#this boy canonically has a fascination with photographs/family pictures

[not-with-you-but-of-you]

Nice picture.

GILMORE GIRLS | 2.05 x 2.12 x 3.14

Requested by @jess-stolengnome

[damianbugs]

i often include some obscure symbolism in my fics without any real desire to point them out but i was rereading an old piece of mine and remembered one i was rather proud of;

it's from YOU MUST KNOW LIFE TO KNOW DECAY. which is a canon-adjacent story about jason's experience with rain throughout his life. it spans over many years, starting from before his parent's death, to the present as red hood.

the rain itself is the massive metaphor and motif, obviously, but within that i snuck in some other key aspects to jason's character. the one i want to talk about it from the second section of the fic (unofficially dubbed "No!" and the period in time where jason was homeless):

in this scene jason's belongings have been dumped out of his bag into the rain over a misunderstanding, amongst these scarce objects are two things — an old book belonging to Willis Todd, and a photograph of Catherine Todd (the one jason has at his place when bruce comes to find him in Batman (1940) #408).

this photo always fascinated me and so i wanted to give it its own backstory. this moment however has two stories happening. a story of sacrifice for Willis, and the story of grief for Catherine.

the book willis used to love and jason remembers him reading often is the last remaining object the boy has to his father (because most of his belongings were left with his neighbour, and jason doesn't get those back until Batman (1940) #426).

unlike a picture or a letter, this book is a vessel between them, nothing about it actually is Willis' other than the memory attached to it. a nod to the fact that even in death, he had nothing other than the memory he left with his family.

catherine however has a picture, something that is entirely hers, but even that is all it is; her face. jason is young when his mother dies, and as he grows up, he'll soon forget the memories he made with her, but he'll never forget her face because of this last photo he has. her existence, prior to the disease and suffering and death, is forever immortalised for jason. she exists only before her death.

neither willis nor catherine are ghosts that follow jason. he mourns them and misses them deeply (and this grief is the entire catalyst for why he runs away in A Death in The Family) — but they don't come to him when he's doused with fear toxin or battling exhaustion. he doesn't see them when he closes his eyes. because they are not concepts he mourns.

they are a book, a photo, people he has lost forever. jason being a young carer, would have had to watch his mother slowly die to her disease, so he knows death in its raw forms. i have spoken before about how jason views love and loss, as being very literal and blunt understandings, and it's the same here.

so, we have a book and a photograph.

the book being destroyed by the rain is another nod to the modern characterisation of Willis Todd (in both canon and fanon). of the explicitly abusive and negligent father. how his character being "ruined" is usually to paint catherine as the weak and pitiful victim of circumstance and nothing more. neither of them have any true personality other than their surface level one's, which are often classist and ignorant.

on the other hand, willis' book being ruined but protecting the photograph of catherine underneath is to represent his story in jason's life. he was an absent idea because he was working to provide for them, jason didn't really know him outside of this story, and willis dies as a mere idea for his family.

it's not enough, however. willis dies, but it's still raining. catherine's photo may have been saved by some of the rain, but jason is still homeless and he will still have to endure it alone.

the second section of this fic is the saddest one to me, because while jason is the only todd present in this scene, there are three stories being told.

[saintaugustinerp]

Congratulations Kayla! You have been accepted for the role of The Analyst with the faceclaim Chance Perdomo. Please be sure to check out the accepted applicants checklist! Also be sure send us a link to your blog within the next twenty-four hours. Welcome to St. Augustine!

OUT OF CHARACTER

Name/alias: Kayla Age (18+) : 21 Gender/Preferred pronouns: they/them Timezone: CST IN CHARACTER

Desired Skeleton: The Analyst

Character Name: Damien Bloome Age (18+): 20

Gender/Pronouns: Male, he/him Hometown: Edinburg, Scotland

Major: Double major in History/Philosophy

Desired Faceclaim: Chance Perdomo Character blurb: Yours eyes aren’t immediately drawn to Damien Bloome when he steps off the train. There’s certainly students who are more flashy, who have matching luggage sets, who don’t look like they pieced together an outfit in the ten minutes before they started their journey back to school. You can’t exactly tell if he just doesn’t care, or if he cares far too much. His head is held high, eyes hidden behind flashy glasses which draw attention to his face that’s crinkled into a thoughtful look. You almost miss the earbuds stuffed in his ears, blasting some sort of story. When you meet his eyes, you can tell that he’s drinking everything in as you migrate towards the school building. It’s almost as if you can see the gears turning in his brain, before classes have even begun.

Developed Head Canons:

Family: Though not wealthy by any means, the Bloomes have always been comfortable. Not comfortable enough for St. Augustine, but they make do. They’ve always tried to give their children everything they wanted, even if it was a little out of reach. With a mother who works as a nurse and a father who runs a shop in town, there were few nights where the family was all together. Damien grew up with the companionship of his sisters, a middle child sandwiched between two darling girls. A part of him felt as if he was raised by Andrea, the oldest of the trio. She taught him how to read, prepped dinner when the parents were gone, signed permission slips. Leah, on the other hand, was always getting into some sort of trouble and they often had to fight against the harshest of consequences coming down on her. His older sister has already graduated from university, and lives in New York. The Bloomes rarely see her anymore, but they do Skype her in for holiday dinners. Leah started sending handwritten letters to Damien his second month at St. Augustine, and now he doesn’t know what he would do without the box of letters tucked underneath his bed.

School: Damien has always been a bright student, being able to craft words into beautiful sentences that won over even the hardest of teachers. His favorite subjects were those that dealt with words; every event he learned about in history class was paired with a book from his father that was a deeper dive into the subject. His parents pushed him harder than his sisters because they knew he was capable, and he never felt remotely close to crumbling under it. During his years in his senior phase, he took up tutoring other students at his school. It was an easy way to make money and he was capable enough of correcting grammar, working through math problems, or quizzing students on random history facts. His eyes lit up when he saw things click for a student, and the feeling was almost as good as learning something new for himself. The day he got his acceptance packet from St. Augustine was one of his happiest days, and with it a letter offering him a generous scholarship. Though he was a family boy, he was excited to see a new corner of the world and learn with the best and the brightest.

