photographic career, she worked at home and abroad for these large publications. When she grew tired of fashion photography and fluctuating between contracts with Vogue and Harper’s Bazaar, she continued her interest in active women and sports and was hired as the first woman on the staff of Sports Illustrated in 1953, and continued to be one of very few female sport photographers for several decades. After 1950, she did freelance work for Life, Look, Vogue, and Sports until her retirement in 1967. In later work she concentrated on photographing women from all walks of life, often as a commentary on the human condition. Her iconic 1944 photograph previously used for book illustration, My Shadow, of a boy with outstretched arms admiring his long shadow on the sea sand, was selected by Edward Steichen for the world-touring exhibition The Family of Man at the Museum of Modern Art in New York, that was seen by 9 million visitors. In 1957 the photograph was used for the cover of a popular psychology text. In 1963 an entire feature in Life magazine was devoted to photographs of 'The Loving Embrace' from across her career. Legacy In 1966 Life magazine paid tribute to her in a page 3 editorial profile headed 'Patrician Photographer of a Vanishing Age'. Frissell died of Alzheimer's disease on April 17, 1988, in a Long Island nursing home. Her husband, Francis M. Bacon 3rd, of Bacon, Stevenson & Company, predeceased her. She was survived by her daughter Sidney, and her son Varick. The collection of her photos in the Library of Congress contains around 340,000 images, and because of its size is not completely available to the public. She and her husband donated her archive of film negatives in 1971. According to the International Center of Photography Frissell's major contribution to fashion photography was her development of the realistic (as opposed to the staged) fashion photograph in the 1930s and 1940s. Like Martin Munkacsi, she mastered the appearance of unselfconscious spontaneity in fashion pictures by working outside and on location with her models. She had a tendency to use uncommon perspectives, which she achieved by placing her camera on a dramatic diagonal axis, and/or using a low point of view and a wide-angle lens against a neutral background, thus creating the illusion of elongated human form. With her preference for close-ups and straightforward, unembellished images of winsome, sportswear-clad models,