Weekend Hashtag Project is a series featuring designated themes and hashtags chosen by Instagram’s Community Team. For a chance to be featured on the Instagram blog, follow @instagram and look for a post announcing the weekend’s project every Friday.
The goal this weekend is to make photos and videos with natural frames by using objects in your surroundings to create borders around your subjects.
Here’s how to get started:
Think of different sized objects you can photograph through that will add an interesting shape or color to your pictures — like the holes of a fence or screen, a section of glass, or small straws or tubes you can point your lens on.
Pay attention to layers in your composition. Create more depth by placing your frame in the foreground and keeping your subject in the background (as far back as it needs to be to fit nicely within your frame).
Experiment with putting your natural frame both in and out of focus, to draw more attention to your subject or the frame itself.
PROJECT RULES: Please add the #WHPfoundframes hashtag only to photos and videos taken over this weekend and only submit your own visuals to the project. Any tagged photo or video taken over the weekend is eligible to be featured Monday.
From a lot of perspectives, Revenge Of The Sith still is the best Star Wars film. It’s filled with action and drama and delivers the most cinematically thrilling piece of Star Wars. Part of that mixture is a scene with Anakin and Palpatine sitting and talking in the Opera, which is probably the dialogue scene in the whole series that’s simply - or almost, at least - perfect.
Ian McDiarmid gets a lot of praise for his performances in the various Star Wars films and he would deserve all the praise for this very scene alone. He delivers each line with a devilish precision, seamlessly conveying the faked goodness and objectivity of a burdened Chancellor with an undercurrent sense of poisonous manipulation that’s permanently palpable.
Interestingly, the cinematography and the editing of the scene both underline Palpatine’s seduction, which is in fact cyclical, very nicely. There are two parts of Palpatine’s seduction. For the first part of the scene, Anakin and Palpatine are talking about war events with some philosophical edges. There is a discussion about the Jedi and the Sith and what makes them different or similar, respectively. Interestingly, both descriptions by Anakin seem to fit himself.
The Jedi are selfless… they only care about others.
The Sith rely on their passion for their strength. They think inward, only about themselves.
On the one hand, Anakin seems to be “selfless”, “only thinking about
others”, which is Padmé in this case. In fact, however, Anakin is
thinking “inward, only of himself” because he is mostly concerned with
keeping Padmé with him instead of alive for her sake. Essentially, for the first part of his conversation with Anakin, Palpatine is determined to tear Anakin’s walls down. Despite being conflicted, Anakin is still convinced of the Jedi being good. That wall, for Palpatine, is brought down when he manages to put focus on an instance where the Jedi are obviously acting dubiously. They asked Anakin to spy on him, which is something that Anakin sees as treasonous. Palpatine thereby maneuvered Anakin into a dead-end, where the Jedi Knight could not escape without becoming aware of the fact that the Jedi have lost his trust to some extent. That’s very important for Palpatine. Once having broken Anakin’s clear alliance, there is the chance for him to offer an alternative in the second part of his clever seduction. It’s the moment when he lays out the Tragedy of Darth Plagueis the Wise, which finally concretes the determination in Anakin’s head to cheat death.
As already mentioned, it can be observed - cinematically - that Lucas chose to separate both parts of Palpatine’s seduction in the way he shot it. After Palpatine sends away his guards, both parts of the seduction are shot identically. They start out with a mid shot of the two characters from Anakin’s side (still quite a bit away from Palpatine) and end with a strong close-up of Anakin (first part) and finally Palpatine’s seductive face in the second part. With that process - by going closer and closer to the subject from a wide shot becoming a mid shot to a medium close up and finally a real close up - the audience is allowed to immerse themselves into the conversation and - as explained above - thus gives us a concrete sense of Palpatine dual strategy.
Looking at details, it’s interesting to note that the camera gets really close for the first time during the first part once the word “Sith” is uttered. Both parts of Palpatine’s seduction are carefully paralleled, with one exception being the insert shot of the semen-like “creatures” in the Opera, which visualizes the seed of evil that’s planted into Anakin in the context of Palpatine’s tale. This is the scene, after all, that infects Anakin with the thought of cheating death and saving Padmé’s life with dark side powers.
Apart from that, there is yet nother interesting achievement of the Opera Scene. Much like Anakin’s dialogue, the lighting - which is a blending of the Jedi’s predominant color blue and the Sith’s traditional color red - is more than appropriate for symbolyzing Anakin struggle between good and evil. It illustrates an Anakin who is in some ways exchanging roles. Unconsciously, he’s on a path that will turn him from a Jedi into a Sith. It’s only fitting, thereby, that the scene’s lighting is also a blending of Anakin’s Jedi lightsaber color and his later Sith weapon.
Overall, the whole scene is a brilliant piece of filmmaking and a real proof that George Lucas has never lost his talent for filmmaking. Dialogue, acting, cinematography, editing - everything’s top-notch here and so painfully ignored by those who hate the Prequels in the most blatant way possible.
