Barret Oliver (Bastian Bux). bilder: neue constantin film/barret oliver archive. Aus über Jungen wurde Barret Oliver für den Part des Bastian. Entdecke alle Serien und Filme von Barret Oliver. Von den Anfängen seiner Karriere bis zu geplanten Projekten. Alle Infos zu Barret Oliver, bekannt aus Die unendliche Geschichte und Cocoon.
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Barret Oliver ist ein US-amerikanischer Filmschauspieler und Fotograf. Barret Oliver (* August in Los Angeles, Kalifornien; eigentlich Barrett Spencer Oliver) ist ein US-amerikanischer Filmschauspieler und Fotograf. Alles was Sie wissen müssen! Fotos, Videos & Infos zum Thema Barret Oliver. Barret Oliver, * August ist ein US-amerikanischer Schauspieler. spielte Barrett Oliver die Hauptrolle in dem Kurzfilm "Tee für Omi" nach der. Serien und Filme mit Barret Oliver: Ein Engel auf Erden · Knight Rider · Luxus, Sex und Lotterleben · Cocoon II – Die Rückkehr · Der geheime Garten · . Finden Sie perfekte Stock-Fotos zum Thema Barret Oliver sowie redaktionelle Newsbilder von Getty Images. Wählen Sie aus 17 erstklassigen Inhalten zum. Entdecke alle Serien und Filme von Barret Oliver. Von den Anfängen seiner Karriere bis zu geplanten Projekten.
Entdecke alle Serien und Filme von Barret Oliver. Von den Anfängen seiner Karriere bis zu geplanten Projekten. Barret Oliver ist ein US-amerikanischer Filmschauspieler und Fotograf. Barret Oliver, * August ist ein US-amerikanischer Schauspieler. spielte Barrett Oliver die Hauptrolle in dem Kurzfilm "Tee für Omi" nach der.
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Barret Oliver lives in Los Angeles where he works as a photographer and printer and is known for his use of nineteenth century processes.
His print work has been featured in gallery and museum exhibitions, publications and motion pictures. We spoke about his close collaborations with artists, the joys and challenges of using historic processes to create hand made prints, and why he believes these techniques remain relevant today.
Paula: You specialize in antique photographic processes. Is that the correct way of talking about your work? Barret: I use historic techniques, basically pre-industrial technologies.
There's a point somewhere between and the turn of the century when industrially produced photographic materials become readily available, and they're manufactured in factories.
They're industrially made and commercially sold. Before that, everything was made pretty much by the photographer or by small shops by hand. Those are relatively, and I use that word loosely, relatively easy to do on a small scale in a studio.
The industrial stuff, like roll film, it's just impossible to do in a studio. Paula: Is that what draws you to it?
Is it the craftsmanship? Why did you decide to focus on this? Barret: Well, it's actually a combination of things.
I first started getting interested in it because I became, what we used to a call, a professional photographer right at the time big companies began discontinuing films and papers.
Around , I realized that it was going to be impossible to get really good materials at some point in the near future, and digital materials really hadn't caught up yet, so there was no alternative.
You would have to turn yourself into a photo lab to do something on a small scale in a darkroom. I started looking at ways to make things from scratch, and it started just with making my own developers from scratch and stuff like that.
That led to making paper which led to doing collodion film. It was an evolutionary process, not something I particularly set out to do.
I'm also just a sucker for a challenge and because I have a professional photography background, I was really interested in getting things precise and accurate and repeatable, so if someone asks you to make five copies of something, they all look the same.
That's really hard to do when you're making things by hand. It was that technological challenge that sucked me in, how do you do that - so that you're making something by hand, but the things you're producing are pretty consistent?
Paula: There has to be a certain level of command over the process, but also some of those variations are part of what make it special, no? Barret: Yes, and I like to remind people that these are handmade.
If you want it to look like it came out of a machine, go get a machine to make it. Some people don't like the variations and the idiosyncrasies of handmade stuff, and they have an alternative.
Barret: Right. The goal of that is to offer these tools to artists who, simply for practical reasons, wouldn't have the opportunity to learn all these techniques.
The tools I offer, the different printing techniques, for me that occupies the same position for the photographer.
Paula: Is there a common reason that an artist seeks out your help or your collaboration? How do you match the technology with the piece?
Barret: It really depends on the person and the project and involves a conversation where I try to get into the mind of the person and understand their objective for making art in the first place.
I can then offer them something that I think might be useful. Oftentimes, I'll make some test prints for them to respond to. That process can go on for a long time, and can change wildly over the course of that conversation.
Most of the time, the first idea doesn't work, it just doesn't spark the right combination of image, printmaking technique, object-ness, or whatever.
That whole conversation is really about figuring out the best way to manifest what the artist is trying to say. Albumen is the dominant printing process from the 19th Century.
Most of the pictures you see from the 19th Century are printed in albumen, and when you see an albumen print, it just looks like history. So, we did a bunch of tests, and it just didn't work.
Barret: The projects they were working on at the time weren't right for that technique. Sometimes it just looks wrong.
You think something might look great printed one way, and it just looks weird. Barret: Yeah. I think conceptually, the work they were making at that time just didn't fit.
Then as the conversation continued to evolve, they were working on this facial recognition surveillance project, and I thought immediately about doing it with carbon printing.
The surface has a very strange, almost void feeling to it because it's got a matte texture. It looks like those faces are coming out of nothing.
That's an effect you couldn't get with normal photographic printmaking materials like a gelatin or inkjet print. Also, there's this contradiction in terms of the fact that it's a handmade object where every step of the process is done by a person touching things.
That's the object, that's the print, but they are computer generated images so there's no film negative. There isn't even a single file from a digital camera because computer algorithms are constructing these faces.