Pets: The Bloomes had an assortment of animals take residence in their home. It started with a fish; Leah begged and begged until their mother took them to the pet store to pick out the prettiest beta fish in the tank. They graduated to a gecko named Spot, who lived in Damien’s room but was one of Andrea’s favorites. The most beloved Bloome pet, however, has become Dalhia. A beautiful black kitten with white spots on the tip of her tail and on her chest, she was named after Damien’s fascination with true crime anything. He’d never admit it to his family, but she’s named after the case concerning the Black Dahlia. The rule against pets in dorm rooms at St. Augustine was heartbreaking to him, and Leah has practically claimed the cat as her own. However, Damien has accepted this with one condition: Leah is required to send him a picture of her each day.

Entertainment: Damien can often be seen walking across campus with headphones on, and he’s most often listening to podcasts. His favorite are true crime, but every once in a while he’ll listen to a politics podcast or even just a plain audio drama. When he’s studying, he listens to mostly classical music but will sometimes poke around on Spotify and listen to something with words. He has a few musical soundtracks on the backburner for that specific purpose. His guilty pleasure, however, is watching romantic comedies. Podcasts require him to think, but rom coms are the furthest thing from that. They’re foolish and illogical, but also light and hilarious, and the best way he can think of to relax. His favorite has been Legally Blonde for quite some time, but To All The Boys I’ve Loved Before is quickly catching up.

Social Life: Sometimes a fickle friend, Damien often compares the costs and benefits of a friendship or relationship before investing himself too far into anything past being friendly to individuals in class. He’s terrible at responding to texts; you’re probably more likely to get an email back from him. He often is seen at parties with an entire bottle of cheap red wine, just enough to get him comfortably tipsy. He hates the feeling of losing control, of not remembering what happened when he wakes up the next morning, and wonders how some of the students at St. Augustine do it every weekend while also staying on top of their studies.

Writing Sample:

Each article that was released about the body found at the lake was more horrifying than the last, but that didn’t stop Damien from pouring over every single detail. Gore never did anymore. Was it the podcasts, describing the gritty details of death, or was it the research in history classes of every single world disaster? Was it the sight of crime scene photographs, or was it just pure heartlessness on his part? There were no pictures of this specific crime scene yet, but he could picture the clearing. He could picture the ice, the bones, the horror when you stumble upon what would soon become a crime scene.

What was scariest to Damien was that it wasn’t just a story in the school newspaper anymore. Local news stations picked it up, and it seems like the type of haunting crime that may travel further. Just the type of crime that could catch his eyes on forums or podcasts mere hours after it was discovered. He’s supposed to be studying for finals, writing papers and consuming notes and study guides without a second thought. But there he sat, scrolling through the Google search results for Frederick Wells for the third hour.

He didn’t often let things consume him like this. At least, that’s what he would like to tell himself. Of course, he had his fixations. Sometimes it was world wars, sometimes it was assassinations. Nothing, however, had hit this close to home. His laptop dinged, and with a quick glance he could tell that his little sister had emailed him. A link to one of the first articles on the tragedy, nothing more written than a few dozen question marks.

I didn’t really know him. It’s okay.

A quick email, sent to not only reassure Leah but their parents, maybe even the oldest Bloome sibling if she reached out too. But was it true?

Soon, he had a Word document open, and scribbled random notes on a piece of paper as he found them. There are links upon links pasted into the document, and it’s a few hours before his roommate crashes into the room. “Crazy shit, isn’t it?” he said, finally snapping Damien out of the trance he seemed to be in. Of course, the other boy saw the article title. He saw the dozen links open, probably thought he he lived with an insane person.

“Yeah, it is,” Damien finally muttered back, closing his laptop and tucking his journal into his stack of textbooks. They had about a week, and Damien was so used to using that entire time to study. Now, didn’t seem to be able to even open a textbook.

“You don’t think they’re going to cancel finals, right?” the roommate asked. All that can be heard is a snort from Damien as he grabs his phone from the charger. There’s too many texts, and he swipes the messenger notification away.

“Not a chance. You do know where you are, right?” Damien responding, kicking off his shoes and flopping himself onto his bed. Not even a death could stop the steamroller of finals coming in St. Augustine’s wake. But could a murder?

Other:

Pinterest

[dealbrekker]

with all these pynch feels being released by maggie can we know some of your head canons? Especially now that we know Adam has a phone. -sp

Oh boy oh man.  Here we go.  I’ve been brainstorming this for a few days now, and will probably think of more once I’ve posted this, but here are some for now.

1. D O M E S T I C I T Y

This was literally the first thing that popped into my mind when I read this question.  I just see Ronan being extremely antsy one night, dying to get out and race someone or wreak dream havoc on himself in some abandoned parking lot, when he storms into the room to grab his keys and sees Adam sitting doing homework.  Immediately a sense of calm comes over Ronan, and he finds himself content to settle in and watch Adam furrow his brow over Latin translations or some history essay.  This happens more often than not.

2.  Alternatively, Adam quietly but ecstatically enjoys the rush he feels when he goes out driving with Ronan once Ronan drags him away from a particularly hard homework piece.

3. Adam is the ONLY OTHER PERSON ON THIS PLANET WHO IS ALLOWED TO DRIVE RONAN’S CAR.  Also, the only one who’s allowed to help fix it.

4. Adam starts to be more accepting of help and favors in small ways with Ronan’s influence.  Ronan frequently gifts Adam with little things he needs like school supplies, socks, hygiene products, etc, asserting that he dreamt them up so there’s no NEED TO PAY ME BACK, MAN JUST WEAR THE DAMN SHIRT.  Adam grins to himself when Ronan stalks away.  And wears the shirt the next day. 

5. THIS BIT OF CHEESE RIGHT HERE:

Blue: whenever she sees Adam and Ronan show any sort of affection toward one another: “Pynch me, I’m dreaming.”

Ronan: “Asshole.”

