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*make the video to looks like the camera is looking for something

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*make the video to looks like the camera is looking for something

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BASICS OF GREEN SCREEN - Everything You Need To Know

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BASICS OF GREEN SCREEN - Everything You Need To Know

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BASICS OF GREEN SCREEN - Everything You Need To Know

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Five most common green screen lighting mistakes!

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Five most common green screen lighting mistakes!

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Five most common green screen lighting mistakes!

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JOANNA MALINOWSKA "In Search of the Miraculous, Continued... Four33"

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JOANNA MALINOWSKA "In Search of the Miraculous, Continued... Four33"

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IDEA! In search for happiness?

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Joanna Malinowska - In Search of the Miraculous, Continued... Four33 - Museum of Modern Art in Warsaw

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In terms of their structure, Joanna Malinowska’s project In Search of The Miraculous, Continued... bears resemblance to Krzysztof Kieślowski’s movies. It comprises three films emanating…

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The films deal with the situation of women both in the art world and in the entire culture and society. The activities of women artists are aimed at developing a new language which would be able to counter the dominant male discourse. They also tackle such themes as the body, illness or ageing, which had hitherto been virtually absent from Polish experimental film.

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Polish Women Artists of the 1970s

The films deal with the situation of women both in the art world and in the entire culture and society. The activities of women artists are aimed at developing a new language which would be able to counter the dominant male discourse. They also tackle such themes as the body, illness or ageing, which had hitherto been virtually absent from Polish experimental film.

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Polish Women Artists of the 1970s - Museum of Modern Art in Warsaw

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The Museum of Modern Art in Warsaw is a national cultural institution established in 2005, located at in the very center of Warsaw. The Museum invites to exhibitions of works by contemporary Polish and international artists, with an extensive program of lectures, film screenings and workshops for children and young people.

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eyes and a song made to sound slower
Year: 2012
Duration: 3'55"

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Piotr Bujak - Queen's Nails Suite II - Museum of Modern Art in Warsaw

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The Museum of Modern Art in Warsaw is a national cultural institution established in 2005, located at in the very center of Warsaw. The Museum invites to exhibitions of works by contemporary Polish and international artists, with an extensive program of lectures, film screenings and workshops for children and young people.

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Build Self Confidence and Self Esteem- DOCUMENTARY FILM 2021

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Build Self Confidence and Self Esteem- DOCUMENTARY FILM 2021

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Build Self Confidence and Self Esteem- DOCUMENTARY FILM 2021

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DOCUMENTARY ON EMOTIONAL INTELLIGENCE (What are your emotions not telling you?)

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DOCUMENTARY ON EMOTIONAL INTELLIGENCE (What are your emotions not telling you?)

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There are hidden messages in every emotion

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DOCUMENTARY ON EMOTIONAL INTELLIGENCE (What are your emotions not telling you?) MUST WATCH

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Awakening Mind offers answers, resolve and peace of mind for our most intimate and personal concerns of our life: Who am I? What is the purpose and meaning of life? How am I to navigate this world experience to the best of my ability for the benefit of all? And in this time where the world feels out of control and filled with so much suffering and sadness, these questions are particularly relevant, and the answers are a lot simpler than one might imagine.

Our visionaries from broad and diverse backgrounds will help our audience see that life is not as complicated as they may believe, and it is possible to awaken to the understanding that peace and happiness is available to anyone anywhere in the world right now.

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The Awakening Mind series travels the globe speaking to wisdom teachers, visionaries, and scientists from diverse disciplines, philosophies, and traditions who are pointing with uncanny similarity and intelligence to this time as an epic juncture and an invitation to a higher evolution for humanity.

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What is the point of life? /Awakening the Mind Part 1, "Know Thyself" (2023)

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What is the point of life? /Awakening the Mind Part 1, "Know Thyself" (2023)

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The Awakening Mind video series travels around the world, speaking to wisdom teachers, visionaries and scientists from wide and diverse disciplines, philosophies and traditions who point with incredible similarity and intelligence to this time as an epic turning point and an invitation to the higher evolution of humanity.

Awakening Mind explores the questions "who am I?", "what is awakening?", "why awaken?", "what is consciousness?", "how to awaken?", "what is the purpose and meaning of life?" and “how do I navigate this experience of the world as best I can for the good of all?” At this time, when the world seems to be spinning out of control and filled with so much suffering and sadness, these questions are especially relevant, and the answers are much simpler than you might imagine.

