While leading a photo tour with fellow photographer Magali Tarouca, Portuguese photographer Joel Santos dedicated as much time as possible to documenting Norway’s Lofoten Islands famous landscape with his drone camera.
Self-study activity:
Watch the video and complete the blanks in the transcript with the missing words.
On a recent visit to Norway, photographer Joel Santos was able to capture the beauty of Lofoten. Lofoten is an archipelago, known for its incredibly dramatic (1) ... . And though it (2) ... within the Arctic circle, because of the Gulf Stream, the weather here is much (3) ... than other parts of the world, which are found on a similar latitude.
The landscape here is characterised by snow-capped (4) ...-..., stretches of snow covered beaches and (5) ... inlets.
For over 1000 years, the islands of Lofoten have been at the center of Atlantic cod (6) ..., especially during the winter months, when cod migrate south to spawn, right off the coast of the area.
The picture perfect cherry coloured (7) ... ... of Reine and Hamnøy were particularly (8) ... for Joel, who had always being intrigued to see the dramatic fjords.
During his visit, Joel was able to make the most of the (9) ... as the daylight during April starts from the very early hours of the morning and lasts until 11 o’clock at night.
KEY:
1 scenery
2 lies
3 warmer
4 mountain peaks
5 sheltered
6 fishing
7 fishing villages
8 captivating
9 landscape
Mostrando entradas con la etiqueta Photography. Mostrar todas las entradas
Mostrando entradas con la etiqueta Photography. Mostrar todas las entradas
jueves, 1 de junio de 2017
domingo, 26 de junio de 2016
Extensive listening: The passing of time, caught in a single photo
In this TED talk, photographer Stephen Wilkes crafts stunning compositions of landscapes as they transition from day to night, exploring the space-time continuum within a two-dimensional still photograph.
Journey with him to iconic locations like the Tournelle Bridge in Paris, El Capitan in Yosemite National Park and a life-giving watering hole in heart of the Serengeti in this tour of his art and process.
You can read a full transcript here.
Journey with him to iconic locations like the Tournelle Bridge in Paris, El Capitan in Yosemite National Park and a life-giving watering hole in heart of the Serengeti in this tour of his art and process.
You can read a full transcript here.
viernes, 12 de febrero de 2016
Teenage boy creates an entire miniature world
What started as a simple project to sharpen his photo editing skills has turned into an online sensation for 15-year old Zev Hoover from Massachusetts.
1. Why did Ed start his project?
2. How did his pictures become popular?
3. What's the main inspiration for his work?
4. Who is the character is his pictures?
5. How tall are the characters in his pictures?
6. What motifs or subjects does he use for his pictures?
7. What feeling does he usually evoke in his pictures?
8. Why does he make the pictures?
9. What does Ed say about his pictures and the internet?
My name is Ed Hoover. I take pictures of miniature people and they sort of exploded online recently. I wanted to improve my photo-shop skill so I started the Little Foot Project which is… started as (1) just a way of getting better at photo-shop. After about a year of doing little folk pictures (2) they got picked up by some design blogs and then they just sort of exploded.
(3) Nature is very important in my work and definitely inspires a lot of it and I think a lot of that comes from living where we do.
(4) Alice, my sister, is very often the character in the pictures.
Yeah, that’s fine. Let me just see what sort of the back on you… it’s going to be on…
I find my inspiration… a lot of the time just in the scenes that I photograph, so just thinking about how sort of fun it would be, how different that would be our experience if we were like (5) one and a half or two inches tall because the world would be an entirely different place.
I certainly put a lot of myself into the characters because they almost always are doing some (6) hobby I’m interested in or somehow related to something I happen to be doing at the time.
One of my most popular photographs is of me piloting a paper airplane. I think it’s a popular picture because people like imagining, I mean, I certainly think about how in the photographs I try to evoke a sort of (7) feeling of loneliness because I feel like there’s something about that feeling that can be really very beautiful.
I think it’s certainly possible that being homeschooled has inspired that because you’re alone more often or with fewer people more often certainly than if you were to go to public school.
Why? (8) I make them for my own pleasure because I, I love making them but at the same the comments and feedback certainly really encourages you to keep going because just knowing that people are passionate about it is incredible that, you know, someone else would care about my little project. But the internet has made the world a lot smaller, so anyone who’s interested in this type of thing can now go on and just find my work that easily, whereas (9) without the internet it would, it would be almost impossible. I’d just be… a kid taking pictures somewhere and nobody will know about it really maybe forever.
1. Why did Ed start his project?
2. How did his pictures become popular?
3. What's the main inspiration for his work?
4. Who is the character is his pictures?
5. How tall are the characters in his pictures?
6. What motifs or subjects does he use for his pictures?
7. What feeling does he usually evoke in his pictures?
8. Why does he make the pictures?
9. What does Ed say about his pictures and the internet?
My name is Ed Hoover. I take pictures of miniature people and they sort of exploded online recently. I wanted to improve my photo-shop skill so I started the Little Foot Project which is… started as (1) just a way of getting better at photo-shop. After about a year of doing little folk pictures (2) they got picked up by some design blogs and then they just sort of exploded.
(3) Nature is very important in my work and definitely inspires a lot of it and I think a lot of that comes from living where we do.
(4) Alice, my sister, is very often the character in the pictures.
