Sebastião Salgado, Part 2: Genesis

    Midway through a scene in the documentary The Spectre of Hope, Sebastião Salgado explains to John Berger that the near 350 photographs in Salgado’s book Migrations represent little more than one second of actual time. This is premised on an average exposure of about 1/250th of a second, yet Salgado says this single second of

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    12/29/2014

    Sebastião Salgado, Part 1: The Spectre of Hope

    During the seemingly endless wars and humanitarian crises of recent decades, some “conflict” photographers have been accused of exploiting their helpless subjects, of purveying “poverty porn.” Doubtless, there are NGOs and other aid organizations that have found photographs of starving children and displaced people to be useful tools in their fundraising. Much of this photographic genre

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    Godard and Goodbye to Language

    Only a few ripples remain. When the critic-filmmakers of the New Wave surged against the ramparts of the French “Tradition of Quality,” sweeping away in Cahiers du Cinema the detritus of many post World War II movies, they introduced a revitalized Gallic cinematic spirit, an élan as fresh as when Gance, Delluc, Epstein, Pagnol, Cocteau,

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    Freddie Francis and The Innocents

    On the evening of March 26, 1990, cinematographer/director Freddie Francis made a brief but noteworthy speech on accepting his Academy Award for Glory. After a quick mention of producer Freddie Fields and director Ed Zwick, he said, “I’m only going to pick out one guy to thank, and that’s my wonderful operator, Gordon Hayman.” (Hayman’s

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    10/20/2014

    Stop, Go, Stop, Go: Rob Whitworth and Time Lapse

    Passport? Check. Sneakers? Check? Ramen and espresso maker? Check. Oh, and a couple of Nikons with prime and zoom lenses, a tripod, the all-important ND filters for extended exposures, and a laptop loaded with After Effects. Shanghai based time-lapse filmmaker Rob Whitworth is ready to hop on a plane to any of the world’s capital

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