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Awakening Mind Part 1, "Know Thyself" (2023) - Complete HD Film

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Tony Conrad - Four squere/ four tv's? silhouettes

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Tony Conrad - Four squere/ four tv's? silhouettes

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performance documentation with talk by Conrad following the performance

Tony and Beverley Conrad recently showed in London (under very inadequate conditions) two works for spatially distributed projection. Four Square is a film designed for four screens surrounding the audience. Through its spatial distribution of abstract image and sound it begins to build up a TIME/SPACE experience where the mental construction of the events do not clearly differentiate between separation/ distribution in time from separation/ distribution in space. A unified field TIME/SPACE experience. - Malcolm LeGrice

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FOUR SQUARE

Tony and Beverley Conrad

performance documentation with talk by Conrad following the performance

Tony and Beverley Conrad recently showed in London (under very inadequate conditions) two works for spatially distributed projection. Four Square is a film designed for four screens surrounding the audience. Through its spatial distribution of abstract image and sound it begins to build up a TIME/SPACE experience where the mental construction of the events do not clearly differentiate between separation/ distribution in time from separation/ distribution in space. A unified field TIME/SPACE experience. - Malcolm LeGrice

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UbuWeb Film & Video: Tony Conrad - Four Square (1971)

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HD installation
colour, 5:1 surround
2 HD-cam safety masters, 2 HD projectors, 2 computers, 2 surround amplifiers, surround speakers

‘Tan presents two videos in Disorient. One is a nomadic account, the other a material gathering. [...] The first seems almost museological. Artefacts have been gathered and assembled en masse like an endless cabinet of curiosities. [...] We pan through this assortment of things: bird cages; chests of drawers; Indian dolls; wooden textures, woven fabrics, carpets; rich emblems made in dense earth colours of red and terracotta. All a kind of tropical, lush forest of cultural signs and things. [...]

A voice murmurs in the space. The sound of the voice washes in the room; it rolls like a tide around the walls. The voice settles in the images of the second video, even while it appears also to narrate the wunderkammer of objects in the first. This video moves between the smooth and striated space described by Deleuze. The narrator’s voice is even, formulaic. His words, abbreviated from the texts of Venetian explorer Marco Polo, catalogue people and places in a steady, predictable list: religion, trade, customs, appearance. [...] ‘Along with the disembodied voice we become one with the eye of the camera, which passes through clouds and travels over mountain ranges to deliver us to scenes in which truck carcasses are carried over rocky ranges, women pray at a wall, opium poppies bob in the wind and are then harvested, fireworks explode. Firecrackers or bombs – I hesitate, in my mind, to confirm which.’

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HD installation
colour, 5:1 surround
2 HD-cam safety masters, 2 HD projectors, 2 computers, 2 surround amplifiers, surround speakers

'Tan presents two videos in Disorient. One is a nomadic account, the other a material gathering. [...] The first seems almost museological. Artefacts have been gathered and assembled en masse like an endless cabinet of curiosities. [...] We pan through this assortment of things: bird cages; chests of drawers; Indian dolls; wooden textures, woven fabrics, carpets; rich emblems made in dense earth colours of red and terracotta. All a kind of tropical, lush forest of cultural signs and things. [...]

A voice murmurs in the space. The sound of the voice washes in the room; it rolls like a tide around the walls. The voice settles in the images of the second video, even while it appears also to narrate the wunderkammer of objects in the first. This video moves between the smooth and striated space described by Deleuze. The narrator's voice is even, formulaic. His words, abbreviated from the texts of Venetian explorer Marco Polo, catalogue people and places in a steady, predictable list: religion, trade, customs, appearance. [...] 'Along with the disembodied voice we become one with the eye of the camera, which passes through clouds and travels over mountain ranges to deliver us to scenes in which truck carcasses are carried over rocky ranges, women pray at a wall, opium poppies bob in the wind and are then harvested, fireworks explode. Firecrackers or bombs - I hesitate, in my mind, to confirm which.'

