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cataboliac · 2 years

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Shot Through the Heart

4.4k words

Dahyun's Twice

AN: This is fully fluff! I lost a bet to @fillinforlater (seriously, how did you only end up getting your last prediction correct for the super bowl...). I did really enjoy writing the cute hottie that is Dubu, and maybe I can write something... more steamy in the future hahaha. Big thanks to @ifeelsounsure0 for making sure this fic came to fruition with all the help. And for now, enjoy the fluff!

The earliest memory you have of holding a camera was with your father. He had a Minolta X-700, a reliable and durable film camera. It was state of the art back in the ’80s. Whether it was a day in the park or a family trip, dad always had that camera on him. With it, he taught you all the basics and the neat tips and tricks not everyone knew. The most important lesson: Capture the moment before it’s gone forever.

Ever since then, you've got your own camera, wanting to blaze a trail of your own memories. It is why you find yourself now taking shots of anything under the sun for your photography degree in university.

But there’s one subject you find yourself returning to.

Every artist has a muse, a life-changing catalyst that brings the art to life. You stumbled upon her—or rather, she found you—a few weeks ago into the new semester. You could never explain how she spotted you in the sea of people—but she did, her doe eyes locking onto yours through the lens of your camera. The world paused for that tiny period between the opening and closing of the shutter.

You’ve never believed in love at first sight. But Kim Dahyun must have borrowed Cupid’s arrows, as she sent them straight through your chest and into your heart—cracking it wide open and spilling your soul out.

——————————————————————————————————————————

It’s a scorching afternoon—not a cloud to obscure the cerulean sky as the hot summer heat beats down on the numerous student-athletes scattered across the track and field. You’re at your usual spot, the first row in the otherwise vacant bleachers—nearest the action. After taking multiple shots of various objects and people, you focus your lens back to the reason why you’re enduring this torrid heat.

Dahyun draws back the string of her bow, a motion so natural to her that it seemed as effortless as breathing. Cool, calm, and collected—her intense gaze could make a statue blink. She then releases the arrow.

Not a lot of people see this, but your trained eyes see it wobble slightly in the air as the arrow sails through the wind and pierces the target circle dead center—a perfect bullseye. Robin Hood would be very proud.

She tilts her head, squinting her eyes as if she’s looking for something. Dahyun suddenly smiles and turns in your direction, waving at you with her hand. It’s still a mystery how she finds your camera instinctively.

After hearing a few words from her coach, you watch as she skips towards you. She hops over the railing and plops down next to you. “Did you take any interesting pictures today?” she asks, taking a peek over your shoulder.

You show her the last thing your camera took: Dahyun releasing the arrow just at the right moment, making it look like it's floating in midair.

“That’s so cool! It’s like you know when to take the perfect moment!”

You do, actually; it helps that having such a beautiful subject made every shot effortless. “You’re already amazing. The camera only enhances it.”

She slaps your arm playfully. “You and your stupid way with words.” Her dainty smile reaches up to her ears.

You sling the camera on your shoulder and hand a towel to Dahyun. “Anyways, you did amazing today. You’re getting better.”

“I did, didn't I? Coach says I’m hitting my peak soon,” she beams. She accepts your towel, as she has accepted all of your towels and bottles of water every time you visit.

Although Dahyun is the newest addition to the archery team, she is currently being fielded due to her raw talent with the bow. She’s a rising star in the archery world, setting new records in school, and is hoping to have a shot for the national team. Not only is she popular for her athleticism, but also her divine beauty. It’s as if Aphrodite had Artemis’ archery skills.

A growl abruptly emerges from your stomach. The two of you laugh at your stomach’s call for nourishment. “Did you skip lunch again? We can go to the cafeteria. I’m on a strict diet, but I’d be full watching you eat.” She stands up and offers her hand.

“And I’m the one with the words.”

Grabbing her hand, she pulls you up to her level. She never lets go of you as she leads you out of the stands. You feel her warm hand wrap securely around yours, and the butterflies make it worse for your empty stomach.

The two of you find a table after buying some food. Dahyun is about to lean her head on your shoulder before you block her with a hand.

“You’re still sweaty from standing under the sun for so long,” you tease.

She pouts, tugging the collar of her jacket and taking a quick sniff. “But, I smell good.”

You catch yourself before you can say “I know” out loud. Dahyun laughs at your attempt to stave off the heat that spreads across your cheeks. You don’t protest this time as she again leans on your shoulder.

Dahyun always managed to look fresh, as if sweat was just cold water sticking to her skin. That, and she’d always smelled so fragrant. You'd think that it’s probably that flowery perfume of hers or maybe some magical fruity lotion. Or it could be that Dahyun won the genetic lottery and was blessed that nothing won't ever get in her way, not grime, not sweat, not anything.

Dahyun is a timeless beauty; you can’t be the only one in the university that sees it, or else she’d be someone else’s muse. It doesn’t help that she’s immensely popular around the school. But looking into her dazzling eyes shoots down the doubts that loom in your mind for now.

"You haven't touched your food. Are you okay?" Her voice anchors you back from your reverie, Dahyun's hand lightly cupping your chin.

“Yeah, I think I’m just really hungry. Let’s go eat.”

—————————————————————————————————————

Dahyun brings you the news the next day. She's being sent to an intense training camp that will last one month before one of the biggest archery meets in the country. Which would mean that you couldn’t see her for 30 days. You don’t think it will be long, but you try to avoid talking about it if you can. It’s become taboo to talk about it—perhaps it was your way of coping with the thought of not seeing her for a month.

As if it couldn’t get any worse, bad news comes the day before she leaves.

“Coach suggested cutting all forms of communication.”

You raise an eyebrow. The magnitude of what Dahyun just said is not yet hitting you. Or maybe it’s your refusal to understand it.

“She says it’s important that I completely focus on training if I want to make the national team.” Dahyun looks out to the tangerine sky, kicking up her legs that dangle on your dorm’s rooftop.

“It’s so stupid! It doesn’t make any sense,” she suddenly shouts, louder than her already usual loud voice. She took the words right out of your mouth.

But the logical side of you understands her coach. You want her to aim for the stars, and eventually she’d hit the moon. Swallowing your disappointment and putting up a brave face, you double down on the idea. It's possible that waiting won’t be so bad.

“It won’t be so bad, don’t whine too much. We both know how much you’ll regret it if you don’t give it your best.”

Dahyun’s mouth goes agape at your words. It’s as if you said the most offensive words.

“What the hell?! You too?” She didn't say anything after that, but it's evident that she detests the idea because, despite the loud voice, her sullen eyes say something else.

You pull her into a hug, trying to cheer her up the best way you can. It was also for yourself, an attempt to engrave the smell and touch of Dahyun in your mind that can last you the whole month without her. You feel her arms return the hug, tightening around your waist.

“Will you wait for me?” she whispers.

“Of course, I’ll wait! It’s just a month.”

“That’s a whole thirty days.” You feel her pout against your chest.

Pulling away for a moment, you squish her cheeks, trying to make her smile with your fingers. “You’re just making it sound longer. I’ll wait.”

You got her to agree to it, eventually.

No texts, no calls, no anything over your SNS until Dahyun gets back.

———————————————————————————————————————

The first few days without Dahyun were bearable. Half a week in, you had to set up an app to monitor screen time for your phone because every waking moment felt like you needed to check your phone for her messages.

In the weeks that followed, you started to become uncharacteristically unfocused. You’d noticed you've become more irritable, more prone to snapping even the smallest of mistakes—though perhaps you might be overthinking it.

You exit your makeshift darkroom—your bathroom— with the recent film you’ve developed. It takes a moment for you to cut the roll into thinner strips before placing them in the scanner to upload. Usually, you’d feel a sense of excitement in analyzing the details of your photos. As you skim through them, however, you feel more discouraged.

Your shots usually don't need a touch-up during editing. But the warmth, depth, and liveliness of your photographs were gone in a flash of just days. Slapping the table, you try to figure out a better solution to all of this as you try to temper your frustrations.

You never thought something as simple as waiting could be the hardest thing you’ve ever done.

The clock strikes seven. You stare at your laptop screen, the picture of the sunset you just took a week ago has been sitting on the editing software for hours now. There’s something amiss among the brilliance of colors, a gaping void where emotion should be.

You frown. Even a simple sunset and you can’t get its brilliant light to come up with a decent photograph. The grimace that settles on your lips only encourages the frustration gnawing with each click of the mouse.

You’re distracted from your growing irritation when your roommate Jaesung enters your room.

“Hey, you okay? Dinner just arrived.”

“I’m fine, thanks. I just need to find a better outlet. Better things to shoot.”

“You’ve been like this for weeks now. Is it really finding a better outlet? Or maybe it’s more than that?”

You audibly sigh, shrugging as you twirl in your swivel chair.

“I know you haven’t seen or talked to each other in weeks, but you have to find something to distract yourself. Clearly, wallowing in your sadness isn’t doing you any good.”

Jaesung hits the bullseye with his statement. As much as you hate to admit it, you miss Dahyun and her absence stings more than ever.

You need to think. “I think I need to get some fresh air. I’m going upstairs.”

Jaesung frowns. “Just be back soon.”

You exit your dorm, picking up the pace, skipping up the stairs two steps at a time because the truth was staring in front of you: you absolutely missed her. The heart is an arrow; it demands its aim be true. And Kim Dahyun was a target that made your heart quiver.

————————————————————————————————————————

The bustling cityscape clears up your ideas, whether it's daybreak, nighttime, or high noon. The gentle breeze caresses your face, the bright lights of the city, the sprawling urban growth beneath the mat of stars in the purple-tinted sky.

Yet, it’s not enough. Everything feels like something is missing, a certain spark. Your camera hovers over your chest, reflecting your state of indecision and demotivation.

All you can think of is Dahyun—her loud laughter against the white noise of the rush-hours; her smile, that outshines the brightest of stars; her warm breath against her cheeks and neck when she teases you playfully; and all the kinds of shivers that run down your spine that make every moment magical.

The last few weeks without her have made you utterly lost. All you could think about is what she must be doing, and how you wished she was still here. How long has it been? Two weeks? Three?

You wonder if Dahyun ever feels the same loneliness that embraces you every night.

You offered Dahyun nothing but company when you asked her if you could be friends with her. There’s nothing for her in it, no free food, coupons, or even the guarantee of a good company. You felt like a nobody, compared to someone like Dahyun.

Sometimes, you couldn’t help but think of yourself as a hindrance to the rising athlete. The time Dahyun spends with you should be used for her training; she has massive potential no one can deny she’s the perfect combination for success.

Without you, Dahyun would continue to thrive. But without Dahyun, you wouldn’t. Not without your muse.

It turns out not even a quick escape to the rooftop is helping. Feeling a bit defeated, you decide it’s best to return to the dorm.

As soon as you open the door, Jaesung starts to call for you. “They’re doing a quick feature on Dahyun for next week’s competition! Hurry up!”

You rush back to your room to grab your camera. Making a mad dash for the dinner table, you return just in time. You look wide-eyed into Jaesung's laptop; Dahyun in her standard white and red zip jacket emblazoned with the school logo, her blond hair tied in a ponytail, unmistakable with her gummy smile. She stands against a packed gym under the bright gymnasium lights while the reporter poses her question.

“...You are against tough competition. Expectations are very high for you despite this. The pressure must be intense. How are you feeling?”

Dahyun smiles in a heartbeat and looks at the camera. “My coach and school train their athletes very well. My teammates were also very supportive and gave me pointers. I’m feeling great.”

You snap a picture of her, smiling with your muse on the screen.

“We’ve received reports that you’re gaining popularity fast not only in the city but in the region as well.” The interviewer continues. “I take it you have a growing number of followers. Do you have anything to say to the people waiting for you back home?”

“Well, she is pretty and popular.” Jaesung comments, which earns him a slap to the back of his head.

Dahyun’s eyebrow perks, and her gaze averts from the center of the camera. It’s a known fact that she is most comfortable under the spotlight, whether she’s in the middle of a crowd or the field. Her sudden uneasiness is quite suspicious, and you don’t miss it; you tried not to miss anything about Dahyun, no matter how small.

Dahyun looks back at the camera before the reporter can ask her again, the wide, confident smile back on her face.

“I know you’re cheering me on. Thank you. Wait for me. I won’t disappoint you.”

The screen fades to another young athlete’s interview, Baek Jiheon, from another nearby university.

You thank Jaesung, who pats you on the back as he continues to watch the segment.

You’re reminded why Dahyun is her muse, and it’s a choice you’ll stick with through the end.

——————————————————————————————————————————

On the day of the competition, your mind is in shambles.

The competition is broadcast online on the university Youtube channel, arranged by the university for the students to watch. Classes just finished. The school is abuzz with the news of Dahyun’s big day. You rush back to the dorm with Jaesung and a couple other friends, eager to watch her in action.

Everyone gathers in the living room, surrounding Jaesung’s laptop. The atmosphere is electric, some of your friends brought out some drinks, as if watching the Super Bowl.

The broadcast finally starts, and everyone turns silent, bringing their full attention to the laptop.

Even if it’s just through the screen, the pressure inside the stadium is palpable. The camera zooms in and out, panning in all directions to show the venue, the sizable crowd, and athletes.

“There she is!” Jaesung shouts out.

The camera zooms in to Dahyun stretching, taking deep breaths, her hair neatly tied back in a high ponytail. She’s wearing the school’s black and red tank top and black uniform pants, showing off her slender bare midriff, lean, broad shoulders, and strong legs. She makes eye contact with the camera, bows to the crowd, then suits up in the rest of her all-black varsity livery.

“She gained more muscle mass. And she’s… leaner.” You observe out loud. If you compared Dahyun’s picture from the previous month and how she looks now, it would look like half a year’s worth of exercise. How rigorous was the training?

Dahyun’s opponent is Son Chaeyoung, another rising star in the archery scene. They both bow to each other before heading to the shooting zone. The commentator remarks on each athlete’s personal best and brief history. But the words fly over your head; you’re too nervous for her, praying to God that Dahyun will be okay. You understand how important this is for her. But her stoic face slightly reassures you that she’s got this.

A whistle signals the start of the best of three shootout. The first set went to Son Chaeyoung, edging out Dahyun narrowly by two points. Dahyun however was not bothered by the do-or-die round, besting her opponent in the second set. It was now sudden death for both women for the third round. The tension goes through the roof.

Chaeyoung begins the third set by shooting the first arrow into the nine-point circle ring. Not to be outdone, Dahyun’s arrow sails into the nine points as well.

“Nine points for both women, what an amazing display of composure from both competitors.” the commentator says.

Chaeyoung’s second arrow finds its mark again at nine points. Dahyun’s second attempt also nets her another nine points. The pressure you feel is enough to suck the air out of your lungs, gripping the edge of your seat.

“It’s now neck to neck! It might go down the wire!”

Chaeyoung’s final arrow lands onto the nine points, a total of 27 points. Dahyun needs to hit the bullseye to win the game, giving the advantage for your university. You might as well die from a heart attack from the intense showoff. The silence is deafening in the room.

But this is Dahyun, your muse. If anyone can do it, it’s sure as hell can be her.

Dahyun takes a moment to compose herself, her shoulders rising and falling with deep breaths. She draws the bowstring back, starting the point of no return. It feels like riding to the top of the tracks of a roller coaster before the deep plunge. She looks peaceful in the storm of tension. You try to shake off this weird feeling of deja vu. She lets go of the string. The hairs on your skin begin to stand. You realize why this moment feels so familiar.

It’s Dahyun in her most perfect form. It's going to hit bullseye.

It takes a second for you to realize that everyone around you had stood up, jumping up and down, screaming at the top of their lungs. You watch as Dahyun’s teammates rush over to her, collapsing into a big group hug. The camera pans to Dahyun’s target; the arrow lodged dead center of the ten-point circle.

“The first game belongs to none other than Kim Dahyun!”

You stand up, your body shaking from a plethora of overwhelming emotions. A scream of victory erupts from your vocal cords, joining in the chorus of celebration. Jaesung comes over to hug you as you both jump in place from pure euphoria. As he releases you to hug another friend, you look back to the laptop to see Dahyun staring intently into the camera. To others, it might just look like she's processing the victory.

But you know it’s that intense gaze that has pierced your heart numerous times.

The hype after her game never died down, and eventually the competition ended with your school sweeping it. Tomorrow, everyone is going to be talking about today’s events. Friends leave your dorm one by one, till it’s just Jaesung and you, sitting down in the kitchen. He passes you a can of beer, one more drink for the night.

“It actually feels like a victory for you too,” Jaesung says, downing the last of his beer.

“What do you mean?” you ask.

“You’re going to get to see her again. She’s coming home.”

——————————————————————————————————————————

It’s a calm Sunday. You still haven’t slept properly, but for entirely different reasons. Your excitement kept you late at night, thinking about seeing Dahyun soon. She must be coming back right now. Or is about to be. It should be anytime soon.

The restlessness nips at the back of your head. Deciding to do something more productive, you grab your camera equipment and a recently developed photo from your desk.

You don’t know why in the world you’re bringing that photo now, but you might as well bring it along to keep yourself sane. She’s coming home anyways.

It’s around 5pm—“golden hour” for photography—when you decide to go to the rooftop. You couldn’t stay in the bedroom and do anything anymore. The open sky greets you in a haze of deep orange and rich yellow, but unlike the recent sunsets in your photos, it feels more lively as you click away with your camera.

“Do you have the perfect shot yet?” Someone shouts from afar.

