This book turns a compelling new lens on thinking about the history of Paris and photography. The invention of photography changed how history could be written. But the now commonplace assumptions-that photographs capture fragments of lost time or present emotional gateways to the past-that structure today's understandings did not emerge whole cloth in 1839. Focusing on one of photography's birthplaces, Paris and the Cliche of History tells the story of how photographs came to be imagined as documents of the past. Author Catherine E. Clark analyzes photography's effects on historical interpretation by examining the formation of Paris's first photo archives at the Musee Carnavalet and the city's municipal library, their use in illustrated history books and historical exhibitions and reconstructions such as the 1951 celebration of Paris's 2000th birthday, and the public's contribution to the historical record in amateur photo contests. Despite the photograph's growing importance in these forums, it did not simply replace older forms of illustration, visual documentation, or written text. Photos worked in complex and shifting relation to other types of pictures as photographers, popular historians, and publishers built on the traditions and iconography of painting and engraving in order to both document the past scientifically and objectively and to reconstruct it romantically. In doing so, they not only influenced how Parisians thought about the city's past and how they pictured it; they also ensured that these images shaped how Parisians lived their own lives-especially in deeply charged moments such as the Liberation after World War II. This history of picturing Paris does not simply reflect the city's history: it is Parisian history.

With the migration of cinema into the art gallery, artists have been turning, with remarkable regularity and ingenuity, to Alfred Hitchcock-related images, sequences and iconography. The world of Hitchcock's cinema - a classical cinema of formal unities and narrative coherence - represents more than the spectre of a supposedly dead art form: it transcends its own filmic and institutional contexts, becoming an important audio-visual lexicon of desire, loss, mystery and suspense. Through a detailed study of the Hitchcock-related work of artist-filmmakers Matthias Muller and Christoph Girardet, Johan Grimonprez, Pierre Huyghe, Douglas Gordon and Atom Egoyan, this book facilitates a dialogue between the creative appropriation of Hitchcock's films and the cinematic practices that increasingly inform the wider field of the contemporary visual arts. Each chapter is structured around a consideration of how the artwork in question has reconfigured or 'remade' key Hitchcockian expressive elements and motifs - in particular, the relationship between mise en scene and the mechanics of suspense, time, memory, history and death. In a career that extended across silent and sound eras as well as the British, European and Hollywood industries, Hitchcock's film oeuvre can be seen as a history of the cinema itself. As the work of these contemporary artist-filmmakers shows, it was also a history of the future, a paradigm case par excellence.

Designed for photographers who haven t memorized every button, dial, setting, and feature on their OM System Olympus OM-1, Rocky Nook s handy and ultraportable 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 in-camera multiple exposures, HDR photographs, interval timer photography, and time-lapse movies Follow tips and techniques for getting great shots in typical scenarios (portrait, landscape, freezing action, low light, etc.)

This book offers a rare and innovative consideration of an enduring tendency in postwar art to explore places devoid of human agents in the wake of violent encounters. To see the scenery together with the crime elicits a double interrogation, not merely of a physical site but also of its formation as an aesthetic artefact, and ultimately of our own acts of looking and imagining. Closely engaging with a vast array of works made by artists, filmmakers and photographers, each who has forged a distinct vantage point on the aftermath of crime and conflict, the study selectively maps the afterlife of landscape in search of the political and ethical agency of the image. By way of a thoroughly interdisciplinary approach, Crime Scenery in Postwar Film and Photography brings landscape studies into close dialogue with contemporary theory by paying sustained attention to how the gesture of retracing past events facilitates new configurations of the present and future.

This book studies the relationship between photography and history in colonial Southern Africa, using a series of encounters with Southern African photographic archives to reflect on photography as a distinct historical form. Through use of private and public archives, images produced by African itinerant photographers, white settlers, and colonial state institutions, this book explores the relationship between photography and history in colonial Southern Africa. Late nineteenth century Cape Colonial prison albums, police photographs from German Southwest Africa, African studio portraits, identity documents, travel permits and passports from the 1920s and 1930s, visual studies of whiteness and blackness authored by settler photographers, South African dompas photographs from the 1950s and 1960s, and aerial photography from the Eastern Cape in the mid-twentieth century are examined to highlight the ways in which photographic images cut across conventional institutional boundaries and complicate rigid distinctions between the private and the public, the political and the aesthetic, the colonial and the vernacular, or the subject and the object. Photography and History in Colonial Southern Africa argues that rather than understanding photographs as a means of preserving and recreating the past in the present, we can value them for how they evoke at once the need for and the limits of historical reconstruction. This book will be of interest to students and scholars of colonial history, photographic history, visual media, and African studies.

For more than thirty years, Jazz Hot, the world's oldest jazz magazine (launched in 1935, as DownBeat), has regularly published Pascal Kober's photos, breakfast interviews, album and festival reviews and feature articles. Over the years, he has built up a unique catalogue of more than 35,000 jazz photos, taken all over the world. As a freelance journalist and photographer, he later contributed to many publications in the French and international press. The venue: musee de l'ancier evechee. Located in the heart of Grenoble, the Bishop's Palace (l'Ancien Eveche) is today a protected historical monument dated from the thirteenth century, housing a highly visited heritage museum. Since its establishment in 1998, this museum has been curated by Isabelle Lazier, an ethnologist, with a passion for both music and photography. In alphabetical order: Jorge Ben, Joao Bosco, Stanley Clarke, Miles Davis, Gil Evans, Joao Gilberto, Dizzy Gillespie, George Gruntz, Jon Hendricks, Elvin and Hank Jones, Joachim Kuhn, Michel Legrand, Manhattan Transfer, Branford and Ellis Marsalis, Mike Stern, Sam Rivers, Linda Womack and... the public. Pascal Kober is a journalist and photographer.

