Light for Photographers Light is the essence of photography. It’s not things that we photograph, but the light they reflect. Without light, there is no photography and the way things look to us and the camera is entirely dependent on the light that reaches them. People talk about the “quality” of light, but in fact this is a combination of four different things that all light sources possess. “Donuts” captured by Ryan (Click Image to Find Photographer) The first one, level, is the simplest. When the light level starts to go down there are three things that can be adjusted. Whilst the ISO number and aperture have their effect on an image, it’s the shutter speed that finally determines just how low you can go in terms of light level, without adding your own light. There is nothing stopping you taking photographs like this but you will need to use a tripod or other stable means of support to avoid camera shake. “Ads” captured by Ryan (Click Image to Find Photographer) Also, where you place the camera is important.
History of Communication Research Bibliography BEST of BTS | photography by Angus R Shamal A self portrait of Stanley Kubrick with his daughter, Jack Nicholson and the crew @ the set of The Shining. A selection of some of the most awesome Behind-the-scenes shots I’ve seen from some famous movies found at aintitcool.com. Back when set designs were huge and hand made, when special effects where mechanic and photographic and film stars were risking their lives on the set. on the set of Fritz Lang’s Metropolis — the actress inside the Maria robot taking a breather. The Empire Strikes Back - filming the Crawl. Rebel Without A Cause — James Dean, Natalie Wood and director Nicholas Ray. Sesame Street Requiem for a Dream — Jennifer Connelly strapped into a SnorriCam. The Gate (1987) — Giant special effect set. © Craig Reardon The Birds (1961) — Tippi Hedren with Hitchcock. Rio Bravo — Hawks and Angie Dickinson set of Alien. Ghostbusters. Superman on the set of Mothra (1961) - special effects director Tsuburaya Eiji Dr. Tron (1982) — David Warner and Bruce Boxleitner fuck around in costume.
How we find the truth by telling lies news and informationsautomotive,business,crime,health,life,politics,science,technology,travelautomotive,business,crime,health,life,politics,science,technology,travel Find the emotional truth at the heart of your story and hold onto it Ripley protecting Newt in ‘Aliens’, Chief Brody afraid of the water, and by extension, the shark in ‘Jaws’, the King needing to overcome a speech impediment in ‘The Kings Speech’. All of these things ‘we get’ and can connect with on a deep and profound level. Yet, paradoxically, as storytellers, we use lies to reveal ‘truths’. The world of your story is a kind of imagined and manufactured wrapper around the characters. We can be dazzled, amused or intrigued by the ‘world’ of the story, but it’s not what we really connect with. In my experience, too much time (at script stage at least) is spent making the world of a story feel credible, honest and authentic. We can stretch the world enormously if we continue to connect with the characters. Creating Worlds
Diversidade Digital 1, 2, 7, 14 Here is a simple formula about three things — Read Scripts. Watch Movies. Write Pages. — you need to do to expand and deepen your understanding of the screenwriting craft. 4 numbers for you to remember: 1: Read 1 screenplay per week. Pick out your favorite movies. 2: Watch 2 movies per week. Go to a theater and watch 1 movie for sheer entertainment value. 7: Write 7 pages per week. That’s one page per day. 14: Work 14 hours per week prepping a story. This is how you will learn the fine art of stacking projects. Those are simple, clear goals. If you do this, here’s what you will have done in one year’s time: You will have read 52 screenplays. You will have watched 104 movies You will have written 2 feature-length screenplays. Spread that out over 5 years: 260 screenplays, 520 movies, 10 original screenplays. That means you could have read every one of the top 101 screenplays as voted by the WGA, plus 159 more. That means you could have seen every one of the IMDB Top 250 movies, plus 270 more.
Kevin Mitnick Links Web Pages www.kevinmitnick.com This seems to be the closest thing there is to an official Kevin Mitnick support site. Check out Emmanuel Goldstein's reviews of the first and second versions of the movie script for Takedown. There's also information about Kevin's defense fund and about the demonstrations planned for 6/4/1999. Due to some difficulties back in April '99, they had to set up a backup site for a while. www.freekevin.com This used to be a separate site in support of Kevin, but now acts as an alternate name for www.kevinmitnick.com. ID Card Auction There's an auction on Ebay for one of Kevin's photo ID cards. www.2600.com Home of 2600: The Hacker Quarterly. Guiness Records A page set up by 2600 to correct the errors in the "Most Notorious Hacker" record in the 1999 Guinness Book of World Records. Defense Fund Compilation CD Brendan Avery is working on a compilation album as a fundraiser for the Defense Fund. The Druids have a song at mp3.com called "Free Kevin Mitnick".
Conflict in Fiction June 15, 2011 by Fiction Editor Beth Hill last modified June 15, 2011 A writer and I were recently speaking about conflict. She was trying to add more, to vary the types of conflict in her manuscript, and feeling frustrated. Other than obnoxious arguments and physical fights, what kinds of fictional conflict are there? I threw out a couple of ideas, just to get her started. And then, the more we talked, the more options we came up with. Simply defined, conflict is a lack of agreement. Simply defined, maybe. There are just too many options and variables for conflict to be simple. There’s no single kind of conflict, no one level, no foolproof approach. And not only are there a number of types or styles, but there are a variety of intensities, levels, of story conflict. The degree of conflict can fall anywhere along a range from absent (or not felt) to overwhelming. Low conflict might arise when a couple can’t decide on what type of food they want for dinner. Characters need disagreements.
Pacing Potholes: Common Hazards that Slow Forward Motion How often have you been asked this question: What’s more important to a story, a strong plot or strong characters? When I first heard this question, I argued heavily for plot being the King of the Road. The more I listened to the advocates of characterization, tho, I began to realize how important a strong, authentic character is for getting the reader to relate to the story and connect to the plot. Now, I would say both plot and character are equally deserving of the top spot in writing; both are race cars that pack a powerful kick on the road. Why? Pacing is a difficult thing to master. All stories should flow in one direction: forward. 1. Big chunks of description, of either people or places, can put the brakes on your story. If you’re describing a character, select only a few fingernail details, relevant to what you want the reader to know about them. 2. Repetition is something that occurs on all levels of writing, and something we must always be vigilant for. 3. 4.