Standing against the setting sun on the other end of the rooftop is Dahyun, hands cupped around her mouth. The huge grin on her lips is noticeable even from afar.

Yes, I do now.

You want to tell her to stand perfectly still while you capture the moment into your camera. But your legs start moving by themselves towards Dahyun, leaving behind your camera on the tripod. Each step matches the beating of your heart. She starts to run towards you too. The two of you stop within a few feet from each other.

“Hi.” You never heard her voice crack before, as you watch a single tear slide down her face and pass that flawless smile of hers.

It takes every ounce of strength to say anything. You can’t believe she is right in front of you now. “Hey.”

In quick strides, you encircle your arms around her waist, lifting her up and spinning with Dahyun in the air. Her laugh is music to your ears as it echoes into the sky. Her arms grab hold of your neck. You slowly lower Dahyun to the ground, the adrenaline rush slowly fading away.

“I missed you, so much,” you say, cupping her face and wiping the tears off with your thumbs.

“I missed you too. So much. It felt like hell without you.” It’s real, she’s really right here with you.

You stroke her hair, almost forgetting to congratulate her. “Congratulations. I’m so proud of you. I watched it with Jaesung in the dorm.”

“You and the entire school.” She smiles. “I’m just glad that’s all over, it feels like a weight has been lifted.”

“Why are you here? I thought you’d be back maybe in a few more days,” you ask.

“Isn’t it obvious?” Dahyun pinches your cheeks lightly. “I wanted to surprise you.”

“Why?”

“Do you really want me to say it again? I missed your face, silly.” Dahyun says so nonchalantly it makes your heart skip a beat.

You try to keep your composure up. “It’s only been a month since we last saw each other and you’re this cheesy already? Did you train to improve your greasiness too? I bet you met a lot of handsome guys.”

“How dare you insist I had met pretty boys when I was just with my bow and teammates the whole time!” She protests, her arms tugging you a bit closer to her face. “And look who’s talking, maybe in my absence you’ve found somebody else to picture, hm?”

“Why would I look for pretty girls when I already have you?” you say whole-heartedly. A blush creeps over Dahyun’s face, her look softens a bit as she leans into your hands.

“Maybe I can show how much I missed you,” she whispers.

“What do you—”

Dahyun’s hands cup your cheeks, silencing all your thought processes. Instinctively your hands glide down towards her waist. Her chestnut eyes stare at your lips before looking back up. In a blink of an eye, Dahyun’s feathery lips land on yours.

It was chaste, lips brushing together tentatively for the first time. Your eyes flutter to a close as you feel Dahyun's lips move on your lower lip. Every smack elevated your heartbeat to dangerous levels. You tightened your embrace on her, afraid you'd fly away from the butterflies in your stomach. A warmth that blossoms in you, igniting flashes of delight throughout your body. You try to place all the months of unbridled emotions you’ve been keeping into this kiss.

You both pull away for air. The two of you giggle from your actions, leaning onto each other's foreheads.

“I’ve wanted to do that for so long. You have no idea,” she says.

You want to tell her everything. You realize it’s a perfect moment to show her your latest picture of her, letting it do the talking for you. A picture is worth a thousand words, and it will never be enough to capture Dahyun's ethereal beauty. You reach into your pocket for the photo, handing it over to Dahyun.

The picture shows Dahyun out of her archery gear. Her eyes closed as she basked in the nature around her. The background of pleaching trees makes beams of light pass through. Her gummy smile, her slender neck, her porcelain skin—some of the many highlights that made Dahyun effortlessly beautiful. A subtle focus on Dahyun makes her look even more lifelike, her infectious smile radiating from the picture.

“You're the only one who sees me like this. Am I really like this?” Dahyun asks. Her eyes sparkle like the stars that gently reveal themselves in the city’s night sky as the sun slowly sets.

“You’re my muse. You’re that and even more.”

#dahyun #twice #male reader #fluff #twice fluff #dahyun fluff

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connordavidscamera · 3 years

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Living, Learning, and Filming Ch.1 | Connor Brashier

A/n: once again I am just here rewriting/revising this series. Not much will change most likely, just some minor editing.

Summary: Y/n and Connor are partners for their final project. Their topic of choice, however, might get them in some trouble.

Warnings: just a little playful banter

Word count:1.8k

***

Week 1

“Brashier, I’m having a girl over tonight so I’m gonna need you to - whoa. What is going on in here? You’re cleaning?” My roommate, Brian questions, stopping in the doorway of my room.

I shrug, “Yeah. It was looking too messy.”

“Too messy,” he repeats.

“That’s what I said.”

“Okay… Who’s the girl?”

“There’s no girl,” I answer, putting the dirty clothes in my hand in the hamper by my closet.

“Well you’re definitely not cleaning for yourself. I’ve seen this room worse than this and it didn’t bother you then.”

“Craigen, I don’t know what you’re talking about. My room was dirty, I wanted to clean it.”

“Because you want a girl in here,” he crosses his arms over his chest with a smirk, coming further into the room. “What class do you have with her?”

I sigh because I know there’s no point in hiding it from him, “She’s in my film class. We’re partners for our final.”

“And you want to fuck her?”

I scoff, “Brian, come on.”

“You do,” he cocks an eyebrow.

“Why does it matter? She’s coming over tomorrow for us to start on our project.”

“Uh huh. And what’s the project?”

I know my face just got a little redder. “Falling in love in college,” I mumble.

He laughs and I don’t mean one of those mocking “haha” types of laughs. I mean, he’s clutching his stomach, almost doubling over, he’s laughing so hard.

“Falling,” he stops himself, still laughing. Dick. “Falling in love? Like with each other? Whose fucked idea was this? Do you know anything about her?”

“That’s what I’m doing with this. I made her a bet that one or both of us will be in love with each other by the end of this project.”

“Ha! By the end?” he shakes his head, running a hand through his hair. “You realize she’s already got you fucked, right? I mean, she’s already got you cleaning for her.” He gestures around the room with his hand as if that’s supposed to prove his point further.

I scoff again, “Whatever. It’s just for fun, Brian.”

“A game?” he questions.

I shrug, “Yeah. A game.”

“And if you do just so happen to fall in love with her? What then?”

“It’s not gonna happen like that.”

“But if it does?” he persists.

“Then I lose.” She’s already made it pretty clear she’s not gonna fall for me.

---

I’m walking out of my ethics class when I catch sight of y/n with some, I’m assuming, friends. They’re just walking out of the cafeteria, she’s laughing, her hand combs gently through the ends of her hair. I won’t deny that she’s pretty. Dangerously, so. I don’t realize that I’m still staring until she catches my gaze and waves, smiling with teeth. I don’t want to be rude, so I wave back and I watch her say something to her friends before making her way over to me.

“Hi,” she says brightly, a much different greeting than I was expecting. Our last encounter, she left the room without a smile on her face, head down, watching her feet as she walked.

“Hi,” I respond, hands in my pockets, trying to bring out my “too cool” persona that I put on in front of other people.

“Are you busy right now?” she asks, her eyes shining bright, popping against the eyeshadow she’s wearing, which compliments the too big, navy blue sweater dress that’s currently swallowing her frame.

“Um… no. What’s up?” I scratch the back of my neck.

“You in the mood to start filming?”

I hum, “I’d love to, but I left my camera at home.”

“I have mine in my dorm, I could start my part.”

“You sure?”

“Yeah. Come on, it’s nice out. We can go to the coffee shop down the street. I had a few ideas about what I wanted to do, if you’re down.”

“What are these ideas?” I ask as we start to walk toward her dorm, I’m guessing.

“I don’t just want it to be a plain subject with no interaction between the director and subject. If we’re going to do this specific topic, we have to do it a little differently than just saying ‘okay, action.’ We won’t get the best results that way.”

“Okay?”

She’s looking at her shoes again as she walks. “I was thinking about something like an interview process. Just as an introduction. A kind of ‘who are you? Have you ever been in love?’ type thing. Obviously asking questions pertaining to the topic, but also just to get to know the different subjects, and to get them comfortable.”

“I like it. And I think toward the end of the project we could do another one, same questions, hopefully different answers.”

She nods, still not looking up. “Yeah, hopefully.”

“Your shoes are still there, you know?” I joke.

“What?” Finally, her eyes meet mine.

“You watch your feet when you walk.”

“Oh, um… sorry. I didn’t notice.”

“No, don’t apologize. It’s cute. It just makes it hard to look at your eyes when you talk.”

“Well they’re nothing special. You’re not missing anything,” she chuckles.

“They’re pretty,” I tell her and her cheeks heat up.

“Thank you,” she says quietly.

“So, this is the way to your dorm?”

“Yep… do you live on campus?”

“No, my friend, Brian and I share an apartment a few miles from here.”

“Oh, does he go here too?”

“Yeah, he’s a business major.”

“Oh, that’s cool. That’s what I was going to do if this whole photography thing didn’t work out.”

“Why do you think it’s not going to work?”

“Well there’s a lot of film going on recently. It’s competitive, I don’t exactly know how my work is going to fit into the equation, but that’s not stopping me just yet.”

I smile softly at the confession. “Well, I may not have seen your work yet, but I’m pretty sure you’re gonna make it.”

“Ah, says the guy who has already made his big break, traveling the world with Mr. Shawn Mendes himself.”

“You've been reading up on me,” I muse.

“I thought if we were going to be working together, I needed to know who I was going to be spending my time with. Your stuff is really, really good. I can see why he hired you.”

“Oh,” it’s my turn to blush, “well, thank you.”

When we get inside her dorm building she turns to face me, “So, the elevator’s broken. Has been for a couple weeks. They keep saying they’re gonna fix it, but at this point I’m expecting them to be working on it the day we come back from Christmas break. Anyway, are you good with the stairs?”

“Well I don’t really have a choice, do I?” I counter.

“I mean, you could stay down here if you’d like. I’ll just be a minute.”

“No, I was kidding. I’m good taking the stairs.”

“Okay, then follow me,” she says, taking her keys from her bag.

She’s a few steps ahead of me, and if I look up at just the right time I can -

“Looking up my dress isn’t going to get you under it any faster, Brashier.”

My eyes widen and I shake my head, “No. I - I wasn’t.”

“You were,” she looks down at me from her step and smirks. “You’re not very smooth, are you?”

“Up until this very moment, I thought I was.”

She nods, “You might be a smooth talker, but your actions need a little work.”

I chuckle, “If you say so, sweetheart.”

Y/n scrunches up her nose, “Sweetheart,” she continues walking and I follow. “That’s condescending.”

“You’re really gonna make this hard for me, aren’t you?” I shake my head in disbelief.

“Well where’s the fun in me making it easy for you?”

I hum and press my body close against hers, holding gently onto her elbow as she reaches to unlock the door, “How about we save ‘sweetheart’ for the bedroom then? Hmm?”

She scoffs and rolls her eyes, “You’d have to get there first, Connor. And right now? You couldn’t be further away.” She looks back at me and I glance between her eyes and her lips.

“You keep frowning and your face will stay like that.” I run my index finger over her bottom lip and her eyes flutter shut.

But she quickly opens them again, turning away from my burning gaze, “Two and a half months,” she mumbles. “God, help me.” I don’t think she meant for me to hear either of those things, but the proximity of us was currently my friend and I thank god she hasn’t told me to move yet.

---

“Okay,” Y/n fixes the settings on her camera, looking through the lens every few seconds and then back at me. “I think we’re ready.”

“We're just going right in?”

She nods behind the camera, “Yep. And… we’re recording. What’s your full name?”

“My name is Connor David Brashier. I am twenty-one, and a junior here at UCLA.”

“What are your hobbies?”

“I like filming, playing video games, and surfing.”

“What is it about filming that you like the most?”

I push at my bottom lip with my tongue, thinking the question over. “I like capturing the things that would otherwise go unnoticed. Those small things that no one thinks about until after the fact. Like at concerts, people are there and they watch the show, but they don’t see what happens behind the stage, they don’t see how incandescently happy they are to be there. I like giving that back to them. That feeling they had, the feeling the performer and the team had before and after the show.”

She’s smiling behind the camera and I can’t help but blush, looking down at my hands. “Do you see yourself doing this for the rest of your life?”

“Of course, I do.”

“Even if it takes you away from your family?”

I have to think about it for a minute. “It doesn’t take me away from them. They’re always with me, supporting me.”

“I like that answer,” she says, tugging at the bottom of her sweater. “And uh, last couple questions.”

“Alright. Hit me.”

“These questions pertain to the actual topic of our project. Which as you know is the average life of someone falling in love. So your question is: have you ever been in love before?”

I look at her, hiding behind the screen of her camera and I can’t stop myself from smiling fondly. “No. Not yet.”

She nods. “Can you see yourself falling in love with someone?”

I take my time to answer this, because I know my answer, but I don’t want to seem too eager.

“Connor?”

“Sorry,” I clear my throat. “Can you repeat the question?”

“Can you see yourself falling in love with someone?” she asks again.

“Yes,” I answer. “Yeah, I can see myself falling in love with you.”

***

I hope you enjoyed! Please like, reblog, and leave feedback!

Permanent tag: @soyalimoncada-blog @magcon7280 @homeofpoetry @fallinallincurls @goldenflickerx @myyohmyuohmyy @harry-hollands @enchantingbrowneyedgirl @baroness-alison @lostinmendess @linanilssonfurberg @luvluvxx @mariamuses @shawnieeboyy @divinginfearlessly @mendesficsxbombay @shawnsthighs @zaahidahhh @adelaidestreets @shawnandconnor @shawnsblue @turtoix @honestlyimstilllivinginthe90s @gangofhoes @verlaneswiftie13

#connor brashier #connor brashier x reader #connor brashier x y/n #connor brashier imagines #connor brashier imagine #connor brashier fanfiction #connor brashier blurb #living learning and filming

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hongkongartman-mlee · 3 years

Photo

Most People Are Good At One Thing Or Another, But The Multi-talented Star Simon Yam Takes It All——Acting & Photography

Photography refers to creating a photograph—now, including an ‘instagram’ as well. Whatever it may be—it is always an image produced by the action of light on a light-sensitive material or device, with or without colour, but the only colour which remains is our memory. Without the memory of a photograph, we would not be able to remember how we loved yesterday.

Stardom is the capacity to translate artistic vision into reality. There is a popular and talented actor in Hong Kong who was raised in the film industry but then moved to develop equally well the stardom in taking photographs. He is Simon Yam(任達華), tall, fit and handsome, who often appeared in Hollywood movies.

I asked Simon, “You are gifted with the ability of acting and photography. Why did you choose to act only in the 1970s?” He laughed, “Thank God! Apart from the tragedy that my father died when I was small and the harshness that my family was very poor, I have been a lucky man. I humbly admit that when I was a young man in the 70s, I possessed all the advantages: a good body, a camera face and tertiary education. Trying to be a model and actor was the natural course when I wanted to be after quick money to help my mother in those years. Actually, my childhood interest and delight were more in the beautiful things which existed in the world: sky, mountains, rivers, flowers and even rocks or fossils. I drew and sketched. I, unluckily, got no money to take any proper painting class. In 1986, I bought my first expensive camera Minolta. I told myself, ‘Painting is a visual art but photography is one and the same expression of art through space, colour, line and shape. Photography is easier to learn although it takes something really special to become great. For me, I just desire to express myself through art and becoming great is not my next stage of concern.’ So, I started to take some satisfying photographs, with a couple of clicks and simple steps. That was how I undertook photography as my hobby instead of painting.”

I wondered, “Simon, how do you handle acting and photo shooting at the same time?” He smiled, “Whenever someone asked me to act, the joy of me being able to take pictures in a new environment would burn out my imminent fear of labouring. Acting could be a tough job especially when I worked outside Hong Kong and the location might be a jungle or desert. I would face a series of tough and tiring moments, which followed each other in an endless cycle. When pain did come near me, my happy salvation was to be able to capture, with my camera companion, the beauty of colours, lights and shapes through my photographic ventures in the new places which my actor’s career could take me to, in fact, as many as I wished. Because of my photographer’s dreams, leaving home and leaving the familiar in Hong Kong are not nightmarish anymore. I can say hello to beautiful scenery and people. Life becomes exciting all over again. My artistic journey consists not only in having new eyes, but of seeking refreshing photographic inspirations which will transform into my creative work.”

Simon took a break and continued, “If I go to a strange place on earth, I shall usually do 3 things: visiting art museums, purchasing some saucy postcards and searching for beautiful old walls which become brownie points in my lonely journey.”

I asked him, “What camera do you use now?” Simon said, “Mostly Canon. I also use iPad. I am learning ‘iPad painting’ which is a cool invention without the trouble of bringing with me drawing board or easel. I can share some with you.”

Simon piqued my interest. I asked, “Did you have frustrating experience about taking pictures?” He was funny, “When things were too beautiful and I did not know how to manipulate them into an expression of art, I felt very confused! For example, some geological formations near Mount Tai, Shandong Province(山東省泰山) are rich in fossils of fascinating shapes dating back to 500,000,000 years ago. The Five Flower Lake(五花海) of Jiuzhaigou(九寨溝) is a multi-coloured lake and its bottom is criss-crossed by ancient fallen tree trunks enriched by bold blue, delicate orange, electric purple and festive green colours. I stood there for a long time and could not figure out what was the best way to depict such wonders.”

I put my final question on the table, “What is the artistic difference of acting and photography?” Simon considered it seriously, “For acting, drama created me. For photography, I created drama. The drama of the former is human and the drama of the latter is visual. Acting is a collaborative exercise while photography is a lonely job. When I act, people capture my moments which I could repeat if they want me to act again. But when I take photos, I capture a moment of other people that can be gone forever and impossible to reproduce.”