Infinite Crossroads
- Juliana Engberg, Coming Home, catalogue SCAF Foundation Sydney, 2010

RELATED RESOURCES:
"Ten Women Who Use Film" curated by Jennifer Higgie

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UbuWeb Film & Video: Fiona Tan - Disorient: Screen 2 (2009), excerpt

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HD installation colour, 5:1 surround 2 HD-cam safety masters, 2 HD projectors, 2 computers, 2 surround amplifiers, surround speakers 'Tan presents two videos in Disorient. One is a nomadic account, the other a material gathering. [...] The first seems almost museological. Artefacts have been gathered and assembled en masse like an endless cabinet of curiosities.

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Assessment no 1

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I need new tripod!

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Filmed in Harlem, New York, and in Claude Monet’s gardens in Giverny, France, THE GIVERNY SUITE is a cinematic poem that advocates for the safety and bodily autonomy of Black women. Employing techniques including hand-painted film animation and montage editing, Gary first developed the work during an artist residency in Giverny, where the gardens offered a space of respite.

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Filmed in Harlem, New York, and in Claude Monet's gardens in Giverny, France, THE GIVERNY SUITE is a cinematic poem that advocates for the safety and bodily autonomy of Black women. Employing techniques including hand-painted film animation and montage editing, Gary first developed the work during an artist residency in Giverny, where the gardens offered a space of respite.

Centrally featured are person-on-the-street interviews in which the artist approaches women at the intersection of Lenox Avenue (also known as Malcolm X Boulevard) and West 116th Street and asks, "Do you feel safe?" These interviews are interspersed with footage of singer Nina Simone, performer Josephine Baker, political activist Fred Hampton, and Diamond Reynolds recounting the killing of her boyfriend Philando Castile by police in 2016. The installation also includes antique furniture as well as altars dedicated to the Yoruba deities Yemaya and Oshun. "Healing is at the root of the work," Gary explains. "Making art is a transformative process that transmutes pain or trauma into something beautiful, useful, functional, instructive."

Organized by Lilia Taboada and Gee Wesley, Curatorial Assistants, with Abby Hermosilla, Curatorial Assistant, Department of Media and Performance.

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212: Ja'Tovia Gary's THE GIVERNY SUITE | MoMA

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Collection gallery. Ongoing. Filmed in Harlem, New York, and in Claude Monet's gardens in Giverny, France, THE GIVERNY SUITE is a cinematic poem that advocates for the safety and bodily autonomy of Black women. Employing techniques including hand-painted film animation and montage editing, Gary first developed the work during an artist residency in Giverny, where the gardens offered a space of respite.

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A computer-generated figure sits in a television studio and invokes a-histories and immaterial indices; thick, warm surfaces and dramatic lighting states; a neural network and those eternal celestial bodies; a final broadcast and some overt tattoos; a map of its being and the space where the crime occurred…

Material Witness OR A Liquid Cop was the pilot for a series of interviews with a witness to a crime, conducted as they, along with the crime, materialise and take shape.

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UbuWeb Film & Video: Ed Atkins - Material Witness OR A Liquid Cop (2012)

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Duration: 19'16" A computer-generated figure sits in a television studio and invokes a-histories and immaterial indices; thick, warm surfaces and dramatic lighting states; a neural network and those eternal celestial bodies; a final broadcast and some overt tattoos; a map of its being and the space where the crime occurred...

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Using my husband as a model probably wasn't the best idea :)

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Exposure Explained Simply - Aperture, Shutter Speed, 

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Exposure Explained Simply - Aperture, Shutter Speed, 

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12 Camera Movements for CINEMATIC FOOTAGE - CREATIVE SHOT IDEAS for BETTER B-ROLL - Video Shot Ideas

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Photographing in Manual mode can be intimidating, especially if you're trying it for the first time. However, Manual offers a ton of flexibility that other camera modes (such as Auto) just can't match. That's why I encourage every photographer to try Manual at some point, and it's why I regularly use it when capturing my own images.

Plus, while shooting in Manual isn't exactly a walk in the park, it's not as difficult as it might seem. Sure, you might struggle a bit at first - I certainly did! - but as long as you understand the basic concepts, and as long as you spend a few minutes practicing, you'll likely find yourself wishing that you learned to use it sooner.

Therefore, in this article, I'm going to explain everything you need to know about photographing in Manual, including:

What it actually is and the many controls it offers

How to use it for consistently amazing results

Why Manual mode might (or might not!) be a good idea

(I'll also share with you a few helpful camera settings cheat sheets, courtesy of the London School of Photography.)

So if you're ready to become a Manual mode master, then let's get started!

What is Manual mode in photography?

