Ed Lefkowicz photography

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  • Les Ballets Jazz de Montréal at the beginning of Wen Wei Wang's "Night Box", choreographed for Les Ballets Jazz de Montréal.
    EJL-130801-2222.jpg
  • A group of male dancers in female roles hams it up in this performance of Les Ballets Trockadero de Monte Carlo.
    EJL-130627-2603.jpg
  • A well-muscled male dancer en pointe in a female role in Les Ballets Trockadero de Monte Carlo.
    EJL-130627-2561.jpg
  • Siegfreid's friend Benno von Sommerstern and Odette dance as Siegfried looks on. Les Ballets Trockadero de Monte Carlo was founded in the 1970s.
    EJL-130627-2195.jpg
  • At the second intermission in the performace of Les Ballets Trockadero de Monte Carlo, a thunderstorm came through the area, and many in the crowd raised umbrellas and left.
    EJL-130627-2823.jpg
  • A male dancer from Les Ballets Trockadero de Monte Carlo spoofs Fokine's Dying Swan, a role first played by Anna Pavlova in 1905. Feather's fall from his costume as rain starts to fall, and the sudience raises umbrellas, as seen in the shadow on the left.
    EJL-130627-2771.jpg
  • Three dancers from Les Ballets Trockadero de Monte Carlo cut loose.
    EJL-130627-2733.jpg
  • Four male dancers in Les Ballets Trockadero de Monte Carlo on stage at the Prospect Park Bandshell, part of the Celebrate Brooklyn series of performances.
    EJL-130627-2715.jpg
  • A dancer from Les Ballets Trockadero de Monte Carlo in a dramatic leap. The troupe, all males, is very athletic.
    EJL-130627-2521.jpg
  • A dancer from Les Ballets Trockadero de Monte Carlo in a dramatic leap. The troupe, all males, is very athletic.
    EJL-130627-2489.jpg
  • Two dancers from Les Ballets Trockadero de Monte Carlo take the stage after dusk at the Prospect Park bandshell for this performance in the Celebrate Brooklyn series.
    EJL-130627-2413.jpg
  • Siegfried is protective of Odette as Von Rothbart tries to interfere. Odette, as are all the dancers in Les Ballets Trockadero de Monte Carlo, is  played by a man.
    EJL-130627-2087.jpg
  • Two muscular men in tutus pose as part of a performance of Les Ballets Trockadero de Monte Carlo at Celebrate Brooklyn.
    EJL-130627-2665.jpg
  • A dancer from Les Ballets Trockadero de Monte Carlo en pointe. The dancers in the troupe are all males.
    EJL-130627-2475.jpg
  • A large crowd relaxes at the Prospect Park bandshell at the first intermission of the performance of Les Ballets Trockadero de Monte Carlo.
    EJL-130627-2397.jpg
  • Siegfreid and Odette dance as the other swans look on in Les Ballets Trockadero de Monte Carlo's production of Swan Lake, part of Celebrate Brooklyn, in Prospect Park.
    EJL-130627-2141.jpg
  • Siegfreid intimidates Von Rothbart in Les Ballets Trockadero de Monte Carlo production of Swann Lake at Celebrate Brooklyn.
    EJL-130627-2083.jpg
  • A dancer plays Von Rothbart in Les Ballets Trockadero de Monaco production of Tchaikovsky's Swan Lake at Celebrate Brooklyn in Prospect Park.
    EJL-130627-2017.jpg
  • Alexander Hille and Celine Cassone of Les Ballets Jazz de Montréal in Benjamin Millepied's "Closer".
    EJL-130801-2166.jpg
  • Pabo Picasso, Les Desmoiselles d'Avignon, 1907; avec une demoiselle et un homme, MoMA, 2016.
    EJL-160205-1066.jpg
  • Celine Cassone and Alexander Hille of Les Ballets Jazz de Montréal dance in Benjamin Millepied's "Closer". The start of the performance at the outdoor venue was delayed by 30 minutes because of rain.
    EJL-130801-2097.jpg
  • People dying in Barak Marshall's "Harry", performed by Les Ballets Jazz de Montréal.
    EJL-130801-2919.jpg
  • A scene from Swan Lake, with Benno von Sommerstern, Odette, and Prince Siegfried.
