“Lights. Camera. Action.” The New York City based photographer and director, Joey Lawrence has been making a living since the age of 15 as a photographer with a mission. His mission is to spread and inspire creativity throughout the generations, by a push of his finger on his handy Canon EOS 5D whenever the moment is right or “interesting”, as he always says. I chose Joey because of the spunk and confidence he displays with his work and how he gave it his all even at the young age of 15. He has inspired me to go for my dreams even when everyone else finds it too astonishing to be able to come true, and because of that I want to find out more about him and share it with other people to help carry out his mission.
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is an entirely new breed of photographer who brings photojournalism to the fine art arena. The dignity and beauty that he portrays in peoples of rapidly vanishing cultures are incredibly important in getting their message out to the world.” This said by the President of Bowers Museum, Dr. Peter Keller, explains the importance of Joey’s insightful photographs. Lawrence has taken photos in a variety of genres such as entertainment and advertising, to foreign and culture. Almost all of the photos are portraits that grasp the viewer's eye because of a certain strong emotion that’s being portrayed through the stance and expression of the body and face. Light and angle of the light also play a huge role in his photographs. This Canadian born photographer was always mesmerized by foreign places and ideas, which was sparked by the inability to travel when he was younger. This drew him to specialize in, and combine, his love for photography and travel and make a career out of it. By working for so many high end clients such as Canon, Universal, National Geographic, etc. he makes plenty of money to keep traveling the world and learn about cultural diversities and share his passion with the world. Which isn’t even counting his 1% share of the Twilight series
In the movie Edward Scissorhands, a lot of different cinematic techniques are used. This movie mostly focuses on lighting, usually using darker low-key lighting throughout most of the film to create a darker, creepy tone. Low-key lighting is used mostly in scenes with Edward scissorhands in them, not as much with the girl. A good example of these low-key lighting scenes are the beginning ones, when the girl first enters Edward’s castle. The atmosphere inside is dark and creepy, adding to the already mysterious and dark tone of the movie. Another example of a scene with low-key lighting is the very beginning of the credits screen. The words are displayed in white with the rest of the background as a dark and evil setting. This already gives
The movie I was assigned was, In the Heat of the Night starring Sidney Poitier and Rod Steiger. This film took place during the late 1960’s in Mississippi, where Virgil Tibbs, a black Philadelphia homicide detective, is traveling. Upon his travel, he unintentionally gets involved in a murder investigation of a business man. He was first accused of committing this murder when a police officer became suspicious of him. After they determined his innocence’s, he was then asked to help solve the case because of his vast knowledge and experience dealing with homicide crimes. He eventually agreed to help because he knew it was the right thing to do. The process for finding the killer was determined to be difficult, but even more so when Tibbs’s efforts
Peter Lik is a pioneer in landscape photography and is extremely well known. He has spent over 30 years pushing the boundaries of fine art. He has been shooting scenes of Mother Nature his entire life. Born in Melbourne, Australia to hardworking Czech immigrants, he has always appreciated life's beauty and never taken it for granted. Peter's work can be traced back to the essential moment when at 8 years old he received the gift of a Brownie Kodak camera from his parents. This event set him on a course for destiny. Since his first snapshot of a spider web in his family garden, he has wanted to share with people some of the most beautiful places in the world. One of the biggest growing points in his career was when he took on a massive project
As Allen Funt explains in his interview with Philip Zimbardo, Candid Camera hinges on five central ideas: the first being the reversal of normal or anticipated procedures. For this keystone, Funt provides the amusing example, “You pull your car into a gas station for a routine tank of gas and a five-man pit crew emerges and acts like it’s an Indy 500 pit stop.” The second idea is the exposing of basic human weaknesses in scenarios where “people try to hide the fact that they don’t understand something”—like the never-ending oil dipstick or the vertically challenged elevator. The third idea the show caters to is granting people the opportunity to fulfill a fantasy. Says Funt in relation to this idea, “We show people talking back to a traffic
Inspiration The world has many photographers that anyone can look at. You can call me an amateur or say I don’t really understand the art, but when I look at most of the pictures available, and I have looked at thousands lately, I don’t see anything different in the style of photography. I just saw the pictures. I see pictures of beautiful subjects and pictures of ugly subjects. I never really thought about the difference between being the photographer instead of the subject, until I saw Elliott Erwitt.
Larry Clark, an American photographer and filmmaker was born in Tulsa, Oklahoma on January 19, 1943. Being the son of a photographer, Clark was exposed to photography early in life. In 1959 he received his first camera at 15 and started taking pictures for his mother’s baby photography business and began experimenting with drugs with his friends. Between 1963 and 1971, Clark recorded him and his friends’ experimentation with drugs and published Tulsa, shattering the long-held belief that drugs were only used by those in urban communities. But it also received a lot of backlash for its illicit sexual nature. For this Catalog, Clark received a grant from the National Endowment for his next project thus putting on the map as a professional photographer. But his work was delayed for a decade due to his heroin addiction.
