Sentences with phrase «use color photography»

Using color photography, Welling evokes Wyeth's aesthetic, particularly the importance of place in his work.

Using color photography, Welling evokes Wyeth's aesthetic, particularly the importance of place as the photographer treads in the painter's footsteps at the Kuerner Farm and other iconic sites in Chadds Ford.

Using color photography, Welling evoked Wyeth's aesthetic, particularly the importance of place as the photographer trod in the painter's footsteps at the Kuerner Farm and other iconic sites in Chadds Ford.

Not exact matches

Whenever we use a color checker for photography I think of you!

Her photography is stunning, but her use of color is what captured my attention.

His best fashion photography ideas are using bright makeup, rich colors and loose powder to obtain the required glamorous and stylish effect.

However, you control important choices for your site — like the colors, fonts, and photography you'll use.

Using the gorgeous grounds of the Historic Mankin Mansion as a backdrop, this styled photo shoot is full of theatrics from the exaggerated makeup to the spectacular photography to the stark black and white color palette.

Commentary 3 — The Picture - Director of Photography Darius Khondji, Prodcution Designer Arthur Max, Editor Richard Francis - Bruce, Richard Dyer and David Fincher talk about the look of the film itself, the color processes used on the print, the locations scouted for the various shots, the detail used in the studio backlot constructions, the style David wanted to achieve and succeeded in doing, the clothing, the grittiness, the absolute black Fincher always wanted in Alien 3 but could achieve until now and more.

There's some nice use of color in the production design but this is underwhelmed by the awful photography.

despite fine costumes, use of color (though sometimes dimmed) and fine cinematography by Director of Photography Remi Adefarasin, B.S.C. and lets not forget the production design that is there.

One of the copious highlights found here is an explanation of the cinematographic processes that Argento and his director of photography utilized for the 1977 classic Suspiria, including the use of three - strip Technicolor technology to achieve an aesthetic of highly expressionistic lighting and color.

According to director of photography Vittorio Storaro in his book «Visions of Light» (1992), he used different lights to represent the different stages of the emperor's life: red, representing his birth; orange, the warm color of his family, youth and the Forbidden City; yellow is the color of the emperor's identity and the sun; green, the color of the tutor's bike and hat, represents knowledge.

It's actually a lament for another lost American value replaced by digital second - rateness, this time the cherished Kodachrome color film process by which photography used to look 100 times better than it does now.

This doesn't necessarily mean he was always ahead of his time: one of the best things about Eyes Wide Shut — evident in such artisanal qualities as the old - fashioned sound track, the grainy photography, and the exquisite color balances (such as the dark blue lighting of a bathroom behind one of Kidman's monologues)-- is that it isn't a film of the 90s in most respects but something closer to what movies at their best used to be.

I have a fair number of volumes on art and photography, and when the point to discussion of an artist is their * use * of color, illustrative work rendered in monochrome just doesn't cut it.

With everybody using tons of stock photography are bound to be book covers that use the some photos or look really similar because they used the same colors or fonts.

With varying media: painting, printmaking, and photography; and an enduring thematic interest in saturated color, repetition and pattern, a lexicon of motifs are used to explore larger -LSB-...]

His use of color film in the early 1980s, at a time when British photography was dominated by traditional black - and - white social documentary, had a revolutionizing effect on the genre.

Six artists of color use performance, photography, textiles, and more to take on stories such as modern - day gentrification in Bed - Stuy, traced through an amateur kung fu film found at the former home of a theater frequented by Reverend Al Sharpton; the Syrian refugee crisis and conflict, mixing media coverage and first - person accounts; and the actual Revolutionary War's 1776 Battle of Brooklyn, conducted by a woman of color.

Prior to his first exhibition at the Museum of Modern Art (New York) in 1976, fine art photography was typically black and white, while color photography was used commercially.

Conner was particularly productive with photography during the late 1970s when he shot a body of work featuring bright color images (in contrast to his frequent use of black and white) of punk bands performing at the legendary Mabuhay Gardens in S.F..

Despite using purist notions of abstract form and color that date back to 1950s art critic Clement Greenberg's domineering brand of New York School formalism, Lawson fashions nothing short of a vicious attack on photography's «objective eye» via these modestly sized canvases.

A pioneer of conceptual photography, Laurie Simmons is at work on a new series of staged compositions using images of online porn that refer to photographs she made 25 years ago of women in color - coordinated domestic interiors.

As an early advocate of color photography (mid-60's), Meyerowitz was instrumental in changing the attitude toward the use of color photography from one of resistance to nearly universal acceptance.

Making use of the medium's most fundamental aspects — paper, light, chemicals — she produces camera-less pieces that not only remind viewers of photography's essential goal of reflecting light and color but also expand its scope into the realm of sculpture.

