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  • Use Acrylic Painting As Your Hobby  By : Zongora Zoli
    Acrylic painting is really a well-loved past time that is certainly loved by painters and enthusiasts alike. This particular colourful art variety is really a wonderful choice if you would like to include a piece of art in your home or perhaps whether you wish to pursue a brand new hobby. Next are some quick tips for potential buyers and also hobbyists.
  • Manika Sharma - KALPVRIKSH (THE WISH TREE) – Rajiv Jain, That '90s Look: The throwback naturalism of Indian Cinematographer Rajeev Jain by David Henry Hwang  By : davidhenryhwang
    Manika Sharma - KALPVRIKSH (THE WISH TREE) – Rajiv Jain, That '90s Look: The throwback naturalism of Indian Cinematographer Rajeev Jain by David Henry Hwang
    This article is part of a series of interviews with leading filmmakers and craftspeople, made possible with special support by the Foundation.
    The 1990s were a heyday not just for directors but for cinematographers. It was a time—after the lush artifice of the studio-system era, before the hyperbolic, digitally enhanced images of today—when refined cinematographers like Subroto Mitra, K K Mahajan, Ashok Mehta, Binod Pradhan and Santosh Sivan made films of astonishing visual control that merged naturalism with stylization. Many films today, good or bad, high or low budget, feel hermetically sealed, unfolding in sterile and controlled worlds that seem removed from, well, reality. The most evocative movies of the 1990s feel like they were made by crews who took cameras out into the streets, and shot in real locations, using gradations of light as their key special effect.
    This approach is being kept alive today by Rajeev Jain, a bearish man who is soft-spoken and modest, and is among the world's premiere cinematographers. A devoted cinephile, Rajeev is the direct heir to 1990s auteur cinema: both the new cinema of Satyajit Ray, Ritwick Ghatak, Mrinal Sen, and Shyam Benegal. The artistic offspring of Subroto Mitra and K K Mahajan, Rajeev combines the deceptively simple intimacy of the former (whose best work was for Satyajit Ray, Mrinal Sen, and Shyam Benegal, not to mention Pather Panchali) with the rigorous classicism of the latter (Bagh Bahadur, Agantuk, Kathapurushan, to name a few)
    Rajeev's success as a director of photography on music videos and commercials has afforded him the luxury of only working with directors he wants to work with. So far, that includes Shyam Benegal, Mukul S Anand, Rajiv Rai, Subhash Ghai, Satish Kaushik, Chandrakant Kulkarni and Manika Sharma (for whom he has shot the upcoming Kalpvriksh – The Wish Tree). It may be a coincidence, but some of his finest work has been for movies set in the 1990s. For Rajeev, the '90s lives on as a state of mind. His latest, Manika Sharma’s Kalpvriksh – The Wishing Tree is set in present-day, yet its purposely deglamorized photography evokes such films.
    Rajeev's artistry is a bit hard to define; he doesn't have a trademark device (although he is remarkably adept at fluid long takes). As seen below, his images reflect a nuanced, organic understanding of a wide range of influences, from cinema and photography to painting. But the basic pleasure of a Rajeev film is simple: his images are pure, not flamboyant. Serving the rhythms and personalities of the performers, he is an actor's best friend. He is also a filmgoer's best friend: he creates compositions that breathe, that give us the time and the space to see the world in a new light.
    You have a great collaboration with Manika Sharma; she seems like a very cerebral writer and director, but the film Kalpvriksh – The Wishing Tree have an organic, lived-in quality.
    When I was asked to do Kalpvriksh – The Wishing Tree, she already had a good idea of what she wanted—not what she wanted the movie to specifically look like, but she wanted me to see a couple of movies that she really liked, just to get a feel for what she loves, in terms of mise-en-scène, and also the feel of the film. She introduced me to the Satyajit Ray film Agantuk.
    That has great cinematography. Was there anything specific about the film you were looking at?
