Saturday, October 24, 2009
The Poet Considers His Resources by Ray Bradbury
THE POET CONDIDERS HIS RESOURCES
The autumn sea, October sea
Tears darkened seams inconstantly
And stitches clouds with rain and fire
And charcoals hearths with dead desire
And turns old souls on burning spit,
Forget all Good, because of it;
Because of traveling night and clouds
Which bury moon in winding shrouds
The heart is buried , blood turned ice
And all the fruit jams, teas, and spice
Are pantry poisoned, forced to change
By weathers that incline to strange.
So what was dead now bolts upright
To knock is head on lid`s midnight,
And while all cold things jump and start,
Antarctica floes in warm heart
And tropic seas of blood are purged
By nightmare iceburgs, once submerged
Which now lift blizzard brows to seize
Sane room, sane door, sane locks ,sane keys,
And shriek the tumblers , warp the walls
With panic-colored storms and squalls.
And all of it, both live and dead ?
. . .
Trapped in circumference of my head.
Ray Bradbury 1979
designed and printed by Richard Bigus for the
Lord Press of Northridge
Lord John Film Festival
Published January 24, 2007
This book prompted the creation of the website, we spent twelve years putting the book together and it has become a highlight in the thirty-year history of the press, the ultimate in film memorabilia. In a way it is also a primer on movie poster collecting and checking the authenticity of autographs. All the press releases and promotional materials compare a small press with an independent film -- the film analogy is real enough because this is a movie book and a small group created it as opposed to hundreds working at a Hollywood major studio or a New York publishing house.
This site will be an ever-changing arena with new and exciting additions showing up on a regular basis. Feel free to browse and come back as often as you like.
We have expressed our gratitude privately and collectively to all the contributors and to those who signed pages for the limited edition but there are those who deserve even more thanks: the designer Susan Flake, John Updike for concerted encouragements, Ray Bradbury who helped and made recommendations, Billy Wilder who called Fred Zinnemann, to Roman Polanski for his counsel, to Jean Simmons and Lizabeth Scott for their class, to Jeanne Moreau who opened up her personal files, Bertrand Tavernier who traveled to France from Hollywood and sent back everything he had promised and to Robert Bloch who approached this task with diligence and wisdom. And to Rab Brown who designed this website.
The following writers contributed essays to this book:
Steve Rasnic Tem
Ramsey Campbell Gerald R. Ford
Richard C. Matheson
Robert Bloch Ray Bradbury
Bertrand Tavernier Norman Corwin
Each Limited Signed Edition will contain twin four-page sections in the front and back of the book of original and personally signed signatures of the contributors and the following actors and directors:
Brian Cox Fred Zinnemann
John Milius Horton Foote
Bruce Beresford Stanley Kramer
Eva Marie Saint
There are full color film posters and photographs throughout the book
CMYK color correction with lots of ego...
January 28, 2002
By Richard Bigus
Most of the online reviews promise a lot but the book doesn't deliver and that is a great disappointment since an understandable guide is need. The author does not explain and illustrate the relationships between rgb (additive) and cmyk (reflective) in enough detail for one to comprehend how to read color coordinates in the info window and then correct the images using PhotoShop's image adjustments whether they be curves, levels, or whatever (which require thinking in both color spaces). The author is an expert on the four process color inks on the press and how they relate to cmyk color densities on printed paper but how to achieve the corresponding correct color densities in your digital files using PhotoShop is not clearly communicated. I've learned more reading the compressed "Create Print" articles in MacWorld by authors like David Blatner (a fine writer) then I learned from this book. My recommendations are: if you want to understand the basics of digital prepress then the Agfa Guide to Digital Color Prepress (though dated) is far better; if you want to understand channels then PhotoShop Channel Chop (also dated) is better; if you wants to understand curves then the PhotoShop Artistry books (version 5 or 6) are better. If you want a professional's insights into how he goes about correcting cymk color situation along with lots of self accolades, well this is it. Also be warned that none of the photographs measure up to the quality of good commercial stock photo images. Hopefully, by the next version of PhotoShop a good technical editor can turn this book into the gem the PhotoShop audience needs on this topic.
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