View allAll Photos Tagged Unforced
Unforced error - or gaining knowledge through scatterbrain.
It is known that adding small amounts of a normal developer to the lith developer reduces or even completely prevents the lith effect. So normally one does not do this. Here I wanted to inject a fresh batch of lith developer with a little "old brown", but I made a mistake in the dark and added 40ml of SE4 Neutral 1+14 to one litre of lith 1+20. Already during the development it became apparent that something went differently than expected. After six minutes I stopped the development because the lights were already showing the right density, which was actually only supposed to happen in a second bath.
After careful consideration, I am toying with the idea of repeating this occasionally.
clever or intellectual photography. I don’t like anything that needs an explanation :-)
Aaron Berger
HMM! Truth Matters!
prunus mume, weeping japanese flowering apricot, 'Bridal Veil', j c raulston arboretum, ncsu, raleigh, north carolina
Occasionally, a Green Heron will launch itself into the water to go after a fish beyond its reach from the perch, but rare is the unintended fall from grace. Rarer still, this one didn't even come up with a catch, thus doubling its embarrassment. On Horsepen Bayou.
I don’t like clever or intellectual photography. I don’t like anything that needs an explanation :-)
Aaron Berger
HBW! HGGT! Public Education Matters! Resist the Mentally Unstable Orange Clown and his Cabinet of Buffoons!!
hybrid camellia, 'Spring Mist', sarah p duke gardens, duke university, durham, north carolina
Superb day out on Ossian with good friend Garry Smith.
Haven't looked at all my shots from the day but this will probably be my favourite. It's really a shot which appeals to me most. Those unplanned, unforced happenings of nature when wind, light, terrain and snow all come together.
Took next to no processing too which is also a bonus, less opportunity for me to ruin it.
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All rights reserved. Please do not use this or any of my pictures in any way, shape or form without my prior permission, that includes blogs.
Kirishima è un luogo intriso di spiritualità e storia, ma lontano dai circuiti turistici affollati. In questa scena, un uomo si avvia in silenzio verso l'ingresso del santuario, mentre un bambino gioca con le pietre all’ombra dei grandi cedri. È una scena semplice ma significativa: due gesti diversi, uno legato al rito, l’altro alla spontaneità, che coesistono in un luogo che invita al rispetto e alla quiete. Il torii rosso segna il confine tra l’esterno e il sacro, ricordando che anche senza cerimonie vistose, il Giappone conserva luoghi dove la spiritualità si manifesta con naturalezza.
霧島は歴史と信仰が息づく場所でありながら、観光地の喧騒からは離れている。この場面では、男性が静かに神社へ向かい、子どもが杉の木の陰で石遊びをしている。異なる行動だが、どちらもこの土地の空気の中で自然に溶け込んでいる。朱色の鳥居は俗と聖の境界を示し、華やかな儀式がなくとも、日本にはこうした穏やかな信仰の場が今も残っていることを感じさせてくれる。
Kirishima is a place rich in spirituality and history, yet far from crowded tourist routes. In this scene, a man quietly walks toward the entrance of the shrine while a child plays with stones in the shade of tall cedars. It's a simple yet meaningful moment: two actions, one ritual and one spontaneous, sharing the same space. The red torii marks the threshold between the outside world and the sacred, a reminder that even without grand ceremonies, Japan still holds places where spirituality feels natural and unforced.
I thought I was done for the day; at least done with ice photos. I'd just made a very good shot - knew it was good, could feel it was good - and had turned toward the beaten snow path of a deer trail to leave, and happened to glance down one last time. And saw this.
When that happens, when an image comes to you unbidden, unforced, without effort... you'd better not ignore it. After a certain time in the field, we all get image fatigue. The well dries up. "What else can I possibly do here?" we ask, and come up blank. Nothing. I'm done. If you reach that state and an image jumps out at you from somewhere, accept it as a gift, perhaps from your subconscious, and don't argue or discount its value.
I set up my tripod one more time, shooting straight down with a macro lens and a small f-stop. It is similar to a thousand other ice macro shots I've made along this river over the past decade, yet unique in its configuration of lines and shapes and textures and light. There's a certain tranquility here. It may not make it into my "Best of 2020" folder, but I walked away feeling better for having taken the time to get this shot, and sometimes that is the key - it's more about process than result. Because if I had been in too great a hurry to go on to something else, it would have nagged me for the rest of that day. What if, what if? Did I miss something good? Did a big one get away?
"You learn to see by practice. It’s just like playing tennis, you get better the more you play. The more you look around at things, the more you see. The more you photograph, the more you realize what can be photographed and what can’t be photographed. You just have to keep doing it."
– Eliot Porter
Photographed in Grasslands National Park, Saskatchewan (Canada). Don't use this image on websites, blogs, or other media without explicit permission ©2020 James R. Page - all rights reserved.
Another of Trea from early on. There are 3 pics in this series and they were probably my favourite from the day because they all looked natural and unforced.
nude with camera II
(October 10, 2015)
TX, US
I found one more which I like for its unforced body language.
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© All rights reserved
I grew frustrated with this flower after a few days so I wound up peeling back its outside petals and forcing it to bloom.
A quiet moment, captured in natural light — where softness meets strength.
Runa carries an effortless grace that doesn’t need posing or direction; it simply happens the moment she looks into the lens.
A reminder that beauty often lies in the gentle, unforced moments in between.
© 2016 Thousand Word Images by Dustin Abbott
This was a complete candid after the ceremony as the bride and groom waited for the guests to come out for the receiving line. I loved the moment for the sheer happiness of it. The groom was feeling like a lucky man, and the bride is beaming with happiness. Some of these unforced moments result in the best pictures!
Technical Information: Canon EOS 6D + Tamron SP 70-200mm f/2.8 Di VC USD, Processed in Adobe Lightroom CC, Photoshop CC, and Alien Skin Exposure X (use code "dustinabbott" to get 10% off)
Want to know more about me or make contact? Take a look at my website and find a lot of ways t
A spontaneous, candid portrait capturing a moment of genuine serenity and inner light. The soft focus and warm colors highlight the subject's radiant smile and calm, expressive gaze. A moment of true, unforced beauty.
This photograph is dedicated to the Slavic goddess of love, beauty, and spring, Lela.
If you appreciate my photographic vision and want to see more of my work, I would be grateful for your support by subscribing to my Boosty via the link in my profile.
Thank you!
This photo titled "Splendour in the Grass" evokes several layers of sensuality, expressionism, and feminist themes. It captures a woman lying in the grass, bathed in soft sunlight. Her relaxed, almost dreamlike pose, with her head resting on her hand, highlights a natural, unforced sensuality. The greenery surrounding her and the vibrant colours create an intimate connection with nature, emphasising a raw and earthy allure. The soft focus adds a layer of romanticism, enhancing the overall sensual ambiance.
The expressionist elements of the photo are evident in the use of colour, light, and focus. The vivid green of the grass and the bright orange of her hair create a striking contrast that draws the viewer’s eye. This use of bold, expressive colours is reminiscent of expressionist art, where emotional experience takes precedence over realism. The slightly blurred, soft-focus effect adds emotional depth, suggesting a subjective experience rather than a literal depiction, inviting viewers to feel the scene rather than just see it.
From a feminist perspective, the photo celebrates the woman's autonomy and her harmonious relationship with nature. The casual, confident pose conveys a sense of freedom and self-assurance. Unlike traditional depictions of women in nature that often objectify, this image empowers the subject by presenting her in a state of comfort and ease, unburdened by societal expectations. The choice to portray her in a natural, uncontrived setting challenges conventional beauty standards and embraces a more inclusive, authentic representation of femininity.
