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It was a wet and miserable morning so I left the K5 at home and used the "Fuji-in-my-pocket". I looked around and noticed a bird here and a bird there, when all of a sudden....
HSS!
Barely visible, I felt like I'd walked onto a film set when these trees loomed at me.
A Hammer Horror perhaps, or some kind of Hitchcockian Mystery...
I do love the mist (though it's getting a little tiresome now that we're almost a week into it.)
Canon AT-1 and Kodak Ektar film
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This season, designers didn’t authority aback on authoritative their adorableness as audible and acknowledgment inducing as their clothes. From the bespoke looks dreamed up by uncompromising key artists, such as beard abstracted Guido Palau and ascent architecture brilliant Fara Homidi, to the archetypal lineups, which saw the acknowledgment of the ’90s greats (Shalom Harlow! Kristen McMenamy!) and a host of new agitative aptitude that answered the alarm for added diversity, there was a faculty of hyper-individuality that set aggregate into motion—and acute the ball of it all.
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With the aggregate cultural anxious for abstention added apparent than ever, the runways delivered. A beginning and anxious romancing of the accomplished began in New York at Marc Jacobs, area Hitchcockian beehives were custom-dyed to bout the clothes in abnormal sherbet tones. And it connected beyond the pond with a mod architecture moment at Halpern, backstage apostate Isamaya Ffrench saturating a negative-space cat-eye in an affluence of 24-karat gold glitter. Then, from Milan to Paris, Prada to Givenchy, Palau served up a access of adolescent crops that recalled the rebels of the ’50s and ’60s for a arresting riff on garçonne-chic glamour.
Sparking a faculty of achievement and action with annoying and advanced adorableness looks, the angle of the face as a painter’s canvas or sculptor’s average of best was at the amount of abounding a head-swiveling look; Eckhaus Latta alternate bright lip appearance with marbleized smatterings of aqua Kryolan acrylic on the mouth. Off-White splotched neon-bright colorant on the ear to booty athleisure to the abutting level. And Thom Browne’s beautiful stacking of gold antithesis on the lips, as able-bodied as Issey Miyake’s tautly anguish twists of beard decorating the aback of the head, were annihilation abbreviate of museum-worthy.
And yet, negotiating looks that were absolutely wearable for the streets accepted to be a priority. Whether it’s as simple as accepting the absolute nude lip to bout a allegiant Burberry arroyo or bottomward on a beard accessory, conceivably one of Saint Laurent’s brownish headbands or a cautiously angry grosgrain award à la Chanel, afore active out the door, there were affluence of moments that offered adorning real-world ease. Here, from New York to Paris, the nine beard and architecture trends that took authority of the Bounce 2019 shows.
Max MaraPhoto: Getty Images
Mesmerizing BraidsFrom the glassy and diffuse distinct plaits apparent at Erdem and Max Mara to the bright accompanying braids at Alexander McQueen, it’s clear: Streamlined alloyed looks aren’t activity anywhere. Models with accustomed beard added their born-with-it textures in intricate styles, such as the aisle of tautly alloyed cornrows beat by Jourdan Dunn at Burberry or the beaded box braids sported by newcomer Indira Scott throughout her blemish season.
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Marta JakubowskiPhoto: Courtesy of Jon Reyman / @jonreymanhair
Fearlessly Bright—And Blurred—LipsThe It blush for bounce avalanche about amid archetypal red—preferably activated with a cautiously diffused blow as apparent at Koché and Marques’Almeida. If Poiret has annihilation to say about it, mouths will be accomplished with a dab of apricot in the centermost for a two-tone effect; and at Chanel and Valentino, active blush disqualified the runway, with aperture at the closing coated in Swarovski crystals . . . because, why not?
Saint LaurentPhoto: Getty Images
Art School RulesRose gold antithesis aperture at Jeremy Scott! Grecian-inspired gazes at Marni! Hand-applied alias crowns at Dries Van Noten! This appearance ages was annihilation if not a acreage day for art majors and DIY enthusiasts. And whether you aloof appetite to craft, ogle, or accept every ambition of active Off-White’s conceptual ear acrylic or Junya Watanabe’s inclement Rainbow Brite neon bobs, there is no time like the present to peacock.
VersacePhoto: Courtesy of Pat McGrath/ @patmcgrathreal
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Striking Pops of SparkleGlitter is acceptable as abundant of a backstage mainstay as a cat-eye or red lip—and this season, it looked decidedly animating as it came bottomward the runway. While Valentino and Halpern accent that added wattage is consistently welcome, sometimes it’s a gentler appliance that does the trick; Simone Rocha’s ablaze washes of ablaze blinking on the close corners and countenance basic or Giambattista Valli’s aerial glitter-flecked after-effects offered animated examples of aloof that.
