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Work with Bill V. Ocean Without a Shore. Going Forth By Day. Although a screen is a flat two dimensional surface, the cinematographer is able to create a feeling of dimensionality. For the past several decades I have made a living looking through the viewfinder of a motion picture camera. In that exceptionally fortunate experience, my goal each time was to create depth in the image and appropriate emotional responses in the viewer. Most of what I do is seen in non-traditional situations.

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Harry Dawson

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Work with Bill V. Ocean Without a Shore. Going Forth By Day. Although a screen is a flat two dimensional surface, the cinematographer is able to create a feeling of dimensionality. For the past several decades I have made a living looking through the viewfinder of a motion picture camera. In that exceptionally fortunate experience, my goal each time was to create depth in the image and appropriate emotional responses in the viewer. Most of what I do is seen in non-traditional situations.

<META> KEYWORDS

1 harry dawson cinematography

2 viola

3 dreamers

4 crossroads

5 tristan and isolde

6 martyrs

7 exhibitions

8 limits

9 forensics

10 nomlaqa boda

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harry dawson cinematography,viola,dreamers,crossroads,tristan and isolde,martyrs,exhibitions,limits,forensics,nomlaqa boda,una belebom,viewing the world,vertical motion,peter kirby,red door films,aerial,archives,reel/contact,email harry@harrydawson com

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Home | harrydawson.com Reviews

https://harrydawson.com

Work with Bill V. Ocean Without a Shore. Going Forth By Day. Although a screen is a flat two dimensional surface, the cinematographer is able to create a feeling of dimensionality. For the past several decades I have made a living looking through the viewfinder of a motion picture camera. In that exceptionally fortunate experience, my goal each time was to create depth in the image and appropriate emotional responses in the viewer. Most of what I do is seen in non-traditional situations.

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harrydawson.com

1

clips of pieces

http://www.harrydawson.com/clips-of-pieces.html

Work with Viola, pieces of pieces. The Dreamers is a seven panel vertically oriented piece designed to be viewed in a single room. Each person was photographed submerged in a tank with a background below. This girl with the flowing hair reminds me of a flying angel. Ocean Without a Shore was created for the 20. Venice Bienalle, installed in a de-consecrated chapel, San Gallo,. As a three vertcal panel piece situated inside the three altars in the church. Was one review in a British publication.

2

DMG

http://www.harrydawson.com/dmg.html

From Una Belebom, Potatoes. 503789.8631 310.699.9601 linkedin.

3

vertical motion

http://www.harrydawson.com/vertical-motion.html

Silver Falls State Park, Oregon. 8 min, music Paul Winter. Working with time, allowing time for the viewer's eye to move about the frame and respond. Take control of the viewer. Certain images will cause the viewer to feel there is a story, it's an imperative for humans. In the case of moving images the audience has time to feel a story, even in these fleeting moments. 503789.8631 310.699.9601 linkedin.

4

more...

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But wait there's . 503789.8631 310.699.9601 linkedin.

5

Limits

http://www.harrydawson.com/limits.html

This DMG developed and produced, National Science Foundation funded series was designed to be book club meets science cafe. Libraries throughout the country have played this series with great success, and begged for more. Part II is in the works! Each program was a theme. Here are clips from 2 videos on that theme, Can you see how the theme plays out? To see the whole series ask for a DVD. It will be on the web in mid-2015. 503789.8631 310.699.9601 linkedin.

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Work with Bill V. Ocean Without a Shore. Going Forth By Day. Although a screen is a flat two dimensional surface, the cinematographer is able to create a feeling of dimensionality. For the past several decades I have made a living looking through the viewfinder of a motion picture camera. In that exceptionally fortunate experience, my goal each time was to create depth in the image and appropriate emotional responses in the viewer. Most of what I do is seen in non-traditional situations.

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