Lillian Bassman, Fashion and Fine-Art Photographer, Dies at 94 Damon Winter/The New York Times Lillian Bassman, who moved from fashion to fine art, at her home in Manhattan in 2009. Lillian Bassman, a magazine art director and fashion photographer who achieved renown in the 1940s and "50s with high-contrast, dreamy portraits of sylphlike models, then re-emerged in the "90s as a fine-art photographer after a cache of lost negatives resurfaced, died on Monday at her home in Manhattan. She was 94. Her son, Eric Himmel, confirmed the death. Ms. Bassman entered the world of magazine editing and fashion photography as a protégé of Alexey Brodovitch, the renowned art director of Harper's Bazaar. In late 1945, when the magazine generated a spinoff called Junior Bazaar, aimed at teenage girls, she was asked to be its art director, a title she shared with Mr. Brodovitch, at his insistence. In addition to providing innovative graphic design, Ms. Bassman gave prominent display to future photographic stars like Richard Avedon, Robert Frank and Louis Faurer, whose work whetted her appetite to become a photographer herself. Already, at Harper's Bazaar, she had begun frequenting the darkroom on her lunch hours to develop images by the great fashion photographer George Hoyningen-Huene, using tissues and gauzes to bring selected areas of a picture into focus and applying bleach to manipulate tone. "I was interested in developing a method of printing on my own, even before I took photographs," Ms. Bassman told B&W magazine in 1994. I wanted everything soft edges and cropped. She was interested, she said, in "creating a new kind of vision aside from what the camera saw." When Avedon went off to photograph fashion collections in Paris in 1947, he lent her his studio and an assistant. She continued her self-education and in short order landed an important account with a lingerie company. In its last issue, in May 1948, Junior Bazaar ran a seven-page portfolio of wedding photographs she had taken, titled "Happily Ever After." Ms. Bassman became highly sought after for her expressive portraits of slender, long-necked models advertising lingerie, cosmetics and fabrics. Her lingerie work in particular brought lightness and glamour to an arena previously known for heavy, middle-aged women posing in industrial-strength corsets. "I had a terrific commercial life," Ms. Bassman told The New York Times in 1997. I did everything that could be photographed: children, food, liquor, cigarettes, lingerie, beauty products. Lillian Violet Bassman was born on June 15, 1917, in Brooklyn and grew up in the Bronx. Her parents, Jewish émigrés from Russia, allowed her a bohemian style of life, even letting her move in, at 15, with the man she would later marry, the documentary photographer Paul Himmel. Ms. Bassman studied fabric design at Textile High School, a vocational school in the Chelsea section of Manhattan. After modeling for artists employed by the Works Progress Administration's Federal Art Project and working as a muralist's assistant, she took a night course in fashion illustration at Pratt Institute in Brooklyn. She soon showed her work to Brodovitch, who was impressed. Waiving tuition, he accepted her into his Design Laboratory at the New School for Social Research, where she changed her emphasis from fashion illustration to graphic design. Brodovitch took her on as his unpaid apprentice at Harper's Bazaar in 1941, but desperate to earn money she left to become an assistant to the art director at Elizabeth Arden, whereupon Brodovitch anointed her his first paid assistant. Like her mentor, she was artistically daring. At Junior Bazaar, she experimented with abandon, treating fashion in a bold, graphic style and floating images in space. "One week we decided that we were going to do all green vegetables, so we had the designers make all green clothing, green lipstick, green hair, green everything," she told Print magazine in 2006. Correction: February 16, 2012 An obituary on Tuesday about the fashion photographer Lillian Bassman misidentified the profession that her husband, the documentary photographer Paul Himmel, chose when he changed careers in his late 50s. He became a psychiatric caregiver and then a psychotherapist, not a psychiatrist.