In fact, there was resistance to color photography in the artistic community and a distinct bias against its use by many in the field.

But Shore has worked with many forms of photography, switching from cheap automatic cameras to large - format cameras in the 1970s, pioneering the use of color before returning to black and white in the 1990s, and in the 2000s taking up the opportunities of digital photography, digital printing, and social media.

He has done some digital manipulation, film photography and collage, but his prime interest is painting with acrylics in an imposto manner and also with the use of colored pencils and sponge to achieve texture.

A list of some of the processes, materials, and cameras used in A Fine Experiment reads like a grand catalogue of photography's means: offset lithograph, dye transfer print, Polaroid print, gelatin silver print, Cibachrome print, color - in - color print, photogram, photo collage, double exposure, cliché verre, contact print, large format, panoramic, 35 mm camera.

His series of exhibitions at Light Gallery in New York in the early 1970s sparked new interest in color photography and in the use of the view camera for documentary work.

Anne Valverde uses photography to capture the moments in the city environment, coloring certain details of her photographs.

En Foco, Inc. supports contemporary fine art and documentary photographers of color and diverse cultures, using photography as a platform to speak on behalf of issues related to cultural equity and access.

The post World War II photography saw the big change in black - and - white established photojournalism by introducing the use of color in the works of Ernst Haas for Life magazine in 1953.

Jackson's Grape Drink Box (Anacostia Los Angeles Topeka McKinney) is a materially complex work that uses vernacular and technical materials to show the permeation of color and form into social life, and includes elements of photography that are embedded to look like afterimages.

Traces of the imaging process appear in many of these new works, and the use of color re-contextualizes contemporary digital photography's use of filters, color effects and manipulation.

Completing the installation is a large - scale rendering of a color calibration card — the color grid that is used to maintain accuracy in the printing or post-production of color photography because it remains consistent in various lighting conditions.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

His use of color film in the late 1970s and early 1980s, at a time when British photography was dominated by traditional black - and - white social documentary, had a revolutionizing effect on the genre.

Some of the most captivating works use photography as a point of departure: Vietnamese artist Dinh Q. Lê mounts color prints onto strips of linen that he then weaves into contrasting images of war and domesticity.

Political use of color addresses social issues, such as the exploration of gender and sexuality in bold photographs by Matt Slade (B.F.A., photography, 2016), Kyle Henderson (B.F.A. photography) and Haley Varacallo (B.F.A., photography, 2015), while colorful mixed media works by Kenzie Adair (B.F.A., painting, 2014) provide commentary on traditional ideas of femininity.

He has worked with many forms of photography, switching from cheap automatic cameras to large - format cameras in the 1970s, pioneering the use of color before returning to black and white in the 1990s, and in the 2000s taking up the opportunities of digital photography, digital printing, and social media.

When I was interested in mixing colors in the air, I worked in fireworks; when I wanted to explore women's history, I decided to tell women's story using women's techniques, i.e. china painting and needlework; when I became interested in the subject of the Holocaust, I worked with my husband, photographer Donald Woodman, to fuse painting and photography, the photography to root the images in the historic events and painting to express the human story.

Joel Meyerowitz is famed for his pioneering use of color in his New York street photography and his Cape Cod seascapes.

The presentation includes video, theatrical outtakes from the film world («costumes, staged objects, a monochromatic fake wall, and a color filter used for simulating purple neon or a nightclub atmosphere»), photography, and a pop - up book shop where editions from Dominica, Syms's imprint, are for sale

Since the late 1980s, David Thomas has been immersed in producing color field and later monochromatic work using an array of different media, including painting, photography, sculpture, and installation.

Tim Portlock and Shuli Sadé have created digital and mixed media works that transform the visible through technology; the painters Michael Bartmann and Bruce Garrity have used color and form to create vibrant and engaging images; the photographer Ken Hohing is revisiting a photographic project from the 1980s documenting Camden to highlight how differently we see photography and its objects; and the designer and photographer Eric Porter inventoried striking visual images that the textures and colors of the city of Camden offer the attentive viewer.

United across all three levels of the museum by the artist's use of «supergraphics» — lengthy text excerpts printed at enormous size on a boldly colored background — The Production Line of Happiness offers 35 years of beautifully made, conceptually rich photography that mines the history of contemporary art and modern political opposition.

Sherman switched to color photography in the 1980s and still uses herself as a model to problematize the view of women and gender stereotypes.

Typically, after a meticulous analysis of a given space, either a natural landscape or human construction, her work includes a performative intervention that transforms that space through her thoughtful and minimal use of color, and documents that intervention in photography or painting or both.