![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
I'm just doing this for my own amusement. It's my favourite caps from the Pretty Things spam with comments on why I love them.
It says something that In My Time of Dying is the first and also the second most incredibly shot episode of the season (the most gorgeous episode is AHBL 1, although part 2 is an enormous disappointment in terms of direction/cinematography IMHO). This cap's incredible for the use of that really tight close-up that Supernatural's fond of, but also the way the light falls on one side of his face and through his hair. I like the angle of it, too, seeing almost through his eyes but seeing Dean, who he can't see.
One of the best sequences committed to film, by placing the camera at John's level and seeing it through the door - it's instantly both distancing and emotional, with the reality of the coffee cup crashing in.
Car porn! The Bloodlust opening scene was pure, unadulterated car porn - she's shiny and centred and the world blurs around her. Not that I'm complaining, I love the car almost as much as the cinematographer does.
Admittedly this one's for his face rather than the shot itself, though the light is pretty again. Look at those enormous green eyes, the long eyelashes, the perfect teeth. Jensen slays me dead. Children Shouldn't Play With Dead Things is LITTERED with beautiful shots of Dean.
As much as I dislike Jo and No Exit in general, this lovely image of her trapped, sitting there alone as bait, especially as a girl seeing what's happened to her beforehand, is exquisitely creepy.
Crossroad Blues was actually one of my favourite episodes in terms of the cinematography, and most of the caps don't quite do it justice. The sepia tones of Robert Johnson's era are amazing, but it has nothing on this image of our two boys in centre frame, drenched in oversaturated sunlight.
Again, Croatoan is one of the most beautiful episodes, and this was almost my favourite shot of the season: it starts in front of the Impala as she comes to a stop and then tracks up over her and watches Dean get out from above. Look at how the lines on the road are parallel to the car door, how kinetic the image is.
I didn't like Hunted that much, but I couldn't decide between this and the one below for the prettiest cap. I don't know what I like about this shot so much, it's just really well-framed and kind of a perfect capture.
I know exactly what I like about this one. Not only does Sam look gorgeous, it's got this wonderful shadow that melts into him, with the front of his face blurred but his hair, cuts and dimples in sharp contrast. I love what they do with focus.
I admit it, it's the Shining reference that gets me. The whole shot is muted greyish brown, black and white but for the bursts of red that wouldn't be bright except for the lack of colour everywhere else. Perfect. Playthings was redeemed by this shot and wet Paddywhack.
Oh Nightshifter, most beloved of all episodes. I had a hard time picking one of these, but I ended up choosing this because it has that really frantic mood that sets the episode apart; there's so many railings between us and the boys, they are SO trapped at this point, and they're heading from daylight into the pitch black of uncertainty. It's also really gritty and dank.
I had to include something from Houses of the Holy because, much as I dislike the writing and symbolism, it was really beautifully shot. This one demonstrates the use of light that is so prominent in this episode: loads of shadow with the occasional burst of perfect, soft white light (subtle, I know.)
Born Under a Bad Sign is another beloved and well-shot episode. I don't know how you could NOT love this off-centre, close-up, in-your-face creepy shot, with Jo so exposed and Sam hidden behind those lovely emo bangs of evil.
Again, Roadkill, while not one of the best episodes of the season, was one of the best-shot episodes. It was filled with gorgeous, amazing images, but this incredible low-angle shot of Sam with the tree of DOOM looking like it's growing right out of him, looming like nothing else, and the colour from the fire beneath...genius.
Possibly my favourite cap out of all the ones in the Pretty Things spam - there's a LOT more colour than there normally is on the show, even in daylight, but I love how most of the caps is blank road and all the action is squashed into the top - and that Dean reaches the car first, because it's safe for him there.
Heart was also hard to pick an image from. I was debating between this and the one of Dean with his gun and loads of grey space but since I sort of did that with the last cap, the all-sex cap of Sam and Madison will do instead. The kissing makes it intimate but removing us from their eyes also makes it intensely sexual. Also, I like Paddywhack's neck.
I didn't ACTUALLY include the totally random crotch-shot of Dean from Hollywood Babylon because as pretty as Dean's crotch is, there's nothing special about that shot. This shot is VERY special. That burst of light illuminating Dean's struggled face for just a moment.
WIAWSNB kills me with the pretty, but the use of red (DANGER, DEAN WINCHESTER, DANGER!) flooding the background and the sheer vulnerability in Dean's face was what got me to pick this one.
OMG. Marry me, All Hell Breaks Loose 1 location. This is EVERYTHING Supernatural's about: loneliness, America's gloomiest small towns, robbed of colour and full of ghosts.
At least Ava knew how to make deaths both haunting and aesthetically pleasing. I needed to go to![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
leggyslove for this cap because sadly bluebear_74 didn't make a cap of it and it's my favourite moment from an episode I really like. I liked Lily, but that is just awesome.
For me, this is the cap that really gets the emotion of this moment: the screen is almost full of Sammy, with Dean desperately clinging to him and partly cut-off at the top.
It's gotta say something that the iconic closing shots of both the season 1 pilot and the season 2 finale are from the point of view of the car. It's their home and their freedom in one. Also, shooting from there gives you a lovely effect :D
There's also a shot of Ash that I wanted but couldn't find done well that had his hand in focus but not his face. Incredible.
