Rita Moreno, West Side Story rehearsal, 1961. Photographer: Phil Stern

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Above: The underwater funeral procession scene from 20,000 Leagues Under the Sea (1916, dir. Stuart Paton), the first fictional undersea film.

Below: Diagram for the Williamson photosphere, which was used to shoot the film. The camera & cameraman were placed in the photosphere and lowered into the sea, remaining connected to the surface via a watertight tube.

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Florence Bates escorts her guest out in The Brasher Doubloon (1947, dir. John Brahm), an adaptation of Raymond Chandler’s The High Window (via)

Gregory Peck on the set of I Walk the Line (1970, dir. John Frankenheimer) Photographer: Dennis Stock (via)

The Andromeda Strain (1971, dir. Robert Wise) (via)

Louise Brooks and Fritz Rasp in Diary of a Lost Girl (1929, dir. G.W. Pabst) (via)

You Only Live Once (1937, dir. Fritz Lang) (via)

Maila Nurmi on the set of The Vampira Show (1954) Photographer: Dennis Stock (via)

Above: The partial set from Citizen Kane consists of a foreground doorway and the butler (Paul Stewart), while Kane (Orson Welles) stands on a distant soundstage floor. 

Below: The final, deep-focus image was completed with a matte painting by Chesley Bonestell. The live-action elements of the doorway in the foreground and Kane in the background were optically composited with a painted hallway, columns, and floor. The distant reflection of Kane on the floor was painted as well. 

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Above, the bell ringing scene in Black Narcissus (1947, dir. Michael Powell & Emeric Pressburger) as shot on the studio lot; below, the final scene with the addition of Walter Percer Day’s glass matte painting of the Himalayas.

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