#rob haggart

[tonin-terets]

Taco Bell and ESPN - Live Mas from Pedro Allevato | Sugar Blood on Vimeo.

My first collab with Feed Me Light and Elastic to boost our team spirit! � This vibrant animated spot definitely worked up our appetites. I'm so grateful for my creative partnership and being able to direct such a fun project for those 2 studios that I admire so much.

FEED ME LIGHT FML Creative Director: Pedro Allevato FML ECD: Denis Bouyer FML Producer: Dawn Cottrell FML MD: Kiri Haggart Storyboards: Pedro Allevato Design: Pedro Allevato, Julien Becquer, Thibaud Clergue , Simon Duclose, Saskya Oslen, Rob Gavin CG Generalists: Simon Duclos, Saskya Oslen, Jeremy Cisse 2D Animation: Melisa Ferina, Diego Ferrero, Alex Covella, Pedro Allevato, Mahmoud Badran Compositing: Pedro Allevato FML Interns: Nathan Jauze, Andreas Demetriou, Maud Cuenot

ELASTIC Producer: Ashley B Carey SFX: Gabriel Caste Head of Production: Paul Makowski Executive Producer: Kate Berry Managing Director: Jennifer Sofio Hall

ESPN, Taco Bell

[sheetmusiclibrarypdf]

George Gershwin at the Piano "Oh, lady be good" (George Shearing) Sheet Music

George Gershwin at the Piano "Oh, lady be good" performed by George Shearing

with Sheet Music Download from our Library.

https://vimeo.com/694346364 "Oh, Lady Be Good!" is a 1924 song by George and Ira Gershwin. It was introduced by Walter Catlett in the Broadway musical Lady, Be Good! written by Guy Bolton, Fred Thompson, and the Gershwin brothers and starring Fred and Adele Astaire. The song was also performed by the chorus in the film Lady Be Good (1941), although the film is unrelated to the musical. Recordings in 1925 were by Paul Whiteman, Carl Fenton, and Cliff Edwards. A 1947 recording of the song became a hit for Ella Fitzgerald, notable for her scat solo. For her album Ella Fitzgerald Sings the George and Ira Gershwin Songbook (1959), it was sung as a ballad arranged by Nelson Riddle. Recorded versions

- Rob Agerbeek – Three of a Kind (1998) - Fred Astaire – rec. December 1952 – The Astaire Story - Count Basie – rec. February 4, 1939 (Decca) - Buck and Bubbles – rec. December 26, 1933 (Columbia) - Kenny Burrell - rec. August 25, 1959 - On View at the Five Spot Cafe (Blue Note) - Joe Carroll – The Man with the Happy Sound (1962) - Cliff "Ukulele Ike" Edwards – rec. January 2, 1925 - Carl Fenton and His Orchestra – recorded on December 11, 1924 (Brunswick) - Ella Fitzgerald – with Bob Haggart (1947) - Ella Fitzgerald – rec. 1959 – Ella Fitzgerald Sings the George and Ira Gershwin Songbook - Benny Goodman Trio – rec. April 27, 1936 as the B–side of China Boy (Victor) - The Gordons with Dizzy Gillespie and Stuff Smith – rec. April 17, 1957 - Jack Hylton and his Orchestra – rec. March 29, 1926 - Buddy Lee with the Gilt–Edged Four – rec. May 17, 1926 (Columbia) - Charlie Parker and Lester Young for Jazz at the Philharmonic, January 28, 1946 - Dianne Reeves – We All Love Ella: Celebrating the First Lady of Song (2007) - Slim & Slam – rec. May 3, 1938 (Vocalion) - Mel Tormé and Buddy Rich – Together Again: For the First Time (1978) - Paul Whiteman and His Orchestra – rec. December 29, 1924 (Victor) - John Wilson Orchestra– Gershwin in Hollywood, live at the Royal Albert Hall (2016) - Django Reinhardt- Django Reinhardt swing de Paris 4 CD set (2003) See also - List of 1920s jazz standards “When Lester Young played on the second chorus, the jazz world was introduced to another way of playing the tenor saxophone ... Jazz would never be the same.”- Chris Tyle As improvisational vehicles, many songs could not endure the transition from the loose Dixieland style of the “Roaring Twenties” to the smooth, swing sound of the 1930’s. They were dropped from jazz musicians’ catalogs, performances, and recordings and relegated to period collections and specialty bands. There are, however, a handful of songs written in the mid-twenties or earlier that have persisted as the topmost jazz standards: WC Handy’s “St. Louis Blues” (1914); the Ken Casey, Maceo Pinkard, Ben Bernie composition “Sweet Georgia Brown” (1925); and George and Ira Gershwin’s “The Man I Love” (1924) and “Oh, Lady Be Good” (1924). Walter Catlett introduced “Oh, Lady Be Good!” on the stage of the Liberty Theater December 1st 1924. The song was included in the Broadway Musical Lady, Be Good! a popular show that would run for 330 performances. The show starred Fred and Adele Astaire, Walter Catlett, Alan Edwards, Jayne Auburn, Kathlene Martyn, and Cliff Edwards. It opened to generally favorable reviews, with the critics raving about the Astaires’ footwork and the “jazzy” Gershwin score.  In 1925 “Oh, Lady Be Good!” went on to become a pop chart hit three times with Paul Whiteman and His Orchestra (1925, instrumental, #2) Carl Fenton and his Orchestra (1925, instrumental, #9) Cliff Edwards (1925, #13) Lady Be Good was one of several shows in 1924 that represented a significant departure from the romantic operetta style. According to Edward Jablonski’s book Gershwin: A Biography, these pioneering productions were “... brittle in tone, ‘smart,’ characterized by athletic dances, tongue-in-cheek love songs”; in other words, forerunners of the modern musical comedy.