Manual mode gives you complete control over your camera settings. Once your camera is set to Manual, you can adjust each and every setting your camera offers. Most importantly, shooting in Manual lets you independently adjust the three key exposure variables:

Together, the ISO, aperture, and shutter speed determine the overall brightness of your photos (i.e., the exposure). They also affect your photos in other key ways: by adjusting the sharpness, depth of field, and overall quality of your files.

That's what makes Manual mode so powerful. In Manual, you can make your photos appear exactly as dark or light as you want. You can also ensure perfect sharpness, create different depth of field effects, and keep your low-light photos looking high quality.

This is in contrast to various other modes, such as fully automatic modes (which don't allow you to adjust any settings on your camera) and semi-automatic modes (which allow you to adjust certain settings while your camera chooses the rest).

That said, while Manual mode truly is excellent for many types of photography, it's not the best option for every scenario - and later on, I discuss the times when you'll want to choose an alternative (such as the very popular Aperture Priority mode).

But before we delve into the practicalities of shooting in Manual, let's explore the three key exposure settings in more detail - because without an understanding of the exposure triangle, you'll struggle to use Manual mode effectively.

ISO

Simply put, ISO controls your camera's sensitivity to light. So by adjusting the ISO, you can increase your camera's light sensitivity which will, in turn, give you a brighter image.

Say you're shooting at night and your shots are turning out too dark. If you're working in Manual mode, you can boost your ISO - and your images will instantly brighten up.

On the flip side, if you're shooting on a sunny day and you want to reduce your exposure, you can drop the ISO to achieve a darker result.

Unfortunately, ISO does come with a significant drawback. As illustrated by the ISO cheat sheet below, the higher the ISO, the noisier your photos become. Noise rarely looks good, and it's an easy way to ruin an otherwise great image. Plus, there are other ways of boosting image exposure, which I'll talk about in just a moment.

For that reason, I generally recommend you leave your ISO at its base value (often ISO 100, though I've also used cameras that have a base ISO of 50, 160, or 200). The exception is when you specifically need to raise the ISO (e.g., you're shooting in low light and can't afford to adjust the image exposure another way).

Aperture

The aperture is an opening in the lens. The wider the aperture, the more light it lets in and the brighter the resulting exposure (see the aperture cheat sheet below):

Note that photographers use f-stops to refer to aperture sizes. A smaller f-stop refers to a larger aperture, while a larger f-stop refers to a smaller aperture. (Confusing, I know, but you'll get the hang of it soon!)

So an aperture of f/1.4 lets in a lot of light, giving you a brighter image. An aperture of f/22 lets in very little light, producing a darker image.

Aperture is also responsible for controlling the depth of field - the window of focus within the photograph. The larger the aperture, the smaller the depth of field, and the narrower the window of focus.

Here's an image with a shallow depth of field (shot at f/2.8 or so):

And here's an image with a deep depth of field (shot around f/11):

See the difference? In the first image, the wide aperture ensured a very blurry background (though a portion of the flower is still sharp). In the second image, the narrow aperture kept the shot sharp from foreground to background.

So if you want a nice, blurry background, you can use Manual mode to dial in a low f-number. And if you want a shot that's sharp throughout, you can dial in a high f-number instead. (Just remember that widening or narrowing the aperture will also affect the image exposure!)

Shutter speed

Shutter speed is the exposure time of an image; that is, it refers to how long the shutter stays open to allow light to hit the sensor.

Therefore, the faster the shutter speed, the less light that hits the camera sensor and the darker the final image.

The shutter speed also determines image sharpness. A fast shutter speed (such as 1/1000s) will generally freeze the action, while a slow shutter speed (such as 1/10s) will often produce motion blur:

In general, it pays to use a higher shutter speed to capture sharp images. But there are times when you might want to create motion blur for artistic effect, in which case a slower shutter speed is the way to go.

Also, the shutter speed you need to capture sharp photos will depend on your subject; faster subjects require faster shutter speeds, while slower subjects can be tack-sharp at slow shutter speeds. (Though at very slow shutter speeds - often around 1/100s and below - you'll need to watch out for blur due to camera shake!)

One extra setting: white balance

White balance is one final Manual mode setting worth learning.

It lets you remove color casts from your scene - and by adjusting the white balance, you can achieve neutral white tones. (It's especially useful for removing harsh yellow tones or redness on the skin.)

