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From a shoot I did today.
Forrest shoot, lovely colours !
Model; Deborah, tnx girl
Light; Natural & flash with softbox in front above me :)
Belgian postcard, offered by Ri-Ri Demaret Chocolatiers Confiseurs. Photo: M.G.M.
Sally Forrest (1928-2015), was an American film, stage, and TV actress of the 1940s and 1950s. She is best known for the films she made with Ida Lupino and Fritz Lang.
Sally Forrest was born Katherine Feeney in 1928 in San Diego. Her parents were Michael and Marguerite (née Ellicott) Feeney. Her father was a U.S. Navy career officer, who moved his family to various naval bases, finally settling in San Diego. He and his wife later became ballroom dancers and taught dance classes, where their daughter began learning her lifelong craft. She studied dance from a young age and shortly out of high school was signed to a contract by MGM. In 1945, she moved with her parents to Hollywood, where Sally worked on the dances used in the films Till the Clouds Roll By (Richard Whorf, 1946) and The Kissing Bandit (Laslo Benedek, 1948). Soon unemployed, she worked in small roles until she teamed with Ida Lupino, who was producing and directing small films at the time. She made her acting debut in Not Wanted (Elmer Clifton, 1949), scripted and produced by Lupino. The film's controversial subject of unwed motherhood was a raw and unsentimental view of a condition that was seldom explored by Hollywood. Tony Fontana at IMDb: "The picture was a critical and commercial success, and Sally also received critical acclaim for her role." Forrest starred in two more Lupino projects, Never Fear (Ida Lupino, 1949) and Hard, Fast and Beautiful (Ida Lupino, 1951), as well as other Film Noirs, including Mystery Street (John Sturges, 1950), and the star-studded While the City Sleeps (Fritz Lang, 1956). Her musical background and training as a jazz and ballet dancer brought roles in the transitional musicals that rounded off the golden age of MGM; most notable was Excuse My Dust (Roy Rowland, 1951).
Most of Sally Forrest's films were made at MGM, which prided itself as family entertainment, but RKO, headed by the eccentric and controlling Howard Hughes, presented a very different creative challenge. Son of Sinbad (Ted Tetzlaff, 1955), now a cult classic, was one of his many pet projects where he had a personal interest in re-designing the star's skimpy wardrobe. With each rehearsal, Forrest noticed her harem dance costume slowly disappearing, until it was barely compliant with the Production Code. In 1953, she and her husband, writer, and producer Milo O. Frank Jr., moved to New York, where he was hired to be head of casting for CBS. There, her film work transitioned to theatre and TV. She starred on Broadway in The Seven Year Itch, and appeared in major stage productions of Damn Yankees, Bus Stop, As You Like It, and No No Nanette. Later she returned to Hollywood and continued working at RKO and Columbia Pictures. Her final film was RKO's While the City Sleeps (Fritz Lang, 1956), a murder mystery co-starring Dana Andrews, Rhonda Fleming, Vincent Price, and her frequent collaborator Ida Lupino. Forrest and Frank were owners of the former Benedict Canyon home of Jean Harlow and Paul Bern on Easton Drive in Beverly Hills. They sold it to Jay Sebring prior to his murder at the nearby home of Sharon Tate. Forrest, a widow since 2004, died of cancer in 2015, aged 86, at her home in Beverly Hills, California. She was survived by her niece, Sharon Durham, and nephews, Michael and Mark Feeney.
Sources: Tony Fontana (IMDb), Wikipedia, and IMDb.
I’m a big fan of making life easy, so several shortcuts went into making this image. The bottle was shot without any labels, with a medium softbox behind, and a large octobox in front (camera left). A large white reflector was placed image right, and as close in as I could get without blocking the shot. The background is pure Photoshop, and the bottle was placed on a pedestal stand barely larger than the bottle, so I could get the lighting very close to better cover the 'family of angles'.
The labels were removed with the aid of a wheat bag, but a hot-water-bottle would do just as well. Leave it on the label for at least minute before pealing them off, and have a sheet of A4 (10 x 8) ready to paste them onto. I used the smooth back edge of a craft knife to flatten out a few creases. The labels were then scanned.