    EJL-130627-2329.jpg
  • Siegfried and Odette dance a pas de deux. The males dancing female roles danced en pointe.
    EJL-130627-2375.jpg
  • Prince Siegfried, left, pulls Odette away from the sorcerer  Von Rothbart.
    EJL-130627-2367.jpg
  • Odette, the swan, dances en pointe. The dancers in the troupe, all men, wore tutus for the female roles, but did not shave their chest or armpit hair.
    EJL-130627-2261.jpg
  • Pressing a cord into place with a runner to form the joint between the crown and brim of a straw hat.
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  • Dina "Cha Cha" Pisani wearing a decorated straw top hat, and surrounded by her creations, in her shop.
    EJL-170518-1548.jpg
  • Dina "Cha Cha" Pisani wearing a decorated straw top hat, and surrounded by her creations, in her shop.
    EJL-170518-1558.jpg
  • Fancy hats and fascinators on display.
    EJL-170518-1529.jpg
  • Feathers in jars on a shelf of trimmings.
    EJL-170518-1496.jpg
  • A pheasant wing with its plumage intact hanging on the shop wall.
    EJL-170518-1470.jpg
  • Hand sewing a bow onto the hatband of a straw hat.
    EJL-170518-1412.jpg
  • Shaping a steamed straw hat body over a block.
    EJL-170518-1227.jpg
  • A wooden runner, used to force cords into place to form the joint between the crown and brim, along with a cord and a brush.
    EJL-170518-1214.jpg
  • The sewing machines are mostly old Singers, with cast iron frames and mechanisms of machined metal—still durable, useful and repairable. Stacked on the table are a selection of specialty feet for the machine.
    EJL-170518-1015.jpg
  • Illustrations of headgear from arond the world serve as insiration, along with a Mexican-inspired skull mask.
    EJL-170518-1010.jpg
  • Dancers in Barak Marshall's "Harry".
    EJL-130801-2835.jpg
  • In a twist on Cinderella's glass slipper story, women try to fit their pot lids to a pot carried by the man at the right.
    EJL-130801-2577.jpg
  • The corps de ballet in the role of a Greek chorus in Barak Marshall's "Harry".
    EJL-130801-2487.jpg
  • A foggy scene in "Night Box" by Wen Wei Wang. The set and costumes were in shades of  gray and black.
    EJL-130801-2354.jpg
  • Wen Wei Wang's "Night Box." The set for this piece was dark and foggy, reminiscent of the urban club scene.
    EJL-130801-2281.jpg
  • The lobby of the Museum of Reclaimed Urban Space, housed in a former squat in New York's Alphabet City.
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  • Exhibits in the Museum of Reclaimed Urban Space, housed in a former squat in New York's Alphabet City.
    EJL-180222-1053.jpg
  • Exhibits in the Museum of Reclaimed Urban Space, housed in a former squat in New York's Alphabet City.
    EJL-180222-1051.jpg
  • A balsa head used for trimming hats sits in a window.
    EJL-170518-1514.jpg
  • Trimming the excess from the edge of a straw hat after the edge has been sewn.
    EJL-170518-1479.jpg
  • Sewing the edge of the brim of a straw hat. The edge is rolled over a thick monofilament line to help it keep its shape.
    EJL-170518-1459.jpg
  • Trimming the excess from the brim of a felt hat. The hat bodies are oversized, to allow for varying crown heights and brim widths.
    EJL-170518-1424.jpg
  • Hand sewing the finishing touches on the sweatband of a straw hat. Behind Cha Cha is an old chain-stitch sewing machine with a high arch and a short, narrow free arm, ideal for reaching into the crowns of hats.
    EJL-170518-1339.jpg
  • A collection of hat molds, including blocks for brims and crowns, and risers to make the crowns deeper.
    EJL-170518-1331.jpg
  • A straw hat rests on a stack of wooden hat blocks.
    EJL-170518-1320.jpg
  • A felt hat cooling from being dried in the oven.
    EJL-170518-1317.jpg
  • Tying a block called a tipper in place to hold the crease in the crown of a straw fedora.
    EJL-170518-1284.jpg
  • Shaping the crease on the crown of a straw fedora. Once the shape has been established, a wooden block called a tipper will be tied in place to hold the crease.
