This Time, by New York--based photographer Yana Toyber, explores the concept of time and its connection with nature. Shot with instant Polaroid film from the Impossible Project, the three-year-long project includes portraits, environmental landscapes, nudes and nostalgic still-life moments.

Aerial photographs and tourist attractions of Bristol, England, (Great Britain) United Kingdom taken on 5 August 2011 (Front Cover view of the Floating Harbour, Bristol City Centre looking in a south-easterly direction.) Tourist Attractions Ashton Court Estate Country Park and Mansion (850 acres of woodland and grassland offers ballooning, the International Bristol Balloon Fiesta, International Kite Festival, deer park, golf courses, horse riding, market, miniature railway, mountain biking, orienteering and 5 kilometre runs around the estate) pages 12-16] Avon Gorge (rises about 100 metres above the tidal River Avon is a Site of Special Scientific Interest SSSI] part of which is a National Nature Reserve. Natural cliffs and quarry exposures showing complete local succession of Carboniferous limestone make it a historic geological site with rock screes, scrub, pockets of grassland and adjacent woodland supporting an exceptional number of nationally rare and scarce plant species. The ground-cover flora is extremely diverse. Unique to the Gorge are Bristol Rock-cress Arabis stricta and two Whitebeams: Sorbus bristoliensis and S. wilmottiana. ) page 3] Bristol Cathedral has most likely been located at its site for over a thousand years and is a major example of a hall church in the UK. It originated in the Augustine Abbey dedicated to St Augustine the Great and founded in 1140 by Robert FitzHarding, a wealthy merchant, Provost of Bristol and Lord of Berkeley. The Chapter House is Norman and the Choir Medieval with many interesting carvings. page 3] Cabot Tower on the parkland of Brandon Hill is a 105ft tower built in 1897 to commemorate John Cabot's famous voyage four hundred years earlier) page 4] Outdoor Amphitheatre on the Harbourside hosts the annual Bristol Festival for a wide range of talent, cuisine and exhibitions and is popular for skateboarders and BMX riders. page 3] Peros Bridge, (a footbridge named after Pero Jones approx.1753 - 1798] the slave of John Pinney 1740-1818, ] plantation owner on the Caribbean island of Nevis and sugar merchant based in Bristol after 1784. The Trans-Atlantic Slave Trade was of crucial importance both economically and socially to Bristol) page 3] Isambard Kingdom Brunel's Victorian engineering masterpieces: The SS Great Britain (on display in the original Great Western Dockyard where she was first built and launched in 1843 as the largest ship in the world which was also the first screw-propelled, ocean-going, iron-hulled steam ship) page 3] The Clifton Suspension Bridge (originally designed by Brunel but sadly abandoned due to a lack of funds and not completed until 1864, after his death) page 2] The Great Western Railway (GWR) (of which Brunel was Chief Engineer at 27 years of age and Bristol Temple Meads Station) page 3] and St. Mary's Redcliffe Church (described as the fairest, goodliest and most famous parish church in England by Queen Elizabeth 1st) page 5] The Floating Harbour (designed in 1802 by William Jessop a famous civil engineer, it opened in 1809 as a non-tidal harbour and help secure for two centuries Bristol's growth as a commercial port. Closed in 1975 it was then regenerated for leisure, commerce and residences) pages 3-8] The Matthew (a replica of the wooden caravel ship that John Cabot sailed in from Bristol when he landed in Newfoundland, North America in 1497) Although some authorities regard Cabot's landing as discovering North America, there is clear evidence that the Vikings had much earlier landed in Labrador. page 4] The Wills Memorial Tower of Bristol University (Commissioned in 1912 by George Alfred Wills and Henry Herbert Wills, of the Bristol tobacco company, W. D. and H. O. Wills. The building is a memorial to their father, Henry Overton Wills III, who was the first Chancellor of Bristol University. At 215 feet it was designed by George Herbert Oatley, constructed from Bath and Clipsham stone and opened by King George V in 1925.) pa

