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Access Adobe Creative Cloud apps, services, file management, and more. Sign in to start creating.

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100 Camera Angles, Shots and Movements in Filmmaking - YouTube

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100 Camera Angles, Shots and Movements in Filmmaking - YouTube

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100 Camera Angles, Shots and Movements in Filmmaking

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On-Demand Webinars | The J. Paul Getty Museum

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On-Demand Webinars | The J. Paul Getty Museum

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Select Wednesdays, 3:30-4:30 p.m. Pacific time

In a time of heightened civil discourse around racial and social injustice, how can we use art and visual literacy skills to build students' understanding of others and a deeper appreciation of diversity? Images shape the ways we interpret our complex world. Strong visual literacy skills enable students to read and critically analyze images for meaning, to express themselves through words and images, to non-judgmentally listen and explore other people's points of view, and to understand and develop empathy for others who are different from themselves.

This series of webinars, geared toward K-12 teachers, will provide specific strategies for using artworks to build skills such as critical image analysis, interpretation of images, and supporting interpretations with research. We'll focus on the ways that art can help us understand others' perspectives and strengthen our ability to express our own, and examine how visual images can influence opinions, social norms, and cultural ideals.

Free | Advance registration required

The French painter Gustave Courbet once said, "art is knowledge made visible." So how can we help students to access the knowledge of images? In this webinar, we'll walk through the process of analyzing a work of art (and most any image). We will introduce numerous lenses your students can use in their exploration, including: identifying and describing what you see; considering the intent of the creator; examining meaningful clues such as symbols or references; determining the context and history of an image; critically analyzing an image for meaning; and more. We'll also cover ways of incorporating these visual explorations into both Social Studies and English Language Arts curriculum standards.

How can teachers guide a conversation that helps students make meaning of a visual image? What are some strategies for supporting student exploration through dialogue, and how does this approach support students' ability to forge human connections with people different from themselves? We'll share strategies for discussing a work of art that are easy to use.

In today's image-saturated environment, the ability to research the meaning and intent of images is more important than ever. Art provides a versatile lens for exploring how to dissect an image through research. In this webinar, we'll explore online tools that students can use to find out more about art. We'll also look at different types of strategies for facilitating student research to uncover information, analyze, and draw conclusions about meaning, intent, history, and more. Finally, we'll explore the ways that in-depth research can support students' diversity awareness by learning more about others who are different from themselves.

Images can be a great tool for inspiring students to express their ideas and opinions. We'll explore how art can be used as a jumping-off point to strengthen students' self-expression skills, discuss specific approaches to get the ball rolling and encourage depth and range of expression, and integrate these skills into your English Language Arts and Social Studies curricula. We will include teaching resources from the Getty Unshuttered photography program to help guide and build self-expression skills with your students.

During this unprecedented time, the Getty Museum recognizes that K12 teachers are facing special opportunities and challenges in their work. To offer support, we are launching a free, monthly webinar series for K12 teachers across all subject areas, focusing on ways that the arts can inspire and engage students in both the virtual and in-person classroom. Each session will offer simple, creative strategies that you can use with your students right away.

December 16, 2020

The Getty Art Challenge, in which participants re-created famous artworks with simple household materials, went viral on social media when the pandemic hit. The project inspired creativity from people of all ages and art experience levels, including teens and children who posed for portraits in homemade costumes or arranged fruit and toys to replicate a still life. In this webinar you'll learn student-friendly approaches for adapting this popular activity to address the K12 Social Studies and English Language Arts curriculum.

May 5, 2021

What will future generations see when they look at images of 2020-2021... life in a pandemic, an uprising, a country in healing and hopeful? Young people around the country have never been more inspired to pick up their cameras and phones and document the world around them. In this webinar, we will introduce Getty Unshuttered, a multi-faceted youth-focused educational resource that explores photographs as a medium for self-expression and understanding others. Unshuttered includes how-to-style videos on core photography skills, an app-based community for student photo sharing, and related lesson plans for educators. We'll share the many ways you can incorporate photographs into your classroom practices.

Let us know your scheduling preferences

Please let us know here what days and times for webinars are best for you.

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Getty Virtual: K12 Teacher Webinars | The J. Paul Getty Museum

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Select Wednesdays, 3:30-4:30 p.m. Pacific time In a time of heightened civil discourse around racial and social injustice, how can we use art and visual literacy skills to build students' understanding of others and a deeper appreciation of diversity? Images shape the ways we interpret our complex world.

