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All prints are hinged to a conservation quality, acid-free and lignin-free Alpha Cellulose matboard, using an acid-free linen tape. The mat's surface paper is fade and bleed resistant and is attached to a conservation quality foam-core mounting board that will keep the work safe from deterioration over time.
Artworks with a deckled or decorative edges will be floated on the matboard, with acrylic spacers to separate the art from the glazing. All mounting is fully reversible, without any potential damage to the art. All of our frames come with picture quality. It is now considered the industry standard for artists, museums and galleries throughout the world. Sign Up. Log In. I mean, a photo is just one moment, barely seen with a naked eye, while the video making lets you capture hundreds of those moments going one after another.
G: The videos show us continuous time, as it is lived or experienced, whereas the photo stops the action for all time. The resulting image can look surreal because the viewer may conflate the time spent looking at the photo with the duration of the event. I am interested in the spontaneous act of creating images without forethought.
I know many artists start with an idea in mind and then they put it on paper. The point is never to have the viewer figure out what is going on in the photo, but just to present the mystery of that instant. Are you inspired by great artists? G: Yes, I have been inspired by Michelangelo, Bernini and others. During my college years, I spent a semester in Florence and must have absorbed the art I was surrounded by.
In Michelangelo I saw both strength and grace, in Bernini I saw passion and mythology. Sculptures taught me that when photographing dancers, it is important to look at their movements from all sides, not just the perspective of the dance that is visible on the stage.
I like to think of my photos as split-second sculptures. G: It started with a photo shoot in Adelaide, Australia. Those photographed movements were then embedded into the choreography so that I, standing on the stage shooting the dance, could pluck them out. There were two banks of my strobe lights on each side of the stage, firing every time I took a shot.
All or so photos that I took each evening were projected within seconds — unedited! In the final scene, I shot from the back of the stage to show the reverse angle of what the audience saw.
The audience could see the afterimage on the flash, previewing the shot the moment after I took it. Among the many things I loved about the show was the concept that I was plucking a split-second out of the flux, giving that moment the solidity of a photograph by screening it for 10 seconds, and then it was gone.
It was like catching a fish, then throwing it back in the water…. T: What methods or technics do you regularly use for editing photos? All the photos are a single, in the camera frame.
Top Articles. An Interview with Paula Bronstein. Sama Alshaibi Between Two Rivers. Special Interview with Zeno Petersen. C Gundlach. Edward Steichen. I am always looking for dancers with a unique way of moving, and who, from the flow of their movement, can create miraculous split seconds.
Paul has been a muse since we met in Adelaide in , and there are 12 photos of him in the book, some taken as part of HELD and the rest in my studio in New York. In my newest series of photographs, which I have titled One to One since the images are exhibited virtually life-size, I worked with exceptionally talented and expressive dancers from Taiwan.
They are members of dance companies with very different styles. I-Ling Liu dances with the Bill T. None of the work we did together refers to the choreography or movement styles of these three companies. Each one of them brought their own poetic and expressive personality to my latest body of work.
This new imagery comprises one third of the photographs in Lois Greenfield: Moving Still. Your tips for aspiring dance photographers are….
If they rely on the continuous shooting function on their camera, there is a good chance they will actually miss a great shot! In the workshops I give in my studio, the participants use my camera, which has no continuous shooting function. If the dancer jumps, or goes through a phrase of movement, we only take one image of that move.
This process is repeated countless times, with of course direction from the photographers. And your tips for dancers who are the subject are…. Sometimes dancers are so concerned with the perfection of their form that the photo becomes stiff. For me, feeling is at least as important as form. By Elle Evangelista of Dance Informa. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment.
Notify me of follow-up comments by email. Notify me of new posts by email. Brooklyn Ballet, a unique and interdisciplinary dance company rooted in the classical idiom, presents two Dance Informa Magazine. Ha-Chi Yu.
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