Sentences with phrase «makes polaroids»

Her camera makes Polaroids, which she often gives to her subjects.

Along with the fun patterned papers, I used this polaroid shaped cutting die to make polaroid frames around my photos.

Not exact matches

That, coupled with the goggling stare of his Polaroids and his stealthy, half - crouching gait as he moves toward the feeding fish, makes him look like some kind of marine mugger.

This was in the late 1960's, before personal computers and desktop publishing, so it was all made with typewriters, scissors, and polaroid cameras.

Our friend Cass made our wedding guest book that our guests filled with Polaroids on the day.

Throughout the whole evening one of the staff members was taking pictures of us with a polaroid camera and they even had a flower crown and a unicorn hat to make the pics even more funny.

For life updates, staged photos of hot chocolate and polaroids and all of your #OOTD needs, make sure to follow me on Instagram!

Thomas (Mpho Koaho) is bright and hard - driving, taking Polaroids of tourists on Rush Street for $ 5 to make money.

O'Haver also makes good use of the space in the widescreen format; one of his most inventive flourishes is the placement of still - life Polaroids on the side to depict flashbacks.

The gift marks the first time that a selection of Linda's original Polaroids has ever been made available to the public.

While the drawings and prints in the exhibition reflect the purity of his mark - making, his deadpan humor comes across especially in a series of drawn - on polaroid images of his fingernails.

They are Polaroids, silver gelatin prints made with experimental methods: light make them frail.

His pop art painting Ladies and Gentlemen (Wilhelmina Ross) was made in 1975, based on polaroid photos of transvestites posing in his studio.

With a retrospective approaching at the ICA Philadelphia next year, the conceptual photographer Barbara Kasten was going through her storage units when she came across this sculpture from 1977, the period right before she began making her well - known Polaroids of staged geometric environments in her studio.

Hockney began working extensively with photographs from 1976, making composite images out of polaroids in 1982.

From the softly focused, romantic images the Pictorialists made in the early 1900s to the casual color polaroids Andy Warhol took of the celebrities around him in the early 1970s, these works also trace the evolving styles and functions of photography as it documented artistic movements and increasingly served as a primary artistic medium in itself.

By making several Polaroids, he had more material from which to work.

Throughout his career, Close has explored various methods of creation, including painting, print - making, and photography, particularly large - format Polaroids and Daguerreotypes.

Making pictures with the iPhone you have an accurate reproduction of an image, but you don't have the «qualities» that you value with Polaroids.

His pieces are made of found materials such as twigs or eucalyptus leaves, or glass, polaroids, unprepossessing black and white photographs, simple shapes cut from tin in various sizes, little pieces of carved wood or stone, clay, small mirrors and panes of glass, corrugated cardboard, or an assortment of odd linear bits of metal.

Focusing on the theme of the hand, Buhl has gathered images spanning the history of photography, from a photogenic drawing negative made in 1840 by William Henry Fox Talbot to serial Polaroids made in 2002 by Cornelia Parker.

Published on the occasion of the exhibition Isaac Julien: «I dream a world» Looking for Langston, at Victoria Miro (18 May — 29 July 2017) this lavishly illustrated publication includes texts by Isaac Julien and Pulitzer Prize winning critic Hilton Als, alongside rare archival material including storyboards by artist John Hewitt, colour polaroids taken during the making of the film and additional material relating to its original presentation and critical reception.

On the occasion of Mana Contemporary's exhibition The T'ang Horse: Anthony Quinn, writer Jarrett Earnest created a playful book about a series of polaroids from a made - for - TV - movie production of Old Man and the Sea (1990) starring Anthony Quinn.

Like Samaras's Polaroids, each is unique and evolves from a complicated process that begins when she makes a life - size pastel drawing of the subject of a found or original photograph, often of herself.

They're these pretty digital images in contrast to [the multi-exposed] Polaroids I've been making.»

Here we find Eugene von Bruenchenhein's copious photographs of his often topless and apparently game wife; the rather creepier ballerina - doll pictures made by Morton Bartlett, after devoting laborious attention to crafting the dolls themselves; the insouciant intensities of Greer Lockton, revolving around gender reassignment and the refashioning of icons, both cultural (Jackie O.) and subcultural (Candy Darling) through dolls and photographs; and selections from the inscrutable archive of Polaroids taken of actresses on television by the anonymous photographer known as Type 42.

The issue toggles between past and present, and between science and art, and features Jennifer Tucker on Victorian science photography, spectacle and rational amusement; Kelley Wilder on what it means for photography to make visible the invisible; Brian Dillon on the cosmic and the mundane; a conversation between artist Trevor Paglen and the eminent science historian Peter Galison; a selection from Harold «Doc» Edgerton's lab books; David Campany on photographic abstraction and perception; curator Joel Smith's guide to «photographic nothing»; and portfolios by British photographer Stephen Gill, Amsterdam - based artist Eva - Fiore Kovakovsky, curator Lynne Cooke on Horst Ademeit's mysterious annotated Polaroids and much more.

Significantly, the exhibition notes that «while the Polaroids tended to turn everyone into a glamorous Warhol icon, the black - and - white images... tended to make everyone ordinary.»

In this exhibition, curated by James Crump, diverse works — ranging from tiny 2 1/4 x 3 1/4» chromogenic photographs made from Polaroids to largescale four - by - five - foot ink - jet prints — drawn from the artist's nearly four - decade career

A leading voice of portrait photography, Dawoud Bey got his start as a street photographer in Harlem in the 1970s, then made sensitive, large - scale Polaroids in the nineties, and last year had a retrospective held concurrently at the Art Institute of Chicago and the Renaissance Society.

The installation was made up of hundreds of photos, in every kind of format you can imagine: polaroids, photocopies, inkjet prints, panoramas.

Also on view are drawings, paintings, altered photographs, and large format polaroids made from the 1970s to present day, reinforcing the connections between all of his artwork in order to highlight a central tenet of his artmaking: the ever - present artistic impulse to work and rework — thereby «improving» — imagery with Wegman's uniquely playful lens while also humorously critiquing the medium itself.

His earlier collages consisted of grid - like compositions made up of polaroid photographs.

Something New in Painting (and Photography)[and even Printing] will also display two large - scale, digitally - altered photographs that have been inspired by his earlier collage work made up of polaroids and multi-screen videos.

Using this service and their smart phones, users could apply digital filters to images to make them look like Polaroids or antique photos and then share them with friends and family members using their social networks.

THESE polaroid's I made last year & still love using them.