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Marvin Heiferman on “Photography Changes Everything” - Introduction to Seeing Through Photographs | Coursera

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Marvin Heiferman on “Photography Changes Everything” - Introduction to Seeing Through Photographs | Coursera

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Marvin Heiferman on "Photography Changes Everything"

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This Course

Video Transcript

Taking, sharing, and viewing photographs has become second nature for many of us. Given our near-constant engagement with images this course will help you dig into the meaning of pictures and reconsider photography's role in our visual culture. This course aims to address the gap between seeing and truly understanding photographs by introducing a diversity of ideas, approaches, and technologies that inform their making. In this course you will look closely at 100 photographs from the collection of The Museum of Modern Art, going behind the scenes of the Museum and into artist studios through original films and audio interviews. You will hear a variety of perspectives on the ways photography has been used throughout its 180-year history: as a means of artistic expression, a tool for science and exploration, an instrument of documentation, a way to tell stories and record histories, and a mode of communication and critique. Short texts and readings from MoMA publications provide enhanced context for the works in the course. By enrolling in this course, you'll join a community of international learners in discussion forums, receive invitations to live and virtual events from our lead instructor Sarah Meister, and gain exclusive access to MoMA resources. UPDATE: We've been listening to your feedback! In September 2020, we launched new content in Seeing Through Photographs, including audio interviews with additional contemporary artists from around the world, videos of Sarah introducing key ideas, and almost doubling the number of photographs from the collection. We've also added opportunities for you to share and receive feedback on your photographs in the discussion forums.

View Syllabus

Skills You'll Learn

Photography, Art, History, Museums, Art History

Reviews

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EE

Jun 2, 2019

It was very insightful, and a good thing is they offered quizzes and other full content, which some other free courses do not, which really helps learning. Hope to go for other courses under them. :)

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TK

May 28, 2020

Coursera gives me a platform to explore new skills. I was able to experience education from world-renowned universities without losing out on career opportunities.

- Thaneshwary kirupanantharasa -

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From the lesson

Introduction to Seeing Through Photographs

Taught By

Transcript

60 or 80% of the activity that goes on in your brain is about deciphering visual data and visual input that you get. There are scientists who've done a tremendous amount of research on this, and it's within 13 milliseconds that you know what a picture is of. You can look at a blurry picture and you'll know it's a bedroom, or a kitchen, or a street scene. You don't need to see detail. The power of photography is way more complicated than people admit to. And I think there's psychological and physiological reasons that we respond to things that we respond to, as well as intellectual and emotional ones. So it's wildly complicated and it's terrific. It's great, it's great. [MUSIC] >> I loved the title of your book, Photography Changes Everything, because of course it does. And I thought maybe we'd start with talking a little bit about that project. >> So I spent about three years reaching out to almost 100 people, asking them to think how photography changed what they did. because I was very interested not in the power of images as museums often talk about them, but in terms of the consequentiality of images and how they really transform things. I was sitting in a room with a bunch of environmental scientists surrounded by drones. >> Actual drones? >> Yeah. >> In the room? >> Yeah, drones were all there on shelves right? And we were talking about the project they were doing and they were showing me the kind of schematic God's eye view down through the drone's flight path where you could look at every image that the drone made. And each drone was making 2,000 images a day, right? And that was all really interesting. But I turned around and I looked to the people in the room thinking about Edward Steichen and aerial photography, and I said, does anybody here ever think about the history of aerial photography as you're doing this? And they said, no, right? >> Right. >> And I thought, well that's a really interesting thing, right? I mean, photography for the people in that room was a tool. They didn't care about the history of it and what got them to where they needed to be in terms of images. Photography is used by everybody and everybody uses it for all sorts of reasons. And images can be beautiful for all sorts of reasons and useful for all sorts of reasons and consequential for all sorts of reason. >> Do you think it's important to tell a history of photography or do you think that that is sort of a 20th century goal? >> I think it's hugely important to talk about the history of the medium because it's not quite a universal language. And the idea that we're all visually literate is not quite true. We can all probably extract some very basic level of information from photographs. But I think you have to learn to understand how images work and how images are constructed. Who made the picture, why they make the picture, who edited the picture, who cropped the picture, who captioned the picture, what pictures did they leave out, what pictures are being censored. It's a malleable medium and I think people need to be aware of that. That's one of the big goals in visual literacy, is for people to understand how many different ways you can make and use and understand any kind of image. [MUSIC] There's nothing like it. There's no other experience like it. Because when we're walking around the world, you don't have time to see everything around you. For a moment, you can stop something and look at it in a way that you normally wouldn't see it. And I think that's part of the real fascination with still photography. It's kind of very existential, philosophical kind of medium. It lets you step outside yourself to kind of look at the world in a different way. [MUSIC]

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Marvin Heiferman on "Photography Changes Everything" - Introduction to Seeing Through Photographs | Coursera

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Marvin Heiferman on "Photography Changes Everything" Loading... This Course Video Transcript Taking, sharing, and viewing photographs has become second nature for many of us. Given our near-constant engagement with images this course will help you dig into the meaning of pictures and reconsider photography's role in our visual culture.

