Sentences with phrase «photograph long way»

Generally your recent photograph long way in improving your individual business success online dating.

Not exact matches

These photographs serve as social proof to your prospects and go a long way in developing trust with them.

The state's attorney blew snot when he saw me grimace from the blow, after which I proceeded to tell the judge about the beautiful game of golf and how it had been a long and winding road for me since that first purely struck two - wood in 1973, but that I'd finally discovered the proper way to grip a club, and would His Honor really mind if the sheriff would be so kind as to fetch my driver out on the county road and bring it to the courthouse so my new grip could be photographed from all angles for my peace of mind.

As rapidly as the animals» tumors shrink, Cliff's stature expands, until, before long, he has co-authored a major paper with Sandy and Marion, NIH has given the lab a big new grant, and People magazine has arrived to photograph the researchers on the way to curing cancer.

This long - exposure photograph shows a meteor trail (center) against the backdrop of the Milky Way galaxy as a mobile phone tower under construction is pictured in the foreground near Loikaw, Kayar state in Myanmar, Oct. 11, 2014.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Consider it one long photograph that will frustrate most with its lingering ways.

The tool comes with an in - built library of more than 47,500 characters and photographs in various poses, which goes a long way in developing scenario - based online courses, easily and quickly.

Marking the culmination of a year - long celebration of photography at the museum, this installation brings together an exquisite group of gifts, ranging from innovative photographs made in the earliest years of the medium's history to key works by important 20th - century artists and contemporary pieces that examine the ways in which photography continues to shape our experience of the modern world.

In installations, she juxtaposed the resulting pictures she took of art - historical masterpieces with photographs from over the span of her own long career that are in some way analogous in theme or content.

[2] On the floor beneath the photograph, I notice the beginning of a long, broken line of red wooden stakes that will define, in many ways, the spatial experience of the exhibition.

That work - 40 - odd metres long - was on show at Tate Britain, London, between January and August this year: as these things turn out, Wallinger had documented Haw's immense protest by way of 600 photographs just four days before 78 police descended on it and removed the bulk of the placards, photographs, flags, information boards and associated flotsam and jetsam that made up this quite extraordinary and motley camp.

This photograph — a long exposure made with his camera mounted on a tripod — conveys the chaotic rush of commuters on their way through downtown Tokyo.

His works are not recorded or photographed in any way, and exist only as long as the conversation itself.

RICHARD LONG Along the Way: An Eleven Day Walk in the Mountains North of Kyoto, 1992 photograph Part I: 44 x 32 Part II: 32 x 44 12 inches between works

Standouts include Carrie Mae Weems» holographic narrative about race, sex, and politics portrayed by ghostly characters on a burlesque stage; The Propeller Group's video that draws parallels between funeral practices in Vietnam and New Orleans, along with the collective's sculptures of tricked - out musical instruments, which were also photographed with members of Louisiana marching bands; Glenn Kaino's installation of water tanks that turn military machines into coral reefs; Jean - Michel Basquiat's paintings and works on paper that reference the cultural legacy of the Mississippi Delta and the South; Camille Henrot's video exploration of the universe by way of the storage rooms of the Smithsonian Institution; Tavares Strachan's 100 - foot long neon sign declaring «You belong here» from a barge on the Mississippi River; and Andrea Fraser's monologue, in which she recreated a heated debate by New Orleans city council members during a 1991 vote to racially integrate the Mardi Gras krewes — changing her voice and expression as she dynamically alternated between speakers, both black and white.

«A Long Way from Paris: Photographs from MacArthur Park, Metro Rail, and Their Surroundings,» Beyond Baroque, Venice, CA (solo)