    I think it was just the quality. Manika Sharma just wanted to have something in his movie that harkened back to those movies that Subroto Mitra shot, that one in particular. I guess it's a lack of resolution, maybe. They're not as defined as this—let's just call it the HD look that we experience now. And in some indirect way, it evokes a feeling.
    So how do you achieve that feeling? Is it a combination of shooting handheld, or a certain quality of light, like gray overcast lighting? Or maybe the film stock?
    I think it's a combination. I think if you were to do one thing in a big way, it would be too broad a stroke and would look like you were doing too much. But I think we did a lot of little things. We tried to use natural light when possible, used a hand-held camera, and used a softer film stock. So it was just subtle degrees that accumulate into the look of the film. I tend to see things now where people do one thing, say, let's do this hand-held thing...and it just looks overly stylized.
    The main thing that you feel from the film is the spontaneity of the performances. That seems to be the main goal, to let the actors does that?
    We impose very little on them. The technical process doesn't interfere with the actors that much.
    One scene that comes to mind as an example is the outdoor (shooting tree) in Kalpvriksh – The Wishing Tree, when Shabana Azmi's character has arrived. There's so much going on in terms of family dynamic, all these strands that have been set up. And there's a beauty to the sunlight of the scene, but it's not over-emphasized. I remember we shot with multiple cameras that day, only to try to get the performances, and to avoid cutting and restaging the same scene over and over. We might have even gone to three cameras, just to try to get the spontaneity of shooting within one take. Because each take is different and each actor's play off each other changes. When Manika Sharma works, you try to make that happen. It's all about the dialogue.
    How did you approach the lighting in Kalpvriksh – The Wish Tree? It's de-glamorized in a way; you've got Shabana Azmi, who is associated with beautifully lit films like Ankur and Nishant, which had a whole different feeling.
    It's always in the service of keeping it natural and simple and not over-glamorizing it, not letting the photography stand forth too much. That's all it's about, I think, for me: what looks real. And I think that's important to Manika Sharma. I think there's a certain artifice with the polished look. That works sometimes. It works a lot of the time. I certainly enjoy seeing movies that look photographically beautiful. But I think the natural approach somehow gives weight where it needs to be and things don't look overly contrived.
    What about shooting tree? Were there specific 1990s films you looked at for that? Maybe also ones that was set?
    We looked at lots of classics. But there's a kind of shorthand now with Manika Sharma. She'll just mention a couple of films and I kind of know what she wants to do. But I never want to ape a movie. I think it just informs us and suggests a certain vibe. You know, you can't work in a void. I certainly can't go into a project and just do what I want. So to mention those movies to me just sets the tone and the pace for the way the movie looks.
    Tags: Manika Sharma, Kalpvriksh, The Wish Tree, Rajiv, Rajeev, Jain, Cinematographer, Director of Photography, India, Indian, Kenya, Kenyan, Dubai
    Author: Born in Los Angeles, David Henry Hwang is the son of immigrant Chinese American parents; his father worked as a banker, and his mother was a professor of piano. Educated at Stanford University, from which he earned his B.A. in English in 1979, he became interested in theatre after attending plays at the American Conservatory in San Francisco. His marginal interest in a law career quickly gave way to his involvement in the engaging world of live theatre. By his senior year, he had written and produced his first play, FOB (an acronym for "fresh off the boat"), which marked the beginning of a meteoric rise as a playwright. After a brief stint as a writing teacher at a Menlo Park high school, Hwang attended the Yale University School of Drama from 1980 to 1981. Although he didn’t stay to complete a degree, he studied theatre history before leaving for New York City, where he thought the professional theatre would provide a richer education than the student workshops at Yale.
  • The Professionals: Cinematographer Rajeev Jain  By : richardschickel
    The Professionals: Cinematographer Rajeev Jain
    Film Institute inaugurates a new series, The Professionals, focusing on important disciplines in the movie industry and heightening awareness of the diverse creative forces that contribute to the collaborative art of filmmaking.