Yeah, that’s fine. Let me just see what sort of the back on you… it’s going to be on…
I find my inspiration… a lot of the time just in the scenes that I photograph, so just thinking about how sort of fun it would be, how different that would be our experience if we were like (5) one and a half or two inches tall because the world would be an entirely different place.
I certainly put a lot of myself into the characters because they almost always are doing some (6) hobby I’m interested in or somehow related to something I happen to be doing at the time.
One of my most popular photographs is of me piloting a paper airplane. I think it’s a popular picture because people like imagining, I mean, I certainly think about how in the photographs I try to evoke a sort of (7) feeling of loneliness because I feel like there’s something about that feeling that can be really very beautiful.
I think it’s certainly possible that being homeschooled has inspired that because you’re alone more often or with fewer people more often certainly than if you were to go to public school.
Why? (8) I make them for my own pleasure because I, I love making them but at the same the comments and feedback certainly really encourages you to keep going because just knowing that people are passionate about it is incredible that, you know, someone else would care about my little project. But the internet has made the world a lot smaller, so anyone who’s interested in this type of thing can now go on and just find my work that easily, whereas (9) without the internet it would, it would be almost impossible. I’d just be… a kid taking pictures somewhere and nobody will know about it really maybe forever.
sábado, 26 de diciembre de 2015
What's going on in the picture?
Every Monday The New York Times publishes an eye-catching photograph in their section What's Going on in the Picture. The picture comes with no caption, no headlines, no links or other clues about its origins. The idea is that students use the picture as a sprinboard for conversation: They will have to construct some kind of meaning from what they see and develop their critical thinking.
The basic questions students have to answer are:
What’s going on in this picture?
What do you see that makes you say that?
What more can we find?
Additional ideas would include students imagining what has led to this situation and what's going to happen afterwards.
The following day The New York Times will publish background information about the picture and students will be able to read some other students' ideas on the photograph.
All in all the What's Going on in the Picture looks like an invaluable tool to develop conversation inside and outside the classroom.
The basic questions students have to answer are:
What’s going on in this picture?
What do you see that makes you say that?
What more can we find?
Additional ideas would include students imagining what has led to this situation and what's going to happen afterwards.
The following day The New York Times will publish background information about the picture and students will be able to read some other students' ideas on the photograph.
All in all the What's Going on in the Picture looks like an invaluable tool to develop conversation inside and outside the classroom.
miércoles, 16 de diciembre de 2015
Talking point: Photography
This week's talking point is photography. Before getting together with the members of your conversation group, go over the questions below so that ideas flow more easily when you meet up with your friends and you can work out vocabulary problems beforehand.
In what situations do you usually take photos?
Say whether you agree or disagree with these statements:
Do you remember having a family photo taken? Give details.
Do you ever look at family photos?
Have you started an online photo album?
Would you consider signing up for a photography course?
Do you know anyone who's crazy about photography?
If so, how does this person typically behave?
Do you ever take selfies? If so, in what situations?
Why are selfies so popular these days?
Are images in the media edited too much? Give reasons.
What do you think the expression 'the camera never lies' means?
Do you agree?
How to describe a photo
The description of a photograph is very often a task English students have to deal with as part of their oral exam. I have selected here a number of online resources that may help students come to terms with this task:
To illustrate the point you can watch this National Geographic video on photographer Aaron Huey and his trip to Svanetia, a remote region of Georgia, to revisit the people and the place that inspired his career.
The first time I went to Svanetia I was not planning on going to Svanetia. I wasn’t a photographer yet.I was a backpacker but this is the story that made me a photographer.
I met a German linguist who told me about a place where people spoke a language that had never been written, that was surrounded by seventeen, eighteen thousand foot peaks, so this German linguist drew a map on a napkin for me and I transferred it into my journal and I left the next day.
And on a bus ride into the mountains a woman turned round me after about two hours and said where are you going and I said, Well I'm going to camp when the bus stops at the end of the road and she just looked at me and said, no, God, please don't do that and she took me with her and she took me to a wedding.
And that wedding was of the eldest daughter of the family that ended up adopting me in this region and they got me drunk and made me dance and I woke up the next morning in their home and they probably felt some pity on me and thought we should shelter this kid, he doesn't know what he's doing. That started a three-year relationship, that's now I guess a sixteen-year relationship, now that National Geographic sent me back.
Yeah, my journals really are pretty pedestrian at times. I was very young. They’re embarrassing to read sometimes but there are some things I still really love in the journals. I wrote down recipes and I wrote down vocabulary so I would have like daily language lessons for myself and, of course, the song. I wrote down all the songs.
I saw the potential for a story that was a little bit more like poetry, that was revealed more about the soul of people and the space and it was that third year that I returned specifically to try to make a story with pictures and that became my first photo story.
That was some of my first rolls of film. It’s the first story that made me fall in love with the people, with the place. That really is what it is, like the story made me fall in love with a whole community. It was imagery of that family, that family is central to all of those early trips and the photographs. They were beautiful people, they were musical and their home was filled with song. All the time I would wake up to singing. I would go to bed to the family singing together and from the very first trip they taught me their songs. And I remember those songs when I came back 13 years later.
You know I might think, the songs are about heroes and about love and about your friends having you back, all good things that good country songs are about.