Best site for sheet music download.

“Oh, Lady Be Good!” was one of a dozen songs in the all-Gershwin Broadway score. Also becoming hits were “So Am I,” “Little Jazz Bird,” “The Half of It, Dearie, Blues,” and “Fascinating Rhythm.” Lady Be Good was also a turning point in the career of Cliff Edwards. Edwards’ ukulele rendition of “Fascinating Rhythm” stole the show and would prove to be the beginning of a string of Broadway appearances for him. Read the full article

[hughkretschmer]

I’m very grateful to have my project, “Plastic Waves”, be a part of Suzanne Sease’s @suzanne.sease wonderful weekly web post, Art of the Personal Project. Thank you, Suzanne and Rob Haggart @aphotoeditor for your contributions to our beloved industry. https://aphotoeditor.com/2020/11/05/the-art-of-the-personal-project-hugh-kretschmer-2/ #personalproject #lovephotography #climatechange #waterkeepers @waterkeeperalliance @_sidecarww_ (at Los Angeles, California) https://www.instagram.com/p/CHQYjyWgnrW/?igshid=cvnvtfeap176

[chrissessions]

My Charros project was mentioned on Jonathan Blaustein's latest post at www.aphotoeditor.com. Jonathan found my work in March at the Month of Photography Denver portfolio walkthrough event, introduced himself and about 15 seconds later asked if he could share the work in @aphotoeditor , a great / highly regarded resource for photographers / the photo market started many years ago by Rob Haggart. Check it out here: http://aphotoeditor.com/2019/05/17/the-best-work-i-saw-at-the-denver-portfolio-walk/ #sessionscharroscolorado https://www.instagram.com/p/BxxuxTkFDL-/?igshid=1pcop710eqvh1

[saintlucyrepresents]

Little Outdoor Giants x @aphotoeditor

Little Outdoor Giants’ newest promo is hot off the press and features portrait photography from their recent jobs, projects, including recent shoots for O, The Oprah Magazine and Yankee magazine. The fold out mailer was featured on A Photo Editor, where photo editor Rob Haggart shares his favorite promos with the photo community.

View more of Little Outdoor Giants’ new portrait photography here and see the promo on @aphotoeditor here.

[photomaniacs]

Is This Eclipse Photo #FakeNews? http://ift.tt/2w5dLF7

Much ado about nothing or a serious ethical breach of photojournalistic norms? A debate emerged on Facebook when freelancer and Pulitzer Prize winner Ken Geiger’s image appeared in the National Geographic Instagram feed and in a slideshow on the NatGeo website. The image was a composite of multiple images created in-camera that resulted in an photo that never existed because the eclipse was never positioned against the Tetons as depicted.

As the sun rose over Grand Teton National Park, Wyoming, thousands of people and their vehicles were jockeying for prime eclipse viewing positions. Hours later they were rewarded with a total eclipse of the sun. This image is an illustration, a composite of two frames, the morning sunrise of the Tetons and a timed multiple exposure of today’s eclipse. Follow @kengeiger for more eclipse images. #eclipse #eclipse2017

A post shared by National Geographic (@natgeo) on Aug 21, 2017 at 6:50pm PDT

Geiger meticulously planned his image in advance using a technique similar to one he used during a previous lunar eclipse taken for The Dallas Morning News, tracking the progression of the eclipse and where he wanted it to appear in the frame, then reframing the camera to capture a terrestrial foreground.

Photo by Ken Geiger

The image was posted to his personal account with no caption, and auto-published to his Facebook account. Geiger later posted the image to the @natgeo Instagram account with the following caption:

As the sun rose over Grand Teton National Park, Wyoming, thousands of people and their vehicles were jockeying for prime eclipse viewing positions. Hours later they were rewarded with a total eclipse of the sun. This image is an illustration, a composite of two frames, the morning sunrise of the Tetons and a timed multiple exposure of today’s eclipse.

Follow @kengeiger for more eclipse images. #eclipse #eclipse2017

Geiger’s aforementioned lunar eclipse image appeared on the front page of The Dallas Morning News with the following caption,

The progression of the lunar eclipse over Dallas on Wednesday night is illustrated through a series of five exposures. The first exposure, of the skyline, was made at dusk with an 85mm lens. Then, after the camera was repositioned, a 600mm lens was used to capture the four close-up shots of the moon as it moved through stages of the eclipse.