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“Hold fast to dreams, for if dreams die, life is a broken-winged bird that cannot fly.” Langston Hughes Business inquiries: thwork28@gmail.com

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An Introduction to Photography in the Early 20th Century (article) | Khan Academy

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An Introduction to Photography in the Early 20th Century (article) | Khan Academy

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Photography undergoes extraordinary changes in the early part of the twentieth century. This can be said of every other type of visual representation, however, but unique to photography is the transformed perception of the medium. In order to understand this change in perception and use-why photography appealed to artists by the early 1900s, and how it was incorporated into artistic practices by the 1920s-we need to start by looking back.

In the later nineteenth century, photography spread in its popularity, and inventions like the Kodak #1 camera (1888) made it accessible to the upper-middle class consumer; the Kodak Brownie camera, which cost far less, reached the middle class by 1900.

In the sciences (and pseudo-sciences), photographs gained credibility as objective evidence because they could document people, places, and events. Photographers like Eadweard Muybridge created portfolios of photographs to measure human and animal locomotion. His celebrated images recorded incremental stages of movement too rapid for the human eye to observe, and his work fulfilled the camera's promise to enhance, or even create new forms of scientific study.

In the arts, the medium was valued for its replication of exact details, and for its reproduction of artworks for publication. But photographers struggled for artistic recognition throughout the century. It was not until in Paris's Universal Exposition of 1859, twenty years after the invention of the medium, that photography and "art" (painting, engraving, and sculpture) were displayed next to one another for the first time; separate entrances to each exhibition space, however, preserved a physical and symbolic distinction between the two groups. After all, photographs are mechanically reproduced images: Kodak's marketing strategy ("You press the button, we do the rest,") points directly to the "effortlessness" of the medium.

Since art was deemed the product of imagination, skill, and craft, how could a photograph (made with an instrument and light-sensitive chemicals instead of brush and paint) ever be considered its equivalent? And if its purpose was to reproduce details precisely, and from nature, how could photographs be acceptable if negatives were "manipulated," or if photographs were retouched? Because of these questions, amateur photographers formed casual groups and official societies to challenge such conceptions of the medium. They-along with elite art world figures like Alfred Stieglitz-promoted the late nineteenth-century style of "art photography," and produced low-contrast, warm-toned images like The Terminal that highlighted the medium's potential for originality.

So what transforms the perception of photography in the early twentieth century? Social and cultural change-on a massive, unprecedented scale. Like everyone else, artists were radically affected by industrialization, political revolution, trench warfare, airplanes, talking motion pictures, radios, automobiles, and much more-and they wanted to create art that was as radical and "new" as modern life itself.

If we consider the work of the Cubists and Futurists, we often think of their works in terms of simultaneity and speed, destruction and reconstruction. Dadaists, too, challenged the boundaries of traditional art with performances, poetry, installations, and photomontage that use the materials of everyday culture instead of paint, ink, canvas, or bronze.

By the early 1920s, technology becomes a vehicle of progress and change, and instills hope in many after the devastations of World War I. For avant-garde ("ahead of the crowd") artists, photography becomes incredibly appealing for its associations with technology, the everyday, and science-precisely the reasons it was denigrated a half-century earlier. The camera's technology of mechanical reproduction made it the fastest, most modern, and arguably, the most relevant form of visual representation in the post-WWI era. Photography, then, seemed to offer more than a new method of image-making-it offered the chance to change paradigms of vision and representation.

With August Sander's portraits such as Disabled Ex-serviceman, Pastrycook, or Secretary at West German Radio, Cologne, we see an artist attempting to document-systematically-modern types of people, as a means to understand changing notions of class, race, profession, ethnicity, and other constructs of identity. Sander transforms the practice of portraiture with these sensational, arresting images. These figures reveal as much about the German professions as they do about self-image.

Cartier-Bresson's leaping figure in Behind the Gare St. Lazare reflects the potential for photography to capture individual moments in time-to freeze them, hold them, and recreate them. Because of his approach, Cartier-Bresson is often considered a pioneer of photojournalism. This sense of spontaneity, of accuracy, and of the ephemeral corresponded to the racing tempo of modern culture (think of factories, cars, trains, and the rapid pace of people in growing urban centers).

Umbo's photomontage The Roving Reporter shows how modern technologies transform our perception of the world-and our ability to communicate within it. His camera-eyed, colossal observer (a real-life journalist named Egon Erwin Kisch) demonstrates photography's ability to alter and enhance the senses. In the early twentieth-century, this medium offered a potentially transformative vision for artists, who sought new ways to see, represent, and understand the rapidly changing world around them.

