Insider's guide is a field guide that shows readers the best places to photograph wildlife in South Africa. Much of the information regarding good wildlife photography is localised or knowledge specific to a certain area. This title allows people to gain insight as to where the best places are to photograph elephants in the Kruger Park, where you can easily find leopards, what time the sand grouse drink in the morning and a better place than Boulders Beach to photograph penguins. With stunning photography coupled with simple easy-to-read chapters, Insider's guide is a gem for nature enthusiasts.

This text provides a thorough introduction into the history and theory of moving image film, video, sound recording and allied technologies. The author explains scientific, technical and engineering concepts clearly, using language that can be understood by non-scientists. Enticknap Integrates a discussion of traditional film-based technologies with the impact of emerging 'new media' technologies such as digital video, e-cinema and the Internet. This is a book designed for students with some technological knowledge studying the humanities who have an interest in becoming better versed in moving image technology.

Photography and fascism in interwar Europe developed into a highly toxic and combustible formula. Particularly in concert with aggressive display techniques, the European fascists were utterly convinced of their ability to use the medium of photography to manufacture consent among their publics. Unfortunately, as we know in hindsight, they succeeded. Other dictatorial regimes in the 1930s harnessed this powerful combination of photography and exhibitions for their own odious purposes. But this book, for the first time, focuses on the particularly consequential dialectic between Germany and Italy in the early-to-mid 1930s, and within each of those countries vis-a-vis display culture. The 1930s provides a potent case study for every generation, and it is as urgent as ever in our global political environment to deeply understand the central role of visual imagery in what transpired. Photofascism demonstrates precisely how dictatorial regimes use photographic mass media, methodically and in combination with display, to persuade the public with often times highly destructive-even catastrophic-results.

In/Visible War addresses a paradox of twenty-first century American warfare. The contemporary visual American experience of war is ubiquitous, and yet war is simultaneously invisible or absent; we lack a lived sense that "America" is at war. This paradox of in/visibility concerns the gap between the experiences of war zones and the visual, mediated experience of war in public, popular culture, which absents and renders invisible the former. Large portions of the domestic public experience war only at a distance. For these citizens, war seems abstract, or may even seem to have disappeared altogether due to a relative absence of visual images of casualties. Perhaps even more significantly, wars can be fought without sacrifice by the vast majority of Americans. Yet, the normalization of twenty-first century war also renders it highly visible. War is made visible through popular, commercial, mediated culture. The spectacle of war occupies the contemporary public sphere in the forms of celebrations at athletic events and in films, video games, and other media, coming together as MIME, the Military-Industrial-Media-Entertainment Network.

In/Visible War addresses a paradox of twenty-first century American warfare. The contemporary visual American experience of war is ubiquitous, and yet war is simultaneously invisible or absent; we lack a lived sense that "America" is at war. This paradox of in/visibility concerns the gap between the experiences of war zones and the visual, mediated experience of war in public, popular culture, which absents and renders invisible the former. Large portions of the domestic public experience war only at a distance. For these citizens, war seems abstract, or may even seem to have disappeared altogether due to a relative absence of visual images of casualties. Perhaps even more significantly, wars can be fought without sacrifice by the vast majority of Americans. Yet, the normalization of twenty-first century war also renders it highly visible. War is made visible through popular, commercial, mediated culture. The spectacle of war occupies the contemporary public sphere in the forms of celebrations at athletic events and in films, video games, and other media, coming together as MIME, the Military-Industrial-Media-Entertainment Network.

These are the most memorable underwater images from the prestigious Wildlife Photographer of the Year competition. They have been specially selected for this unique book from the hundred of thousands of images received over the last 50 years. The collection gives us a glimpse into an often unseen world containing many strange and beguiling creatures. Each image is accompanied by a story from the photographer, explaining what the image means to them and how they were able to capture it. This portfolio reveals a spectacular panoply of life, which is as diverse and colourful as anything found on land.

Most of the world's exquisite and rare bird species are found in tropical rainforests - the Amazon, Sumatra, Borneo, Daintree Rainforest in Australia, and the Congo basin in Africa. These lush, wet biospheres are home to some of the most colourful creatures on our planet. Did you know that parrots can live for 80 years or more? Or that most tropical birds are omnivores and will eat seeds, nuts, fruit and insects, while a few will eat small lizards or animals? The world's longest parrot is the stunningly bright hyacinth macaw (Anodorhynchus hyacinthinus), checking in at more than a metre from tip to tail. From the screeching red-and-green macaw to the majestic great hornbill, from the rainbow lorikeet of northern Queensland to the endangered Spix's macaw of the Amazonian rainforest, Tropical Birds explores the fascinating lifecycles, diets and, where applicable, migratory patterns, of hundreds of species from every part of the tropical belt. With full captions explaining the origins, habitat and behaviour of these exotic creatures, Tropical Birds is a concise exploration in 180 brilliant photographs.

Bridging the Mississippi: Spans across the Father of Waters portrays in words and stunning photographs the manmade structures that cross the nation's most important and, during the mid-nineteenth century, most daunting natural waterway. Philip Gould spent three years photographing Mississippi River bridges, from the Crescent City Connection in New Orleans to the span of boulders at the river's headwaters in Lake Itasca, Minnesota. This book features seventy-five of the river's more than 130 spans, progressing from south to north, in rural, small-town, and metropolitan settings. In every season and from numerous angles, Gould captured images of historical, architectural, and engineering significance as well as dramatic natural beauty. In addition, his photos reflect the many perspectives of people whose lives intersect with the bridges, including riverboat captains, construction workers, pedestrians, drivers, cyclists, wedding parties, recreational boaters and fishers, business owners, and train engineers. Margot Hasha offers a fascinating overview of bridge construction on the Mississippi, starting with the waterway's geology and the earliest-known settlement along the banks of Misi-ziibi, what Native Americans called the ""father of waters."" She discusses the impact of steel production on the expansion of railroad bridges, hazards encountered by river pilots today, the preservation of vintage structures, and the latest bridge designs. Hasha and Gould profile select crossings in eleven cities and towns, explaining each one's unique story and importance to its riverside community. Architectural and engineering feats; focal points for urban renewal; essential links in the nation's transportation and commerce; aesthetic frames for parks, riverwalks, and levee trails- the Mississippi River's bridges come into full focus in this visual tribute.