The reunion with my adopted family was a little embarrassing because a Georgian television crew followed me and I told them they had to stay back at the gate. It was really emotional for me, you know, and I saw my, my mother from that family, Nuna. I went to her and I, I hugged her and it just made me start weeping. Like the songs that were really buried in me that, they just came out like I, I love this woman and that came out when I saw her and when I held her and it was exciting to see them and it was confusing to see them in how you restart a relationship after 13 years but the fact that they wanted to bring me in again, that they had not forgotten me, that they still thought of me in that way was very moving to me. And they did, they took me in again.
so I found this, I found all the families again. I sat down with them again, and sang with them again, and talked to them about their lives. And the old man still played chess in the backyard in the same spot. And the girls, the whole family still sings in the kitchen. And there are some other things that just never change and I found a lot of those again.
There were, other scenes that I found that weren't necessarily literally the person in the same place, but I found the same scenes again. I found the dancers and the traditional singers and it brought back that memory of those first images when I see them together side by side like I see what has survived.
These stories are not just about making pretty frames. We, we tell the stories of entire peoples, so if we do the story right, we preserve those things, you know, in… that's what our job is, to preserve that poetry.
So many people that have never heard of Svanetia or this region in the Georgian Republic or where these people, these ones, this may be the only thing they ever read about these people and I think that's what I look for now in all of my projects is can I can I keep finding that? Can I keep carrying that much?
In what situations do you usually take photos?
Say whether you agree or disagree with these statements:
I can't stand having my photo taken.
I prefer photos of people to photos of beautiful scenery.
Have you ever taken a photo you regretted taking?Do you remember having a family photo taken? Give details.
Do you ever look at family photos?
Have you started an online photo album?
Would you consider signing up for a photography course?
Do you know anyone who's crazy about photography?
If so, how does this person typically behave?
Do you ever take selfies? If so, in what situations?
Why are selfies so popular these days?
Are images in the media edited too much? Give reasons.
What do you think the expression 'the camera never lies' means?
Do you agree?
How to describe a photo
The description of a photograph is very often a task English students have to deal with as part of their oral exam. I have selected here a number of online resources that may help students come to terms with this task:
To illustrate the point you can watch this National Geographic video on photographer Aaron Huey and his trip to Svanetia, a remote region of Georgia, to revisit the people and the place that inspired his career.
The first time I went to Svanetia I was not planning on going to Svanetia. I wasn’t a photographer yet.I was a backpacker but this is the story that made me a photographer.
I met a German linguist who told me about a place where people spoke a language that had never been written, that was surrounded by seventeen, eighteen thousand foot peaks, so this German linguist drew a map on a napkin for me and I transferred it into my journal and I left the next day.
And on a bus ride into the mountains a woman turned round me after about two hours and said where are you going and I said, Well I'm going to camp when the bus stops at the end of the road and she just looked at me and said, no, God, please don't do that and she took me with her and she took me to a wedding.
And that wedding was of the eldest daughter of the family that ended up adopting me in this region and they got me drunk and made me dance and I woke up the next morning in their home and they probably felt some pity on me and thought we should shelter this kid, he doesn't know what he's doing. That started a three-year relationship, that's now I guess a sixteen-year relationship, now that National Geographic sent me back.
Yeah, my journals really are pretty pedestrian at times. I was very young. They’re embarrassing to read sometimes but there are some things I still really love in the journals. I wrote down recipes and I wrote down vocabulary so I would have like daily language lessons for myself and, of course, the song. I wrote down all the songs.
I saw the potential for a story that was a little bit more like poetry, that was revealed more about the soul of people and the space and it was that third year that I returned specifically to try to make a story with pictures and that became my first photo story.
That was some of my first rolls of film. It’s the first story that made me fall in love with the people, with the place. That really is what it is, like the story made me fall in love with a whole community. It was imagery of that family, that family is central to all of those early trips and the photographs. They were beautiful people, they were musical and their home was filled with song. All the time I would wake up to singing. I would go to bed to the family singing together and from the very first trip they taught me their songs. And I remember those songs when I came back 13 years later.
You know I might think, the songs are about heroes and about love and about your friends having you back, all good things that good country songs are about.
The reunion with my adopted family was a little embarrassing because a Georgian television crew followed me and I told them they had to stay back at the gate. It was really emotional for me, you know, and I saw my, my mother from that family, Nuna. I went to her and I, I hugged her and it just made me start weeping. Like the songs that were really buried in me that, they just came out like I, I love this woman and that came out when I saw her and when I held her and it was exciting to see them and it was confusing to see them in how you restart a relationship after 13 years but the fact that they wanted to bring me in again, that they had not forgotten me, that they still thought of me in that way was very moving to me. And they did, they took me in again.
so I found this, I found all the families again. I sat down with them again, and sang with them again, and talked to them about their lives. And the old man still played chess in the backyard in the same spot. And the girls, the whole family still sings in the kitchen. And there are some other things that just never change and I found a lot of those again.
There were, other scenes that I found that weren't necessarily literally the person in the same place, but I found the same scenes again. I found the dancers and the traditional singers and it brought back that memory of those first images when I see them together side by side like I see what has survived.
These stories are not just about making pretty frames. We, we tell the stories of entire peoples, so if we do the story right, we preserve those things, you know, in… that's what our job is, to preserve that poetry.