The title "Splendour in the Grass" refers back to the 1961 film of the same name, which dealt with themes of repressed desire, societal expectations, and the innocence of youth. The photo echoes these themes through its depiction of natural beauty and the serene, contemplative mood of the subject. It suggests a longing for a simpler, more genuine connection with oneself and the world, free from the constraints imposed by society.
The Golden Peace - 1722
According to the legends,1722 is the opening year of the Golden Peace. Scholars dispute this, however.
They dispute just as much about which peace the name actually alludes to. Is it the peace of Stettin in 1570 or perhaps the peace of Uusimaa in 1721?
Or is it perhaps as simple as the fact that both “gold” and “peace” are two pleasant words that become even more pleasant when paired together? In any case, truth and poetry have had an unforced relationship at the Peace ever since.
© 2016 Thousand Word Images by Dustin Abbott
Wedding season has rolled around once again. I don't advertise for weddings and limit the number that I do each year to what I can count on one hand. I do enjoy doing them, though, and find the process of creating and capturing romance in a couple's life a very fulfilling one. This shot is from early on in the shoot, where I get a couple to just walk together and interract, pausing here and there to talk, be close, and kiss. This not only loosens them up and gets them to forget about the camera but also creates a lot of a unforced, genuine moments that make for (in my opinion) the best pictures. I've been wanting to do a shoot in this location for a while - a long corridor among towering pines that is typically a trail for horseback riding. Congrats to Jason and Marsha! (P.S. For weddings I don't mess around with review gear - I pull out my tried and true tools that I know will deliver for me!)
Technical Information: Canon EOS 6D + Tamron SP 70-200mm f/2.8 Di VC USD, Processed in Adobe Lightroom CC, Photoshop CC, and Alien Skin Exposure X (use code "dustinabbott" to get 10% off)
Want to know more about me or make contact? Take a look at my website and find a lot of ways t
Real Name: Eric Needham
Current Alias: Black Spider
Abilities: He is a trained fighter with a vast knowledge of weapons with special training from a multitude of dangerous individuals.
Attire: He wears a Black, red and purple suit unforced by high grade body armor, with specs that can change to night vision or to thermal lenses.
Belle Reve File: Eric Needham Aka Black Spider was a brutal vigilante that targeted the drug trade in Gotham city. He is a reformed drug addict who killed his father during a failed robbery and now hunts drug dealers for ruining his life. He was pursued by The Batman after he killed and underling of The Sandman, Gotham’s most profitable cocaine dealer. Needham was captured after he killed twenty of Sandman’s men in an effort to find him. Ultimately batman used the information to track down the Sandman and sent him to Black Gate Prison along with Needham. Needham escaped during a mass breakout and started off by offing Gotham’s largest dealers, who primarily worked under Roman Sionis. Needham then started targeting Roman’s lieutenants which lead to Needham getting caught in the middle of a drug bust being conducted by the FBI. Needham was captured and instead transferred to Belle Reve to be placed into task force X so his talents could be used to serve the country rather than his own agenda. He was first paired with Violet Hall to go after a terrorist organization that planned on covering Dallas Texas in a cloud of toxic chemicals. The two eliminated the threat and also started a personal relationship with each other. Needham is still serving his sentence while under our watch
I liked Jerroid instantly...another photographer who loves cats! :)
Likes: Lazy Sundays, unforced laughter, squeezy hugs, freshly laundered t-shirts, pragmatism
Dislikes: Cold bathroom tile, incuriousness, unreasoned reactions to the unknown or unfamiliar
I can’t imagine what you are going through right now — trials, suffering, heartache, pain. But I can tell you that whatever it is, it’s not too big for God. His grace can cover it, and your heart can be made new. In those times when I felt like I was drowning, I thought God was off in a distant land. Later I realized that’s when He is most near.
Come as you are
He’s near you too.
I heard a story awhile back about some friends who went swimming in a river. It was spring, and the glacier runoff had made the river pretty dangerous. Nonetheless one of the guys jumped in, got caught in the current, and was taken to the dangerous part of the rapids. One of his friends on the shore was a lifeguard, and all the other friends looked at him to do something. He just stood there, though, not moving, just staring at his friend. The others began to panic and yell at him and tell him to go save his friend! Still nothing. They looked out into the river and saw their friend struggling desperately.
In an instant, though, the struggle stopped. He could no longer fight and began to drown. When that happened, the lifeguard jumped in and with a few swift strokes rescued the friend and brought him to shore. With the adrenaline wearing off, the group yelled at the lifeguard, “Why didn’t you jump in earlier? He could’ve died!”
He calmly looked at them and said, “I had to wait until he fully gave up. Unless he stopped fighting, he would have dragged me under and drowned me with him. But the minute he gave up, I could save him.”
That’s what it’s like with Jesus. He just wants us to surrender, and when we do, He comes and gets us. The waves might be crashing overhead, but in that moment, when it looks like we might die, His grace scoops us up and brings us life. And because we finally give up, we know it was Him who did all the saving.
Will you surrender?
I don’t know where you are or where you’re coming from, but I know Jesus has a better plan for your life than you do. He is a better king of your life than you are. No one has caused me more hurt, shame, guilt, and pain than me. He knows, and He rescues me. He can do the same for you.
Just come as you are.
Are you tired? Worn out? Burned out on religion? Come to Me. Get away with Me and you’ll recover your life. I’ll show you how to take a real rest. Walk with Me and work with Me — watch how I do it. Learn the unforced rhythms of grace. I won’t lay anything heavy or ill-fitting on you. Keep company with Me and you’ll learn to live freely and lightly. — Matthew 11:28-30
Excerpted from Jesus > Religion by Jefferson Bethke,
On the face of it there's nothing particularly wrong with this photo but it irks me and will for a long time I'm sure. We were on a quick family trip to Duluth and I'd successfully avoided hijacking the trip for any railfan sidelights.
A week ago we were headed home on a beautiful bluebird day. On the way out of Superior I spied this train of GATX hoppers departing on the "coal main". With a slight detour I was able to beat them out here just east of the 15.9 control point. They were easing to a stop. I had also seen the Rapids local ready to head this way as well. I figured it was the Rapids that had the green here to highball up to Cloquet. With this shot in the bag I got back into the car to reposition for the Rapids. Unforced error, I had just enough time to get myself out of position for when the local came bounding around the corner.
I had the rest of the drive home to stew in the realization that all I had to do was sit still for one minute and collect the well-lit overtake shot here (with a handsome H-3 SD40-2 leading). Thus it will take some time to make my peace with a perfectly average shot of a GEVO-led unit train without the regrets of what should be in the frame with it. March 28, 2022.
She rests her head gently,
as if the world has paused just long enough
for her to breathe in stillness.
Teal-rimmed glasses frame eyes
that drift softly downward,
not searching, just being.
Her hair falls like whispers across her face,
and the blue of her jacket
echoes the calm in her gaze.
A portrait of quiet connection—
unspoken, unforced,
held in the hush of a shared moment.
French postcard by Editions La Malibran, Saint-Dié, no. CF 30. Photo: Georges Pierre. Anna Karina in Alphaville (Jean-Luc Godard, 1965). Photography: Raoul Coutard.
French, but Danish-born film actress, singer, and director Anna Karina (1940-2019) was the queen of the Nouvelle Vague. Karina was the muse of director Jean-Luc Godard and starred in eight of his films.