«The Gang: Photographs by Catherine Opie,» Walker Art Gallery, Liverpool, UK, October 4, 2014 — February 15, 2015 «Only Miss the Sun when it Starts to Snow,» Peder Lund, Oslo, Norway, June 21 — September 13, 2014» 2013 «In and Around LA,» Julius Shulman Institute, Los Angeles, CA, February 16 — March 24, 2013 «Catherine Opie,» Regen Projects, Los Angeles, CA, February 22 — March 28, 2013 2012 «Twelve Miles to the Horizon: Sunrises and Sunsets,» Long Beach Museum of Art, CA, October 5, 2012 - March 24, 2013 «BROADWAY BILLBOARD: Catherine Opie, Untitled (Stump Fire # 4),» Socrates Sculpture Park, New York, NY, September 9, 2012 - March 31, 2013 «Catherine Opie: High School Football,» Mitchell - Innes & Nash, New York, NY, March 10 — April 14, 2012 2011 «Catherine Opie,» Stephen Friedman Gallery, London, UK, November 23, 2011 — January 28, 2012 «Catherine Opie: New Zealand; Zero to Something,» projectspace B431, Elam School of Fine Arts, New Zealand, August 9 — 13, 2011 «Catherine Opie: Empty and Full,» Institute of Contemporary Art, Boston, MA, April 12 — September 5, 2011; catalogue «Catherine Opie: Football Landscapes,» Peder Lund, Oslo, Norway, January 15 — February 26, 2011 2010 «Catherine Opie,» Portland Art Museum, Portland, OR, October 23, 2010 — February 6, 2011 «Catherine Opie: Figure and Landscape,» Los Angeles County Museum of Art, Los Angeles, CA, July 25 — October 17, 2010 «Catherine Opie: High School Football Players,» Sabine Knust Galerie Maximilian Verlag, Munich, Germany, May 20 — June 10, 2010 «Venezia / Venice,» Studio Guenzani, Milan, Italy, May 19 — July 30, 2010 «Catherine Opie: Twelve Miles to the Horizon,» Regen Projects II, Los Angeles, CA, April 24 — May 22, 2010 «Catherine Opie: Girlfriends,» Gladstone Gallery, New York, NY, March 19 — April 24, 2010 2008 «Catherine Opie The Blue of Distance: Photographs from Alaska,» Stephen Friedman Gallery, London, UK, October 14 — November 14, 2008 «Catherine Opie: American Photographer,» Guggenheim Museum, New York, September 26, 2008 — January 7, 2009; catalogue «Catherine Opie,» Regen Projects, Los Angeles, CA, April 10 — May 17, 2008 2006 «1999 & In and Around Home,» Aldrich Museum, Ridgefield, CT, January 22 — May 14, 2006; traveled to The Orange County Museum of Art, CA, June 4 — September 3, 2006; Cleveland Museum of Contemporary Art, OH, September 29 — December 30, 2006; Weatherspoon Art Museum, Greensboro, NC, February 11 — April 29, 2007; catalogue «Catherine Opie: Chicago,» Museum of Contemporary Art Chicago, Chicago, IL, May 20 — October 15, 2006 «Catherine Opie: American Cities,» Gladstone Gallery, New York, NY, September 8 — October 14, 2006 2004 «Catherine Opie: Children,» Studio Guenzani, Milan, Italy, October 27 — December 4, 2004 «Catherine Opie: Surfers,» Gorney, Bravin & Lee, New York, NY, March 13 — April 10, 2004 «Catherine Opie: Surfers,» Stephen Friedman Gallery, London, UK, January 22 — February 21, 2004 «Catherine Opie: Surfers,» Regen Projects, Los Angeles, CA, January 10 — February 14, 2004 2002 «Catherine Opie: Icehouses,» Studio Guenzani, Milan, Italy, October 2 — November 6, 2002 «Catherine Opie: Icehouses,» Regen Projects, Los Angeles, CA, May 11 — June 15, 2002 «Catherine Opie: Skyways and Icehouses,» Walker Art Center, Minneapolis, MN, April 28 — July 21, 2002; catalogue 2001 «Wall Street,» Stephen Friedman Gallery, London, UK, November 30, 2001 — January 19, 2002 «1999,» Galeria Presenca, Porto, Portugal, November 10 — December 20, 2001 «Wall Street 2000 - 2001,» presented by Antik in cooperation with Gorney, Bravin & Lee, New York, NY, November 3 — December 10, 2001 2000 «Catherine Opie: In between here and there,» curated by Rochelle Steiner, The Saint Louis Art Museum, St. Louis, MO, October 6 — November 26, 2000 «Catherine Opie,» The Photographers» Gallery, London, UK, August 9 — September 24, 2000; traveled to the Museum of Contemporary Art, Chicago, IL, November 18, 2000 — February 18, 2001; catalogue «Catherine Opie: Large Format Polaroids,» Thread Waxing Space, New York, NY, May 12 — June 10, 2000 «Catherine Opie,» Artpace, San Antonio, TX, April 6 — July 2, 2000 «Catherine Opie,» Partobject Gallery, Carrboro, NC, April 1 — May 27, 2000 «Catherine Opie,» Gorney Bravin + Lee, New York, NY, March 18 — April 15, 2000 «Catherine Opie,» Susan Inglett, New York, NY, February 24 — April 1, 2000 1999 «Catherine Opie: A Survey,» Woodstreet Galleries, Pittsburgh, PA, September 3 — October 16, 1999 «Domestic,» Regen Projects, Los Angeles, CA, April 17 — May 22, 1999 1998 «Mini-Malls,» Jay Gorney Modern Art, New York, NY, March 21 — April 25, 1998 1997 «Catherine Opie,» Museum of Contemporary Art, Los Angeles, Los Angeles, CA, October 5, 1997 — February 8, 1998 «Houses and Landscapes,» Ginza Art Space, Shiseido, Tokyo, Japan, February 25 — March 31, 1997 «Portraits and Houses,» Susanne Hilberry Gallery, Birmingham, MI, 1997 1996 «Houses and Landscapes,» Regen Projects, Los Angeles, CA, April 27 — June 1, 1996 «Houses and Freeways,» Jay Gorney Modern Art, New York, NY, February 24 — March 30 «Freeways,» Feigen Gallery, Chicago, IL, 1996 1995 «Portraits,» enterprise, New York, NY, 1995 «Portraits,» Parco, Tokyo, Japan, 1995 «Portraits,» Galeria Massimo De Carlo, Milan, Italy, 1995 «Portraits and Freeways,» Richard Foncke Galerie, Ghent, Belgium, 1995 1994 «Portraits,» Regen Projects, Los Angeles, CA, June 4 — July 2, 1994 «Portraits,» Kiki Gallery, San Francisco, CA, 1994 «L.A. Freeways,» Jack Hanley Gallery, San Francisco, CA, November 19 — December 13, 1994 1991 «Being and Having,» 494 Gallery, New York, NY, 1991 1990 «A Long Way from Paris: Photographs from MacArthur Park, Metro Rail, and Their Surroundings,» Beyond Baroque, Venice, CA, 1990 1989 «Master Plan,» United States Post Office, Valencia, CA, 1989 «Master Plan,» Mills College, Oakland, CA, 1989 Selected Group Exhibitions:

There is no temperature scale given for the images, but if these hot spots are ~ +10 C, then I think the headline figures are just a result of photographing A / C units from a long way away, rather than a well mixed air UHI as you suggest.

Humans are programmed to read faces; a good photograph can go a long way toward building trust.

Using a slider, you have the facility to add a bokeh effect to your photograph either while you're shooting it or in post-production; however, the tool has a long way to go before it's perfect, as it regularly blurs the edges of the subject — so if you're going to use it, best stick to photographing people.