Runa Islam's films are replete with vivid images that enthrall the viewer with their poetry. Using and reflecting on the medium of film is a pivotal part of her work. In detailed interviews with the artist, this book sheds light on her work during the last five years.

Runa Islam was born in Bangladesh in 1970 and today lives in London. She deconstructs linear narrative patterns and time sequences, making the act of seeing--both watching and recognizing what is seen--the central focus of her films. In 2008, Islam was nominated for the Turner Prize for visual art.

In 1999, the inhabitants of the Panama Canal Zone, known as the Zonians, were stripped of their privileges when their land ceased to be a North American territory. Today, some are returning home. These images, taken between 2011 and 2014 in the Panama Canal and Orlando, follow the last moments of their existence as a community.

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.

A major reassessment of photography's pivotal role in 1960s conceptual art Why do we continue to look to photographs for evidence despite our awareness of photography's potential for duplicity? Documents of Doubt critically reassesses the truth claims surrounding photographs by looking at how conceptual artists creatively undermined them. Studying the unique relationship between photography and conceptual art practices in the United States during the social and political instability of the late 1960s, Heather Diack offers vital new perspectives on our "post-truth" world and the importance of suspending easy conclusions in contemporary art. Considering the work of four leading conceptual artists of the 1960s and '70s, Diack looks at photographs as documents of doubt, pushing the form beyond commonly assumed limits. Through in-depth and thorough reevaluations of early work by noted artists Mel Bochner, Bruce Nauman, Douglas Huebler, and John Baldessari, Diack advances the powerful thesis that photography provided a means of moving away from the object and toward performative effects, playing a crucial role in the development of conceptual art as a medium of doubt and contingency. Discussing how unexpected and contradictory meanings can exist in the guise of ordinary pictures, Documents of Doubt offers evocative and original ideas on truth's connection to photography in the United States during the late 1960s and how conceptual art from that period anticipated our current era of "alternative facts" in contemporary politics and culture.

Building on the success of "Hijacked 1. Australia and America" (2008) and "Hijacked 2. Australia and Germany" (2010), this volume is again an expansive photographic anthology. "Hijacked 3" juxtaposes the United Kingdom and Australia and showcases the diverse talents and perspectives of thirty-two contemporary British and Australian photographers.

Manfred von Richthofen, the iconic Red Baron, has remained at the forefront of First World War studies ever since he became recognised as one of the most illustrious fighter pilot aces of the conflict. As we approach the centenary anniversary of his death and the ending of the Great War, it seems like a good time to introduce a new arrangement of photographs covering the entire span of his war. Since the release of his earlier books exploring similar themes, a constant trickle of new information has filtered down to the author. Although none of it specifically challenges the conclusions drawn in earlier publications, in consolidating them here hes been able to preserve some significant notes of interest. Following a number of visits to Belgium and Northern France in recent years, Franks has managed to acquire fascinating images illustrating the places in which the Red Baron lived and fought between 1916 and 1918. This collection represents the entire span of von Richthofens recorded history in pictures, some new and lesser-known, some iconic and widely circulated; all housed here together under one roof for the very first time.

African photography has emerged as a significant focus of research and scholarship over the last twenty years, the result of a growing interest in postcolonial societies and cultures and a turn towards visual evidence across the humanities and social sciences. At the same time, many rich and fascinating photographic collections have come to light. This volume explores the complex theoretical and practical issues involved in the study of African photographic archives, based on case studies drawn from across the continent dating from the 19th century to the present day. Chapters consider what constitutes an archive, from the familiar mission and state archives to more local, vernacular and personal accumulations of photographs; the importance of a critical and reflexive engagement with photographic collections; and the question of where and what is 'Africa', as constructed in the photographic archive. Essential reading for all researchers working with photographic archives, this book consolidates current thinking on the topic and sets the agenda for future research in this field.

The Joy of Photoshop is the long-awaited book from the social media sensation James Fridman. Have you ever taken a seemingly perfect picture only to have it ruined by one tiny detail? Photoshop master James Fridman is only too happy to help, even if he sometimes takes requests a little too literally. The Joy of Photoshop contains James's best-loved and funniest image alterations. From the woman who wished to look like a mermaid, to super-fans who want to be edited into their favourite movies, his followers never get quite what they asked for. Including plenty of never-before-seen pictures, this meme-tastic book will have you in stitches!

