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w w w . r o t o s c o p e z i n e . c o m

“GENTLEMEN, YOU CAN’T FIGHT IN HERE.

THIS IS THE WAR ROOM!”

“Stand up. Your father’s passing.”

“GAME OVER, man! GAME OVER!”

PRESIDENT MUFFLEY (Peter Sellers)In Dr. Strangelove or:... (1964)

REVEREND SYKES (William Walker) in To Kill a Mockingbird (1962)

HUDSON (Bill Paxton)in Aliens (1986)

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SUMMARY

8 NIKON TIPS: PHOTO-GRAPHY FOR AMATEURS

10 TWO FACES BEHIND THE FILM AND PHOTOS: ROBERT RODRIGUEZ AND ANTON CORBIJN

12 MOVIES REVIEW: BLACK SWAN

w w w . r o t o s c o p e z i n e . c o m

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NIKON tips

PHOTO-GRAPHY

AMA-TEURS

If you’re currently shooting portraits in Auto mode, you may find the final result to be a bit dishearte-ning. You don’t have to fully understand aperture values and shutter speed to capture a nice portrait. In the beginning, you can use the dedicated portrait modes on the D3100 to turn your ordinary portraits into eye-popping portraits.

FOR

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With a simple twist of the mode dial, you can quic-kly setup your D3100 to take portraits…

PORTRAIT MODE

CHILD MODE

NIGHT PORTRAIT MODE

GUIDE MODE

In portrait mode, the D3100 adjusts the aperture so that the depth of field is reduced. A shallow depth of field helps isolate your subject against a smooth background. In addition to this, the D3100 adjust the color hue to reflect natural looking skin tones. You can adjust the ISO manually or set it to auto. You can also set the flash to auto, auto+red-eye or off. I recom-mend using portrait mode outdoors during daylight hours. In bright situations, enable an ISO of 100 and set flash to auto.

Child mode isn’t really meant for portraits, rather it’s meant for capturing kids running around the house. It raises the aperture value which increases the depth of field, putting the subject and background into focus. You’re better off using one of the above mentioned portrait for close-up shots of your kids.

In night portrait mode, the D3100 adjusts the aperture and lowers the shutter speed so that the subject and background are well lit. The slower shutter speed allows more light to hit the image sensor which effectively brightens the background, getting rid of the “black background” effect when using flash in low light. You can adjust the ISO manually or set it to auto. You can also set the flash to auto + slow sync + red-eye reduction, auto + slow sync or off. I recommend using night portrait mode indoors and outdoors during nighttime hours. In dark situa-tions, enable auto ISO and set the flash to auto + slow sync. This will allow you to get more natural looking exposures in low light situations. If you have access to a tripod it will greatly reduce the likelihood of camera shake, resulting in sharper photos.

After rotating the mode dial to Guide mode, select the ‘Shoot’ option. You’ll be presented with two selections; easy and advanced. In each of these modes you’ll be presented with a guided on screen display to walk you through the entire setup and shooting process.EASY OPERATION Under the easy operation selection, you’ll have access to portrait, night portrait and sleeping faces modes.ADVANCED OPERATION Under the advanced operation selection, you’ll be able to control depth of field and shutter speed. For portraits, use the soften backgrounds to create a blurred background effect.

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TWO FACES BEHIND THE FILM AND PHOTOS

ROBERT RODRIGUEZ

“Don’t give me any money, don’t give me any people, but give freedom, and I’ll give you a movie that looks gigantic.”

Robert Rodriguez.

Rodríguez was born in San Antonio, Texas, the son of Mexican-American parents Rebecca (née Villegas), a nurse, and Cecilio G. Rodríguez, a salesman. He began his interest in film at age 7 when his father bought one of the first VCRs, which came with a camera.While attending St. Anthony High School Se-minary, he was commis-sioned to videotape the school’s football games. According to his sister he was fired soon after for shooting them with a cine-matic style, getting shots of parents’ reactions and the ball traveling through the air instead of shooting the whole play. There he met Carlos Gallardo; they both shot films on video throughout high school and college. After gradua-ting Rodriguez went to the College of Communication at the University of Texas where he also developed a love of cartooning. His gra-des were not good enough to get into the school’s film program, so he invented a daily comic strip entitled Los Hooligans with many of the characters based on his siblings – in parti-cular, one of his sisters, Maricarmen. The comic proved to be quite suc-cessful, running for three

years in the student news-paper The Daily Texan while Rodríguez conti-nued to make short films. Rodríguez grew up shooting action and ho-rror short films on video, and editing on two VCRs. Finally, in the fall of 1990, his entry in a local film contest earned him a spot in the university’s film pro-gram where he made the award-winning 16 mm short “Bedhead”. The film chronicles the amusing mi-sadventures of a young girl whose older brother sports an incredibly tangled mess of hair that she cannot to-lerate. Even at this early stage, Rodríguez’s tra-demark style began to emerge: quick cuts, inten-se zooms, and fast came-ra movements deployed with a sense of humor that offsets the action. This short film attrac-ted enough attention to encourage him to seriously attempt a career as a film-maker. He went on to shoot the action flick El Mariachi in Spanish. El Mariachi, which was shot for around $7,000 with money raised by his friend Carlos Gallar-do and participating in me-dical research studies, won the Audience Award at the Sundance Film Festival in 1993. The film, originally intended for the Spanish-

language --- low-budget home-video market, was “cleaned up” with several hundred thousand dollars before being distributed by Columbia Pictures in the United States, still being promoted as “the movie made for $7,000”. Rodrí-guez described his expe-riences making the film in his book Rebel Without a Crew. The book and film

inspired legions of hopeful filmmakers to pick up ca-meras and make no-bud-get movies. The film and the book are widely consi-dered important touchsto-nes of the independent film movement of the 1990s. His next feature film was Desperado, a sequel to El Mariachi starring An-tonio Banderas. The film introduced Salma Hayek to American audiences. Ro-dríguez went on to collabo-rate with Quentin Tarantino on the vampire thriller, From Dusk till Dawn (he co-pro-duced two sequels), and with Kevin Williamson on the horror film The Faculty.