6. PICNICS IN CABESWATER WITH OPAL

7. BEING DADS FOR OPAL

8. ADAM TEACHING OPAL THINGS.  LIKE SCHOOL SUBJECTS.  ADAM BEING SUPER PATIENT WITH OPAL WHILE DOING SO.

9 RONAN TEACHING HER HOW TO RIDE A BIKE.  ADAM DESIGNING PEDALS FOR HER HOOVES SO SHE CAN RIDE THE BIKE!!!!!!!

10. I’M JUST REALLY EXCITED ABOUT OPAL AND HER DADS

11. Ronan texting Adam all the time.  Like all the time.  Meaningless stuff, too.  Like pictures of birds and animals he sees while on the farm.  Gansey sees Adam checking his phone all the time and it makes him so happy because he knows it’s Ronan.

12. Adams makes his gifts for Ronan all the time, because he knows Ronan can dream up whatever he wants, but he can’t dream up what Adam makes from his heart.  (It’s okay, you can cry, I nearly am).

13. Adam and Ronan frequently visit Noah’s grave and tell him stories of what they’ve been up to.  Adam was a little embarrassed to do this at first, because he felt like he was talking to no one, but Ronan just sprawled right out in the grass and began ranting about Blue and Gansey and how gross they are like Noah was sitting right there, so Adam shares easily now.

14. Ronan finds it easier to go into Fox Way with the other psychics, because he’s fascinated by what Adam can do and the peace that comes over him when he works with Blue’s family.

15. Ronan dreams up a portrait of Persephone for Adam based on an old photograph Blue found.  He gives a copy to Fox Way, too.  (((((Adam has made Ronan more aware of other people’s feelings, and a more giving person in general))))

That’s what I have.  Some came to me while writing this.  Please add more if you’d like!!!!!!

[fromthedeskofelizabeththird]

Hiya your headcanon requests are super cute so I was wondering if you wouldnt mind doing something like a sculptor mc who makes v's pictures into sculptures so that he can enjoy them even without his sight (because be real he's never gonna fix it this boy loves suffering), both platonic and romantic are preferred. Anyway thank you I hope you have a wonderful week!! x

I’ll be honest, I think that a lot of the reason V never fixed his eyes was because the wound came from Rika (I’m pretty sure he says this in a VN somewhere too), so I’m completely 100% pro-surgery and V moving on in all senses of the term. I don’t for one second think his eyes would be the same post op and he’d certainly have permanent eye damage, but I personally think it’s quite nice to envision him healing in some physical ways as well as emotional ones. 

That said, disability and chronic illness related head canons are very important to me (especially when they aren’t like “this is your life now, you’re broken and doomed to suffer and you’re such an inspiration”) so:

MC being a sculptor would be great because any time they made anything they could show V and he’d see it in his own way, searching for every detail they so carefully put into it (and sometimes even their fingerprints).

He’d revisit the entire concept of seeing and the unseen after going fully blind (I think even if he didn’t go blind, he’d become fascinated by such things)

Also I think V has synesthesia anyway, so sight was not the only sense that went into his photographs to begin with.

There are blind photographers by the way!

V hanging out at their studio or workshop and losing his entire train of thought because he’s so caught up in touching everything

His style changing (I mean…there’s no skirting around that) and MC becoming really inspired by it once V explains all of its intricacies and his feelings behind each piece.

V would become really interested in the full potential of visual art. At first, after visiting a few galleries, there would be sad moments where he’s not able to touch the photo or painting in front of him and has to rely on MC’s description, which is fine and all, but he is the kind of person who needs to take it in and form his own opinion.

Anywhom, he’d play around with braille and incorporate that into his art at first, before working with MC to make it a fully 3D image. 

MC incorporating V’s feelings into their own artworks in general.

V saying to MC that he knows exactly what they look like even if he can’t see them but expressing a kind of sadness over old things he cannot experience anymore, like relatives who have passed away, friends who have long since moved on and rooms of houses that no longer exist.

MC making 3D versions of other photographs: ones of V’s family, of his childhood home and older ones of the RFA.

V telling long, long stories about every detail, in part because he didn’t really focus on it before and also because he misses them.

[snapcityweddingphotography]

SNAPCITY is a creative wedding photography agency located in bhubaneswar, india.

We specialize in candid wedding photography & cinematic wedding films. We provide best quality photography service in Bhubaneswar, India.

 Photographing a wedding is our passion. As a professional photographer we will be committed to you and your wedding day. We are guaranteed to show up on time on your wedding day, no questions asked. When you hire us, we are contractually obligated to carry out the duties that you hired us to perform ! Thank you so much for stopping by the wedding photography site. We tried to make the site full of information including more about our photography style and pricing, galleries from weddings & events. Scroll down and enjoy.

 LET US CAPTURE YOUR PERFECT DAY!!

We are one of the being notable service provider, affianced in offering top quality Wedding Photography, cinematography, Video Editing, Photo Editing , Photo Book designing services to our valuable clients throughout India. This service is rendered by our knowledgeable and competent photographers, Cinematographers to meet the supreme satisfaction of the clients. In addition to this, we take photos & videos of optimal quality to make your wedding memorable. Our patrons can buy these services as per their necessities at reasonable rates.

 ABOUT "SNAP CITY"

We are a team of professional wedding photographers & cinematographers located in Bhubaneswar, India. We are here to blend our experiences of creativity and technicality to give you an exquisite concoction in photography and videography. We have been experimenting with a huge variety and a culturally diversified lot, where every wedding, event, or an occasion captures an evocative insight. Traverse through are images, videos and let it weave a wedding story for you.

About us

SENSE OF STYLE

Not only do we capture your love for one another, but we want you to feel like you’re hanging out with friends & family. It is with your love and our experience that we can take the best pictures of your lives! We are very passionate about what we do and we work very hard to stand out from the rest and stay on top of our craft. A lot of thought and preparation goes into making our product the work of art that it is. Our clients choose us because they recognize our uniqueness and they see the beauty in our photos.

  WE LOVE WHAT WE DO ! WE DO WHAT WE LOVE !