So many people that have never heard of Svanetia or this region in the Georgian Republic or where these people, these ones, this may be the only thing they ever read about these people and I think that's what I look for now in all of my projects is can I can I keep finding that? Can I keep carrying that much?
lunes, 26 de enero de 2015
A Photographer Revisits the Forgotten Land of Song
National Geographic photographer Aaron Huey travels back to Svanetia, a remote region of Georgia, to revisit the people and the place that inspired his future career.
Self-study activity:
Watch the video and answer the questions about it. The activity is suitable for Intermediate 2 students.
1 What was Aaron doing when he first went to Svanetia?
2 What was special about the Svanetia language, according to the German linguist?
3 What was Aaron's plan when the bus stopped?
4 What was Aaron's adopted family celebrating?
5 What did Aaron write in his journals to help him learn about the language and culture?
6 What was the family doing all the time?
7 What are some of the themes that run through the songs?
8 What was Aaron's reaction when he reunited with Nuna, her adopted mother, after 13 years?
9 What does Aaron say the job of a reporter is?
To check your answers, you can read the transcript below.
The first time I went to Svanetia I was not planning on going to Svanetia. I wasn’t a photographer yet.I was a backpacker (1) but this is the story that made me a photographer.
I met a German linguist who told me about a place where people spoke a language that had never been written (2), that was surrounded by seventeen, eighteen thousand foot peaks, so this German linguist drew a map on a napkin for me and I transferred it into my journal and I left the next day.
And on a bus ride into the mountains a woman turned round me after about two hours and said where are you going and I said, Well I'm going to camp when the bus stops at the end of the road (3) and she just looked at me and said, no, God, please don't do that and she took me with her and she took me to a wedding.
And that wedding was of the eldest daughter of the family (4) that ended up adopting me in this region and they got me drunk and made me dance and I woke up the next morning in their home and they probably felt some pity on me and thought we should shelter this kid, he doesn't know what he's doing. That started a three-year relationship, that's now I guess a sixteen-year relationship, now that National Geographic sent me back.
Yeah, my journals really are pretty pedestrian at times. I was very young. They’re embarrassing to read sometimes but there are some things I still really love in the journals. I wrote down recipes and I wrote down vocabulary so I would have like daily language lessons for myself and, of course, the song. I wrote down all the songs (5).
I saw the potential for a story that was a little bit more like poetry, that was revealed more about the soul of people and the space and it was that third year that I returned specifically to try to make a story with pictures and that became my first photo story.
That was some of my first rolls of film. It’s the first story that made me fall in love with the people, with the place. That really is what it is, like the story made me fall in love with a whole community. It was imagery of that family, that family is central to all of those early trips and the photographs. They were beautiful people, they were musical and their home was filled with song. All the time I would wake up to singing (6). I would go to bed to the family singing together and from the very first trip they taught me their songs. And I remember those songs when I came back 13 years later.
You know I might think, the songs are about heroes and about love and about your friends having you back (7), all good things that good country songs are about.
The reunion with my adopted family was a little embarrassing because a Georgian television crew followed me and I told them they had to stay back at the gate. It was really emotional for me, you know, and I saw my, my mother from that family, Nuna. I went to her and I, I hugged her and it just made me start weeping (8).. Like the songs that were really buried in me that, they just came out like I, I love this woman and that came out when I saw her and when I held her and it was exciting to see them and it was confusing to see them in how you restart a relationship after 13 years but the fact that they wanted to bring me in again, that they had not forgotten me, that they still thought of me in that way was very moving to me. And they did, they took me in again.
so I found this, I found all the families again. I sat down with them again, and sang with them again, and talked to them about their lives. And the old man still played chess in the backyard in the same spot. And the girls, the whole family still sings in the kitchen. And there are some other things that just never change and I found a lot of those again.
There were, other scenes that I found that weren't necessarily literally the person in the same place, but I found the same scenes again. I found the dancers and the traditional singers and it brought back that memory of those first images when I see them together side by side like I see what has survived.
These stories are not just about making pretty frames. We, we tell the stories of entire peoples, so if we do the story right, we preserve those things, you know, in… that's what our job is, to preserve that poetry (9).
So many people that have never heard of Svanetia or this region in the Georgian Republic or where these people, these ones, this may be the only thing they ever read about these people and I think that's what I look for now in all of my projects is can I can I keep finding that? Can I keep carrying that much?
Self-study activity:
Watch the video and answer the questions about it. The activity is suitable for Intermediate 2 students.
1 What was Aaron doing when he first went to Svanetia?
2 What was special about the Svanetia language, according to the German linguist?
3 What was Aaron's plan when the bus stopped?
4 What was Aaron's adopted family celebrating?
5 What did Aaron write in his journals to help him learn about the language and culture?
6 What was the family doing all the time?
7 What are some of the themes that run through the songs?
8 What was Aaron's reaction when he reunited with Nuna, her adopted mother, after 13 years?
9 What does Aaron say the job of a reporter is?
To check your answers, you can read the transcript below.
The first time I went to Svanetia I was not planning on going to Svanetia. I wasn’t a photographer yet.I was a backpacker (1) but this is the story that made me a photographer.
I met a German linguist who told me about a place where people spoke a language that had never been written (2), that was surrounded by seventeen, eighteen thousand foot peaks, so this German linguist drew a map on a napkin for me and I transferred it into my journal and I left the next day.
