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Never mind it being a long way to the top if you want to rock'n'roll, it's a long enough journey just making it to first base.

Even then it's all hailstones and knock-backs, and "love your stuff but don't call us, we'll call you".

The next day Dietrich arrived, took out her magnifying glass and scoured the proofs, circling with eyeliner pencil the areas she wanted darkened or lightened. He simply replied, "Mr Lucas, it means you're on the road to success." And he was: the result of the session was a seminal five-shot series of photographs which made Lucas the most sought-after portrait-maker of the stars.

He became the photographer of choice for the British Film Industry, creating defining portraits of the leading film stars of the era, all captured in his trademark film-noir chic.

With the introduction of digital cameras the demand for Lucas's painstaking photography declined and he decided to give up.

"They have ruined celebrity prints," he mused, "because photographers take up to 500 pictures at a sitting, but few are any good." Lucas's work has been shown at major exhibitions in London and New York, and examples are held in the permanent collections of the National Portrait Gallery and the Victoria and Albert Museum.

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While there, he had a chance encounter with Cecil Beaton, who advised him against the photographic business, claiming it was "too difficult, too much competition. When they met 10 years later on set at Pinewood Studios, Lucas having ignored his advice, Beaton said, "I knew you would, you silly boy! The Dietrich photographs and further success as a portrait and stills photographer throughout the late 1940s led the Rank Organisation to recruit Lucas to run a specially created studio at Pinewood to photograph the more than 50 stars they had under contract.

I hope this relationship will be as beautiful as Caro deserves and I’m happy to add it to my WTA Players and their Love Partners page.

Cornel Lucas was widely regarded as one of the world's pioneers of film portraiture during the 1940s and 1950s, photographing the great and the good from both sides of the pond, in London and on film locations all over the world.

In the second case study of this excellent four-part series, Belinda Lee Reid tries hard to regain some traction in the pop music business after the short-lived success of all-girl group Lash.

They enjoyed hits such as a few years ago but suffered from a chronic image problem.