Shooting a wedding is our passion. As a professional we will be committed to you and your wedding day. We are guaranteed to show up on time on your wedding day, no questions asked. When you hire us, we are contractually obligated to carry out the duties that you hired us to perform ! Thank you so much for stopping by the site. We tried to make the site full of information including more about our style and pricing, galleries from events. Scroll down and enjoy.

 OUR VISION

 Whether it’s a wedding, engagement or a couple portrait session, what we look forward to the most is that sense of celebration which flows out of two individuals in love. It’s almost like magic when we press the button and freeze a moment for posterity. That we believe is the best part of what we do. We get to decide what the future generations are going to witness about the union of their parents or grandparents. And it reminds us how important a role we’ve actually been blessed with. Every wedding is unique and so is our responsibility.

  Photography & Videography Related Services: List of 

services

 offered By SnapCity

Photography

:

☑ PRE- WEDDING PHOTOGRAPHY - A pre-wedding shoot is when the soon to be newlyweds head out with their photographer to a location of their choice to capture some romantic images talk about the wedding day. ☑ TRADITIONAL WEDDING PHOTOGRAPHY - While traditional photography ensures that events are captured as they were intended to. ☑ CANDID WEDDING PHOTOGRAPHY - the beauty of candid wedding photography lies in the natural reactions of the people. It captures people in their truest emotions and brings out the feelings of that moment through a picture. ☑ POST-WEDDING PHOTOGRAPHY - An after session is an additional photo shoot, with you and your partner decked out in your wedding gear, that takes place anywhere from a few days to a few years after the wedding. ☑ WEDDING RECEPTION PHOTO SHOOT - A wonderful way to get your guests together for one last hurrah.. before the wedding weekend is over. To Keep the party going on it helds right after your wedding with close friends and family. ☑ MATERNITY PHOTOGRAPHY - As a maternity photographer, We mean. Photos are a great way to remember pregnancy days, It is a very special time in a woman's life. But with maternity photos in particular you need to have a practiced approach to your subject and some sensitivity too. ☑ BABIES, KIDS PHOTOGRAPHY - Kids are an endless source of fascination – they’re experiencing the world for the first time and their reactions are unique and unadulterated. Capture these once-in-a-lifetime moments with the best in babies and kids photographers in the industry. ☑ WEDDING ANNIVERSARY, THREAD CEREMONY, BIRTHDAY & OCASSIONAL PHOTOGRAPHY- A professional event photographer is able to capture the best moments of your special event. Be it an engagement, a new arrival, or an anniversary. No matter how big or small - your favourite occasions can be retold through a series of beautiful, candid photographs. ☑ PRIVATE & CORPORATE EVENT PHOTOGRAPHY - Event photography means taking pictures of employees and guests in corporate events such as conferences, birthday parties, Christmas parties, receptions and sales events. Corporate portrait photography means taking formal pictures of employees for websites, magazines and other various publications.

Videography

:

 ☑ WEDDING VIDEOGRAPHY -Wedding videography is a video production that documents a wedding on video. The final product of the videographer's documentation is commonly called a wedding video. It is also referred to as a wedding movie, or a wedding film.

 Cinematography

:

 ☑ WEDDING CINEMATOGRAPHY/ CINEMATIC WEDDING FILMS - Wedding Cinematography is a new term that sounds more and more couples who is to be married and are seeking videographers for their wedding. Within the wedding videography industry it has taken on the following meaning: It is captured and edited for the dramatic effect and mood.

 Designing

 & 

Editing

:

 ☑ PHOTO ALBUM / PHOTO-BOOK DESIGNING & PRINTING - A photographic album, or photo album, is a series of photographic prints in the form of a book. Older style albums often were simply books of heavy paper which photos could be glued to or attached to with adhesive corners or pages. ☑ PHOTO EDITING - As a wedding photographer, editing photography is one of the responsibilities that comes with the job. We edit all types of photos like wedding and pre wedding maternity photos. ☑ VIDEO EDITING - As a wedding photographer, editing photography is one of the responsibilities that comes with the job. We edit all types of videos like wedding and pre-wedding, engagement & other event & commercial videos.

    GADGETS WE USE: (Photography & Videography)

 Industry standard full Format & high end crop sensor Digital SLR Cameras Full HD & 4K Video Cameras Gadgets Companies (Canon/Nikon/Sony/Panasonic) Studio Flash Systems: Elinchrom, Simpex, Digitek Tripods, , Gimbles, Steadycams, Trails Etc. LED Screen/Panel/Projectors/TV (If Required with addition charges) Cranes & Jibs with video camera (If Required with addition charges)

  OUR TEAM:  (Photography & Videography)

 Creative Candid Photo Shoot Experts Weddimg Cinematography Experts More than 20 professional wedding Photographers, videographers & Cinematographers are working with us. Video Camera men having experience of more than 200 wedding events covered. Experts who can take care both Traditional & Candid Photography Cinematic Videographers Spot Boys (Installation & Uninstallation) team members

  PHOTOBOOK & VIDEO:

(Development Process)

 Photobook Designing, Development & Dispatch Process:

Approx. No of Photographs Non Edited After Event - All Photographs Handover to Client (No Of Days) No Days for Final Selection Receipt (Selction done by Client only) No of Photographs (Selected By Client)(5 To 6 Photo Per Sheet) No of Sheets in Photobook (1 Sheets = 2 Pages) No of Pages in Photobook No of Photographs Used Per Sheet Album Design URL (After Client Photo Selcetion) Photobook Printing & Dispatch (After Client Approval)  Video Editing & Dispatch Process:

Non Edited Wedding Video on (Client's HD/Pen Drive) Edited Videos (Dispatch With Prinded Album/Photobook) Choose Video Format (DVD (SD Video) / (Pen Drive FHD Video) Highlight Videos (With One Song 3-4 Min) (Dispatch With Printed Album) Client are also suggest the songs for Videos before Video Editing

  PACKAGES & PRICING:

Reasonable, Affordable & Customizable Packages:

We offer a flat rate package that includes a no of days coverage of photography & videography/cinematography, two-four photographers, engagement session, professional editing, Photo-book, edited digital photos & files on USB hard drive, online proof gallery, and a flush mount wedding albums. Of course, we can customize the services to fit within your needs.