As the @natgeo account has grown to its over 80 million followers, engagement (as measured by the number of likes and comments) has declined as with most “mega-influencers.” But Geiger’s image bucked the trend, garnering over 2 million likes compared to the typical 250-500,000 likes for most images.

A number of veteran photojournalists and photo editors raised questions in Facebook threads about the ethics of the image that fell into a few categories:

1. The image wasn’t sufficiently captioned 2. Should the image have appeared under the National Geographic umbrella? 3. Composite of a scene that never existed

How Visually Sophisticated is the Audience?

Any viewer looking at the image knows it is a composite since the Solar System only has one sun. But are people being fooled into believing that this scene unfolded from a single vantage point? Does the image derive its popularity from a belief that it was captured from a single vantage point?

The Denver Post’s Senior Editor for Photography and Multimedia Ken D. Lyons said, “I was seeing an image glorified and applauded by people that I greatly respect. It was being called the greatest image of the day.” Lyons explained that even some professional photographers – arguably some of the most visually sophisticated people – were being fooled into believing this was a real scene, and they hadn’t captured it. Lyons said, “The advice I provided was they simply can’t compete with a manufactured work of art, which is what I feel it is.”

A Photo Editor’s Rob Haggart was more blunt about the perceived deception. On Facebook, Haggart wrote, “Manufactured images only have value because people think they are real or they look real. You are lying to yourself if you think it’s artistry that drives the likes.”

Photographer Alex Garcia’s admiration for the photo diminished once he found that it was a false scene. “I lose all sense of awe when I know that a photo is a composite and doesn’t reflect reality,” he said on Facebook. “More than half the awe is that our natural world produced this and can be experienced by everyone.”

Is National Geographic Journalism or Eye Candy?

“Does National Geographic magazine hold itself to those [photojournalism] standards?,” asked NPPA President Melissa Lyttle in an official statement. “Or, is it merely a magazine with pretty pictures and illustrations? Does it intend to promote high-quality visual journalism or does it vacillate somewhere between the two worlds?”

One National Geographic photographer told me that Instagram is a “different beast” from the print magazine world where a team of photographers and editors can ponder how an image can illustrate a story. He went further to say, “To think that you can make Instagram conform to that level of thoughtfulness and earnest consideration is wishful thinking.”

It’s not an unrealistic point, even if unpalatable. We are, for better or worse, slaves to the social media algorithms that drive “likes.” And in the rush to be first or garner the most likes on social media, society-at-large has tacitly accepted a wide range of manipulation from social engineering to post-processing.

National Geographic responded to my inquiry with the following: “National Geographic does not condone the manipulation of documentary photography. In instances where we publish composite photos, we aim to clearly indicate how the photo is created. In the case of this particular photo, we have updated the caption on our website to more clearly define the technique used in creating the image.”

When Technology Bends Ethics

Geiger referred to an “imaginary ethical bar” on Facebook and Lyttle mentioned an industry “bound by self-imposed ethics.” There is no doubt that the industry has developed its own ethical norms. Some are obvious (e.g. “Don’t influence the scene”), while others are more ambiguous (e.g. “My newspaper allows composites if they are labeled” vs “My paper would never run a composite).

Geiger told me that he “made the image for myself,” indicating that it was never intended to be journalistic. But at least part of the problem is one of cognitive dissonance. Many photojournalists see Geiger as a prize-winning, stalwart of the news industry. The controversy around this single image has caused some to unfairly question Geiger’s entire career. Longtime National Geographic photographer Jim Richardson cautioned such an extrapolation, “Ken Geiger has shown himself to be decent, honest and devoted photojournalist over decades of work.”

Cognitive dissonance ensues when Geiger steps out of the photojournalism box. Geiger can certainly create any image he wants, but even he seems to have trouble straddling the line – sometimes defending the image as conforming to ethical norms on a long, multi-threaded discussion on Facebook.

Former Dallas Morning News photographer Gerry McCarthy supports Geiger’s foray into “more artistic” photography but thinks it’s naive for photographers who make such shifts to not expect scrutiny based on their careers. McCarthy said, “We don’t live in a vacuum, and if the bulk of their career – at least the part that made them, or their work, well known – was done so in photojournalism, they probably should be prepared to do a lot of explaining. I’m sure it’s super annoying, but it comes with the territory.”

As more and more photojournalists turn to freelance work, they’ve had to diversify their income streams, relying on niches like commercial, wedding or art photography. Many photojournalists I follow on Instagram have been playing with technologies like Cinemagraph and Plotagraph. Is a hashtag enough to delineate truth from fiction? Does the public read captions? Even in the face of evidence, will people still doubt the veracity of an image?

“It’s hard enough in this age of ‘fake news’ to suss out what is real,” said Lyttle. “Without a forthcoming explanation, actions such as these continue to erode the public’s trust in images. Being open and honest about the process, and transparent from the get-go, could also have made this a nonissue.”