Green Queen
It says something that In My Time of Dying is the first and also the second most incredibly shot episode of the season (the most gorgeous episode is AHBL 1, although part 2 is an enormous disappointment in terms of direction/cinematography IMHO). This cap's incredible for the use of that really tight close-up that Supernatural's fond of, but also the way the light falls on one side of his face and through his hair. I like the angle of it, too, seeing almost through his eyes but seeing Dean, who he can't see.
One of the best sequences committed to film, by placing the camera at John's level and seeing it through the door - it's instantly both distancing and emotional, with the reality of the coffee cup crashing in.
Car porn! The Bloodlust opening scene was pure, unadulterated car porn - she's shiny and centred and the world blurs around her. Not that I'm complaining, I love the car almost as much as the cinematographer does.
Admittedly this one's for his face rather than the shot itself, though the light is pretty again. Look at those enormous green eyes, the long eyelashes, the perfect teeth. Jensen slays me dead. Children Shouldn't Play With Dead Things is LITTERED with beautiful shots of Dean.
As much as I dislike Jo and No Exit in general, this lovely image of her trapped, sitting there alone as bait, especially as a girl seeing what's happened to her beforehand, is exquisitely creepy.
Crossroad Blues was actually one of my favourite episodes in terms of the cinematography, and most of the caps don't quite do it justice. The sepia tones of Robert Johnson's era are amazing, but it has nothing on this image of our two boys in centre frame, drenched in oversaturated sunlight.
Again, Croatoan is one of the most beautiful episodes, and this was almost my favourite shot of the season: it starts in front of the Impala as she comes to a stop and then tracks up over her and watches Dean get out from above. Look at how the lines on the road are parallel to the car door, how kinetic the image is.
I didn't like Hunted that much, but I couldn't decide between this and the one below for the prettiest cap. I don't know what I like about this shot so much, it's just really well-framed and kind of a perfect capture.
I know exactly what I like about this one. Not only does Sam look gorgeous, it's got this wonderful shadow that melts into him, with the front of his face blurred but his hair, cuts and dimples in sharp contrast. I love what they do with focus.
I admit it, it's the Shining reference that gets me. The whole shot is muted greyish brown, black and white but for the bursts of red that wouldn't be bright except for the lack of colour everywhere else. Perfect. Playthings was redeemed by this shot and wet Paddywhack.
Oh Nightshifter, most beloved of all episodes. I had a hard time picking one of these, but I ended up choosing this because it has that really frantic mood that sets the episode apart; there's so many railings between us and the boys, they are SO trapped at this point, and they're heading from daylight into the pitch black of uncertainty. It's also really gritty and dank.
I had to include something from Houses of the Holy because, much as I dislike the writing and symbolism, it was really beautifully shot. This one demonstrates the use of light that is so prominent in this episode: loads of shadow with the occasional burst of perfect, soft white light (subtle, I know.)
Born Under a Bad Sign is another beloved and well-shot episode. I don't know how you could NOT love this off-centre, close-up, in-your-face creepy shot, with Jo so exposed and Sam hidden behind those lovely emo bangs of evil.
Again, Roadkill, while not one of the best episodes of the season, was one of the best-shot episodes. It was filled with gorgeous, amazing images, but this incredible low-angle shot of Sam with the tree of DOOM looking like it's growing right out of him, looming like nothing else, and the colour from the fire beneath...genius.
Possibly my favourite cap out of all the ones in the Pretty Things spam - there's a LOT more colour than there normally is on the show, even in daylight, but I love how most of the caps is blank road and all the action is squashed into the top - and that Dean reaches the car first, because it's safe for him there.
Heart was also hard to pick an image from. I was debating between this and the one of Dean with his gun and loads of grey space but since I sort of did that with the last cap, the all-sex cap of Sam and Madison will do instead. The kissing makes it intimate but removing us from their eyes also makes it intensely sexual. Also, I like Paddywhack's neck.
I didn't ACTUALLY include the totally random crotch-shot of Dean from Hollywood Babylon because as pretty as Dean's crotch is, there's nothing special about that shot. This shot is VERY special. That burst of light illuminating Dean's struggled face for just a moment.
WIAWSNB kills me with the pretty, but the use of red (DANGER, DEAN WINCHESTER, DANGER!) flooding the background and the sheer vulnerability in Dean's face was what got me to pick this one.
OMG. Marry me, All Hell Breaks Loose 1 location. This is EVERYTHING Supernatural's about: loneliness, America's gloomiest small towns, robbed of colour and full of ghosts.
At least Ava knew how to make deaths both haunting and aesthetically pleasing. I needed to go to
leggyslove for this cap because sadly bluebear_74 didn't make a cap of it and it's my favourite moment from an episode I really like. I liked Lily, but that is just awesome.For me, this is the cap that really gets the emotion of this moment: the screen is almost full of Sammy, with Dean desperately clinging to him and partly cut-off at the top.
It's gotta say something that the iconic closing shots of both the season 1 pilot and the season 2 finale are from the point of view of the car. It's their home and their freedom in one. Also, shooting from there gives you a lovely effect :D
There's also a shot of Ash that I wanted but couldn't find done well that had his hand in focus but not his face. Incredible.
Green Queen
Tags: