With millions of followers on Instagram, Juniper the fox is the internet's cutest pet! Juniper's adorable snaggletooth smile and fun-loving personality are vibrantly captured in this heartwarming book. With gorgeous photos, a charming narrative about Juniper's life, and a behind-the-scenes look at what it's like to live with a fox, this book will capture the heart of any animal lover. Juniper's story chronicles her adoption and real-life Fox and the Hound relationship with a dog named Moose as well as the hilarious shenanigans she regularly gets herself into-including adapting to her new companion Fig, a younger fox who was rescued from a fur farm. Readers will also get a look at the thing Juniper is best known for: she paints with her paws! Juniper's paw paintings sell out instantly on her website, and readers will delight in learning more about her artistic adventures. With her signature grin, Juniper reminds us that there is always something to be happy about; you just have to know where to look.

In the decades after its invention in 1839, photography was inextricably linked to the Middle East. Introduced as a crucial tool for Egyptologists and Orientalists who needed to document their archaeological findings, the photograph was easier and faster to produce in intense Middle Eastern light making the region one of the original sites for the practice of photography. A pioneering study of this intertwined history, Camera Orientalis traces the Middle East's influences on photography's evolution, as well as photography's effect on Europe's view of "the Orient." Considering a range of Western and Middle Eastern archival material from the late nineteenth and early twentieth centuries, Ali Behdad offers a rich account of how photography transformed Europe's distinctly Orientalist vision into what seemed objective fact, a transformation that proved central to the project of European colonialism. At the same time, Orientalism was useful for photographers from both regions, as it gave them a set of conventions by which to frame exotic Middle Eastern cultures for Western audiences. Behdad also shows how Middle Eastern audiences embraced photography as a way to foreground status and patriarchal values while also exoticizing other social classes. An important examination of previously overlooked European and Middle Eastern photographers and studios, Camera Orientalis demonstrates that, far from being a one-sided European development, Orientalist photography was the product of rich cultural contact between the East and the West.

'You Won't Be With Me Tomorrow' is a sequel to the narrative Harvey Benge developed in his 2013 book, 'Some Things You Should Have Told Me'. Both deal with the pain of relationship, the seeming inevitability of separation and the mistrust that is its consequence. Women drift, lost and hostile, throughout the pages - they're masked or veiled; they stare from behind bars - sometimes metal, sometimes frail as gauze, or turn away, eyes averted. They are beautiful but isolated - the time for reconciliation has long passed. This isolation is reinforced by a sense of eroticised cruelty - on one page, a woman plucks out her tongue, on another she thrusts it through a ghostlike paper mask, its tip counterpointed by a single red nail. Bodies are branded, bandaged, broken; they're both scarred and vulnerable. A vibrant red apple declares multiple allusions - beauty, knowledge, temptation, betrayal. Benge's visual vocabulary is typically elusive, but in 'You Won't Be With Me Tomorrow' he seems to examine a larger narrative. A young man is behind bars; a few pages later, stares at himself in a mirror in front of a closed door. A young boy puts his arm around a girl. They look beyond the frame at something troubling. And yet - within Benge's work, there is always unexpected beauty. Hope even. Amongst images of empty rotundas, retreating figures and vanishing planes, a closed door has panes of light, sunlight falls across a track. It's as if Benge, while chronicling the pain of connection, also suggests subtle ways forward: a wooden X beneath a bush may mean stop; it may also be a kiss.

They are among the most famous and compelling photographs ever made in archaeology: Howard Carter kneeling before the burial shrines of Tutankhamun; life-size statues of the boy king on guard beside a doorway, tantalizingly sealed, in his tomb; or a solid gold coffin still draped with flowers cut more than 3,300 years ago. Yet until now, no study has explored the ways in which photography helped mythologize the tomb of Tutankhamun, nor the role photography played in shaping archaeological methods and interpretations, both in and beyond the field. This book undertakes the first critical analysis of the photographic archive formed during the ten-year clearance of the tomb, and in doing so explores the interface between photography and archaeology at a pivotal time for both. Photographing Tutankhamun foregrounds photography as a material, technical, and social process in early 20th-century archaeology, in order to question how the photograph made and remade 'ancient Egypt' in the waning age of colonial order.

The book features a detailed analysis and interpretation of "The Saragossa Manuscript" (1964) by Wojciech Jerzy Has. The interpretative key is the director's reference to the aesthetics of various art trends, starting with baroque, through romanticism, symbolism, surrealism and the culture of Orient. The artistic references named here which to a high degree can be brought down to quotations and hints (the composition of stop-frames referring to the style of a given painter or an art trend) are to a large extent the consequence of having been adapted by a particular novel (Jan Potocki). Notwithstanding, also this time Has stigmatised the project with his own style by referring to the aesthetics of surrealism which was alien to the literary prototype.