But like many ethical issues, there is nuance and competing claims. One could argue that there’s not even a consensus on what the issue really is. But as contentious as the discussion has been online, the rift has revealed that it’s a discussion that needs to happen within the industry. Technology in all forms continues to outpace our ability to understand and contend with all of the ethical issues. And we shouldn’t wait for the next eclipse to tackle them.

About the author: Allen Murabayashi is the Chairman and co-founder of PhotoShelter, which regularly publishes resources for photographers. The opinions expressed in this article are solely those of the author. Allen is a graduate of Yale University, and flosses daily. This article was also published here.

Go to Source Author: Allen Murabayashi If you’d like us to remove any content please send us a message here CHECK OUT THE TOP SELLING CAMERAS!

The post Is This Eclipse Photo #FakeNews? appeared first on CameraFreaks.

August 25, 2017 at 10:00PM

[waha-no-baka]

John Hurt nous a quitté...., vu sur Akihabara no Sasayaki http://ift.tt/2jLxXD9 John Hurt nous a quitté....Il restera pour moi le plus grand des Doctor.... # Bloc TechniqueNom de Naissance : John Vincent HurtDate de naissance : 22 janvier 1940Lieu de naissance : Chesterfield (Angleterre, Royaume-Uni)Date de décès: 25 janvier 2017 (à 77 ans)Lieu de décès: Cromer (Angleterre, Royaume-Uni)Profession : Acteur # Biographie (d'après wikipedia) John Hurt est le fils du vicaire anglican Arnold Herbert Hurt et de Phyllis Massey, ingénieur et comédienne amateur. Cantonné au début de sa carrière aux seconds rôles (Max dans Midnight Express ou G.W. Kane dans Alien, le huitième passager), il accède à la célébrité en incarnant John Merrick dans le film Elephant Man, qui lui vaut une nomination à l'Oscar du meilleur acteur en 1981 et le BAFTA Award du meilleur acteur dans un rôle principal, et à la télévision celui de Caligula dans la série Moi Claude empereur. Il a été également le conteur d'histoire dans la série Monstres et Merveilles qui est adaptée de légendes celtiques, russes ou encore allemande, en 1987. Il incarne notamment Billy Irvine dans La Porte du paradis (Heaven's Gate), Winston Smith dans 1984, le dictateur Adam Sutler dans V pour Vendetta et Monsieur Ollivander dans Harry Potter à l'École des Sorciers, rôle qu'il reprendra en 2010 dans Harry Potter et les Reliques de la Mort. En 2013, pour les 50 ans de la célèbre série télévisée britannique de science-fiction, Doctor Who, John Hurt joue une incarnation du Docteur surnommé The War Doctor (le « Docteur de la Guerre »). John Hurt a été anobli par la reine d'Angleterre en fin d'année 2014. Il annonce, le 16 juin 2015, qu'il est atteint d'un cancer du pancréas. Il meurt le 25 janvier 2017 à l'âge de 77 ans à Cromer . # Filmographie (d'après wikipedia) Cinéma 1962 : The Wild and the Willing de Ralph Thomas : Phil Corbett 1964 : This Is My Street de Sidney Hayers : Charlie 1966 : Un homme pour l'éternité (A Man for All Seasons) de Fred Zinnemann : Rich 1967 : Le Marin de Gibraltar (The Sailor from Gibraltar) de Tony Richardson : John 1969 : Davey des grands chemins (Sinful Davey) de John Huston : Davey Haggart 1969 : Avant que vienne l'hiver (Before Winter Comes) de J. Lee Thompson : le lieutenant Pilkington 1969 : À la recherche de Grégory, de Peter Wood : Daniel 1971 : Mr. Forbush and the Penguins (en) de Arne Sucksdorff, Alfred Viola et Roy Boulting : Richard Forbush 1971 : L'Étrangleur de la place Rillington (10 Rillington Place) de Richard Fleischer : Timothy John Evans 1972 : Le Joueur de flûte (The Pied Piper) de Jacques Demy : Franz 1974 : Little Malcolm de Stuart Cooper : Malcolm Scrawdyke 1975 : The Ghoul de Freddie Francis : Tom Rawlings 1976 : La linea del fiume de Aldo Scavarda : Chandler 1977 : Three Dangerous Ladies, segment The Island de Robert Fuest : le lieutenant Simmonds 1977 : East of Elephant Rock de Don Boyd : Nash 1977 : The Disappearance de Stuart Cooper : Atkinson 1978 : Le Cri du sorcier (The Shout) de Jerzy Skolimowski : Anthony Fielding 1978 : Midnight Express de Alan Parker : Max. 1978 : La Folle Escapade (Watership Down) de Martin Rosen : Hazel (voix). 