And on a bus ride into the mountains a woman turned round me after about two hours and said where are you going and I said, Well I'm going to camp when the bus stops at the end of the road (3) and she just looked at me and said, no, God, please don't do that and she took me with her and she took me to a wedding.
And that wedding was of the eldest daughter of the family (4) that ended up adopting me in this region and they got me drunk and made me dance and I woke up the next morning in their home and they probably felt some pity on me and thought we should shelter this kid, he doesn't know what he's doing. That started a three-year relationship, that's now I guess a sixteen-year relationship, now that National Geographic sent me back.
Yeah, my journals really are pretty pedestrian at times. I was very young. They’re embarrassing to read sometimes but there are some things I still really love in the journals. I wrote down recipes and I wrote down vocabulary so I would have like daily language lessons for myself and, of course, the song. I wrote down all the songs (5).
I saw the potential for a story that was a little bit more like poetry, that was revealed more about the soul of people and the space and it was that third year that I returned specifically to try to make a story with pictures and that became my first photo story.
That was some of my first rolls of film. It’s the first story that made me fall in love with the people, with the place. That really is what it is, like the story made me fall in love with a whole community. It was imagery of that family, that family is central to all of those early trips and the photographs. They were beautiful people, they were musical and their home was filled with song. All the time I would wake up to singing (6). I would go to bed to the family singing together and from the very first trip they taught me their songs. And I remember those songs when I came back 13 years later.
You know I might think, the songs are about heroes and about love and about your friends having you back (7), all good things that good country songs are about.
The reunion with my adopted family was a little embarrassing because a Georgian television crew followed me and I told them they had to stay back at the gate. It was really emotional for me, you know, and I saw my, my mother from that family, Nuna. I went to her and I, I hugged her and it just made me start weeping (8).. Like the songs that were really buried in me that, they just came out like I, I love this woman and that came out when I saw her and when I held her and it was exciting to see them and it was confusing to see them in how you restart a relationship after 13 years but the fact that they wanted to bring me in again, that they had not forgotten me, that they still thought of me in that way was very moving to me. And they did, they took me in again.
so I found this, I found all the families again. I sat down with them again, and sang with them again, and talked to them about their lives. And the old man still played chess in the backyard in the same spot. And the girls, the whole family still sings in the kitchen. And there are some other things that just never change and I found a lot of those again.
There were, other scenes that I found that weren't necessarily literally the person in the same place, but I found the same scenes again. I found the dancers and the traditional singers and it brought back that memory of those first images when I see them together side by side like I see what has survived.
These stories are not just about making pretty frames. We, we tell the stories of entire peoples, so if we do the story right, we preserve those things, you know, in… that's what our job is, to preserve that poetry (9).
So many people that have never heard of Svanetia or this region in the Georgian Republic or where these people, these ones, this may be the only thing they ever read about these people and I think that's what I look for now in all of my projects is can I can I keep finding that? Can I keep carrying that much?
miércoles, 24 de diciembre de 2014
Talking point: Photography
This week's talking point is photography. Before getting together with the members of your conversation group, go over the questions below so that ideas can flow more easily when you meet up with your friends and you can work out vocabulary problems beforehand.
Hi, we’re here with Time.com and today's 10-question victim is Annie Leibovitz. Our first question is from Francesca Viola from the Bronx, New York, and she asks what for you is the interest in continuing to photograph celebrity portraits during a time when too many celebrities have their photographs plastered all over the place.
I don't feel like a part of that. I feel like, you know, I feel like I came in into early place, you know, when you know, working for Rolling Stone is sort of built, you know, who, who I am and I think I’ve learned at a very young age that, you know, what I did mattered.
So it must be difficult to get your models to trust you during a shoot. Who has been the most difficult to handle?
You know, it's usually not about the person that, that's the cool part of the shoot. It is usually about… it’s the weather is bad or it’s a bad hair day, bad, you know, bad hairdresser or you know, but that that being said I, it’s something that’s difficult subjects in entertainment, in showbiz or people have been in show business for a very long time I think they have no sense of reality, you know, it’s just, you know, like Sammy Davis Junior or even Michael Jackson, you know that, you know when they start very young everything is pretty distorted.
But hey, you're not necessarily easy to work for and would you agree with the statement? But then if you point out that he only asked because he’s trying to understand the temperament of the very successful. I've heard that too, actually that I’m not that easy to work for. The only… the only, and you know, I've been doing this, you know for a long time and it took me a long time to learn how to work with people. You know, I came from a place where I was working by myself and working with just my camera and myself and, and, you know, as I started to use, you know, assistance, some people helping me, I couldn’t understand why I couldn't see exactly what I saw at the time I exactly saw and I would be very frustrated. It took me years to learn how to work with people and I think I’m, you know, basically a nice person and then when I work, you know, you know I, I don't know who that person is. It just, it gets, you know it just gets very… it’s all in the details, you know, I mean everything becomes, you know, very, very important so…
From Paul Vegas in Hampton, Ontario, though which is how did you deal with the whole Miley Cyrus debacle ‘cause a lot of people thought that is another… that your feeling should, you know, should’ve been different, so…
Well, I really do separate myself in some way, you know, when I go to work but you know, Miley, the Miley picture is a beautiful, strong, you know, simple picture. And we took all kinds of pictures that day and on and it turned out to be one of the strongest pictures. You know, I think, I think, you know it it's it's actually sort of innocent on some, on some level. But I feel like that you know she, she loved the pictures and she loved taken that picture and she was ready to take that, that picture I and it just, you know, her audience, you know, wasn't ready to take a picture, wasn't ready for that picture, and that the thing that I… it was just different. The picture, you know, it was really different of her. I I've said this now and in another place but basically I I think that if there was any mistake made is probably that she shouldn’t pose for Vanity Fair. You know, that’s, that's my reason, take on it. But, you know, I think she got very nervous after they had that reaction and she sort of, you know, she backtracked in a lot of ways, and, and I felt bad for her. I think she really did enjoy the shoot. I still, you know, probably believe in the picture and think it was fine, you know, like taken out of context.