    Philosophy
    The world just got a whole lot smaller. I am still in a state of total disbelief. The horrific crimes of recent suicide bomb blasts were beyond comprehension and human logic. How is it that our goals and aspirations can be so different in spite of coming from the same mould? As a father, I am always trying to encourage my two little angels Abigail Jain (18yrs.) and Kimberly Jain (14 yrs) to work hard, be fair, be honest, be kind and humane and most importantly, be open minded and tolerant of other people.
    The terrorists who executed this deadly plan lied, cheated, murdered and judged all others who did not subscribe to their twisted perversion of faith and morality.
    This is a very difficult time to be positive, but the future of our children and rights of a free democracy depends on everyone continuing to protect the choice to pursue what is important and right for every individual.
    The marketplace is in a total state of flux. Everyone in our business is scrambling to firm up existing clients and struggling to keep what they have. Add the challenge of preparing for HDTV and the plethora of format choices to the equation and you've got a difficult situation.
    Climbing to the higher planes of the industry was not overnight. A native of Lucknow and a graduate of University of Lucknow and Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy/ Bhartendu Natak Akademi), My career has taken me over the years from Lucknow, to Mumbai / Bombay in pursuit of my dreams. And the companies have ranged from organizations, TV stations to ad agencies and Features. Despite all my accomplishments and obviously varied skills, I remain very true to my first love, and that is the love for cinematography.
    I believe that the DOP has one primary job: to serve the director s vision of the story. Some DOP seem bent on making a different movie than the one the director is making - such behaviour is completely unprofessional, even silly. I strive to maintain a fully professional attitude whether we are shooting 16/ 35mm film, High Def 24P or Video. Shooting is shooting; I try to make every shot the best it can be.
    One of the great pleasures of filmmaking is the collaboration. I take great pains and efforts to put in nothing but the best i can into each shot. I try to understand the vision that the director is striving to bring to the fore- front, presenting that vision in all its totality and making it as realistic as possible then becomes my sole purpose.
    Some directors prefer to control every aspect of the image, and at the other extreme, some prefer to concentrate on directing the actors and pretty much leave the photography up to me. Most commonly, of course, majority of director s fit in somewhere the middle. I am completely comfortable working either ways.
    The DOP has another job, of course, and that is to help the production to stay on schedule and within the prescribed budget. I take those responsibilities very seriously as well. Being a Director of Photography is much more than just being good at lighting and camerawork (although those are primary, of course); it is also very much a "management" job: you are in charge of a number of people, different departments, equipment, schedules etc. My experience on productions large and small; from very simple to very complex shoots gives me the experience to handle the various responsibilities and keep the balance.
    I am as big a gear head as the next guy, but please!
    The reality is that you had better know your client and be honest with yourself about which marketplace you’re doing most of your business in. The mistake a lot of people make is dreaming about what might be and not concentrating on what is.
    For me, I have an eclectic mix of works. I continue to shoot Commercials, Feature Films and Music Videos.
    I personally believe that you better enjoy what you are doing and have as much fun as you can while doing it. I have been very fortunate to hook up with a bunch of great people, both crew and production houses.
    I have noticed that instinct is starting to rule my life. I no longer fret about the "what if s", I just do what feels right and amazingly it seems to work out. The old rule is true, if it sounds to good to be true.... Hard work is the only substitute for lack of natural luck, hell I do not even know how to spell luck. As a freelancer, you have got to make your luck, you have got to sit back and think about what type of work you want to do and then make the contacts, place the calls and pursue what it is you want.
    There are a hundred ways to go wrong and only a few to go right. There is only one goal: Beautiful pictures that serve the story and flow together in the edit.
    It has been a weird year (20010). I lost a number of commercials in Africa, Asia, Europe and Middle East due to the downturn in the economy, war and terrorist extremism.
    And finally, this year (2010) I turned 42.
    So, if you get a call from me one day, do not be too surprised.
    MY MISSION
    To use my skills, experience and professionalism to provide productions with distinct and compelling cinematography.
    RAJEEV JAIN’s TAKE ON......