Anna Karina was born Hanne Karen Blarke Bayer in Solbjerg, Denmark, in 1940. Her mother was a dress shop owner and her father a ship's captain. Before she turned one, her father had left her mother. First, she was raised by her maternal grandparents, where she stayed until the age of four. Then she spent time in and out of foster homes, before returning to live with her mother from the age of eight. She has described her childhood as 'terribly wanting to be loved' and as a child, she made numerous attempts to run away from home. She began her career in Denmark, where she sang in cabarets and worked as a model playing in commercials. At age 14, she appeared in the Danish short film Pigen og skoene/Girls and Shoes (Ib Schedes, 1954), which won a prize at the Cannes Film Festival. She studied dance and painting in Denmark and for a while making a living selling her paintings. In 1958, after a row with her mother, she hitchhiked to Paris. She had a break when sitting briefly at the cafe Les Deux Magots, she was approached by a woman from an advertisement agency who asked her to do some photos. Hanne became a rising fashion model and met Coco Chanel and Pierre Cardin. Chanel advised her to use a professional name, Anna Karina. She made a series of Palmolive ads in a bath covered in soapsuds and was noticed by Jean-Luc Godard, then a film critic for Cahiers du cinéma. Godard was casting his debut feature film, À bout de souffle/Breathless (1960) starring Jean-Paul Belmondo. He offered her a small role, but she refused when he mentioned that there would be a nude scene. However, she eventually accepted his offer to play a major role in his second film, Le Petit Soldat/The Little Soldier (1960) with Michel Subor. Karina, who was still under 21 had to persuade her estranged mother to sign the contract for her.
Anna Karina and Jean-Luc Godard married during the shooting of their next film, Une femme est une femme/A Woman Is a Woman (1961) with Jean-Paul Belmondo and Jean-Claude Brialy. It is a tribute to American musical comedy and the first film Godard shot in color and Cinemascope. Judd Blaise at AllMovie: "Rather than the sometimes alienating, dense intellectualism of later Godard works, Une femme est une femme offers aesthetic pleasure through luxurious visuals and a charming musical score by Michel Legrand. Against this bright backdrop, Karina proves particularly fetching, capturing the film's frolicsome mood in an unforced manner. While not one of Godard's most groundbreaking or influential films, Une femme est une femme is one of his most appealing and pleasurable efforts." J. Hoberman at Criterion: "Mainly, A Woman Is a Woman is a valentine to Karina, who became pregnant during the course of the movie’s production; she and Godard were married in March 1961, an event that made the cover of Paris Match." At the Berlin Film Festival in 1961, Anna Karina was awarded as Best Actress for Une femme est une femme. In the following years, the couple made Vivre sa Vie/My Life to Live (1962), Bande à part/Band of Outsiders (1964), Alphaville, une étrange aventure de Lemmy Caution/Alphaville, a Strange Adventure of Lemmy Caution (1965) with Eddie Constantine, Pierrot le fou/Pierrot Goes Wild (1965) with Jean-Paul Belmondo, Made in U.S.A. (1966) with Jean-Pierre Léaud and the anthology film Le plus vieux métier du monde/The Oldest Profession (1967). Although their cinematic collaboration seemed harmonious, behind the scenes, their relationship was tumultuous and bitter, made all the more difficult by the fact that it was under constant public scrutiny. Their three-year marriage ended in 1964, though they continued to work together until 1966. In 1967, Godard and Karina divorced.
Hal Erickson at AllMovie: "From all reports, Karina and Godard's relationship was symbiotic; it is certainly no coincidence that both actress and director went into a temporary artistic eclipse after their 1967 breakup." Anna Karina's acting career was not, however, limited to Godard's films, and she had a successful collaboration with other well-known directors. Some consider as her best performance her role in La Religieuse/The Nun (Jacques Rivette, 1966) in which she plays an intelligent, freedom-loving woman who is forced into a convent against her will. She also acted in the Italian productions Le Soldatesse/The Camp Followers (Valerio Zurlini, 1965) and the Albert Camus adaptation Lo Straniero/The Stranger (Luchino Visconti, 1967) starring Marcello Mastroianni. Karina also maintained a singing career and scored hits with Sous le soleil exactement and Roller Girl. Both songs were taken from the TV musical Anna (Pierre Koralnik, 1967), which Serge Gainsbourg had especially written for her. After her divorce in 1967, she went to Hollywood. She acted in Justine (George Cukor, 1969) and returned to Paris. Her later films included Laughter in the Dark (Tony Richardson, 1969), Rendez-vous à Bray/Appointment in Bray (André Delvaux, 1971) with Mathieu Carrière, Pane e cioccolata/Bread and Chocolate (Franco Brusati, 1973) starring Nino Manfredi, Chinesisches Roulette/Chinese Roulette (Rainer Werner Fassbinder, 1976), and Olyan mint otthon/Just Like Home (Márta Mészáros, 1978) with Jan Nowicki.
Anna Karina acted in but also wrote, produced, and directed Vivre ensemble/Living Together (1973). She has also written three novels and made several appearances on television. She appeared on stage in Jacques Rivette's adaptation of La Religieuse/The Nun, Pour Lucrece, Toi et Tes Nuages, Francoise Sagan's Il Fait Beau Jour et Nuit and Ingmar Bergman's Apres La Répétition/After the Repetition. In 2005 she released Chansons de films, a collection of songs sung in films. Incidentally she played in films like L'oeuvre au noir/The Abyss (André Delvaux, 1988) with Gian Maria Volonté, Haut bas fragile/Up, Down, Fragile (Jacques Rivette, 1995) and the romantic thriller The Truth About Charlie (Jonathan Demme, 2002) starring Mark Wahlberg. James Travers at Le Film Site on L'oeuvre au noir/The Abyss : "This sombre adaptation of Marguerite Yourcenar’s acclaimed literary work was directed by the acclaimed Belgian film-maker André Delvaux. Visually, the film is impressive and it boasts an excellent cast, but for all its excellent production values it is a heavy and somewhat laboured affair." Karina's most recent film as a director was Victoria (2008) in which she also starred. Mark Deming at AllMovie: "Thirty-five years after directing her first feature film, iconic actress Anna Karina once again steps behind the camera for this charming comedy-drama shot in Canada. Jimmy (Emmanuel Reichenbach) and Stanislas (Jean-Francois Moran) are a pair of nightclub performers who play second-rate gay nightclubs as part of a drag act called 'Les Lolitas'." After Godard, Anna Karina was married three times more: to scriptwriter-actor Pierre Fabre (1968–1973), actor-director Daniel Duval (1978–1981), and director Dennis Berry (1982–1994). Since 2009 she was married to Maurice Cooks. On 14 December 2019, Anna Karina has died in a Paris hospital of the effects of cancer at the age of 79, her agent Laurent Balandras told AFP, adding that she passed away in the company of her fourth husband, American director Dennis Berry.
Sources: Judd Blaise (AllMovie), J. Hoberman (Criterion), James Travers (Le Film Guide), Mark Deming (AllMovie), Hal Erickson (AllMovie), The Guardian, Fuck yeah! Anna Karina, IMDb, and Wikipedia.
And, please check out our blog European Film Star Postcards.
Zhou Enlai (1898-1976) was one of China's most beloved leaders during his lifetime, and he remains deeply remembered by the Chinese people.
Participant in all the great adventures of the communist revolution that culminated in their seizure of power in 1949 under the imperial tutelage of Mao Zedong, he remained until his death a skilled diplomat and a very pragmatic prime minister.
In Tianjin, a museum is dedicated to his memory.
While visiting it, I was able to observe the genuine, unforced respect shown to him by the many visitors. There were deep and frequent bows before his statue and his other representations.
Remarkably, his wife, Deng Yingchao, who survived him by several years, enjoys almost identical treatment in the museum setting to that of her husband.
