A hopeful yet practical collection of essays exploring the many opportunities and benefits of rewilding and how to get involved today. Highly illustrated with nature photography tracing landscape change over thousands of years. Rewilding has become the key talking point in the modern conservation movement. But it's commonly misunderstood as a campaign to fill the forests with lynxes, wolves and bears, when in fact the ethos guiding the British rewilding movement is much more nuanced, and much broader in scope. It's also much more complicated, requiring an in-depth understanding of the complexity of regional ecosystems. Naturalist and photographer David Woodfall has spent years canvassing converts actually working in the countryside, meeting the people on the frontline of rewilding and collecting their stories. The result is a passionate chorus of voices from all facets of the movement. More than 50 contributors share stories of successful examples like the Knepp and Alladale estates, of unique species like the North Atlantic Salmon under threat, of the essential NGOs and trusts, of government agencies and policies, and so much more. Illustrated with Woodfall's stunning nature photography, Rewilding offers at once an in-depth understanding of an essential movement and the people leading it; and of British ecosystems in all their terribly fragility and intricate beauty.

Does a photograph freeze a moment of time? What does it mean to treat a photographic image as an artefact? In the visual culture of the 21st century, do new digital and social forms change the status of photography as archival or objective - or are they revealing something more fundamental about photography's longstanding relationships with time and knowledge?Archaeology and Photography imagines a new kind of Visual Archaeology that tackles these questions. The book reassesses the central place of Photography as an archaeological method, and re-wires our cross-disciplinary conceptions of time, objectivity and archives, from the History of Art to the History of Science.Through twelve new wide-ranging and challenging studies from an emerging generation of archaeological thinkers, Archaeology and Photography introduces new approaches to historical photographs in museums and to contemporaryphotographic practice in the field. The book re-frames the relationship between Photography and Archaeology, past and present, as more than a metaphor or an analogy - but a shared vision.Archaeology and Photography calls for a change in how we think about photography and time. It argues that new archaeological accounts of duration and presence can replace older conceptions of the photograph as a snapshot orremnant received in the present. The book challenges us to imagine Photography, like Archaeology, not as a representation of the past and the reception of traces in the present but as an ongoing transformation of objectivity and archive.Archaeology and Photography will prove indispensable to students, researchers and practitioners in History, Photography, Art, Archaeology, Anthropology, Science and Technology Studies and Museum and Heritage Studies.

Plantin travelled a lot, to Paris, where he had a bookstore and lace trade, to Leiden where he had a second business, to Frankfurt for the buchmesse, ... He was on his way almost half of the year. He was an experienced traveller. How did people travel in a time without motorways, GPS, smartphone or trip advisor? Plantin had tables available that calculated how long the trajectories lasted. Unfortunately, he did not keep track of where he slept, ate, and how much he spent. Fortunately, there are other contemporaries, such as Durer and Montaigne who did take extensive notes during their travels. In the wake of Plantin, we send young photographers on different journeys with various means of transport. How do travel distances and travel times differ from journeys in the 16th century?

Was macht Sie glucklich? Hunderte von Ratgebern und Studien behaupten, den Weg zum Gluck zu kennen. In diesem Buch kommen diese Menschen zu Wort. Herausgekommen ist eine spannende Sammlung von Bildern vereint mit Lyrik der alten und neuen Zeit. Wie in einem Ratgeber fur Gluck und Zufriedenheit, finden wir in diesem Buch fur jeden genau das Richtige. Bild und Lyrik vereint fur die schonsten Tage im Leben, fur die Momente die sich nur einmal festhalten lassen. Die emotionalen Bilder zeigen die innigste Verbindung, die zwischen Mensch und Tier und auch der Natur moglich ist, und machen deutlich, dass die Liebe auf der ganzen Welt dieselbe Sprache spricht.

A construction site offered the scenario for a big photographic project created by Carlo Valsecchi, the fruit of which is presented in the pages of this volume. The gaze of Carlo Valsecchi (Brescia, 1965) is educated by a solid artistic preparation: over the course of many years he's been using photography to investigate architecture and, in a wider sense, the landscape, both natural and artificial. Valsecchi interprets these places by offering us a vision that transcends the space and the contingent moment: his images invite us to discover a timeless reality, which perhaps will eventually come: posterius. As William Ewing points out in his long afterword, Valsecchi gives us images of ethereal, abstract spaces that border on the surreal, managing to bring out the mystery inherent in them. Text in English and Italian.

Norway has long been an insider tip among road lovers. The Trollstigen is often mentioned in the same breath as legendary passes all over the world. It's important to know that whether you move on two wheels or four, there is so much more to discover here. Curves has set out in search of the absolute highlights and presents exactly that here: breath-taking views, endless winding roads, and gastronomic highlights - all combined to create a travel guide of a very special kind. Norway is presented here as you certainly don't know it - yet! Text in English and German. Also available: Curves: Germany's Coastline | Denmark ISBN 9783667110909

This richly evocative study of photography has two major emphases, that the language of description (be it title, caption, or text) is deeply implicated in how a viewer looks at photographs, and that the use of a photograph determines its meaning.