Simone RochaPhoto: Courtesy of Rebecca Maynes / @rebeccamaynesphoto
Scene-Stealing Beard AccessoriesWhatever your beard aesthetics of the moment, it’s affirmed to attending that abundant bigger if you throw—or tie—a bow on it. Emilia Wickstead took the trend to the acute with not one, but two billowing iterations of the boyish blow framing a swingy ponytail, while Miu Miu offered a aerial access with attenuate glassy and diamanté headbands. Saint Laurent clearly declared the acknowledgment of the chaplet (preferably in leather, tinsel, or metal coated) beat beyond the forehead, should you adorned yourself a neo-bohemian.
VersacePhoto: Courtesy of Guido Palau / @guidopalau
Androgynous Cuts“This affectionate of cut creates a new character,” explained Palau backstage at Prada, speaking of the transformative brownie appearance he gave Netherlands-bred newcomer Nikki Tissen. The actual abutting day, he accomplished a affinity abbreviated analysis on Edie Campbell with a air-conditioned annoyed twist. If befitting a few adored inches is a priority, this season’s best another is a adapted basin cut with eye-obscuring bangs (spotted at Saint Laurent) or a retro-chic bob (demonstrated by archetypal Faith Lynch’s transformation at Miu Miu).
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ChromatPhoto: Getty Images
Slicked and Blood-soaked HairArriving in the anatomy of clammy feel after-effects at Chromat and high-shine strands bashed adjoin the arch and jawline at Ann Demeulemeester, fresh-from-the-beach clammy beard continues to be a go-to for designers. But if you don’t appetite to booty the abounding plunge, dip your toe into the trend with Calvin Klein’s blood-soaked ends or Altuzarra’s salt-sprayed raked-back version.
Yohji YamamotoPhoto: Courtesy of James Pecis/ @jamespecis
True RomanceYou’d be hard-pressed to acquisition a lovelier way to adorn your beard for bounce than with a few beginning blooms, as embodied by the flower-adorned looks at Rodarte, Mansur Gavriel, and Dolce & Gabbana. As for date night hair, it can be as simple as affairs your lengths aback into Brock Collection’s loose, half-up appearance or Fendi’s Victorian bunch with fuzzy, face-framing ringlets.
Peter PilottoPhoto: Courtesy of Lauren Parsons/ @lauren.parsons
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Pastel PowerNothing says bounce like the crisp, palette-cleansing aftereffect of pastels. But that doesn’t accomplish a swath of albino blush on the lids, as apparent in arenaceous amethyst at Ulla Johnson and shades of irised aqua, lime, and argent at Missoni, or alike one of Ashley Williams’s full-on civil dye jobs, feel any beneath fresh. Semipermanent or one night only—go for it.
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Caroline, this is for you!
This is inside the house where I was attacked by the Hitchcockian pigeons.
79/366.
.
Agh, I just missed the deadline on this one! I was thinking maybe I could cheat and do a upload-and-replace, but... well, I guess I didn't.
So, I've been way into 30's/40's/50's crime and spy movies recently. Especially Hitchcock's work. I watched The Thirty-Nine Steps last night, and I think I'm gonna watch North by Northwest tonight. The shots and plots are just phenomenal, and the lighting - oh, the lighting is always spot on. And I love lighting. However, being back in New Hampshire for the summer means I don't have numerous city lights to use at night, so this shot was difficult to say the least. Thank goodness the town didn't shut off the streetlight on our end of the road.
Waouhhhhh.... what a program!
Hitchcockian! And a little bit freudian, too, given the very special decoration of the tutu....
Pic taken at the Two Fish sim during a rehearsal of the PinkPenis Tutu Ballet. Rehearsal for what? Don't ask me, I still dont know! But some wild tutus made a non less wild escape...
(Sigh).....Well, I couldn't help it. For a film buff and fanatic, I commited a huge sin, at least in my eyes.
Recently I've been checking the Google news on this film, to read reviews and new information. Two days ago it was revealed that the film was uploaded on the internet on some sights, and in some cases viewing was free.
I thought about, said I wouldn't try to find it, then gave in a little, then decided not to again, and then I finally decided to give in: I saw The Lovely Bones online.
Seeing a film online in my opinion is the worst thing anyone can do, because it completely strips film of one of its advantages: to experience it in the controlled, viewing environment of the theatre.
So I'm a moron, and gave into my desires, and saw it. I couldn't wait any longer to see the filmmaking of it.
Well, first of all I'm not going to talk much about it because I don't want to spoil anything. I would like to start by saying that I can't believe this film is receiving so much criticism; it's one of the best films of the year. I easily would give it a B+ for a rating.
Yes Peter Jackson did the LOTRs trilogy, and yes The Return of the King is one of the greatest films ever, but I think The Lovely Bones is his best film, right behind TROTK and Heavenly Creatures.
He did a really good job with what he had. He directed the cast really well, and did a good job at balancing the Heaven sequences with the Earth sequences and the numerous genres within the film (those are two things most reviewers criticized him for, and I think he did a superb job with them). Personally I was worried about his handling of the drama, returning him the days of Heavenly Creatures---I was shocked to see how well he handled it.
