Through the Centuries, New York From Above – NYTimes.com

Through the Centuries, New York From Above – NYTimes.com

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Where do we go from here?

Where do we go from here?

“Can the media in the United States, as well as media outlets throughout the world, continue to help provide a coherent, society-wide, fact-based framework to understand and debate the meaning of contemporary issues and events? Or, in this “post-factual” era, transfixed by the emergence of an energized social media, is the role of the journalist increasingly irrelevant? And if so, does it need to be reinvented?”

Klaus Pichler on his approach to post production, the first in a special new series on the subject – British Journal of Photography

Klaus Pichler on his approach to post production, the first in a special new series on the subject – British Journal of Photography

Video: A Simple Visual Explanation of Shutter Speed, Aperture, and ISO

Video: A Simple Visual Explanation of Shutter Speed, Aperture, and ISO

The Evolution of Pedro Almodóvar – The New Yorker

The Evolution of Pedro Almodóvar – The New Yorker

A Life Revealed

A Life Revealed

“The young Afghan refugee who stared from the cover of National Geographic in June 1985 was an enigma for 17 years. What was her name? Had she survived? Photographer Steve McCurry joined a crew from National Geographic Television & Film to methodically search for her. They showed her photograph around the refugee camp in Pakistan where McCurry had encountered her as a schoolgirl in December 1984. Finally, after some false leads, a man who had also lived in the camp as a child recognized her. Yes, she was alive. She had left the camp many years before and was living in the mountainous Tora Bora region of Afghanistan. He said he could find her, and three days later he and a friend brought her back to the camp. There, the remarkable story of this woman, Sharbat Gula, began to be told.”

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Film Blocking and Composition

Film Blocking and Composition

“If you have tried your hand at directing, you have most likely found yourself in the same predicament that filmmakers have been facing since the dawn of cinema. Where do I put the camera and how will my actors move through the scene? Although it is integral to a director’s skillset to tell a story, I am always amazed at how few filmmakers truly understand great blocking. Luckily, we can do what we always do in filmmaking when we want to learn. Watch the masters.”

 

Simple Lines Reveal the Brilliant Compositions of Iconic Film Scenes

Simple Lines Reveal the Brilliant Compositions of Iconic Film Scenes

“Each frame of a film is like a blank canvas for a cinematographer, offering them a new opportunity to create a dynamic composition. If a scene is especially memorable, it can stick with us like an impressive painting, with the characters—their props, poses, and surroundings—embedded into our collective conscious forever. Raymond Thi of Composition Cam examines iconic, visually stunning film stills by dissecting them to reveal the brilliance behind a frame’s layout.”

This is What Different Light Modifiers Do for Studio Portraits

This is What Different Light Modifiers Do for Studio Portraits

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Why do we celebrate film stars?

Why do we celebrate film stars? – British Journal of Photography