Henri Cartier-Bresson (August 22, 1908 – August 3, 2004)
was a French photographer and the father of photojournalism. He was an early adopter of 35mm format, and the master of candid photography. He helped develop the street photography or life reportage style that was coined the “The Decisive Moment” that has influenced generations.
Tracklist Hide Credits
|A||Feel No Pain
|B||Love Is Stronger Than Pride (Mad Professor Remix)
Taken from the Epic release: LOVE DELUXE (53178)
A: (P)1992 Sony Music Entertainment (UK) Limited
B: (P)1987 Sony Music Entertainment (UK) Limited
“Epic” is a trademark of CBS Inc./Marca Reg.
It’s been a crazy day thinking about the news that came in. Thinking about life and how quick it moves at times…
This is a photo from the last time I seen him. Seems just like yesterday I was taking him to go get some Mexican Food in the hood and ordering way to much hot sauce. HaHa! Real Humble Dude and Very Respectful.
You will be Missed Bruh Bruh!
I know I’ve been holding back on you guys and I’m making a commitment to start giving you more of a behind the scenes to my art and by this I mean my study sketches, lettering samples, a form of tattoo shop watercolor “art pieces” & photography. Thank you for your continued feed back and support.
I Went out the other night to experiment with some long-exposure photography in the heart of the city and to prepare for a series that I have been conceptualizing . I’m not sure if I’m going to post each piece into the social realm, upload the entire series on here or make a limited run of signed/numbered prints, the one thing I do know is that the process and quality is all I can really focus on at the moment. If you like some of the recent visual work that I have been posting or are just interested to see what I’ve been up to please check back on here or whatever social media outlet keeps you connected for the latest.
It’s not unusual for colleges with large open-source programs to put out a number of courses free for the world to browse through online. In the past we’ve featured courses from both MIT and Stanford.
Today, we have a new course from MIT. Taught in the Spring semester of 2009, this course came a full two years later than the original MIT course we shared and is packed full of useful information for anybody interested in photojournalism.
Published through MIT’s Open Courseware project, Prof. B. D. Colen’s Documentary Photography and Photojournalism: Still Images of a World in Motion course gives you a chance to benefit from a photography course given at the storied Massachusetts Institute of Technology.
With syllabus, readings, assignments, image gallery and course material downloads available, the class has everything you need to walk yourself through the world of documentary photography and photojournalism one step at a time.
A personal documentary film about a daughter’s search for the mother she never knew through their shared love of photography.
This project has already been funded but you can learn more about it here.
Shit is a little blurry but here are a couple flicks just to give you an idea. I also got some dope footage of all of us in the mosh pit to RageAgainstTheMachine-”Killing in the Name”. Thanks to LA Angel for jumping behind the lens & capturing the moment. Continue reading
I just embarked on my very first Visual Art effort: an extremely limited and lengthy process with my friend James Georgopoulos, which I am real excited about as all of my background training has come from the “hands on” method. When I first met James and saw his work, I didn’t realize how intensive and calculated each piece was and an ignorant assumption on my behalf which I think many people that come across his work experience. More so in this day in age of digital photography low quality digital printing trying to be passed off as “Fine Art”. We have bloggers, instagramers over saturating everything from hard drives to corneas on a global scale. On the flip side we have..
I just came across this featurette and love to geek out on material that goes into the inspiration and back story of great projects like Under the Skin. I actually had the chance to see this picture on a large format and the thing that stuck with me the most was the way every shot was framed and the absence of dialogue that managed to draw me further into the film. I’m already a fan of cinematic and cryptic films so I never pass on the chance to hear about the cameras, lenses used, the locations and what it felt like doing the work.
After lobbying by directors including Quentin Tarantino, Christopher Nolan, and J.J. Abrams, movie studios are negotiating a deal with Kodak that would secure the company’s ability to keep producing motion picture film. The Wall Street Journal reports that the agreement is likely to see studios commit to buying from Kodak in set quantities for upcoming years regardless of their plans to actually shoot movies in the format. Kodak is now the sole major provider of movie film following Fujifilm’s exit from the market in 2013.
At Monotype’s “Pencil to Pixel” pop-up exhibition in New York City last month, 3,400 students and professions learned about the history of typography. Artifacts demonstrated how metal type was historically designed, made, specified by designers, and set by typesetting companies — and translated into today’s font menus for individual users.
“The lesson from an exhibition like this is that the design of a typeface can outlast the moment that produces it, and that a good design can evolve to meet the needs of technology without losing its essential spirit,” said Dan Rhatigan, Monotype’s UK type director. “Lots of younger designers who came through seemed really eager to see the background of the typefaces they already know, and the exhibit helped them appreciate why we’re still trying to improve the technology behind those designs,” he added.
Here are close-ups of some of the artifacts that were on display as well as some typography history:
Over at the website of the Bob Moog Foundation, electronic music historian Thom Holmes has an interesting post about some lesser-known cinematic uses of the Moog, the pioneering analog synthesizer popularized by Wendy Carlos with 1968′s Switched-On Bach album, which introduced the public at large to the idea of electronic sounds as more than simple novelties. Carlos would go on to do the electronic scoring for A Clockwork Orange, The Shining and Tron, but many other movies in the ’60s and ’70s were quick to latch onto the instrument’s possibilities.
Aaron Sowd and Trevor Goring have a lot to say about the art of narrative storytelling. Aaron’s worked on movie storyboarding and concepting for Steven Soderbergh and Michael Bay, comics for Marvel and DC, art for Apple and Netflix, designs for theme parks and video games, and illustrations for the New York Times and People Magazine. Trevor’s been doing film and TV concepts and boards for decades with directors such as Steven Spielberg, Bryan Singer, and Michel Gondry and on fan favorites like Watchmen, X-Men, Twilight, and Lost, plus plenty of comics art, ad illustrations, and game design. Both were special guests at last month’s WonderCon, Southern California’s warm-up to the summer’s San Diego Comic-Con.
They appeared on the Art Directors Guild panel titled “Illustrators who Work in Two Worlds” to discuss the ups and downs of illustrating for print and film media. The moderator, filmmaker Chris Brandt, praised Aaron’s and Trevor’s no-holds-barred revelations about the working lives of “sequential illustrators.” And since they’d barely warmed up by the end of the session, here’s my follow-up conversation, in which they cover their formative influences, their interactions with directors, and their insights about the future of comics and storyboarding.