Simon Yam is a unique and intriguing man in the film industry. Sometimes he is expressive and sometimes he is quiet. Sometimes he is reactive and sometimes he is shy. He is forever changing. His tender fickleness is a charming quality of a superstar. I always get the funny idea that Simon should record an artistic video selfie of himself—it must be riveting to see how he, under the dual roles of an actor and a photographer, behaves at the same time.

MLee

Simon Yam X FUJIFILM 50R Acknowledgement-FUJIFILM HK https://youtu.be/uTTiMsDdNl8

Simon Yam Interview Acknowledgement-SPH Razor https://youtu.be/a7Fs17ktx2Q

“Sparrow” movie trailer with Simon Yam Acknowledgement-Universe Entertainment Ltd https://youtu.be/gk11k7G0Hl4

Simon Yam Interview Acknowledgement-CNBC International TV https://youtu.be/VO3OoC7ERUw

“Nat Geo Awards” Simon Yam’s sharing Acknowledgement-Nat Geo HK https://youtu.be/Ye07lxgg5fE

#Simon Yam任達華 #Minolta #Canon #Instagram #Photography #Brownie Points #iPad #Stardom #Hollywood Movies #Jiuzhaigou九寨溝 #The Five Flower Lake五花海 #Mount Tai泰山 #Bold Blue #Delicate Orange #Electric Purple #Festive Green

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etherealellaelf · 4 years

Text

Disney Remakes: they’re not all bad.

I submit that some of the disney live action remakes are, regrettably, a bit off. But not all of them. A lot of them are really good. Here’s why.

-Lion King did really put me off with the lack of expressions. I’m not sure if I have much to say about it, lol I’ll have to see it and let you know. Honestly though I don’t think I can because I love the original Lion King so flipping much, it’s a masterful movie and part of its mastery is the beautiful hand drawn animation and its expressive characters. I can’t think I can watch a bunch of real lions just talking. Who knows? I’ll keep you posted.

-Alice in Wonderland, one of the first of them, had some really good feminist moments. I love the Hatter and Alice’s love for each other, I guess he’s like the only human in Wonderland so it makes sense. But I get some weird ideas because the denizens of Wonderland are supposed to mirror the characters in Alice’s real life, and since the only redhead in Alice’s life is Hamish, that weirdo who asks her to marry him and he’s a total jerk.... and the Hatter is a redhead too.... idk it’s weird. Also it’s weird if he represents her dad because number one he’s dead and number two it’s incest, but the Hatter does say a few things that her dad said at the beginning....hmmm... fishy. However I feel like I can rest assured because this might just be the case of “Johnny Depp came to shoot today in a homemade cosplay and nobody can stop him because he’s just a mad genius”, in which case why do they keep letting him do that??? I don’t mind the hatter’s design, but can you imagine Just Plain Old Johnny Depp In All His Sexy Glory as a mad hatter? It would have been fine. They had to give him a gap between his teeth, CGI enlarged eyes, crazy red hair, white and pink makeup... oh well, whatever, it’s fine. I like how Underland looks a bit more like Narnia than like a Tim Burton land; I honestly don’t know if they gave him complete creative control when it came to the CGI set design. It might’ve been cool to see that.

-Cinderella was wonderful, I thought. I really love how Cinderella and the Prince interacted a lot more, falling in love over a long period of time. In fact, I feel like it was a spiritual remake of Ella Enchanted(which, in my opinion, Disney really botched up because the book was just so amazing), so they did really good in my book. My brother, however, hates that at the end she just twirls in her tower and doesn’t do anything to save herself, when in the original she tried to escape. He thinks it’s really unfeminist and he doesn’t want his daughter to act like that. I agree on that mark, but I’ll let everyone watch it. Also they threw a little bit of the Beauty and the Beast original fairy tale in there when her dad, a merchant, asks what she wants and Cinderella asks for the branch that brushes his arm or whatever; similar to a single rose, when her sisters ask for riches. I also liked the handling of Lady Tremaine; it really humanized her and I felt for her. The stepsisters were silly as per the usual. The King went from a bumbling psychopath(the cartoon) to a very melancholy, concerned father, and I cried at his death scene. Bravo, Kenneth Branagh, bravo.

-I really like all of Beauty and the Beast, although I do think that they made Lumiere & friends a little bit too important in this movie. I needed more moments between Belle and the Beast that were in the animation! Evermore was breathtaking though, let’s be honest. Although let’s be honest, I REALLY REALLY wanted to see a shirtless Dan Stevens emerge from a wall of rose petals because that sounds absolutely magical and super HOT. I’m so mad they had to redo it. Also I like the subtle crush Lefou has on Gaston; I’ve always wondered if he liked him. I do wish that Josh Gad had toned it down with his fabulousness though, because although I love fabulousness I wonder if it was slightly offensive. I really liked Gaston, and I feel like he could have gone a little bigger and with more bravado, could have been from slightly comedic to VERY comedic, but I think that’s alright. He did a great job. And as for everyone complaining about the villagers being really nasty and openly evil towards Belle, I actually liked it. It’s clear in the cartoon that the villagers whisper behind Belle’s back, but I feel like she just has a small smidgeon of an idea that they think she’s weird. In this, they freaking ATTACK her. They’re like ‘We can’t have smart bicc’s in our town! Get out me town!” It is a bit on the nose sometimes but I think it works because it helps Beast and her relate to feeling like outsiders. I do think the Beast knowing how to read kind of gave them something in common as well, but I disliked how he scoffed at her favorite book, Romeo and Juliet. I wish he had been more understanding like, “There’s this poor girl whose library is like, seven books, and amongst those seven books, one of which is probably the freaking bible because they belong to a pastor, her favorite is basically a romance. She’s not well read; I’m going to show her the classics.” Which back then was probably, like, idk, Voltaire? Too soon? Eh I’m not sure when it takes place. I do wish he’d gifted the library to her though, that was a nice gift for her in the previous movie. (Here’s the thing; the Beauty and the Beast cartoon is basically a perfect movie and I don’t think anything can live up to it, but this one was good too. It wasn’t better, but nothing can be better than that movie. Except maybe the Princess Bride or the first Pirates of the Caribbean or the stage production of Phantom of the Opera. No, not even then.)

-Dumbo? I haven’t seen it yet, I’ll have to and update this.

-Okay so Aladdin is really good. I entered the film with the meme cringe in my mind, totally expecting it to look weird and bad, but honestly Will Smith was such a great actor! And I actually freaking cried so many times because number one: the genie was aladdin’s father figure that he never had! He taught him how to date! Number two: the genie got his true love as well, and you see her and their kids at the beginning of the movie! SPOILERS btw. Sorry. Also Number three: they picked Will Smith to play the genie because he’s HITCH of course! The matchmaker extraordinaire! (I just love Will Smith. I wish he would run for president; it wouldn’t be the first time we had an actor in the white house. Just kidding, I don’t want to burden him that way, and there are really smart candidates this year to choose from. I just am urging everyone to go vote, and no more harambe crap!!!!) Also Jasmine had a nice new empowering role in this movie. I just sort of wish Jafar had been more menacing and villainous. But his actor was fine, just a bit soft-spoken.

-Lady and the Tramp- I started it on Disney+, I need to finish it. I’m halfway there.

-Christopher Robin is a gift; it’s both simple and complex. It has a lot of nice metaphors and I could feel my heart hurting for much of the film. Seriously good aesthetics as well, Director of Photography!!!

-The Jungle Book is a really good remake! So much excitement, and I could totally see Bill Murray in Baloo. (I think it’s equal in terms of story to the movie Mowgli, although Mowgli had that nasty little surprise at the end, I’m still hurt about it.)(also in comparing, the CGI is similarly good, but Mowgli wanted to do a really ambitious face capture thingy and I’m not sure if it worked,(uncanny) but it was interesting! It was also a lot darker. I think they’re both good.) Ben Kingsley was superb, of course, as Bagheera, as always, and he has a really fatherly voice(I thought Christian Bale did well as Bagheera as well, but he was more of an action figure in that movie, less of a father/teacher figure). And John Favreau, as always, went the extra mile to bring the action, the writing, and the moral through, and made it super good for children at the same time!(the same cannot be said about Mowgli, as there were some violence/action things that go beyond ‘peril’, hence it’s PG-13 rating) My one discrepancy was the voice of Kaa. Scarlet did fine, but I always thought of Kaa as a boy. I think they could have found a slithery voice actor for Kaa. Benedict Cumberbatch did really well as Smaug, hissing and growling, and he could have done well. I also think that Tom Hiddleston could have done a great job; he has a really gentle and pliant voice that can turn menacing in the matter of seconds, and if it’s about the snake being sexy as Scarlet Johanssen(haha what??), I think that Hiddles can bring it.(I’m not quite sure what I’m talking about at this point so I’ll shut up now.) I do feel like Mowgli started shooting way before The Jungle Book was even a glimmer in John Favreau’s eye, and that kind of makes me want to root for Mowgli because I’m sure that different movie houses have people working in both, probably swapping stories with their friends, and I’m sure it wasn’t an exact copy, but I can totally see Bill Murray in Baloo’s face and that can’t be by accident. Just saying. Not calling Disney out or anything, but I’m sure they can take it, they have like a trillion dollars. Anyway. Still a good one.

-Haven’t seen Pete’s Dragon.

-101 Dalmations, I know this shouldn’t count but it just does. I loved watching this as a child. I’m so happy they didn’t make the dogs talk? Haha it usually works when they do, but it gave a lot of room for Doctor House and Mister Weasley to interact. Also Glenn Close is great. I think this movie’s a good example of a career woman who decides to get domesticated and her sista is like, “Girl, you can’t do this! We have to be strong women! You have to come back to work!” But Anita is all, “Girl, respect my decisions! Feminism isn’t forcing your girl to be exactly like you, it’s giving me the respect to make my own decisions. If I want to have a baby with my husband, that’s fine. I want to be a mom!” I feel like the “new” 101 dalmatians remake they’re gonna make, will have a different opinion. Similar to wicked and maleficent, it’s going to humanize Cruella, but I just hope that they’re nice to Anita. She’s such a smol soft bird and if she wants 2 billion dogs and one baby, that’s fine... ugh, that’s gotta be like so much dog poop in her house... anita what are you doing...

-Maleficent. Obviously I love it. I love how those arguing fairies are super incompetent at raising Aurora because they’re too busy fighting, so Maleficent has to swoop in and rescue the princess. I like how Maleficent is a fae and it’s so sad how there’s like this rape metaphor when Stefan cuts off her wings, and that would be reason to curse his baby, especially because they were in love and he betrayed her! Stole her wings! Married someone else! T^T Maleficent, you poor misunderstood fairy! I love her motherly relationship with Aurora. I love that she’s the one who kisses her forehead to wake her up because Philip met her just that day. However, I don’t like how they just shove Philip out of the way, because Sleeping Beauty is honestly so romantic, and I love how they dance together and everything. I also like the raven boi. I ship him and Maleficent so hard and I hope he doesn’t die in the sequel, I haven’t seen it yet.

-So technically the Parent Trap is a remake. It’s awesome. It gave my childhood so much romance and prank ideas. It’s much better than its predecessor, especially because the mom in the old one is, like, urged to look prettier by her butler(wtf?!?! YOu’re FIrEd?!?). I’m so glad we’ve come so far.

Anyway, those are my thoughts. Are the remakes better? In some cases they are. I think Cinderella is better than its predecessor. I think the original Alice is very good, as a nonsense movie, and I feel like the remake is equally good, but they’re different movies with different motives and plots. The original Beauty and the Beast is my favorite and it’s perfect, so the new one isn’t better, but it is really great and I love it, too. Anyway, that’s all.

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letterboxd · 4 years

Photo

Touching the Void.

Searching for cinema that soothes? Ella Kemp suggests it could be as simple as looking for a film poster with a white background.

How many weeks has it been? When did any of us last go blindly into a cinema and take a chance on something new? Film-watching in the time of Covid-19 has changed. The immediate and never-ending news of the world is frightening. Is it still, and more than ever, okay for me to sink into movies to alleviate my mood, just for a bit? How is that even possible when the world has come to a standstill?

We are forced to adapt, and it has taken some time for my attention span and emotional capacity to adjust. But I think I might have found a solution, and I have the meticulous list-makers of Letterboxd to thank. It was Izzy’s list of comfort movies that first lit the fuse. Specifically, the second, third and fourth row; films including Billy Elliot, Clueless, School of Rock.

Fifteen stark posters, speaking one truth: We are vulnerable and nervous. What we need is a film poster with a white background to assure us the movie exists entirely to serve and soothe us.

Part of Izzy’s ‘comfort movies’ list.

List-making on Letterboxd has never been more prolific. Pandemic movies, overdue filmography catch-ups, comfort movies galore. Everyone categorizes and logs their watches differently, but Izzy’s pattern speaks to me with an epiphanic answer. I’ve always admired successful color-coding, but now I see its crucial function.

As I scroll for distraction, for something guaranteed to be good (because I cannot and will not be subject to any uncertainty I can avoid), I see the rainbow. The pale blues of Studio Ghibli, Wong Kar-wai’s passionate reds, the pastels of Netflix Original breezy romances. Like some kind of cinematic ikebana, countless Letterboxd members have mastered the art of arranging film posters. There are standouts: the staggering oeuvre that is Gordon’s chromatic roundup of favorite posters; the comprehensive color-graded history of women directors via their best posters, courtesy of Vanessa; and the penchant for beige in the year 2015, as spotted by Letterboxd co-founder Matthew Buchanan.

A selection of Gordon’s favorite movie posters.

But when I see these 300 examples, color-coded by typography and accents by Sera Ash, I recognize that white movie posters are the ones most likely, in this very strange time, to take care of me. I see it in three distinct filmmaking periods: Disney animations from the 1940s and 50s, the video marketing for cult comedies of the 1980s and 90s, and the alternative marketing materials of my favorite films of the 2010s. Each poster is straightforward and inoffensive. It captures the story, but never dares to impress or intimidate beyond basic description.

A 1975 re-release poster for ‘Snow White and the Seven Dwarfs’ (1937).

In 1937, Snow White and the Seven Dwarfs announced the birth of Walt Disney’s feature-length empire. While its original theatrical poster is also mostly white, it is represented on Letterboxd by a 1975 re-release poster depicting a peek through the keyhole: a curved triangle framing Snow White, the dwarves, and the two sides of the jealous queen, against a vivid green forest. In the bottom corner, a castle. To the left, the title—her name in red cursive, theirs in black. These simple images come together to present an elementary summary of the ingredients within. The white frame showcases the seminal animation craft without suggesting the viewer diverts their eye anywhere else.

This technique was common across other animated titles, collected in lists like dantebk’s Disney animated classics. Pinocchio toys with the hyperreal relationships between characters alive and wooden, human and animal—but does so on a plain canvas, so that the magic remains within reach. Dumbo, Bambi, Cinderella, Peter Pan—each follows suit. Whether with the mustard yellow of a circus tent, the faint sketches of grass tufts, the gold dust of an enchanted fairy godmother or the ink blue of a midnight starry sky, these colors (indicative of each defining scene-setter or mood-maker) only pepper a blank background, and so make their significance ever greater with the most sporadic touches.

A selection from dantebk’s list of Disney animated classics.

Live-action knockouts from these decades—films like The Shop Around The Corner and The Red Shoes—embrace painted recreations of their protagonists (Margaret Sullivan and James Stewart as festive lovers in the former, Moira Shearer as a tortured ballerina in the latter) and use the color red as a signifier of romance, against a plain white page, to set the mood. Slashes and splashes of red have been used to create a vibe in genre cinema for many decades—a trend deftly chronicled in this list by Rocks.

As far as we know, the underpinnings of digital photography began in the 1950s, and the first published color digital photograph dates back to 1972, when Michael Francis Tompsett shot a photo of his wife Margaret for the cover of Electronics magazine. Consumers got their hands on the gear in the late 1990s, but movie studios really started to make the most of sharp digital photography and stark white backgrounds for their striking posters from the late 1980s onwards. Because, never mind the multiplex, the video store is where you wanted your comfort fare to stand out in the 1980s and 90s.

Ferris Bueller’s Day Off (1986) and Say Anything… (1989) form a handsome, trend-setting 1980s pair. While the theatrical poster for Cameron Crowe’s Say Anything… deigned to include John Cusack’s co-star, Ione Skye, by the time of the film’s video release, the focus is clearly on pre-High Fidelity Cusack, as proud underachiever Lloyd Dobler, smouldering lopsidedly under the weight of a boombox. It’s the singular image of the film to this day.

Meanwhile, Matthew Broderick as Ferris-slacking-Bueller is making the most of his title activity, arms behind his head, a proud smirk on his face. Nothing else matters except that these charismatic young stars are stepping up to leading-man status. The white background accentuates the star power of these new boys in town, embracing the limelight in one fell swoop.

Star power is everything: beautiful people doing simple things against empty backdrops, because what could be more important than the regularity of symmetrical bone structure, of familiar charm? The trend boomed in the 1990s and 2000s, in films widely embraced by casual moviegoers. The sort who list “watching Netflix” as a Sunday activity on dating profiles and use the Christmas holidays to rewatch comedies they have memorized over dozens of half-attentive viewings (absolutely zero judgement here!).

