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#let’s start with this incredible studio portrait where he’s posing for the film
missholson · 9 months
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Ralph Bates, 1970
© Mary Evans / StudioCanal Films Ltd [X]
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wolfgabe · 4 years
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Luigis Mansion 3 review
Now I will make one thing clear right now. I did not grow up with the original Luigis Mansion on Nintendo Gamecube, My introduction to the series came in the form of Dark Moon which then led me to the original LM remake on 3DS. And now I have just finished Luigis Mansion 3 the latest in the trilogy as well as the series return to a full fledged home console. How does it hold up  against its predecessors and is this a Hotel worth checking out? Well let’s find out shall we
NOTE This review will primarily be focusing on the main campaign of the game. I won’t be discussing any of the multiplayer modes since I have yet to get into those.
The story begins with Luigi and the rest of the Mario Gang having received an invitation to a 5 star luxury hotel known as the Last Resort and at first everything seems all fine and peaches but in no time at all in a somewhat sickening sense of Deja Vu it turns out the entire thing unsurprisingly was all a ruse perpetrated by Hotel Owner Hellen Gravely as part of a plot by King Boo to capture Luigi and friends. What I can’t help but enjoy in the games opening moments that classic sense of how its plainly obvious to the player something isn’t quite right. Yeah nothing suspicious about the hotel staff wearing creepy masks no sir. Fortunately Luigi manages to escape and inevitably ends up running into Professor E Gadd who ended up meeting a similar fate. From there it becomes a trek upward through the Last Resort to find your missing companions and stop whatever King Boo has planned. Fairly standard stuff for a Mario Story but its serviceable and gets the narrative out nice and clear.
Now onto the gameplay. If you are familiar with Dark Moon much of the combat will be highly familiar to you. You use your strobulb to flash ghosts which stuns them allowing you to vacuum them up. The Dark Light returns as well which pretty much serves the same functions as before One difference to the combat though comes in the form of the slam attack which more or less replaces the Power Surge from Dark Moon. In some ways I actually like this new change as it has applications both as a form of crowd control as well as a puzzle solving tool to an extent more on that in a bit. Another new ability is the burst which is triggered by pressing both shoulder buttons. This is primarily used as another form of crowd management during fights as well as a means to activate certain mechanisms as well as being used in some boss battles to either to dodge attacks or to help expose a bosses weak point. The third new ability is the suction shot which allows you to attach a plunger with a rope to an object which can then be pulled on. Next to the Dark Light the suction shot is probably your biggest puzzle solving tool period. Not only can it be used to destroy objects and furniture when combined with the slam but many of the games bosses practically require it. Don’t be surprised either if you find yourself compulsively firing plungers everywhere just to see what you can grab onto which is often rewarded with you finding more gold or collectibles. The final new skill and probably the most important one at that comes in the form of Gooigi a flubber esque doppleganger of Luigi that can be summoned at any time by pressing in on the right stick. You unlock him not far into the story but once you do this is where the game really starts to open up puzzle wise. Gooigi has a few distinct advantages over Luigi mainly being not effected by spikes and other hazards as well as being able to slip through pipes and metal grates to access new areas. But don’t think you can just use Gooigi all the time as his advantages are offset by a number of key weaknesses chief of which being he doesn’t handle water very well and he has less overall health than Luigi. These are pretty much all the skills you will be using through the whole game although there is one other ability you unlock relatively late in the game but its incredibly situational being only required once with other cases just being to retrieve a few optional collectibles.
Now how bout that Last Resort. The hotel itself is divided up between 17 floors total consisting of 15 main floors and two basement levels Unlike Dark Moon, Luigis Mansion 3 goes back to the single building setup of the first game but its amazing really how Next Level has managed to pack so much variety into a hotel. Initially you will be exploring typical hotel trappings such as state rooms, gift shops, and a dining area. However its not long before the floors start becoming more increasingly outlandish. One floor might have you exploring a medieval castle while in another floor you will be exploring a full fledged film studio to help a ghost director find his prized megaphone before ending up being cast in his own monster movie. Then you have a floor that somehow contains an entire Egyptian Pyramid riddled with booby traps. I could go on and on but I will keep the rest of the floors a secret so I don’t give everything away. Progression itself is relatively straight forward basically involving you traveling to a new floor solving some puzzles and fighting some ghosts before taking down the boss ghost of the area which generally rewards you with the elevator button to the next floor. If there is one niggle I have its that some floors seem somewhat more underutilized than others. Generally floors tend to alternate between being miniature dungeons and dedicated boss arenas. But I will say the more expansive floors really is where the level design really shines in the puzzle department The film studio floor being a major highlight with how you need to figure out the connections and interplay between various film sets. There were quite a few puzzles that actually did end up stumping me for a bit. Luigi’s focus on greater thinking and using your head is a perfect contrast to Mario’s general focus on platforming and action. The amount of interactivity packed into every area is impressive itself with each floor almost feeling like a miniature physics sandbox begging you to suck and smash everything. And your curiosity and rampant destruction is often rewarded with with piles of treasure or one of the floors 6 gems. The physics model is impressive in itself as smaller objects are easily brushed aside while larger items require your Poltergust to budge. It’s quite a treat especially during heated fight scenes with ghosts as you are slamming an enemy around and inadvertently smashing apart the room even more.