Gina Lexbrick, Houston, who asks, ‘You know as a fan and fellow photographer, she'd like to know what you see in that aha moment that people talked about. Is it the subject, the composition, or something that's very exclusive to your eyes?
For example John and Yoko, you know, I only took a few frames, I mean, you knew it was good. I mean it was… you haven't seen anything like it before and it was beautiful and it had form and strength and it was simple and it told the story. So surely no one is not working, you know, it just doesn't feel, you know, great. It just… and and and over the years I've learned to just say ‘Okay, we just move on’ you know, it’s just trying to… it doesn't get better, keep, keep, you know, trying to work on something and I rather just come back to it, come back another day.
Have you ever been so frustrated with the photo shoot that you shut it down completely?
No, if anything, if something goes wrong with the photoshoot, you know, it’s my fault. I, I really feel it's it's up to me, is my responsibility I'm supposed to make this thing work, you know, like you know. And there's like a lot of psychology involved in it and I, you know, you have to, you know, make it work, you know, whatever is going wrong. If I don't get a good picture I don't blame my subject, I blame me.
- Do you like taking photographs?
- Do you prefer taking photos of scenery or portraits of people?
- What camera(s) have you got?
- How are they/is it different from the first camera you owned?
- Do you consider yourself to be a good photographer?
- Do you know anyone who is?
- Are there any basic tips or techniques you've learnt about taking photos?
- What do you do with the photos you've taken?
- Which of these do you usually do? Store them in a PC or table or mobile / back them up on a separate CD-Rom or hard drive / email them to friends and family / upload to an online photo site / print them out
- How much do you spend on photos and photography in a year?
- What outstanding photographers do you know? Why are they famous?
- What's your favourite photo? If possible, bring it to your conversation session and show it to your friends.
- Talk about the following about your favourite photo: how old were you in the photo / who are you with? / What's happening? What happened before? What happened afterwards? / When and where was the photo taken? / Why is it your favourite photo? / Where do you keep it?
Hi, we’re here with Time.com and today's 10-question victim is Annie Leibovitz. Our first question is from Francesca Viola from the Bronx, New York, and she asks what for you is the interest in continuing to photograph celebrity portraits during a time when too many celebrities have their photographs plastered all over the place.
I don't feel like a part of that. I feel like, you know, I feel like I came in into early place, you know, when you know, working for Rolling Stone is sort of built, you know, who, who I am and I think I’ve learned at a very young age that, you know, what I did mattered.
So it must be difficult to get your models to trust you during a shoot. Who has been the most difficult to handle?
You know, it's usually not about the person that, that's the cool part of the shoot. It is usually about… it’s the weather is bad or it’s a bad hair day, bad, you know, bad hairdresser or you know, but that that being said I, it’s something that’s difficult subjects in entertainment, in showbiz or people have been in show business for a very long time I think they have no sense of reality, you know, it’s just, you know, like Sammy Davis Junior or even Michael Jackson, you know that, you know when they start very young everything is pretty distorted.
But hey, you're not necessarily easy to work for and would you agree with the statement? But then if you point out that he only asked because he’s trying to understand the temperament of the very successful. I've heard that too, actually that I’m not that easy to work for. The only… the only, and you know, I've been doing this, you know for a long time and it took me a long time to learn how to work with people. You know, I came from a place where I was working by myself and working with just my camera and myself and, and, you know, as I started to use, you know, assistance, some people helping me, I couldn’t understand why I couldn't see exactly what I saw at the time I exactly saw and I would be very frustrated. It took me years to learn how to work with people and I think I’m, you know, basically a nice person and then when I work, you know, you know I, I don't know who that person is. It just, it gets, you know it just gets very… it’s all in the details, you know, I mean everything becomes, you know, very, very important so…
From Paul Vegas in Hampton, Ontario, though which is how did you deal with the whole Miley Cyrus debacle ‘cause a lot of people thought that is another… that your feeling should, you know, should’ve been different, so…
Well, I really do separate myself in some way, you know, when I go to work but you know, Miley, the Miley picture is a beautiful, strong, you know, simple picture. And we took all kinds of pictures that day and on and it turned out to be one of the strongest pictures. You know, I think, I think, you know it it's it's actually sort of innocent on some, on some level. But I feel like that you know she, she loved the pictures and she loved taken that picture and she was ready to take that, that picture I and it just, you know, her audience, you know, wasn't ready to take a picture, wasn't ready for that picture, and that the thing that I… it was just different. The picture, you know, it was really different of her. I I've said this now and in another place but basically I I think that if there was any mistake made is probably that she shouldn’t pose for Vanity Fair. You know, that’s, that's my reason, take on it. But, you know, I think she got very nervous after they had that reaction and she sort of, you know, she backtracked in a lot of ways, and, and I felt bad for her. I think she really did enjoy the shoot. I still, you know, probably believe in the picture and think it was fine, you know, like taken out of context.