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An Introduction to Photography in the Early 20th Century (article) | Khan Academy

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Learn for free about math, art, computer programming, economics, physics, chemistry, biology, medicine, finance, history, and more. Khan Academy is a nonprofit with the mission of providing a free, world-class education for anyone, anywhere.

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La Fábrica edita más de 40 títulos anuales dedicados a la fotografía, el arte, la literatura, las ideas y la creación.

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Los mejores libros de fotografía del año - PHotoESPAÑA

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Los mejores libros de fotografía del año - PHotoESPAÑA

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Los mejores libros de fotografía del año - PHotoESPAÑA

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Una muestra que recoge los libros de fotografía más destacados del último año. Más de un centenar de publicaciones candidatas al Premio al Mejor Libro de Fotografía del Año de PHotoESPAÑA en las categorías de editorial española e internacional y libro autoeditado. PHotoESPAÑA quiere reconocer un año más la gran labor que realiza la industria [...]

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Classic modern and cutting edge design products for adults and kids, including items produced exclusively for the Museum of Modern Art (New York) and items represented in its collection.

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El manual de fotografía del siglo XX del Museo Ludwig

La historia de la fotografía comenzó hace unos 200 años, pero hace relativamente poco que ha sido reconocida como un género artístico por derecho propio. El Ludwig de Colonia fue el primer museo de arte contemporáneo en dedicar una sección considerable a la fotografía internacional. La colección L. Fritz Gruber, a partir de la cual se ha confeccionado este libro, es una de las más importantes de Alemania y una de las más representativas del mundo.

Este volumen ofrece una fascinante mirada a la diversidad de la colección; desde el arte conceptual a la abstracción o el reportaje, recorre los principales movimientos y géneros a través de una amplia selección de los fotógrafos más destacados del siglo. De Ansel Adams a Piet Zwart, alrededor de 850 obras presentadas en orden alfabético por fotógrafo, con textos descriptivos y detalles biográficos de los autores, nos muestran una panorámica global e indispensable de la fotografía del siglo XX.

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La fotografía del siglo XX - Libros TASCHEN

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El manual de fotografía del siglo XX del Museo Ludwig La historia de la fotografía comenzó hace unos 200 años, pero hace relativamente poco que ha sido reconocida como un género artístico por derecho propio. El Ludwig de Colonia fue el primer museo de arte contemporáneo en dedicar una sección considerable a la fotografía internacional.

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muga | Editorial especializada en fotografía y cultura visual

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muga | Editorial especializada en fotografía y cultura visual

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Editorial especializada en fotografía y cultura visual con sede en Gijón

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Publicamos libros para ampliar tu conocimiento e inspirarte

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Colección Lunwerg Photo | PlanetadeLibros

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Colección Lunwerg Photo | PlanetadeLibros

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Colección Lunwerg Photo | PlanetadeLibros

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Todos los libros de Colección Lunwerg Photo. Descubre todo sobre Colección Lunwerg Photo que hemos preparado.

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Lunwerg Editores | Grupo Planeta, grupo editorial, audiovisual y comunicación

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Lunwerg Editores | Grupo Planeta, grupo editorial, audiovisual y comunicación

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Publicado por Libros TASCHEN: Helmut Newton. A Gun for Hire - Mario Testino. I Love You - Annie Leibovitz

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Historia de la fotografía - Wikipedia, la enciclopedia libre

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Historia de la fotografía - Wikipedia, la enciclopedia libre

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James Dean as Photographed By Dennis Stock | Magnum Photos

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James Dean as Photographed By Dennis Stock | Magnum Photos

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You can explore the portraits of James Dean as photographed by Dennis Stock from this article on the Magnum Shop - available as an 8×10 print of Dean walking in Times Square, three contact sheets (his series of portraits, in Times Square, and practicing ballet), and two posters (Indiana, Times Square).
Dennis Stock 's photograph of James Dean walking through Times Square in a long overcoat, a cigarette clamped between his teeth as he navigates the rain, has been described as one of the most iconic images of the 20th century. Dean's life was all-too-short, but the enduring circulation of photographs, including those taken by Stock, have worked in tandem with Dean's body of work to keep the late actor's legacy alive.

Stock and Dean met during the 1950s at a party hosted by film director Nicholas Ray at Los Angeles' Chateau Marmont hotel. Dean was awaiting the release of his first significant film, Elia Kazan's East of Eden, while Stock was working as a Magnum photographer. During a conversation bolstered with the discovery they had a mutual friend in common, Dean invited Stock to a preview of his new film. It was only after witnessing Dean's devastating portrayal of Cal Stark in East of Eden that the photographer fully realised his new friend's immense talent; he was seeing the birth of a major star.