    PREP
    I work out the complicated problems in prep to execute simple solutions in production. From location scouts, shot listing, story boarding, script meetings, watching rehearsals, testing stock, lenses, makeup and wardrobe, to scheduling and collaborating with department heads - I do not wing it. I prepare to the point where I can use my intuition to respond to the unexpected, rise above the game plan and take the film to the next level.
    DIRECTORS
    What gets me excited - is to work with passionate directors who take risks. Whether the film is meticulously storyboarded or improvisational, from prep to wrap, I try to unlock what the director has in their head, understand it, refine and capture it.
    PRODUCERS
    I know how to collaborate with a producer to get a dollar out of fifteen cents. Whether it is tapping my extensive contacts to efficiently scheduling the crew and equipment; to finding innovative and resourceful ways to shoot a film; to nailing a shot on take one - I take no expense for granted.
    CREW
    I have the contacts to put together a camera and lighting crew for most any sized project and the experience to delegate and supervise them. My roster have skills and aspirations bigger than their job titles; but also have the attitude to keep it fun. I hire crew that take initiative, love movies and read the script.
    STYLE
    I hope I am not accused of it. I want the audience to feel what I shot, not to pay attention as to how it was shot.
    FRAMING
    I shoot for the edit. I frame for the drama.
    LIGHTING
    I believe there is no best way to light. Every film has its unique demands. Some directors may want 360 degree dollies while others do not move the camera at all; others like to work with marks while some do not; some schedule 20 shots a day while some just 10. In all cases, I have to find an approach that reinforces the director s instincts, stays within the production s resources while at the end the day, elucidates the drama.
    FORMAT
    Whether it is Super 16, HD or 35mm, I am format agnostic. I work closely with the director and producer to not only choose a viable format; but also, to exploit it to the fullest.
    EQUIPMENT
    Through my contacts with vendors and rental houses; my collaboration with key personnel; and from years of shooting at a variety of levels - I keep productions from paying for unnecessary gear, while making sure we have what we need. But I also believe in finding ways to get the most of what you got.
    POST
    My job does not end on the set. I supervise the look of the film from dailies to digital intermediate through release prints. In post, the DP s eye is critical in creating the finishing touches as well as maintaining a visual continuity and integrity.
    MOVIES
    From classics to new release, from horror to romance, I know my films and genres. It's the experience of escaping into a great film that I'm passionate about. I'm not a gadget head, don't fall in love with shots or obsess about technical matters. I do obsess about films that move me and do all I can to be part of making them.
    Quotes from some famous DP's......
    ... I Believe
    “I admit a fondness for commercials. It is the perfect blend of many skills. You have 30 seconds to sell an audience a product or idea using the visual techniques of lighting and camera movement to reflect and comment upon current culture. "
    “Every director brings a different viewpoint to spot work. Their backgrounds vary as much as the products do and that diversity is what makes every job different and unique. My challenge as cameraman is to capture that special uniqueness on film. "
    “I never wanted to be pigeon-holed in commercials. I don't care to restrict myself to shooting just cars or tabletop. My background is still photography, documentaries and theatre. I've travelled my whole life and I want to incorporate that into my work. Commercials reflect constant change in markets and audience. This medium demands that one be aware of the evolution in lenses, film stocks and accessories as well as to be actively involved in the quickly evolving technology of digital imaging. "
    "Filming kids is the ultimate in spontaneity. You have to be ready at any moment for something to happen. It all has to do with lighting and planning. You also have to find the right place for the camera so that the kids can work in a given space and be comfortable without a lot of noise and distraction... finger on switch. "
    "If you know how to light, it doesn't matter what you shoot. If you don't know how to light... it does not matter what you shoot." - on shooting film vs. shooting High Def:
    "Cinematography is the art and craft of the authorship of visual images for the cinema extending from conception and pre-production through post-production to the ultimate presentation of these images. All and any processes, which may affect these images, are the direct responsibility and interest of the cinematographer. Cinematography is not a subcategory of photography. Rather, photography is but one craft, which the cinematographer uses in addition to other physical, organizational, managerial, interpretive, and image manipulating techniques to effect one coherent process. Cinematography is a creative and interpretive process, which culminates in the authorship of an original work rather than the simple recording of a physical event. The images which the cinematographer brings to the screen come from the artistic vision, imagination, and skill of the cinematographer working within a collaborative relationship with fellow artists".