Gina Lexbrick, Houston, who asks, ‘You know as a fan and fellow photographer, she'd like to know what you see in that aha moment that people talked about. Is it the subject, the composition, or something that's very exclusive to your eyes?
For example John and Yoko, you know, I only took a few frames, I mean, you knew it was good. I mean it was… you haven't seen anything like it before and it was beautiful and it had form and strength and it was simple and it told the story. So surely no one is not working, you know, it just doesn't feel, you know, great. It just… and and and over the years I've learned to just say ‘Okay, we just move on’ you know, it’s just trying to… it doesn't get better, keep, keep, you know, trying to work on something and I rather just come back to it, come back another day.
Have you ever been so frustrated with the photo shoot that you shut it down completely?
No, if anything, if something goes wrong with the photoshoot, you know, it’s my fault. I, I really feel it's it's up to me, is my responsibility I'm supposed to make this thing work, you know, like you know. And there's like a lot of psychology involved in it and I, you know, you have to, you know, make it work, you know, whatever is going wrong. If I don't get a good picture I don't blame my subject, I blame me.
viernes, 5 de septiembre de 2014
10 questions for Annie Leibovitz
Some years ago Time Magazine interviewed Annie Leibovitz for their 10 questions segment.
Self-study activity:
This is a very difficult video to understand, as Annie Leibovitz gives very long answers, changes her mind in mid-sentence, doesn't seem to be very sure about how to go on at times, keep going backwards and forward.
This is a difficult video for English students at all levels, so let's concentrate on the things we can do.
Watch the interview and note down the questions Annie Leibovitz is asked.
Then, watch the video again and try to get the gist of her answers.
Hi, we’re here with Time.com and today's 10-question victim is Annie Leibovitz. Our first question is from Francesca Viola from the Bronx, New York, and she asks what, for you, is the interest in continuing to photograph celebrity portraits during a time when too many celebrities have their photographs plastered all over the place.
I don't feel like a part of that. I feel like, you know, I feel like I came in into early place, you know, when you know, working for Rolling Stone is sort of built, you know, who, who I am and I think I’ve learned at a very young age that, you know, what I did mattered.
So it must be difficult to get your models to trust you during a shoot. Who has been the most difficult to handle?
You know, it's usually not about the person that, that's the cool part of the shoot. It is usually about… it’s the weather is bad or it’s a bad hair day, bad, you know, bad hairdresser or you know, but that that being said I, it’s something, that’s difficult subjects in entertainment, in showbiz or people have been in show business for a very long time, I think they have no sense of reality, you know, it’s just, you know, like Sammy Davis Junior or even Michael Jackson, you know that, you know when they start very young everything is pretty distorted.
But hey, you're not necessarily easy to work for and would you agree with the statement? But then if you point out that he only asked because he’s trying to understand the temperament of the very successful.
I've heard that too, actually that I’m not that easy to work for. The only… the only, and you know, I've been doing this, you know for a long time and it took me a long time to learn how to work with people. You know, I came from a place where I was working by myself and working with just my camera and myself and, and, you know, as I started to use, you know, assistance, some people helping me, I couldn’t understand why I couldn't see exactly what I saw at the time I exactly saw and I would be very frustrated. It took me years to learn how to work with people and I think I’m, you know, basically a nice person and then when I work, you know, you know I, I don't know who that person is. It just, it gets, you know it just gets very… it’s all in the details, you know, I mean everything becomes, you know, very, very important so…
From Paul Vegas in Hampton, Ontario, though, which is how did you deal with the whole Miley Cyrus debacle ‘cause a lot of people thought that is another… that your feeling should, you know, should’ve been different, so…
Well, I really do separate myself in some way, you know, when I go to work but you know, Miley, the Miley picture is a beautiful, strong, you know, simple picture. And we took all kinds of pictures that day and on and it turned out to be one of the strongest pictures. You know, I think, I think, you know it it's it's actually sort of innocent on some, on some level. But I feel like that you know she, she loved the pictures and she loved taken that picture and she was ready to take that, that picture I and it just, you know, her audience, you know, wasn't ready to take a picture, wasn't ready for that picture, and that the thing that I… it was just different. The picture, you know, it was really different of her. I, I've said this now and in another place but basically I I think that if there was any mistake made is probably that she shouldn’t pose for Vanity Fair. You know, that’s, that's my reason, take on it. But, you know, I think she got very nervous after they had that reaction and she sort of, you know, she backtracked in a lot of ways, and, and I felt bad for her. I think she really did enjoy the shoot. I still, you know, probably believe in the picture and think it was fine, you know, like taken out of context.
Gina Lexbrick, Houston, who asks, ‘You know as a fan and fellow photographer, she'd like to know what you see in that 'aha moment' that people talked about. Is it the subject, the composition, or something that's very exclusive to your eyes?