* * *
Zhou Enlai (1898-1976) fut l'un des dirigeants de la Chine les plus appréciés de son vivant et il reste très présent dans le cœur des Chinois.
Participant à toutes les grandes aventures de la révolution communiste qui aboutirent à leur prise de pouvoir en 1949 sous l'impériale tutelle de Mao Dse Dong, il fut jusqu'à sa mort un habile diplomate et un premier ministre très pragmatique.
A Tianjin, un musée est dédié à sa mémoire.
En le visitant j'ai pu contstater le respect non feint, non contraint que lui portent les nombreux visiteurs. Profondes et multiples inclinaisons devant sa statue à ses autres réprésentations.
Fait remarquable, son épouse Deng Yingchao qui lui survivra quelques années, jouis dans le dispositif muséal d'un traitment presque identique à celui de son mari.
Belgian collectors card by Music-Fan magazine, no. 47.
Yesterday, 14 December 2019, the queen of the Nouvelle Vague, film actress, singer and director Anna Karina (1940) has passed away. French, but Danish-born Karina was the muse of director Jean-Luc Godard and starred in eight of his films. “Today, French cinema has been orphaned. It has lost one of its legends,” culture minister Franck Riester tweeted. Anna Karina was 79.
Anna Karina was born Hanne Karen Blarke Bayer in Solbjerg, Denmark, in 1940. Her mother was a dress shop owner and her father a ship's captain. Before she turned one, her father had left her mother. First she was raised by her maternal grandparents, where she stayed until the age of four. Then she spent time in and out of foster homes, before returning to live with her mother from the age of eight. She has described her childhood as 'terribly wanting to be loved' and as a child, she made numerous attempts to run away from home. She began her career in Denmark, where she sang in cabarets and worked as a model playing in commercials. At age 14, she appeared in the Danish short film Pigen og skoene/Girls and Shoes (Ib Schedes, 1954), which won a prize at the Cannes Film Festival. She studied dance and painting in Denmark and for a while made a living selling her paintings. In 1958, after a row with her mother, she hitchhiked to Paris. She had a break when, sitting briefly at the cafe Les Deux Magots, she was approached by a woman from an advertisement agency who asked her to do some photos. Hanne became a rising fashion model, and met Coco Chanel and Pierre Cardin. Chanel advised her to use as a professional name Anna Karina. She made a series of Palmolive ads in a bath covered in soapsuds, and was noticed by Jean-Luc Godard, then a film critic for Cahiers du cinéma. Godard was casting his debut feature film, À bout de souffle/Breathless (1960) starring Jean-Paul Belmondo. He offered her a small role, but she refused when he mentioned that there would be a nude scene. However, she eventually accepted his offer to play a major role in his second film, Le Petit Soldat/The Little Soldier (1960) with Michel Subor. Karina, who was still under 21 had to persuade her estranged mother to sign the contract for her.
Anna Karina and Jean-Luc Godard married during the shooting of their next film, Une femme est une femme/A Woman Is a Woman (1961) with Jean-Paul Belmondo and Jean-Claude Brialy. It is a tribute to American musical comedy and the first film Godard shot in color and Cinemascope. Judd Blaise at AllMovie: "Rather than the sometimes alienating, dense intellectualism of later Godard works, Une femme est une femme offers aesthetic pleasure through luxurious visuals and a charming musical score by Michel Legrand. Against this bright backdrop, Karina proves particularly fetching, capturing the film's frolicsome mood in an unforced manner. While not one of Godard's most groundbreaking or influential films, Une femme est une femme is one of his most appealing and pleasurable efforts." J. Hoberman at Criterion: "Mainly, A Woman Is a Woman is a valentine to Karina, who became pregnant during the course of the movie’s production; she and Godard were married in March 1961, an event that made the cover of Paris Match." At the Berlin Film Festival in 1961, Anna Karina was awarded as Best Actress for Une femme est une femme. In the following years, the couple made Vivre sa Vie/My Life to Live (1962), Bande à part/Band of Outsiders (1964), Alphaville, une étrange aventure de Lemmy Caution/Alphaville, a Strange Adventure of Lemmy Caution (1965) with Eddie Constantine, Pierrot le fou/Pierrot Goes Wild (1965) with Jean-Paul Belmondo, Made in U.S.A. (1966) with Jean-Pierre Léaud and the anthology film Le plus vieux métier du monde/The Oldest Profession (1967). Though their cinematic collaboration seemed harmonious, behind the scenes, their relationship was tumultuous and bitter, made all the more difficult by the fact that it was under constant public scrutiny. Their three-year marriage ended in 1964, though they continued to work together until 1966. In 1967, Godard and Karina divorced.
Hal Erickson at AllMovie: "From all reports, Karina and Godard's relationship was symbiotic; it is certainly no coincidence that both actress and director went into a temporary artistic eclipse after their 1967 breakup." Anna Karina's acting career was not, however, limited to Godard's films, and she had a successful collaboration with other well-known directors. Some consider as her best performance her role in La Religieuse/The Nun (Jacques Rivette, 1966) in which she plays an intelligent, freedom-loving woman who is forced into a convent against her will. She also acted in the Italian productions Le Soldatesse/The Camp Followers (Valerio Zurlini, 1965) and the Albert Camus adaptation Lo Straniero/The Stranger (Luchino Visconti, 1967) starring Marcello Mastroianni. Karina also maintained a singing career and scored hits with Sous le soleil exactement and Roller Girl. Both songs were taken from the TV musical Anna (Pierre Koralnik, 1967), which Serge Gainsbourg had especially written for her. After her divorce in 1967 she went to Hollywood. She acted in Justine (George Cukor, 1969) and returned to Paris. Her later films included Laughter in the Dark (Tony Richardson, 1969), Rendez-vous à Bray/Appointment in Bray (André Delvaux, 1971) with Mathieu Carrière, Pane e cioccolata/Bread and Chocolate (Franco Brusati, 1973) starring Nino Manfredi, Chinesisches Roulette/Chinese Roulette (Rainer Werner Fassbinder, 1976), and Olyan mint otthon/Just Like Home (Márta Mészáros, 1978) with Jan Nowicki.
Anna Karina acted in but also wrote, produced and directed Vivre ensemble/Living Together (1973). She has also written three novels and made several appearances on television. She appeared on stage in Jacques Rivette's adaptation of La Religieuse/The Nun, Pour Lucrece, Toi et Tes Nuages, Francoise Sagan's Il Fait Beau Jour et Nuit and Ingmar Bergman's Apres La Répétition/After the Repetition. In 2005 she released Chansons de films, a collection of songs sung in films. Incidentally she played in films like L'oeuvre au noir/The Abyss (André Delvaux, 1988) with Gian Maria Volonté, Haut bas fragile/Up, Down, Fragile (Jacques Rivette, 1995) and the romantic thriller The Truth About Charlie (Jonathan Demme, 2002) starring Mark Wahlberg. James Travers at Le Film Site on L'oeuvre au noir/The Abyss : "This sombre adaptation of Marguerite Yourcenar’s acclaimed literary work was directed by the acclaimed Belgian film-maker André Delvaux. Visually, the film is impressive and it boasts an excellent cast, but for all its excellent production values it is a heavy and somewhat laboured affair." Karina's most recent film as a director was Victoria (2008) in which she also starred. Mark Deming at AllMovie: "Thirty-five years after directing her first feature film, iconic actress Anna Karina once again steps behind the camera for this charming comedy-drama shot in Canada. Jimmy (Emmanuel Reichenbach) and Stanislas (Jean-Francois Moran) are a pair of nightclub performers who play second-rate gay nightclubs as part of a drag act called 'Les Lolitas'." After Godard, Anna Karina was married three times more: to scriptwriter-actor Pierre Fabre (1968–1973), actor-director Daniel Duval (1978–1981) and director Dennis Berry (1982–1994). Since 2009 she was married to Maurice Cooks. On 14 December 2019, Anna Karina has died in a Paris hospital of the effects of cancer at the age of 79, her agent Laurent Balandras told AFP, adding that she passed away in the company of her fourth husband, American director Dennis Berry.