The following day Stock floated the idea of a visual biography past Dean that would document his Indiana roots, the New York theatre areas where he learned his craft, and rise to Hollywood. It was a novel, original proposal because photographers did not usually document actors' childhood homes. What followed would set the course for one of the best-known photosets in film history. As Eliza Berman writes in LIFE:

"Over breakfast the next morning, as Stock listened to Dean speak with nostalgia about his upbringing in Fairmount, Ind., Stock became determined to capture a portrait of a young man suspended between two worlds: that of the family farm where his aunt and uncle raised him after his mother's death, and that of the Hollywood into which he would soon be embraced. Stock pitched a photo essay to LIFE magazine, and though it was not an easy sell, given Dean's anonymity, he got the green light to move forward."

As Stock's photographs evolve, we glimpse into the places and old haunts imperative in moulding Dean's character. One of these locations was Winslow Farm in Fairmount, where Dean's aunt and uncle raised the young man after his mother died. While in New York, Stock photographed Dean practising ballet with his friend, the singer, actor, and dancer Eartha Kitt. Dean and Kitt met in the early 1950s at Syvila Forte dance studio in New York, later taking classes at the Katherine Dunham studio. While rumours abound of Dean's bisexuality and a passionate affair with Kitt, she always spoke of Dean with tremendous affection. Kitt called him "Jamie", and the two remained close until Dean died. "Our love for each other just happened," Kitt once said. "I became his confidante, and I taught him about stage presence. We were like soul brother and sister."

Dean embodied vulnerability, but a fire burned inside him, too. In Rebel Without a Cause, a defining film in which Dean channelled the rawness of a misunderstood teenager in ways never previously portrayed on screen, his devasting anger and rage bubbling away under the surface were palpable. Dean embodied the characters he played so acutely; audiences soon struggled to separate him from the characters he played. Stock was determined to capture Dean, the man, not the actor, and he became intent on depicting the distinction. "I wasn't interested in a lot of the poses Jimmy took," Stock reflected. "They were artificial, so I let him go through a lot of nonsense until he relaxed and became spontaneous. Then I took photos that I thought were revealing of his true character. Our collaboration was the best imaginable for a portrait exploration." In Stock's contact sheet, Dean strikes a series of similar poses, his facial expression differing slightly with each one. In some of these stills, he appears bemused, on the brink of laughter.

Dean died in 1955, with Giant, his final film, released posthumously. Bereft fans, grieving for a young actor who would never make another movie, craved images of Dean, so fan magazines clamoured to purchase every photograph of Dean ever taken. Some of these images were, at the time, unseen. Years later, LIFE magazine would movingly reflect on Stock's time with Dean:

"[These photos] offer us a chance to experience the jolt that must have raced through countless readers in the late winter of 1955 as they gazed at Stock's portraits of this beautiful, thrilling young star, all the while knowing, knowing, that he would be with them, starring in movies, for years to come."

Interest in Dean's life has never waned; his image is offered continuously up for consumption. While some may say every filtration of his appearance (often resulting in shoddy reproductions) dilutes his talent, others argue that it only imbues his image and legacy with myth and strength. There is power in circulation, a gaining in iconography and mythology every single time. Dean never wanted to be pigeonholed in life, but in death, he became a tragic teen idol.

Photography has assisted Dean's immortality. His images will always be in circulation, and his films will continue to be rediscovered by young audiences. However you choose to remember Dean - 'tragic icon', 'outcast', 'loner' - there is no denying who he was: a brilliant young talent who departed far too soon.

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James Dean as Photographed By Dennis Stock | Magnum Photos Magnum Photos

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You can explore the portraits of James Dean as photographed by Dennis Stock from this article on the Magnum Shop - available as an 8×10 print of Dean walking in Times Square, three contact sheets (his series of portraits, in Times Square, and practicing ballet), and two posters (Indiana, Times Square).

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"Dennis Stock: James Dean": Photos of a Rising Star

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"Dennis Stock: James Dean": Photos of a Rising Star

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People

View Gallery

Written By: Eliza Berman

Few photographer-subject relationships are fruitful enough to yield a compelling examination of a rising star let alone one of the most iconic photographs of the 20th century and a meaningful friendship to boot. The partnership between Dennis Stock and James Dean did all of these things, and in just a few days' time.

Stock was a young photographer working for the Magnum agency when he met Dean in the winter of 1954-55, at a party thrown by director Nicholas Ray at the Chateau Marmont in Hollywood. Dean, at the time, was still a relative unknown. East of Eden, the first of the three films he would make before his untimely death, was about to be released. When Stock attended a sneak preview as Dean's guest, he knew he was witnessing the debut of a legendary actor.