And I can’t help but discuss Luigi’s Mansion 3 without talking about the bosses. These are basically the successors to the portrait ghosts from the first Luigi’s Mansion and I will say without a doubt they are probably Luigi’s Mansion 3′s biggest highlight. These aren’t just glorified mini bosses that you have to take down for a key to another room, no these are full fledged bosses with their own fleshed out personalities and strategies. Each one serves as a perfect bookend to cap off their respective floor. A bumbling security guard with a squirt gun, a concert pianist with serious anger issues, a prehistoric caveman. an Egyptian ghost queen, and a trio of magician sisters are just a handful of the spooks you will encounter during your stay. I must admit I was surprised myself how many of the bosses can pose a decent challenge especially if you don’t know what your doing. These aren’t the typical Mario fare of 3 bops on the head and you’re done. Many of the later bosses especially will really test your knowledge and understanding of all your abilities in many cases forcing you to get creative with the tools you have. With one or two exceptions including a somewhat underwhelming final boss, these are probably some of the most memorable bosses I have seen in a Mario series game to date.
And the graphics, hot damn the graphics. The advancements made in graphics technology over the past 20 years has done wonders for video games in terms of presentation and Luigi’s Mansion 3 is a clear testament to that fact. In an age where developers seem to be trying to push more and more for the most realistic graphics possible, here you have companies like Nintendo to remind people that show that cartoon artstyles can really shine on modern hardware. Dark Moon was a wonderful showcase piece for the 3DS both graphically and technically although at times it felt like the game was a bit too much for the system it was made for. Now being free from the shackles of the weaker 3DS hardware has really allowed Next Level Games to go all out on the presentation and it definitely shows. The amount of care and detail packed into every corner of The Last Resort is second to none helping give every floor its own distinct identity. The games opening moments are a real treat with some pretty gorgeous lighting serving to highlight the initial grand opulence of the The Last Resort before the darkness takes over and the hotel reveals its true form. Its at this time the lighting really starts to shine with plenty of instances of dynamic lighting, shadows and reflections. Luigi’s Mansion 3 may lack the buttery smooth framerate of Super Mario Odyssey but I feel the sacrifice in performance has been justified and balanced out perfectly. Some of the performance warts from Dark Moon have also been lanced with the game maintaining a rock solid 30 frames per second throughout. And I can’t talk about graphics without discussing the animation quality. With Dark Moon Next Level was able to demonstrate how one can really highlight Luigi’s bumbling and cowardly personality and here that expressiveness has been cranked up to 11. I cant help but crack a smile  seeing Luigi shaking in terror at the presence of ghosts or reacting with surprise every time an elevator button magically flies out of his hand and screws itself into place . The bosses themselves are also a highlight with each one being wonderfully animated which helps highlight their personalities and quirks especially in the numerous cut scenes showing their interactions with Luigi which there are plenty of. I admit at times I couldn’t help but feel it was almost like I was looking at a borderline interactive Pixar movie. Each floor also has a ton of its own exclusive items and assets further cementing each floors sense of depth and identity.
There are also plenty of other little details and easter eggs to enjoy as well such as how you communicate with E Gadd using a modified Virtual Boy complete with a joke about the system’s absolute failure or the amount of pizza boxes that litter Mario’s hotel room. Or how about the fact that the boo and gem locator items you can purchase from E Gadd resemble actual Virtual Boy cartridges. And yes, you can in fact pet Polterpup in this game.
In terms of additional content each floor has 6 gems for you to find plus a Boo that appears once the floor has been cleared. The gems themselves  are the source of some of the games strongest puzzles often testing your abilities as well as your awareness of your surroundings. Hunting Boos is relatively similar to how it was in Dark Moon in that you examine the correct object based on the intensity of your controllers vibration then stun the Boo with your Dark Light before slamming it into submission. Both Gems and Boos provide a good incentive to revisit previous floors although the rewards you get for finding them all are relatively underwhelming mainly just being some minor cosmetic items.
To wrap things up there are a few minor gripes I have with the game. For one thing you are unable to remap controller bindings. Now this isn’t a major dealbreaker at all and the controls work fine for the most part but it can make certain actions such as using the dark light awkward since the dark light is mapped to the X button which makes it pretty much impossible to use the light and aim with the right analog stick at the same time. You do have the ability to aim via gyro controls but its mainly limited to just up and down. You can however make things a bit more comfortable by enabling move while poltergusting in the options menu. Some people may also be disappointed by the lack of interconnectedness between floors. Each floor is more or less its own self contained level which means you won’t be encountering any puzzles on one floor that effect the other. There are a few instances during the story when you will be required to revisit a previous floor but they are relatively far and few between. While there are the aforementioned items to purchase from E Gadd they basically amount to gold bones which act as extra lives and Boo and Gem locators which are somewhat pointless since no doubt many people will likely just resort to a guide to find the more obscure Boos and Gems. You will likely feel inclined to avoid spending as much as possible especially since like the first Luigi’s Mansion you are ranked at the end based on how much treasure you found.
