Winner of the Guild of Food Writers General Cookbook Award 2019 'I get fed up with the number of cookbooks that promise quick and easy meals, those that promise a three-course dinner that can be knocked up in thirty minutes. Most cooking, and certainly most enjoyable cooking, takes a little longer. I can knock something up in a hurry if I have to - there are plenty of quick and easy recipes in this book - but that ability was a long time in the acquisition, and I still prefer to take my time, in order to do it better than I did it last time.' These recipes and essays, first published in the Financial Times, are a distillation of Rowley Leigh's forty years as both a professional chef and a home cook. They detail with precision and wit how to cook and enjoy both unusual and familiar ingredients through the seasons. With Leigh's succinct wine recommendations and over 120 recipes, this is a book to get messy with overuse in the kitchen and to pore over in an armchair with a glass of the author's beloved Riesling close to hand.

This project is a carefully crafted collection of lunch memories, universal in its appeal and nostalgia. Some of the stand-out stories are about the kids who desperately wanted the cafeteria offerings instead of their own home-packed sacks, and celebrity names like Jacques Pepin offer humanizing and poignant stories of being constantly hungry and eating rotten bread during the war. Even the greatest food writers were not always dining on duck confit. To be clear, this is not a cookbook with recipes for your kids' home-packed lunch. Instead, School Lunch -- much like books such as Hungry City or My Last Supper -- is a look at our shared humanity through the lens of food. These portraits and first-person stories are poignant, surprising, funny, and universal; they remind us of our own experiences, of sitting down and eating school lunch next to friends, of being proud or ashamed of our stinky tofu, of trading Oreos for our friend's mango lassi, of making our first friend, of bringing extra to share, of hoping someone else would bring extra to share. We see ourselves in some of these faces and stories and immediately remember what we ate, who had the "good" lunches, where we sat, how we felt, and what we did about it. We can trace a part of who we are today back to those lunch tables.

Photographs play a hugely influential but largely unexamined role in the practice of landscape architecture and design. Through a diverse set of essays and case studies, this seminal text unpacks the complex relationship between landscape architecture and photography. It explores the influence of photographic seeing on the design process by presenting theoretical concepts from photography and cultural theory through the lens of landscape architecture practice to create a rigorous, open discussion. Beautifully illustrated in full color throughout, with over 200 images, subjects covered include the diversity of everyday photographic practices for design decision making, the perception of landscape architecture through photography, transcending the objective and subjective with photography, and deploying multiplicity in photographic representation as a means to better represent the complexity of the discipline. Rather than solving problems and providing tidy solutions to the ubiquitous relationship between photography and landscape architecture, this book aims to invigorate a wider dialogue about photography's influence on how landscapes are understood, valued and designed. Active photographic practices are presented throughout for professionals, academics, students and researchers.

This is a new flexibound edition of the photography book that looks at the other side of Egypt. This book of extraordinary photographs of the 'other side' of Egypt is the result of the more than three years that Italian photojournalist Silvia Dogliani spent in the country, traveling, meeting people, and looking out for the unexpected. Through her pictures she presents a remarkable - and different - portrait of Egypt, avoiding the well-known history and the popular views, focusing instead on life as it is lived by its people. Three main oppositions are the focus of this book: Noise - the infinite variety of sounds that are life's constant background - and Silence - secretly hidden and always desired; Spirit - a fascinating labyrinth of beliefs - and Movement - the action of lively faces and places; Past - the magnificent memories touched by nostalgia - and Future - the fervent wish for improvement. Complementing the 150 color pictures are informal interviews with Egyptians and non-Egyptians from all walks of life - both the famous and the not so famous - whose words give a further feeling of the real Egypt, an insight beyond the pyramids, temples, and tombs.