The only problem with the story, and I think is really what all the reviewers are missing, is that the film is too quick. It's tightly done, which is good, and from that aspect Jackson did a good job, but overall the film is too fast. Now either that could be the script or the editing or both. But recent interviews that I've read and watched suggests that it's the editing, because a lot of extra stuff was filmed, that was in the final script, but was cut out for the final product. And, despite wonderful performances, because of this, it's hard to stay focused on one character and thus connect deeply with them. But it still works, and works well.
As for the performances, Wahlberg was good, Weis had very little scenes but was really good, Sarandon was really good, Rose McIver was really astounding (to my shock). Then we get to the two main characters: Susie and Harvey.
The only major scene that these two are both in is the rape scene. This scene is such an achievement in acting, and the way these two actors play off each other is brilliant. The actual murder isn't shown in the film, which actually got many people angered (it's depicted graphically in the novel). I think that this was the right decision Jackson made, not just because of the content of the film, but from a filmmaking standpoint, as he was able to employ other storytelling techniques. Anyway, this scene is so gorgeously crafted, and despite having good visuals and lighting, this scene is driven and suceeds on the acting. How Ronan acts with such maturity in a situation like this is stunning; she unravels her emotions beautifully. She builds up her tension and fear so well. And as for Tucci, the way he unravels his emotions is mesmerizing too. He really, really makes you feel, the audience member, like your the one pinned against the wall. This scene was a stunning achievement.
All in all Saoirse Ronan (Susie) was pretty, pretty, pretty damn good; she is one helluva mature actress for her age. If she doesn't receive more recognition for this film, that is really bad. She really delved into Susie's mind and captured the love and understanding a 14 year old girl has, especially when driven through what her character goes through.
As for Stanely Tucci as Harvey....well he was blow away. Easily the performance of his career. He lived that character, and really delved into his mind. He stole every scene he was in. It was such an internal performance, which I think is the greatest performance to watch an actor portray. If it wasn't for Christoph Waltz of Inglourious Basterds taking center stage this awards season, I think Tucci would easily be getting recognition, which I think he deserves. He was in two scenes that I think were the most powerful of the film: one from a pure acting standpoint, with some filmmaking, and the other from a pure filmmaking standpoint, with some acting. Without giving much away, the former statement refers to the scene when Walhberg realizes Harvey murdered Susie. That's a powerful scene and is put together real well (credit Jackson too). The latter statement deals with the "Hitchcockian" sequence every reviewer praises, when Harvey is chasing Susie's sister through his house after she broke in. That scene is a perfect achievement in filmmaking and is something that Jackson has never done before. The acting is good, but it's mostly an emotional, action sequence. The editing and his choice of shots is superb. He pulls it off real well (more credit to Jackson).
Well I talked about the film more than I wanted to. Since this is Flickr, and not a film magazine or website, I need to mention Andrew Lesnie's photography and Jackson's vision. This was one helluva collaboration.........again. Lesnie lighting really needed to capture some things that have never been done before, and his choice of lighting was at times the only thing that explained things to us (I'm not going to go into details, but I'm referring to the sequence after Susie is murdered). And the camera work is breathtaking, as usual with Lesnie's work.
Overall, this was a really good movie. It was a constant emotional ride, with different emotions presenting themselves too. It was a good adaptation, and a really good script, but the weakness of the film was its pacing and editing (yet there were times when the editing was brilliant and told the story really well). But that's offset by the fact that it's a technical masterpiece, achieved mostly by Lesnie and Jackson. Lesnie's lighting was such an important chracteristic of the film. And as for Jackson, and his achievement as a director...well I say he did a helluva job. To envision this film and have it turn out this way is genius; he had many decisions to make in creativity and storytelling, some of these decisions never being presented to a filmmaker before, which had to have made it much harder on him. The ways he decided to tell this tough and sporadic narrative of a story was very well done, and the world he envisioned was unlike one I've ever seen before. He truly made a gem here.
Today was kind of stressful. Not terrible, just enough. So I bleached my hair for purely Hitchcockian effect.
Speaking of beauty in unexpected places...how about the Wal Mart parking lot?
I had to walk parallel to the flock to get close, then I crouched, turned, and started shooting. Almost immediately, this one in the foreground flew over and decided to sing to me while I worked. BUT THEN! the day turned distinctly Hitchcockian.
I was so busy shooting individuals for several minutes that I got a bit jumpy when I looked up and realized about 50 gulls had managed to inch very close to me while I was paying attention elsewhere. It was the second-most creepy experience I've had with a large group of gulls, but the first involved birds at the shore that were twice as big and a whole lot closer to my face. And that's a story for another day. In the meantime, I hope my fellow 365ers are hanging in there, and happy shooting to you all! ^_^
Seattle, Washington
A while back...
Everyday you can see a gathering like this...and what a cacophony they would make! Hundreds of crows on every wire....very Hitchcockian.
I shot this early one Sunday morning. There was absolutely no one on the street which added to the surreal moment even more.