Posts tagged with “photography”

Posted 1 year ago
stayforthecredits:

Google has celebrated the 182nd anniversary of the birth of Eadweard J Muybridge, the British photographer, by creating a “doodle” based on his ground-breaking 19th-century images of racehorses.
The animated graphic celebrates Muybridge’s “The Horse in Motion”, a film strip-style collection of shots created using 24 cameras which capture the running habits of racehorses owned by Leland Stanford, a Californian businessman and animal breeder. Stanford had wanted to know if galloping horses had all four legs off the ground, as previously portrayed by painters, and engaged Muybridge in an attempt to find out.
The photographs, taken in 1872 and regarded as one of the earliest forms of videography, demonstrated that all four legs often did leave the ground. However, they were not as artists had depicted them, with the legs stretched out fore and aft, but with the four legs tucked up under the horse.
Born in Kingston-upon-Thames on 9 April 1830, Muybridge later emigrated to the US and worked in the publishing sector before returning to England for a few years. While recuperating after a stagecoach accident that took place in the US, he became deeply interested in photography.
In the mid-1860s, he began to focus on landscape and architectural subjects, before producing the photographs of Yosemite National Park that established his reputation.
In 1874 Muybridge was prosecuted for and acquitted of the murder of his wife’s lover, a San Francisco Post drama critic. Muybridge’s lawyer entered a plea of insanity, although the jury actually found that the killing was a justifiable homicide under “unwritten law”.
He went on to use banks of cameras to photograph people and animals to study their movement and worked under the auspices of the University of Pennsylvania. He eventually returned to the UK, where he died of a heart attack in May 1904 after publishing the last in a series of popular books based on his images and research. (via Eadweard J Muybridge celebrated in a Google doodle | Technology | guardian.co.uk)

stayforthecredits:

Google has celebrated the 182nd anniversary of the birth of Eadweard J Muybridge, the British photographer, by creating a “doodle” based on his ground-breaking 19th-century images of racehorses.

The animated graphic celebrates Muybridge’s “The Horse in Motion”, a film strip-style collection of shots created using 24 cameras which capture the running habits of racehorses owned by Leland Stanford, a Californian businessman and animal breeder. Stanford had wanted to know if galloping horses had all four legs off the ground, as previously portrayed by painters, and engaged Muybridge in an attempt to find out.

The photographs, taken in 1872 and regarded as one of the earliest forms of videography, demonstrated that all four legs often did leave the ground. However, they were not as artists had depicted them, with the legs stretched out fore and aft, but with the four legs tucked up under the horse.

Born in Kingston-upon-Thames on 9 April 1830, Muybridge later emigrated to the US and worked in the publishing sector before returning to England for a few years. While recuperating after a stagecoach accident that took place in the US, he became deeply interested in photography.

In the mid-1860s, he began to focus on landscape and architectural subjects, before producing the photographs of Yosemite National Park that established his reputation.

In 1874 Muybridge was prosecuted for and acquitted of the murder of his wife’s lover, a San Francisco Post drama critic. Muybridge’s lawyer entered a plea of insanity, although the jury actually found that the killing was a justifiable homicide under “unwritten law”.

He went on to use banks of cameras to photograph people and animals to study their movement and worked under the auspices of the University of Pennsylvania. He eventually returned to the UK, where he died of a heart attack in May 1904 after publishing the last in a series of popular books based on his images and research. (via Eadweard J Muybridge celebrated in a Google doodle | Technology | guardian.co.uk)

Posted 1 year ago

Sunrise at Pukenui before travelling to Cape Reinga. We had breakfast in cafe that played Bruce Springsteen’s Greatest Hits. Because that’s how NZ rolls, with a Byronic seal of approval.