ACCOMPANIES THE LANDMARK SERIES NARRATED BY DAVID ATTENBOROUGH Find a world of wonder beyond the ice. 'Looking down at our planet from space it may come as a surprise how much of it is blanketed in snow and ice. These vast frozen wildernesses cover more than a fifth of the earth ... From the highest peaks to snow-bound deserts to alien worlds deep beneath the ice, they are home to an astonishing array of animals found nowhere else on earth.' David Attenborough, from the series. Frozen Planet II celebrates the surprisingly diverse worlds of ice - a world that is disappearing before our very eyes. Previously undiscovered stories, from chameleons giving birth on the frosty slopes of Mount Kenya to endangered Amur leopards in the Russian forest and killer whales hunting Weddell seals on ice floes in the Antarctic, shed new light on the beauty and the peril of the world's most fragile ecosystems. Behind-the-scenes insights explore the unique challenges of filming in these frozen worlds, where camera crew and wildlife alike brave the extreme conditions. With over 250 stunning full-colour photographs, Frozen Planet II reveals the wonders of the fastest-changing part of our planet, as we may never see them again.

AS FEATURED ON BBC LONDON NEWS. Take four seasons, one photographer, eighty species, hundreds of miles on foot in a city of ten million people and through intimate and captivating portraits meet London's wild neighbours. London is not just a city of ten million people, it is also home to an extraordinary diversity of beautiful wildlife. With world population exploding and more and more countryside being lost to urban sprawl or commercial agriculture, the sharing of urban space with nature is more important than ever. To achieve this, we have to preserve and increase the green and blue spaces in our cities and see and love the wildlife that we already have. Since London is my city, I set out to observe and create photographic portraits of all the creatures I could find. Whilst this has taken many hundreds of hours, it has been the happiest time imaginable as I immersed myself in the sweetness and delight of my wild neighbours.

A Dance with Fred Astaire is an extraordinary collection of anecdotes and rare ephemera featuring a dizzying cast of cultural icons both underground and mainstream, both obscure and celebrated. Memories and diary entries, conversations and insights into his work sit alongside collages of beautifully reproduced postcards, newspaper cuttings, film negatives, lists, posters and photographs, envelopes and letters, book covers, telegrams, cartoons and doodles. Mekas has kept and archived the artifacts of his life as a cultural touchstone down to the minutiae, all of which is brought together here in the form of a unique and fascinating scrapbook of a life lived with the highest artistic commitment. Guided by Mekas's distinctive prose and suffused with warmth, A Dance with Fred Astaire is rhapsodic, poetic and funny as all get out. A revealing visual autobiography of a genuine culture hero.

Fragmentation of the Photographic Image in the Digital Age challenges orthodoxies of photographic theory and practice. Beyond understanding the image as a static representation of reality, it shows photography as a linchpin of dynamic developments in augmented intelligence, neuroscience, critical theory, and cybernetic cultures. Through essays by leading philosophers, political theorists, software artists, media researchers, curators, and experimental programmers, photography emerges not as a mimetic or a recording device but simultaneously as a new type of critical discipline and a new art form that stands at the crossroads of visual art, contemporary philosophy, and digital technologies.

Within a few years of the invention of the first commercially successful photography process in 1839, American slaveholders had already begun commissioning photographic portraits of their slaves. Ex-slaves-turned-abolitionists such as Frederick Douglass also came to see how sitting for a portrait could help them project humanity and dignity amidst northern racism. In the first decade of the medium, enslaved people had begun entering southern daguerreotype saloons of their own volition, posing for cameras, and leaving with visual treasures they could keep in their pockets. And, as the Civil War raged, Union soldiers would orchestrate pictures with fugitive slaves that envisioned racial hierarchy as slavery fell. In these ways and others, from the earliest days of the medium to the first moments of emancipation, photography powerfully influenced how bondage and freedom were documented, imagined, and contested. By 1865, it would be difficult for many Americans to look back upon slavery and its fall without thinking of a photograph. This book explores how photography altered, and was in turn shaped by, conflicts over bondage. Drawing upon an original source base that includes hundreds of unpublished and little-studied photographs of slaves, ex-slaves, and abolitionists as well as written archival materials, it puts visual culture at the center of understanding the experience of late slavery. It assesses how photography helped southerners to defend slavery, slaves to shape their social ties, abolitionists to strengthen their movement, and soldiers to imagine and pictorially enact an interracial society during the Civil War. With diverse goals, these peoples transformed photography from a scientific curiosity (in the early 1840s) into a political tool (by the 1860s). While this project sheds new light on conflicts over late American slavery, it also reveals a key moment in the much broader historical relationship between modern visual culture and racialized forms of power and resistance.