A bunch of cops in the Dothan Police Department were members of a secret racist gang! And specialized in framing young black men for drugs & weapons chargings, planting illegal items on them, for years! And the internal affairs report into their totally-illegal activities was covered up!
the art of the salon wall five tips for creating a gorgeous gallery space at home.
salon wall is our celebrated way to display a highly personal, visually
interesting mix of art and pieces that suddenly become art once cleverly
arranged in a creative montage. want to create your own? our visuals
manager and resident salon wall expert, ashley parsons, leads the way:
amidst the jumble, find harmony.
warm and cool colors; visually heavy and visually light pieces; and
graphic, painterly and photographic pieces so that, as a whole, it’s
easy on the eyes. (arranging pieces on the floor first will help you
find the big picture—and avoid errant holes in your walls.) and if
you’re using pieces with words, don’t group them together: “they’ll feel
less special if you do,” says ashley.
should fit the same profile: similar, but not exactly the same. “the
charm of a salon wall is visual cohesion that’s still eclectic and fun,”
says ashley. try using all the same color, or different colors in the
same width. (we love a mix of black, white and brass.)
she advises, “use the frames to pick up complimentary colors in other
pieces.” and if it’s a specific color you’re after, buy raw wood frames
and spray paint them any which way you like.
pay attention to spacing.
images should stay relatively clustered, and watch out for rogue gaps.
if you’re working with a little art and a lot of wall, identify a small
space to group them together rather than spreading them out.
tell a story.
it’s not essential to a visually appealing salon wall, a theme or
thread that runs through your images makes it personal—“even if your
theme is ‘these are things that I love,’” says ashley. “it should make
sense to you.” if you really want a cohesive statement, try using a
series of portraits or illustrations.
shop home decor here. for more tips on decorating, entertaining and living an even more interesting life, pick up a copy of our new book, all in good taste.
John Noble as Sherlock’s dad is just so damn good. The way he looks at Sherlock and delivers that line “I could have sworn I had that statue removed,” with that slight smile that lets you know that he looks at Sherlock and still sees his little boy, the one that has caused him nothing but trouble but whom he still treasures as his child. It’s the kind of comment (and look) you’d make to a stubborn child to get a smile and coax them out of their mood.
And the way Sherlock is standing - not in his usual firmly planted I’m going to pontificate stance. He is holding on to himself, footing angled and asymmetrical - a classic adolescent position - protective of self and defiant.
With just one line and reaction, we get the sense of their relationship as it has been and still is. Morland may be up to no good but I think he cares for his son.
The framing of the shots is beautiful too. We see the power, symmetry, opulence backing Morland. While Sherlock is on the edge of the staircase, on the carpet, with nothing to back him up.
And then the power shifts, Morland stands with hands behind his back, protective, hiding and Sherlock is in his ramrod straight “I am judging you” posture. The balustrade of the staircase further pointing us to him as the one in charge now, although still on the edge.
Bead Type - Czech glass seed beads size 11/0 Rocaille
Bead Colors - Clear silver-lined (or something to that effect), transparent dark sapphire, transparent emerald, and jet black opaque
Stitching - 2 threads over 1, half cross stitch to attach the beads
Weight - Good question! I went through somewhere around 200 grams of beads, so the piece itself is maybe 0.4-0.5 pounds. The entire thing framed is surprisingly heavy!
Started - 8-19-2010
Finished - 12-9-2015
Framed - 1-4-2016
Custom framing selection was done by myself with the help of the lovely Diana (model shown in photo). The Masterpiece (museum) glass is glorious. I had the piece cleaned and blocked at a local dry cleaners and laundry shop, and the frame work was done at Michaels.
I finished a thing! I love the result and the entire design process endlessly!!
The piece on the diagonal, it’s to brace against the wind.
Strange to think that behind the walls, there’s wood doing work to keep your
home from blowing over. The winds were strong today, and cold. We worked
outside, framing new walls that will extend the one shown here. I didn’t wear
enough clothes and felt the first real cold of the season, a chill, an ache, a
giddy, shivery numbness of mind. It’s felt like November in all the right ways
these days, most of all between three-thirty and four-thirty in the afternoon
when the light is like no other light in all the year. Yesterday, the rain was
of autumn. Today, the wind was of winter. Over the weekend, at a friend’s
baby’s first birthday party, I had the good luck to have a conversation about
months with someone’s father; I like these conversations most of all. October
was his favorite. And from my informal poling, that seems to be most popular – high
fall, the eruption of color, the fading warmth, the first sweater. He talked
about the light, the golden light. I agreed it was great, and made an argument
for November’s magic dusks. “Yes,” he said. “Yes. There’s something electric in
that light, isn’t there.” He spoke about being on a drive last month, rounding
a corner on a road on an October afternoon, and mortality descended, a sudden
and full-force confrontation. It wasn’t terror, he said, or exhilaration, more
totality of fact. And something of October’s golden glow was of some comfort in
the face of it. “November, though,” he said, “November has claws.”