On an additional note, I didn’t encounter any major glitches during the game except for a minor bug I ran into where the music suddenly cut out during a boss battle but that was pretty much it.
Ultimately, I find I highly enjoyed my stay in Luigi’s Mansion 3. This is no doubt one of my top picks for Nintendo Game of the Year. It may have taken over a decade but I think Luigi has finally cemented himself firmly and proven he can indeed stand  apart from his brother on his own two feet. If you decide to book a stay at The Last Resort you won’t be disappointed. I think its safe to say Next Level Games has cemented itself firmly as one of Nintendo’s top partner studios and I can only imagine what the future holds next for our favorite green underdog.
In the end I would rate Luigis Mansion 3 an 8/9 out of 10
EDIT Just a quick correction but I found the aiming issue can be in fact easily mitigated as the suction shot, strobulb, and dark light can all be activated with the L and R buttons.
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movietvtechgeeks · 7 years
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Latest story from https://movietvtechgeeks.com/brangelina-coming-back-together-plus-billion-dollar-kylie-jenner/
Is Brangelina coming back together, plus billion dollar Kylie Jenner
When it comes to the past decade or so, Angelina Jolie and Brad Pitt’s divorce announcement was arguably one of the most shocking celebrity-related stories. When it comes to A-list Hollywood couples, Angelina and Brad have long reigned supreme. However, in 2016, the duo announced they were parting ways after experiencing some notable marital problems, some of which stemmed from Brad’s struggle with substance abuse. Now, as nearly a year has gone by since the news of their divorce hit the tabloids, sources close to the two actors claim that they are looking to try and save their faltered marriage. According to an insider, Brad and Angelina have made no progress in finalizing their divorce, as they both believe there is hope in keeping their family together. In this week’s issue of US Weekly, one insider told the magazine, “The divorce is off. They haven’t done anything to move it forward for several months, and no one thinks they are ever going to.” The same insider went on to explain that there are still very strong feelings between the two celebrities, noting, “[Angelina’s] still so in love with [Brad]…He got sober to try and win her back. He knew he had a problem that he had to take care of. And that’s all she ever wanted…. Everyone thinks they are going to get back together. It wouldn’t be surprising if they announced that they’re calling it off and trying to work things out.” It is no secret that anything Kylie Jenner slaps her name onto sells like crazy. From her fashion line to her makeup products, the young starlet is undeniably a successful businesswoman. This week, publication Women’s Wear Daily published some more detailed information about just how successful Kylie really is…and the numbers may shock you! According to Kylie’s mother Kris Jenner, Kylie has made roughly $420 million in the past 18 months through her makeup brand Kylie Cosmetics. While this is an astronomical number, it makes sense as the 19-year-old mogul continues to sell out countless of her products and puts out new lines nearly every month. In the recent issue of Women’s Wear Daily, the publication put Kylie’s cosmetic brand’s successes into perspective. In an article which pointed out the young reality star’s incredible riches, WWD also noted, “The Estee Lauder Cos Inc.-owned Tom Ford Beauty was said to have reached revenues of $500 million after a decade, and the brand is considered to be one of the two fastest growing in Lauder’s portfolio, along with Jo Malone. Bobbi Brown also part of the Lauder stable, took 25 years to reach the billion-dollar mark in 2016, with L’Oreal’s Lancôme finally hitting the milestone in 2015 after 80 years.” If Kylie continues on this path, she is set to hit the coveted billion-dollar mark (with her cosmetic line) by the year 2022. Assuming she hits this mark, this would mean that she only took 6 years to get to the same milestone that many major makeup brands have taken from 25 to 80 years to reach. Now, this might be great news, but it’s also got Kylie a little concerned about those around here. In her mind, the glam squad might be getting a little too comfortable for comfort. In a clip from an upcoming episode of Life of Kylie, Jenner particularly worries she’s starting to get taken advantage of her hair stylist Tokyo Stylez after he continues to bring his boyfriend Chris along during her glam sessions. In the clip, Stylez approaches Jenner’s assistant Villarroel after finding out that his boyfriend no longer would be welcome to hang out during styling sessions. Villarroel said, “So we’re trying this new thing where whenever she needs glam, only the people that need to be there have to come. Kylie said, ‘If I request Tokyo, I just want Tokyo. I don’t need someone else to come.'” After her older sister, Kim Kardashian was held at gunpoint last October during a traumatic Paris robbery in her hotel room, Jenner says during a confessional interview that she’s trying to be more aware of who she lets into her inner circle. “I do have limits as a boss. I hate conflict, but I also learned you can’t really let people working around you get too comfortable because that’s when you get taken advantage of,” the star said to the camera. “It’s happened way too many times with my family.” Life of Kylie airs Sundays (9 p.m. ET) on E!. The women of "American Horror Story: Cult" came to Fox Studios promote the new season for an audience of television critics Wednesday, but they couldn't actually say anything about the show. Stars Sarah Paulson, Alison Pill, Leslie Grossman, Adina Porter and Billie Lourd gave vague answers to critics' questions and apologized for saying so little. The actresses appeared alongside makeup artist