Sources: Judd Blaise (AllMovie), J. Hoberman (Criterion), James Travers (Le Film Guide), Mark Deming (AllMovie), Hal Erickson (AllMovie), The Guardian, Fuck yeah! Anna Karina, IMDb and Wikipedia.
And, please check out our blog European Film Star Postcards.
11/52
by the holy Prophet Muhammad saws
So i got up very early today to shoot this. I had nothing particular in mind- nothing planned or drafted. The only thing i did is that i picked my gear at 5.30 am in the morning, drove through rainy streets and stoped by at those fields.
Watched the beautiful dawn, came back and started editing- not knowing what i wanted..
– tadaa –this is what came out. And I gota say , i somehow like it : )
I wish life in general could that unforced and easy going. *sigh *
East-German postcard by Progress Film-Verleih, Berlin, no. 2/74, 1974. Photo: Unifrance Film.
Yesterday, 14 December 2019, the queen of the Nouvelle Vague, film actress, singer and director Anna Karina (1940) has passed away. French, but Danish-born Karina was the muse of director Jean-Luc Godard and starred in eight of his films. “Today, French cinema has been orphaned. It has lost one of its legends,” culture minister Franck Riester tweeted. Anna Karina was 79.
Anna Karina was born Hanne Karen Blarke Bayer in Solbjerg, Denmark, in 1940. Her mother was a dress shop owner and her father a ship's captain. Before she turned one, her father had left her mother. First she was raised by her maternal grandparents, where she stayed until the age of four. Then she spent time in and out of foster homes, before returning to live with her mother from the age of eight. She has described her childhood as 'terribly wanting to be loved' and as a child, she made numerous attempts to run away from home. She began her career in Denmark, where she sang in cabarets and worked as a model playing in commercials. At age 14, she appeared in the Danish short film Pigen og skoene/Girls and Shoes (Ib Schedes, 1954), which won a prize at the Cannes Film Festival. She studied dance and painting in Denmark and for a while made a living selling her paintings. In 1958, after a row with her mother, she hitchhiked to Paris. She had a break when, sitting briefly at the cafe Les Deux Magots, she was approached by a woman from an advertisement agency who asked her to do some photos. Hanne became a rising fashion model, and met Coco Chanel and Pierre Cardin. Chanel advised her to use as a professional name Anna Karina. She made a series of Palmolive ads in a bath covered in soapsuds, and was noticed by Jean-Luc Godard, then a film critic for Cahiers du cinéma. Godard was casting his debut feature film, À bout de souffle/Breathless (1960) starring Jean-Paul Belmondo. He offered her a small role, but she refused when he mentioned that there would be a nude scene. However, she eventually accepted his offer to play a major role in his second film, Le Petit Soldat/The Little Soldier (1960) with Michel Subor. Karina, who was still under 21 had to persuade her estranged mother to sign the contract for her.
Anna Karina and Jean-Luc Godard married during the shooting of their next film, Une femme est une femme/A Woman Is a Woman (1961) with Jean-Paul Belmondo and Jean-Claude Brialy. It is a tribute to American musical comedy and the first film Godard shot in color and Cinemascope. Judd Blaise at AllMovie: "Rather than the sometimes alienating, dense intellectualism of later Godard works, Une femme est une femme offers aesthetic pleasure through luxurious visuals and a charming musical score by Michel Legrand. Against this bright backdrop, Karina proves particularly fetching, capturing the film's frolicsome mood in an unforced manner. While not one of Godard's most groundbreaking or influential films, Une femme est une femme is one of his most appealing and pleasurable efforts." J. Hoberman at Criterion: "Mainly, A Woman Is a Woman is a valentine to Karina, who became pregnant during the course of the movie’s production; she and Godard were married in March 1961, an event that made the cover of Paris Match." At the Berlin Film Festival in 1961, Anna Karina was awarded as Best Actress for Une femme est une femme. In the following years, the couple made Vivre sa Vie/My Life to Live (1962), Bande à part/Band of Outsiders (1964), Alphaville, une étrange aventure de Lemmy Caution/Alphaville, a Strange Adventure of Lemmy Caution (1965) with Eddie Constantine, Pierrot le fou/Pierrot Goes Wild (1965) with Jean-Paul Belmondo, Made in U.S.A. (1966) with Jean-Pierre Léaud and the anthology film Le plus vieux métier du monde/The Oldest Profession (1967). Though their cinematic collaboration seemed harmonious, behind the scenes, their relationship was tumultuous and bitter, made all the more difficult by the fact that it was under constant public scrutiny. Their three-year marriage ended in 1964, though they continued to work together until 1966. In 1967, Godard and Karina divorced.
Hal Erickson at AllMovie: "From all reports, Karina and Godard's relationship was symbiotic; it is certainly no coincidence that both actress and director went into a temporary artistic eclipse after their 1967 breakup." Anna Karina's acting career was not, however, limited to Godard's films, and she had a successful collaboration with other well-known directors. Some consider as her best performance her role in La Religieuse/The Nun (Jacques Rivette, 1966) in which she plays an intelligent, freedom-loving woman who is forced into a convent against her will. She also acted in the Italian productions Le Soldatesse/The Camp Followers (Valerio Zurlini, 1965) and the Albert Camus adaptation Lo Straniero/The Stranger (Luchino Visconti, 1967) starring Marcello Mastroianni. Karina also maintained a singing career and scored hits with Sous le soleil exactement and Roller Girl. Both songs were taken from the TV musical Anna (Pierre Koralnik, 1967), which Serge Gainsbourg had especially written for her. After her divorce in 1967 she went to Hollywood. She acted in Justine (George Cukor, 1969) and returned to Paris. Her later films included Laughter in the Dark (Tony Richardson, 1969), Rendez-vous à Bray/Appointment in Bray (André Delvaux, 1971) with Mathieu Carrière, Pane e cioccolata/Bread and Chocolate (Franco Brusati, 1973) starring Nino Manfredi, Chinesisches Roulette/Chinese Roulette (Rainer Werner Fassbinder, 1976), and Olyan mint otthon/Just Like Home (Márta Mészáros, 1978) with Jan Nowicki.