Over breakfast the next morning, as Stock listened to Dean speak with nostalgia about his upbringing in Fairmount, Ind., Stock became determined to capture a portrait of a young man suspended between two worlds: that of the family farm where his aunt and uncle raised him after his mother's death, and that of the Hollywood into which he would soon be embraced. Stock pitched a photo essay to LIFE magazine and though it was not an easy sell, given Dean's anonymity, he got the green light to move forward.

The photos Stock made of Dean in Fairmount, New York and Hollywood-which were also the subject of a book, DENNIS STOCK: JAMES DEAN-paint a picture of a young man still more comfortable in his old farm clothes, playing his bongo drum to cows, than he was on a red carpet. In Fairmount, Stock captured Dean's brotherly relationship with his young cousin Markie and Dean's fondness for the Hoosier poet James Whitcomb Riley. In a series of eerie photographs that seem to foretell his death in a car accident just eight months later, Dean hops in and out of caskets at a local furniture store, beseeching Stock to take his picture.

These days spent together by Dean and Stock were the subject of a 2015 movie, , starring Robert Pattinson as Stock and Dane DeHaan as Dean. Director Anton Corbijn, a photographer himself, has explained that as much as the film was inspired by Dean's iconic status and Stock's ability to capture the truth behind it, the story at the core is a simple one, of "two males that bond to create a friendship."

For Stock, who died in 2010, the power of the images was in the transition they depict, the crossing of a bridge that can never be traversed in reverse. "For Jimmy it was going home," he wrote in the introduction to DENNIS STOCK: JAMES DEAN. "But it was also the realization that the meteoric rise to fame that had already begun that night in Santa Monica had cut him off forever from his small-town Midwestern origins, and that he could never really go home again."

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"Dennis Stock: James Dean": Photos of a Rising Star

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People View Gallery Written By: Eliza Berman Few photographer-subject relationships are fruitful enough to yield a compelling examination of a rising star let alone one of the most iconic photographs of the 20th century and a meaningful friendship to boot. The partnership between Dennis Stock and James Dean did all of these things, and in just a few days' time.

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Beyond Iconic: Photographer Dennis Stock" Trailer

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Beyond Iconic: Photographer Dennis Stock" Trailer

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https://www.youtube.com/watch?v=gdBTm4K9gQ0

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"Beyond Iconic: Photographer Dennis Stock" Trailer

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California Trip: how Dennis Stock caught the darkness beyond the hippy dream

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California Trip: how Dennis Stock caught the darkness beyond the hippy dream

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https://www.theguardian.com/artanddesign/2019/sep/26/california-trip-how-dennis-stock-caught-the-darkness-beyond-the-hippy-dream

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California Trip: how Dennis Stock caught the darkness beyond the hippy dream

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His iconic portraits of James Dean in a wintry New York won him fame. But it was his travels in the west coast that brought out his true genius, as he captured the cracks in the 60s counterculture

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Aprende con más de 35 cursos de edición de video | Crehana

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Aprende con más de 35 cursos de edición de video | Crehana

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Explora los Cursos de Fotografía y video

¡Aprender desde casa nunca fue tan fácil! En Crehana encontrarás los mejores cursos de Video virtuales que optimizarán tu lado creativo y fortalecerán cada uno de tus conocimientos en este importante medio. Explora los fundamentos del doblaje, los pilares más importantes del teatro, los ejes principales de la actuación hasta diferentes técnicas avanzadas de edición. Te invitamos a ser parte del cambio y a llenarte de inspiración junto a los profesores más preparados del mercado contemporáneo. ¡Inscríbete en nuestros cursos de Video! Cada uno de ellos te brindará las herramientas necesarias para que puedas destacar en tu campo laboral y desenvolverte con éxito en cualquier proyecto que se te cruce en el camino. Aprovecha esta valiosa oportunidad y comienza a aprender desde casa ya mismo.

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Aprende con más de 35 cursos de edición de video - Crehana

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¡Aprender desde casa nunca fue tan fácil! En Crehana encontrarás los mejores cursos de Video virtuales que optimizarán tu lado creativo y fortalecerán cada uno de tus conocimientos en este importante medio. Explora los fundamentos del doblaje, los pilares más importantes del teatro, los ejes principales de la actuación hasta diferentes técnicas avanzadas de edición.

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Fundamentos de fotografía documental | edX

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Fundamentos de fotografía documental | edX

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El curso proporcionará, desde cero, herramientas teóricas y técnicas para emplear la fotografía como documento que forma parte de la investigación en las ciencias sociales, artes y las humanidades. No obstante, el campo es mucho más amplio en cuanto desarrollan capacidades interpretativas y creativas de la fotografía. Es así como se considera que el curso une un desenvolvimiento en torno la semiótica, la técnica, la teoría y el uso de la fotografía con fines documentales.