For example John and Yoko, you know, I only took a few frames, I mean, you knew it was good. I mean it was… you haven't seen anything like it before and it was beautiful and it had form and strength and it was simple and it told the story. If surely something is not working, you know, it just doesn't feel, you know, great. It just… and and and over the years I've learned to just say ‘Okay, we just move on’ you know, it’s just trying to… it doesn't get better, keep, keep, you know, when you're trying to work on something and I rather just come back to it, come back another day.
Have you ever been so frustrated with the photo shoot that you shut it down completely?
No, if anything, if something goes wrong with the photoshoot, you know, it’s my fault. I, I really feel it's it's up to me, is my responsibility I'm supposed to make this thing work, you know, like you know. And there's like a lot of psychology involved in it and I, you know, you have to, you know, make it work, you know, whatever is going wrong. If I don't get a good picture I don't blame my subject, I blame me.
Self-study activity:
This is a very difficult video to understand, as Annie Leibovitz gives very long answers, changes her mind in mid-sentence, doesn't seem to be very sure about how to go on at times, keep going backwards and forward.
This is a difficult video for English students at all levels, so let's concentrate on the things we can do.
Watch the interview and note down the questions Annie Leibovitz is asked.
Then, watch the video again and try to get the gist of her answers.
Hi, we’re here with Time.com and today's 10-question victim is Annie Leibovitz. Our first question is from Francesca Viola from the Bronx, New York, and she asks what, for you, is the interest in continuing to photograph celebrity portraits during a time when too many celebrities have their photographs plastered all over the place.
I don't feel like a part of that. I feel like, you know, I feel like I came in into early place, you know, when you know, working for Rolling Stone is sort of built, you know, who, who I am and I think I’ve learned at a very young age that, you know, what I did mattered.
So it must be difficult to get your models to trust you during a shoot. Who has been the most difficult to handle?
You know, it's usually not about the person that, that's the cool part of the shoot. It is usually about… it’s the weather is bad or it’s a bad hair day, bad, you know, bad hairdresser or you know, but that that being said I, it’s something, that’s difficult subjects in entertainment, in showbiz or people have been in show business for a very long time, I think they have no sense of reality, you know, it’s just, you know, like Sammy Davis Junior or even Michael Jackson, you know that, you know when they start very young everything is pretty distorted.
But hey, you're not necessarily easy to work for and would you agree with the statement? But then if you point out that he only asked because he’s trying to understand the temperament of the very successful.
I've heard that too, actually that I’m not that easy to work for. The only… the only, and you know, I've been doing this, you know for a long time and it took me a long time to learn how to work with people. You know, I came from a place where I was working by myself and working with just my camera and myself and, and, you know, as I started to use, you know, assistance, some people helping me, I couldn’t understand why I couldn't see exactly what I saw at the time I exactly saw and I would be very frustrated. It took me years to learn how to work with people and I think I’m, you know, basically a nice person and then when I work, you know, you know I, I don't know who that person is. It just, it gets, you know it just gets very… it’s all in the details, you know, I mean everything becomes, you know, very, very important so…
From Paul Vegas in Hampton, Ontario, though, which is how did you deal with the whole Miley Cyrus debacle ‘cause a lot of people thought that is another… that your feeling should, you know, should’ve been different, so…
Well, I really do separate myself in some way, you know, when I go to work but you know, Miley, the Miley picture is a beautiful, strong, you know, simple picture. And we took all kinds of pictures that day and on and it turned out to be one of the strongest pictures. You know, I think, I think, you know it it's it's actually sort of innocent on some, on some level. But I feel like that you know she, she loved the pictures and she loved taken that picture and she was ready to take that, that picture I and it just, you know, her audience, you know, wasn't ready to take a picture, wasn't ready for that picture, and that the thing that I… it was just different. The picture, you know, it was really different of her. I, I've said this now and in another place but basically I I think that if there was any mistake made is probably that she shouldn’t pose for Vanity Fair. You know, that’s, that's my reason, take on it. But, you know, I think she got very nervous after they had that reaction and she sort of, you know, she backtracked in a lot of ways, and, and I felt bad for her. I think she really did enjoy the shoot. I still, you know, probably believe in the picture and think it was fine, you know, like taken out of context.
Gina Lexbrick, Houston, who asks, ‘You know as a fan and fellow photographer, she'd like to know what you see in that 'aha moment' that people talked about. Is it the subject, the composition, or something that's very exclusive to your eyes?
For example John and Yoko, you know, I only took a few frames, I mean, you knew it was good. I mean it was… you haven't seen anything like it before and it was beautiful and it had form and strength and it was simple and it told the story. If surely something is not working, you know, it just doesn't feel, you know, great. It just… and and and over the years I've learned to just say ‘Okay, we just move on’ you know, it’s just trying to… it doesn't get better, keep, keep, you know, when you're trying to work on something and I rather just come back to it, come back another day.
Have you ever been so frustrated with the photo shoot that you shut it down completely?
No, if anything, if something goes wrong with the photoshoot, you know, it’s my fault. I, I really feel it's it's up to me, is my responsibility I'm supposed to make this thing work, you know, like you know. And there's like a lot of psychology involved in it and I, you know, you have to, you know, make it work, you know, whatever is going wrong. If I don't get a good picture I don't blame my subject, I blame me.
Suscribirse a:
Entradas (Atom)