The vast majority of these films have white posters. Who is your soothing cup of charm: Tom Hanks on a bench, nothing more nothing less, from 1994’s Forrest Gump? Or Heath Ledger, effortlessly cool, leaning on the brown corduroy armchair Julia Stiles sits in for the 10 Things I Hate About You poster from 1999? (The 90s harnessed the increased appeal of having two lookers just sitting and posing against a plain background, as demonstrated in this chilling list by Ashley.)

Ashley’s list of couples posing in front of a white background.

Will Ferrell had been earning his stripes as an actor for years, but he changed the movie comedy game as Buddy the Elf in 2003. There’s plenty of visual humour in Elf, but Ferrell’s coat-stand posture bedecked in festive green velvet and those tights is… enough. A white background lets the ridicule slide, just.

How many Disney series really deserve a whole movie—and one that stands the test of time? Lizzie McGuire, resting on her tiptoes with a swinging suitcase in hand, sells The Lizzie McGuire Movie like no idyllic views of Rome ever could. It’s reaching out to an audience loyal to the character, one who will follow her to the ends of the Earth, or at least to another continent. Hilary Duff could be doing almost anything on this poster and it would achieve the same effect—so long as the white background remains plain enough to keep eagle-eyed fans on the main event at all times.

It’s surprising that the star-making system only let Meryl Streep appear in a tiny box, one of four character tiles, on the poster for The Devil Wears Prada in 2006. But the design here taps into 1940s animated sensibilities, giving prominence to a devilish red Macguffin larger than the humans. It still achieves the same function—a glossy, glamorous design with the accessible sell of a quotable, star-fuelled comedy.

Red may be the color of romance and the devil; it’s also the color of comedy. Exhibit A: the 2007 gross-out comedy Superbad, whose star power—marking the emergence of Jonah Hill and Michael Cera—is used to an opposite and impressive effect on its poster. The awkwardness of these teen boys—lanky, unkempt, insecure—is what cinches the comedy. The simplicity of the poster design, with their uncomfortable posture against, well, nothing at all, further anchors their incapability of facing the world in any confident way, shape or form.

There are countless more examples, like Marley & Me, Bridesmaids, 27 Dresses (notice how the red type is replaced by pink when the film’s plot veers toward the altar). But to understand the curious and timeless appeal of the white movie poster, what happened to it in the 2010s cements its adaptable strength.

As the art of graphic design has continued to bloom, the aesthetic argument for the colorless color-block movie poster has shifted to embrace a film’s context. Consider Danny Boyle’s Steve Jobs, the enjoyable 2015 drama that provided Michael Fassbender one of the most under-celebrated roles of his career, playing the late Apple co-founder. The poster turns the canvas into a blank screen: the title is typed, the text insertion point poised, waiting for the next key press. As Jobs, Fassbender occupies the bottom right corner, in profile, thinking.

This starkness makes sense: what’s next, Steve? It offers a rare example of a poster from the past decade that fully leans into the monochrome aesthetic entirely on purpose—to serve the restrained and unequivocal need for white. (And it’s interesting to compare with the marketing narrative for an earlier film about another tech leader: observe how Jesse Eisenberg’s Mark Zuckerberg eyeballs us from The Social Network’s dark-mode poster.)

Comfort movies don’t own the white poster, of course. Jordan Peele’s Get Out toys, both in its marketing and its delivery, with the binaries of black and white. It’s deployed on-screen with sophisticated horror, and this extends to its two most graphic poster variants.

While one poster sees Daniel Kaluuya’s character, Chris, sat on a chair split vertically between black and white, the all-white poster allows only a center-frame letterbox to reveal Chris’s enormous eyes, accompanied by an all-caps type treatment. The vast expanse of white only makes the image more menacing, framing the claustrophobia so effectively. The landscape crop is a device that defines stern dramas as much as arthouse comedies, as documented by Haji Abdul Karim in their expansive list.

Haji Abdul Karim’s list of white-with-landscape-image posters.

But back in the ‘comfort’ realm, we’re seeing more and more that the marketing wants to have it both ways—the negative with the positive; the art house audience and the multiplex crowd. As genres blend, demographics collapse and audiences become more fluid, a film’s advertising needs to speak more languages.

Two ultra-comfort films from last year demonstrate this idea well. The poster for Judy sees a backlit Renée Zellweger finding her light, receiving her applause. Black is the key color, right down to the classic little black dress; the eye is drawn to the title, spelled out in red sequins. It’s showbiz, it’s drama. Though the film itself fudges a few of the more uncomfortable facts of the star’s story, it’s still honest about her addictions.

In the white-background version, which was more widely distributed, Zellweger, in a floral dress, turns away from the light. The name still sparkles, but in softened gold. There’s no less glamor, the stakes in the film are just as high, but she’s perhaps more accessible like this. The focus, as it was in the 90s, 80s, 40s, returns to the main event.

Greta Gerwig’s Little Women, too, played with dark and light. The indie queen released her previous film, Lady Bird, via design-conscious distributor A24, and Gerwig’s singular aesthetics promised that her Little Women remake would be worlds away from all the others. But when the first images for the film were released, the marketing campaign was questioned by die-hard Gerwig fans.

Both of the group posters are curiously stripped back, freezing Louisa May Alcott’s beloved March sisters in a moment. In the darker image, they gaze out a window, secure in their festive domestic bubble, but set on what’s beyond. There’s more to life, and the film, than this room. It feels more lush, painterly, certainly more dramatic.

Whereas the white poster, at first, seemed like a mistake. It took one of the first images teased from the film and just... dropped it onto a poster. The March sisters look as if solidified by clay, entirely undynamic and at odds with the fluidity and warm soul Gerwig had made herself known for in her filmmaking.

And yet, nothing matters more than these characters. Beth, Jo, Meg and Amy are holding each other, happy, each in their own favourite color, and there is nothing more to fight over. The white-poster alternative lets the 2010s viewer stay attached to the most important part of the film.

The lessons here? A white poster is a vital sign that you’re safe here. You’ve made the correct choice. Attention spans are dwindling, options are expanding, focus is difficult. The promise of a white frame tells me what matters, what is good, where I should place my time and my value. For now.

#movie poster art #poster design #film poster #film poster design #movie marketing #movie design #white posters #comfort movies #comfort films #letterboxd lists #Letterboxd #little women #judy #ferris bueller #disney #graphic design

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wherearethegirlbands · 4 years

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FEATURED PHOTOGRAPHER: JESSICA SEYMOUR

18-year-old Jessica Seymour is a Liverpool-based photographer about to embark on a filmmaking degree in Leeds. She tells us about her gig photography work, her favourite venues, and the Liverpool scene.

Tell us about your work. How did you get started?

I bought a DSLR camera after I finished high school to get into film, but before I had a chance to start making my own films, I ended up falling into photography instead - though it wasn’t the fastest process. I messed around for nearly a year with the camera, taking photos with friends and on days out without really knowing what I was doing before I started taking my camera more seriously. I only started to do gig photography in 2019, because I saw a friend at college doing it, and knew it would be something I would love. I reached out to ask how she got into doing photos for bands and she offered to take me with her to her next gig. As luck would have it that’s where I met Tilly Louise, who I still work with now.

Beginning was the hardest part. Starting from scratch without knowing anything about cameras and having to teach myself was awkward – mostly because I refused to read anything, and just decided to “learn as I go” for a few months. I wouldn’t recommend that approach at all, you do really need to know how your settings work and affect the picture before you mess with them! And even harder, personally, I found was going to the gigs and meeting new people. As exciting as it was, I was not very confident and was meeting people who I considered (and still do!) as being very cool and extremely talented. I’d also never been good at meeting new people, and meeting people who knew what they were doing was quite daunting. Everything about starting made me anxious! Sometimes I still get anxious when I feel like I don’t know what I’m walking into. Especially at new venues – I have no idea what the lighting will be like, or where I can stand or put my things. All these new experiences I had no idea how to handle, so I just tried my best! I was very lucky that my friend (@gina_may_photography) took me to my first gig. If it wasn’t for her, I very much doubt I would ever have had the confidence to go alone and start getting experience.

Despite all these worries, taking the jump into the deep end and doing my first gig was the best thing I’ve ever done. I say this a lot, but it changed my life in such a positive way. It opened a new creative outlet for me, and helped me discover so much incredible music that I never knew was just hiding in the city. More importantly, I think photography has given me a purpose I didn’t know I was lacking. It has continued to build my confidence, and has led me to create great friendships and memories, which is more than I could ever have believed would happen from that first gig.

What draws you to photographing musicians?

I’ve always been interested in music and loved going to gigs. It just seemed natural to me that I would want to spend my time doing photography there and taking pictures of the action. For me gigs are special because you get lighting unlike anything else, and some really dynamic shots from the band (without having to try and pose them!). My favourite part though, is that you get to capture some memories and try and convey the feeling and atmosphere through your photos. It’s like all the best parts of photography wrapped into one for me – aesthetically I love the colours, lights, and action that you can get from a performance on stage. And with all this, you also are capturing important memories for the band. Especially when you get to go to special gigs – a song release, a big crowd, opening for a favourite band. Being asked to be the person that saves those memories for someone feels like quite a big deal sometimes.

Do you have a favourite band/venue to photograph/set of photos?

I couldn’t choose a favourite band! I feel so genuinely privileged to have seen and worked with some amazing artists around Liverpool.

The artist I do work closest with is Tilly Louise though. We’ve become friends from all that we’ve done, and she’s very special to me. She is not only the most incredibly kind person I’ve met, but the root of my whole ‘career’. She has wonderful people around her (I would describe her as a magnet for amazing people, I don’t know how she does it), and because of that I’ve got to meet and network with so many others, mostly surrounding LIPA. Tilly does so much for me and the people around her, and I admire her so much not only for her heart but her incredible drive. So, if you’re reading this and you don’t know who Tilly Louise is, go and check her out! She will take on the world.

My favourite venues are Jimmy’s, Sound Basement, and EBGBS. Jimmy’s has the coolest lights and shooting The Blue Room there for a charity gig the other month felt very special. That’s been my favourite gig to shoot so far, because I don’t think there was a single person there who didn’t have an incredible night, and I still managed to get photos I am really proud of. Sound also comes out with some of the best photos – the lighting there is on a loop of steady colours, which I really love. EBGBs also has some nice spotlights... So anywhere with nice lighting is basically my favourite place. I would love to have another go at the O2 or try the Arts Club soon though, and other bigger venues like the Invisible Wind Factory!

As for my favourite photos, they genuinely change every time I take new ones! I guess that’s a good thing as it suggests that I keep improving. I think a set that really stands out for me though apart from The Blue Room’s ones I mentioned, are the set I did for Tilly Louise and The Beautiful Boys at EBGBs, for Tilly’s single release. I did more than just her set that night and I’m still pretty proud of all those pictures.

Has this been a good way of connecting with local musicians, or is the dynamic perhaps more separate?

It’s been a brilliant way to meet people and network! I’ve made some incredible new friends from my work, which I wasn’t expecting. I found so many people and such incredible music too, that I would love and be listening to even if I wasn’t there as a photographer. I do try to go to gigs sometimes just for the music rather than to work, since it’s such a different experience behind the camera. I don’t think people would believe I’m sincere if I tell them I’m such a big fan of their work, as it looks like I only want to sweeten them up in the hopes they’ll invite me back for more photos - but I am so privileged to hear their music and get to work with the people I do. I hold so many of them in the highest esteem and know I would be a genuine fan even if I was not working for them.

Is your work ever experimental?

Not really, and definitely not as much as I would like! I have started trying some more long exposures (and I am still trying to improve my technique), as I’ve seen many photographers use them and think they look incredible. I also would love to try using some sort of prism sometime. These techniques are both heavily used though, especially for gigs, so I would love to come up with something truly different that people haven’t seen before. As to what that is yet, I have no idea. Maybe start taking a drone to gigs to get some shots from a bird’s eye view? If I had the money and the venue was big enough, I think that would be quite different! However, I have a feeling that that won’t be happening...

What are you working on at the moment?

Nothing in particular, considering all gigs have been cancelled. I was meant to be shooting Melon Yellow Festival and Sound City very soon, and I was very excited, but now I’m not sure if it will work out. They would be the biggest gigs I’d ever shot! So I am ridiculously upset about missing them. I had such big plans this year! We’ll just have to see what happens. I hope I can make them in September but I already know Sound City clashes with another postponed gig I had tickets for, which is gutting.

What makes the Liverpool scene different to any other?

Unfortunately, I don’t have any comparisons to make here. I’ve only ever worked in Liverpool, but it will be interesting to see how Leeds compares when I move up there. I do hope I will be able to find a balance of going between the two cities though. I feel like I’ve really settled in with the Liverpool scene and love the people and opportunities here. I already know I will miss it desperately.

Why do you follow @wherearethegirlbands?

I love this account so much. I think it is perfect for building a supportive and interconnected community, and creates a great space to discover new people around the area. Knowing who is in the community and building a supportive network to showcase other creators and be inspired by them is great for everyone! Without the help of many people, I would not be doing what I am now. Plus, I love to see other photographers on the scene absolutely killing it. There are so many talented photographers in Liverpool who I look up to and feel constantly inspired by when the post, they give me so much excitement and passion to keep challenging myself. It’s also great to see which bands are in the area too: to see who you connect with, and even if I am not approaching it from a work point of view, it’s great to find new people you love as artists.

What’s the best live music to see in Liverpool?

I’d always say try and see everything and anything you can! I still have so many people I would love to cross paths with at some point, and so many different areas of the scene I would love to explore. I think some of the women in Liverpool really are the best though, so if you’re going to go anywhere, I’d try there!

#photographers

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adamwatchesmovies · 6 years

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Goldfinger (1964)

Goldfinger is easily one of the best James Bond films. If you know someone that's been turned off of the series by some of the lesser entries, show them this one and they will fall in love with 007.

This time around, James Bond (Sean Connery) is investigating gold bullion dealer Auric Goldfinger (Gert Fröbe). Initially tasked with learning how Goldfinger is smuggling gold internationally, Bond discovers that he plans on attacking and breaking into Fort Knox.

Why is this one of the best Bond films? Because it’s got one of the most clever pre-credit sequences, a villain that's second to none, many memorable characters, and a tight plot that keeps you wondering throughout. The pre-credit sequence is short so I don’t want to dwell too much on it, but what clever use of photography, what thrilling action and clever twists in those 5-or-so minutes! Next, our villain. Whenever you see a movie where the antagonist captures the hero, you always wonder what their problem is. Why don’t they just kill their foil instead of setting them up in elaborate traps? Why reveal their big plan to them? Why drop their gun to get into a hand-to-hand fistfight? How do they justify their criminal actions? All of those issues are addressed here, and in ways that develop and enrich the character of Auric Goldfinger. He loves gold. The color, the shine, the value of it, he loves it more than anything else. All of his actions are aimed towards increasing his fortune. When he isn't, it's because he's losing; and he hates losing. It’s an offense to him to be anything but number one so he will employ whatever means necessary to win at even the pettiest contest. He and Bond are constantly one-upping each other, with the odds always leaning more towards Goldfinger and his operation. The man is constantly finding ways to turn moments of disadvantage to opportunities for advancement. He really is a mastermind and you wonder how Bond is going to defeat him.

That’s just the main villain. We also have another great character introduced in this film, the Korean henchman known only as “Oddjob”. Bond films are often known for their cool gadgets, but how often do we have a villain who’s gadget is as cool, if not cooler than our heroes'? You’ll know what I mean when you see Oddjob’s signature weapon. Goldfinger might be the brains of the operation and the intellectual equal (Though I would argue superior) to Bond, but Oddjob is the muscle. Even Pussy Galore (yes, that’s the name of Honor Blackman's character) is terrific. She makes it clear that, unlike the other floozies appearing in Bond films, she's not there just to get together with 007. Well, maybe she is, but wait! No! That was her taking advantage of his weakness for women! She’s a lot of fun to follow and there are some great dynamics between actress Honor Blackman and Sean Connery.

The plot here, what a masterpiece. The film is constantly toying with Bond escaping and getting the leg-up on Goldfinger, only to fall back into a trap or to be apprehended by our villain’s forces. The film lasts nearly two hours (1hr, 50 minutes) and it is so well crafted that you will be surprised when the ending comes. I gasped out loud numerous at the surprises and twists. Other things you can look forward to? The tricked-out Aston Martin DB5 car that has become a favorite of fans, terrific lines (the best of which come from Goldfinger), several high-powered action sequences, and an acute attention for details.

There are big laughs, many moments of tension and constant excitement in Goldfinger. It sticks with you long after the movie is over. This is what you want not just in a Bond movie, but in an action movie overall. They don't get much better than this. (On DVD, April 9, 2014)

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pubertee · 6 years

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7.18.18 entering 2nd year of college

There hasn’t ever been a time in my life where I don’t have a lot of things going on in my head, but during these times it’s usually somewhat different every time. What’s up with me now?

I’m not sure if life is meant to feel uneasy all the time. I’m such a restless person behind closed doors. If I stay still, I want to move. If I’m doing a lot of things at once and feel like I need a break, there seems to never be enough time during the day. I’ve never thought 24 hours during a day has ever been just right. It’s either too much or too little. But a lot of this could do with my sleeping habits, I’ll admit. Sleeping at 3am everyday and waking up at 12pm isn’t the best routine for productivity. But if there’s one thing that has been a constant throughout my life is how tired I am all the time. The only way to push through it is to do things that I like or motivate me. I suppose that’s how I’ll be for the rest of my life. How do people wake up so early and feel rested?