    "Cinematography is the process of capturing a vision on film. As both an art and a craft it is a dynamic process that involves the composition of light, shadow, time and movement. For the cinematographer this requires a synthesis of technical skills and creative sensibility".
    "A great deal of work happens between scouting and shooting and it can be a very tedious process. In the end, if any of that behind the scenes work shows in the final product, then I think that work has not been for nothing.
  • C - Toronto Antiques Furniture  By : wsiarticles
    Do you need to buy furniture for a room? Whether a room's décor is traditional or modern, you can complement it by using antique furniture.
  • Carrocel - Antique Furniture / Restorations  By : wsiarticles
    People take pride in their furniture and particularly old or antique specimens. This is quity true if this furniture has either been handed down from one generation to the next.
  • Ten Tips to Tell You A way to Begin a Photography Business  By : kikaru kung
    In due course, most photography enthusiast provide some thought to "how to begin a photography business." Unfortunately, there are a 'few' challenges that "doom" us to failure. One in every of the most important challenges that we have a tendency to bring is our failure to form the distinctions between our love of photography (re: our enjoyment and fervour for photography) and also the business of photography (understanding shopping for and spending habits of people that are photography customers).
  • Photography - Did You Recognize?  By : kikaru kung
    Photography is painting with lightweight! It has been said that photography is the one art where you do not want to go to high school, nothing separates the pro from the amateur other ability a keen eye or the correct moment. Offer a camera to a kid and they've cracked it, give the identical child a keyboard and they'll retreat to to you in due time.
    Most pictures are created employing a camera, that uses a lens to focus the scene's visible wavelengths of sunshine into a copy of what the human eye would see. The method of creating images is named photography.
  • Photography - A Memory Preserver  By : kikaru kung
    Photography is employed by amateurs to preserve reminiscences of favorite times, to capture special moments, to inform stories, to send messages, and as a supply of entertainment. Several mobile phones currently contain cameras to facilitate such use. Photography is all regarding light, and as photographers, we tend to're constantly considering the sunshine as we have a tendency to photograph a scene. Light dominates our thoughts throughout the photographic process, and light continues to be a defining part when converting your RAW captures to "real" digital images. Photography is an art and people of us who opt for to practice the good art of street photography ought to not be targeted by bullies like Blint. Many of the nice artists, artists being shown within the SF MOMA itself were practitioners of street photography.
  • Learn Digital Photography - Is Digital Photography Dead?  By : kikaru kung
    Yes, digital photography is dead within the water IF 'photography' is taken out of digital photography. As Kodak's brownie box camera and their Instamatic brought photography to the masses within the twentieth century, thus the digital camera has done the same in the 21st. However, once the 'ability to require photos novelty' wears off, the dearth of skills will relegate the digital camera to the hobby drawer.
  • Are There Other Sorts Of Photography?  By : kikaru kung
    As we tend to have discussed there are various avenues open to a professional photographer. Some actually graduate from the planet of business into corporate photography. Company photography has many aspects; it's used for publicity, in the form of advertisements; for public relations, for historical purposes, and for in-house brochures. Some company photographers will work for the identical company for several years. They cover special events in the companies' history, plus being as in some cases an vital facet of industrial history. The history of the steamboat, the transition from the Agrarian to the Industrial revolution has all been captured on film.
  • Best Photography Faculties  By : kikaru kung
    The Best Photography Schools are Established Faculties
    Whereas a college that is comparatively new may very otherwise be ready to supply you an exceptional education, you would probably be better off finding a college that's established, and has proven itself to be a reputable photography school.