White balance can be used in unconventional ways to get different creative results. For example, you can use the Tungsten white balance preset on an overcast day to produce blue hues and enhance contrast. Or you can use the Shade white balance preset at sunset to enhance the golden light.

Therefore, it's highly beneficial to experiment with the various white balance modes; you never know what creative looks you might produce!

How to use Manual mode: a three-step process

Manual mode lets you independently adjust your ISO, aperture, and shutter speed to get a well-exposed - or poorly-exposed - final image. (It also lets you adjust your white balance setting to remove color casts and produce creative effects.)

To get started with Manual mode, you'll generally need to adjust the mode dial on the top of your camera. The dial will likely include a variety of other options (such as "A" or "Av" for Aperture Priority mode and "P" for Program mode), but you'll want to set your camera to "M" for Manual.

Then, once you've switched your camera to Manual mode, the goal is to carefully set your variables for the results you're after. But how should you do this? What's the best way to go about determining the right Manual mode settings?

While there's no single correct approach to adjusting settings in Manual, here's my step-by-step advice:

Step 1: Set your aperture based on depth of field considerations

Do you want a shallow depth of field? Or a deep depth of field?

Start by dialing in your desired aperture. If you want a blurry background, pick a wide aperture. If you want a sharp background, pick a narrow aperture.

Don't pay any attention to the overall image exposure - instead, focus solely on the aperture and its depth of field effects.

Step 2: Set your shutter speed for sharpness

Next, ask yourself:

How fast is my subject moving? What shutter speed do I need to keep it sharp?

Here, if your subject is completely stationary, you might think about using the handy Reciprocal Rule, or you might estimate based on previous experiences. (When shooting stationary subjects without a tripod, I rarely stray below 1/125s or so.)

And if your subject is moving, you may need to do a bit of experimentation until you're getting tack-sharp photos. Note that reasonably fast subjects (e.g., joggers) can be effectively photographed at around 1/250s to 1/500s, but that some subjects, such as small birds in flight, will need a shutter speed of 1/1600s and above.

Of course, if you're after artistic blur or you're using a tripod to photograph an unmoving subject, you're free to lower your shutter speed to 1/30s and beyond!

So go ahead and set your shutter speed, then proceed to the next step:

Step 3: Set your ISO (and adjust your shutter speed/aperture) for the best exposure

At this point, you should have picked an aperture based on artistic considerations, and you should have a shutter speed dialed in for perfect sharpness.

So all that's left is to nail the exposure, and I recommend you do it with your ISO, if possible (though you may also need to tweak your shutter speed and aperture along the way).

Start by setting your ISO to its lowest value. As I mentioned above, this is generally ISO 100 but could be ISO 160, ISO 200, or ISO 50, depending on your camera.

Next, simply point your camera at the scene you want to photograph and carefully observe the exposure bar at the bottom of your viewfinder. If the bar is showing underexposure (skewed to the left), you'll need to increase your ISO until you get a centered exposure bar. Alternatively, if you're worried about high-ISO noise effects, you can lower the shutter speed or widen the aperture. Just bear in mind that lowering the shutter speed will increase the likelihood of a blurry shot, while widening the aperture will narrow the depth of field.

If the bar is showing overexposure (skewed to the right), you'll need to either increase your shutter speed or narrow your aperture until you get a balanced exposure bar. Which setting you adjust doesn't really matter - the key is to preserve any creative effects you want to produce. So if you're using a wide aperture for a shallow depth of field, then boost your shutter speed. And if you're using a slow shutter speed for artistic motion blur, then narrow your aperture and leave the shutter speed where it is.

Should you always use Manual mode?

Manual mode is superb for many situations. It'll help you step up your photography game and capture sharp, well-exposed, creative photos.

That said, there are plenty of times when you'll want to choose a different camera mode instead, such as Aperture Priority, Shutter Priority, or Program mode. Here's a quick breakdown to help you out:

Manual mode is good if...

1. You're working in unchanging lighting conditions (e.g., you're photographing in a studio or a room with constant ambient light).

2. You want complete control over your different exposure variables.

3. You want to underexpose or overexpose your photos for creative effects.

4. You're shooting slow, deliberate photos (e.g., landscapes) and you have the time to carefully adjust your settings.

Manual mode is best avoided if...

1. The light is changing rapidly or your subject is moving between sun and shade (e.g., you're photographing a bird as it darts in and out of the trees).