1978 : Le Seigneur des anneaux (J. R. R. Tolkien's The Lord of the Rings) de Ralph Bakshi : Aragorn (voix) 1979 : Alien, le huitième passager (Alien) de Ridley Scott : Kane 1980 : Elephant Man de David Lynch : John Merrick 1980 : La Porte du paradis (Heaven's Gate) de Michael Cimino : Billy Irvine 1981 : La Folle Histoire du monde (History of the World: Part I) de Mel Brooks : Jésus-Christ 1982 : La Nuit de l'évasion (Night Crossing) de Delbert Mann : Peter Strelzyk 1982 : Partners de James Burrows : Kerwin 1982 : The Plague Dogs de Martin Rosen : Snitter (voix) 1983 : Osterman week-end (The Osterman Weekend) de Sam Peckinpah : Lawrence Fassett 1984 : Champions de John Irvin : Bob Irvin 1984 : Le Succès à tout prix (Success Is the Best Revenge) de Jerzy Skolimowski : Dino Montecurva 1984 : The Hit : Le tueur était presque parfait (The Hit) de Stephen Frears : Braddock 1984 : 1984 de Michael Radford : Winston Smith 1985 : After Darkness de Sergio Guerraz et Dominique Othenin-Girard : Peter Hunningford 1985 : Taram et le Chaudron magique (The Black Cauldron) de Ted Berman et Richard Rich : le Seigneur des Ténèbres (voix) 1986 : Jake Speed d'Andrew Lane : Sid 1987 : Rocinante d'Ann Guedes et Eduardo Guedes : Bill 1987 : The Hunting of the Snark de Mike Batt : Narrateur 1987 : Sur la route de Nairobi (White Mischief) de Michael Radford : Gilbert Colvile 1987 : From the Hip de Bob Clark : Douglas Benoit 1987 : Un sketch (Aria), segment I pagliacci de Bill Bryden : l'acteur 1987 : La Folle Histoire de l'espace (Spaceballs) de Mel Brooks : le lieutenant Kane de Alien 1988 : La Nuit bengali de Nicolas Klotz : Lucien Metz 1989 : Little Sweetheart de Anthony Simmons : Robert Burger 1989 : Scandal de Michael Caton-Jones : Stephen Ward 1990 : Romeo.Juliet de Armondo Linus Acosta : Mercutio 1990 : Windprints de David Wicht : Charles Rutherford 1990 : The Field de Jim Sheridan : The « Bird » O'Donnell 1990 : La Résurrection de Frankenstein (Frankenstein Unbound) de Roger Corman : Dr Joe Buchanan / Narrateur 1991 : I Dreamt I Woke Up de John Boorman : l’alter ego de Boorman Alter Ego 1991 : King Ralph de David S. Ward : lord Percival Graves 1992 : Lapse of Memory de Patrick Dewolf : Conrad Farmer 1992 : L'Œil qui ment de Raoul Ruiz : Anthony / le Marquis 1993 : Kölcsönkapott idö de István Poór : Sean 1993 : Monolithe de John Eyres : Villano 1993 : Even Cowgirls Get the Blues de Gus Van Sant : la comtesse 1994 : Poucelina (Thumbelina)) de Don Bluth : Mr Mole (voix) 1994 : Second Best de Chris Menges : oncle Turpin 1994 : Rabbit Ears: Aladdin and the Magic Lamp (vidéo) : le conteur 1995 : Two Nudes Bathing de John Boorman : marquis de Prey 1995 : Saigon Baby de David Attwood : Jack Lee 1995 : Rob Roy de Michael Caton-Jones : Montrose 1995 : Dead Man de Jim Jarmusch : John Scholfield 1995 : Wild Bill de Walter Hill : Charley Prince 1997 : Amour et mort à Long Island (Love and Death on Long Island) de Richard Kwietniowski : Giles De'Ath 1997 : Contact de Robert Zemeckis : S.R. Hadden 1997 : Brute, de Maciej Dejczer : Babits 1997 : Tender Loving Care (vidéo) : Dr Turner 1998 : The Commissioner de George Sluizer : James Morton 1998 : The Climb de Bob Swaim : Chuck Langer 1998 : Night Train de John Lynch : Michael Poole 1998 : All the Little Animals de Jeremy Thomas : Mr. Summers 1999 : New Blood de Michael Hurst : Alan White 1999 : Le Château des singes de Jean-François Laguionie : Sebastian (voix) 1999 : If... Dog... Rabbit... de Matthew Modine : Sean Cooper 1999 : You're Dead... de Andy Hurst : Maitland 2000 : Les Aventures de Tigrou (The Tigger Movie) de Jun Falkenstein : Narrateur (voix) 2000 : Les Âmes perdues (Lost Souls) de Janusz Kamiński : Père Lareaux 2001 : Tabloid de David Blair : Vince 2001 : Capitaine Corelli (Captain Corelli's Mandolin) de John Madden : Dr Iannis 2001 : Harry Potter à l'école des sorciers (Harry Potter and the Philosopher's Stone) de Chris Columbus : Mr. Ollivander 2002 : Miranda de Marc Munden : Christian 2002 : Crime and Punishment de Menahem Golan : Porfiry, l'enquêteur en chef 2003 : Mister Cash de Richard Kwietniowski : Victor Foss 2003 : Meeting Che Guevara and the Man from Maybury Hill, court-métrage de Anthony Byrne : l'homme de Maybury Hill 2003 : Dogville de Lars von Trier : Narrateur 2004 : Hellboy de Guillermo del Toro : Professeur Trevor « Broom » Bruttenholm 2005 : Short Order de Anthony Byrne : Felix 2005 : Vaillant, pigeon de combat ! (Valiant) de Gary Chapman : Felix (voix) 2005 : The Proposition de John Hillcoat : Jellon Lamb 2005 : Shooting Dogs de Michael Caton-Jones : Christopher 2005 : Manderlay de Lars von Trier : Narrateur (voix) 2005 : La Porte des secrets (The Skeleton Key) de Iain Softley : Ben Devereaux 2006 : V pour Vendetta (V for Vendetta) de James McTeigue : Adam Sutler 2006 : Le Parfum, histoire d'un meurtrier (Perfume: The Story of a Murderer) de Tom Tykwer : Narrateur 2007 : Boxes de Jane Birkin : le père de Fanny 2008 : Crimes à Oxford (The Oxford Murders) de Álex de la Iglesia : Arthur Seldom 2008 : Indiana Jones et le Royaume du crâne de cristal (Indiana Jones and the Kingdom of the Crystal Skull) de Steven Spielberg : professeur « Ox » Oxley 2008 : Outlander : Le Dernier Viking (Outlander) de Howard McCain : Rothgar 2008 : Hellboy 2 : Les Légions d'or maudites (Hellboy II: The Golden Army) de Guillermo del Toro : professeur Trevor « Broom » Bruttenholm 2008 : Lezione 21 d'Alessandro Baricco : Mondrian Kilroy 2009 : New York, I Love You : Bellhop 2009 : An Englishman in New York de Richard Laxton : Quentin Crisp 2009 : The Limits of Control de Jim Jarmusch : Guitar 2009 : 44 