   For Packages & Pricing Please visit Our website www.snapcity.in or clicks here to see Packages

     CONTACT US

Contact us for Pre-wedding, wedding, Engagement, Ring ceremony, Post-wedding, Maternity, Couple, Birthday, Anniversary, New-born Babies & Kids, Thread ceremony, Outdoor &  Event Photography & Videography.

  SNAP CITY

Bhubaneswar, Odisha, India

Call: +91 7077044285 Whatsapp: +91 7077044285

Email : mysnapcity@gmail.com Website: www.snapcity.in

   Frequently Asked Questions (FAQ):

  WHAT IS YOUR COVERAGE FOR A TYPICAL WEDDING? 

Rituals, Sangeet, Haldi, Mehendi, Bride and groom preparations, the wedding ceremony, Reception,formal shots of the bridal party as well as members of the bride and groom's immediate family. Additionally, we cover all major events at the reception including first dance, cake cutting and candid shots with you and your guests. Wedding coverage is not limited to time or images taken. We are there to capture the emotion and the intricate details that make wedding days so special. Our job is to make sure you relive the experience every time you open your photo album!

WHAT TYPE OF PACKAGES DO YOU OFFER? 

We offer a flat rate package that includes a no of days coverage, two-four   photographers, engagement session, professional editing, Photo-book, edited digital photos & files on USB hard drive, online proof gallery, and a flush mount wedding albums. Of course, we can customize the services to fit within your needs.

WHAT IS YOUR PHOTOGRAPHY STYLE?

Our style of photography is a blend of fine art photography and photojournalism. The uniqueness of your wedding day will be captured in a very natural way.

WHAT HAPPENS AFTER THE WEDDING? 

All of your images are sorted, retouched and airbrushed in order to present you with a high quality finished product. Your edited photos will be available for viewing   within 4-6 weeks of your wedding date. You will then select your favorite images (Limited nos.) for your final photo album. Once you select your favorite images, your album will be creatively designed, printed and shipped within a month. 

HOW FAR DO YOU TRAVEL?

We travel nationwide! Traveling within Bhubaneswar is  included within wedding package. All other travel areas require an additional fee for traveling and accommodation.

  Photography

:

(In Photography we offer)

 Pre-wedding Photography, Candid Wedding Photography, Engagement Photography, Ring ceremony Photography, Post-wedding Photography, Maternity Photography, Couple Photography, Birthday Photography, Anniversary Photo shoot, New-born Babies & Kids Photography, Thread ceremony Photography, Commercial, Outdoor & Events Photography.

 Videography

/ Cinematography:

(In Videography & Cinematography we offer)

 Pre-wedding Cinematic Videography, Cinematic Wedding Videography, Engagement Videography, Ring ceremony Videography, Post-wedding Videography, Maternity Videography, Birthday Videography, Anniversary Photo-shoot, New-born Babies & Kids Videography, Thread ceremony Videography, Outdoor & Events Videography. We also do Drone video-shoot, Cinematic pre-wedding film & Wedding Cinematography too.

 Post-Processing & Editing

:

(Development Process)

 We provide all types of video Editing service in Bhubaneswar: Pre-wedding Cinematic Video, Cinematic Wedding Video, Engagement Video, Ring ceremony Video, Post-wedding Video, Maternity Video, Birthday Video, Anniversary Photo-shoot, New-born Babies & Kids Video, Thread ceremony Video, Commercial, Outdoor & Events Video. Drone video, Cinematic pre-wedding video. We Also Provide Photo Editing, Photo Album Designing & Printing Service to our clients In Bhubaneswar.

      Wedding photography in Bhubaneswar | Marriage photography Bhubaneswar | Candid Wedding photography in Bhubaneswar | Wedding photographers in Bhubaneswar | Best candid wedding photographers in Bhubaneswar | Top wedding photographers in Bhubaneswar, top candid wedding photographers in Bhubaneswar | Professional wedding photographers in Bhubaneswar | Best wedding photographers in Bhubaneswar | Best Photography studio In Bhubaneswar | Best Photographers In Bhubaneswar | Wedding videography in Bhubaneswar | Wedding cinematography in Bhubaneswar | Wedding photography price in Bhubaneswar | Wedding Photography Packages in Bhubaneswar | Maternity photography bhubaneswar | Pre wedding photography bhubaneswar | Wedding Photography Bhubaneswar | Pre Wedding Photography In Bhubaneswar | Best Photographer Bhubaneswar | Wedding Photographers In Bhubaneswar | Best Photo Studio In Bhubaneswar | Marriage Video Shooting Bhubaneswar | Wedding Videography Bhubaneswar | Marriage Videographer Bhubaneswar | Shaadi Photographer Bhubaneswar | Wedding Photography Odisha | Wedding Photography India | Best Wedding Photographer In India | Best Wedding Photographer In Odisha | Best Wedding Photographer In Bhubaneswar | Best Wedding Photographer In The World | Award Winning Wedding Photographer | Maternity Photography In Bhubaneswar

 Snap city wedding photography bhubaneswar odisha, best wedding photographer in bhubaneswar, pre-wedding photographer in bhubaneswar, candid wedding photographer in bhubaneswar, top wedding photographers in bhubaneswar, wedding photographer bhubaneswar, wedding photographer in bhubaneswar bhubaneswar odisha, best wedding photography in bhubaneswar, best wedding photographer in bbsr, candid wedding photography in bhubaneswar, royal wedding photography bhubaneswar odisha, wedding photography in bhubaneswar price, wedding photography packages in bhubaneswar, pre wedding photography in bhubaneswar, best wedding photographers in bhubaneswar, wedding photographers in bhubaneswar, Maternity photography Bhubaneswar India

