Ever since I watched The World According to Garp I've always thought that a great photo/portrait of a baby would of it in the air like this but isolated as in the opening sequence of the film. But I found this image a love it more. Definitely want to do some photos of Milo like this

Ever since I watched The World According to Garp I've always thought that a great photo/portrait of a baby would of it in the air like this but isolated as in the opening sequence of the film. But I found this image a love it more. Definitely want to do some photos of Milo like this

sequence photographie duane mickeals 06 Les séquences photographiques de Duane Michals  photo art

Les séquences photographiques de Duane Michals

sequence photographie duane mickeals 06 Les séquences photographiques de Duane Michals photo art

Ricerca della comodita in una poltrona scomoda. Bruno Munari.

Ricerca della comodita in una poltrona scomoda. Bruno Munari.

Eadweard Muybridge set off the revolution in motion photography that would become movies. His biographer, Rebecca Solnit, summed it up: “He is the man who split the second, as dramatic and far-reaching an action as the splitting of the atom.”

Eadweard Muybridge set off the revolution in motion photography that would become movies. His biographer, Rebecca Solnit, summed it up: “He is the man who split the second, as dramatic and far-reaching an action as the splitting of the atom.”

istanbulconstantinople:    Contact sheet by Tom Palumbo, Vogue and Harper’s Bazaar photographer.

istanbulconstantinople: Contact sheet by Tom Palumbo, Vogue and Harper’s Bazaar photographer.

STEVE MARTIN....Los Angeles, CA 1977.  From the Norman Seeff digital Photography collection.

STEVE MARTIN....Los Angeles, CA 1977. From the Norman Seeff digital Photography collection.

I love the way the photographer got a sequence of shots and was able to tell a little story about the dangers of big hands... or was it tiny bodies? It appears to me that the took the first shot with the finger curled and the subject poised to jump, and then took the next two shots with the finger extended and the jump and the splash to simulate the violence of the flick.

I love the way the photographer got a sequence of shots and was able to tell a little story about the dangers of big hands... or was it tiny bodies? It appears to me that the took the first shot with the finger curled and the subject poised to jump, and then took the next two shots with the finger extended and the jump and the splash to simulate the violence of the flick.


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