Inch Chest de Malcom Venville : le vieil homme aux cacahuètes 2010 : Lou de Belinda Chayko : Doyle 2010 : Brighton Rock de Rowan Joffé : Phil Corkery 2010 : Harry Potter et les Reliques de la Mort, partie 1 (Harry Potter and the Deathly Hallows: Part 1) de David Yates : Mr. Ollivander 2010 : Love at First Sight de Michael Davies : Arthur 2010 : Ultramarines (Ultramarines: A Warhammer 40,000 Movie) de Martyn Pick : Carnak 2011 : Regret Not Speaking de Richard Kwietniowski 2011 : Melancholia de Lars von Trier : Dexter 2011 : Harry Potter et les Reliques de la Mort, partie 2 (Harry Potter and the Deathly Hallows: Part 2) de David Yates : Mr. Ollivander 2011 : Les Immortels de Tarsem Singh : Zeus vieux 2012 : La Taupe (Tinker, Tailor, Soldier, Spy) de Tomas Alfredson 2012 : Jayne Mansfield's Car de Billy Bob Thornton 2013 : Le Transperceneige (설국열차) de Bong Joon-ho : Gilliam 2013 : Only Lovers Left Alive de Jim Jarmusch : Marlowe 2014 : Hercule (Hercules) de Brett Ratner : Cotys 2016 : Jackie de Pablo Larraín : le père Richard McSorley 2016 : The Journey de Nick Hamm : Harry Patterson 2016 : ChickList de Tony Britten : Francis Bonar 2016 : The Good Night d'Eric Styles : Ralph 2016 : Damascus Cover de Daniel Zelik Berk : Miki 2017 : My name is Lenny de Ron Scalpello : Leslie Salmon 2017 : Darkest Hour de Joe Wright : Neville Chamberlain 2017 : Back To Utopia de Fabio Wuytack: Peter Panludic (voice over)Séries 1961-1962 : Probation Officer : Johnny Seton / Norman Bailey 1961-1963 : Drama 61-67 : Private Briggs / Tom 1962 : Z Cars : James Hogan 1963 : Once Aboard the Lugger : Jobey Todd 1963-1964 : First Night : Desmond / Garry 1964-1965 : ITV Play of the Week : Dave / Terry 1964 : Armchair Theatre 1964 : Love Story : Harry Eddows 1964 : Gideon's Way : Freddy Tinsdale 1964 : Thursday Theatre : Orpheus 1967 : ITV Playhouse : Guy 1971 : ITV Saturday Night Theatre : Bob 1973 : Wessex Tales : Joshua Harlborough 1976 : Shades of Greene : Fred 1976 : Play for Today : Alec Cassell 1976 : Regan : Tony Grey 1976 : Moi Claude empereur (I, Claudius) : Caligula 1979 : Crime et Châtiment : Raskolnikov 1988 : Monstres et Merveilles : narrateur 1991 : Red Fox : Archie Carpenter 1991 : Screenplay : Alfred 1994 : Picture Windows : Comte 1999-2000 : Watership Down : le général Woundwort 2004-2006 : The Alan Clark Diaries : Alan Clark 2008-2012 : Merlin : le Grand Dragon, voix originale du Dragon, et la phrase d'introduction au début de chaque épisode 2011 : The Confession, web-série : le prêtre 2012 : Labyrinthe : Audric Baillard 2013 : Doctor Who : The War Doctor 2015 : Panthers de Johan Renck : Tom # Distinctions (d'après wikipedia) Récompenses Golden Globes 1979 : Meilleur acteur dans un second rôle dans un drame biographique pour Midnight Express (1978). BAFTA 1979 : Meilleur acteur dans un second rôle dans un drame biographique pour Midnight Express (1978). Festival international du film de femmes de Salé 2011 : Prix d'interprétation masculine dans un drame pour Lou (2010). Evening Standard British Film Awards 2012 : Alexander Walker Special AwardNominations 1972 : BAFTA Awards du meilleur acteur dans un second rôle dans un drame biographique pour L'Étrangleur de la place Rillington (1971). 1979 : Oscar du meilleur acteur dans un second rôle pour Midnight Express (1978). 1980 : BAFTA Awards du meilleur acteur dans un second rôle dans un film de science-fiction pour Alien, le huitième passager (1979). 1981 : Golden Globes du meilleur acteur dans un drame pour Elephant Man (1980). 1981 : Oscar du meilleur acteur pour Elephant Man (1980). 1991 : BAFTA Awards du meilleur acteur dans un second rôle dans un drame pour The Field (1990). 1998 : Boston Society of Film Critics Awards du meilleur acteur dans une comédie dramatique pour Amour et mort à Long Island (1997). 1998 : Online Film & Television Association du meilleur acteur dans une comédie dramatique pour Amour et mort à Long Island (1997). 1999 : British Independent Film Awards du meilleur acteur dans une comédie dramatique pour Amour et mort à Long Island (1997). 2005 : Fangoria Chainsaw Awards du meilleur acteur dans un second rôle dans un film fantastique pour Hellboy (2004). 2005 : Australian Film Institute du meilleur acteur dans un second rôle dans un drame pour The Proposition (2005). 2010 : London Critics Circle Film Awards du meilleur acteur de l'année dans un second rôle dans un drame pour 44 Inch Chest (2009). 2010 : San Diego Film Critics Society Awards du meilleur acteur dans un second rôle dans un drame pour 44 Inch Chest (2009). 2010 : BAFTA Awards du meilleur acteur dans un second rôle dans un drame pour An Englishman in New York (2009). 2012 : Bodil Awards du meilleur acteur dans un second rôle dans un drame pour Melancholia (2011). Tags : #personnalité #John-Hurt #Acteur #Hercule #Alie #Elephant-Man #1984 #Harry-Potter #V-pour-Vendetta #Indiana-Jones #Doctor-Who http://ift.tt/2kD0QCp