Anna Karina acted in but also wrote, produced and directed Vivre ensemble/Living Together (1973). She has also written three novels and made several appearances on television. She appeared on stage in Jacques Rivette's adaptation of La Religieuse/The Nun, Pour Lucrece, Toi et Tes Nuages, Francoise Sagan's Il Fait Beau Jour et Nuit and Ingmar Bergman's Apres La Répétition/After the Repetition. In 2005 she released Chansons de films, a collection of songs sung in films. Incidentally she played in films like L'oeuvre au noir/The Abyss (André Delvaux, 1988) with Gian Maria Volonté, Haut bas fragile/Up, Down, Fragile (Jacques Rivette, 1995) and the romantic thriller The Truth About Charlie (Jonathan Demme, 2002) starring Mark Wahlberg. James Travers at Le Film Site on L'oeuvre au noir/The Abyss : "This sombre adaptation of Marguerite Yourcenar’s acclaimed literary work was directed by the acclaimed Belgian film-maker André Delvaux. Visually, the film is impressive and it boasts an excellent cast, but for all its excellent production values it is a heavy and somewhat laboured affair." Karina's most recent film as a director was Victoria (2008) in which she also starred. Mark Deming at AllMovie: "Thirty-five years after directing her first feature film, iconic actress Anna Karina once again steps behind the camera for this charming comedy-drama shot in Canada. Jimmy (Emmanuel Reichenbach) and Stanislas (Jean-Francois Moran) are a pair of nightclub performers who play second-rate gay nightclubs as part of a drag act called 'Les Lolitas'." After Godard, Anna Karina was married three times more: to scriptwriter-actor Pierre Fabre (1968–1973), actor-director Daniel Duval (1978–1981) and director Dennis Berry (1982–1994). Since 2009 she was married to Maurice Cooks. On 14 December 2019, Anna Karina has died in a Paris hospital of the effects of cancer at the age of 79, her agent Laurent Balandras told AFP, adding that she passed away in the company of her fourth husband, American director Dennis Berry.
Sources: Judd Blaise (AllMovie), J. Hoberman (Criterion), James Travers (Le Film Guide), Mark Deming (AllMovie), Hal Erickson (AllMovie), The Guardian, Fuck yeah! Anna Karina, IMDb and Wikipedia.
And, please check out our blog European Film Star Postcards.
Never ending supply of interesting windows, and doors. The simple elegance of the curves looks natural and unforced, how often do we see modern windows that are aesthetically pleasing?
Series of shots showing eagles doing what comes naturally. Immediately prior to this they were screaming at each other or possibly at their juvenile offspring to go and play somewhere else so they could have some quality time with each other :0)
Federer lost the Australian Open against Rafael Nadal. 7-5, 3-6, 7-6 (3), 3-6, 6-2
He has to wait the next grand slam to equalize Pete Sampras record who won 14 grand slam in his career.
PS: i don't know how a player like Federer makes huge numbers of unforced errors in a final game like this.
Maybe it's the pressure, the age, the great talent of Nadal or all of them.
You can see My sport set or my Interesting 50
Spanish postcard by Postal Oscarcolor.
Yesterday, 14 December 2019, the queen of the Nouvelle Vague, film actress, singer, and director Anna Karina (1940) has passed away. French, but Danish-born Karina was the muse of director Jean-Luc Godard and starred in eight of his films. “Today, French cinema has been orphaned. It has lost one of its legends,” culture minister Franck Riester tweeted. Anna Karina was 79.
Anna Karina was born Hanne Karen Blarke Bayer in Solbjerg, Denmark, in 1940. Her mother was a dress shop owner and her father a ship's captain. Before she turned one, her father had left her mother. First she was raised by her maternal grandparents, where she stayed until the age of four. Then she spent time in and out of foster homes, before returning to live with her mother from the age of eight. She has described her childhood as 'terribly wanting to be loved' and as a child, she made numerous attempts to run away from home. She began her career in Denmark, where she sang in cabarets and worked as a model playing in commercials. At age 14, she appeared in the Danish short film Pigen og skoene/Girls and Shoes (Ib Schedes, 1954), which won a prize at the Cannes Film Festival. She studied dance and painting in Denmark and for a while made a living selling her paintings. In 1958, after a row with her mother, she hitchhiked to Paris. She had a break when, sitting briefly at the cafe Les Deux Magots, she was approached by a woman from an advertisement agency who asked her to do some photos. Hanne became a rising fashion model, and met Coco Chanel and Pierre Cardin. Chanel advised her to use as a professional name Anna Karina. She made a series of Palmolive ads in a bath covered in soapsuds, and was noticed by Jean-Luc Godard, then a film critic for Cahiers du cinéma. Godard was casting his debut feature film, À bout de souffle/Breathless (1960) starring Jean-Paul Belmondo. He offered her a small role, but she refused when he mentioned that there would be a nude scene. However, she eventually accepted his offer to play a major role in his second film, Le Petit Soldat/The Little Soldier (1960) with Michel Subor. Karina, who was still under 21 had to persuade her estranged mother to sign the contract for her.
Anna Karina and Jean-Luc Godard married during the shooting of their next film, Une femme est une femme/A Woman Is a Woman (1961) with Jean-Paul Belmondo and Jean-Claude Brialy. It is a tribute to American musical comedy and the first film Godard shot in color and Cinemascope. Judd Blaise at AllMovie: "Rather than the sometimes alienating, dense intellectualism of later Godard works, Une femme est une femme offers aesthetic pleasure through luxurious visuals and a charming musical score by Michel Legrand. Against this bright backdrop, Karina proves particularly fetching, capturing the film's frolicsome mood in an unforced manner. While not one of Godard's most groundbreaking or influential films, Une femme est une femme is one of his most appealing and pleasurable efforts." J. Hoberman at Criterion: "Mainly, A Woman Is a Woman is a valentine to Karina, who became pregnant during the course of the movie’s production; she and Godard were married in March 1961, an event that made the cover of Paris Match." At the Berlin Film Festival in 1961, Anna Karina was awarded as Best Actress for Une femme est une femme. In the following years, the couple made Vivre sa Vie/My Life to Live (1962), Bande à part/Band of Outsiders (1964), Alphaville, une étrange aventure de Lemmy Caution/Alphaville, a Strange Adventure of Lemmy Caution (1965) with Eddie Constantine, Pierrot le fou/Pierrot Goes Wild (1965) with Jean-Paul Belmondo, Made in U.S.A. (1966) with Jean-Pierre Léaud and the anthology film Le plus vieux métier du monde/The Oldest Profession (1967). Though their cinematic collaboration seemed harmonious, behind the scenes, their relationship was tumultuous and bitter, made all the more difficult by the fact that it was under constant public scrutiny. Their three-year marriage ended in 1964, though they continued to work together until 1966. In 1967, Godard and Karina divorced.
Hal Erickson at AllMovie: "From all reports, Karina and Godard's relationship was symbiotic; it is certainly no coincidence that both actress and director went into a temporary artistic eclipse after their 1967 breakup." Anna Karina's acting career was not, however, limited to Godard's films, and she had a successful collaboration with other well-known directors. Some consider as her best performance her role in La Religieuse/The Nun (Jacques Rivette, 1966) in which she plays an intelligent, freedom-loving woman who is forced into a convent against her will. She also acted in the Italian productions Le Soldatesse/The Camp Followers (Valerio Zurlini, 1965) and the Albert Camus adaptation Lo Straniero/The Stranger (Luchino Visconti, 1967) starring Marcello Mastroianni. Karina also maintained a singing career and scored hits with Sous le soleil exactement and Roller Girl. Both songs were taken from the TV musical Anna (Pierre Koralnik, 1967), which Serge Gainsbourg had especially written for her. After her divorce in 1967 she went to Hollywood. She acted in Justine (George Cukor, 1969) and returned to Paris. Her later films included Laughter in the Dark (Tony Richardson, 1969), Rendez-vous à Bray/Appointment in Bray (André Delvaux, 1971) with Mathieu Carrière, Pane e cioccolata/Bread and Chocolate (Franco Brusati, 1973) starring Nino Manfredi, Chinesisches Roulette/Chinese Roulette (Rainer Werner Fassbinder, 1976), and Olyan mint otthon/Just Like Home (Márta Mészáros, 1978) with Jan Nowicki.