Discover the world's greatest record-breaking feats, stunts and tricks in this interactive celebration. YouTube is the world's most-visited video sharing site, where more than 1 billion hours of content are viewed every day. It's packed with seemingly endless amazing clips, many documenting incredible feats of human endeavour and endurance. YouTube World Records 2022 is the original and best interactive celebration of these heroic and often jaw-dropping efforts. Super-powered with on-the-page QR code links to more than 250 amazing videos, YouTube World Records 2022 showcases the greatest feats ever recorded on the internet. From the tallest and smallest to the greatest and maddest, this sensational collection covers music, sport, technology and everything in between - including pancake tossing. fiery-hot pepper eating, mega-quick drumming and unbelievable basketball slam-dunks. Vibrantly illustrated and incredibly entertaining, this is the ultimate celebration of the world's greatest records.

Bachelor Thesis from the year 2013 in the subject Art - Photography and Film, grade: 78 % = 1, University of Westminster (Department of Media, Arts and Design), course: Photography Dissertation, language: English, abstract: "The strongest of Richter's effects of withdrawing the work from the viewer's gaze, is the creation of a softening blur as the final touch to all his Photo Paintings. Making the paintings, the artist firstly drafts his subject with a normally sized brush to create a "sharp" image (Fig.3). Having finished, he would come with a broader brush or a squeegee and blur the still wet oil paint (Fig. 4) to create the photographic effect of an out-of-focus image1. The blur in these paintings is not a trace of movement of the object in the photograph. This blur is an addition to the painting that does not relate to a form of haziness in the specific photographic source image, but to the general idea of vagueness, indecisiveness, anti-definition. Therefore, it mirrors the artist's attitudes towards life in an especially expressive way. The enlargement of the usual distance between what is depicted and the viewer are the basis of this effect. At first on a quite literal level: Richter introduces another layer of depiction in these paintings by creating the depiction of a depiction of an object. This places the object of the painting further away than usual from its maker and us as viewers (Butin, 2010). Secondly, on the level of reception: an image that stays "out-of-focus" from whichever distance we look at it rejects us, and refuses to communicate. This typical caginess of Richter's paintings, the exclusion of the recipient whom they are made for, is a striking effect in the encounter with these images. The analysis of the antithetic emotional effects of this simple but fascinating painterly technique is the theme of this essay."

Published to accompany a landmark exhibition on view at the J. Paul Getty Museum from March 15 through June 18, 2008, California Video presents the first comprehensive survey of the history of video art in California. Since the late 1960s, California artists have been at the forefront of an international movement that has expanded video into the realm of fine art. Whether designing complex video installations, devising lush projections, experimenting with electronic psychedelia, creating conceptual and performance art, generating guerilla video, or producing works that promote feminism and other social issues, these artists have utilized video technology to express revolutionary ideas. This illustrated volume focuses on fifty-eight artists, from early video pioneers such as John Baldessari, Bruce Nauman, and William Wegman, to Martha Rosler, Diana Thater, Bill Viola, and other established and emerging talents. Thirty-five recent interviews shed new light on these artists--their influences, creative processes, and impact. Together with commissioned essays, rare reprints, and unpublished video transcripts, California Video chronicles a distinctly West Coast aesthetic located within the broader history of video art.

Learn to edit your videos using Pinnacle Studio 17 Plus and Ultimate. This book works as both a set of tutorials and a manual, with comprehensive Contents and Index sections. It shows you how to get the best out of the program, suggests workflows and provides troubleshooting techniques. Beginning with some basic principles, you can then get started with the sample footage that comes with the program. Learn the basics of editing and how to use audio and multiple tracks. Studio's Smart editing rules are then explained. For more advanced techniques, download raw material (or have it sent to you on DVD) and make projects that teach you to harness the full power of multi-track editing, transitions and effects. Subjects covered include working with photos, keyframing, creating titles and menus, Importing and Exporting and the all-important subject of keeping your complex movies in sync as you edit. Developed with feedback from three previous books in the series, the text and illustrations have been fully revised for Studio 17 Plus and Ultimate users.

