It would be unthinkable now to omit early female pioneers from any survey of photography's history in the Western world. Yet for many years the gendered language of American, British and French photographic literature made it appear that women's interactions with early photography did not count as significant contributions. Using French and English photo journals, cartoons, art criticism, novels, and early career guides aimed at women, this volume will show why and how early photographic clubs, journals, exhibitions, and studios insisted on masculine values and authority, and how Victorian women engaged with photography despite that dominant trend. Focusing on the period before 1890, when women were yet to develop the self-assurance that would lead to broader recognition of the value of their work, this study probes the mechanisms by which exclusion took place and explores how women practiced photography anyway, both as amateurs and professionals. Challenging the marginalization of women's work in the early history of photography, this is essential reading for students and scholars of photography, history and gender studies.

One of the most captivating and provocative artists of the Sensation generation, Richard Billingham (b. 1970) came to prominence in the late 1990s with his visceral photobook Ray's a Laugh, a slice of everyday life in a high-rise sink estate in the British West Midlands. This book is the first comprehensive discussion of Billingham's art practice. Articulating the socio-historical, aesthetic, geographical as well as anthropological aspects of Billingham's art, the book situates his work within the British neorealist tradition in visual art, cinema and televisual culture. Beginning with the first photographic studies of his father in the early 1990s, Cashell argues that these sympathetic, haunting images prefigure the later development of his thematic concerns. Significant consideration is also given to Billingham's cinematic oeuvre, including his recent feature-length autobiographical film, Ray & Liz, which substantially clarifies the complex continuity of his developing aesthetic vision. Illustrated throughout with colour and black and white reproductions, Photographic Realism: The Art of Richard Billingham combines investigative research with interviews and studio conversations, providing a subtle and sophisticated critical evaluation of the artist's key photographic and film-based works from the 1990s to the present.

Since TASCHEN released The Great American Pin-up, international interest in this distinctly American art form has increased exponentially. Paintings by leading artists such as Alberto Vargas, George Petty, and Gil Elvgren that sold for $ 2,000 in 1996 are going for $ 200,000 and more today. Pin-up-drawings, paintings, and pastels of an idealized female face and figure intended for public display-was produced between 1920 and 1970 for calendars, magazine covers, and centerfolds. The majority of original paintings were discarded by publishers and calendar companies after printing, making the surviving art that much more precious. Based on the formidably sized Art of Pin-up, this accessible edition gathers nearly 100 artists alongside in-depth showcases of the top 10 names in the game. Each chapter opens with a reproduction of an original calendar or magazine cover by that artist. The reproduction quality of the paintings, pastels, and preparatory sketches that follow-largely sourced from the original art-invites the viewer to trace the brushstrokes, while the exquisite period calendars, vintage prints, and original model photos document the artists' creative process. Much of these ephemera were photographed on-site at the historic Brown & Bigelow Company, home to the world's largest archive of vintage pin-up calendars. In addition to the chapters on the 10 featured artists, the book includes bios and art of 85 painters, the most complete compendium of pin-up artists ever compiled. All this adds up to a hard-to-beat book on this popular subject.

Emphasizing the understanding of images and their influences on how they affect our attitudes, beliefs, and actions, this fully updated sixth edition offers consequential ways of looking at images from the perspectives of photographers, critics, theoreticians, historians, curators, and editors. It invites informed conversations about meanings and implications of images, providing multiple and sometimes conflicting answers to questions such as: What are photographs? Should they be called art? Are they ethical? What are their implications for self, society, and the world? From showing how critics verbalize what they see in images and how they persuade us to see similarly, to dealing with what different photographs might mean, the book posits that some interpretations are better than others and explains how to deliberate among competing interpretations. It looks at how the worth of photographs is judged aesthetically and socially, offering samples and practical considerations for both studio critiques for artists and professional criticism for public audiences. This book is a clear and accessible guide for students of art history, photography and criticism, as well as anyone interested in carefully looking at and talking about photographs and their effects on the world in which we live.