Eryn Krueger Mekash, costume designer Lou Eyrich and executive producer Alexis Martin Woodall. Here's what they could reveal: "Cult" involves a lesbian marriage, a broadcast journalist and what Woodall described as "an exciting trip to the grocery store." "As with all good horror and suspense, knowing less is actually so much more because it's going to unfold for you," she said. Though show creator Ryan Murphy has said "Cult" was inspired by the election of President Donald Trump, Woodall said the seventh self-contained installment in the "American Horror Story" anthology "is more about the world around us." "This particular season has a streak of paranoia that I think is infectious," said Pill. And it's scary like past seasons. Pill said that about two weeks into filming, she started checking behind her shower curtain at night to "make sure there's nobody in the shower, hiding, with a knife." Grossman also confessed that she's typically had to record "American Horror Story" episodes so she can watch them during the day. "If I watch it before bed, there are terrible sleeping issues," she said. The show returns to FX on Sept. 5 for 10 episodes. Jennifer Lawrence has opened up about her relationship with director Darren Aronofsky. Aronofsky directed Lawrence in "mother!" which was shot last year and comes to theaters next month. Lawrence tells Vogue magazine she and Aronofsky began dating after filming wrapped up. She says she likes Aronofsky's directness, saying she's "never confused with him." One point of contention in the relationship is the Oscar-winning actress' reality television obsession, which she says Aronofsky finds "vastly disappointing." Lawrence appears in four different cover shots for the magazine. One is of an oil painting of her, done by artist John Currin. Channing Tatum has hosted an impromptu dance party in a convenience store at a North Carolina gas station. The "Magic Mike" star stopped by the Sunoco in the town of Statesville on Tuesday night for some coffee and a candy bar. He bantered with the cashier and later danced with her to the tune of Nas' "If I Ruled The World." Tatum joked with some puzzled customers that he was the store manager. He took time to snap a photo with a fan. The episode was streamed to Tatum's fans via Facebook Live. Tatum is promoting his upcoming film, "Logan Lucky," which centers on a heist at a North Carolina NASCAR race. Taylor Swift took the stand in Denver federal court Thursday and recounted how a former radio DJ groped her at a 2013 meet-and-greet, calling it a “devious and sneaky act.” “It was a definite grab,” the pop star told the eight-member jury at her civil trial. “It was a very long grab. He stayed latched on to my bare as s ch eek as I moved away from him visibly uncomfortable.” Swift said former KYGO radio host David Mueller “grabbed my ass underneath my skirt” as she was posing for a photo with him at Denver’s Pepsi Center before a concert on June 2, 2013. “It was a very shocking thing that I have never dealt with before,” she said. “After this happened, it was like a light switched off my personality.” Mueller sued Swift in 2015, claiming she’d falsely accused him of groping her and got him fired from his job. Swift, who is only seeking $1, countersued for assault and battery. After the photo op, Swift said she thanked Mueller and his girlfriend, Shannon Melcher, in a “monotone voice” and continued meeting with fans. When Mueller’s lawyer, M. Gabriel McFarland, suggested she could’ve taken a break from the meet-and-greet after the alleged grope, Swift shot back: “And your client could have taken a normal photo with me.”   Anna Faris and Chris Pratt, who announced on Sunday that they’re splitting after eight years of marriage, have been having problems for at least a year and a half, we’re told. “They’re very competitive with each other,” says a source. “At parties they compete over who’s funniest and get insecure if they’re not.” The discord also has to do with Pratt’s soaring career, with leads in “Jurassic Park” and “Guardians of the Galaxy.” “When he started getting big roles and losing weight, she wasn’t the big star anymore,” the source said. “He’s also very, very religious, and she’s not religious.” Reps are keeping quiet as to questions pertaining to this. Rihanna has been accused of a photoshop fail in a saucy snap from her carnival outing – after fans pointed out she has an “extra thumb” in the pic. The superstar posed wearing a barely-there showgirl get-up for the Instagram snap, but if you look closely she has an alien-like left hand, with two blue thumbnails, apparently due to an editing glitch. One observant fan commented “Why does her thumb got two nails,” with another adding “am i the only one seeing two nails coming from her thumb.” The beautiful portrait blue-haired Rihanna posted on Instagram was captured by photographer Dennis Leupold who is yet to comment on the accusations. It was taken at the Crop Over Festival’s Kadoonment Parade in Barbados, an event which 29-year-old Rihanna attends every year. The photoshop scandal follows Rihanna’s recent battle with online body-shamers, including a journalist who called her fat. The We Found Love singer’s mutant hand did not put her ex Chris Brown, 28, off the picture, however. He posted a flirty, ogling emoji in the Instagram comments which riled RiRi’s fans. Many told him to stay away from the star after he was charged with assaulting her back in 2009, with one blasting: “Please keep your negative energy away from Rihanna @ChrisBrownOfficial.” Meanwhile, Rihanna has been called a pop hero once again after a hilarious story about her dissing DJ Diplo’s music emerged. In an interview with GQ, Diplo revealed that Rihanna not only turned down the chance to sing on Major Lazer’s “Lean On,” snapping “I don’t do house music,” but also smacked down one of Diplo’s recordings. The star, who’d already listened to hundreds of songs, deadpanned: “This sounds like a reggae song at an airport.” Rihanna responded to the “airport” diss report by posting her own Instagram reaction, writing: “#DutyFree My bad @diplo.” NBC News is sparing no expense on its new star, Megyn Kelly, and the lavish spending is ticking off some of her new colleagues at the Peacock Network. Kelly is on a five-day nationwide tour to visit affiliates in major markets, and she is traveling on a charter jet with a support staff of five or six people, including a hairstylist, a makeup artist, a publicist and a security detail. “People are outraged over her divalike ways,” one network source told media outlets. “They wonder, ‘When does NBC stop throwing money at her?’ ” Kelly left Fox News in January to take over the 9 a.m. hour of “Today,” which launches on Sept. 25 as “Megyn Kelly Today.” Her salary is said to be $18 million a year. NBC hired new staff, built a new set and will be spending extra on a live audience for the show, which Kelly’s been touting in Dallas, Houston, and Denver. “She’s working sunup to sundown every day — some days, two cities a day,” an NBC insider said, and shooting multiple promos and pieces for the new show. “It’s a standard affiliates tour, which many new NBC News anchors have done before her. There’s huge excitement for ‘Megyn Kelly Today’ in these markets, and it’s a great thing that the show is covering people and places outside of New York City.” The insider said most staffers for the morning show were already working for “Today,” and that the expenses for the show’s launch were all budgeted long in advance. Kelly’s newsmagazine show “Sunday Night With Megyn Kelly” debuted in June to much fanfare, but had mediocre ratings and ended after eight episodes. It is expected to return after the NFL season and the Winter Olympics. Kylie Jenner’s new TV show has been slammed by critics and fans as “fake” and “boring” – and now the Kardashians are desperately trying to rescue the show. The Life Of Kylie only managed to draw in half the viewers that brother Rob Kardashian’s reality series Rob & Chyna managed to on it’s debut – and The Sun Online can exclusively reveal that the second episode is being re-cut to make it more exciting. “The show was a disaster – no one liked it,” says an LA TV source. “The whole family is panicking, and the rest of the series is now being recut to make it more exciting.” “The ending of the second episode needed more ‘bang’ – like Keeping Up With The Kardashians, you need something that viewers want to come back for.” “Everyone’s worried that Kylie’s life isn’t exciting enough for viewers who want drama and fighting.” “They want to include more footage of her sister, Kim, as they think people will tune in to watch then.” “They’re also telling Kylie to get out there and promote it,” says the insider. Fans have dismissed Kylie’s reality show about her life – in which she admits to being jealous of model sister Kendall and wanting to “run away” from fame – as “unrelatable”, with one saying “a lot of pressure to post a selfie, oh god” and another calling her “a superficial idiot.” TV reviewers weren’t much kinder. CNN said that the show saw Kylie “combine self-pity with a lack of self-awareness.” “It makes Kylie look shallow,” said Business Insider, while Complex called it “the fakest reality show ever.” “She’s so rich she can’t even invent a convincing obstacle to surmount on her reality TV show — when Jenner and her gang get devastating news that the private jet they’re supposed to take to Sacramento has broken down, they just call and ask for a different private jet,” said The Daily Beast. Before the show started, Kim Kardashian posted a sweet Instagram saying she was “so proud” of her little sister. The criticism doesn’t seem to have affected Kylie much – she’s been back on Instagram posting a series of seriously hot selfies. And last night, Kylie’s family – including sisters Khloé and Kim and mum Kris – threw her a surprise 20th birthday party. We think she’s going to be alright, guys. There’s no love lost between Josh Brolin and James Cameron. Speaking with Esquire, the “Deadpool 2” villain recalled a tense encounter with the “Avatar” director, after Brolin turned down a role in the franchise’s upcoming sequel. “If I don’t want to do ‘Avatar,’ I’m not going to do ‘Avatar,'” Brolin explained. “James Cameron’s f–king calling me this name and that name. Whatever.” Cameron’s anticipated follow-up to 2009’s blockbuster has long been delayed. In March, the Academy Award-winner confirmed the second installment would not hit theaters next year. “Well, 2018 is not happening. We haven’t announced a firm release date,” Cameron, 62, told The Toronto Star. “What people have to understand is that this is a cadence of releases. So, we’re not making ‘Avatar 2,’ we’re making ‘Avatar 2,’ ‘3,’ ‘4,’ and ‘5.’ It’s an epic undertaking. It’s not unlike building the Three Gorges Dam.” It sounds like Brolin, 49, is prepared for a possible confrontation with Cameron. “If James Cameron came to me and said, ‘Hey, man,’ why’d do you say?’ I’d go, ‘Because it happened,'” he said. In addition to “Deadpool 2” with Ryan Reynolds, Brolin is also slated to take on Robert Downey Jr. and company as Marvel foe Thanos in 2018’s “Avengers: Infinity War.” Taylor Swift’s team wants to make sure that her court battle with a DJ who allegedly groped her isn’t turned into a laughing matter. Insiders told media outlets that Swift’s camp has been frantically calling late-night talk shows to ask if hosts are planning to make jokes about her case against Denver DJ David Mueller, who denies Swift’s claim that he grabbed her buttocks during a 2013 meet-and-greet. “[Swift] doesn’t really want to be in the media cycle unless it’s on her own terms. She loves to control her narrative,” a music insider said. “I’m sure she doesn’t want to have this moment right before she’s gearing up for an album release.” Another insider told outlets Swift’s releasing new music this year and will go on tour in 2018. Her rep didn’t comment.
