Hero

i love my mum. she is my hero.

Skin Holes

Vanity Fair

Douglas Fairbanks Jr. and Joan Crawford by Nicholas Murray
This portrait is a what appears to be more of a private moment between the sitters as opposed to a set up studio shot, it is a more candid portrait. Their personalities are not easily read in this portrait as they are not looking at the camera, however you can see that they know and love each other.
The use of natural light is appropriate to the setting and the time which was in the 1920's. The use of negative space in the upper right is useful as this image was presented in a magazine.
The photographer is contributing to the construction of identity by putting two people who are in a relationship with one another in a setting and letting them be themselves, it appears that they are not entirely aware of the cameras presence.

Portraiture of any body is not entirely thruthful, not just in celebrities, as it shows a tiny glimps of a person. You can not encapsulate an entire person in a fraction of a second as people are so incredibly complex.

George Clooney by Annie Leibovitz

In this portrait George Clooney is percieved as a powerful man up there on his podium directing all the beautiful women below him. He is playing a role in this image, and therefor it is not a true portrait of him, as he is being staged and playing a character. The fact that George Clooney has been put on a pedestal suggests that he is an important figure.

The lighting in this image comparedto the 1920's image is drastically different, it is all studio lit, no natural light. The use of colour gives the image a different element, and the fact that it is a posed image makes it more of a still film than a portrait of the man himself. The technological advances are evident in comparison of the two images.

Annie Leibovitz has constructed George Clooney's identity as she would like to see it in this image. This shows that the photographer has a lot of emphasis in allowing the sitter to be who they are percieved as.

lyrics

It's getting close to sundown
Over the Sierra
Stranded on the heat wave
Burning with desire
She was on the sidewalk
Looking for a nightlife
Talked about the real thing
And drove into the fire
Headlights on the highway
The desert wind is howling
Rattlesnakes and romance
Are spilling with the rain
Candy apple red dress
Bleeding when she kissed me
Heaven in a ragtop
Takes away my pain

When your chips are down
When your highs are low
Joy ride
(Joy ride)
Move across the night like a separate wind
(Joy ride)

Pulled up to a motel
Vacancy was buzzing
Pink and dirty neon
Settled on the hood
Wrapped her arms around me
Come a little closer
Stumbled in the twilight
And fell onto the floor of the Mona Lisa
Dreaming of the free world
Lipstick on the nightstand
And demons at the door

When your chips are down
When your highs are low
Joy ride
(Joy ride)
Move across the night like a separate wind
(Joy ride)

When your hopes and dreams
Lose the will to go
Joy ride
Reaching for the light
More than we can win
And something in the distance
A glorious existence
A simple celebration
A place you never went before
(Why don't you kiss me
And tell me that you want it?)
Reaching for the light
More than we can win
When your chips are down
(When your chips are down)
When your highs are low
Joy ride
(Joy ride)
All your hopes and dreams
All you need to know
Joy ride

Joy Ride

Albumen Printing

Albumen printing was first invented in 1850 by Louis Desire Blanquart-Evrard. It was the first commercially exloitable method of printing a photographic printon a paper base from a negative. It used the albumen found in egg whites to bind the photographic chemicals to the paper. It became the dominant formof positives from 1855 to the turn of the century.

Process

1. piece of paper, usually 100% cotton is coated with egg white and salt then dried. The coating seals the paper and leaves a slightly glossy surface for the sensitizer to rest on.

2. Paper is then dipped into a solution of nitrate silver and water which renders the surface sensitive to UV light.

3. Paper is dried in absence of UV light.

4. A negative is placed in a frame in direct contact over the paper and is then exposed to light until desired levels of darkness are achieved.

5. It is then fixed in a bath of sodium thiosulfate to prevent further darkening.

6. A final option of gold or selenium toning improves photographs tone and stabilizes against fading.

information from http://en.wikipedia.org/wiki/Albumen_print

Eugene Atget, ParcMonceau

Eugene Atget, Hotel de Montmorency. 5 Rue de Montmorency

Eugene Atget, Cabaret du Gd. Cerf- Rue St. Martin. 120

images from http://206.180.235.131/gallery/atget.html

it's the eye of the tiger... or the jabberwocky