"A photograph is not merely a substitute for a glance. It is a sharpened vision. It is the revelation of new and important facts." ("Heilbrunn Timeline of Art History."). Sid Grossman, a Photo League photographer expressed this sentiment, summarizing the role photography had on America in the 1940’s and 50’s. During this era, photojournalism climaxed, causing photographers to join the bandwagon or react against it. The question of whether photography can be art was settled a long time ago. Most major museums now have photography departments, and the photographs procure pretty hefty prices. The question of whether photojournalism or documentary photography can be art is now the question at hand. Art collectors are constantly looking to be surprised; today they are excited by images first seen in last week’s newspapers as photojournalism revels in the new status as art “du jour” or “reportage art”.
The motion picture Belly explores the ghetto and the characters that live in this dark and obscure world of violence and criminal behavior. Tommy or "Bunz", and Sincere, who both live in New York, have differing views of criminal life. Bunz lives a mixed up, drug-run lifestyle, while Sincere aspires to be a law-abiding family man. To help the audience get the full effect of evilness portrayed by the character, the scenes are very dark and gloomy. There are, however, lighter scenes in which the good heart of one man is represented. The lighting in Belly helps with the characterization within the movie. One character is shown as a dark figure, and one as an almost holy figure, plus disillusionment is brought out nicely through lighting effects.
I wish to take this opportunity to introduce myself. My name is Jack Miller, a photographer by profession. Ever since my youthful years, I have had this growing obsession with shooting and sharing photography works and I have over time worked on it day and night for perfection. I have spent enough time, effort and all necessary resources to enhance my skills in this area to ensure that I not only deliver quality work but that I also present you unique, dazzling and magical shoots that surpass your expectations.
One of the greatest portrait photographers of all time Yousuf karsh (1908-2002) captured not only the images of hundreds of the 20th century’s most memorable leaders and celebrities but also the faces of thousands of ordinary men and women whose lives formed the backbone of Canadian society. Karsh has taken photographs that tell a story, and that are more easily understood than many others. Each of his portraits tells you all about the subject. He felt as though there was a secret hidden behind each woman and man he photographed. Whether he captured a gleaming eye or a gesture done totally unconsciously, Karsh portraits communicate with people. Yousuf Karsh, who died at the age of 93 in July of 2002, left a priceless legacy to Canada-his adopted homeland for nearly almost eight decades. Before his death, Karsh sold or donated all of his 355,000 photos to Canada’s National Archives in Ottawa. Many of his portraits are now considered to be some of the best masterpieces in the history of photography.
However, in stark contrast to The General, other films were being made around the world that did not follow a simple Hollywood structure, but rather were more experimental with what a movie could be. Man With a Movie Camera (1929), a very ahead of its time, utilized a completely different style of filmmaking that resonated strongly with the ideals of the Soviet Union. Thus, Man With a Movie Camera sought out to make the everyday people of the Soviet Union the stars of the film. This idea was completely revolutionary as well, and almost by necessity, introduced a new style of editing to fit the story—or rather the documentation—that director Dziga Vertov was trying to tell.
As part of the F64 club, he and his fellow practitioners were dedicated to their style of ‘Straight photography’. They had a passionate commitment to the lens
I chose to describe Jacob Lawrence because of the theme of relatable characteristics that each painting that I reviewed to brought to my remembrance For example the Barber Shop rendering from Jacobs spun my thoughts back to the simpler times of my youth. I would spend hours at the barbershop listening to all the stories and news of the day. Many of relatives had paintings similar to Lawrence’s style and looking over Mr. Lawrence’s work has a certain familiarity that I find comforting. Additionally, his attention to color, pattern and his detail research prior to producing a painting, certainly peaked my interest in becoming more familiar with the man and his works. His works were more recently viewed at Memphis Brooks Museum of Art, Nebraska at Sheldon Memorial Art Gallery, and Museum of Modern Art (Phillips Collection)
Photojournalism plays a critical role in the way we capture and understand the reality of a particular moment in time. As a way of documenting history, the ability to create meaning through images contributes to a transparent media through exacting the truth of a moment. By capturing the surreal world and presenting it in a narrative that is relatable to its audience, allows the image to create a fair and accurate representation of reality.
”‘Manufactured’ or staged photography does not concern me. And if I make a judgment it can only be on a psychological or sociological level. There are those that take photographs arranged beforehand and those who go out to discover the image and seize it. For me the camera is a sketchbook, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. In order to ‘give a meaning’ to the world, one has to feel oneself involved in what one frames through the viewfinder. This attitude requires concentration, a discipline of mind, and a sense of