Anna Karina acted in but also wrote, produced and directed Vivre ensemble/Living Together (1973). She has also written three novels and made several appearances on television. She appeared on stage in Jacques Rivette's adaptation of La Religieuse/The Nun, Pour Lucrece, Toi et Tes Nuages, Francoise Sagan's Il Fait Beau Jour et Nuit and Ingmar Bergman's Apres La Répétition/After the Repetition. In 2005 she released Chansons de films, a collection of songs sung in films. Incidentally she played in films like L'oeuvre au noir/The Abyss (André Delvaux, 1988) with Gian Maria Volonté, Haut bas fragile/Up, Down, Fragile (Jacques Rivette, 1995) and the romantic thriller The Truth About Charlie (Jonathan Demme, 2002) starring Mark Wahlberg. James Travers at Le Film Site on L'oeuvre au noir/The Abyss : "This sombre adaptation of Marguerite Yourcenar’s acclaimed literary work was directed by the acclaimed Belgian film-maker André Delvaux. Visually, the film is impressive and it boasts an excellent cast, but for all its excellent production values it is a heavy and somewhat laboured affair." Karina's most recent film as a director was Victoria (2008) in which she also starred. Mark Deming at AllMovie: "Thirty-five years after directing her first feature film, iconic actress Anna Karina once again steps behind the camera for this charming comedy-drama shot in Canada. Jimmy (Emmanuel Reichenbach) and Stanislas (Jean-Francois Moran) are a pair of nightclub performers who play second-rate gay nightclubs as part of a drag act called 'Les Lolitas'." After Godard, Anna Karina was married three times more: to scriptwriter-actor Pierre Fabre (1968–1973), actor-director Daniel Duval (1978–1981) and director Dennis Berry (1982–1994). Since 2009 she was married to Maurice Cooks. On 14 December 2019, Anna Karina has died in a Paris hospital of the effects of cancer at the age of 79, her agent Laurent Balandras told AFP, adding that she passed away in the company of her fourth husband, American director Dennis Berry.
Sources: Judd Blaise (AllMovie), J. Hoberman (Criterion), James Travers (Le Film Guide), Mark Deming (AllMovie), Hal Erickson (AllMovie), The Guardian, Fuck yeah! Anna Karina, IMDb and Wikipedia.
And, please check out our blog European Film Star Postcards.
Small Romanian collectors card. Photo: Anna Karina in Shéhérazade (Pierre Gaspard-Huit, 1963).
Yesterday, 14 December 2019, the queen of the Nouvelle Vague, film actress, singer and director Anna Karina (1940) has passed away. French, but Danish-born Karina was the muse of director Jean-Luc Godard and starred in eight of his films. “Today, French cinema has been orphaned. It has lost one of its legends,” culture minister Franck Riester tweeted. Anna Karina was 79.
Anna Karina was born Hanne Karen Blarke Bayer in Solbjerg, Denmark, in 1940. Her mother was a dress shop owner and her father a ship's captain. Before she turned one, her father had left her mother. First she was raised by her maternal grandparents, where she stayed until the age of four. Then she spent time in and out of foster homes, before returning to live with her mother from the age of eight. She has described her childhood as 'terribly wanting to be loved' and as a child, she made numerous attempts to run away from home. She began her career in Denmark, where she sang in cabarets and worked as a model playing in commercials. At age 14, she appeared in the Danish short film Pigen og skoene/Girls and Shoes (Ib Schedes, 1954), which won a prize at the Cannes Film Festival. She studied dance and painting in Denmark and for a while made a living selling her paintings. In 1958, after a row with her mother, she hitchhiked to Paris. She had a break when, sitting briefly at the cafe Les Deux Magots, she was approached by a woman from an advertisement agency who asked her to do some photos. Hanne became a rising fashion model, and met Coco Chanel and Pierre Cardin. Chanel advised her to use as a professional name Anna Karina. She made a series of Palmolive ads in a bath covered in soapsuds, and was noticed by Jean-Luc Godard, then a film critic for Cahiers du cinéma. Godard was casting his debut feature film, À bout de souffle/Breathless (1960) starring Jean-Paul Belmondo. He offered her a small role, but she refused when he mentioned that there would be a nude scene. However, she eventually accepted his offer to play a major role in his second film, Le Petit Soldat/The Little Soldier (1960) with Michel Subor. Karina, who was still under 21 had to persuade her estranged mother to sign the contract for her.
Anna Karina and Jean-Luc Godard married during the shooting of their next film, Une femme est une femme/A Woman Is a Woman (1961) with Jean-Paul Belmondo and Jean-Claude Brialy. It is a tribute to American musical comedy and the first film Godard shot in color and Cinemascope. Judd Blaise at AllMovie: "Rather than the sometimes alienating, dense intellectualism of later Godard works, Une femme est une femme offers aesthetic pleasure through luxurious visuals and a charming musical score by Michel Legrand. Against this bright backdrop, Karina proves particularly fetching, capturing the film's frolicsome mood in an unforced manner. While not one of Godard's most groundbreaking or influential films, Une femme est une femme is one of his most appealing and pleasurable efforts." J. Hoberman at Criterion: "Mainly, A Woman Is a Woman is a valentine to Karina, who became pregnant during the course of the movie’s production; she and Godard were married in March 1961, an event that made the cover of Paris Match." At the Berlin Film Festival in 1961, Anna Karina was awarded as Best Actress for Une femme est une femme. In the following years, the couple made Vivre sa Vie/My Life to Live (1962), Bande à part/Band of Outsiders (1964), Alphaville, une étrange aventure de Lemmy Caution/Alphaville, a Strange Adventure of Lemmy Caution (1965) with Eddie Constantine, Pierrot le fou/Pierrot Goes Wild (1965) with Jean-Paul Belmondo, Made in U.S.A. (1966) with Jean-Pierre Léaud and the anthology film Le plus vieux métier du monde/The Oldest Profession (1967). Though their cinematic collaboration seemed harmonious, behind the scenes, their relationship was tumultuous and bitter, made all the more difficult by the fact that it was under constant public scrutiny. Their three-year marriage ended in 1964, though they continued to work together until 1966. In 1967, Godard and Karina divorced.
Hal Erickson at AllMovie: "From all reports, Karina and Godard's relationship was symbiotic; it is certainly no coincidence that both actress and director went into a temporary artistic eclipse after their 1967 breakup." Anna Karina's acting career was not, however, limited to Godard's films, and she had a successful collaboration with other well-known directors. Some consider as her best performance her role in La Religieuse/The Nun (Jacques Rivette, 1966) in which she plays an intelligent, freedom-loving woman who is forced into a convent against her will. She also acted in the Italian productions Le Soldatesse/The Camp Followers (Valerio Zurlini, 1965) and the Albert Camus adaptation Lo Straniero/The Stranger (Luchino Visconti, 1967) starring Marcello Mastroianni. Karina also maintained a singing career and scored hits with Sous le soleil exactement and Roller Girl. Both songs were taken from the TV musical Anna (Pierre Koralnik, 1967), which Serge Gainsbourg had especially written for her. After her divorce in 1967 she went to Hollywood. She acted in Justine (George Cukor, 1969) and returned to Paris. Her later films included Laughter in the Dark (Tony Richardson, 1969), Rendez-vous à Bray/Appointment in Bray (André Delvaux, 1971) with Mathieu Carrière, Pane e cioccolata/Bread and Chocolate (Franco Brusati, 1973) starring Nino Manfredi, Chinesisches Roulette/Chinese Roulette (Rainer Werner Fassbinder, 1976), and Olyan mint otthon/Just Like Home (Márta Mészáros, 1978) with Jan Nowicki.