Rare and visually stunning images of a lost world. This remarkable collection of photographs, captured by internationally acclaimed photojournalist Tor Eigeland in 1967, offers unprecedented insight into the daily life of the Marsh Arabs of Iraq. These photographs illustrate the beauty of this unique environment--the marshlands between the Tigris and Euphrates Rivers--and show a culture that existed practically unchanged for over 2,000 years. Some have even speculated that this place was the site of the original Garden of Eden. Under Saddam Hussein's rule, vast areas of the marshlands were dammed and drained, causing catastrophic environmental damage and brutally forcing the marshes' inhabitants to abandon their way of life. Now Tor Eigeland's photographic journey stands as a monument, a rare record of a lost world and an ancient civilization. These precious photographs celebrate the people and culture of the marshlands and bring us back to a time and place where people lived in harmony with their environment. In the course of his long and distinguished career, Tor Eigeland has been published in such publications as Time-Life Books, Fortune, Newsweek, and Saudi Aramco World, to name but a few. He has collaborated on ten books for the National Geographic Society, and his assignments have taken him to some of the most remote corners of the globe. He now resides in the south of France.

After Photography examines the myriad ways in which the digital revolution has fundamentally altered the way we receive visual information, from photos of news events taken by ordinary people on cell phones to the widespread use of image surveillance. In a world beset by critical problems and ambiguous boundaries, Fred Ritchin argues that it is time to begin energetically exploring the possibilities created by digital innovations and to use them to better understand our rapidly changing world.

Ritchin one of our most influential commentators on photography investigates the future of visual media as the digital revolution transforms images into a hypertextual medium, fundamentally changing the way we conceptualize the world. Simultaneously, the increased manipulation of photographs makes photography suspect as reliable documentation, raising questions about its role in recounting personal and public histories. In the tradition of John Berger and Susan Sontag, Ritchin analyzes photography's failings and reveals untapped potentials for the medium."

Film photography has recently witnessed a significant renaissance and not just among those who have previously shot with film. Interest in film photography and analogue photography has also grown enormously among those who have only ever shot digitally. In The Film Photography Handbook, 3rd Edition, authors Chris Marquardt and Monika Andrae speak to both types of film photographers as they offer an easy-to-understand, complete resource to shooting film. In this updated and expanded edition, they address today s working climate, including such topics as the hybrid film/digital workflow, the digitization of negatives, and using smartphones for light metering and to assist in film processing. This book is intended for anyone who is curious about film and analogue photography, whether you need a refresher course or are discovering this wonderful format for the first time. You ll learn how easy it is to shoot and process black-and-white film at home, and that just a little special equipment is needed to get into film photography. You ll learn all about: The important differences between film and digital photography Numerous film cameras, as well as how to buy a second-hand camera Film formats, from 35 mm to medium format and large format Exposure settings, tonal values, and tonal representations in different types of film, from colour negatives and slides to the enormous spectrum of black-and-white film Processing film, covering everything you need to know: equipment, chemicals, and workflow Scanning negatives to bring your analogue photography into a digital workflow Both presenting and archiving your prints and negatives. Working in such an analogue medium requires a unique approach to photography, and it fosters a completely different form of creativity. Working in film and embracing analogue photography can also prove to be a great inspiration for your own digital photography, as well. The Film Photography Handbook, 3rd Edition covers it all from the technical to the creative and will have you shooting film in no time, whether it s with an old rangefinder, an inexpensive Holga, or a medium-format Rolleiflex or Hasselblad.