    EJL-170518-1254.jpg
  • Pressing a cord into place with a runner to form the joint between the crown and brim of a straw hat.
    EJL-170518-1239.jpg
  • Cords called ropes, with slipknots pre-tied and ready to be used for shaping hang in front of a steam rack with a straw hat body on it.
    EJL-170518-1219.jpg
  • A wooden block made up of brim and crown sections ready for a hat to be shaped over it into a fedora. In the background, a straw hat body is being steamed.
    EJL-170518-1207.jpg
  • Sections of blocks are stacked to form brims and crowns.
    EJL-170518-1199.jpg
  • Sections of blocks are stacked to form brims and crowns.
    EJL-170518-1194.jpg
  • After shaping, the damp hat is placed in an oven to dry.
    EJL-170518-1191.jpg
  • Brushing a felt hat after being shaped and roped, to remove any marks left by shaping.
    EJL-170518-1168.jpg
  • A felt hat on a mold with cords called ropes holding the shapes of the crown and brim.
    EJL-170518-1161.jpg
  • A cord called a rope is cinched around the joint of the crown and brim, and is forced into place with a wooden runner, a tool with a groove cut in its end to fit over the rope and to force it in place.
    EJL-170518-1146.jpg
  • A partially-shaped felt hat over the steam generator, being re-steamed for further shaping.
    EJL-170518-1132.jpg
  • Stretching a just-steamed felt hat body over a wooden block to shape the crown and brim. Many of the block are old, and difficult to replace.
    EJL-170518-1112.jpg
  • A hat body, shaped with only a suggestion of a crown and brim, on a rack over a steam generator, being steamed prior to shaping.
    EJL-170518-1108.jpg
  • Sewing a headband into a straw hat on an old chain-stitch sewing machine with a high open arch and a short, narrow free arm.
    EJL-170518-1050.jpg
  • Ribbons and trim, some on rolls, some leftovers, await use.
    EJL-170518-1011.jpg
  • A straw hat on a block after steaming, with a tipper block pressing the center crease in place. On the left is a rack over a steam generator; hanging from the hat block are cords used to form the fold between the crown and the brim, as well as to shape the edge of the brim.
    EJL-170518-1004.jpg
  • A mural on a biulding on the Lower East Side.
    EJL-150425-1039.jpg
  • A dancer waves a red flag near the end of Barak Marshall's ballet "Harry", which deals with issues of life, death and conflict.
    EJL-130801-2946.jpg
  • A man and a woman struggle in Barak Marshall's ballet "Harry".
    EJL-130801-2884.jpg
  • With a man and a woman at the front of the stage, dancers cross behind and into the fog in Barak Marshall's "Harry".
    EJL-130801-2878.jpg
  • The corps de ballet in Barak Marshall's "Harry", a ballet about  life and its conflicts.
    EJL-130801-2597.jpg
  • The openng of "Harry", by the Israeli-American choreographer Barak Marshall. Music for the piece ranged from Tommy Dorsey to Balkan Beat Box.
    EJL-130801-2471.jpg
  • Most of the audience for The Ballets Jazz de Montréal sat under umbrellas for at least part of the performance, which was delayed by rain.
    EJL-130801-2465.jpg
  • Dancers in Wen Wei Wang's "Night Box."
    EJL-130801-2358.jpg
  • A pas de deux in Wen Wei Wang's "Night Box."
    EJL-130801-2300.jpg
  • Two dancers in Wen Wei Wang's "Night Box", inspired by urban night life.
    EJL-130801-2254.jpg
  • Alexander Hille lifts Celine Cassone in Benjamin Millepeied's "Closer", the first piece of the evening.
    EJL-130801-2127.jpg
  • Removing a trimmed hat from a block.
    EJL-170518-1434.jpg
  • Dancers as chorus in Barak Marshall's "Harry".
    EJL-130801-2864.jpg
  • New York, NY - 6 May 2016. Frieze New York art fair. A man and a woman examine one of a pair of sculptures, titled "Les guérillieres", by Mai-Thu Perret in the David Kordansky Gallery.
    Frieze-Art-Fair-160506-2059.jpg
  • A vendor at Les Cinq Amandes, a confectioner from Stamford, Connecticut.
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