Al terminar el curso, los estudiantes aprenderán el concepto de fotografía documental, conocerán la formar de sacar provecho a la cámara y lograrán dar sentido a la fotografía como documento reflejado en la creación de un proyecto de fotografía documental, a través de actividades prácticas y videos con expertos en el campo, con el propósito de enriquecer su forma de interpretar el mundo a través de la fotografía.

Más información sobre este curso

Conocimientos básicos sobre fotografía

Desarrollar de creatividad fotográfica

Compresión de cómo se forma la fotografía

Uso de la fotografía en proyectos corporativos o personales que responden a preguntas de investigación social

Ampliar lo que aprenderás

Sección 1 Introducción a la fotografía documental.

Reconocimiento de la fotografía documental

Elementos de la fotografía documental

Sección 2 Conociendo el instrumento de trabajo

Aspectos técnicos de la cámara

Practicando con los elementos técnicos

Tipos de cámara

Sección 3 Acción política de la imagen

Interpretando imágenes desde la semiótica

Construyendo identidad

Fotografía en la historia

La fotografía como documento

Sección 4 El lenguaje fotográfico

Hablemos de composición

Construir imágenes interesantes

Profundidad de campo y bokeh

Saca provecho de las formas

Fotografía en movimiento

Ampliar plan de estudios

Conoce a tus instructores

Obtén un Certificado Verificado para destacar los conocimientos y las habilidades que adquieras

Preguntas frecuentes

¿Necesito una cámara profesional? Necesitas una cámara digital que tenga opciones de configuración manual.

¿Qué tipo de cámara recomiendan? Se recomienda ampliamente la utilización de una cámara réflex.

¿Necesito trabajar en una compañía para tomar el curso? No, está dirigido a todo público que tenga interés en la fotografía

¿Cuál es la edad mínima para tomar el curso? 16 años

¿Cómo logro una buena composición? Aplicando ley de tercios y Ley de mirada

¿Cómo puedo editar mis fotos? A través de aplicaciones gratuitas o programas especializados como photoshop o lightroom

¿En qué formato debo guardar las fotos? El formato depende del uso, si no es un uso especializado, jpg es el ideal, de lo contrario el formato raw será el indicado.

¿Qué necesito antes de salir a tomar fotos? Tener información del sitio a dónde me dirijo, así como las condiciones técnicas de mi cámara: duración de batería, capacidad de memoria, etc., y chequear las condiciones climáticas.

¿Cómo hago para dejar de tomar fotos aburridas o comunes? Aplicando planos y ángulos corrientes, pero también innovando desde mi punto de vista y experimentando nuevas formas de ver al sujeto.

¿Qué es un plano fotográfico? El plano fotográfico es la distancia y encuadre estándar que se emplean en la fotografía, hay diferentes tipos y usos.

¿Qué es un objetivo fotográfico?Comúnmente se conoce como un conjunto de lentes que tiene un uso específico, según su distancia focal; generalmente en las cámaras réflex son intercambiables.

¿Qué es la temperatura fotográfica? La temperatura fotográfica es la sensación térmica que le puedo dar al ambiente que estoy fotografiando, que puede ser o muy fría o muy caliente, se expresa en grados kelvin.

¿Qué es el histograma? Es un mapa de la composición de pixeles claros y oscuros que tiene una fotografía.

¿Cómo lograr la impresión de movimiento en las fotos? Ajustando la velocidad para que el sujeto quede en movimiento, pero el ambiente quede estático.

¿Cómo gradúo la entrada de luz a la cámara? A través de la manipulación del parámetro del diafragma o la velocidad.

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El curso proporcionará, desde cero, herramientas teóricas y técnicas para emplear la fotografía como documento que forma parte de la investigación en las ciencias sociales, artes y las humanidades. No obstante, el campo es mucho más amplio en cuanto desarrollan capacidades interpretativas y creativas de la fotografía.

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¡¡¡ EL MEJOR !!!! Curso de fotografía digital ESPAÑOL - YouTube

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¡¡¡ EL MEJOR !!!! Curso de fotografía digital ESPAÑOL - YouTube

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Curso de #fotografía digital  Completo   ESPAÑOL #cursosdefotografia

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- - - ETIQUETAS│ TAGS :) - - - - - fotografía digital fotografos fotografo book fotografico curso de fotografía cursos de fotografía curso fotografía cursos fotografía camaras fotograficas escuela de fotografía estudiar fotografía camara fotografica taller de fotografía estudio fotografico camaras fotograficas profesionales camara fotografica digital estudios fotograficos

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Entrevistas a prestigiosos fotógrafos nacionales e internacionales, diálogos, exposiciones, ferias de arte, making off ... todo sobre fotografía.