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Critical analysis of the work of Bill Brandt.
Born in Hamburg in May 1904 to an English father and a German mother, Bill Brandt was a photographer and photojournalist who is widely known for his photography of World War 2, British society in London, nudes, portraits and landscapes. Despite being born in Germany, he later disowned his German heritage, moved to London and claimed he was born in south London due to the rise of Nazism and being bullied at school after the First World War. After the First World War, Brandt also then contracted tuberculosis; whilst undergoing treatment in a sanatorium in Davos, Switzerland, it is thought that this is when he first commenced his interest in photography. Upon being cured of tuberculosis, he moved to Vienna where he was taken in by Eugenie Schwarzwald, an Austrian philanthropist and writer who encouraged Brandt's love of photography and found him a position in a portrait studio where he took Ezra Pound's portrait - a major figure in modernist movement - who in return, introduced him to Man Ray, a visual artist that contributed largely to the Surrealist movement in the early 20′s. Brandt worked alongside Man Ray in Paris in 1930, grasping Surrealist film and art in its prime; giving him so many new possibilities in regard to photography. When he adopted Britain as his home, his own perceptions of England show through his work. He created almost his own invented world that would satisfy his childhood fantasies, as his childhood in Germany was not much of a childhood; most would be disheartened with the start that Brandt had, but I think it only encouraged him more to make something out of his initial interest in photography.  
Brandt's early work featured experimentation with night photography and modernist styles of photography, making his own social documentary scenes with family and friends, this became one of his strong suits. He then went on to photograph British society in the 1930′s, gradually becoming more successful photographing for the 'News Chronicle' and 'Weekly Illustrated'; and also publishing two books 'The English At Home' (1936) and 'A Night in London' (1938). Some of Brandt's most famous work is of the Blackout and Blitz during the Second World War during the 1940′s and resonated with writers, newspapers and various critics. After the war, Brandt went back to where his career started, with portraiture, using a Rolleiflex camera to photograph famous personalities such as writers and artists, including contextual material amongst their surroundings that grounded the subject in their own emotional inner life; making his portrait photography completely unique, especially at this time. Finally, his famous later work is in his published books 'Perspective of Nudes' (1961) and other books such a 'Shadow & Light' and 'Bill Brandt Nudes' were of nudes in domestic interior settings as well as exterior settings such as the beaches of East Sussex; centred on the female form displaying almost abstract portrayals of different parts of the body – fingers, feet, knees, legs, breasts, torso, linking his work to a form of Expressionism as well as the previously mentioned Surrealism.
During his career, Brandt experimented with different cameras that led his work to be set apart from other photographers as he used them in a way that altered how a photo would turn out and distort the photograph; he did this primarily with his portrait and nude photography with a wide-angled lens that allowed him to see "like a mouse, a fish or a fly". The amount of little interference from Brandt let the camera do most of the work and photographed what the camera saw instead of what he saw giving viewers a new perception on art and photography in general, making critics and renowned photographers refer to him as a 'master' of modernist photography. To look at Brandt's work as a whole, there is particular sense of detachments and a moody aspect to his photograph's atmosphere generated by the darkness and his ability to detach his subjects' from its context and make it his own.
Brandt is regarded by many as the most important British photographer of the 20th century, mainly due to his evolution of the Modernist and Surrealist movements in his portrait and nude work, and documentation of British society during the 30's and World War during the early 40's. He has provided photographs for Picture Post, a photo-journalistic magazine in the UK from 1938 to 1957, where he served as a pioneering example of photojournalism; and Harper's Bazaar, an American women's fashion magazine doing portrait and fashion assignments. Furthermore, Cassel & Co., a British book publishing house, commissioned Brandt to give them a landscape series, his landscapes were heavily influenced by Edward Weston – one of the most influential American photographers. He also took many photo series for Lilliput, a pocket magazine founded by photojournalist Stefan Lorant.