[tonin-terets]

ESPN/Taco Bell "Live Mas Student Section” from Elastic on Vimeo.

ELASTIC Producer: Ashley B. Carey SFX: Gabriel Caste Head of Production: Paul Makowski Executive Producer: Kate Berry Managing Director: Jennifer Sofio Hall

FEED ME LIGHT FML Creative Director: Pedro Allevato FML ECD: Denis Bouyer FML Producer: Dawn Cottrell FML MD: Kiri Haggart Storyboards: Pedro Allevato Design: Pedro Allevato, Julien Becquer, Thibaud Clergue, Simon Duclose, Saskya Oslen, Rob Gavin, CG Generalists: Simon Duclos, Saskya Oslen, Jeremy Cisse 2D Animation: Melisa Ferina, Diego Ferrero, Alex Covella, Pedro Allevato, Mahmoud Badran Compositing: Pedro Allevato

LIME Audio Engineer - Zac Fisher Assistant Audio Engineer - Klaudia Bennet Associate Producer - Cassie Underwood Executive Producer - Susie Boyajan

[iheartlosangeles]

A few weeks ago I was interviewed by A Photo Editor for the Daily Edit about my Bloomberg Businessweek Gem Show article. So honored to have made it onto the Daily Edit. Read the full interview about how the story came about here.

[saintlucyrepresents]

Little Outdoor Giants x aPhotoEditor

When the Little Outdoor Giants were planning the latest promo for their shoot for Miller High Life they wanted to encapsulate the laid-back aesthetic of the brand. They made a specialty bar napkin complete with a personalized stamp to mimic a bar napkin, as well as a set of four custom coasters that were sent with postcards featuring some of the Little Outdoor Giant’s favorite photos from the shoot.  Rob Haggart of aPhotoEditor recently featured this unique promo on the popular blog.

See aPhotoEditor’s post here, and more from the Little Outdoor Giant’s Miller High Life shoot here.

[freshartistmgmt]

So thrilled to see Aaron Richter featured on @aphotoeditor 

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on.

[artbuyersarepeopletoo-blog]

We are so excited and grateful to Rob Haggart of A Photo Editor for reaching out to us and posting about us.  We hope to keep it interesting and keep it coming in 2013!  Rob has always been a big inspiration for us.  We love his interviews and the Daily Edit is super awesome.  Thanks so much for giving us a lot of blog love!