2. You care about the aperture or the shutter speed, but your other settings are less important.

3. You're photographing action where nailing the autofocus is your primary concern (and your particular exposure settings take a backseat).

4. You're a beginner and don't yet feel comfortable with the different exposure settings.

Other shooting modes

As you can gather from the lists above, Manual mode is great for situations where you need control over your settings and you have time to fiddle around with your camera dials. But you'll want to avoid shooting in Manual if you're dealing with fast-paced conditions and changing light, or you're just not yet an experienced photographer.

In such cases, you'll generally want to use a semi-automatic mode instead.

Aperture Priority mode lets you control the aperture and ISO while your camera selects the shutter speed. It's great for situations where you want to set the depth of field, but you don't want to spend too much time dealing with shutter speed. It's also a good transitional mode if you're not quite ready for Manual mode but you want to start experimenting with different settings.

Shutter Priority mode lets you control the shutter speed and ISO, while your camera selects the aperture (it's like Aperture Priority, but reversed!). It's useful in situations where you want to select a particular shutter speed for creative purposes, and you don't particularly care about the aperture.

Program mode lets you control the ISO, and you can also adjust the exposure via your camera's exposure compensation setting. It's a great transitional mode when getting off Auto.

Manual mode: final words

Now that you've finished this article, you're ready to use Manual mode in your photography!

You know all the basics, such as how to set your camera to Manual and the effects that various settings will have on your images.

So go grab your camera and do a bit of practicing. Get a feel for the different variables. Take plenty of photos, and see what you can create!

(Also, don't forget to download the cheat sheets featured throughout the article!)

Now over to you:
When do you plan to use Manual mode in your photos? Share your thoughts in the comments below!

Antonio Leanza

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How to Shoot in Manual Mode (+ Cheat Sheets for Beginners)

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Looking to learn Manual mode? We explain what Manual mode is, how it works, and when to use it for stunning results.

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Goddy Leye (1965-2011)
A man alights on the moon. Neil Armstrong is there. In a steady stream of dance steps, to the sound of Cameroonian music, the man - the artist himself - moves toward the American astronaut. Slowly, Leye merges with Armstrong, becoming one with his body in a brief burst of Afrofuturist invasion. This short film is part of a larger five-channel video installation. Using a paired down aesthetic, it examines with humor and irony the history of colonial and neocolonial expansion and the imagery of empire. The film and the larger installation also question how television news footage spreads hegemonic narratives and shapes the collective unconscious of political subjects.

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From IN/FLUX - Mediatrips from the African World (2011)

Cameroon / 2005 / 3mins / Installation, Video Art / English

A man alights on the moon. Neil Armstrong is there. In a steady stream of dance steps, to the sound of Cameroonian music, the man - the artist himself - moves toward the American astronaut. Slowly, Leye merges with Armstrong, becoming one with his body in a brief burst of Afrofuturist invasion. This short film is part of a larger five-channel video installation. Using a paired down aesthetic, it examines with humor and irony the history of colonial and neocolonial expansion and the imagery of empire. The film and the larger installation also question how television news footage spreads hegemonic narratives and shapes the collective unconscious of political subjects.

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UbuWeb Film & Video: Goddy Leye - The voice on the moon (2005)

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From IN/FLUX - Mediatrips from the African World (2011) Cameroon / 2005 / 3mins / Installation, Video Art / English A man alights on the moon. Neil Armstrong is there. In a steady stream of dance steps, to the sound of Cameroonian music, the man - the artist himself - moves toward the American astronaut.

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Behind the Scenes | Isaac Julien: Ten Thousand Waves | MoMA

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Behind the Scenes | Isaac Julien: Ten Thousand Waves | MoMA

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Ten Thousand Waves (2010) is an immersive film installation projected onto nine double-sided screens arranged in a dynamic structure. Especially conceived for The Donald B. and Catherine C. Marron Atrium, the installation choreographs visitors’ movement through the space. The original inspiration for this recently acquired, 55-minute moving image installation was the Morecambe Bay tragedy of 2004, in which more than 20 Chinese cockle pickers drowned on a flooded sandbank off the coast in northwest England.