Winner, Association of American Publishers' Professional and Scholarly Publishing Award in Business, Management and Accounting

The Corporate Eye examines the intersection of photography as a mass technology with corporate concerns about efficiency in the Progressive period. Discussing the work of, among others, Frederick W. Taylor, Eadweard Muybridge, Frank Gilbreth, and Lewis Hine, Elspeth H. Brown explores this intersection through a variety of examples, including racial discrimination in hiring, the problem of photographic realism, and the gendered assumptions at work in the origins of modern marketing. She concludes that the goal uniting the various forms and applications of photographic production in that era was the increased rationalization of the modern economy through a set of interlocking managerial innovations, technologies that sought to redesign not only industrial production but the modern subject itself.

"A highly welcome contribution to the field of business history as well as American visual culture." -- Business History Review

"This highly readable, interdisciplinary book provides insights into both the history of American economic development and the history of photography." -- Patricia Johnson, Afterimage

"A unique and interdisciplinary analysis of the intersection between visual and commercial culture in the USA." -- History of Photography

"The Corporate Eye is American studies and interdisciplinary cultural history at its best." -- Journal of American History

"This is a book whose 'big picture' is fully in focus." -- Technology and Culture

"Meticulous research and rich contextualization... A welcome and imaginative addition to the history of visualtechnologies and commercial history." -- Industrial Archaeology

Elspeth H. Brown is an associate professor of history at the University of Toronto and the director of the Centre for the Study of the United States, Munck Centre for International Studies, University of Toronto.

A current overview of Display Systems, written by recognised experts in the field. This book gives practical guidance on the latest technological developments and new application areas of displays which will enable the reader to gain an understanding of the current state of the art as well as the major trends that will shape future applications of displays and display systems. Display Systems offers an insight into display technology with a view to defining its best potential, by focusing on performance assessment and optimum utilisation. It brings together complimentary disciplines of design, hardware and usage, covering a wide range of developments, and is written by leading international experts. The book is divided into three sections: (1) requirements for display systems, covering topics such as applications and evaluation; (2) display technology, covering developments in flat panel displays as well as CRT’s; and (3) display characterisation, including measurement techniques and colour specification. Also covered are ergonomic requirements for display systems and their mutual dependence on standards. The book will be welcomed by scientists, technologists and engineers active in the field and also by the developers of a wide range of systems and applications for displays. Its technical content is suitable for final year undergraduate or postgraduate study. The Society for Information Display (SID) is an international society which has the aim of encouraging the development of all aspects of the field of information display. Indeed, it is the only international society dedicated solely to this field, which is broad and inter—disciplinary, not only in the scientific sense, but through development and manufacturing to marketing. Wiley SID Series in Display Technology This volume is the first in the series which aims to present a comprehensive technical discussion of the many disciplines which must be combined in the development of display systems. Further volumes will be announced in due course and more information on SID, its aims and activities can be found from its home page.

In this volume, Tanya Sheehan takes humor seriously in order to trace how photographic comedy was used in America and transnationally to express evolving ideas about race, black emancipation, and civil rights in the mid-1800s and into the twentieth century. Sheehan employs a trove of understudied materials to write a new history of photography, one that encompasses the rise of the commercial portrait studio in the 1840s, the popularization of amateur photography around 1900, and the mass circulation of postcards and other photographic ephemera in the twentieth century. She examines the racial politics that shaped some of the most essential elements of the medium, from the negative-positive process to the convention of the photographic smile. The book also places historical discourses in relation to contemporary art that critiques racism through humor, including the work of Genevieve Grieves, Adrian Piper, Lorna Simpson, Kara Walker, and Fred Wilson. By treating racial humor about and within the photographic medium as complex social commentary, rather than a collectible curiosity, Study in Black and White enriches our understanding of photography in popular culture. Transhistorical and interdisciplinary, this book will be of vital interest to scholars of art history and visual studies, critical race studies, U.S. history, and African American studies.

Can you spot the Big Dipper in the night sky? Or Orion's Belt? Or Cassiopeia? Even in cities, and without the aid of a telescope, these are a few of the easier constellations to find. In fact, a great deal can be seen in the night sky with the naked eye - if you know what you're looking for. Night Sky presents 200 colour photographs of stunning nocturnal vistas all visible to the naked eye. From the majesty of the Northern Lights (Aurora borealis) as seen from Norway or Canada, and the Southern Lights (Aurora australis) as seen from Australia, to seeing the clarity of the Milky Way over an Italian forest, from witnessing a lunar eclipse in Indonesia to charting the course of the International Space Station across the Indian night, and from seeing a Geminid meteor shower in New Mexico to recognizing the Great Bear (Ursa Major) constellation over New England, the book is a feast of nocturnal delights. Where necessary, additional inset photographs indicate the formation of a constellation. Presented in a handy, pocket-sized landscape format - take it out at night when you're stargazing - and featuring 200 outstanding colour photographs supported by fascinating captions, Night Sky is a stunning collection of images.