TORCHLIGHT TOWNHOMES LOGO MOVIE

Deas using the reference photo by photographer Kathy Anderson.Ĭomparing the original photo by Anderson to the finished logo artwork by Deas, one can see how closely the artist stayed true to the original portrait. ©1991 Kathy Anderson The Columbia Pictures logo featuring the artwork created by illustrator Michael J. The “torch lady” photo of Jenny Joseph by photographer Kathy Anderson that was used as the reference photo by illustrator Michael Deas to create the famous Columbia Pictures logo.

TORCHLIGHT TOWNHOMES LOGO MOVIE

However, none have equaled the movie logo’s fame. The photographer has shot many reference photos for Deas over the years, including book covers and commissioned portraits. © 1991 Kathy Anderson The ‘Torch Lady’ Portrait That Became an Iconic LogoĪnderson was delighted with the images she produced that day. Jenny Joseph sitting to rest during the “torch lady” photo shoot behind Columbia Pictures’ iconic logo. After congratulating her, we resumed shooting, but I was worried about her standing on the box.” But after chatting for a minute, she confided that she was pregnant. “I shot one frame of her seated, which may be my favorite image from the shoot. “During the shoot, Jenny asked if she could sit down for a minute,” says the photographer. We began a fun-filled and creatively fused couple of hours of shooting, studying.” Lights were placed to accentuate folds in the fabric and create a catchlight in the eyes of Jenny. “We shot with the flag draped over the sheet and some with the blue fabric draped over the sheet. “Jenny was wrapped in a white sheet,” Anderson recalls. This is part of a contact sheet of photos of Jenny Johnson posing for a reference photo to be used by illustrator Michael Deas when he painted the Columbia Pictures logo, July 17, 1991, © 1991 Kathy Anderson Several Polaroids were shot during the “torch lady” photo shoot, and the bedsheet also had to be readjusted around Joseph, who has never modeled again since that day. Many Hasselblad shooters, including Anderson, would knock off Polaroids to see or show the client 2 1/4x2 1/4 proofs. In the old days of film, a kind of early “chimping” was still prevalent, especially on 120 film shoots. I put a Polaroid back on the Hasselblad camera to start with some test shots.” I placed a couple of boxes on the floor to let the fabric drape.

“After moving my dining room table out of the way and converting the living room into a studio, I set up a mottled gray backdrop.

Torchlight townhomes logo