It’s weird and maybe contradictory of me to say, but all I really want right now if to be able to live out a simple, routined life. Not necessarily extremely simple, but something that keeps me busy enough without feeling like I have too much or too little energy. Balance. That’s the word I was looking for duh lmao// But yes, balance. I feel like everything that I do in my life is super sporadic and aloof. There hasn’t been a moment in a while where I’ve followed a routine down to the markings. I’m still the type of person who only does things when they feel it’s needed, but won’t take action until those moments. I’m lazy, but I’m pretty sure stress has a lot to do with it too. I don’t mean ill towards others when I’m lazy. But my mind just has a natural tendency to wander a lot. It makes me wonder if it’s because I don’t enjoy the day to day.

I’ve come to realize that life is too short to not do the things you enjoy. Why spend your life wishing you could be doing something else, especially if you have the opportunity to? I’ve started becoming serious these days about mapping out the rest of my years as a young adult. These are the times I can’t waste right? I’ve come to realize that, too. How do I beat my feelings of not being motivated?

Well, I go to school now, do that’s a good start. Finish within 4 years, get a bachelors in psychology, maybe minor in music or business. But I really have to decide that soon. But school bores me so much. How do I fix this?

I think that I really need to go to a 4 year university, I know that much. Study abroad sounds cool, maybe I’ll go to South Korea my junior year if I don’t get an internship. School’s a given. What else do I wanna do?

I like music a lot. I don’t know why I didn’t think to get into it earlier, since I constantly listen to music and have all my life. I’m listening to it right now. It has this ability to block out whatever negativity I feel and make me feel comforted. I’d have a broad soundtrack to my life. I’m the person who constantly sports headphones no matter what the occasion. I think I’ll be like this forever.

I also really like film and photography. I like capturing moments that I feel are special. I’m a sucker for nostalgia. Being able to take a step back and see physical evidence of how you progress through life, that’s pretty special. As lost as I feel in this world, I can still acknowledge that there’s beauty held within the everyday. Change can happen quickly before anyone realizes. But the camera has this ability to see the things that you can’t, and perhaps blur out the things you see to others.

I really enjoy fashion now too. Since I’ve moved to LA I’ve seen so many different styles and brands that I’ve never really seen before. I specifically like urban streetwear. I’ve always been looking for a staple look to be able to go to, and I feel like I’ve found my niche within that community. I’ve always grown up as a tomboy, so it’s been hard finding clothes that expresses the type of person I am. I can’t really say I fit into any category or type in general, but streetwear gives off vibes that seems to fit me best. It’s muted, but flows off the body well and emphasizes proportion. It makes a good statement without being loud. It’s simple but very cool. Am I cool? Not sure, but I’d like to be.

The older I get, the less time I’ve spent expending all of my energy into making sure that I feel comfortable and secure. My anxiety would get the best of me when I was young, so I built this wall around myself without noticing. But before I knew it, that wall ended up protecting me from danger and growth at the same time. It’s funny how those two seem to go hand in hand, they have a great relationship with each other but torment me and others alike. It’s cause and effect. But right now I’m making sure I’m molding myself into the person I want to be. I’m trying to fulfill my potential the best I can. I can get tired and lazy at times, but I’m hoping my efforts get me somewhere. I want to live steadily with the moral compass I’ve built throughout the course of my youth, and I want it to last me for the rest of my life. If it changes shape and takes me into a different direction, I hope it’s for the better. Like changes out old parts for better, more advanced pieces to help with its efficiency. The adult world can be scary. I spent a lot of my time growing up wishing that I would be in a place of comfort and sustainability. I wonder why I didn’t think of the journey that would get me to this place. I'd want to tell my younger self that the journey is the place of growth, and that it’s often times the best part. But it’s only the best part when you take a glance back and you just catch a glimpse of it, like a mirage. The moment will be gone before you know it. But it’s pretty beautiful.

I’m fascinated by how life works. I always have been, I know that that part of me will probably never change. I’m also very much in love with life, no matter how much it seems to push and pull at my being. It’s really been such a crazy ride so far.

I’m in the state of the calm before the storm right now, and it’s making me restless. Things go a little too quick these days.

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aion-rsa · 3 years

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The Art of Bringing a Shadow and Bone Scene to the Screen

https://ift.tt/33t8mqU

This Shadow and Bone article contains major spoilers for Episodes 5 & 6.

As the director behind Episode 5, “Show Me Who You Are,” and 6, “The Heart is An Arrow,” of Shadow and Bone, Mairzee Almas was behind the camera for some of the major turning points of Season 1. These episodes see Alina and General Kirigan’s romantic interlude, Baghra’s reveal that Aleksander is actually the Black Heretic, and the coming together of the Crows and Alina for the first time. It’s when the season really kicks into a higher gear. Den of Geek talked to Almas—whose work you have previously seen on shows like The 100, Outlander, the Arrowverse, Jessica Jones, Shadowhunters, and Smallville—about bringing the Grishaverse, and some of these emotional and game-changing moments, to the screen.

The Work of a TV Director

“When you are a director for hire, you come in and receive the script and your job is to present the visual interpretation of the script,” explains Almas, when asked to explain the job of a TV director in simple terms. “As one of the collaborative artists on set, I take the script, I break it down, I think about the character journeys. I try to elevate the material, try to elevate the script, try to support the actors in creating their very best performances, understanding that they have a journey to make in your episode or episodes.”

Of course, for every director, the process of interpreting said script looks a little bit different. For Almas, she works by grounding the visual interpretation in the performances of the actors. “I start from an acting point of view, a performer’s point of view. It’s all about the performance. It starts and really ends with that. Everything else that we do is to support that proponent and to tell a story in a compelling way, right?”

For Almas, this means sitting down with the actors to discuss and articulate their character’s journey in the episode or episodes: “I would sit with the actors and say ‘How are you different at the end of the episode than you were from the beginning? Where are the moments where your character has agency, where they had a decision they could make? They could go left, they could go right, but they made this choice instead of that choice. And where are these big pivotal moments for your character?’”

The script is the source from which all other action will come, but Almas says the moments to be captured on screen are often up for some interpretation, which gives the director and actors space to collaborate on a specific vision.

“We’ll work it out so that we’re in a collaborative agreement,” explains Almas. “Where are these moments? And then I might say, ‘Oh, it’s on this line’ or ‘It’s around in here where you make a decision,’ and the actor may say ‘No, no, I think I made it earlier. It was over here.’”

Once the director and actor agree on an interpretation of the scene, Almas says she will design the shots and blocking to support that moment.

“I will always try to find a way to have the camera support the subtext of the scene, and make sure that everything we are doing, whether it’s the blocking or the camera work, are really supporting what’s going on underneath the scene.”

On that note, let’s dive into some of the scenes from Episodes 5 and 6 that Almas directed. I encourage you to watch the scenes before or after reading Almas’ commentary. I’ve included the time codes for reference.

The Palace Party Scene

Episode 5, 20:20 – 27:22

Den of Geek: This seems like a massive scene. Was this one of the largest scenes that you had to direct in the two episodes?

Mairzee Almas: Yes. It was a big scene with a lot of people, with a lot of moving parts. This was of course was done in the beautiful castle of Keszthely in Hungary. Many of our background performers did not speak English, but, honestly, people in Europe manage thousands of languages, it seems, and we North Americans can barely stumble through one.

You had a really long shot coming into the party too.

Yeah, so big steadicam shot to try and feel the energy of all of the people and see some of the beautiful costumes that Wendy [Partridge] has managed to get, to create.

How many extras did you have? I mean, I’m guessing this is a few different sequences this party altogether, but it seems like there’s a lot of people.

There’s a lot of people, I think we had somewhere 250, something like that.

And this is also really exciting because it’s really the first time we see the Six of Crows and the Shadow of Bone world coming together and the adaptation. Was that something that you guys talked about or that you really thought about when you were directing this?

Yes. For sure. Whenever we were bringing these two different literary worlds together it was important and fun and new and fresh, which was great fun. The Crows, of course they are the the heist vibe, a little like Oceans 11.

Yeah, I’m seeing that in the format of what you’re viewing here, with that quick pan cut.

Yeah. That was something that Lee [Toland Kreiger] had started in the pilot with this idea of a whip pan, it’s called, to go from one thing to the next, which is really fun and gives you that immediacy. We just did one right there. When we were going between storylines, between storyline characters, it was very good.

Something else that stood out to me about this episode and this scene, I think is we get more of Aleksander’s point of view. I feel like this is the episode that you have to kind of sell the viewer on Aleksander before you get that real turn. What was your view on that?

Like any good antagonist, he truly believes 100% in what he’s doing. And I think the character believes that what he is doing is the right thing and the right thing for the people, for his people, the Grisha. And I think he has been waiting for Alina for hundreds of years. He’s been waiting for this woman to be his equal, to be someone who understands him, to be his partner. And he is lonely and he has a deep ache for her. So he’s not playing it like just a hollow manipulator who doesn’t care. He has genuinely been waiting. And I think that the more the actor, Ben [Barnes], the more he is able to invest that character with a need, the more real it is, the more loving it is.

Yeah. He does a good job.

He does a good job. Yeah. And I was sowing a little bit of seeds in there with Genya and David as well.

Yeah. They don’t get a lot of screen time in the first season, but I know that a lot of fans of the book are really excited to see their dynamic. And there’s a cool shot of the Crows with the chandelier in the foreground right there.

Yeah. Thank you. And that was just to show that Kaz’s skepticism about Alina being a saint and the consummate con man doesn’t believe anything.

Alina is having quite a growth in this episode and I believe that Kirigan wants the best for everyone. He wants the best for his people and he wants the best for her. And he wants finally, finally, he wants to have a partner.

As you were saying before you had those conversations, I’m assuming, with Ben and Jessie [Mei Li] as you were directing these scenes.

Absolutely. And I think when we get later to the scene, when we were talking about the kiss and then Marko’s entrance, there’s a real adult kind of turn to that, as opposed to the childhood sweethearts that she had before. So things were changing for her and this is… we’re seeing it here is her becoming an adult, essentially growing up and starting to own her power. And as my grandmother would say “Settling into her hips.” Becoming a full grown adult woman, this is her beginning of that.

She seems so happy here. It’s kind of it’s sad knowing what’s going to happen after, but it’s also still great.

I mean, it’s the story about outcasts and people outside who have no place. And she’s finally feels like she has somewhere to be in and a community to be a part of. Finally, finally, finally, only to have it torn away from her again.

So logistically when you’re filming a scene like this, with the lighting changing abruptly while the Grisha do their thing, do you have different colored lights on set?

We did. And my director of photography is this incredibly talented man named Aaron Morton, who was fabulous. So we had a crane for the camera in this space, but we also had a crane with lights on it so that the lights could shift over top of people. So we could do both for the red lights when the Inferni were playing with fire, but also for Alina’s display. So we were moving light above and over people. Then the visual effects adjusted it and sort of gave it a texture. But really the moving of the light was done practically.

I’m going to end here, for this scene, but this was one of my favorite shots, coming in slowly on Inej and seeing Amita’s performance, I think it’s so beautiful as she gets to see Alina as the Sun Summoner.

Yeah. This is somebody, a character who is deeply religious, but if you think about what her background has been and how she has been abused and in the Menagerie, and what kind of terrible experience she’s had without any control in her life or any say in what has happened to her or her body, you have a sense that her religion is what has gotten her through to get to this moment to, to be alive, to still be alive.

That Darklina Scene & Baghra’s Reveal

Episode 5, 39:28- 46:31

OK, now we’re back with Kirigan and Alina, and they’re just having a nice time. Yeah. This is a beautifully shot scene and you have this, this moment coming up where you actually see their shadows on the wall behind them. Could you talk about that?

We have a bit of flares with Alina because she is the Sun Summoner, but yeah, I orchestrated the shadow. I mean, I had to choreograph the actors to find that shadow moment, and bless their little cotton socks because it’s sort of an artificial bit of movement for them. But it worked for them both. And I was curious if people would even see that if anybody would notice it or not.

https://falllingthroughspace.tumblr.com/post/649550888476737536/light-and-shadow

I’ve definitely seen people talking about it on social media.

Oh, they have?

Yeah, for sure. And then talk about the logistics of like a kiss as well. Because it seems like another thing to stage. Not to take the romance out of it…

Right, but it is a stage and you’ll see exactly where his hands are and what he’s doing, and he’s picked her up and he’s put her on the table. I mean, they are about to escalate it to where perhaps she has never been. And this is part of her becoming an adult and then they knock on the door being interrupted again. I go through it with the actors, exactly where the camera’s going to be, what I expect from them, what they’re going to do. And we make sure that they are 100% comfortable with everything and it’s done in a way that it’s private with them, with me and both of them and then me and separately with them, just to chat and make sure that they feel comfortable with what we’re talking about doing. And does it feel right for the character and not gratuitous in any way?

I do love that moment right there when you hold on Alina, and he comes back in frame kind of like a surprise, to kiss her again…

So that was a Ben Barnes special. Ben said “I really want to do this.”

And then see how, what I was doing here with the cameras, trying to do a little bit of a wrap around her, letting her be a little overwhelmed by her background. And in the kissing scene, in this whole sequence before Baghra comes in, the camera is wrapping a little bit. And that, again, makes the background around her feel like it’s moving. So she’s a little unsettled, things are happening pretty quickly to her. And it helps that something about subtext where we as an audience can feel what she’s feeling a little bit.

So a director’s job is not just to dictate the script as written out, it’s to try and find a way to take the audience on this roller coaster ride that the characters are on. And, as a director, with the script of course, sometimes the audience should be with the character, sometimes they’re behind the character, sometimes they’re ahead of the character, but we plot that very carefully and make sure that we’re maximizing the emotional experience for the audience. And really that’s the most important thing is they really have to have a visceral experience. And so whenever you can join in with Alina and what’s going on for her and then to have it so rudely stripped away from her with Baghra coming in…

Such a tonal shift. From Alina’s point of view, everything is going so well with Kirigian, and then we’re in this dungeon-like hallway.

Right, and it’s so much fun because you can see that there’s respect for Baghra, but at the same time, Alina is like “What’s the matter with you? It’s been too hot in your hut, your brain isn’t working, you know, come on. What, what’s the matter with you?”

She’s frustrated.

She’s very frustrated. She’s waiting… he said he’d be right back and then Baghra’s there talking about the Heretic.

How Shadow and Bone’s Jessie Mei Li Grounds the Grishaverse

By Kayti Burt

Shadow and Bone’s Alina is What a Modern Feminist Fantasy Heroine Looks Like

By Lacy Baugher

Yeah. It’s a real shift for her. And it’s a real shift for the viewer.

Yeah. And then she finally stops Baghra, she jumps in front of her and stops her. “What are you doing? Stop.” And then Zoe Wanamaker—whom I love, absolutely love. I just want a whole spin-off series just with Zoe. Baghra’s fireside chats…

I would love that.

And this is really a lot of exposition that happens in the scene, but you do it so well, and these actors are selling it so well that it doesn’t feel like you’re just listening to information.

Right. And one of the challenges to this… Thank you for saying that. One of the big challenges to this scene is we’ve just built all this time for Alina to start to fall in love with Aleksander. And I can’t have her appear fickle, so somebody comes along and says “Oh, but he’s really a bad guy.” And then she has to believe him or her, rather, she has to fall into that immediately. Like why? And so Baghra has to work at this and this photograph, this painting is to show that. A several hundred years ago version of him that you don’t really pay off until I think episode six, and see his clean shaven face. But she has to convince Alina of his ill intent and terrify her. He isn’t a boy at all. He is eternal and he never stood a chance. I remember on set, having chills when Zoe says “You must hide.”

She’s such a powerful actress.

She is. Yeah.

I’d love to hear more about Jessie too. Because she obviously has way less experience than someone like Zoe Wanamaker and just carries so much of the show, so well.

She does, she’s got a lot of natural, innate talent, obviously. Jessie does. And the character is her on some level, right? I mean, she is going through a sort of a transformation herself, her own life echoes this somewhat, being kind of taken from somewhere, not really known and then brought into this big new world.

Yeah. Is that something you talked about on set?

A little bit. I mean, one of the things that I like, I love working with actors, let me start with saying that. And one of the things that I really enjoy doing is working with the actors to craft a performance over the entire episode. And in fact, over the entire season and to talk to them about how they, as an actor, how they are the author of their character on a lot of levels. They have to infuse the character with all of the truth and the honesty, and they have to be brave. And for Jessie to understand that she has a huge part in creating this character. Yeah, it’s in a book series and yeah, here we are, it’s in the script. Yeah, all that’s true, but she has to bring her own humanity and her own fear and her own bravery and all of those things to the character. And so what we were always looking for are those honest moments, those very, very honest moments for the actors to really connect. And part of that was by throwing all of your attention on the other character that you’re in the scene with. And just understanding that you, as an actor, you are enough, you are in it and the casting is done. You are that person, you are that. And to trust that by the time we’re on set all of the work, you did all of the rehearsals, all of the research you did for your character, it’s there. You’ve got to trust it’s there and now just allow yourself to be present. And she just naturally did that, and had some really terrific performances as a result.

Yeah. Yeah. That seems especially important for a young cast like this. Obviously there’s some veteran actors in Shadow and Bone, but there’s a lot of relatively new people.

You know, even the veteran actors like Zoe. I mean even veteran actors, everybody needs to be reminded of that as well. Every once in a while, just that you, you are enough and it’s all there. If you just trust it and just be present. And they were always working on that. So that’s why they were just very, very good. You know, Ben and Jessie together are phenomenal. Ben and Baghra, Ben and Zoe are amazing together as well.