Seasons of the Striper is a visually stunning journey to America s most epic salt water. It is as close to a firsthand experience as a reader can get without getting wet. With a foreword by Peter Kaminsky, this is the complete trout-fishing experience and the ideal gift for any angler s library. Experience America s greatest striped bass fishing with this richly illustrated volume, an ideal gift for any angler s library. Commonly called stripers or rockfish, Atlantic striped bass are among the most prominent and heavily targeted recreational species in the United States. The highly migratory fish can live for up to 30 years, grow up to five feet long, and weigh more than 75 pounds. They are caught from boats and from shore from the Gulf of Maine to Albemarle Sound in North Carolina, and the striper hot spots sing like sirens to the angler: Chesapeake Bay, Montauk, Martha s Vineyard, and Cape Cod. The number of people who fish for striped bass is well into the millions. This is the story of their fish. The author draws on three decades of observations and interviews contained in notebooks, as well the hundreds of hours he spends pursuing the fish each season from spring through late fall. The essays and photographs illuminate the fish through the seasons spring, summer, and fall and highlight its pursuit from the surf and boats, through day and night on fly, spin, and conventional tackle. Each section has an accompanying essay fish tales told in Sisson s unmistakably authentic voice that takes the reader along on memorable trips. For the serious saltwater fly fisherman, it is an album of shared experiences. For those new to the sport, it is an artfully crafted guidebook to the unique world that exists on the striper waters of America.

Throughout a year, Magnum photographer, Chris Steele-Perkins photographed at Holkham Hall, a 23,000 acre estate set on the Norfolk coast with a history stretching back to the 1700s. He photographed not only the various activities there, from hunting and shooting through to concerts and weddings, but also the groups of workers that form the backbone of day to day life on the Estate. Holkham combines tradition with more contemporary activities such as pop and classical concerts, and businesses such as the rental and sale of holiday caravans. It was this mix of past and present, alongside the fact that the Hall was a lived-in family home, that most interested Steele-Perkins. For him the challenge was to look at the reality of Holkham, and explore where that reality overlapped with the cliches we cling to. Country estates bedevil the British imagination, and much of the rest of the world's too. Perhaps this is not surprising given that they feature in so many of our novels, historical films and TV dramas - Downton Abbey for example, or Kazuo Ishiguro's The Remains of the Day. The focus of these fictional accounts, however, is almost always resolutely fixed on the past, yet the estates themselves continue. They are institutions with both a past and a future. Whilst there are many photographic projects on country life - from hunting through to country house gardens or the art collections - there is very little that gives a rounder view of life on an estate. An estate is more than an old house, it is a farm, a business, an eco-system, a community, a venue, a confluence of history - a world in microcosm.

- Takes readers from conceptualizing to executing compelling photographs for fully realized visual narratives. - Provides career advice from a seasoned professional with credits including National Geographic and The White House. - Includes a series of self-assignments to practice the topics covered.

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.

Barthes investigation into the meaning of photographs is a seminal work of twentieth-century critical theory. This is a special Vintage Design Edition, with fold-out cover and stunning photography throughout. Examining themes of presence and absence, these reflections on photography begin as an investigation into the nature of photographs - their content, their pull on the viewer, their intimacy. Then, as Barthes contemplates a photograph of his mother as a child, the book becomes an exposition of his own mind. He was grieving for his mother at the time of writing. Strikingly personal, yet one of the most important early academic works on photography, Camera Lucida remains essential reading for anyone interested in the power of images. 'Effortlessly, as if in passing, his reflections on photography raise questions and doubts which will permanently affect the vision of the reader' Guardian

The Film Developing Cookbook, 2nd edition is an up-to-date manual for photographic film development techniques. This book concentrates on films, their characteristics, and the developers each requires for maximum control of the resulting image. For two decades The Film Developing Cookbook has helped photographers acquire a working knowledge of photographic chemistry-what photo chemicals do and why-for black and white film developing. Now reissued in a revised and fully updated edition, this must-have manual for photographic film development techniques covers films, their characteristics, and the developers each require for maximum control of the resulting image. Readers will learn how to mix and use photographic solutions from scratch, and even how to create new ones. Includes invaluable information about films, developer ingredients, formulas, speed increasing, mixing and storing stock solutions, stop baths, fixers, washing, and chemical safety. A must-have for analog photography enthusiasts and any photography students using the darkroom. For in-depth discussion and questions on all things film or darkroom join the Darkroom Cookbook Forum, www.darkroomcookbook.com

Distributed by the University of Nebraska Press for Michael Forsberg Photography ". . . and the sky blackened with dark, gray bodies. In the blurry confusion, John lost Mary." So begins Have You Seen Mary?, Jeff Kurrus's fictional account of one sandhill crane's faithful search during spring migration for his lost mate. Set on Nebraska's Platte River, this tenderly woven story of love is also a stirring introduction to these majestic birds, replete with Michael Forsberg's radiant color photographs. This book will appeal to all ages, for it both entertains and educates readers about sandhill cranes.