First published in 1978. In this title, Alan Thomas examines the invention of photography in the early nineteenth century. How the members of this first "visual" generation used photography and how it changed their perceptions of the world are the subjects of this lavishly illustrated book. As the author convincingly shows, the camera's presence was felt nearly everywhere during the course of the nineteenth century. Approaching the subject topically, Thomas surveys the work of the early photographers in terms of its motivation, insights, and impact on society. The book is rounded out with sections on other genres of photography - theatrical, landscape, and social realism - that amply document the far-reaching impact of this phenomenon on nineteenth-century sensibilities.

Heritage, Photography, and the Affective Past critically examines the production, consumption, and interpretation of photography across various heritage domains, from global image archives to the domestic arena of the family album. Through original ethnographic and archival research, the book sheds new light on the role photography has played in the emergence, expansion, and articulation of heritage in diverse sociocultural contexts. Drawing on wide-ranging experience across the heritage sector and two international case studies - Angkor in Cambodia and the town of Famagusta, Cyprus - the book makes a major contribution to our understanding of the role photography has played and continues to play in shaping experiences and conceptualisations of heritage. One of the core aims of the book is to problematise and potentially redirect the varied usages of photography within current practice, usages which remain woefully undertheorised, despite their often-central role in shaping heritage. Ultimately, by focusing attention on a hitherto underexamined aspect of the heritage phenomenon, namely its manifold interconnections with photography, this book provides fresh insight to the making and remaking of the past in the present, and the alternative heritages that might come into being around emergent photographic forms and approaches. Heritage, Photography, and the Affective Past uses photography as a method of enquiry as well as a tool of documentation. It will be of interest to scholars and students of heritage, photography, anthropology, museology, public archaeology, and tourism. The book will also be a valuable resource for heritage practitioners working around the globe.

Designed for photographers who haven't memorized every button, dial, setting, and feature on their Nikon Z6, Rocky Nook's handy and ultra-portable quick reference Pocket Guide helps you get the shot when you're out and about. - Confirm that your camera is set up properly with the pre-shoot checklist - Identify every button and dial on your camera - Learn the essential modes and settings you need to know - Dive deeper with additional features of your camera - Execute step-by-step instructions for shooting multiple exposures, in-camera HDR, time-lapse movies, and more - Follow tips and techniques for getting great shots in typical scenarios (portrait, landscape, freezing action, low light, etc.)

Have you ever seen a tree smile? Or witnessed a cloud take a certain shape on purpose? We don't think of the elements of nature; trees, rocks, clouds, etc. as being able to express and communicate. Photographer Shannon Guest asserts that nature attempts to communicate with us every day - she even has the photographs to prove it in "Messages from the Lorax." From figures emerging from trees, rock formations that show a face, to fairies in the webs of spiders, her images demonstrate nature's remarkable ability to mimic images familiar to us all. 159 photographs in full color.

This book offers a range of perspectives on photography in Africa, bringing research on South African photography into conversation with work from several other places on the continent, including Angola, the DRC, Kenya, Mali, Morocco, Nigeria, Ethiopia, and Eritrea. The collection engages with the history of photography and its role in colonial regulatory regimes; with social documentary photography and practices of self-representation; and with the place of portraits in the production of subjectivities, as well as contemporary and experimental photographic practices. Through detailed analyses of particular photographs and photographic archives, the chapters in this book trace how photographs have been used both to affirm colonial worldviews and to disrupt and critique such forms of power. This book was originally published as a special issue of Social Dynamics.

Journey Into Africa through the lens of National Geographic photographer Frans Lanting, whose images have created an enduring vision of Africa's diverse landscapes and wildlife. Into Africa: The Poster Portfolio showcases a range of iconic photography from Frans Lanting, one of the world's most renowned nature photographers. During three decades of fieldwork and assignments for National Geographic, Lanting captured moments of intimacy with some of the world's most endangered animals. Showcased in these posters, Lanting's stunning, close-up images create an enduring vision of Africa's wildlife. Each of the twelve oversized, full-color posters are printed on high-quality card stock paper and can be easily pulled from the book, allowing lovers of photography, nature, and wildlife to bring the wilds of Africa into their home or office.