How long did you have to shoot you two episodes? Was it one block?

Mairzee Almas:

It was one block. And I honestly cannot remember how many days we had. Something like 20 to 24, something like that. That’d be 12 or 14 days per episode is my guess.

Nina and Matthias at Sea

Episode 6, 8:00 – 10:04

So we’re going to jump ahead to the next episode, episode six and catch up with Nina and Matthias, who are not having a good time.

No, no, they are not.

This is a short scene, but I wanted to ask you about it because water filming is notoriously difficult.

Oh my Lord. So here we are in the winter in Hungary, this is a water tank that our special effects team built in a studio space, but it was still cold. The water was heated as much as it could be, but you can’t heat it too much, otherwise there’s steam coming off of the people. So it was cold. And it’s a tank with guys, special effects guys on the sides with literally oil drums, with a stick attached to them that they’re pushing back and forth to create the waves. We have huge fans coming from many directions pointing at these guys and rain towers and rain wands so that is spraying water at these guys and all of it with the back splash, that is a green screen, so that in the wide shot, we can add a visual effects environment. But the water is quite deep.

As I recall, I think that Danielle [Galligan], Nina, could stand up on her tippy toes and keep her mouth out of the water.

That sounds intense and it sounds loud.

It was intense. It was loud. They had to ADR all of their dialogue because of the heavy machines that were running throughout all of it. And the water depth, as I recall, had to be that deep because Calahan [Skogman] is so tall and so that he didn’t have to kind of crouch and to make it real so they could float, he had to do a lot of that swimming.

It was really difficult. The two of them were absolute rock stars through this. There’s just no way around it. They had to be soaking wet in all that wardrobe.

Do you know how long you were filming this for?

Oh, golly gee, I’m going to say it was about eight hours.

They’re really earning their paycheck here.

Yeah. It was very difficult. And then of course them coming, not just this portion, but getting onto the shore and walking off as well.

Yes, The Book in Shadow and Bone is… Shadow and Bone

By Kayti Burt

Shadow and Bone: How Mysterious Criminal Kaz Brekker Steals the Show

By Rosie Fletcher

Were there any Titanic references made while you were filming?

I’m afraid there were, and we stood there and we said “You know what? Jack could have fit on the door. Jack could have fit on the door!

That’s exactly what I thought as I was watching it. But I was also like, this is like a healing experience for me, years later to see them both survive, you know?

Yeah. That’s right. And these two are such wonderful people. When we were doing the auditions for Matthias, Danielle was part of them. And I think I auditioned five or six guys, put them all on tape, and with Danielle playing all these various scenes with these different guys, it was really fun to play with her. And she’s so alive and so awake. She’s just a fantastic actor, really terrific.

So you were involved with the audition process?

Yes, at this point. I think I had arrived in Hungary the day before, and then we were bringing in all of these young actors from all over the world to audition with Danielle and to do a little chemistry feel and honestly, they had already winnowed this pile of guys down to around five, and they were all spectacular. They were all spectacular by this point. They were really, really great choices. So it was an embarrassment of riches, but you know, Calahan was fantastic. He just won it, he just had that extra something.

Conclusions

Those are the three scenes that I wanted to talk to you about. I honestly feel like I could watch both of these episodes and talk to you about all of them, because there’s so much in here, but I really appreciate you taking the time to talk with me about what we did see.

Yeah. That’s my pleasure. And I’m so glad that you saw the shadow. I honestly didn’t think you guys would see that. I’m so happy you did. And look for other things in there where you can see the camera definitely trying to support whatever the subtext of that character is. And there’s lots of those. And that was something my director of photography, and I, we went through a lot and said, “I really want the audience to have a visceral experience here.”

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connordavidscamera · 5 years

Text

Living, Learning, and Filming Ch. 1 |Connor Brashier

A/n: up until this morning, I didn’t have any inspiration for this chapter. That changed, obviously.

Summary: y/n and Connor are partners for their class final. Their topic of choice might get one or both of them in trouble.

warnings: none?

Word count: 1.6k

***

Week 1

“Brashier, I’m having a girl over tonight so I’m gonna need you to - whoa. What is going on here? You’re cleaning?” my roommate, Brian says, stopping in the doorway of my room.

I shrug, “It was looking too messy.”

“Too messy,” he repeats.

“Yeah.”

“Okay… Who’s the girl?”

“There’s no girl,” I answer, putting the dirty shirts in my hand in the hamper by my closet.

“Well you’re definitely not cleaning for yourself.”

“Craigen, I don’t know what you’re talking about. My room was dirty, I wanted to clean it.”

“Because you want a girl in here,” he crosses his arms over his chest, coming further into the room. “What class do you have with her?”

I sigh, “She’s in my film class. We’re partners for the final.”

“And you want to fuck her?”

“Brian, come on.”

“You do,” he cocks an eyebrow.

“Why does it matter? She’s coming over tomorrow for us to start on our project.”

“Uh huh. And what’s the project.”

I know my face just got a little redder. “Falling in love in college,” I mumble.

He laughs and I don’t mean just those little haha laughs. I mean, he’s clutching his stomach, almost doubling over, he’s laughing so hard.

“Falling,” he stops himself, still laughing. Dick. “Falling in love? Like with each other? Whose idea was this? What the fuck? Do you know anything about her?”

“That’s what I’m doing with this. I made her a bet that one or both of us will be in love with each other by the end of this project.”

“Ha! By the end?” he shakes his head, running a hand through his hair. “You realize she’s already got you fucked, right?”

I scoff, “It’s fun, Brian.”

“A game?” he questions.

I shrug, “Yeah. A game.”

“And if you do just so happen to fall in love with her? What then?”

“It’s not gonna happen.” “But if it does?” he persists.

“Then I lose.”

***

I’m walking out of my ethics class when I catch sight of y/n with some, I’m assuming, friends. They’re just walking out of the cafeteria, she’s laughing, her hand runs gently through her hair. I won’t deny that she’s pretty. Dangerously, so. I don’t realize that I’m still staring until she catches my gaze and waves, smiling with teeth. I don’t want to be rude, so I wave back and I watch her say something to her friends before making her way over to me.

“Hi,” she says brightly, a much different greeting than I was expecting. Our last encounter, she left the room without a smile on her face, head down, watching her shoes as she walked.

“Hi,” I respond, hands in my pockets.

“Um… no. What’s up?”

“You in the mood to start filming?”

I hum, “I’d love to, but I left my camera at home.”

“I have mine in my dorm, I could start my part.”

“You sure?”

“Yeah. Come on, it’s nice out. We can go to this coffee shop down the street. I had a few ideas about what I wanted to do.”

“Which is?” I ask as we start to walk toward her down, I’m guessing.

“Okay?”

She’s looking at her shoes again as she walks. “I was thinking something like an interview process. Just as an introduction. A kind of ‘who are you? Have you ever been in love?’ type thing.”

“I like it. And I think toward the end of the project we could do another one, same questions, hopefully different answers.”

She nods, still not looking up. “Yeah, hopefully.”

“You’re shoes are still there, you know?”

“What?” finally, her eyes meet mine.

“You watch your feet as you walk.”

“Oh, um… sorry. I didn’t notice.”

“No, it’s cute. It just makes it hard to look at your eyes when you talk.”

“Well they’re nothing special. You’re not missing anything,” she chuckles.

“They’re pretty,” I tell her and her cheeks heat up.

“Thank you,” she says quietly.

“So, this is the way to your dorm?”

“Yep… do you live on campus?”

“No, my friend, Brian and I share an apartment a few miles from here.”

“Oh, does he go here too?”

“Yeah, he’s a business major.”

“Oh, that’s cool. That’s what I was going to do if this whole photography thing doesn’t work out.”

“Why do you think it’s not going to work?”

“Well there’s a lot of film going on recently. It’s competitive, I don’t exactly know how my work is going to fit into the equation, but that’s not stopping me just yet.”

I smile softly at the confession. “Well, I may not have seen your work yet, but I’m pretty sure you’re gonna make it.”

“Ah, says the guy who has already made his big break, traveling the world with Mr. Shawn Mendes himself.”

“You been reading up on me?” I muse.

“I thought if we were going to be working together, I needed to know who I was going to be spending my time with. Your stuff is really, really good. I can see why he hired you.”

“Oh,” it’s my turn to blush, “Well, thank you.”

“So, the elevator’s broken. Has been for a couple weeks. They keep saying they’re gonna fix it, but at this point I’m expecting them to be working on it the day we come back from Christmas break. Anyway, you good with the stairs?”

“Well I don’t really have a choice, do I?”

“I mean, you could stay down here if you’d like.”

“No, I was kidding. I’m good taking the stairs.”

“Okay, then follow me,” she says, taking her keys from her bag.

She’s a few steps ahead of me, and if I look up at just the right time I can -

“Looking up my dress isn’t going to get you under it any faster, Brashier.”

“I - I wasn’t.”

“You were,” she looks down at me from her step and smirks. “You’re not very smooth, are you?”

“I wouldn’t say that. I like to think I am.”

She nods, “You might be a smooth talker, but your actions need a little work.”

I chuckle, “If you say so, sweetheart.”

Y/n scrunches up her nose, “Sweetheart,” she continues walking and I follow. “That’s condescending.”

“You’re really gonna make this hard for me, aren’t you?”

“Well where’s the fun in me making it easy for you?”

I hum and press my body close against hers, holding gently onto her elbow as she reaches to unlock the door, “How about we save ‘sweetheart’ for the bedroom? Hmm?”

She scoffs and rolls her eyes, “You’d have to get there first, Connor. And right now? You couldn’t be further way.” she looks back at me and I glance between her eyes and her lips.

“You keep frowning and your face’ll stay like that.” I run my index finger over her bottom lip and her eyes flutter shut.

---

“Okay,” y/n fixes the settings on her camera, looking through the lense every few seconds and then back at me. “I think we’re ready.”

“We just going right in?”

She nods behind the camera, “Yep. And… we’re recording. What’s your full name?”

“My name is Connor David Brashier. I am twenty-one, and a junior here at UCLA.”

“What are your hobbies?”

“I like filming, playing video games, and surfing.”

“What is it about filming that you like the most?”

“I like capturing the things that would otherwise go unnoticed. Those small things that no one thinks about until after the fact. Like at concerts, people are there and they watch the show, but they don’t see what happens behind the stage, they don’t see how incandescently happy they are to be there. I like giving that back to them. That feeling they had, the feeling the performer and the team had before and after the show.”

She’s smiling behind the camera and I can’t help but blush, looking down at my hands. “Do you see yourself doing this for the rest of your life?”

“Of course.”

“Even if it takes you away from your family?”

I have to think about it for a minute. “It doesn’t take me away from them. They’re always with me supporting me.”

“I like that answer,” she says, tugging at the bottom of her sweater. “And uh, last couple questions.”

“Alright. Hit me.”

“Have you ever been in love before?”

I look at her, hiding behind the screen of her camera and I can’t stop myself from smiling fondly. “No. Not yet.”

“Can you see yourself falling in love with someone?”

I take my time to answer this, because I know my answer, but I don’t want to seem too eager.

“Connor?”

“Sorry,” I clear my throat. “Can you repeat the question?”

“Can you see yourself falling in love with someone?” she asks again.

“Yes. Yeah, I can see myself falling in love with you.”

***

Tag: @sunrise-shawn @anamariel2301 @shawns-badreputation @bbellbagel @turtoix @ivegotparticulartaste @tomshufflepuff @dino-16-avocado @sleepybesson @lifeoftheparty74 @shawnssongs @luvluvxx @foreveralone19588 @shawnandconnor @5-seconds-of-mendes @emma-manuhpe @nedthegay

Connor Tag: @shawnm521 @divinginfearlessly @enchantingbrowneyedgirl @bettroff @myyohmyuohmyy @madison-malfoy @shawnieeboyy @mutuallynotmutual @tinycertain @rockstarshawnmendes @lostinmendess @sunrisebrashx @sunriseshawnm

LLF tag: @green-lxght @mariamuses @linanilssonfurberg

#connor brashier #connor brashier fanfiction #connor brashier imagine #connor brashier x reader #connor brashier blurb #connor brashier x y/n

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hollywayblog · 6 years

Photo

People | Top Film Photos 2017

See: Places | Things

Film photography kept me going this year. It kept me curious and humble, and my hunger for a gorgeous shot led me to a lot of places I would never have seen otherwise.

I’m a writer first, but my words are something I have complete control over. As a perfectionist, this can drive me pretty mental at times; I could spend an eternity combing through a story or blog post changing this or that word and never feel done. While my perfectionist tendencies come out at the editing stage of film making (I don’t really edit my photos unless I have to alter exposure), there is an urgency about capturing a moment that will never come again, having limited film or space on your memory card. When you’re behind the lens, you are capturing something rather than manufacturing it. Even in a controlled shoot, you are still limited by time and tools. Writing can only be limited by your imagination, and while that’s freeing in some ways, it can be terrifying in others.

These visual mediums are creative outlets that allow me to follow my instincts without so much pressure to be perfect. I know I can’t control the weather or the set of someone’s teeth or whether they blink just as I’m pressing the shutter. It doesn’t mean I don’t strive to be better, and I would love to do some planned shoots next year, but I guess because I don’t define myself as a photographer or cinematographer it takes a lot of the pressure off to be revolutionary. I just do what feels right.

But enough about that.

I was going to choose ten photos overall, but that proved to be literally impossible. Instead I’ve chosen thirty overall, divided into three categories. The first is People.

One of my favourite things about taking up this hobby is the beautiful pictures I’ve snapped of my loved ones. I’ve always dreamed of taking photographs that captured the specific energy of a person or a moment, and when I look at these ones I feel like I’ve done that. These are photos I love of people I love.

1. Avalon. Gasometer Hotel, Collingwood, Victoria, Australia. Minolta Dynax 500si. Kodak ULTRAMAX 400.

This girl is a whirlwind in the best kind of way. Interested and interesting. Kind. Spontaneous. Ridiculously beautiful. She’s unlike anyone you’ve ever met; a girl who turns heads wherever she goes and knows it, who isn’t afraid to tell strange men that she’s the CEO of a radical feminist magazine and laughs at their feigned support (she doesn’t care what they think). That very magazine is how we met online; I became a regular contributor and she flattered me when we met in person by telling me that she’d told her workmates “If I fall off this ladder, the magazine goes to Holly Way!”

That night we went to a feminist zine launch that was definitely more of a gay 90s rave and I danced in a club for the first time in years. The photos I took were risky - the girls were dancing and the smoke was thick - but even the blurry ones have an energy to them that I love. Moving subjects will give you some duds, but so much more life in the good ones.

2. Connor. Inverloch, Victoria, Australia. Minolta Dynax 500si. Kodak ULTRAMAX 400.

Connor was so bloody stoked with this view, and I feel so warm when I look at this photo and his huge, genuine smile.

3. Stuart. Squeaky Beach, Wilsons Prom, Victoria, Australia. Minolta Dynax 500si. Kodak Portra 120.

If you want a glimpse of how much I - and the rest of my family - love Stuart you can watch this video I made for him for Christmas. Basically we had only met his British ass once before he moved into our house for twelve weeks. Luckily he turned out not to be a murderer but rather the most lovely, genuine, polite and cheerful dude you’ve ever met. It was devastating when he left - almost a month ago now - but the group chat is still going strong. More importantly, we’ll always have the memories of him reading us A Street Cat Named Bob on Squeaky Beach as the sun went down.

4. Rhiannon. Inverloch, Victoria, Australia. Minolta Dynax 500si. Kodak ULTRAMAX 400.

With the year we’ve had, it’s an indescribable pleasure to see my sister smiling and happy. On this particular day five of us drove to the coast, ate watermelon and baguettes on the beach and just escaped the rising tide at the end of a dusty pink dusk. On the way home we put on my ultimate sing alongs playlist and screeched Tribute and Bohemian Rhapsody at the top of our lungs. What could possibly be better?

5. Rhiannon and Brendan. Blue Rock Dam, Victoria, Australia. Pentax Espio 955, Fuji Superia X-TRA 400.

Another example of moving subjects. An imperfect shot with tangible mood.

6. Stuart. Blue Rock Dam, Victoria, Australia. Pentax Espio 955, Fuji Superia X-TRA 400.

The hour or two we had to ourselves at this outlandishly gorgeous dam are some of my favourite hours of all time. Stuart had a swim and gave us all heart attacks when he brushed up against a branch (thanks bitch) but other than that we were just so... relaxed. Climbing trees, eating, baking in the Aussie heat, telling dumb jokes and having Stuart read to us again. Then a bunch of bogans showed up with their dogs off the lead and disrupted the serenity, but whatever.

7. Beren. Cataract Gorge, Launceston, Tasmania, Australia. Minolta Dynax 500si. Kodak Portra 400.

This photo is from the first colour roll of film I ever shot. We surprised our family by showing up unexpectedly to celebrate Dad’s 50th and stayed for a few days. It was bittersweet as we had just lost our cat, Evie. It was a hard time, but spending those few days with our dad and siblings we rarely get to see made a difference, as did spending time in Tasmania, which has become a beautiful second home to me. I like the composition and natural feel of this photo, and just the fact that it’s one of my favourite people in one of my favourite places.

8. James. Red Wood Forest, Victoria, Australia. Minolta Dynax 500si. Kodak Portra 120.

I have a feeling this was either on or just after Easter, but I really can’t remember. Either way this place was absolutely magical. Even though this photo is blurry (the ISO of this film was not a good fit for a forest on a cloudy day) I just think it’s cool. I love getting action shots of people focusing on something, just natural and in their element. Watching James experiment with the camera has always been one of my favourite things to do. Also, he looks so fucking grown up in this picture.

