William Eggleston.

William Eggleston and Charlotte Rampling for Marc Jacobs, shot by Juergen Teller.

William Eggleston, born July 27, 1939 is highly recognized for his color photography.

Inspired by Robert Frank he first photographed in black and white before moving to color photography. Color transparency film quickly became his dominant medium in the late sixties.

Not too long after that he discovered dye-transfer printing. A good example of this printing method is The Red Ceiling (1973).

Eggleston's work was featured at the Museum of Modern Art (MoMA) in 1976, that event marked the history of photography, it was the acceptance of color photography, his solo exhibition being the first containing color photographs in the history of the Museum of Modern Art.

Eggleston's work is characterized by it's subject matter. He finds beauty in everyday life scenes, from car parks to random street signs, things which once taken as a photograph have a new meaning. I went to his “21^st Century” exhibition at Victoria Miro, a series of 22 photos. I personally liked his interior photos from 2002.

Untitled (Sign Factory, Pin-up Posters, St. Petersburg, Russia) 2002

Untitled ( Room with old TV, Lamps, Wildwood, New Jersey) 2002

• http://www.egglestontrust.com/

• http://www.victoria-miro.com/exhibitions/_404/

A Single Man.

A Single Man, Tom Ford's first feature film based on Christopher Isherwood's novel is for him a stunning debut as a film artist. The cast includes Colin Firth who plays the role of George Falconer, a stylish college English professor, who happens to be a closeted gay man. Julianne Moore in the role of Charley, George's best friend. Matthew Goode in the role of Jim the ex-Navy lover. Nicholas Hoult as Kenny the college student and finally the “better than James Dean”, Jon Kortajarena who also appears in many different TOM FORD adds.

A Single Man is full of amazing film stills, Ford creates a consistent visual style for his film and maintains it with single-minded rigor. Eduard Grau's cinematography (director of photography) is generally bleached of bright colors, as if it were under the spell of George's grief and depression; the only disruption comes during flashbacks or flickers of lust, depicted with sudden bursts of color. With Ford's eye for elegant composition, the movie is never less than visually appealing. George's world doesn't need to look gray to feel sad: The color-coordinated misery diminishes the anguish in Firth's beautifully calibrated performance.

“Mr. Ford’s single man might be less common than Isherwood’s, a bit too exquisitely dressed. But with Mr. Firth, Mr. Ford has created a gay man troubled by ordinary grief and haunted by joy, a man apart and yet like any other.” - NY Times

- http://edugrau.com/

- http://www.cinematical.com/2009/12/11/a-single-man-review

- http://www.nytimes.com/2009/12/06/movies/06firth.html