Written in the context of unprecedented dislocation and a global refugee crisis, this edited volume thinks through photography's long and complex relationship to human migration. While contemporary media images largely frame migration in terms of trauma, victimhood, and pity, so much more can be said of photography's role in the movement of people around the world. Cameras can document, enable, or control human movement across geographical, cultural, and political divides. Their operators put faces on forced and voluntary migrations, making visible hardships and suffering as well as opportunity and optimism. Photographers include migrating subjects who take pictures for their own consumption, not for international recognition. And photographs themselves migrate with their makers, subjects, and viewers, as the very concept of photography takes on new functions and meanings. Photography and Migration places into conversation media images and other photographs that the contributors have witnessed, collected, or created through their diverse national, regional, and local contexts. Developed across thirteen chapters, this conversation encompasses images, histories, and testimonies offering analysis of new perspectives on photography and migration today.

Photojournalism: The Professionals' Approach is the definitive book on photojournalism, delivering a blend of insightful interviews with professionals, practical techniques, and high-impact photographs. This edition features updates on social media in photojournalism, shooting video on smart phones, and the use of drones to cover the news. It also includes revised chapters on audio and video, and additional international case studies including, among others, approaches to covering the Arab Spring, the Ukrainian Revolution, and resurgent white supremacy in South Africa. New interviews and case studies bring readers on assignment with industry greats, whose experiences provide a guide on how to take your work from a hobby to a profession. The revised and expanded business chapter goes the next step and outlines how to make a living in photojournalism. Often called the "bible" of the industry, Photojournalism continues to be the must-have reference for photojournalists that it has been for nearly 40 years.

Table of Contents

Assignment;

Spot News;

General News;

Features;

Portraits;

Sports;

Photo Editing;

Camera Bag;

Strobe;

Covering the Issues 202;

Photo Story;

Audio for Video;

Illustration;

Ethics;

Law;

History;

Turning Pro;

Digital Darkroom

History;

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.

Whether pasted into an album, framed or shared on social media, the family photograph simultaneously offers a private and public insight into the identity and past of its subject. Long considered a model for understanding individual identity, the idea of the family has increasingly formed the basis for exploring collective pasts and cultural memory. Picturing the Family investigates how visual representations of the family reveal both personal and shared histories, evaluating the testimonial and social value of photography and film.Combining academic and creative, practice-based approaches, this collection of essays introduces a dialogue between scholars and artists working at the intersection between family, memory and visual media. Many of the authors are both researchers and practitioners, whose chapters engage with their own work and that of others, informed by critical frameworks. From the act of revisiting old, personal photographs to the sale of family albums through internet auction, the twelve chapters each present a different collection of photographs or artwork as case studies for understanding how these visual representations of the family perform memory and identity. Building on extensive research into family photographs and memory, the book considers the implications of new cultural forms for how the family is perceived and how we relate to the past. While focusing on the forms of visual representation, above all photographs, the authors also reflect on the contextualization and 'remediation' of photography in albums, films, museums and online.

Your camera can help add to your written family legacy. Photographing documents in a library, reading gravestones in a cemetery, copying photographs, and many other useful techniques are fully explained by the author. This informative book was written to address the needs of the novice and the avid shutterbug alike. It offers a complete description of how to use photography in your hobby, including how to buy a camera, tripods, filters, and film types. Use your camera to add a new dimension to your family history.

The historian of photography Helmut Gernsheim (1913-1995) owned the largest photography collection in the world. For the first time in half a century, both its sections are reunited in an exhibition catalog: the historical part, housed in the Harry Ransom Center at the University of Texas, Austin, and the contemporary collection in the Reiss-Engelhorn-Museen, Mannheim, Germany. With roughly 220 outstanding photographs, the catalog affords unprecedented insights into the matchless history of the Gernsheim Collection as well as a fascinating overview of the history of photography, beginning with the world's first photographic image by Joseph Nicephore Niepce in 1826.

During the twentieth century, men and women across Ireland picked up cameras, photographing days out at the beach, composing views of Ireland's cities and countryside, and recording political events as they witnessed them. Indeed, while foreign photographers often still focused on the image of Ireland as bucolic rural landscape, Irish photographers-snapshotter and professional alike-were creating and curating photographs which revealed more complex and diverse images of Ireland. Snapshot Stories explores these stories. Erika Hanna examines a diverse array of photographic sources, including family photograph albums, studio portraits, the work of photography clubs and community photography initiatives, alongside the output of those who took their cameras into the streets to record violence and poverty. The volume shows how Irish men and women used photography in order to explore their sense of self and society and examines how we can use these images to fill in the details of Ireland's social history. By exploring this rich array of sources, Snapshot Stories asks what it means to see-to look, to gaze, to glance-in modern Ireland, and explores how conflicts regarding vision and visuality have repeatedly been at the centre of Irish life.