This book is for every still photographer who is thinking of shooting video and motion. Whether you want to shoot a simple "how to" video or a feature length documentary, this book will help you break down the facets and business of video production. Some topics include: How to think and shoot in motion. The importance of good audio. Getting great interviews. The integral parts of video production. Copyright and Work for Hire Talent and insurance ramifications. Structuring your business. Collaboration and building a crew. Estimating and the S.O.W. Commissioned work vs. self-initiated projects Crowd funding, social media and building an audience. Film festivals. Monetization and distribution. This book will provide a starting point for getting into video production and motion. It not only gives you some valuable tips but points out some of the pitfalls and mistakes that still photographers have made when venturing into video. Some books and workshops provide you with the "how to's" as far as what gear to get and how to use it. This book provides working knowledge about the business of video production so that you won't make the mistakes that will put you out of business before you've even begun.

This book and course provides an introductory demonstration of how green screen special effects work. After a basic demonstration is introduced, then the next level of complexity is added to show more capability for green screen. Additional resources and ways to find them online are provided so that you can utilize the tools that best fit your goals. The approach described here is intended to start off initially as basic to give an understanding and clear picture of how green screen special effects work. Use this as the knowledge foundation stepping stone toward your true goals. This book provides freely available resources. For higher levels of capabilities, resources are available, and at a reasonable cost.

Essay from the year 2010 in the subject Art - Photography and Film, grade: -, University of Westminster, language: English, abstract: Photography has played various roles in the African American Post-War Civil Rights Movement. Besides its extraordinary coverage of the contemporary Jazz scene and the historical documentation of the segregated South (Kasher, 1996), it had in particular a remarkable political function. Photography and television have given the Civil Rights fighters a voice which could not be ignored in Post-War America; by showing the struggle in all its unjust cruelty they confronted the national and international community with the shocking reality. People got motivated to express their sympathy for the demonstrators and the number of Movement supporters grew rapidly. Thereby, the most significant stream of followers arose only after the news media had shown images of unexpected outrage, making the relationship obvious (Streitmatter, 2008). In general, media do not only have a significant impact on public opinion but also contribute greatly to the success of humanitarian organisations. Often their influence even exceeds the possibilities available to politicians. This arises from the news media being the only source of information consumers get about developments further afield, making the success of civil rights movements highly dependent on their image given by press and television (International Council on Human Rights Policy, 2002). As one of these movements, the struggle for desegregation in America is the most thoroughly documented social conflict to date (Kasher, 1996). The tabloid Life, which can be seen as the national newspaper at the time (Shepherd, 1997), was reaching even more people than the new medium of television. For this reason, the magazine's understanding of the events, which was expressed by its presentation of images of the iconography of war - uniformed troopers, weaponed assaults, the wounded, state funerals - was spread w

Shot Psychology is an introductory body of knowledge that filmmakers can use to enhance the expressive power of their work. It was written by a filmmaker for filmmakers and students. The book reviews over 300 filmmaking techniques and concepts with their associated effects and organizes them in an easy-to-access reference guide. It is meant to be an encyclopedia of meaning for filmmaking. The book is written in a clear and concise way and contains valuable and original insights on the art and craft of filmmaking. The true innovation of the book is the Master List, which could stand on its own as a separate book. It takes over 550 effects, then directly references the techniques that help create those effects. In this way, you can quickly look up the effect you are trying to create, then easily find the associated techniques. For example, if you want to create the effect of anxiety, you would look it up in the Master List and find that there are 20 techniques suggested for your possible use in creating or emphasizing anxiety. And if you have a question or do not understand how the technique relates to the effect, you can learn more about the technique in the Reference section.

This classic anthology provides essential models for analyzing sound stylistics through the detailed study of critical sound films. Elisabeth Weis and John Belton carefully curate major essays from the world's most respected film historians, aestheticians, and theorists, including Douglas Gomery, Barry Salt, Rick Altman, Mary Ann Doane, S. M. Eisenstein, V. I. Pudovkin, Ren? Clair, B?la Bel?zs, Siegfried Kracauer, Christian Metz, David Bordwell, Kristin Thompson, No?l Burch, and Arthur Knight. Their selections recount the innovations and triumphs of Ernst Lubitsch, Fritz Lang, Orson Welles, Alfred Hitchcock, Rouben Mamoulian, Dziga Vertov, Robert Bresson, Jean-Luc Godard, Robert Altman, and Francis Ford Coppola, among many others, and explicate the techniques and practices of sound filmmaking from initial recordings to final theater playback. Film Sound is the ideal companion for anyone seeking both a comprehensive introduction to the form and a rich survey of its historical and global evolution.

