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Entries in fashion photography (7)

Wednesday
Jul252012

Books for Photographers - 3 Coffee Table Books We're Reading Now

Any books with strong visual interest satisfy our photographers' bent here at the New York Institute of Photography. Check out the following eclectic group of titles - and let us know what you're reading that fellow photographers might enjoy.

Stunning is one word to describe the rural small-town Texas photography shot by Keith Carter in his book From Uncertain to Blue. This survey of everyday life is an impressive body of work that shows heart and humanity behind the camera. And where else will you be able to see a record of life in place like Diddy Waw Diddy?

 

Great project, and we found this on Etsy, of all places! The Mdantsane Way is a coffee table book documenting the street culture, food, dress, daily life, and culture of South Africa's second largest township. Photographers interested in portraiture and street photography should enjoy it.

 

Fashionistas and glamour photographers alike will appreciate the stunning visuals in this Rizzoli book, Jimmy Choo XV, celebrating 15 of Choo's most iconic shoes. Another visual stunner from Rizzoli.

 

We're the New York Institute of Photographya distance education school teaching photography since 1910 - over 100 years of knowledge and experience. Listen to the following podcast to learn more about who we are and what we do. WHAT IS THE NEW YORK INSTITUTE OF PHOTOGRAPHY? [20:58M]


Monday
May212012

Movies for Photographers - Blow-Up

 
I remember watching Michaelangelo Antonioni's Blow-Up when I was a kid (it originally came out in 1966). It was pretty shocking content at the time, and I'm surprised my parents allowed me to watch it. But it was a fascinating film, and one with a fashion photographer as the lead character. Rather than rehash the plot, which ends in a mysterious and murderous surprise, I'll use excerpts from an amazing movie review by Bosley Crowther which appeared in the New York Times, December 19, 1966. 
This is a fascinating picture, which has something real to say about the matter of personal involvement and emotional commitment in a jazzed-up, media-hooked-in world so cluttered with synthetic stimulations that natural feelings are overwhelmed. It is vintage Antonioni fortified with a Hitchcock twist, and it is beautifully photographed in color. 
The fellow whose restlessness and groping interests Mr. Antonioni in this new film is a dizzyingly swinging and stylish freelance magazine photographer, whose racing and tearing around London gives a terrifying hint of mania. He can spend a night dressed up like a hobo shooting a layout of stark photographs of derelicts in a flophouse, then jump into his Rolls-Royce open-top and race back to his studio to shoot a layout of fashion models in shiny mod costumes—and do it without changing expression or his filthy, tattered clothes.

He can break off from this preoccupation and go tearing across the city in his car to buy an antique airplane propeller in a junk shop, with virtually the same degree of casualness and whim as he shows when he breaks off from concentrating on a crucial job in his darkroom to have a brief, orgiastic romp with a couple of silly teenage girls.

Everything about this feral fellow is footloose, arrogant, fierce, signifying a tiger—or an incongruously baby-faced lone wolf—stalking his prey in a society for which he seems to have no more concern, no more feeling or understanding than he has for the equipment and props he impulsively breaks. His only identification is with the camera, that trenchant mechanism with which he makes images and graphic fabrications of—what? Truth or Fantasy?

This is what gets him into trouble. One day, while strolling in a park, he makes some candid snaps of a young woman romancing with a man. The young woman, startled, tries to get him to give the unexposed roll of film to her. So nervous and anxious is she that she follows him to his studio. There, because she is fascinated by him and also in order to get the film, she submits to his arrogant seduction and goes away with a roll of film.

But it is not the right roll. He has tricked her, out of idle curiosity, it appears, as to why the girl should be so anxious. How is she involved?

When he develops the right roll and is casually studying the contact prints, he suddenly notices something. (Here comes the Hitchcock twist!) What is that there in the bushes, a few feet away from where the embracing couple are? He starts making blowups of the pictures, switching them around, studying the blow-ups with a magnifying glass. Is it a hand pointing a gun?



 
 


We're the New York Institute of Photographya distance education school teaching photography since 1910 - over 100 years of knowledge and experience. Listen to the following podcast to learn more about who we are and what we do.

AUDIO LINK: WHAT IS THE NEW YORK INSTITUTE OF PHOTOGRAPHY? [20:58M]

 


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