[one125]

More on "Literary" and "Unliterary" Photography

Earlier today, Rob Haggart at A Photo Editor put up a nice post referencing Laura Miller's “Why We Love Bad Writing," and the post I made in January applying one of Miller's observations to the world of photography. (Okay, to fairly represent the chain of citation, the observation originally belonged to CS Lewis.)

Rob is optimistic about the possibilities for building bridges between the realms of what I referred to as "literary" and "unliterary" photography. He writes,

...There’s a lot that can be done to create bridges across the chasm and I wanted to point this out to photo editors, because I’ve been in those arguments about photography with editors where factual trumps sophisticated, but I’ve never thought to turn it on them with a literary example. The two articles I’ve linked provide plenty of ammo to do that. I’ve always believed the only way to engage readers is to challenge them. High dollar advertising will always prefer engaged readers over hits.

Which is heartening. It's easy for someone like me (i.e., a filthy hippie) to think of market forces as intrinsically inimical to virtue, but it's good to remember that that's not actually the only way for things to play out.

As a result of Rob's post, we got a bunch of new eyes looking at 1/125 (welcome, folks!), and there are some meaty new comments both here and on the post at A Photo Editor.

I particularly liked this one, from Moya McAllister:

If challenging a reader literally requires a dictionary or a master’s degree, that’s one thing. But I truly believe that all viewers, regardless of education, respond viscerally to images. They may not notice “bad photography” if the content is there but they recognize good photography when they see it. A good or even great photograph can convey bigger concepts behind the story or a theme that reaches the reader on a different level than the text. Therefore, the response to the story is more complex and engaging.

I absolutely agree, and I think it's important to try (where possible) to separate out the question of quality from the question of qualification. Doubly so because making qualifications or resources a prerequisite for the appreciation of "good" photography is virtually the same thing as equating good taste and judgment with socio-economic class, which I consider to be a serious error.

That being said, I would still say that there is a substantial amount of photography in the world which possesses a greatness that will be entirely non-obvious to a lay observer. But I would agree that an attentive, patient viewer (even if untrained and unpracticed) will be able to see that there is something important there and will probably be able to hazard a guess as to what it might be. (This is the process by which I have come to appreciate most of the photographs and photographers I like.)

But in order for that to happen, the person must first suspect or be persuaded that there is good reason to be attentive and to spend some time in careful looking at the photograph. And once they have caught on to the presence of that something, they will probably be able to gain a deeper appreciation of it by spending further time learning about why the photograph was made and in what context (historical, social, critical, etc.) it was made. In photography, we need more places where people can get that kind of initial nudge, and more places that help them figure out where to learn more about what they've seen.

I also like this comment by Juanita:

My take on the good vs. bad photography debate is directed at those who are framing what is available to the public. The army of museum and gallery gatekeepers and curators; the stable of photo reviewers and editors; the crowds of print and online media tastemakers. It’s their version of what’s ‘good’ and ‘bad’ that informs what we get to see and what gets picked up as cool or thought provoking.

I’m tired of the sameness of it all: e.g. the legions of photographers pursuing constructed reality, the poseurs trying to put out their version of “conceptual” photography— just look at “500 Photographers” and tell me it isn’t 90% the same. But of course it all looks the same, because Pieter Wisse is reading the zeitgeist through his lens of what young, new, edgy (dare I insert the word “good” here???) photography currently is, and that’s what is being highlighted.

It’s not my aim to throw sticks and stones at artists… Everyone is on their own journey when they pick up that camera–including me. I want to make a dent in “da Machine;” hope that nuance comes through in this post.

This is extremely important. The task of bridging the gap is one that has to be pursued by people who put work from various photographers in front of the eyeballs of viewers.

I think is something I was insufficiently clear on in my original post. I wrote, "To provide opportunities for everyday people to expand and improve their photographic tastes without making them feel like they are being sold something they have no use for at a price they do not wish to pay is one of the more important frontiers in photography at the moment," which I think some folks took to mean that I thought certain photographers need to make work more inviting to unfamiliar audiences.

That's not what I meant at all; what I was referring to is a deep and largely unmet need for venues (publications, websites, blogs, physical installations, retailers, etc.) which operate in the space between the "literary" and "unliterary" communities in photography.

I should also probably say why I keep referring to "literary" and "unliterary", instead of using terms like "good" and "bad." I do this because the issue is not one of absolute quality, but of different and potentially conflicting contexts for evaluating quality.

"Literary" does not simply mean "better" -- it denotes something more specific and less value-laden: it means you have to really read it, and that reading it is rewarding. An "unliterary" work is not necessarily bad, but it does not require or reward deep scrutiny. What you need from it you can get casually, without effort or preparation. (There are many, many photographs that are deeply "literary" that I also regard as total wastes of time.)

What worries me about photography is not that there is too much unliterary work, or too little literary work, but that people are too likely to only know and enjoy one kind or the other. That's why I say that creating venues for breaking down that dichotomy is a major frontier in photography right now.