Combining case studies with theoretical and philosophical insights, this book explores the role of photography in representing conflict and genocide, both during and after the break-up of Yugoslavia. Concentrating on the photographer, this book considers the practice of photojournalism rather than simply in terms of its consumption and use by the media. The experiences and working methods of photographers in the field are analysed, showing how practitioners conceptualised their work and responded to larger questions about neutrality and moral responsibility. Presenting this 'active' form of witness, author Paul Lowe investigates a crucial ethical paradox faced by photojournalists. Moving beyond the end of the Yugoslav Wars in 2001, this book also considers the therapeutic and validating potential of photography for survivors, featuring photographers whose work centres on memory and reconciliation. Based on archival research, close reading and discourse analyses of photographs, and interviews with a range of international photographers, this book explores how photography from this period has been used and remediated in editorial photojournalism, fine art documentary and advocacy photography. This book will be of interest to scholars in the history of photography, art and visual culture, and photojournalism.

'While looking through his contact sheets, Harvey Benge noticed that one of his pictures reminded him of a 'Friedlander', another someone else. All photographers do this, and if the photograph in question apes another photographer too closely, it's usually a cause for rejection. But Benge did the opposite. Picking out his 'Friedlander' and his 'Parr' and his 'Baltz' he decided to make an 'anthology' of contemporary photography featuring some of its biggest names. Yet they are all genuine, original Benges. They are also all good pictures, not mere pastiches of the 'originals' of which they gently but insistently remind one. This may be a game, but games can be very serious, and this fascinating book is both a serious and light-hearted exploration of photographic style.' - Gerry Badger.

For mainstream economics, cultural production raises no special questions: creative expression is to be harvested for wealth creation like any other form of labour. As Karl Marx saw it, however, capital is hostile to the arts because it cannot fully control the process of creativity. But while he saw the arts as marginal to capital accumulation, that was before the birth of the mass media. Engaging with the major issues in Marxist theory around art and capitalism, From Printing to Streaming traces how the logic of cultural capitalism evolved from the print age to digital times, tracking the development of printing, photography, sound recording, newsprint, advertising, film and broadcasting, exploring the peculiarities of each as commodities, and their recent transformation by digital technology, where everything melts into computer code. Showing how these developments have had profound implications for both cultural creation and consumption, Chanan offers a radical and comprehensive analysis of the commodification of artistic creation and the struggle to realise its potential in the digital age.

Examining imagery of urban space in Britain, France and West Germany up to the early 1960s, this book reveals how photography shaped individual architectural projects and national rebuilding efforts alike. Exploring the impact of urban photography at a pivotal moment in contemporary European architecture and culture, this book addresses case studies spanning the destruction of the war to the modernizing reconfiguration of city spaces, including ruin photobooks about bombed cities, architectural photography of housing projects and imagery of urban life from popular photomagazines, as well as internationally renowned projects like UNESCO's Paris Headquarters, Coventry Cathedral and Berlin's Gedachtniskirche. This book reveals that the ways of seeing shaped in the postwar years by urban photography were a vital aspect of not only discourses on the postwar city but also debates central to popular culture, from commemoration and modernization to democratization and Europeanization. This book will be a fascinating read for researchers in the fields of photography and visual studies, architectural and urban history, and cultural memory and contemporary European history.

"Light and Photomedia" proposes that, regardless of technological change, the history and future of photomedia are essentially connected to light: it is a fundamental property of photomedia, binding with space and time to form and inform new, explicitly light-based structures and experiences
Jai McKenzie identifies light-space-time structures throughout the history of photomedia, from the early image machines through analogue and digital image machines to the present day. She proposes that they will continue to develop in the future, and takes us to future image machines of the year 2039. With the use of the theories of Paul Virilio, Jean Baudrillard and Vilem Flusser, featuring artists including Henri Cartier-Bresson, Nam June Paik, Yves Klein, Eadweard Muybridge, Martha Rosler, Cindy Sherman and Michael Snow, as well as photographic images, "Light and Photomedia" places the reader in a new history and future which, although mostly overlooked by the canon of photomedia theory, is an essential line of enquiry for contemporary thinking and dialogue in photography.