This tome is the most comprehensive visual history of surfing to date, marking a major cultural event as much as a publication. Following three and a half years of meticulous research, it brings together hundreds of images to chart the evolution of surfing as a sport, a lifestyle, and a philosophy. The book is arranged into five chronological chapters, tracing surfing culture from the first recorded European contact in 1778 by Captain James Cook to the global and multi-platform phenomenon of today. Utilizing institutions, collections, and photographic archives from around the world, and with accompanying essays by the world's top surf journalists, it celebrates the sport on and off the water, as a community of 20 million practitioners and countless more devotees, and as a leading influence on fashion, film, art, and music. An unrivaled tribute to the breadth, complexity, and richness of surfing, this book is a must-have for any serious player on the surfing scene and anybody who aspires to the surfing lifestyle. As one surfing scribe has declared, "There has never been a book like this, and there will never be another one again."

Throughout its early history, photography's authenticity was contested and challenged: how true a representation of reality can a photograph provide? Does the reproduction of a photograph affect its value as authentic or not? From a Photograph examines these questions in the light of the early scientific periodical press, exploring how the perceived veracity of a photograph, its use as scientific evidence and the technologies developed for printing it were intimately connected.Before photomechanical printing processes became widely used in the 1890s, scientific periodicals were unable to reproduce photographs and instead included these photographic images as engravings, with the label 'from a photograph'. Consequently, every image was mediated by a human interlocutor, introducing the potential for error and misinterpretation. Rather than 'reading' photographs in the context of where or how they were taken, this book emphasises the importance of understanding how photographs are reproduced. It explores and compares the value of photography as authentic proof in both popular and scientific publications during this period of significant technological developments and a growing readership. Three case studies investigate different uses of photography in print: using pigeons to transport microphotographs during the Franco-Prussian War; the debate surrounding the development of instantaneous photography; and finally the photographs taken of the Transit of Venus in 1874, unseen by the human eye but captured on camera and made accessible to the public through the periodical.Addressing a largely overlooked area of photographic history, From a Photograph makes an important contribution to this interdisciplinary research and will be of interest to historians of photography, print culture and science.

With conscription introduced, Zeppelins carrying out bombing raids on key towns and cities across England, the Battle of Jutland seeing fourteen British ships sunk and the Battle of the Somme claiming 20,000 British dead on the first day alone, the resolve of the British and allied troops in 1916 was being sorely tested. The Great War Illustrated 1916 is the third picture volume in this series that deals exclusively with actions fought throughout the year on the Western Front. Split into five chapters, the authors begin with the British defeat at Kut, showing photographs from British and Turkish perspectives throughout the four-month campaign. The second chapter explores the new technological advances made by both sides throughout the year including new tanks, aircraft and guns. Photographs show the new equipment in action on the battlefield as well as being manufactured on production lines in the factories back home. We then turn to the Battle of Verdun, one of the largest battles of the First World War, before exploring the Battle of Jutland. Being the only full-scale naval clash of the entire First World War, the two-day battle saw twenty-five ships sunk and over 8,000 men killed on both sides and the authors analyse the battle in full detail, illustrating the ships that were involved and the men who sailed upon them. The concluding chapter explores the infamous Battle of the Somme, from the horrendous losses suffered on 1 July to the arduous battle of attrition that followed thereafter. Split into sub-sections, detailed analysis of the Australians, Canadians and British troops are featured along with a final section showing winter conditions in the area at the end of the year. With over 1,300 painstakingly enhanced and restored photographs and a thirty-two page full colour section, the work within these pages represents a real labour of love and offers the reader an exceptional picture library of rare and unseen pictures that is easily accessible for the general reader and military enthusiast alike.

Modernism both influenced and was fascinated by the rhetorical and aesthetic manifestations of fascism. In examining how four artists and writers represented fascist leaders, Annalisa Zox-Weaver aims to achieve a more complex understanding of the modernist political imagination. She examines how photographer Lee Miller, filmmaker Leni Riefenstahl, writer Gertrude Stein and journalist Janet Flanner interpret, dramatize and exploit Hitler, Goering and Petain. Within their own artistic medium, each of these modernists explore confrontations between private and public identity, and historical narrative and the construction of myth. This study makes use of extensive archival material, such as letters, photographs, journals, unpublished manuscripts and ephemera, and includes ten illustrations. This interdisciplinary perspective opens up wider discussions of the relationship between artists and dictators, modernism and fascism, and authority and representation.