From a personal point of view, I think Brandt's work is about him pushing the limitations within photography - "I am not interested in rules or conventions. Photography is not a sport." This quote to me shows that he wasn't concerned on whether others liked his work, it was more for his own, personal exploration into photojournalism, landscape, portraiture and female nude photography and how far he could go with it during his career. Despite being a photojournalist for a big part of his career, Brandt was less concerned with the authenticity of documentary; more concerned with creating his own version or 'world' through his photography and use of darkrooms. He wanted to create a kind of 'detached reportage' channelled through his desire to "charge the commonplace with beauty" meaning that he wanted viewers to see the beauty that he saw in ordinary, everyday life. He did this by using family and friends, especially in his street photography in England, posing as ordinary strangers in London and his editing process in the darkroom – changing subtle contrasts to stark, high contrasts, lightening and/or darkening aspects of his photos to make the black and white stand out in a harsh, moody way. Some have said that these deceptions 'devalue his work' which I think is true in some ways, as it could be viewed to lower the authenticity but I also think that he was more concerned with making a photograph his own and give something ordinary something to make it more interesting and captivating. Within Brandt's nude photography he let his Super-Wide angle lens do a lot of the work, furthering his Surrealist appreciation and sensitivity – the camera elongated limbs and other body parts in deep-focus perspective creating an alternative, surreal way of viewing the female form and human body in general.
I think that the range of different genres of photography sets Brandt apart from others as it shows he had no fear in the visual exploration of them through a range of photographic movements that were coming into popularity at the time such as modernism and social realism. This accompanied with his harsh and innovative editing techniques, his photography is truly defined and beautifully unconventional.
In regards to the importance of Brandt's work in the world of photography, his work is an incredibly important part in photography's modernist traditions; this I feel is shown especially in his 'Shadow and Light' publication through his ability to make the mundane imaginative and full of life. Similarly, his iconic photos during the Blackout and Blitz documents historical events in England through the early 40′s providing not only information but also a closer look into what happened during that time through the eyes of Bill Brandt.  
His nudes are still to be considered his best and most memorable work as he went against the 'preconceived notions of the genre' with his settings. For example, instead of studios with lighting and props, he opted for the use of available light on the shores of East Sussex as well as northern and southern France, again, pushing boundaries within the original conventions of nude photography, putting a Surrealist spin on the genre.
In conclusion, Brandt not only has proved himself as an important and inventive photographer, but also as an influential one – influencing the likes of Don McCullin, Roger Mayne, Angus McBean and Chris Killip; all photographers that use Surrealism and the heavy contrasting and altering of their photos to their advantage, following in Brandt's footsteps. His exploration into a variety of different photographic genres showed his eagerness to constantly change people's perceptions of society and photography in new ways. Overall, I would say that Bill Brandt is a  photographer that constantly inspires me to always be developing my work and try to break my own personal boundaries. Credited to the influence of Man Ray, Brandt's belief that the end justifies any means that a photographer chooses to use.
JESS MACMILLAN
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Critical analysis of the work of Bill Brandt.
Born in Hamburg in May 1904 to an English father and a German mother, Bill Brandt was a photographer and photojournalist who is widely known for his photography of World War 2, British society in London, nudes, portraits and landscapes. Despite being born in Germany, he later disowned his German heritage, moved to London and claimed he was born in south London due to the rise of Nazism and being bullied at school after the First World War. After the First World War, Brandt also then contracted tuberculosis; whilst undergoing treatment in a sanatorium in Davos, Switzerland, it is thought that this is when he first commenced his interest in photography. Upon being cured of tuberculosis, he moved to Vienna where he was taken in by Eugenie Schwarzwald, an Austrian philanthropist and writer who encouraged Brandt's love of photography and found him a position in a portrait studio where he took Ezra Pound's portrait - a major figure in modernist movement - who in return, introduced him to Man Ray, a visual artist that contributed largely to the Surrealist movement in the early 20′s. Brandt worked alongside Man Ray in Paris in 1930, grasping Surrealist film and art in its prime; giving him so many new possibilities in regard to photography. When he adopted Britain as his home, his own perceptions of England show through his work. He created almost his own invented world that would satisfy his childhood fantasies, as his childhood in Germany was not much of a childhood; most would be disheartened with the start that Brandt had, but I think it only encouraged him more to make something out of his initial interest in photography.  
Brandt's early work featured experimentation with night photography and modernist styles of photography, making his own social documentary scenes with family and friends, this became one of his strong suits. He then went on to photograph British society in the 1930′s, gradually becoming more successful photographing for the 'News Chronicle' and 'Weekly Illustrated'; and also publishing two books 'The English At Home' (1936) and 'A Night in London' (1938). Some of Brandt's most famous work is of the Blackout and Blitz during the Second World War during the 1940′s and resonated with writers, newspapers and various critics. After the war, Brandt went back to where his career started, with portraiture, using a Rolleiflex camera to photograph famous personalities such as writers and artists, including contextual material amongst their surroundings that grounded the subject in their own emotional inner life; making his portrait photography completely unique, especially at this time. Finally, his famous later work is in his published books 'Perspective of Nudes' (1961) and other books such a 'Shadow & Light' and 'Bill Brandt Nudes' were of nudes in domestic interior settings as well as exterior settings such as the beaches of East Sussex; centred on the female form displaying almost abstract portrayals of different parts of the body – fingers, feet, knees, legs, breasts, torso, linking his work to a form of Expressionism as well as the previously mentioned Surrealism.
