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Books > Arts & Architecture > Photography & photographs > General
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.
Set in the rolling hills of southern Indiana, Indiana University
Bloomington is widely acknowledged to be one of the most
picturesque college campuses in the United States Indiana
University: New Portraits of the Bloomington Campus offers Hoosiers
the chance to discover or revisit the campus for themselves and
appreciate stunning new buildings and improvements in landscaping
and facilities. During its two-hundred-year history, the
Bloomington campus has grown out from its original core while
maintaining its focus on its architectural atheistic. Indiana
University Bloomington now occupies nearly 2,000 acres, and the
beauty and harmony of its limestone buildings set against
breathtaking natural scenery make the campus a treasure that all
Hoosiers enjoy. Indiana University: New Portraits of the
Bloomington Campus offers Hoosiers the chance to travel back home,
relive past friendships, scholarly achievements, Little Fives, and
Hoosier victories, and wander again, if just for a moment, through
Dunn's Woods, the Cox Arboretum, and the iconic Sample Gates.
A deep dive into the pioneering collection of nineteenth-century
French photographs, equipment, and ephemera, which is a cornerstone
of the George Eastman Museum In the early twentieth century,
Parisian photographer, amateur historian, and collector Gabriel
Cromer (1873-1934) amassed a collection that traced photography's
prehistory, invention, and development to about 1890. His dream was
to found a national museum of the photographic arts in France.
Although Cromer's ambition was never realized, his collection was
central to establishing the world's first museum dedicated to
photography: the George Eastman Museum. The Cromer Collection of
Nineteenth-Century French Photography considers the origin and
circulation of the collection as well as the influence it has had
on photography as a field of study. The book's six essays, written
by French and American scholars, explore the Cromer Collection's
complex passage across markets, borders, and functions. For more
than half a century, curators and scholars worldwide have drawn
extensively on the Gabriel Cromer Collection for exhibitions and
publications; this book provides the first focused scholarly study
of the foundational resource. Published in association with the
George Eastman Museum
This revised second edition of the best-selling handbook provides
practical, actionable insights on how to establish a successful
photography business in the current climate. Written from the
perspective of a photographer's agent, this book offers the perfect
viewpoint to honestly assess what works, what doesn't, and why some
photographers succeed where others fail. Packed with useful
templates and advice from leading photographers and commissioners
working in all areas of the profession today, industry expert Lisa
Pritchard covers all of the essentials: preparing the best
portfolio and website; marketing yourself; getting clients; costing
and producing shoots; finding representation; financing and running
your business; navigating contracts and legal obligations; and
more. Updated to take account of shifts in the industry and the
increasing importance of digital marketing and social media, this
book provides fresh insight and inspiration for the budding and
established professional. This book is essential reading for anyone
who wants to be a professional photographer - whether studying to
become one, thinking of a change of career, or wanting to know how
to improve their existing photography business.
The essays in this volume explore the borderland between ecology
and the arts. Nature is here read by a number of contributors as
'cultural', by others as an 'independent domain', or even as a
powerful process of exchange 'between the human and the
other-than-human'. The four parts of the volume reflect these
different understandings of nature and performance. Informed by
psychoanalysis and cultural materialism, contributors to the first
part, 'Spectacle: Landscape and Subjectivity', look at ways in
which particular social and scientific experiments, theatre and
film productions and photography either reinforce or contest our
ideas about nature and human-human or human-animal relations and
identities. The second part, 'World: Hermeneutic Language and
Social Ecology', investigates political protest, social practice
art, acoustic ecology, dance theatre, family therapy and ritual in
terms of social philosophy. Contributors to the third part,
'Environment: Immersiveness and Interactivity', explore
architecture and sculpture, site-specific and mediatised dance and
paratheatre through radical theories of urban and virtual space and
time, or else phenomenological philosophy. The final part, 'Void:
Death, Life and the Sublime', indicates the possibilities in dance,
architecture and animal behaviour of a shift to an existential
ontology in which nature has 'the capacity to perform itself.
The ancient Chinese wisdom of emperor Fu Hsi's I Ching or The Book
of Changes has served as a guide to human behaviour for millennia.