9. Nienna. Tamar Wetlands, Launceston, Tasmania, Australia. Minolta Dynax 500si. Kodak Portra 120.

Definitely one of my favourite memories from this year; getting up before dawn to catch the sunrise at the wetlands with Dad and Nienna. It’s the kind of thing I’d do way more often if I had a car, as there’s something so beautiful about being at mercy to the cycles of the sun to get your photo. And we weren’t that lucky. It was overcast as hell and we got maybe a few minutes of a few slices of pink sunlight through the clouds. But that didn’t matter. We got photos that felt different than we expected and had a wonderful adventure in the meantime. To be separated from my sister so greatly in both years and distance but still manage to have such a strong bond and so much in common is something I am so, so grateful for.

10. Georgia. Home, Victoria, Australia. Minolta Dynax 500si. Kodak Portra 120.

This photograph makes me feel so many things. I grabbed it while Georgia was reading out a bit of her novel to Rhiannon and I, and it was just a moment that was so close and pure and poignant that I couldn’t help but try and capture it. That connection is what I treasure most about my relationship with Georgia. Ever since we were kids I feel like our bond has been free of judgement and pretense. She’s one of the few people I feel I can be all of my selves with instead of just choosing one suitable side to present. We don’t see each other nearly as much as we should, which makes moments like these all the more special.

What next? Check out the other posts in this series:

Places

Things

And moments | twentyseventeen - a video of moments from this year

#photography #film photography #35mm #35mm film #film #photographer #blogger #blog #writer #writing #writers of tumblr #love #friendship #adventure #travel #family #2017 #art

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pogueman · 6 years

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Google Clips uses AI to snap pictures of your kids and pets — sort of

yahoo

In its day, Google has produced some truly bizarre hardware products. (Remember the Nexus Q, Google’s “set-top sphere”? Me neither.)

Well, don’t look now, but here comes the company’s weirdest hardware yet: Google Clips ($250).

It’s a tiny, thin camera, about the size of two stacked Triscuits, that combines elements of a spy camera, GoPro camera, and cellphone camera.

Google’s latest hardware product is a strange little AI camera.

The Clips is designed for parents (of children or pets). Of course, we all have perfectly good cameras in our phones — actually, better cameras. But using only our phones presents a few problems:

You’re never in the pictures with your your kid or pet.

Babies and toddlers often stop whatever cute thing they’re doing when they see your phone come out, because it’s kind of big and intrusive.

You can’t predict when your subject is going to do something adorable; odds are pretty good that you’ll miss it.

If you film or shoot enough that you always capture the good stuff, then you’ve got endless quantities of stuff to edit.

All your photos and videos of your kid are taken from the same angle: Your height.

The Clips is just thick enough that it can balance on its edge. It also comes with a rubbery holder/case, which can act either as a kickstand or a clothespin, so you can clip it to things to get cool angles. (The name “Clips” is a pun, involving both the rubbery clip and the short videos that the camera captures. More on that in a moment.)

The Clips comes with a silicone clip case.

When something adorable starts happening, you pull out the Clips; rotate its black lens to turn it on; and set it down (or clip it) between three feet and eight feet from the action.

At this point, of course, there’s nobody pressing the shutter, and there’s no self-timer. Instead — this is the Clips’s headline feature — the camera uses artificial intelligence to decide what and when to capture. Whatever it grabs shows up on your phone, in the Clips app (iPhone or Android).

The camera supposedly learns, over time, who’s in your family, by seeing which faces appear most often. (The camera’s ability to recognize people, dogs, and cats is brought to you buy the AI built into Google Photos. In fact, if you’ve used Google Photos to tag faces with names, the Clips treats those people as familiar faces, and favors them in its photography.)

There’s one button on the camera, too, which you can use to snap portraits manually, as a way of telling it, “This is one of the people I care about.”

Clips and privacy

Once you’ve turned the lens to turn on the Clips, it watches the room for three hours on a charge. An LED indicator gently blinks to tell you that the camera is watching, but you get no indication when it’s actually capturing.

Clearly, there’s a creep factor to a camera that decides on its own what to shoot and doesn’t tell you when it’s rolling. For that reason, Google has gone to extremes in trying to reassure you about privacy:

This camera isn’t connected to the internet — can’t be connected. All of the AI and learning is done right on the camera, not on some cloud servers. (Google says that that feature, building machine learning AI into something this tiny, is a big accomplishment. A camera like this could not have existed a couple of years ago — that much computing power would have eaten up the battery charge in a heartbeat.) The only connection is to your phone.

The photos are encrypted on the camera. If someone steals it, they’ll have no access to what you’ve shot.

The camera doesn’t record sound with its videos.

Man, that one hurts. No sound? So what does it record? Like so much about the Clips, this part requires some explanation.

The app

The Clips snaps bursts of 105 photos, which it insta-stitches together into what Google calls a Motion Photo — basically, a seven-second silent video clip. One that plays a not-very-smooth 15 frames a second. (TV, for comparison, shows you 30 frames a second.)

Weird, right?

What’s impressive is how fast the camera sends fresh recordings to the corresponding Clips app on your phone (it uses a private Wi-Fi Direct connection).

Here’s what else you can do in the app:

See a live preview of the camera’s view, since the camera itself has no screen.

Manually trigger a capture.

Quickly and efficiently scroll through the captures: swipe left to discard one, swipe right to save it to your phone’s camera roll. On the iPhone, it becomes what Apple calls a Live Photo — a still photo that, when hard-pressed with your finger, plays a three-second video clip. (In this case, the Live Photo has a seven–second video clip, which represents some sneaky engineering by Google.) On Android, it remains a Motion Photo.

Shorten or crop a video.

Pull out one frame of the video as a still image, although it’s common to get motion blur in these.

Stills you pull out of the Clips’s videos are often motion-blurry.

Use the app’s own AI to choose a subset of the captures — the “winners” — automatically.

Adjust settings so that the camera captures shots with greater or lower frequency.

The app is really well done. The actual photos are another story.

What you get

Despite the cool idea of an AI camera, the results are disappointing.

The photos don’t look as good as your phone’s. In low light, they’re grainy; indoors, there’s often motion blur.

The camera has a fixed-focus, very wide-angle (130-degrees) lens. As a result, anything closer than three feet is out of focus, and anything farther than eight feet looks really tiny. And anything near the edge of the frame gets bizarrely stretched and distorted.

Note to craniofacial surgeons: There’s nothing wrong with Cody’s head. That’s just something the Clips camera does.

But the bigger issue is that the AI doesn’t work especially well. It captures things, all right, but I’m not sure that its artificial intelligence is any match for your intelligence.

I spent a morning with my adorable five-month-old friend Cody and his mom Lauren. The Clips caught plenty of cute clips — but not always the great ones. At one point, Cody managed to flip himself from back to front. “Good job!” his mom exclaimed. “Did it record that?” she asked me.

No, it did not.

At my own house, I love tossing cat treats for Wilbur the Wonder Cat. He bounds across the slippery floors, chasing it like a cat out of hell, and then pounces on the treat, skidding hilariously three or four feet. I set up the Clips at the right spot for the landing and tossed the treat on target over and over again. The Clips couldn’t get the Wilburdive.

Then there’s also the central concept of trusting the capture. Yes, it’s AI, but what does that mean?

Google says that the camera is waiting for the right combination of lighting, composition, and smiling faces. But do you want photos (or silent video clips) only of the happy moments in your life? Is it possible that you might sometimes want to capture an unhappy moment — say, the tragicomic moment when your 4-year-old’s ice-cream scoop falls off its cone? Google’s AI won’t capture that. (The company says that it plans to offer preference settings for emotional tone in a future update.)

I love the idea of a camera that uses AI to capture the good stuff all by itself. And I do love the freshness of the angles and positions that the Clips’s clip permits.

You can pop the Clips camera into places and angles where your phone would never work.

I just don’t think that much of the Clips’s clips.

You’re paying $250 for a camera that can’t directly take stills and can’t capture video with sound. It doesn’t work as an “ambient camera,” like a security camera that’s rolling all the time. It doesn’t work as a GoPro-type camera, either; its super wide angle means that if it’s clipped to, for example, your body, the video is unwatchably jerky. And its AI-only sort of works.

I’m glad that Google did the Clips experiment, because there are some really good ideas here, and real-world problems to be solved. I just don’t think you should buy it.

David Pogue, tech columnist for Yahoo Finance, welcomes non-toxic comments in the Comments below. On the Web, he’s davidpogue.com. On Twitter, he’s @pogue. On email, he’s [email protected]. You can sign up to get his stuff by email, here.

Why I bought Honda’s plug-in hybrid mystery car

Apple’s HomePod speaker: Either way late or way early

The tiny, 4K Mavic Air crushes other DJI drones

#_uuid:b22051ee-f9ba-3477-bef6-32ecd67d58c1 #Google #Pogue #_lmsid:a077000000BAh3wAAD #$GOOGL #_revsp:yahoofinance.com #$GOOG #video #Google Clips #_author:David Pogue

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jamesaoverton · 4 years

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Creating my Photography Brief#11

Coming up with an Idea for this project wasn't that hard to start with as I knew I wanted to do action/travel photography as this is something I was really interested in. I took a lot of inspiration from Gopros instagram accounts as they are always posting pictures and videos of people using their Gopros to create some really cool content. But when it came to narrowing it down I found it really hard, especially trying to find a way to make my project stand out from all the other Gopro content.

The turning point in my project was when I realised I should do it on skateboarding as this is something I am really passionate about and my passion for skateboarding suddenly made the project a lot easier to focus on and properly experiment with ideas to make it unique and stand out. This is when I decided to use a Gopro as well as this is a camera that I personally really like using, and with a bit of creativity it could help me get some really unique shots for my project. After doing some research into Gopros social media posts and creators that use Gopros such as Chris Rogers I decided that my photography project will focus around capturing unique points of views within skateboarding.

Photography Brief:

Title of Project - Extreme Capturing of Skateboarding by James Overton

Photographic Genre - sport/lifestyle/travel/equipment

Outline (1 paragraph) -

For this project I will be focusing on capturing photos of extreme sports, mainly focusing on skateboarding and how I can use cameras like Gopros to capture unique points of views and display them as photographs.

Who is your audience? -

The target audience for this campaign would be anyone who is interested in skateboarding or interested in capturing photos of extreme sports. The targeted audiences age range would be 16 - 30 years old.

Tag-lines - skateboarding, POV, Go Pro, Extreme POV

Rationale - Im doing this project not only because I'm passionate about skateboarding but because I like to push boundaries and find new innovative ways to capture extreme sports.

Inspiration/Research -

My inspiration for this project would be Chris Rogers (WEBSITE?). He is a filmmaker that purely uses Gopros to make his films and take photos with. He also likes to film extreme sports like wakeboarding, surfing and snowboarding often using the Gopro to capture unique shots. A lot of my research for this project will be done through the Gopros Instagram page as it is very useful to see all the different creators that they feature on their page.

Will your project be unique? -

My project will be unique because I will be focusing more on getting pictures from the skater's point of view and some third person style shots where as a lot of skateboarding photographers focus on getting pictures of a skateboarder in a wide shot as they skate an obstacle.

What will be your visual consistency and format - all shots will be shot on a Gopro using a wide angle lense to create a fisheye effect.

Implementation - this project will be implemented throughout my social media accounts and will also be posted on a website.

Website/Social Media /Equipment -

All photos will be on website and used on Instagram

I will be using a Gopro Hero 7 to capture the photos, this will help me a lot in my project as Gopros are made for capturing extreme sports. I will be using a head mount or mouth mount to get some of the POV style shots.

Location -

I will be taking these photos around different parts of Portsmouth and Southampton. I will mainly be looking for flat locations such as Southampton's guild hall.

Assistants/Crew/Props/Models?

Throughout the most part of this project I will be working alone but there will be certain shots where I will need crew members to help out with taking or to be in the shot.

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allenmendezsr · 4 years

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Phone Photography Tricks - Trick Photography With Your Iphone!

New Post has been published on https://autotraffixpro.app/allenmendezsr/phone-photography-tricks-trick-photography-with-your-iphone/

Phone Photography Tricks - Trick Photography With Your Iphone!

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Some of my friends even claim that I’m a complete photography nut. But there’s been a recent change in photography technology that has really ticked me off. Here’s why…

For more than 25 years, I’ve been studying and mastering FX and trick photography.

Early in my career, I earned a mentorship with award-winning industrial photographer, Robert Thornton. I then became the editor and executive producer at Universal Studios and PBS for 12 years.

Later, I worked as the director for the live action sequences in the best-selling computer games, DOOM and Chess Wars. More recently, I won the “Best of the Best” award at PBS and the “Most Creative” award from US International Film and Video.

But thanks to some new technology, complete photography newbie’s can take photos almost as good as what I can do ¬¬– and they can do it without spending thousands of dollars and months of time learning tricks of the trade.

See, when I was first starting out, the digital single-lens reflex camera (DSLR) was just invented. And it quickly became “all the rage” among serious photographers. I had to scrap together $1,200 to buy my first professional camera (Nikon D230 #).

With my new DSLR, I took breathtaking special effects shots I never even dreamed of taking with my old point-and-shoot camera. Some of my photos were so amazing that my friends refused to believe I took them, until I showed them the photos on my camera.

That was 20-some years ago. Today, things are completely different.

Technology has evolved at the speed of light. While many photographers still believe they need fancy-schmancy DSLRs to capture quality photos, the honest to goodness truth is you can actually…

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Once you know how to use your smartphone as a high-end DSLR, you can use it to capture spectacular shots like these:

Not quite convinced?

Okay, take a look at the two images below.

Can you guess which one was taken by the iPhone 5… and which one was taken by the Canon EOS 7D ($1,599.00)?

Can you spot the difference?

Well, the photo on the left was taken by the iPhone 3GS (with the help of a special image enhancement app we’ll talk about in just a bit.)

Since camera phone technology has become super advanced, the qualities of the photos are nearly identical.

In fact, there’s an entire “iPhoneography” movement going on right now, where world-class photographers are ditching their regular camera equipment and snapping shots only their iPhones!

And here’s the kicker (and why I’m so ticked off): There are still loads of self-righteous photography “experts” out there who claim you need at least a Nikon D5100, telephoto zoom lenses and their 6 week evening course just to start taking great pictures yourself.

As someone who has been living, sleeping and breathing photography his entire life, I can tell you….

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I’m tired of seeing struggling photographers get beat down because they can’t fully grasp perplexing camera functions… or sit through hours of mind-numbing and boring lectures, or shell out the funds for any 6-week money-grubbing course.

I blame arrogant photo “gurus” who think they’re helping you out by offering professional photography lessons. But they’re actually scaring away new photographers with their lucrative prices and complicated instruction.

I’ve gotten so hot under the collar by this nonsense that I made it my personal mission to show everyone a much easier way to take breath taking photos…

Without using fancy lenses, lighting and other extravagant equipment…

Without needing any pricey classes and dull lectures…

And without dropping boo-coo bucks for a DSLR!

The truth is, if you own a smartphone (iPhone, Samsung, HTC, Blackberry, whatever), then you already have everything you need to take create incredible photographs that will blow away you and your friends.

Like these…

In fact, the phone you already have can be an even better camera than some high-end DSLRs.

The Amazing Reasons Why The Best DSLR Camera Is… Probably Already In Your Pocket

FACT: Newer smartphone models have ultra-sharp image quality. They can do practically everything (and sometimes more) as your standard DSLR. (Even the old iPhone 3GS – which has a “puny” 3-megapixel camera¬– can give DSLRs a run for their money. And the iPhone 4, 4S and 5 are even better.)

FACT: Smartphones are “pocketable” and portable. You have the freedom to take pictures anywhere you go, without having to lug around heavy camera equipment. And because they’re less intrusive… you’re less likely to draw attention to yourself and get a bunch of “weird stares” whenever you take a photo. Certainly not the case with bulky DSLRs!

FACT: You can easily add special effects to your photos with free photo-editing apps. Then, quickly upload them to your favorite photo sharing sites with the touch of a button. There’s no hassle of transferring files to your computer or messing around with Photoshop.

When you finally discover the secrets to trick photography and special effects on your smartphone, you’ll be able to…

…Master photography basics and “shortcut” your learning curve by at least 6 months…

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…Skyrocket the activity on your Instagram, Tumblr and Flickr pages… and receive massive praise and recognition from other members on online photo-sharing communities!

The good news is, this is all possible because I just put together a complete 20 video training course. You’ll discover how to improve your “regular” shots while you also transform become a trick photography pro.

Announcing…

Phone Photography Tricks:

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The videos are split into easy–to-follow lessons that enable you to take awesome photos and breathtaking special effects shots you and your friends won’t believe.

Like these…

This course is designed to turn a complete photography newbie into an accomplished smartphone photographer in the shortest time possible.

Each lesson contains the core essentials you need to know so you can take mind-boggling pictures with your smartphone. There’s no fluff or filler and I’m not going to waste your time with stale theory either.

I’ve taken the most crucial trick photography concepts I learned in my 25+ years of professional photography and distilled them into a potent collection of lessons that I’ll be serving you throughout this course.

Most beginners take 6 to 12 months to get through the struggling amateur stage, but you’ll bypass it completely with these shortcut secrets.

I’ve included assignments at the end of every lesson so you can apply what you learn and take stunning shots right away. These exercises will “hardwire” each lesson into your brain, so you actually get better… in a flash.