Throughout Germany's tumultuous twentieth century, photography was an indispensable form of documentation. Whether acting as artists, witnesses, or reformers, both professional and amateur photographers chronicled social worlds through successive periods of radical upheaval. The Ethics of Seeing brings together an international group of scholars to explore the complex relationship between the visual and the historic in German history. Emphasizing the transformation of the visual arena and the ways in which ordinary people made sense of world events, these revealing case studies illustrate photography's multilayered role as a new form of representation, a means to subjective experience, and a fresh mode of narrating the past.

Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new scholarly understanding of the art form for the 21st century. * Re-examines the history of art photography through four major photographic movements and with case studies of representative images * Employs a top-down, theory to case approach, as well as a bottom-up, case to theory approach * Advances a new theory regarding the nature of photography that is grounded in technology but doesn t place it in opposition to painting * Includes commentaries by two leading philosophers of photography, Diarmuid Costello and Cynthia A. Freeland

...give(s) readers a stirring sense of place in which the history of an era springs to life and captivates one's imagination.-- The Quoddy Times

Compose, create, and print innovative art quilts starting from your own digital photographs-even those from your phone! Well-known fibre artist Wen Redmond starts with the tools and equipment you'll need-any image-editing software and a standard inkjet printer-and teaches you to alter images, print them on a variety of fibres, and accentuate them with stitching. With a sense of adventure, even a beginner can apply these techniques to create new and innovative works of art. 'Nicely laid out and well-illustrated.' www.yarnsandfabrics.co.uk

Revolution Is Love: A Year of Black Trans Liberation is the powerful and celebratory visual record of a contemporary activist movement in New York City, and a moving testament to the enduring power of photography in activism, advocacy, and community. In June 2020, after a Black trans woman in Missouri and a Black trans man in Florida were killed just weeks apart, activists Qween Jean and Joela Rivera returned to the historic Stonewall Inn-site of the 1969 riots that launched the modern gay rights movement-where they initiated weekly actions known thereafter as the Stonewall Protests. Brought together by the urgent need to center Black trans and queer lives within the Black Lives Matter movement, a vibrant and radical community emerged. Over the following year, the Stonewall Protests brought together thousands of people across communities and social movements to gather in solidarity, resistance, and communion. Each Thursday was an invitation for protests, healing, and celebration-whether through marches, voguing balls, or vigil-and a living testament to love in revolution. This book gathers twenty-four photographers who participated in these actions to share images and words on the demonstrations and their community at large, preserving this legacy as it unfolded. Through photographs, interviews, and text, Revolution Is Love celebrates the power of shared joy and struggle in trans community and liberation. Featuring images and text by Ramie Ahmed, Lucy Baptiste, Budi, Brandon English, Deb Fong, Snake Garcia, Stas Ginzburg, Katie Godowski, Robert Hamada, Chae Kihn, Zak Krevitt, Erica Lansner, Daniel Lehrhaupt, Caroline Mardok, Ryan McGinley, Josh Pacheco, Jarrett Robertson, Phoenix Robles, Souls of a Movement, Madison Swart, Cindy Trinh, Sean Waltrous, Ruvan Wijesooriya, and David Zung

The Stahl House: Case Study House #22, The Making of a Modernist Icon is the official autobiography of this world renowned architectural gem by the family that made it their home. Considered one of the most iconic and recognizable examples of mid-century modern homes in the world, it was first envisioned by the owner's Buck and Carlotta Stahl, designed by architect Pierre Koenig, and immortalized by photographer Julius Shulman. This 1960 glass-and-steel home in the Hollywood Hills has come to embody the idealism of a generation in search of the American dream. As one of the Case Study Houses designed between 1945 and 1966 under the vision of John Entenza and ARTS & ARCHITECTURE magazine, this was an affordable yet progressive design experiment to address the postwar housing shortage. The result-a two-bedroom, 2,200-square-foot house with glass walls that disappear into a 270-degree panorama of Los Angeles-became Koenig's piece de resistance. The Stahl House broke rules, defied building codes that discouraged building on cliffs, and expanded the possibilities of residential architecture. The glass walls blurred the boundary between indoors and outdoors. The building seemed to merge with the city itself, the lines of the structure aligning with the geometry of the city's gridded streets. "Los Angeles becomes an extension of the house and vice versa," Koenig said. "The house is just a part of the city." The book shares the never-before-told inside story by the Stahl family's adult children who grew up there and still graciously give home tours to fans from around the world. Through extensive research and interviews, historical information and personal photos are featured. This includes Buck Stahl's initial vision of the home with his own DIY schematic model for how to build on the complicated site. It also includes blueprints, floor plans, and sketches by Pierre Koenig, as well as Julius Shulman's renowned photographs. Additionally, photographs of the house used in high-end, fashion ad campaigns and film and television are also included, cementing The Stahl House's prominence in contemporary culture.