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Lectures on Digital Photography - YouTube

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Lectures on Digital Photography - YouTube

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Lectures on Digital Photography - YouTube

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These 18 videos represent a sequence of lectures on digital photography, from a version of my Stanford course CS 178 that was recorded at Google in Spring 20...

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[Google Drive blocks access to these videos if too many people have recently played them. If a video hangs, they are available

as a playlist on . In that case, come back here for the lectures slides, available as PDF files linked into the . course schedule

Google Drive also prohibits downloading files (videos, PDFs, .swfs) from incognito windows unless 3rd-party cookies are enabled.

Finally, the videos on this site include some material and sound tracks that are suppressed on YouTube to avoid copyright issues.

The use of this material in my lectures falls under fair use, but YouTube doesn't have a good mechanism for handling this case.]

An introduction to the scientific, artistic, and computing aspects of digital photography. Topics include lenses and optics, light and sensors, optical effects in nature, perspective and depth of field, sampling and noise, the camera as a computing platform, image processing and editing, and computational photography. We will also survey the history of photography, look at the work of famous photographers, and talk about composing strong photographs.

This course is based on CS 178 (Digital Photography), which I taught at Stanford from 2009 through 2014. I revised and taught the course again at Google in Spring of 2016, and these web pages are from the Google version. The course consists of 18 lectures. These lectures were delivered live on Google's Mountain View campus, broadcast live to Google offices around the world, and recorded for later playback. The videos linked into these web pages are from those recordings, edited slightly to remove discussion of Google internal projects. Keynote slides from these lectures were converted to PDF files and linked into the schedule after each lecture.

The topics of each course lecture, with their original dates, are given in the , also accessible course schedule by clicking on the words "Course schedule" in the pane at left. The down-carrot to the left of these words provides a list of lectures. The course is accompanied by 15 Flash , similarly accessible by clicking on the word "Applets" at left, or the associated down-carrot. Since Adobe Flash has died, the interactive illustrations in these applets no longer work, but you can download the applet's .swf file and Adobe's standalone Flash player to your desktop, and play it there. Finally, there are 8 photography assignments,

I am making these materials freely available, but some of the photographs included in the lectures are individually copyrighted. It should be fine for teachers to re-use this material under fair use, but other uses may be protected. If you re-use the material in substantially the same form it is given here, I would appreciate an acknowledgement.

By the way, this web site has been migrated from the old Google Sites to the new Google Sites. This process was long and painful, and the new Google Sites is not as powerful as the old. If you find a web site error or broken link, please send me email. My email address is on my Stanford home page .

The course assumes no prior knowledge of photography. I also assume no programming experience. The only knowledge I assume is enough facility and comfort with mathematics that you're not afraid to see the depth-of-field formula in all its glory, and an integral sign here or there won't send you running for the hills. Some topics will require concepts from elementary probability and statistics (like mean and variance), but I define these concepts in lecture. I also make use of matrix algebra, but only at the level of matrix multiplication. Finally, an exposure to digital signal processing or Fourier analysis will give you a better intuition for some topics, but it is not required.

Taking photographs and improving your picture-taking skills are a good reason for taking this course. There were no formal evaluations (or grades) in the Google version of the course, but there were weekly optional photographic assignments, which are included in these web pages. These assignments talk about uploading photos to Google Photos, and then posting albums to a Google+ community. These instructions were relevant to Googlers during course but are now irrelevant. If you want to follow along and perform these assignments you'll need a camera. Since it's a course on digital photography, you'll need a digital camera. In particular, you'll need one with manual control over shutter speed, aperture, and ISO. It's also helpful if your camera has a variable zoom lens, but surprisingly, manual control over focus isn't as critical, since you can easily "fool" your camera into focusing at whatever distance you want. Your camera should also have a flash, as most do. You don't, however, need an SLR (single lens reflex camera). Many DSCs (digital still cameras, also known as point-and-shoots) offer enough flexibility. So do Mirrorless Interchangeable Lens (MIL) cameras. A cell phone won't suffice, though, because it doesn't have a controllable aperture.

I am a Professor Emeritus of Computer Science at Stanford, and former Distinguished Engineer at Google, and currently a VP and Fellow at Adobe Inc., where I lead a team that works on computational photography. Here is my Stanford home page, which includes a list of publications. On my home page is a summary of some of the projects I worked on at Google, and a bit about my current work at Adobe. If you're looking for my SynthCam app for iOS, here is a . The app is no longer maintained, and sadly stopped working with iOS 11, but the web site will describe what it did, and how it worked.

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What's inside a digital camera? Here's a cutaway view of the Canon Digital Rebel 1000D. Here's a more instructive diagram, showing the main optical paths. I'll show the parts of a camera (every screw) during one of the lectures.

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Los 4 mejores cursos de fotografía online gratis

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Los 4 mejores cursos de fotografía online gratis