You’ll put every other smartphone users to shame.

While they still haven’t got a clue, they’ll only sit in wonder about why everyone online is absolutely mad about your photos, and not theirs.

Here’s exactly what’s you’ll discover inside Phone Photography Tricks…

Essential smartphone camera features that can instantly enhance your picture quality by 100%. (Even the most savvy smartphone addicts don’t know about these…)

How to use special focus techniques to create photographs with a subtle “meaning”…Screw this up and you can kiss any emotional impact in your photos goodbye!

The secret “depth of focus” technique… just use this to always get crisp, focused pictures – even if your subject is in motion or you have shaky hands!

How to split someone in half… If you ever want to freak out your friends, just try this simple trick…

And believe it or not, you’ll be able to create these spectacular images…

Without Photoshop!

That means you can create jaw-dropping images without investing $599 for Photoshop CS5.

You won’t need PhotoShop because I’ve included my course is photo-editing software that’s virtually identical.

In fact, you may find it even easier and more intuitive to use. So you can recreate some of the more “advanced” photography tricks without getting slapped in the face by Photoshop’s harsh learning curve.

You’re just a few minutes away from developing pro-level skills that will stay with you for life.

It doesn’t matter if you’re a real photography nut, or simply interested in improving your shots. As long as you have a smartphone and a desire to take some killer photos, then this course will revolutionize the way you take pictures forever.

Thousands of facebook likes, and hundreds of friend requests all thanks to your site! Now I’m excited every time I post photos on facebook because I know it will get lots of likes and praises from my family and friends!

Michelle Adams Los Angeles, California.

All my Facebook friends were shocked after I posted the photographs from my travel vacation to Miami. They thought I paid a professional photographer to capture these photos or I took photography tutorials. Some thought I bought a new DSLR camera. I got hundreds of comments of different praises and questions on my photography skills. They don’t believe me when I told them that I only used my smart phones! Now, they want me to come to their travel trips and vacations – all paid expense – just to take their photos! All thanks to Phone Photography Tricks!

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Zero view a day, no comment in posts or photos and zero add friend request are things of my online dating site’s profile in the past. Now, I have many friends. I have their attention. Some I have dated, some I already met over the coffee, and some are for my games’ networking to level up and some men I chat with during lonely nights when I can’t sleep. I can’t believe what the Phone Photography tricks can do! Just one amazing profile photo using their tricks, my life had changed overnight! Kudos!

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I have never been comfortable in posing in front of the camera until a friend showed a photo of me that he has taken using his phone. It was insanely awesome picture! I never saw myself that way in my whole life! I bought myself the same feature in PhonePhotographyTricks.com and from then on I love capturing myself photographs everywhere I go. It is addicting really. Already started arranging my own album and collecting beautiful shots of my travel events! Thank you Phone Photography Tricks for my new found hobby. More power!

Maurizio Amario Rome, Italy

Most of my friends are in to photography. Some of them had chosen photography as their profession. I envy then coz they have the latest and expensive DSLR camera. When we have get together or outings, I always heard them talking about the latest gadgets. It is always makes me want to own one but I couldn’t afford it. Then I tried the PhonePhotographyTricks.com using my Android phone and posted some of my shots on my social network profile. Our paths crossed again in some party, they go nuts after I told them that I don’t have new camera! They love my pictures. They thought I became one of them and stealing their clients when some of them commented on the post wanting to hire my service! Thanks to Phone Photography Tricks, the program proves that you don’t need to buy an expensive camera to have wonderful and professional looking photographs. Who knows and maybe later, I’ll consider this as a sideline.

Gary Edcel Phoenix, Arizona

Inside Phone Photography Tricks, you’ll also discover…

Now, you might be wondering…

“Carl, This Sounds Great, But How Much Is It?”

If you were to sing up for a typical an Intro to Photography evening class, then you’d have to spend $1000 to $2000 for the class.

Many of the online photography courses can still reach you $499 to $999 each.

… And on top of that, your professor will force you to buy an expensive DSLR camera and equipment…

What’s worse, these courses will be made up of long, drawn out instruction and uninteresting theory. Instead of having fun learning photography, you’ll feel like you’re in a boring physics lecture.

And if you ever had to sit through boring classes before, then you know just how quickly you start forgetting what you learned the weeks before. That’s money and time down the drain.

(Don’t get me wrong. These classes are fine if your goal is to become a professional photographer. But for the average person who simply wants more activity on their Flickr page, win a few photo-contests, or just take more pleasing pictures, these options are way too expensive.)

I could decide to offer this program for $200 and I would probably have countless photographers ready, eager, and willing to sign up just to get access to my more than 25 years in-the-trenches experience as a professional photographer.

But you’re not even going to pay half of that – $100.

If you grab your copy of “Phone Photography Tricks” today, you only have to make a one-time investment of $27.

Look, it steams me to no end when I see young photographers get ripped off by greedy photography “experts” and their needless classes.

It turns my stomach when I hear young photographer saying that if they don’t have a top-end DSLR, then they’ll never be able to take quality shots.

And it makes my heart break when these new guys get discouraged and drop out of photography all together.

That’s why I’m pricing this course as low as possible.

Why?

Well, when I was starting out, there were more experienced photographers who lent me a helping hand when I had questions. While I don’t have time to personally mentor every worthy candidate, I’ve decided to help as many people as I can with this program.

In fact, I’m so sure you’ll be absolutely thrilled with this program, I’m going to back up every promise I make on this page with…

Here’s how it works: Go ahead and sign up for my “Phone Photography Tricks”.

Go through the video lessons and if you’re not convinced beyond a shadow of a doubt… at any time..this amazing course is not everything I’ve just written about, then I insist you immediately contact me for a full refund.

That’s right, if you’re not totally delighted with this course, just shoot me an email within 8 weeks of today, and I’ll send back every single dime… no questions asked.

That’s how confident I am these photography techniques will supercharge” every smartphone photo you take from now on.

To make your decision much easier, I’m also going to throw in some killer bonuses. (I’m feeling extra generous.)

Bonus #1: Unlimited Lifetime Consultation($500 Value)

Clients have paid me upwards of $500 to work me one-on-one. But because I’m close to retiring and photography is my obsession, I’ll give you my personal email address for free if you invest in this course today.

If you ever feel stuck, want additional insider tips, or just want to talk shop with a pro, just send me a message and I’ll get back to you quickly- usually in less in 1 business day.

Bonus #2: How To Get Your Photos Featured on Flickr and Instagram ($27 Value)

This report will reveal the secrets to getting your photos featured on Instagram and Flickr. You’ll discover exactly how to consistently produce amazing photos that earn the respect and admiration of others. Don’t be surprised when you start getting treated like a “mini-celebrity” on these sites.

Bonus #3: How To Make Passive Income With Photography ($27 Value)

This special report will show you how to make money with photography and turn your hobby into a part-time passive income stream. Even some pro’s don’t even know about these simple steps for collecting lifetime royalties from your photos… and it’s way easier you think!

Bonus #4: All-In-One Photo Editing Software with 41 Video Tutorials ($97 Value)

This is a simple-to-use photo-editing program that’s very similar to Photoshop (which can cost up to $599). And in my opinion, the editing interface is much more straightforward compared to Photoshop.

Note: These special bonuses is a limited time offer only and will be promptly pulled down soon.

To sum up, you’re getting my complete “Phone Photography Tricks” video course. It contains everything you need to start taking extraordinary phone photographs that will impress the heck out of your friends.

And if you order before you’ll also get 4 high-value bonuses to make it even easier for you to master camera phone trick photography. And take stunning photos like these:

So now you have 2 choices.

You can close this page and do nothing. And nothing will change. You’ll keep on taking same boring photos like most people, secretly wishing you could do better.

You can invest in my “Phone Trick Photography” course without any risk and receive 4 valuable bonuses. You’ll be able to immediately apply these closely-guarded trick photography secrets. And easily take pictures that earn you huge amounts of respect from everyone who sees them.

Just click the “Add to Cart” button below. You’ll be taken to a secure order page that uses top tier 128 bit security encryption to make sure your information is 100% safe.

After entering your credit card or Paypal information, you’ll be taken to the member’s area, where you can watch the videos and download the bonuses immediately.

It doesn’t matter if it’s 3am on a Saturday. You can grab this course right now and improve your photography skills by at least 5 times within just a few hours.

Go ahead and click “Add to Cart” now.

YES! Carl, I’m in! Please give me immediate access to your Phone Photography Tricks video course for just $27. I’m ready to discover the secrets to taking JAW-DROPPING photos on my smartphone… faster and easier than I thought was ever possible.

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letterboxd · 5 years

Photo

Making Waves.

“I live in Florida, my cat’s in the movie. It is incredibly personal.” Waves writer and director Trey Edward Shults opens up about his filmmaking process, reveals the movies that made him fall in love with cinema, and gushes about fellow A24 alum Robert Eggers.

Trey Edward Shults doesn’t want to spoil Waves. We don’t want to spoil Waves either. To even begin to describe its unconventional structure would be a spoiler. We’ve said too much already. Just know it’s a sweeping melodrama that solidifies Shults as one of the defining American voices of the decade.

The coming-of-age family drama centers on brother Tyler (Shults regular and breakout star Kelvin Harrison Jr., pictured above) and sister Emily (Taylor Russell), their relationships and struggles with each other, their parents (Sterling K. Brown and Renée Elise Goldsberry), and first loves (Alexa Demie and Lucas Hedges). This is Shults’ third collaboration with A24 after his DIY debut Krisha (set in the same family house as Waves, and similarly playful with its aspect ratio), and the polarizing horror It Came At Night.

While its structure hasn’t worked for everyone, Waves has captured the enthusiasm of many Letterboxd members in a profound way. “This is the coming-of-age movie to end coming-of-age,” writes ActionTomasello. “The less you know of it, the better it is going into this one.” It’s been added to the popular ‘You’re not the same person once the film has finished’ list, and the film’s soundtrack, collected into this Spotify playlist by Letterboxd member Ella, is one of the most-mentioned contributing factors to its success. Writes Nick: “A soundtrack that’s meant for a specific group of people that I’m a part of. It feels too perfect how someone made a film filled with songs from Kanye, Frank Ocean, Radiohead and many others. It feels like one long, sad, fucked-up music video.”

But no Letterboxd review currently beats Jack’s heartfelt letter to Shults: “Your film has moved me to better myself, to love, and to meet my emotions head on. Thank you.” (He also put it in his top five of all time.)

We caught up with Shults to learn how Waves was conceived and executed, and investigate which films have hit him the hardest.

Taylor Russel as Emily in ‘Waves’.

You often draw your films from your personal experiences and you’ve described Waves as autobiographical. Can you go into some detail about which life experiences fed into this film? Trey Edward Shults: Where to start? In broad strokes, I was a wrestler and tore my shoulder in the same way as Tyler. The relationships between Tyler and Alexis and also Emily and Luke are inspired by my girlfriend and [me] in the good moments, bad moments, and everything in between. Their parents are inspired by my parents. I live in Florida, my cat’s in the movie. It is incredibly personal, but I had a huge collaboration with Kelvin, and then as more actors came on it got more collaborative, so it really started from this personal place and grew out of that.

How do you reconcile your relationship to your own suffering with the fact it’s become your livelihood and commodity? It’s very strange. When we recreated events in Missouri I think that was the furthest I’ve ever gone. That shoot was an all-consuming dread and I broke down, it was very hard. I would question: “Is this healthy? Is this right?”, but I came out the other side happy I did it. It was cathartic. My mom and my step-dad are therapists and I would be a total mess without them, though I’m not in therapy right now. Working through these movies is a bit of therapy.

I’m trying to make personal things that I hope connect with other people, especially this movie. Going through life and getting to the other side of it and having perspective informed me a lot. Whether it’s just tonally or pacing-wise, I wanted the film to spiritually feel that way.

The film’s photography is remarkable, especially the first act, when you have your fullest frame. Can you take us inside how you executed some of those spinning 360-degree shots? For the car shots we took out the middle console of the truck and put a slider that went from the backseat to the front. Basically, the dolly grip and I were crammed down hiding behind the car seats and the grip pushed the camera from the back to the front. Drew [Daniels, the director of photography] was in the car behind us with a remote, so he’s operating the spinning and I have a monitor in the back. That way I could talk to the kids in the car and I also had a walkie so I could talk to Drew.

A lot of the dynamic camera stuff was a case-by-case scenario, sometimes it was just running behind our steadicam operator or just hiding and letting them go and play. We wanted the camera to be purely motivated by where our main character’s emotional state of mind was, so it’s all coming from them, but then we also wanted to figure out the technical shit and make it feel to the actors that the camera disappeared and we’re not even there. So it was an interesting balance getting there. It’s a second skin for us and we know exactly what we’re after visually, but let’s disappear and let the kids play and we’ll adapt to them.

Since our name is ‘Letterboxd’, I feel obligated to ask you an aspect-ratio question. Can you share with us how you built this intuition to change at will—did you have films you saw that you feel did this well? That’s a good question, because this one really felt like it was building off what I did with Krisha and pushing it further. I do remember The Grand Budapest Hotel came out right before I started Krisha and it had the three aspect ratios to separate [its] time periods, which was really cool to me. I think I got really excited about using aspect ratio to echo the character’s state of mind. That was the goal with that, especially for Tyler’s trajectory.

The soundtrack is getting some acclaim. Do you have any songs you wanted to fit in but couldn’t find the room, or couldn’t clear the rights for? I realized there were so many songs I wanted in it, but the movie told you what works. If you tried to force it on, it didn’t work. It started with the writing and it worked its way organically. The final soundtrack is pretty close to what was in the script though I think a few changed along the way. We got incredibly lucky that we got everything we wanted. I don’t know how we did it. It was a long process and our last song didn’t even clear until after Telluride and Toronto.

Trey Edward Shults and Sterling K. Brown on the set of ‘Waves’. / Photo: Monica Lek

There are shades of Chungking Express, Magnolia and Moonlight in the film’s DNA. What were some other films you watched or recommended to your cast and crew as preparation? Funny thing is we didn’t do a lot of movie-watching for preparation. Drew and I lived in the same house so we’d always have a movie on. We were watching The Story of Film a lot—the giant anthology series and study of the history of cinema, incredible. What we watched would totally range, it could be things like Ordinary People and Raging Bull, to The Tree of Life and I Am Cuba, to Boogie Nights and Punch-Drunk Love. We would take inspiration from anything, even a film like Yi Yi. It’s a completely different cinematic approach.

Yi Yi might just be the best film about family, so it’s a good start (Lulu Wang also mentioned it in our recent chat with her about The Farewell). That’s the thing exactly: even though Waves is made in such a different way, I think spiritually they’re sprawling tales of family. That’s one of my favorite movies. For the cast, we didn’t actually talk about movies that much. It was more about Florida, music and the character dynamics and all that good stuff.

Which movie scene makes you cry the hardest? One that just popped in my head is Dancer in the Dark. When Björk escapes in her head doing these musical numbers and it leads to the end, to the most devastating thing possible, it broke me. That movie’s rough, man. That’s not one I could watch and have good cries or something. I can’t rewatch it because it’s utterly traumatizing. I was probably crying for hours after it, I felt dead.

Which film makes you laugh the hardest? The most recent film that made me laugh the hardest is What We Do in the Shadows. I saw it for the first time on an airplane sitting next to a stranger and I think they thought something was wrong with me. Then I got home to Florida and showed it to my girlfriend, and her brother came home and we watched it again. It never got old.

Who was the most relatable coming-of-age film character for you? It’s hard because when I was a teen I was obsessed with sports and then it was music. I’m trying to think who I related to the most. Man, I don’t know. Nothing is coming to mind. Shocking.

What film do you wish you made? I’ll go with There Will Be Blood. It’s the first film that popped in my head.

What mind-fuck movies changed you for life and why? There were three that I saw pretty close together at a young age: Boogie Nights, A Clockwork Orange and Raging Bull. I had a digital cable box in my room, so I would sneak and watch a lot of things that my parents didn’t know I was watching. They just rocked my world. Until that point it was all Aliens and Terminator and every big action movie, so then when I saw those films it was like “this is what movies can be! What the hell is this?”.

I remember with Raging Bull I didn’t actually enjoy it. I was like, “This isn’t Rocky but I can’t stop watching.” It’s like a trainwreck and I’m fascinated but I don’t know if I like it, then I was obsessed with it and it’s one of my favorite movies now. Boogie Nights and A Clockwork Orange felt like a bigger vision was at work. It wasn’t just something made out in the ether, it was a specific singular vision and I cannot stop looking at it.

Sterling K. Brown in ‘Waves’.

What’s the most overlooked movie from A24? Shoot, I wish I could look at the catalogue right now. I’m just gonna go with The Spectacular Now because I just watched it again on the airplane and I thought it was really beautiful. It’s a good one, man.

Lastly, it’s time for best-of-decade lists. What’s the greatest film of the 2010s? When we interviewed Robert Eggers, Waves was his first choice. Shut up, come on! Oh my god, Rob’s the best. I will say that The Lighthouse is my favorite film of the year, without a doubt. I’m obsessed with it. I could gush about him for hours. He’s not just one of the greatest young filmmakers, he’s one of the great filmmakers working now. Honestly though, for my decade number one I gotta go with The Tree of Life. It’s one of my favorite movies of all time so I would put that at number one, and then The Lighthouse is close to it.

‘Waves’ is distributed by A24 and is playing in select US cinemas now. Photos courtesy A24.

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