TWO FACES BEHIND THE FILM AND PHOTOS

ANTONCORBIJN

Anton Corbijn.

“The challenge is what was making it exciting.

You don’t want to do anything that’s too easy

or that you know that you can pull off, otherwise it’s

really not worth doing.

Corbijn was born in Stri-jen, the Netherlands. He started his career of mu-sic photographer when he saw the Dutch musician Herman Brood playing at a cafe in Groningen (the Netherlands) around 1975. He took a lot of photos of the ‘rising star’ Herman Brood & His Wild Roman-ce. Because of the pic-tures taken by Corbijn, Brood’s fame rose quickly, and as a result Corbijn’s own exposure increased. Corbijn has photogra-phed Joy Division, De-peche Mode, U2, David Bowie, Miles Davis, Björk, Captain Beefheart, Kim Wilde, Robert de Niro, Stephen Hawking, Elvis Costello, Siouxsie and the Banshees, Morrissey, Clint Eastwood and Her-bert Grönemeyer, amongst others. He is famous for his work in black and white. In May 1989, he began ta-king pictures in color using filters : his first try was done for Siouxsie Sioux. Corbijn has designed al-bum covers for U2, Depe-che Mode, The Creatures (the second band of Siou-xsie Sioux), Nick Cave, Bryan Adams, Metallica, Therapy?, The Rolling Stones, R.E.M., The Bee Gees, Saybia and Moke. Corbijn began his music video directing career when

Palais Schaumburg asked him to direct a video. After seeing the resulting video for Hockey, the band Pro-paganda had Corbijn direct Dr. Mabuse. After that he directed videos for David Sylvian, Simple Minds, Echo & the Bunnymen, Golden Earring, Front 242, Depeche Mode and U2. His first video in color was made for Depeche Mode in early 1990 for their single “Enjoy The Silence”. In 1994, Corbijn di-rected a short film about Captain Beefheart / Don Van Vliet for the BBC ca-lled Some Yoyo Stuff. In 2005, Palm Pictures released a DVD collec-tion of Corbijn’s music vi-deo output as part of the Director’s Label series. Corbijn made his featu-re film debut with Control, a film about the life of Joy Division frontman Ian Cur-tis. It premiered to rave re-

views at the Cannes Film Festival on 17 May 2007. The film is based on Deborah Curtis’ book Tou-ching From A Distance about her late husband and the biography Torn Apart by Lindsay Reade (Tony Wilson’s ex-wife) and Mick Middles. Although shown outside the Palme d’Or competition, Control was the big winner of the

Director’s Fortnight win-ning the CICAE Art & Es-sai prize for best film, the “Regards Jeunes” Prize award for best first or se-cond directed feature film and the Europa Cinemas Label prize for best Euro-pean film in the sidebar. Author William Gibson refers to a fictitious portrait by Corbijn of the character Hollis Henry in his 2007 no-vel Spook Country. A Cor-bijn photograph has served as the author’s portrait on many of Gibson’s books. Known as much for his photography as his vi-deos, Anton Corbijn has produced some of rock’s most memorable images. Long associated with De-peche Mode and U2 (that’s his iconic shot on the co-ver of Joshua Tree), the Dutch director has wor-ked with a diverse array of acts, including Joy Divi-sion (Atmosphere),Nirvana (Heart-Shaped Box), and Metallica (Hero of the Day).

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MOVIES REVIEW

Natalie Portman excels in this gripping ballet psychodrama from Darren Aronofsky. Peter Bradshaw applauds a film about fear, love and hatred.

Fantastically deran-ged at all times, Darren Aronofsky’s ballet psycho-melodrama is a glittering, crackling, outrageously pickable scab of a film.At its centre is young ballerina Nina Sayers, played by Natalie Port-man. She is beautiful, vulnerable, sexually naive and susceptible to mental illness. To play the role of a lifetime, Nina must delve deep into her own dark side. As her hallucina-tions and anxiety attacks escalate in tandem with her progress in rehearsal, artistic breakthrough fuses with nervous breakdown. This is a movie about fear of penetration, fear of your body, fear of being sup-planted in the affections of a powerful man, love of perfection, love of dance, and perhaps most impor-tantly of all, passionate and overwhelming hatred of your mother.Portman has decisively moved out of the ugly duckling phase of her career with this tremen-dous performance as Nina, a hardworking corps member of a New York City ballet company who has low-level dieting and self-harm issues more or less under control. She lives with her difficult mother – an impressive and satisfyingly nasty performance from Barbara Hershey – who abandoned her own stagnant ballet career on being impreg-nated by some heartless, mercurial mogul or other, and channelled her rage and disappointment into coaching the resulting daughter, whom she has attempted to infantilise by filling her pink bedroom with gonks and installing a deplorable musical box that tinkles the theme from Swan Lake.

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