Von Sternberg, Shooting Stills For His Inaugural Artistic Film, "The Salvation Hunters." Over The Next Several Years, He Aided The Artistic Von Sternberg In Understanding The Nuances And Importance Of Stills Photography. Estep Freelanced Between First National And Von Sternberg'S Films In This Period, Concluding His Work With The Director On "Shanghai Express" In 1932. The Stills Man Worked For Paramount In The Late 1920S And Early 1930S, Before Moving To Fox Film Corporation, Where He Shot Stills For Frank Borzage'S Dramatic Film, "Little Man, What Now?" In The Late 1930S, Estep Moved Full Circle, Returning To Commercial Photography. After Several Years, He And His Wife Moved North To Tulare, Where He Died March 6, 1953. (Source: Mary Mallory In Ladailymirror 1915.…