   SNAP CITY | Wedding Photography in Bhubaneswar, Cuttack, Odisha, India | Best wediding Photographer In Bhubaneswar | Pre-Wedding Photographer In Bhubaneswar, Cuttack, Odisha | Wedding Videography In Bhubaneswar | Top Wedding Photographers In Bhubaneswar | Best Photographer In Bhubaneswar | Professional Wedding Photographers In Bhubaneswar | Post-Wedding Photo-Shoot In Bhubaneswar | Best Photographer In Bhubaneswar | Candid wedding photography Bhubaneswar | Best photo studio in Bhubaneswar, Maternity photography

[nofomoartworld]

Hyperallergic: An Artist Reimagines His Ancestors Through Costumed Self-Portraits

Ken Gonzales-Day, “Untitled #28,”(1996) Bone-Grass Boy Series, C-Print, 22 ½ x 34 ¼ inches (image courtesy of the artist and Luis De Jesus Los Angeles)

LOS ANGELES — Created almost entirely during the 1990s, Ken Gonzales-Day’s exhibition Bone-Grass Boy: The Secret Banks of the Conejos River is historical, yet urgently timely. Using methods of appropriation and costumed self-portraiture associated with the Pictures Generation, Gonzales-Day was busy in the close of the 20th century stacking dynamite at the door of the white art canon. Exemplary of this effort is the photograph “Untitled #27” (1996), in which he poses wearing pearls and a wig, one nipple exposed, in a blue dress reminiscent of Ingres’s portrait of Princesse Albert de Broglie (1853) — one of several references to the French master in this show. Other pictures echo Goya’s Black Paintings, such as “Untitled #31” and “Untitled #30” (both works 1996), and Cezanne, and Caravaggio as well. Gonzales-Day came out as gay amidst the devastation wrought by AIDS, referenced by his version of Cezanne’s bather who stands before an adobe hut, torso covered in Kaposi sarcoma lesions: “Untitled #13,” (1994). The sepia-hued images have a seductively funky quality owing to their construction with the now archaic Photoshop 2.5 and Quark image manipulation software, and despite this primitive technology, they harbor a reticent beauty.

Ken Gonzales-Day, “Untitled #27” (1996) Bone-Grass Boy Series, C-Print, 37 ½ x 26 ½ inches (mage courtesy of the artist and Luis De Jesus, Los Angeles)

The linchpin of the show is a fictional text Gonzales-Day created from 1993 to 1996 but revisited in 2017. It traces the life of Ramoncita, a two-spirit person, from her early life as a naive indentured servant, all the way to old age as a self-actualized artist. The story is set during the Mexican-American War and involves one other central character, Nepomuceno, a New Mexican who fights on the Mexican side and is forced to secret himself home after the U.S. victory. The book is presented as an historical artifact, with a selection of pages available for reading in the form of framed photographs filling an entire wall of the back room. Many images in the gallery’s front were originally made as illustrations for the book, in which they also appear.

Installation view of Ken Gonzales-Day: Bone-Grass Boy: The Secret Banks of the Conejos River 2017 (all installation images courtesy of Luis De Jesus, Los Angeles)

Installation view of Ken Gonzales-Day: Bone-Grass Boy: The Secret Banks of the Conejos River, 2017

The power of this work lies in its ghostly sensuality. But what separates it from the mass of artwork addressing the politics of representation is its investment in intimate autobiography. The fictional characters are linked to the artist’s actual ancestors — Gonzales-Day researched his family back to 1599, revealing the tangled ethno-cultural mix from which he descends. The blending of his actual roots with an invented narrative yields moving specificity. Half the front room is hung salon style, like a family portrait wall, prominently featuring Ramoncita. Around the corner, the drawing “Family Tree” (2017) is just what it sounds like: a traditional rendering of Gonzales-Day’s genealogy, containing fascinating details. Among the oldest names listed is Luis de Carvajal, the Younger, who in 1596 was burned at the stake in Mexico City with nine family members for practicing Judaism.

Installation view of Ken Gonzales-Day: Bone-Grass Boy: The Secret Banks of the Conejos River, 2017

Installation view of Ken Gonzales-Day: Bone-Grass Boy: The Secret Banks of the Conejos River, 2017

This exhibit is Luis De Jesus’s contribution to Pacific Standard Time: LA/LA, and it comes as America’s president takes aim at the fundamental liberties of transgender people and immigrants. Soon After Gonzales-Day began working on “Bone-Grass Boy,” Californians passed Proposition 187, limiting state-

Ken Gonzales-Day, “Untitled #13” (1994) Bone-Grass Boy Series, C-Print, 14 ¾ x 23 ¼ inches (image courtesy of the artist and Luis De Jesus Los Angeles)

funded services for undocumented people, and today the entire country faces a nativist clamor. America was founded on slavery and genocide — twin dimensions of the white supremacism openly surging through our 50 states — yet paradoxically, this nation has always subscribed to principles of freedom and self-determination. Gonzales-Day’s larger project is to broaden the established canon of art, and U.S. history more generally, to recognize not just Latinx people but all those whose ethnicities and sexualities are so mixed as to be beyond meaningful categorization. And when you think about our country’s greatest qualities, what could be more American than that?

Ken Gonzales-Day’s exhibition Bone-Grass Boy: The Secret Banks of the Conejos River continues at Luis De Jesus gallery (2685 S La Cienega Blvd. Los Angeles, California) until October 28.

The post An Artist Reimagines His Ancestors Through Costumed Self-Portraits appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2yDtdtE via IFTTT

[nofomoartworld]

Hyperallergic: In Carlo Zinelli and Eugen Gabritschevsky’s Art, the Life Spirit Endures

Carlo Zinelli, Untitled, 1962, gouache and collaged cigarette-packaging paper on paper, 13.75 x 19.75 inches (photo by Claude Bornand, © Collection de l’Art Brut)

In recent years, the American Folk Art Museum in New York has become an ever more prominent showcase for the overlapping fields of art brut and outsider art. During this period, Valérie Rousseau, the museum’s curator of self-taught art and art brut, has overseen an exhibition program that has illuminated the works and thinking of some of the visual arts’ most original, inventive autodidacts.