Pondering the highly visual images imparted in the hexagrams of the
I Ching, the seeker finds complex responses to questions or
situations imbedded in the multiple layers of images that must be
deciphered and applied to one's individual circumstances. Among the
I Ching's remarkable qualities is its capacity to speak universally
through lyrical allegories of the natural and human worlds.
Photographers and collaborators Janet Russek and David Scheinbaum
have long been students of the I Ching. As landscape photographers
accustomed to the teachings of the natural world, the relationship
between their work as visual artists and their personal experiences
working with the I Ching naturally led them to create this visual
companion to the hexagrams. Their photographic interpretation of
the Chinese Oracle -- featuring sixty-four duotone landscape
portraits paired with text from the I Ching -- offers an additional
metaphorical dimension to consultations with the book.
Both pragmatic and motivational, this book addresses what it means
to have a successful long-term career in the arts, taking stock of
the current landscape of the art world, introducing new venues in
the field, reflecting on issues of social media and exhibition, and
ultimately encouraging artists to take control of their
professional lives. Weaving conversations from a range of
internationally based artists who have negotiated alternative paths
to success, lauded artist and teacher Stacy Miller provides a
practical, lively reflection on what it takes to be an artist in
our new global landscape. This book covers practical needs,
different approaches, and philosophical ways of creating a life and
career in the arts. It lays out conventional and nonconventional
means to representation, describes being an entrepreneur versus
funding independent creative projects, and examines social media
for the potential powerhouse it is. Most importantly, it gives
artists a way to think about being a professional and the different
paths to a successful career in the arts. Perfect for emerging,
mid-career, and experienced artists, this book encourages readers
to redefine personal success and to act locally, nationally, and
internationally in an expanding art world.
Cats were seen as omens in ancient times but eventually became
trusted animal companions to those who sailed the seas. From
catching rats at docks and on ships at sea, cats often became
mascots to the navies around the globe. Filled with informative
text and more than eighty photos, Cats in the Navy provides a fun
history of our feline friends who rode the waves with us.
Create gorgeous boudoir photographs with this handy deck of cards!
The Boudoir Posing Deck is full of high-quality posing examples to
help guide and inspire photographers and models to create the
perfect boudoir session! In this deck, which is presented as a
beautiful set of 4x6 cards in an attractive case, photographer and
bestselling author Lindsay Adler provides 50 unique poses in a wide
range of alluring sitting, standing, and lying scenarios to create
gorgeous, flattering photos. Each card features an image and
accompanying description of the pose and the camera settings. With
clear instruction and helpful tips, these cards are creative,
educational, and inspirational. This easy-to-reference deck is an
essential for novice and even experienced boudoir photographers and
models!
This book traces progress in photography since the first
pinhole, or camera obscura, architecture. The authors describe
innovations such as photogrammetry, and omnidirectional vision for
robotic navigation. The text shows how new camera architectures
create a need to master related projective geometries for
calibration, binocular stereo, static or dynamic scene
understanding. Written by leading researchers in the field, this
book also explores applications of alternative camera
architectures.
In conventional color photography, spectral sensitizers
cooperate with silver halide as acceptors of light during the
exposure process, color developers reduce silver halide grains
during the developing process, and finally the resulting oxidized
developers react with couplers to form imaging dyes. Instant color
photography gives us an alternative way of realizing excellent
color reproduction, in which dyes changing their diffusibility play
an important role. The aim of this book is to provide researchers
and graduate students with a perspective on how such organic
compounds work in color photography and how seemingly miraculous
techniques based on organic chemistry lead to color images of high
quality. The readers will acquire the philosophy and learn from
hints on how to develop functionalized organic compounds.
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.
