Stills:Moments in Time

Lando provides nice digs, fresh clothes, and even an invitation to brunch. The kind that ruins brunch. Fisher was not a fan and reportedly warned The Force Awakens star Daisy Ridley to refuse to wear any swimwear. But oh, what eventual catharsis: Leia strangles Jabba with the very chains that enslaved her. Leia was the first powerful princess capable of saving herself rather than waiting for a night in shining armor. The original trilogy denied fans the opportunity to see either of the arguably most powerful Jedi Masters wield a lightsaber.

So naturally, the prequels could only culminate in a head to head battle between the two. With the fate of the Republic hanging in the balance, Yoda and Darth Sidious Ian McDiarmid engage in an acrobatic duel of wits, swordsmanship and Force wizardry that illustrates the stark differences between the Light and Dark sides. One of the biggest faults of the Star Wars saga arguably is that it focuses so much on its human and human-like characters even while building a rich universe of bizarre aliens.

And that song is just so catchy!

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One of the best pieces of Yoda wisdom actually comes in the much-maligned Phantom Menace. Fear leads to anger, anger leads to hate, hate leads to suffering. But he turns a corner when he risks his life to save Luke from exposure on the punishing environment of the ice world Hoth.

After finding Luke, Han keeps his friend warm by slicing open his Tauntaun think space camel. Han delivers this classic line: The only person who saw this twist coming was Harrison Ford, who apparently wanted Han to be killed off way back in the original series. It took major guts for J. But it gave an often-playful movie emotional heft and cleared the way for the new cast to grow into its roles. The scene was controversially replaced in the Special Edition of Return of the Jedi in favor of a sequence showcasing the impact of the Imperial downfall on different planets across the galaxy.

Not as amazingly adorable. Episode II gave fans precious little to love. But it was the first movie where Yoda was digitally animated, rather than portrayed by a puppet. Admiral Motti attempts to give Vader a dressing-down over his belief in the power of the Force.

No action series is complete without at least one high-speed chase, Star Wars included. Before the prequels, we only got to see how Yoda taught the ways of the Force to Luke, already an adult. Turning the tables never looked so balletic. Needless to say, there was a lot of anxiety about the series return to the big screen with The Force Awakens. Early in A New Hope , Luke is pretty much just like any other teen: But she took me there one day and I remember seeing a blank page put into a chemical bath and becoming a photograph. She mentioned it often; my mum and dad discussed photography a lot.

Because I grew up around it, I assumed everyone could take pictures.

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Now, I realise that not everyone has the eye. I still think in film: The confusing thing for me is how many different ways there are of taking photos. I take a fair amount on my iPhone, quite a few on my 35mm Leica, plus on my digital camera, and I have a Polaroid, too. Family pictures are the most precious. I have a set of prints I carry around in my wallet of my kids, my husband and my parents.

I look at those rather than writing a diary: The one of my husband and me was taken in a photobooth a friend rented for a birthday party. I also have a great photobooth strip of my son when he was really young. I grew up in Leicester in the 60s. The first time I became enthralled by photography was when my mum got a subscription to Life magazine: I never wanted to be a train driver, always an astronaut. It came about in the s: I was making Super 8 films and working on a film with Peter Greenaway that photographed things over time.

David Attenborough did it first, with a dead mouse that eventually had maggots in it. When Jack was 20 minutes old, I made my first image of him, with the idea that the death at the end of the cycle would be mine, not his. I also photograph my daughter Lola Rae, who is six. She plays to the camera and is more aware of herself. I store all my images in print form, but also as digital scans on hard drives. I have a wall of photographs in my studio, for inspiration and influence, that I change sporadically pictured at the top of the article.

But there is a photo that means a lot to me hanging in my studio.

Head On Collision

Days before, a friend had taken me to a pub on Tottenham Court Road. He had a Pentax and he showed me how to use it, then gave me two rolls of film. I photographed circuses, fairgrounds, bars. The image is a woman lying down, balancing a table on her feet. Photography and surrealism are so linked.

When I was about five, my mother made a bonfire in the back garden and burned a suitcase full of family photos taken by my father. He had been a keen photographer with his own dark room. For the rest of my childhood, no one in the family possessed a camera, so I have very few photographs of myself before art college. Family snaps are somehow celebratory of the good times so there was little motivation to record our lives. It was bulky and manual and I had little spare cash for film, so I took few snaps at first.

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Transvestites have a very symbiotic relationship with the camera. We used to joke at tranny events that we should seek Kodak sponsorship. I was never very good at the technical side, and have few good photographs of my early work, an omission I came to regret when researching my first retrospective show. I had put on whole exhibitions in the s without taking a single photograph. Nowadays, my dealer will commission high-quality photographs as a matter of course.

These tragic photos were taken just moments before death

Soon after compact automatic cameras became available I started taking a lot of snaps. This was a habit I kept up until fairly recently, particularly when my daughter was young. I used to put them in albums religiously, until I saw a TV programme where a curator from the Museum of Film and Photography said those sticky, clingfilm-style albums are terrible for the prints and you should keep them in a shoebox.

Which I did, unedited, for years until I realised we never looked at them. Then my daughter and I spent a week going through thousands and sorted the best into a series of albums. Since the advent of digital photography, I have taken fewer and fewer photos for fun, but hugely more for research, or to record my work, or outfits. I take a few to record our ageing. I will go on holiday and return with just a dozen snaps. The cameraphone has made the forest of glowing screens ubiquitous in museums, galleries and at events.

My father always took photographs of our summer holidays and printed the film into slides. He used a Japanese camera, a 35mm Canon. We had family slide shows every winter. There was a white plastic screen that had to be pulled up out of its cylindrical container, and we had to be careful not to get sticky fingers on the negatives. There were framed photographs of us around the house and my favourite was a plain wooden frame around a colour picture of me, with the sun hitting the lens so it created a halo around my smiling head.

My dad also taught my brother and me how to make pinhole cameras when I was about My uncle Richard took photographs for the Leicester Mercury, specialising in sports photography and pop concerts like the Beatles, so the house was also littered with his shots. My brother started taking black-and-white images when he was at prep school and later went into photography professionally. My first experience of a dark room was with him in my early 20s. The magic of the image emerging on to the white photographic paper in the thick red gloom was bewitching, and I loved the way the images were hung up on a washing line.

When I went to university, my father gave me his old Canon and I remember the complexity of all the settings, how hard it was to load and the importance of caring for it. Later, as I became more interested in film, my dad bought me a Super 8 camera and I remember the delight when you started filming and the camera whirred until you pressed stop.

Now I use either the new digital camera my mum bought me when I had my daughter, or my iPhone.

Moments in Time

I store my photographs on my computer and rarely print them. But they looked different from my childhood photographs. The photos turned out beautiful! I highly recommend her! If you want a set of photos that are very fun, spontaneous and shows your real character, Lori is th My fiance John and I did a set of outdoor pre wedding photos with Lori. She asked what we want first, and made suggestions. She will suggest the spots with nice background and lighting, and let us make poses and make casual conversations. She did not interrupt us much, but let us be ourselves and she stayed with a distance and captured the good moments.

The photos turned out pretty nice, very natural, we liked them. Don't forget to bring the camera to your holiday celebration. Holiday family photos - Moments in Time Images. This year when the family gathers for holiday celebrations, break out the camera and take some family photos. It's a lost art that needs to come back.