Word: colorations
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Dates: during 1980-1989
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...46th year at TIME, counting half a decade spent in the field artillery during World War II. His work as an office boy eventually led to a chief copy clerk's position in what was then the TIME picture and production department, where he subsequently rose to layout artist, color editor and, in the 1960s, chief of production. Since 1972 he has been in charge of the magazine's makeup, painstakingly piecing together each week's 100-plus pages of editorial and advertising matter...
Drapkin, 53, joined TIME as a copy boy in 1950. Six months later he became the first layout artist in the newly formed color department. Says he of those early days: "Charlie Jackson was a mentor, to me and many others, before the term or the role was fashionable. When I was brand-new, he saw me looking confused, took pity, sat down and taught me how to crop pictures with a proportional slide rule...
...design. He was named picture editor in 1978. Since then his photographers have won scores of major awards, including the coveted Overseas Press Club Robert Capa Gold Medal seven times. As he looks back on his 35 years with TIME, Drapkin marvels at the strides photojournalism has made. "Our color deadline has gone from five weeks to mere hours. Technology has allowed us to meet more challenges and be better journalists than ever before." Our warmest congratulations to Jackson and Drapkin for helping TIME meet those challenges over the years...
...worldly wise "Ja, ja" as she withdraws from Octavian's life. Here the film leaps in mid-utterance from a long shot of Schwarzkopf to a close-up, calling attention to the camerawork when the viewer's concentration should be on the poignancy of the moment. Although the color has faded somewhat, giving the film an antique air, the picture is sharp and clear. All in all, this Rosenkavalier captures the feeling of being there, right down to the sight of Karajan making his way energetically through the orchestra, hopping onto the podium and cuing the horns for their first...
...icer--smearing those layers of sweet goo, drawing arabesques with the forcing bag--and the literal work of the painter's brush. A very conscious part of his style is the way he rings his forms (plain geometrical ones, as a rule: rectangles, cones, cylinders) with zips of relieving color, orange, yellow or vermilion. When these work--and often they are little more than a graphic mannerism--they lend his images an indefinable air of instability, an apparitional flicker, a distant cousin of the twitching, fluttering profiles in Giacometti. But it is the density of the paint that anchors...