It’s a New Year, a new start, blah blah blah. I’m sure that along with those cliche resolutions to ‘lose a few pounds’, ‘same more money’ and ‘find a new hobby’, there is the best cliche resolution […]
Ok, let’s not leap as far as allowing me to dub myself as a ‘bona fied Londoner’, because I’m still very much the here-and-there-and-not-quite-anywhere-mess that I am (aka, I’m frequently described as ‘too city girl […]
While this has been a lovely afternoon for me, spent by meeting with a friend over coffee, I couldn’t help but overhear a conversation taking place between two bushy-bearded men two tables away. It seems I […]
To any fellow photography students/graduates who ever feels that way, I suggest that you do the math, and calculate just how much money you would have spent on hired lighting, studio space, camera equipment for the various shoots and experiments of the past three years. Add to that an estimated cost for a photography workshop with your lecturer, rather than the ‘free’ (until we all reach that dreaded debt threshold) lessons they gave us. Because those are the equivalents to learning the trade sans degree. Personally, I may now be in debt, but I’ve saved a few thousand.
My mind, you can guarantee, will be racing, nails digging into the carpet as I pick apart his use of each colour; the symbolism of the green light in Vertigo, the alternating red and green in Rope, the fireworks illuminating the darkened room in To Catch a Thief. I am aware of the general 'Hitchcock colour theories', but I can't help but conjure up my own, as if its a code that only I can crack. I pick apart his lighting set ups, absorb every item that builds the carefully crafted sets, drool over the beautiful designs of Edith Head, envious of Grace Kelly or the various other Hitchcock blondes.