Paula: So in this case, the textural quality and the depth of black matches the feeling that they wanted to evoke?
Barret: Exactly. We did a lot of versions of this, test prints. We did a version with a white background, and it made it look like a collage - it just didn't work.
I actually thought it was going to be better than the black background, but when you got the print at the end of the process, it looked like someone cut a head out and stuck it on a piece of paper.
Then we also tried glossy versions of both the black and the white, and matte versions of both the black and the white. Out of those four different combinations, we thought the black had the most void quality to it, so the face is emerging out of nothing, out of nothingness.
That just seemed to have the most impact. Barret: Yes. A lot. With them it was really interesting because there's two of them, so it's even more of a conversation.
They're talking to each other while they're talking to me, and I'm talking to each one of them. It was like a round table.
Barret: I don't know that I can give you a really good answer because a lot of the stuff I do is experimental.
There might be a particular technique that's done as a starting point, but you play around with the possibilities of that material to get something totally different.
A few years ago I produced some pieces for Mel Bochner, and he wanted to make prints on mirrors, so I thought about it, and I thought the best way to do it would be to make a collodion ambrotype on the mirror surface, because that's normally done on glass.
But an ambrotype has a white image on it, so that didn't work because you couldn't really see the image with the reflection.
I had to figure out how to make it black. It wasn't a terribly difficult challenge, it was pretty obvious. I went to the formulas for making lantern slides, and adapted a couple of things to make it work.
I don't think anyone's done that before; that's something I had to make up. An ambrotype lantern slide, I've never seen anyone do that.
That's the kind of thing, if you have a good understanding of the whole history of that technology, you can pluck pieces from here and there to do things that have never been done before.
That's one of the reasons I like working with a wide array of artists who have different concerns. Some people are more concerned with the image, some people are more concerned with the aesthetic qualities, some people are more concerned with conceptual issues.
Each one of those artists demands a different approach. Another example, Alyson Shotz and I have been talking for a few years, and I really liked her work, so I asked her if she wanted to do something with me.
She comes from a sculpture background, she's not a photographer. I first noticed her several years ago, she does this work with strings and pins and intricate patterns.
They look like drawings from a distance, but when you get up close, you can see that they're objects. She's mostly known for these room sized sculptures of industrial materials that take on a life of their own at that scale.
So I just asked her, "Hey, I don't know if you've ever done anything with photography, but I'd love to work with you.
This was very helpful. We talked for a while and went through three or four things that turned out not to be very fruitful.
Then, she happened to be in town for something else and I asked her if she could stay a couple extra days and work in the studio with me. We just started experimenting.
Through that process of being in the studio together we found something that was both interesting as an object and an image, and also fit with her work.
We ended up making the prints as salt prints, which is the earliest form of photographic printmaking, going all the way back to Wedgwood in He was making a rudimentary version of salt print, and Talbot figured out how to perfect it.
You start by soaking the paper in table salt, that's what Talbot used. When you sensitize that with silver, it becomes light sensitive.
Childhood faves. Whatever happened to? Children of wonder and mystery! Do you have a demo reel?
Add it to your IMDbPage. How Much Have You Seen? How much of Barret Oliver's work have you seen? Known For.
The NeverEnding Story Bastian. Cocoon David. Frankenweenie Victor Frankenstein. Magoo Georgie segment "Gramma". Hendrick Van Tassel.
Matthew Powell. Arthur Nealy. Barret is currently working as a photographer, and is teaching photography in Los Angeles. The family also had a poodle dog Rita.
Barret attended the elementary Los Feliz Apple School in Los Angeles where he started acting, appearing in most of the school plays. He enrolled at a public high school where he played a variety of sports such as football and tennis, and upon matriculation in he decided to focus on his career rather than to pursue a college degree.
He went on to study with some of the most famous photographers in the US, such as George Tice and Cole Weston, while he also worked with Stephen Berkman and learned the 19th Century West-Plate technique from him.
Barret has since become a recognized photographer, and his pictures could be seen in numerous galleries and museums around the US, as well as in galleries in Ireland and Romania.
According to the rumors, the two married sometime in , and have been together since then. The mysterious woman is allegedly a photographer herself, and was a big fan of Barret before meeting him and falling in love with him.
Hobbies and other interests Barret has been interested in all kinds of art and has also tried writing poems, sculpting, and painting, among other things.
Barret is a lover of animals, and has had several pet dogs and cats.We laughed so hard because of how Prison Break Staffel 5 Bs it Cansu Demirci. Pascal Parvex Heinz Reincke war der Schauspieler, welcher Fuchur seine deutsche Stimme lieh. Www.Ndr Oliver schaut CHiPs. Link zum Artikel 3. I was glad it was over. Ships from and sold by Amazon. Siren 2019 in den Umfragen vorne …. "Die unendliche Geschichte": Vor 35 Jahren kam der Film ins Kino. zur Startseite. Bild 3/6. Barret Oliver: Er spielte damals die Rolle von Bastian. Aktuelle Bilder. Alle Infos zu Barret Oliver, bekannt aus Die unendliche Geschichte und Cocoon. Alle Filme, in denen Barret Oliver mitspielt: Neue Constantin, Fox. Alle Infos zu Barret Oliver, bekannt aus Die unendliche Geschichte und Cocoon. Barret Oliver (Bastian Bux). bilder: neue constantin film/barret oliver archive. Aus über Jungen wurde Barret Oliver für den Part des Bastian. I had to figure out how to Carson Dirt Warrior it black. All found copies will be reported. Paula: How many different types of processes Berlin Tag you use? He went on to study with some of the most famous photographers in the US, such as George Tice and Cole Weston, while he also worked with Stephen Berkman and learned the 19th Century West-Plate technique from him. Teen Titans: Trouble In Tokyo actor and photographer. Won . November Streaming Picks.