Combine a technological marvel, the natural beauty of Cape Cod, and a renegade drone pilot who finds art everywhere he looks, and the result is a photographic collection that's dramatic and sometimes dizzying. The culmination of three years of drone pilot Chris Gibbs's aerial journeys across one of the most striking land masses in North America, more than 150 select images capture the essence of what draws travelers from all over the world to Cape Cod: wildlife and weather, boats and beaches, famous landmarks and hidden gems. With their ability to hover at low altitudes and capture previously unseen subjects, drones explode conventional photographic limitations on perspective and composition. The mesmerizing colors and abstracted landscape and tidal patterns offer us an intimate view of this cherished national treasure.

WALERIAN BOROWCZYK: THE BEAST

Walerian Borowczyk (known as 'Boro') is one of cinema's one-offs. Quite simply, there is no filmmaker quite like Borowczyk. Borowczyk's films have an astonishing, magical quality. They reach a place very rare in contemporary cinema, and are quite unlike the films of any other auteur. Borowczyk's movies create their own space, with imagery, sounds and music of a really exceptional power.

The appendices include a note on fairy tales, and on other versions of Beauty and the Beast (including the Jean Cocteau movie, and the 1991 Walt Disney musical movie).

Fully illustrated, with stills from The Beast, and Walerian Borowczyk's movies, plus influences, a bibliography, filmography, appendices, quotes from Borowczyk and notes. 168pp.

www.crmoon.com

La Bete (a.k.a. The Beast, The Beast in Heat and Death's Ecstasy, 1975) was Walerian Borowczyk's most controversial lm, a mixture of French farce, surrealism, and a lot of sex (including bestiality). The story of La Bete involves an American heiress Lucy Broadhurst (Lisbeth Hummel) being brought to a French chateau with her aunt Virginia (Elisabeth Kaza) by the scheming owners (in particular the marquis, Pierre de l'Esperance played by Guy Trejan]), who need to marry her to the earthy, degenerate (and somewhat backward) son of the family Mathurin (Pierre Benedetti) in order to circumvent a will which'll keep the family home intact.

That's the framing story, about grasping aristocrats, decadent morality, degenerate priests and sexually repressed young women. This part of the lm's set in the 20th century, though it's not the conventional modern, urban world of most movies. La Bete takes place exclusively at the French chateau and its grounds (the lm is in French, but there is English dialogue - Virginia, Lucy and their chauffeur speak English).

AUTHOR'S NOTE: This book is expanded from my book on Walerian Borowczyk. The book includes an introduction relating Borowczyk to many other filmmakers and movies, from the European art movie tradition, but also the horror genre, and animation; an assessment the critical reception of Borowczyk, and the current perception of Borowczyk as a director. There are many illustrations (some of which are rare). And it contains a useful bibliography and list of sources.

The aim is to offer an introduction the extraordinary 1975 movie The Beast, in a clearly written in an entertaining style, which I hope will encourage the reader to seek out some of Borowczyk's strange, lyrical, hallucinatory and erotic movies. I hope my book will offer some fresh insights into Borowcyk and The Beast.

In Imprisoned in a Luminous Glare , Leigh Raiford argues that over the past one hundred years activists in the black freedom struggle have used photographic imagery both to gain political recognition and to develop a different visual vocabulary about black lives. Raiford analyzes why activists chose photography over other media, explores the doubts some individuals had about the strategies, and shows how photography became an increasingly effective, if complex, tool in representing black political interests. Offering readings of the use of photography in the antilynching movement, the civil rights movement, and the black power movement, Raiford focuses on key transformations in technology, society, and politics to understand the evolution of photography's deployment in capturing white oppression, black resistance, and African American life. By putting photography at the center of the long African American freedom struggle, Raiford also explores how the recirculation of these indelible images in political campaigns and art exhibits both adds to and complicates our memory of the events. |Over the past one hundred years, Raiford argues, activists in the black freedom struggle have used photographic imagery both to gain political recognition and to develop a different visual vocabulary about black lives. Offering readings of the use of photography in the antilynching movement, the civil rights movement, and the black power movement, Raiford focuses on key transformations in technology, society, and politics to understand the evolution of photography's deployment in capturing white oppression, black resistance, and African American life.

