At a time when Hollywood stars were worshipped like gods, George Hurrell was the man who immortalised their divine faces and turned them into icons for posterity. With dazzling lighting, technical perfection and an artistic eye shaped by his background as a painter, he defined the golden age of glamour photography.
His portraits of Jean Harlow, Joan Crawford and Clark Gable stand as monuments to an era when light and shadow were used to build myths – and his timeless style found its way into new media when, in the 1980s, he collaborated with the rock band Queen on the album The Works – an unexpected meeting between classic Hollywood glamour and pop culture.
Early life and beginnings
George Edward Hurrell (1904–1992) was born in the Walnut Hills district of Cincinnati, Ohio, and began his career as a painter. He originally studied fine art at the Art Institute of Chicago, with no particular interest in photography. He used photography merely as a tool to document his paintings.
After moving to Laguna Beach, California, in 1925, Hurrell met other artists with useful connections, including Edward Steichen, who encouraged him to pursue photography. Hurrell also discovered that photography was a more reliable source of income than painting. His friend, the pilot Pancho Barnes, often posed for him and inspired him to develop his portrait style. Eventually, Hurrell opened a photographic studio in Los Angeles.
Jane Russell 1943. Photo: George Hurrell. Public domain.
Career in Hollywood
In the late 1920s, Hurrell was introduced to Ramon Novarro through Pancho Barnes and produced a series of portraits that greatly impressed Novarro. Novarro showed the photographs to Norma Shearer, who wanted a more glamorous and sophisticated look for her film The Divorcee. After MGM production head Irving Thalberg saw the results, Hurrell was hired under contract by MGM as head of the portrait department.
In 1932 Hurrell left MGM after disagreements with the publicity director and ran his own studio on Sunset Boulevard until 1938. During this decade he photographed stars including Dorothy Jordan, Myrna Loy, Robert Montgomery, Jean Harlow, Joan Crawford, Clark Gable, Rosalind Russell, Marion Davies, Jeanette MacDonald, Anna May Wong, Carole Lombard and Norma Shearer – who reportedly refused to be photographed by anyone else.
Hollywood’s immortal faces
Throughout the 1930s and ’40s, Hurrell photographed the most famous stars of the era: Jean Harlow, Greta Garbo, Joan Crawford, Clark Gable, Marlene Dietrich, Veronica Lake, Errol Flynn, Carole Lombard, Bette Davis, Rita Hayworth, Humphrey Bogart and James Cagney. His portraits appeared on posters, in film publicity, and in magazines around the world – defining the very look of stardom.
A particularly memorable moment came during his first and only photo session with Greta Garbo in April 1930, during the production of Romance. At that time Garbo was the world’s highest-paid and most powerful female star, but she was clearly displeased that day. She arrived at Hurrell’s studio wearing a heavy opera costume weighing about 50 pounds, after a long day’s filming in unseasonably hot Californian weather, and declared in her distinctive Swedish accent, “Mr Hurrell, I am NOT in the mood!”
The assignment was to produce a smiling publicity portrait of Garbo for the film’s promotion. Hurrell tried everything to make her relax: he played upbeat jazz on the Victrola, adjusted the lighting, suggested more comfortable costumes, and even used a 40-foot shutter-release cable so he could move around the studio without her knowing when the photograph would be taken. Eventually, after many attempts, Garbo smiled – completely by accident when Hurrell tripped over a light stand – and he got the shot.
Although the result was a success, Garbo never worked with Hurrell again. She reportedly declared, “I will not work with that crazy man again!” The episode captures both Hurrell’s creativity and his ability to handle even the most demanding stars – though his methods were sometimes bordering on chaotic.
George Hurrell:
“Working with shadows to design the face instead of flooding it with light”
Photo: George Hurrell. Public domain.
Light, camera and shadow – the art of Hurrell’s technique
Hurrell revolutionised Hollywood portrait photography. Whereas others sought soft, even lighting to hide wrinkles and imperfections, Hurrell took the opposite approach: sharp, focused light and strong contrasts. He used large-format studio cameras – often 8×10-inch – to achieve maximum detail and control on low-sensitivity black-and-white film, ideal for rendering subtle grey tones and dramatic highlights and shadows.
One of his trademarks was the “boom light” – a spotlight placed high above the subject to accentuate hair and shoulders and separate them from the background. He also employed fresnel lamps, spotlights and backlights to sculpt the face and create depth. Reflectors and small light sources were positioned strategically to lift shadows without losing contrast.
“Working with shadows to design the face instead of flooding it with light,” Hurrell once said – and that became his credo. Hand-painted backdrops ensured that the background never competed with the subject, giving his portraits a controlled and timeless quality.
