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Photography in sentence

741 examples of Photography in a sentence

Ascent is a great film by any standard, with stunning black and white photography, hypnotic direction, and actors so deep into their roles that you have no sense of them merely giving a performance.
Also great directing and photography.
Also I cannot mention that the movie looks astonishingly through excellent photography, especially through rational use of color filters, incredibly apposite editing, wonderful acting of all the cast and, of course, due to the atmospheric beauty of winter mountains that reminded me of the Brueghel's "Hunters in the Snow".
I love this film for its beautiful photography, its humor and its attenuated criticism of the Bad Guys (Berbers) and the REAL Bad Guys, the spear- carriers for the acquisitive 'civilized' world, with their repeating rifles, artillery and large gunboats out there in the harbor.
It's directed by Stuart Heisler, photography is from Ernest Haller & pen duties fell to John Twist.
I am happy to report that the photography in this motion picture is a splendor for the eye to behold.
The acting and photography are excellent.
There is some nice photography and music, and the ending is wonderful and uplifting.
The photography and audio are the best I've experienced in years (okay, months).
Jean Gabin gives his usual excellent performance.The Technicolor photography on the print I saw was exquisite.An easy evening's viewing.
It's such a lovely film - well made, well cast, good photography.
Set in Venice mainly on the Lido, Visconti's "Death in Venice" is a triumph of filmmaking combining the excellence of Dirk Bogarde's characterisation and expert photography of the resort area in all its various daily moods.
It is beautifully filmed, with nice photography and period detail, and the music as always is excellent.
M. David Mullen's extraordinary photography makes almost every frame exciting and wonderful to look at.
A throwback to the "old fashioned" Westerns of the 30s and 40s (such as DODGE CITY), DALLAS has a number of things going for it: Gary Cooper at his coolest, blazing Technicolor photography by Ernest Haller (GONE WITH THE WIND) and a pulse-pounding Max Steiner (KING KONG, GWTW, DODGE CITY et al.) score.
The film has beautiful photography and set design, but never really captures the true feel of a period piece.
Then, too, the coastal scenery is most lovely, the costumes quite well-chosen, and the photography very nice indeed.
Only this time, he's able to implement touches of homage- things like black and white photography (a given due to the shoe-string budget but also essential to the dark crevices these characters inhabit) and casting of the actors (the John Doe lead, the slick male counterpart, and the beautiful-in-a-gritty way femme fatale)- while keeping it in the realm of the 90s underground indie where for several thousand dollars and specific choices in locations and music and such anything could be possible.
The acting is great, so is the photography, and a perfect score by Philip Glass.
The photography and the soundtrack are exquisite.
Richly hued B & W photography with an unusual amount of close-up head shots.
Spectacular above and underwater photography from "Jaws" veteran Bill Butler and haunting music by Joel McNeely and Crosby, Stills & Nash make this truly memorable family entertainment.
Director Stacy Peralta, who's one of the legendary Z-Boys himself, relates the incredible exploits of this amazing ragtag crew in a ferociously punchy and visceral manner that's both informative and wildly entertaining: the snappy rapid-fire editing, ceaseless speedy pace, and raw, gritty photography deliver one hell of an infectiously kinetic buzz, projecting a sense of sheer joy and full-on bustling energy that's a total pleasure to behold.
There's a "Third Man" look to the shadowy B&W photography of STOLEN IDENTITY, a thriller produced by Turhan Bey, ex-star of Universal pictures during the '40s.
Fantastic photography and filming presentation.
Cole Hauser, I was sad about little space for Claudia Black though), subtle visual effects and photography in overall, believable plot (considering the genre) without a lot of logical holes, really non-predictable twists, build-up characters.
The film is produced with all first class elements, beautiful photography, stirring soundtrack (Alfred Newman and Bernard Herrmann - see if you can tell which composer scored specific scenes).
She manages to skewer Hunter before she learns he is on her side; also the photography, the costumes by Travilla, Lionel Newman's music and the film's style are unusually fine.
The photography was so good, it looked as though it was a 35mm shoot.
It's a masterful piece of suspense, character interaction and photography.
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