Many AFAM admirers may still feel a sting when they recall that, thanks to some poor-management mishigas, the museum lost its custom-made home on West 53rd Street a few years ago, when it was gobbled up by the Museum of Modern Art. It now operates out of an awkward ground-floor space in a building across from Lincoln Center and maintains offices in Queens; like many small institutions, it makes the most of limited resources.

The artist Carlo Zinelli, circa 1938-39 (photographer unknown; photo courtesy of Fondazione Culturale Carlo Zinelli)

Still, under the leadership of executive director Anne-Imelda Radice and a governing board, who, together, have sought — and routinely, deservedly, won — funding for ambitious, imaginative programming, AFAM has proven repeatedly that it is the little museum that could — and can and does.

That dedication to quality and substance, and the creativity that goes with it, are in evidence in a double-whammy of fine exhibitions now on view at the museum: Carlo Zinelli, 1916-1974 and Eugen Gabritschevsky: Theater of the Imperceptible. (They will both run through August 20.) Each of these monographic surveys focuses on the evolution of a self-taught artist’s body of work that remains as unusual and compelling today as it was when it was made.

Zinelli, who is better known by collectors and aficionados by his first name alone, holds a big place in the canon of art brut (French for, literally, “raw art”), whose name was coined, and whose parameters were defined in the 1940s by the French modern artist Jean Dubuffet. It was Dubuffet who, along with such artist pals as the Surrealists’ leader, André Breton, took a deep interest in the creations of inventive autodidacts on the margins of mainstream society and culture. Some, but not all, were prison inmates or resident patients in psychiatric hospitals; some had been diagnosed with schizophrenia or other mental illnesses.

For Dubuffet, these unschooled artists, who produced their works for their own purposes, not primarily for an audience and certainly not for a commercial market, were representatives of a genuine, impulsive creative energy that emerged from a deep, pure realm of the human psyche, unfiltered through any intellectualized or critical point of view. Dubuffet and his fellow admirers regarded them with awe.

Works by Carlo Zinelli on display in the current exhibition at the American Folk Art Museum (photo by the author for Hyperallergic)

Dubuffet began acquiring Carlo Zinelli’s works for his own collection in the 1960s. The son of a carpenter, Carlo was born in San Giovanni Lupatoto, near Verona, in northern Italy, and was two years old when his mother died. As a boy, he was sent to labor on a farm; later he worked as a butcher in Verona’s municipal slaughterhouse and by 1936 he had finished his obligatory military service.

However, for reasons that still remain unclear today, in 1939 he volunteered to fight with the Italian forces siding with General Francisco Franco’s fascist Nationalists in the Spanish Civil War. In fact, infantryman Zinelli lasted only two weeks in Spain, during which time his schizophrenia became manifest, and upon returning to Italy, he showed signs of withdrawal and mental illness.

On display at the American Folk Art Museum, photos of the Italian artist Carlo Zinelli in his alpine soldier’s uniform, circa 1938-39 (photo by the author for Hyperallergic; displayed photos from Fondazione Culturale Carlo Zinelli)

Eventually he was sent to the psychiatric hospital San Giacomo della Tomba in Verona. There, he at first produced graffiti-like pictures on walls and in a courtyard, and later took part in an in-house art workshop set up and financed by the Scottish sculptor Michael Noble. Its participants were given plain, white paper and gouache but were not told what to paint. Most of Carlo’s existing works were made with gouache on paper. The artist also used graphite pencil, colored pencil, ink, and found, collaged papers.

By the time Carlo died in 1974, at the age of 57, he had created more than 1900 works of art. As AFAM’s current exhibition points out, today his oeuvre can be viewed as a whole and divided into four distinct groups, reflecting its development over time.

Carlo’s early works are often dominated by primary colors; in these mostly pastoral images, the artist regularly filled his pictorial space with crowds of silhouetted human figures, animals, and buildings, with little regard for their relative, real-life sizes.

Carlo Zinelli’s double-sided drawings at the American Folk Art Museum are hung to allow access to both sides of each work (photo by the author for Hyperallergic)

Carlo’s compositions became less dense as his art evolved, with sometimes a single human or animal form as a central subject. He moved from scenes of country life to images from his time in the alpine infantry and the war in Spain — churches in mountain villages, rifles, helmets, and soldiers. Over time, the artist expanded his palette, too. Many of his works on paper are double-sided and hang from the ceiling in the exhibition’s cleverly designed, if slightly crowded, display space, allowing viewers access to both the front and back images.

AFAM’s Carlo exhibition features works from its own holdings, as well as from private collections in the United States, the Collection de l’Art Brut (the Dubuffet-founded museum in Lausanne, Switzerland), and the Fondazione Culturale Carlo Zinelli, which is based in Verona and is overseen by the artist’s descendants. One of them, Alessandro Zinelli, who serves as the foundation’s president, told me during the exhibition’s recent opening, “It’s very rewarding and impressive to see an exhibition of this kind here in America. In Italy, in general, an emphasis on older, classical forms of art is big and weighs heavily in the world of art and culture, so it’s rare for unusual art like this to be so prominently showcased.”

Along with some of the artist’s less often seen early works, the current survey includes such iconic pieces as his untitled, gouache-on-paper picture from 1961 showing four blood-red figures standing against a yellow background (on loan from the Swiss museum), and several black-and-white, monochromatic works, which serve as reminders of the powerful graphic quality of the artist’s fluid, picture-writer’s line.

Carlo Zinelli, Untitled, 1961, gouache on paper, 19.75 x 27.5 inches (photo by Henri Germond, © Collection de l’Art Brut)

The Italian psychiatrist Vittorino Andreoli, who took charge of San Giacomo della Tomba’s art workshop in the mid-1960s, once wrote that the number four “imposed itself obsessively” on the artist “during his daily actions.” He noted that Carlo routinely “asked for four cigarettes and four matches, turned the key four times, and repeated the same word four times.” That red-and-yellow drawing from 1961 features four standing figures, four seated figures, and what appear to be four tables, along with four smaller men handling wheelbarrows and other motifs in groups of four.