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The book addresses themes such as visual perception, perception of
3-D and stereo. With the event of the stereoscope and the theatre,
dioramas and panoramas before it, vision and perception in the
eighteenth and nineteenth century is seen to be marketed to a mass
audience. As such the spectacle of the stereoscope and other
optical devices can be seen as a precursor to mass media
dissemination today. Yet artists use the stereoscope and VR to
signify the spectacle, clairvoyance, vision and the mechanism of
vision as well as a symbol for the act of looking, being looked at
while looking and the gaze within an art new media practice. Other
artists have used 3-D and virtual reality to address themes such as
theories of consciousness or embodied consciousness, the human –
machine relationship and the idea of mapping reality, alternative
networked realities. The book includes an introduction and summary
of chapters, 86 anaglyphic 3-D images and presents a survey of
artists working in 3-D and virtual reality, VR art. The convergence
of other fields such as new media art, video art and early virtual
reality art is described through many examples within the scope of
the book. Artists discussed include Mert Akbal, Zoe Beloff ,
Geoffrey Berliner, Lygia Clark, Dan
Graham, Salvador Dali, Marcel Duchamp, Scott S.
Fisher, Rebecca Hackemann, Perry Hoberman, Daniel Iglesia,
Ken Jacobs, William Kentridge, Susan
MacWilliam, Patrick Meagher, Rosa Menkman, Jim
Naughten, Tony Ousler, Alfons Schilling, Joel
Schlemowitz, Christopher Schneberger, Judith
Sönniken, Ethan Turpin, Aga Ousseinov, Colleen
Woolpert. 3-D glasses included with hardback book.Â
The Mallet Ranch, from its founding to the present, has followed
the arc of most Texas ranches. It has experienced booms and busts,
and its owners have fretted over droughts and floods as well as
fights in courtrooms. Despite hardships that may have outnumbered
successes, the Mallet, headquartered in Hockley County, Texas,
perseveres to this day. But More Than Running Cattle is more than
just a ranch tale. It is the story of a family both unique and
conventional among Texas stock raisers. David M. DeVitt, like many
before him, was not "born" to be a Texas cattleman. DeVitt began
his career as a reporter in Brooklyn, New York, before he decided
to leave that path behind to try his luck on the wide-open ranges
of West Texas. David DeVitt passed down his hardy, independent
spirit to his two daughters. Although Christine and Helen were
raised in Fort Worth, both from a young age learned the lesson that
the West Texas land—and the Mallet Ranch—were part of their
souls. When their father died, the two sisters fought to retain
control of the Mallet for the family. The discovery in 1938 of oil
on the ranch, and the subsequent drilling of more than a thousand
oil wells over the next few decades, transformed the Mallet from a
struggling enterprise into one of the most profitable such entities
in the nation. From that financial windfall sprung from the land,
Christine and Helen generously reinvested back into the region. The
two non-profit organizations founded by the DeVitt sisters have
distributed more than $200 million. The story of the Mallet Ranch
told within these pages illuminates and delves into this remarkable
story of a family, their operation, and the land that made it all
possible.
While written sources on the history of Greece have been studied
extensively, no systematic attempt has been made to examine
photography as an important cultural and material process. This is
surprising, given that Modern Greece and photography are almost
peers: both are cultural products of the 1830s, and both actively
converse with modernity. Camera Graeca: Photographs, Narratives,
Materialities fills this lacuna. It is the first inter-disciplinary
volume to examine critically and in a theorised manner the
entanglement of Greece with photography. The book argues that
photographs and the photographic process as a whole have been
instrumental in the reproduction of national imagination, in the
consolidation of the nation-building process, and in the generation
and dissemination of state propaganda. At the same time, it is
argued that the photographic field constitutes a site of memory and
counter-memory, where various social actors intervene actively and
stake their discursive, material, and practical claims. As such,
the volume will be of relevance to scholars and photographers,
worldwide. The book is divided into four, tightly integrated parts.
The first, 'Imag(in)ing Greece', shows that the consolidation of
Greek national identity constituted a material-cum-representational
process, the projection of an imagery, although some photographic
production sits uneasily within the national canon, and may even
undermine it. The second part, 'Photographic narratives,
alternative histories', demonstrates the narrative function of
photographs in diary-keeping and in photobooks. It also examines
the constitution of spectatorship through the combination of text
and image, and the role of photography as a process of
materializing counter-hegemonic discourses and practices. The third
part, 'Photographic matter-realities', foregrounds the role of
photography in materializing state propaganda, national memory, and
war. The final part, 'Photographic ethnographiesa
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