This book presents Peter d'Agostino's World-Wide-Walks project, providing a unique perspective on walking practices across time and place considered through the framework of evolving technologies and changes in climate. Performed on six continents during the past five decades, d'Agostino's work lays a groundwork for considering walks as portals for crossing natural, cultural and virtual frontiers. Broad in scope, it addresses topics ranging from historical concerns including traditional Australian Aboriginal rites of passage and the exploits of explorers such as John Ledyard, to artists' walks and related themes covered in the mass media in recent years. D'Agostino's work shows that the act of walking places the individual within a world of empirical awareness, statistical knowledge, expectation and surprise through phenomena like anticipating unknown encounters around the bend. In mediating the frontiers of human knowledge, walking and other forms of exploration remain a critical means of engaging global challenges, especially notable now as environmental boundaries are undergoing radical and potential cataclysmic change.

In Mastering Bird Photography: The Art, Craft, and Technique of Photographing Birds and Their Behavior, acclaimed bird photographer and author Marie Read shares techniques and stories behind her compelling images, offering fresh insights into making successful bird photographs, whether you're out in the field or in the comfort of your own backyard. In this richly illustrated book, you'll learn how to be in the right place at the right time and how to obtain tack sharp portraits. Marie then teaches you to take your skills to the next level in order to capture action shots, illustrate birds in their habitats, and portray birds in evocative and artistic ways. Building on basic technical topics such as camera choice, lens choice, and camera settings, Marie reveals how fieldcraft, compositional decisions, and knowledge of bird behavior contribute greatly to a successful bird photograph. Captions for the over 400 images contained in the book provide details on the equipment used, as well as camera settings. Throughout the book, bird behavior insights provide bird photographers of all skill levels a wealth of essential insider information that will help you produce images that stand out from the crowd. Topics include: Equipment and accessories Focus, exposure, and light Composition and creativity Bird photography ethics Capturing bird behavior Storytelling images Action and in-flight shots Backyard photo studio Weather, water, and mood Top bird photo sites in North America Basic image editing And much more! Foreword by Tim Gallagher, Editor-in-Chief Emeritus, Living Bird magazine.

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.

Tommy's new book follows the international success of his first book, An Excuse to Draw. As title suggests, Tommy approaches scenes with a photographic eye but renders them in this trademark detailed drawing style. The subjects are wide ranging including wildlife, models, travel and movie sets and feature his characteristic charm and wit, with astonishing level of detail he is known for. In a style at times reminiscent of cartoonists like Robert Crumb yet always wholly his own, Tommy Kane presents his subjects with a mixture of surrealism, humour and thoughtfulness.

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.

From 13th century Franciscan monks to Beyonce in Black is King, Making a Spectacle charts the fascinating ascension of eyeglasses, from an unsightly but useful tool to fashion's must-have accessory. The power of glasses to convey a range of vivid messages about their wearers have made them into a billion-dollar business that appeals to cool kids and rock stars and those who want to be like them, but the fashionable history of eyeglasses was fraught with anxiety and drama. At the beginning of the 20th century, the assessment in Vogue and Harper's Bazaar was that spectacles were "invariably disfiguring." Invisibility was the best option, and glasses were only to be put on once the lights at the opera went dark. While variations of that glasses-shaming sentiment appeared at regular intervals over the next 100 years or so, eyeglasses continued to evolve into an endless array of shapes, colors, purposes, and personalities. Once sunglasses took off in the 1930s, the magazine editorial made glasses a conspicuous part of the fashion narrative. Eyeglasses went to the ski slopes, the stables, the beach, the Havana hotel. Plastic innovations made a candy-colored rainbow of cat-eyes and "starlet" styles possible. Suddenly, everyone had the opportunity to look like Jackie O on vacation in Capri. Making a Spectacle traces contemporary high fashion frames back to their origins: the military aviator, the glam cat eye, the nerdly Oxford, the high-tech shield, the fanciful butterfly, the lowly rimless, and other styles all make an appearance. Featuring interviews with influential designers, makers, and purveyors of glasses including Adam Selman, Kerin Rose Gold, and l.a. Eyeworks, Making a Spectacle also takes a look at today's most cutting edge eyewear, showing the reader the latest and most innovative ways to see and be seen.

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.