Posted 1 year ago

livelymorgue:

Oct. 7, 1956: Yogi Berra’s hands were the focus of an article titled “Hands of Catchers Take Battering,” published five days after the photo was taken. “These catchers’ hands will win no beauty prize,” the reporter wrote, “but as functional implements they rate special awards.” Photo: The New York Times  

Posted 1 year ago

Throughout the mid to late 1970s and upwards, Hiroshi Sugimoto packed up a folding 4x5 camera & tripod, surreptitiously entered matinees (and, one can only presume, evening film events) and documented the interior of movie theatres across the United States. He would open the shutter just before the ‘first light’ hit the screen and close it after the credits finished rolling and before the house lights came on. Using this method he was able to invert the subject/object relationship of the movie theatre and use the film itself to illuminate the proscenium and interior. This content, largely unaddressed critically, is what lends the images their incredible power — along wtih the natural fascination of being made privy to the photography’s divine birthright — allowing us to see the normally invisible, to experience a finite collapse of time.

(Source: forestmilk)

Posted 1 year ago

newyorker:

From the Film Set of “Coriolanus”

This week Anthony Lane reviews Ralph Fiennes’s film adaption of Shakespeare’s “Coriolanus.” The photographer Kalpesh Lathigra took the production as an opportunity to shoot two different projects—although, he admitted, he hadn’t read the play. “Julius Caesar was my Shakespeare,” he told me. The first project, was a more conventional series of production stills. The second was a series of large-format photographs, shot with a 5x4 camera, “where the actors are not the prominent players on stage but merely part of the wider tableaux of the set,” Lathigra said.

- For more of Lathigra’s photographs from the set: http://nyr.kr/wjW7fK
Posted 1 year ago
Posted 1 year ago

directingfilm:

“In 1977, on my wedding ceremony in Moscow Tarkovsky appeared with a Polaroid camera. He had just shortly discovered this instrument and used it with great pleasure among us. He and Antonioni were my wedding witnesses. According to the custom of the period they had to choose the music played during the signing of the wedding documents. They chose the “Blue Danube”.

At that time Antonioni also often used a Polaroid camera. I remember that in the course of a field survey in Usbekistan where we wanted to shoot a film – but finally did not do it – he gave to three elderly Muslims the pictures he had taken of them. The eldest one as soon as he took a glance at the photos, immediately returned them with these words: “What is it good for, to stop the time?” This unusual refusal was so unexpected that it took us by surprise and we could not reply anything.

Tarkovsky thought a lot about the “flight” of time and wanted to do only one thing: to stop it – even if only for a moment, on the pictures of the Polaroid camera.”

Tonino Guerra (via coisas do arco da velha: as polaroids de Tarkovsky)

Posted 1 year ago
Posted 1 year ago

Christopher Hitchens photographed by Angela Gorgas 

POSTSCRIPT: Christopher Hitchens 1949-2011 by Christopher Buckley, The New Yorker

Two fragments come to mind. The first is from “Brideshead Revisited,” a book Christopher loved and which he could practically quote in its entirety. Anthony Blanche, the exotic, outrageous aesthete, is sent down from Oxford. Charles Ryder, the book’s narrator, mourns: “Anthony Blanche had taken something away with him when he went; he had locked a door and hung the key on his chain; and all his friends, among whom he had been a stranger, needed him now.”

Christopher was never a “stranger to his friends”—ça va sans dire, as he would say. Among his prodigal talents, perhaps his greatest was his gift of friendship. Christopher’s inner circle, Martin, Ian McEwan, Salman Rushdie, James Fenton, Julian Barnes, comprise more or less the greatest writers in the English language. That’s some posse.

But in leaving them—and the rest of us—for “the undiscovered country” (he could recite more or less all of “Hamlet,” too) Christopher has taken something away with him, and his friends, in whose company I am so very grateful to have been, will need him now. We are now, finally, without a Hitch.

The other bit is from Houseman, and though it’s from a poem that Christopher and I recited back and forth at each other across the tables at Café Milano, I hesitate to quote it here. I see him wincing at my deplorable propensity for “crowd-pleasing.” But I’m going to quote it anyway, doubting as I do that he would chafe at my trying to mine what consolation I can over the loss of my beloved athlete, who died so young.

Smart lad to slip betimes away
From fields where glory does not stay,
And early though the laurel grows
It withers quicker than the rose.