Anna Karina acted in but also wrote, produced and directed Vivre ensemble/Living Together (1973). She has also written three novels and made several appearances on television. She appeared on stage in Jacques Rivette's adaptation of La Religieuse/The Nun, Pour Lucrece, Toi et Tes Nuages, Francoise Sagan's Il Fait Beau Jour et Nuit and Ingmar Bergman's Apres La Répétition/After the Repetition. In 2005 she released Chansons de films, a collection of songs sung in films. Incidentally she played in films like L'oeuvre au noir/The Abyss (André Delvaux, 1988) with Gian Maria Volonté, Haut bas fragile/Up, Down, Fragile (Jacques Rivette, 1995) and the romantic thriller The Truth About Charlie (Jonathan Demme, 2002) starring Mark Wahlberg. James Travers at Le Film Site on L'oeuvre au noir/The Abyss : "This sombre adaptation of Marguerite Yourcenar’s acclaimed literary work was directed by the acclaimed Belgian film-maker André Delvaux. Visually, the film is impressive and it boasts an excellent cast, but for all its excellent production values it is a heavy and somewhat laboured affair." Karina's most recent film as a director was Victoria (2008) in which she also starred. Mark Deming at AllMovie: "Thirty-five years after directing her first feature film, iconic actress Anna Karina once again steps behind the camera for this charming comedy-drama shot in Canada. Jimmy (Emmanuel Reichenbach) and Stanislas (Jean-Francois Moran) are a pair of nightclub performers who play second-rate gay nightclubs as part of a drag act called 'Les Lolitas'." After Godard, Anna Karina was married three times more: to scriptwriter-actor Pierre Fabre (1968–1973), actor-director Daniel Duval (1978–1981) and director Dennis Berry (1982–1994). Since 2009 she was married to Maurice Cooks. On 14 December 2019, Anna Karina has died in a Paris hospital of the effects of cancer at the age of 79, her agent Laurent Balandras told AFP, adding that she passed away in the company of her fourth husband, American director Dennis Berry.
Sources: Judd Blaise (AllMovie), J. Hoberman (Criterion), James Travers (Le Film Guide), Mark Deming (AllMovie), Hal Erickson (AllMovie), The Guardian, Fuck yeah! Anna Karina, IMDb and Wikipedia.
And, please check out our blog European Film Star Postcards.
© 2014 Thousand Word Images by Dustin Abbott
Here's a share from a recent portrait shoot. I went on location to a farm in Westmeath, Ontario, to shoot a young teen whose mother wanted custom portraits instead of school photos. I like this shot in part because of its unforced quality but also because the scale of the setting comes through nicely. This shot also illustrates the importance of having a good ND filter or two when shooting with flashes and large aperture lenses. The ND filter allows you to keep the shutter speed down for effective syncing while retaining the unique wide open look that you bought that large aperture lens for.
Technical information Canon EOS 6D, Tamron SP 70-200mm f/2.8 Di VC USD, Processed in Adobe Lightroom 5, Photoshop CC, and Alien Skin Exposure 6
Want to know more about me or make contact? Take a look at my website and find a lot of ways to connect and view my work.
Model: Pockami (www.facebook.com/pockamicosplay)
I have always wanted to try my hands at an outdoor fashion/ candid photography. Whilst I do love cosplay photography, I feel that trying other forms of photography helps to develop my style 'vocabulary'.
Pockami had to endure another one of my early morning shoots (again). It was pretty cold when we started and both our shoes were soaked from the morning dew. I felt bad for making Pockami spun round and round and round (and round) many times to get this shot right. I wanted to capture that unforced/ candid expression whilst she was in motion and I think this shot was pretty successful in that regards.
© 2014 Thousand Word Images by Dustin Abbott
I was asked to do a bit more sharing of this particular wedding shoot, so here's another. One sequence I like to do at weddings is to find a good location and then have the bride and groom slowly walk through the scene. I am very specific, however, that I want them focused on each other rather than on me. They are full of natural excitement and energy on that day, and I often catch some great natural interactions that make for great, unforced photos. I elected to go with natural light on this series due to what would be somewhat uneven lighting if I tried to setup flashes on moving targets.
Technical information Canon EOS 6D, Tamron SP 70-200mm f/2.8 Di VC USD, Processed in Adobe Lightroom 5, Photoshop CC
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4x5, Kodak Portra 400, Linhof Rail Camera.
In the second semester of my second year I did a project similar to the Mimesis I did with Mapplethorpe's work, however since the second semester was revolving around colour photography. The photo that I chose to recreate/reimagine/retake is Philip-Lorca DiCorica’s “Hartford” (1979) . I chose to focus on this image in particular because I personally gravitate to his earlier work when he wasn’t so focused on the series as he was on an individual image. I also am fond of the “wondering subject” that is found in many images from his early days. What I mean by that is that there is a subject who is neither here nor there, they lack emotion, yet hold so much of it. Perhaps it’s the subtleties in their expression, maybe it’s the way they hold a cigarette, but for me these portraits are more impactful because the emotion seems so natural and unforced, even though for many of DiCorcia’s images the subject is posed and staged. I chose to shoot this assignment on a large format 4x5 camera because it seemed that it fit the aesthetic of the artist’s early work, as well as his later series’, such as ‘Heads’. I also knew that since I was shooting large format that I was only going to print one image [which also felt natural because of the individualism (in terms of image making) of DiCorcia’s early work], and that the image had to be printed as large as the printers at Emily Carr could manage. I did so because for most of his exhibitions, the photos are life size or larger than life, if only I could make a print that large at the school, maybe one day. Personally, I found this project to be a success. This has been my fifth or sixth time using a large format camera and this was the first time that all my negatives turned out as planned, which I’m happy about in terms of selecting an image for the assignment, and my overall progress in using a more difficult analogue technology. After doing this assignment, it has allowed me to think about my image making much more cinematically and playfully with my subject.
"White Gold is an immersive installation by artist Thomas Sayre (American, b. 1950) that depicts a cotton-filled Southern landscape. The work intends to express the beauty, the complexity, and the tragedy of our embroiled agricultural traditions. Cotton is one of the nation’s most contentious and layered materials, and one with which almost every American has a personal relationship, either directly or indirectly. Inevitably, it is linked to the economic, racial, and social history of the region and its people. Sayre’s White Gold refers to cotton and a reverence for the land, the labor, and the people (forced or unforced) who made cotton their livelihood. The installation is a fierce expression of the Southern landscape: its magnificence and the haunting pain of history, memory, and ultimately, belonging."
So here is my problem, without extensive wall signage this installation makes very little sense. There is no real image vocabulary to give meaning to the intentions stated by the museum/artist.
I am not new to interpreting visual symbology but some how "reverence for the land, the labor, and the people (forced or unforced) who made cotton their livelihood" is lost on me.
A charming young lady with beautiful blue eyes enjoying her drink in a London street.
Definitely, casually unconcerned and unforced expressions depict the people much prettier and make much better portraits.
Mamiya RB67 Pro-S
90mm Mamiya Sekor C
Fujicolor Provia 400F
f3.8
Guessed exposure
Shot through window
Some weeks ago after having been to a photographic exhibition I went to Burger King at Plattan/T-Centralen in the city centre of Stockholm. Burger half finished, looking out of the window, I see this short haired brunette.
First I intended to approach her but changed my mind, shooting unknown is much easier. An observational portrait is real and unforced in contrast to the posed aware. Added to that, what are the odds she'd consent to a total stranger photographing her while she's eating her burger? Seriously, "yeah, I don't mind the food around your mouth, pretend that I'm not here" *LOL*
I took 3 pics but this is the only one that turned out great. After I had taken these pics 2 doves flew into the restaurant and created quite some alarm.