The Russian-born artist Eugen Gabritschevsky at Columbia University, New York, in 1925 (photographer unknown; photo from a private collection, © Archives Marine Biological Laboratory, Embryo Project Encyclopedia)

AFAM did not produce a catalogue to accompany its Carlo show but it did publish an attractive, large-format, full-color brochure that is available to visitors free of charge and, as gallery guides go, is a real keeper.

The work of Eugen Gabritschevsky (1893-1979) is still little known even to well-informed art brut fans. Its current presentation, which was organized in collaboration with La maison rouge in Paris and the Collection de l’Art Brut, and shown at each of those institutions in different forms before coming to New York, will surely provoke discussion of its subject’s rich affinities with certain avant-garde art forms of past decades, including varieties of Surrealist and Abstract-Expressionist art.

Like his generational peers, the composer Igor Stravinsky (1882-1971) and the writer Vladimir Nabokov (1899-1977), Gabritschevsky was born into an affluent Russian family (of diplomats and high-ranking civil servants) that enjoyed the privileges of the elite in the era before the Soviet Revolution. Gabritschevsky’s father, a bacteriologist, was one of the co-discoverers of the scarlet fever vaccine; Leo Tolstoy was a frequent guest in young Eugen’s home. The boy and his siblings spent their summers at an uncle’s large, rural estate, where the inquisitive Eugen took an interest in plants and animals. In particular, he was fascinated by bugs.

Gabritschevsky’s brother Georg once noted that Eugen “seemed to have a special power to penetrate” the world of insects, adding, “He turned them over, fed them, and became one with nature.”

Gabritschevsky went on to study in the still-young field of genetics and to earn a degree in biology from the University of Moscow. In 1925, he won a scholarship that allowed him to travel to New York to study at Columbia University under the supervision of biologist-geneticist (and future Nobel Prize winner) Thomas Hunt Morgan. In his suitcase, the young scientist brought with him a refrigerated container holding larvae of a hoverfly (the Volucella bombylans).

Eugen Gabritschevsky, Untitled, 1942, gouache on paper, 8.25 x 11 5/8 inches (photo by Galerie Chave, © Collection Chave)

Gabritschevsky’s research interest was the transmission of colors and color patterns in his beloved insects. In the spring of 1927, he moved to Paris to work at the Pasteur Institute, but by 1931, with his mental health in decline, he became a resident patient at the Eglfing-Haar Psychiatric Hospital, near Munich. That institution became his home for the next five decades, and it was there that he produced some 3000 works of art, usually employing techniques in which chance or “accident” played a key role in shaping his imagery.

As a child, Gabritschevsky had enthusiastically made drawings of, as his brother later recalled, “mysterious forms [he had] seen in his dreams.” During his sojourn in New York, Eugen made charcoal drawings of buildings and landscapes; he also drew insects and cells in images related to his scientific research. All of his drawings displayed a keen sense of observation and attention to detail. With their compositions made up of vaguely human or animal-like forms that seem to emerge from color-washed backgrounds, many of the works Gabritschevsky produced in the hospital in Germany feel like the sketch jottings of a natural-history observer crossed with the serious doodles of an explorer in a fantasy world of his own creation.

Eugen Gabritschevsky, Untitled, 1947, gouache on paper, 8.25 x 10 5/8 inches (photo by Galerie Chave, © Collection Chave)

In his memoir, Speak, Memory (1951), one of 20th-century literature’s greatest journeys through the mists of hindsight and self-reflection, Nabokov wrote, “How small the cosmos (a kangaroo’s pouch would hold it), how paltry and puny in comparison to human consciousness, to a single individual recollection, and its expression in words!” Gabritschevsky seemed to create many a universe on a single sheet of paper, with little more than broad strokes of gouache and flecks of color.

In her essay in the catalogue for AFAM’s Gabritschevsky exhibition and in the show’s wall texts, Rousseau emphasizes how fully integrated the artist’s techniques were with the visible forms they produced. In one wall text she notes, “Gabritschevsky mainly used gouache and watercolor that he spread with brushes and his fingers on a variety of surfaces found in his immediate surroundings: X-ray paper, tracing paper, glossy magazine pages, perforated sheets, and administrative notes. He combined different methods — rubbing, folding, blotting, tracing, and patterning with sponges and rags — conducive to the creation of suggestive forms, which he later refined with a brush or a pencil.”

The results of such experiments include his untitled, undated, gouache-on-paper abstraction (now in the Collection abcd, in France), in which processions of celestial bodies seem to dart across fiery skies conjured up by crisscrossing, diagonal strokes of yellow, orange, red-orange, and some kind of dirty-dishwater green. In another untitled, undated, gouache-on-paper image (this one from the Collection Chave, also in France), a big, pink-and-purple rectangle morphs into a funky face with a beady eye at each of its far ends, neatly poised above a strappy bow tie. To gaze at Gabritschevsky’s pictures is to become immersed in a free, captivating flow of creative energy, an unfolding, unpredictable moment proclaimed in an outpouring of paint, paint, paint.

Eugen Gabritschevsky, Untitled, no date, gouache on paper, 9 5/8 x 15 3/16 inches (photo by Cesar Decharme, © Collection abcd/Bruno Decharme)

In a must-see short film on view on a wall-mounted video monitor in the Carlo exhibition, the artist’s recorded voice can be heard saying, in a thick, patchy Veronese accent, “Your head itches.”

He seems to be referring to the feeling that overcame him when he was in the psychiatric hospital’s workshop, energetically producing his art, as well as to a certain sense of impatience with the confined conditions in which he lived, but which were not enough to contain the power of his imagination.

Similarly, diving into the American Folk Art Museum’s two new exhibitions, it’s quite likely that your head will spin — for all the right reasons — in the presence of some very potent expressions from two unsinkable human spirits.

Carlo Zinelli, 1916-1974 and Eugen Gabritschevsky: Theater of the Imperceptible continue at the American Folk Art Museum (2 Lincoln Square, Upper West Side, Manhattan) through August 20.

The post In Carlo Zinelli and Eugen Gabritschevsky’s Art, the Life Spirit Endures appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2nPUVyj via IFTTT