This extraordinary handbook was inspired by the distinctive concerns of anthropologists and others who film people in the field. The authors cover the practical, technical, and theoretical aspects of filming, from fundraising to exhibition, in lucid and complete detail--information never before assembled in one place. The first section discusses filmmaking styles and the assumptions that frequently hide unacknowledged behind them, as well as the practical and ethical issues involved in moving from fieldwork to filmmaking. The second section concisely and clearly explains the technical aspects, including how to select and use equipment, how to shoot film and video, and the reasons for choosing one or the other, and how to record sound. Finally, the third section outlines the entire process of filmmaking: preproduction, production, postproduction, and distribution. Filled with useful illustrations and covering documentary and ethnographic filmmaking of all kinds, Cross-Cultural Filmmaking will be as essential to the anthropologist or independent documentarian on location as to the student in the classroom.

Doctoral Thesis / Dissertation from the year 2008 in the subject Art - Photography and Film, grade: cum laude, University of Edinburgh, language: English, abstract: Photomontage has more to do with film than with any other art form - they have in common the technique of montage. (Sergei Tretyakov) By considering that photomontage and film use the technique of cutting and gluing as dominant artistic device, and that montage, a technique unifying art and technology for the first time, emerged as a dominant artistic feature of the avant-garde, this thesis will explore the ideological and perceptual implications of its advent in avant-garde art and film. The technological advances of the beginning of the twentieth century, and particularly the advent of photography, allowed avant-garde artists to break free from traditional concepts of artistic production - they dispensed with the old criteria of uniqueness, originality, handicraft and personal style. At a time when many avant-garde artists abruptly ceased to paint, photomontage emerged as the privileged locus for a caesura with traditional art forms. Photomontage envisioned film aesthetics insofar as it combines and juxtaposes images of various perspectival planes and angles (Raoul Hausmann described his early photomontages as "motionless moving pictures"). A corresponding observation can be made on the use of montage in cinema, a technique which crucially underpins the illusion of movement created through the succession of photographic stills. The present thesis will investigate photomontage and film in order to examine the effect technological reproduction played in revolutionising artistic production, perception and ideology - where the technique and philosophy of montage was key.

Two photographers were in the right place at the right time. While Denali National Park is often smothered with clouds and drenched with rain in August, a climatological anomaly placed a narrow ridge of dry warm air across the state of Alaska, bringing clear, mist-free air to the mountains. On a flight-seeing tour of a lifetime, Mary Linda Miller and Carmelo Monti captured in an hour sunlit views that might otherwise require numerous trips to see. From the Talkeetna River to Mount McKinley, with two cameras facing in opposite directions, their images reveal vast expanses of boreal forest, marshes, streams and lakes; glaciers of every size and shape, from origins to terminus; and worn-smooth foothills rising to the crescendo of the tallest snowcapped peaks in North America. "An Hour Over Denali" contains a collection of 75 time-stamped aerial photographs taken on August 11, 2011 during a flight-seeing tour over Denali National Park and Denali State Park; an introduction that describes the process in greater detail; a map that defines the flight-seeing route; and descriptions of the photos that tie them to their locations.

In The Guerrilla Guide to Moviemaking, C.R. Bell's twenty years experience as a cinematographer merge with his delightful cartooning style and clear prose, providing a valuable guide to educators and the self-taught alike, offering unique bite-sized lessons to help beginning filmmakers develop the skill, the vocabulary and an affordable toolkit for better filmmaking. With an emphasis on inexpensive alternatives to traditional high-priced lighting and grip equipment, Bell's delightfully hilarious sketches make the filmmaking process simple to understand and easy to apply, including some of the trickiest technical aspects of planning, setting up camera angles, shooting, lighting, editing and sound. His cleverly conceived illustrations make these lessons memorable, and include practical tips that anyone can apply to elevate the quality of their films.