Cold War Camera explores the visual mediation of the Cold War and illuminates photography's role in shaping the ways it was prosecuted and experienced. The contributors show how the camera stretched the parameters of the Cold War beyond dominant East-West and US-USSR binaries and highlight the significance of photography from across the global South. Among other topics, the contributors examine the production and circulation of the iconic figure of the "revolutionary Vietnamese woman" in the 1960s and 1970s; photographs connected with the coming of independence and decolonization in West Africa; family photograph archives in China and travel snapshots by Soviet citizens; photographs of apartheid in South Africa; and the circulation of photographs of Inuit Canadians who were relocated to the extreme Arctic in the 1950s. Highlighting the camera's capacity to envision possible decolonialized futures, establish visual affinities and solidarities, and advance calls for justice to redress violent proxy conflicts, this volume demonstrates that photography was not only crucial to conducting the Cold War, it is central to understanding it. Contributors. Ariella Azoulay, Jennifer Bajorek, Erina Duganne, Evyn Le Espiritu Gandhi, Eric Gottesman, Tong Lam, Karintha Lowe, Angeles Donoso Macaya, Darren Newbury, Andrea Noble, Sarah Parsons, Gil Pasternak, Thy Phu, Oksana Sarkisova, Olga Shevchenko, Laura Wexler, Guigui Yao, Donya Ziaee, Marta Zietkiewicz

This guide for aspiring and exhibiting photographers alike combines practice and concept to provide a roadmap to navigating, and succeeding in, the fine art photography marketplace locally, domestically, and internationally. Join former New York gallery owner, international curator, and fine art photographer Thomas Werner as he shares his experiences and insights from leading curators, gallerists, collectors, auctioneers, exhibiting photographic artists, and more. Learn how to identify realistic goals, maximize results, work with galleries and museums, write grants, develop strong nuanced imagery, and build a professional practice in a continually evolving field. Featuring dozens of photographs from international practitioners, and a robust set of resources, this book will ensure you have the tools to give you the opportunity for success in any marketplace. Whether you are a student, aspiring photographic or video artist, or a photographer changing careers, The Business of Fine Art Photography is your guide to starting and growing your own practice.

This volume contains the proceedings of the workshop "Astrophotography 87," which was held in Jena, April 21-24, 1987. The workshop was organized by the Central Institute of Astrophysics of the Academy of Sciences of the German Democratic Republic and is the latest in a series devoted to the problems of photography in astronomy. The previous workshops, which have taken place every three years, were held in Edinburgh (1984), Nice (1981) and Geneva (1978). For telescopes with large fields of view, in particular Schmidt telescopes, photographic plates are the only suitable radiation receiver. Thus the effi ciency of the photographic plate determines the quality of the observation. The treatment of the plates in the photographic laboratory is also very im portant. Additional factors affecting the scientific results are the measuring machines and the methods of interpretation. All these topics were discussed in the workshop by the 62 participants (26 from the GDR and 36 from 13 other countries. Thanks go to David Malin, the chairman of the working group "Astropho tography" of the International Astronomical Union, for writing an introduc tory article for the proceedings. I am grateful to all participants who pre sented papers during the workshop for sending in their manuscripts on time. Poster papers are arranged among the other papers according to the topics they treat. All participants also wish to express their thanks to Springer Verlag for publishing the proceedings."

The imaging aspects of radiography have undergone con many sources and was in general freely given when requested siderable change in the last few years and as a teacher of and this is gratefully acknowledged. In particular I would radiography for many years I have often noticed the lack of a like to express my sincere thanks for help and information to comprehensive reference book for students. This book is an Mr J. Day of DuPont (UK) Ltd. particularly for the infor attempt to correct that situation and I hope this text will be mation and illustrations in the chapter on automated film of value not only to student radiographers but also prac handling; Mr D. Harper and Mr R. Black of Kodak Ltd. ; tising radiographers as well. Fujimex Ltd. ; CEA of Sweden; 3M (UK) Ltd. ; Wardray Much of the information is based on personal experiment Products Ltd. ; D. A. Pitman Ltd. ; Agfa-Gevaert; PSR Ltd. and the knowledge gained of students' difficulties in studying for their help with information on silver recovery, and this subject. I have attempted to gather together in one book Radiatron Ltd. for their help with safelighting. All were most all the information required to understand the fundamentals helpful in my many requests for information. of the subject both for examination and for practice. Some To Mrs A. Dalton and Mrs P.