I took shots of the bottle with the labels on, and use these as a guide to Free transform the shape of the scanned labels after compositing them onto the bare bottle. There is very little curve at the top of the label because that edge is near the lens axis so appears flat. A curves layer was linked to the label layer to darken it, and a soft brush used to mask it out in line with the lighter strips . This gave the labels depth and made them look real.
The bottle was selected with the Pen tool, and copied to a new layer. I used the clipping path to stroke with a soft dark brush to slightly darken the edges, but did this on a new layer so I could mask in only the bits I wanted. I had some CAs which I fixed with a Hue/saturation layer by desaturating the reds, and reducing tonal value to match. The mask was inverted and painted in where needed.
I could not be arsed to go back in the studio to shoot the glass this evening, so found it with Google. (I’ll do it properly tomorrow) The etched motif was done by making a luminosity mask from the scanned label; filling the selection with white; adding some noise and blur, and finally using layer styles to produce the emboss. This was composited onto the glass with Free transform to follow its shape.
The glass already had the reflection, so I faked the bottle by selecting the bottom inch, and copying to a new layer. This was flipped vertically, and forced to the shape of the bottle with free transform using warp. The tiny shadow was made by Ctrl clicking the bottle layer to load the selection, and filling a new layer with black. This was blurred, and moved into position, and finally cleaned up with a layer mask.
Altogether about two hours work including both studio and Photoshop, and I can swap out the labels in the layer stack to quickly produce all the whites with no more studio time.
Pripyat, ghost city abandoned after chernobyl catastrophe, has grown to a forest. nature takes over and invades and collapses human creations. the views remind some apocalipthic films like I am a Legend; Views from highst building in town, 16 stories high.
Complete Photo-Essay: www.rubensolaz.com/chernobyl-28th-anniversary/
Or how off-camera-flash can even improve your holiday pictures. The forrest looked like crap at first, so I put a flash on a tree to the camera right and underexposed the background by 2 stops to get that "dark fortunetale forrest"-feeling.
Neil Forrest uses various systems of interconnecting nodes that spread in a matrix. These are generated as dimensional field ornament that corresponds to the distinctive curved space produced by arabesque and muqarna of Islam. Forrest’s work presents a detached ceramic ornament in response to the changing typographies within contemporary architecture - expanding systems intended to modify the psyche of space that is distinguished by lightness and openness. Forrest’s architectural ceramics are porcelain scaffolds, resembling coral environments and truss-like vertebrae.
Working from Gottfried Semper’s analysis that the dressing or decorative surface perform the spatial essence of the wall, and emphasizing the architectural significance of the ‘joint’, Forrest presents a tectonic and nomadic ceramic ornament. The project of ‘colonizing architecture’ is a theory of connectedness enabling close independence, which embraces the principle of non-hierarchical pattern behaviors that largely underpin the decorative arts.
Here ornament is understood as the libido for contemporary architecture, and can be tasked as having increasing utility to the organism of architecture, ready to engage an elegantly engineered world.
Neil Forrest has exhibited and lectured in North America, UK, Europe and Asia, and is currently Professor of Ceramics at NSCAD University. His most recent exhibitions were Wurzelwerk, Scaffs and Thicket. His ceramics have been published in books, craft magazines and architectural journals. Forrest studied at Cranbrook Academy of Art, Alfred University and Sheridan College of Crafts and is involved in several research collaborations that examine ceramics for architecture.
This movie would always hold a special place in my heart .It was captivating to say the least.It was my first brush with popular American culture - The baseball games,the pop stars,the significance of Vietnam war ,the southern American drawl and yes the Nike footwear.It tells you don't necessarily have to be smart to be successful.I can watch it a 100 times on a lazy Sunday afternoon .Tom Hanks completely blew me away with his child-like innocence back then and Today, a decade later he still has the same effect on me.
An iconic scene which any movie lover will recognise. This road on the way to Monument Valley was well run by Tom Hanks in the motion picture "Forrest Gump"
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