Retouching and darkroom craft
Hurrell’s work did not end when the camera stopped clicking. In the darkroom he worked with pencil, brush and graphite powder directly on the negatives to remove blemishes, enhance highlights in eyes and hair, and soften skin tones. He used techniques such as burning and dodging on prints to control contrast and dramatise shadows. Each negative could take days to complete – the result, a perfect balance between photography and art.
Post-war years and 1980s revival
During the Second World War, Hurrell made instructional films for the United States Army Air Forces. After the war he moved to New York, where he worked in advertising and fashion. By the mid-1960s he had returned to Hollywood.
Queen: The Works
Queen’s 1984 album The Works—a striking fusion of Hollywood glamour and 1980s pop, captured through Hurrell’s dramatic lighting and elegant composition, helping legendary rock meet timeless style.
In the 1980s Hurrell experienced a renaissance. Musicians and actors such as Diana Ross, Sharon Stone, John Travolta and Raquel Welch sought a return to his classic style – dramatic lighting, careful composition and stylised backgrounds. His timeless technique also led to an unexpected collaboration with Queen, who asked Hurrell to photograph the band for their 1984 album The Works. His signature use of dramatic light and elegant composition gave the rock group a visual aesthetic that fused classic Hollywood glamour with 1980s pop sensibility. Several of the images were used in the album’s artwork and promotion.
Hurrell’s legacy in modern photography
Contemporary portrait photographers continue to study Hurrell’s lighting and composition. His work demonstrates that contrast, purposeful lighting and precise retouching can transform a portrait into something timeless. Many have tried to recreate the “Hurrell look” digitally, but as Mark Vieira observed: “It wasn’t the tools, but Hurrell’s eye, timing and empathy that made the magic possible.”
Light as myth-maker
George Hurrell didn’t merely take photographs – he created dreams. He transformed Hollywood actors into timeless icons and turned glamour into an art form. His use of large-format cameras, slow-speed film, dramatic spotlights and hand-painted backdrops, combined with meticulous retouching, proves that true photographic craftsmanship never goes out of fashion.
When we look at a Hurrell portrait today – whether it’s Jean Harlow bathed in light, Marlene Dietrich surrounded by shadows, or Queen on The Works – we see not only a star, but a human being caught in the moment where light and shadow meet.
George Hurrell´s Hollywood
The cover of the book George Hurrell's Hollywood: Glamour Portraits 1925–1992 by Mark A. Vieira, Running Press, 2013.
Drawing Inspiration from George Hurrell’s Glamour Photography
Here is one of my photographs inspired by George Hurrell. By using undiffused (direct) light sources and a three-point setup, I have achieved sharp shadows that add depth and character to the images. Photo: Bjørn Joachimsen. (Camera: Horseman L810 8x10 camera. Lens: Fujinon 1:6.3/360mm W. Film: Ilford HP5+ 8x10.)
George Hurrell's iconic glamour photography from Hollywood's golden age remains a masterclass in studio lighting and portraiture. Here’s how you can draw inspiration from his techniques and bring a touch of classic elegance to your own work:
Study His Method. Examine Hurrell's style through books like Hurrell’s Hollywood Portraits and George Hurrell’s Hollywood Glamour Portraits. Compare and contrast different photographers' work from the 1930s to see what made Hurrell's lighting stand out.
Lighting Techniques. Hurrell often used hard light, employing fresnel lamps and metal reflectors to sculpt faces, contrasting with today’s softer lighting preferences. Start with a single light positioned high to create shadows across the face, and use reflectors to highlight details. Embrace shadows as a compositional element to add depth and drama.
Recreate the Classic Three-Point Lighting. Place a strong key light slightly above and to the side of your model, set a backlight behind the model for separation, and add a third light aimed at the background to create depth. Use modifiers like barn doors to control spill light and focus the beam.
Practical Experimentation. Conduct studio sessions in black-and-white to concentrate on form and light. Consider using vintage lenses for softer contrast and character. Utilize tools such as grids and snoots to mimic Hurrell’s dramatic lighting effects.
Styling. Pay attention to costumes, hair, and makeup to complete an authentic vintage glamour look. Collaborate with stylists to craft a polished and period-appropriate appearance.
Personal Interpretation. Use Hurrell's aesthetic as a foundation, but feel free to interpret glamour through a modern lens, incorporating contemporary models, settings, and storytelling to make the images your own.
By embracing and adapting Hurrell’s techniques, you can create compelling images that honor the classic style while expressing your individual artistic vision.