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Behind the Scenes | Isaac Julien: Ten Thousand Waves | MoMA

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I tried to record my own "studio" practice, but it keeped going out of focused

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gel filter

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Animation "Cathedral" made by Tomasz Baginski

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Animation "Cathedral" made by Tomasz Baginski

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The film is based on a short story by Jacek Dukaj under the same title. In 2002 "Cathedral" was awarded the main prize at SIGGRAPH festival ("Best Animated Short"). A year later it received an Oscar nomination in the category "Best Animated Short Film".

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Katedra (The Cathedral) by Tomasz Bagiński - Music by Alan Bucki

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The Otolith Group, Sovereign Sisters, 2014. computer animation transferred to HD video 16:9, and water installation (black and white, no sound) duration 3 min 47 sec. Courtesy of The Otolith Group and LUX, London. Installation view 2019. Archive Van Abbemuseum Eindhoven. Photo: Peter Cox.

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more information about the exhibition:
https://imma.ie/about/press-centre/imma-presents-xenogenesis-an-exhibition-exploring-the-work-of-artist-collective-the-otolith-group/

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Understanding Exposure: The Exposure Triangle with Mark Wallace

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Understanding Exposure: The Exposure Triangle with Mark Wallace

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Understanding Exposure: The Exposure Triangle with Mark Wallace

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Shana Moulton and Nick Hallett: Whispering Pines 10

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Shana Moulton and Nick Hallett: Whispering Pines 10

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reflect/ reflection/ mirror/ bounce/ contemplate

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reflect/ reflection/ mirror/ bounce/ contemplate

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"The Sound of Silence" Simon & Garfunkel in te background?

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"The Sound of Silence" Simon & Garfunkel in te background?

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Hello darkness, my old friend
I've come to talk with you again
Because a vision softly creeping
Left its seeds while I was sleeping
And the vision that was planted in my brain
Still remains
Within the sound of silence

In restless dreams I walked alone
Narrow streets of cobblestone
'Neath the halo of a street lamp
I turned my collar to the cold and damp
When my eyes were stabbed by the flash of a neon light
That split the night
And touched the sound of silence

And in the naked light I saw
Ten thousand people, maybe more
People talking without speaking
People hearing without listening
People writing songs that voices never share
No one dared
Disturb the sound of silence

"Fools" said I, "You do not know
Silence like a cancer grows
Hear my words that I might teach you
Take my arms that I might reach you"
But my words like silent raindrops fell
And echoed in the wells of silence

And the people bowed and prayed
To the neon god they made
And the sign flashed out its warning
In the words that it was forming

And the sign said, "The words of the prophets
Are written on the subway walls
And tenement halls
And whispered in the sounds of silence"

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Disturbed  - The Sound Of Silence (Official Music Video) [4K UPGRADE]

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A new exploration into emotional stress and exciting science surrounding Neuro Emotional Technique (N.E.T.).  The film delves into our history with stress, how we got to where we are today, and where we go from here.  Featuring Dr. Daniel Monti (Director - Marcus Institute of Integrative Health) and leading neuroscientist Dr. Andrew Newberg (DMT: The Spirit Molecule), we get a fresh perspective on the effects of stress.  Thanks to a new study from the Marcus Institute of Integrative Health at Thomas Jefferson University in Philadelphia, PA, there is now compelling evidence that this breakthrough intervention can help people to alleviate their emotional stress, as well as deeper insight into this exciting topic.

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Stressed - A Documentary Film | 4K OFFICIAL

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An animation made by Tomasz Baginski
The action of the six-minute film takes place in a forgotten military base which is a colony for high-ranking officers who lost their mind and contact with reality as a result of completed missions. Sergeant Al takes paternal protection for young soldiers, Dr. Friedrich takes original photos and General A creates very unique art

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CG short film "Fallen Art" - by Platige Image

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Assessment no 2

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COMPOSITION - Most Important thing in PHOTOGRAPHY!

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Hito Steyerl, How Not to Be Seen: A Fucking Didactic Educational .MOV File, 2013 | Listed in the the Guardian as one of 'the best [pieces of] art of the 21st century', see Hito Steyerl's How Not to Be Seen: A Fucking Didactic... | By Tate Liverpool | Facebook

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Listed in the the Guardian as one of 'the best [pieces of] art of the 21st century', see Hito Steyerl's How Not to Be Seen: A Fucking Didactic...

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SHANA MOULTON: Picture Puzzle Pattern Door | YBCA

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SHANA MOULTON: Picture Puzzle Pattern Door | YBCA

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SHANA MOULTON: Picture Puzzle Pattern Door | YBCA