During his career, Brandt experimented with different cameras that led his work to be set apart from other photographers as he used them in a way that altered how a photo would turn out and distort the photograph; he did this primarily with his portrait and nude photography with a wide-angled lens that allowed him to see "like a mouse, a fish or a fly". The amount of little interference from Brandt let the camera do most of the work and photographed what the camera saw instead of what he saw giving viewers a new perception on art and photography in general, making critics and renowned photographers refer to him as a 'master' of modernist photography. To look at Brandt's work as a whole, there is particular sense of detachments and a moody aspect to his photograph's atmosphere generated by the darkness and his ability to detach his subjects' from its context and make it his own.
Brandt is regarded by many as the most important British photographer of the 20th century, mainly due to his evolution of the Modernist and Surrealist movements in his portrait and nude work, and documentation of British society during the 30's and World War during the early 40's. He has provided photographs for Picture Post, a photo-journalistic magazine in the UK from 1938 to 1957, where he served as a pioneering example of photojournalism; and Harper's Bazaar, an American women's fashion magazine doing portrait and fashion assignments. Furthermore, Cassel & Co., a British book publishing house, commissioned Brandt to give them a landscape series, his landscapes were heavily influenced by Edward Weston – one of the most influential American photographers. He also took many photo series for Lilliput, a pocket magazine founded by photojournalist Stefan Lorant.
From a personal point of view, I think Brandt's work is about him pushing the limitations within photography - "I am not interested in rules or conventions. Photography is not a sport." This quote to me shows that he wasn't concerned on whether others liked his work, it was more for his own, personal exploration into photojournalism, landscape, portraiture and female nude photography and how far he could go with it during his career. Despite being a photojournalist for a big part of his career, Brandt was less concerned with the authenticity of documentary; more concerned with creating his own version or 'world' through his photography and use of darkrooms. He wanted to create a kind of 'detached reportage' channelled through his desire to "charge the commonplace with beauty" meaning that he wanted viewers to see the beauty that he saw in ordinary, everyday life. He did this by using family and friends, especially in his street photography in England, posing as ordinary strangers in London and his editing process in the darkroom – changing subtle contrasts to stark, high contrasts, lightening and/or darkening aspects of his photos to make the black and white stand out in a harsh, moody way. Some have said that these deceptions 'devalue his work' which I think is true in some ways, as it could be viewed to lower the authenticity but I also think that he was more concerned with making a photograph his own and give something ordinary something to make it more interesting and captivating. Within Brandt's nude photography he let his Super-Wide angle lens do a lot of the work, furthering his Surrealist appreciation and sensitivity – the camera elongated limbs and other body parts in deep-focus perspective creating an alternative, surreal way of viewing the female form and human body in general.
I think that the range of different genres of photography sets Brandt apart from others as it shows he had no fear in the visual exploration of them through a range of photographic movements that were coming into popularity at the time such as modernism and social realism. This accompanied with his harsh and innovative editing techniques, his photography is truly defined and beautifully unconventional.
In regards to the importance of Brandt's work in the world of photography, his work is an incredibly important part in photography's modernist traditions; this I feel is shown especially in his 'Shadow and Light' publication through his ability to make the mundane imaginative and full of life. Similarly, his iconic photos during the Blackout and Blitz documents historical events in England through the early 40′s providing not only information but also a closer look into what happened during that time through the eyes of Bill Brandt.  
His nudes are still to be considered his best and most memorable work as he went against the 'preconceived notions of the genre' with his settings. For example, instead of studios with lighting and props, he opted for the use of available light on the shores of East Sussex as well as northern and southern France, again, pushing boundaries within the original conventions of nude photography, putting a Surrealist spin on the genre.
In conclusion, Brandt not only has proved himself as an important and inventive photographer, but also as an influential one – influencing the likes of Don McCullin, Roger Mayne, Angus McBean and Chris Killip; all photographers that use Surrealism and the heavy contrasting and altering of their photos to their advantage, following in Brandt's footsteps. His exploration into a variety of different photographic genres showed his eagerness to constantly change people's perceptions of society and photography in new ways. Overall, I would say that Bill Brandt is a  photographer that constantly inspires me to always be developing my work and try to break my own personal boundaries. Credited to the influence of Man Ray, Brandt's belief that the end justifies any means that a photographer chooses to use.
JESS MACMILLAN
0 notes
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20 Up-and-comers To Watch In The Photographers Near Me Industry
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20 Gifts You Can Give Your Boss If They Love Wedding Pictures
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There are a variety of sorts of photographers. The Photographer shall not be accountable for photographs not accepted as a consequence of the Client's failure to supply reasonable support or cooperation. Should you do this then you will wind up getting the normal photographer due to which you'll need to compromise with the grade of the photographs.
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10 Best Facebook Pages Of All Time About Portrait Photography
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