When his daddy is not home, Prince Michael Joseph Jackson Jnr. falls asleep listening to his reflections.
"I put my voice on tape, reading poems, stories I’ve written", Michael says during an interview given on November 1997, on the occasion of a brand new photo shoot of he and his wonderful 11 months baby taken by photographer Harry Benson.
Michael wants to give the exclusive to this magazine, and he also wants "LIFE" to take pictures of Prince each year of his life, so that his fans and the public can see him growing up.
jolene -Member- Posts: 49- 06 July 2001 07:09 PM-
I miss Blossom. My friend Andy had a plan to edit episodes from certain eras together to show how her breasts developed over time.
In a grouping of four photos taken between 1994 and 2000, Dijkstra uses an unusual compositional format to photograph a young Bosnian girl as part of a project documenting the children of refugees. Taken at two-year intervals, the photographs of Almerisa are in distinct interior settings and chronicle Almerisa growing up as well as her assimilation from Eastern to Western Europe.
More or less neutral settings provide free range for the four large color portraits documenting the coming-of-age of Almerisa. (If these photos are lab experiments, at least the scientist is benign and humane and not in the business of creating a master race.) Again the effect is phenomenal, flushing out the figurative pheasants of character and culture from the underbrush.
At ages six, eight, ten, and twelve, Almerisa takes her seat in an uncluttered, cheaply furnished interior (unlike any lushly velveted or rustically woodened atmosphere in a classic Dutch portrait) that could be the hallway between two cube-shaped bedrooms in a high-rise apartment building.
At age six her feet don't even come close to touching the carpeted floor. Sitting in a red plastic chair, she's dressed in a plaid jumper, a clean white blouse (with a red bow at the throat), and noticeably royal blue socks—a formal-looking, composed little girl with melted-chocolate eyes and warm-toned skin that aren't done justice by a Scottish-highland Sunday-best wardrobe.
At eight, she's in a yellow butterfly-print dress, girlishly old-fashioned clean clothing her parents must have been proud to provide, black patent-leather shoes and white socks with pink trim.
As she ages, her feet get closer to the floor—they touch tip-toes by 10 and are flat on the floor at 12—and her clothes get more stylish, going from long pigtails and red fingernails and black clothes at 10 to white jeans and a bright blue jersey at 12.
She starts to slouch a bit at 12, too, as if to deflect attention from the breasts she's budding. But the composure and brown-eyed confidence is still largely there. She still looks like she has her things together at 12—the awkward refugee turned into self-reliant immigrant maybe.
It's as if she has accumulated enough energy from the previous three sittings to propel herself forward into several more sittings that Dijkstra would be welcome to show us every other year as long as she can, as the British filmmaker of the documentaries 7-, 14-, 21-, 28-, and 35-Up has done every seven years with his motley collection of citizens.
One of the guys mentioned that a friend had done time-lapse movies of his kid's head growing, clamped in a foam frame. And of wounds healing. I have always wanted to do the kid time-lapse thing, but without even a wife it is difficult! Some day.... I dont think Crista and Padh. would let me clamp my nephew Aidan's head in a frame!
McFarlane's (1942) work shown here is a documentation of twenty years of his son Morgan's life. From the birth of his son, he observed his son: his growth through childhood to the development into a grown man. McFarlane archived the negatives under "Diary, Morgan": thousands of small moments of their life together. When Morgan climbed a cliff just ten years old, McFarlane realised that parents can never really protect their child from danger and pain. In December 1994, Morgan was killed in a car accident. These photos help McFarlane celebrate his son's short, radiant life. He hoped, by photographing Morgan, to discover something both universal and personal. His work is presented in the same frame of mind.