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.

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. 

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