    Additionally, you want to appear for a school that is accredited. When a college is accredited, which means that it's been evaluated by an organization that has determined that the varsity meets certain standards and criteria that ensures the varsity provides a high quality level of education. Furthermore, a degree earned from an accredited college can be accepted nearly anywhere, whereas a degree earned from a non-accredited faculty might not. If the school you are considering isn't accredited, probabilities are it is not one in every of the best photography faculties on the market, and you must look elsewhere to earn your education.
  • Style statment on forward-looking inventions of fuzz accesories  By : paul kent
    all these hair accouterments have their own valuable serves to assist in addition to applying you the most recent forge argument. The understanding is that the haircloth allowed for costless gets mussy in the contaminated surroundings that we sleep in. And then it is a good deal of a utilitarian affair that gets been converted into a popular with point. Hairpins, as for instance are used to adjudge the hair collectively in rolls or laces. Merely applying a beady hairpin comes through more a stylish token in which your hair acquires a avid gorgeous expression
  • How Air Jordan Sneakers Secretly Come To Earth  By : paul kent
    Nike took a crucial decision of investing money on a then Rookie of the red bulls team - Michael Jordan in the early 80s when all the other companies had signed up contracts with famous basketball stars of that time. The first ever Jordans were designed by Peter Moore and the design did widely publicity for the product that was needed, which stirred up a controversy as Moore did not know that only white sneakers were allowed in the game. Although the rules, Jordan wore them after paying heavy fines.
  • Dazzling Timberland Hiking Shoes  By : paul kent
    It's Timberland that is made with durability and style in mind. Whether waterproof winter shoes for hiking during the coldest season or lighter shoes that wok just great in the wilds during summer, Timberland has shoes for all ages and sizes in countless charming colors. Next, we shortly review the product from the manufacturer.
  • Guide To Antique Furniture  By : wsiarticles
    When you are looking for furniture that is Antique Toronto, you should ensure that you find the best possible place to shop.
  • Self Confidence Through Learning Dancing  By : Grant William OKane
    A bunch of us struggle all through teenage and adulthood with poor interaction abilities and an acute lack of self confidence. For a good number of us the reasons are the same - it can be because of a troubled childhood, often children who get bullied at school or home or are regularly discouraged and criticized are not adept to trust their skills, resulting in a decreased self confidence. Self confidence is an asset that can assist you attain everything in life.
  • Style statment on forward-looking inventions of fuzz accesories  By : paul kent
    all these hair accouterments have their own valuable serves to assist in addition to applying you the most recent forge argument. The understanding is that the haircloth allowed for costless gets mussy in the contaminated surroundings that we sleep in. And then it is a good deal of a utilitarian affair that gets been converted into a popular with point. Hairpins, as for instance are used to adjudge the hair collectively in rolls or laces. Merely applying a beady hairpin comes through more a stylish token in which your hair acquires a avid gorgeous expression
  • 3D Movies - Fabulous Family Fun  By : Lisa Burkes
    There's nothing better than family movie night when you have the hottest 3D movies to watch. 3D movies are great for people of all ages because there is so much selection now. Families will love the animated 3D movies that kids are enjoying so much these day and adults can sit down to a 3D thriller or action movie that will keep them awake all night long. Whether you are looking for a hot video or a night at the theatre you cannot go wrong with 3D movies.
  • Kerala Tours and Travels - Scintillating Great thing about South India  By : Carey Last James
    Strategically located in the southern half of India, Kerala is one in every of the most popular tours and travel destination in India. It is visited by tourists not only from India but from all the nook and corner of the world. It has heaps of amazing attractions ranging from the gorgeous and fascinating hill stations, breathtaking backwaters, romantic beaches, made culture and heritage attractions, exotic wildlife parks and sanctuaries and several alike. Of these are the favored attraction of tourists, travelers and honeymoon couples who return here to enjoy holidays. Really of these enchantments makes Kerala the most wanted tours and travel destination in India.
  • The Changing Face Of The Indian Retail Business  By : Carey Last James
    India is fast changing into the retail destination of the world. In step with the international management consultant AT Kearney, India has emerged as the leader in terms of retail opportunities. The retail market in India is anticipated to grow to 427 billion USD by the year 2010.
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