In an era of social confusion and visual pandemonium, David Levi Strauss tackles issues of photography and politics in a way that few critics today are courageous enough to attempt. The essays collected in Between the Eyes address topics ranging from propaganda and the imagery of dreams, to Sebastiao Salgado's epic social documents and the deeply personal photographic revelations of Francesca Woodman. Other issues broached here include the legitimacy of photographic imagery and the media frenzy surrounding the events of September 11, as well as essays on the work of Ania Bien, Miguel Rio Branco, Alfredo Jaar, Joel-Peter Witkin and others, plus an interview with painter Leon Golub (who worked from photographs). Reviewing the first edition of Between the Eyes, Publisher's Weekly wrote: 'Photography and Propaganda, ' a study of the work and deaths in '80s Central America of photojournalists Richard Cross and John Hoagland, should be required reading in the age of embeddedness, and 'Photography and Belief' is a terrific meditation on truth in the age of digital manipulation."

No photographer is more closely associated with a city than Brassai (1899 1984) is with Paris. From the moment he moved there in 1924, he devoted his life and art to immortalizing his adopted city capturing the street life by day, the cafes and the Seine by night. A friend of Picasso and Henry Miller, Brassai knew and photographed the leading figures of his day Giacometti, Sartre, Dali, Matisse, and Mann among them. His most famous portraits and cityscapes, collected in this volume, form a unique vision of life in pre- and post-war Europe. The Photofile series brings together the best work of the world s greatest photographers in an attractive format and at an affordable price. Handsome and collectable, the books are produced to the highest standards. Each volume contains some sixty full page reproductions, a critical introduction and a full bibliography. The series was awarded the first annual prize for distinguished photographic books by the International Center of Photography."

The Short Story of Photography is a new and innovative introduction to the subject of photography. Simply constructed, the book explores 50 key photographs from the first experiments in the early ninteenth century to digital photography. Accessible and concise, the book explains how, why and when certain photographs really have changed the world. It demystifies technical jargon, giving readers a thorough understanding and broad enjoyment of photography since its creation.

The Photography Cultures Reader: Representation, Agency and Identity engages with contemporary debates surrounding photographic cultures and practices from a variety of perspectives, providing insight and analysis for students and practitioners. With over 100 images included, the diverse essays in this collection explore key topics, such as: conflict and reportage; politics of race and gender; the family album; fashion, tourism and surveillance; art and archives; social media and the networked image. The collection brings together essays by leading experts, scholars and photographers, including Geoffrey Batchen, Elizabeth Edwards, Stuart Hall, bell hooks, Martha Langford, Lucy R. Lippard, Fred Ritchin, Allan Sekula and Val Williams. The depth and scope of this collection is testament to the cultural significance of photography and photographic study, with each themed section featuring an editor's introduction that sets the ideas and debates in context. Along with its companion volume - The Photography Reader: History and Theory - this is the most comprehensive introduction to photography and photographic criticism. Includes essays by: Jan Avgikos, Ariella Azoulay, David A. Bailey, Roland Barthes, Geoffrey Batchen, David Bate, Gail Baylis, Karin E. Becker, John Berger, Lily Cho, Jane Collins, Douglas Crimp, Thierry de Duve, Karen de Perthuis, George Dimock, Sarah Edge, Elizabeth Edwards, Francis Frascina, Andre Gunthert, Stuart Hall, Elizabeth Hoak-Doering, Patricia Holland, bell hooks, Yasmin Ibrahim, Liam Kennedy, Annette Kuhn, Martha Langford, Ulrich Lehmann, Lucy R. Lippard, Catherine Lutz, Roberta McGrath, Lev Manovich, Rosy Martin, Mette Mortensen, Fred Ritchin, Daniel Rubinstein, Allan Sekula, Sharon Sliwinski, Katrina Sluis, Jo Spence, Carol Squiers, Theopisti Stylianou-Lambert, Ariadne van de Ven, Liz Wells, Val Williams, Judith Williamson, Louise Wolthers and Ethan Zuckerman.