If you or someone you know loves a cat, chances are they love taking pictures of their cat, too. But cats can be tricky little guys to photograph. They move quickly when you want them to stay still and are sedentary logs when you're going for an action shot. Add to that all of the variables of shooting indoors or outdoors, and it can be a difficult job. Enter How to Take Awesome Photos of Cats, where popular cat photographer and Instagrammer Andrew Marttila (Cats on Catnip, Shop Cats of New York) walks you through all the steps you need to know to take perfect photos of your favorite feline. This lighthearted, gifty guide will include dozens of photos and share practical tips for both amateur photographers and experts alike, all told in a fun, accessible, and lighthearted way.

Photography, Truth and Reconciliation charts the connections between photography and a crucial issue in contemporary social history. The book examines the prevalence of photography in cultural responses to processes of truth and reconciliation, and argues that photographs are a valuable means through which stories can be retold and historiography can be rethought. Five compelling case studies from Argentina, Canada, Australia, South Africa and Cambodia underscore the special role that this medium has played in facilitating processes of recovery, and in reconstructing suppressed histories, even when a documentary record of the events does not exist. The diverse practices addressed in this book - including artistic, protest, institutional, archival, legal and personal photography - prompt a new consideration of photography's links to presence, place, time, spectatorship and justice. Collectively, these practices attest to photography's key role in transitional justice, and in shaping historical understanding internationally. Important reading for students taking photography, visual culture, history and media studies courses, Photography, Truth and Reconciliation explores key historical and theoretical themes, including photography and testimony, international discourses on human rights and justice, and problematic notions of public and collective memory. The introduction and conclusion of this book a43 freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com

Foreword by Chris Packham This beautiful book accompanies the photographic competition celebrating some of the best bird photography of the year. The Bird Photographer of the Year competition celebrates the artistry of bird photography, and this large-format book is lavishly illustrated to reflect this. A celebration of avian beauty and diversity, it is a tribute to both the dedication and passion of the photographers as well as a reflection of the quality of today's modern digital imaging systems. The book includes the winning and short-listed images from the competition, now in its third year, showcasing some of the finest bird photography, with a foreword by BTO President and head judge, Chris Packham. A proportion of the profits from the book goes directly to the BTO to support their conservation work. The advent of digital technology has revolutionised photography in recent years, and the book brings to life some of the most stunning bird photography currently on offer. It features a vast variety of photographs by hardened pros, keen amateurs and hobbyists alike, reflecting the huge diversity of bird enthusiasts and nature lovers which is so important in ensuring their conservation and survival.

Just as the new technology of photography was emerging throughout the United States in the mid-nineteenth century, it quickly caught hold in the scenic Adirondack region of upstate New York. Young men and a few women began to experiment with cameras as a way to earn their livings with local portrait work. From photographing individuals, some expanded their subject matter to include families and groups, homes, streetscapes, landmarks, workplaces, and important events: from town celebrations to presidential visits, train wrecks, floods, and fires. These photographers from within and just beyond the Park borders, as well as many who immigrated from other countries, have been central in defining the Adirondacks. Adirondack Photographers, 1850–1950 is a comprehensive look at the first one hundred years of photography through the lives of those who captured this unique rural region of New York State. Svenson’s fascinating biographical dictionary of over two hundred photographers is enriched with over seventy illustrations. While the popularity of some of these photographers’ images is reflected in public collections such as the Library of Congress, the New York Public Library, and the Getty Center, little is known about the diverse backgrounds of the men and women behind their work. A compilation of captivating stories, Adirondack Photographers provides a vivid, intimate account of the evolution of photography, as well as an unusual perspective on Adirondack history.

The everyday practice of photography by millions of amateur photographers may seem to be a spontaneous and highly personal activity. But France's leading sociologist and cultural theorist Pierre Bourdieu and his research associates show that few cultural activities are more structural and systematic than photography. This perceptive and wide-ranging analysis of the practice of photography reveals the logic implicit in this cultural field. For some social groups, photography is primarily a means of preserving the present and reproducing moments of collective celebration, whereas for other groups it is the occasion of an aesthetic judgment in which photographs are endowed with the dignity of works of art. Bourdieu and his associates examine the socially differentiated forms of photographic practice by drawing on the results of surveys and interviews and by analyzing the attitudes and characteristics of both amateur and professional photographers. First published n 1965, Photography provides an excellent opportunity to observe key parts of Bourdieu's theories at a formative stage. Ideas that will become central to his thought-the habitus, the structuring of taste by class position, people's use of taste to distinguish themselves from the classes to which they are adjacent, and the internalization of objective probabilities-make an early appearance here. It is the first study to integrate survey research and anthropological observation in the manner for which Bourdieu has become justly renowned.

We hear news reports of the rise of China and its sleepless economy, often with sinister undertones supposed to alarm us. The reality can look very different. German photographer Bernd Hagemann has long been fascinated by China and its people. He carries his camera at all times, because on every street corner you can find people napping in the strangest positions and situations, even snoring in deep slumber. 'When China wakes, she will shake the world', warned Napoleon. This may be true. But let's not forget that hardworking people need their sleep too.

Between 1914 and 1918, military, press and amateur photographers produced thousands of pictures. Either classified in military archives specially created with this purpose in 1915, collected in personal albums or circulated in illustrated magazines, photographs were supposed to tell the story of the war. Picturing the Western Front argues that photographic practices also shaped combatants and civilians’ war experiences. Doing photography (taking pictures, posing for them, exhibiting, cataloguing and looking at them) allowed combatants and civilians to make sense of what they were living through. Photography mattered because it enabled combatants and civilians to record events, establish or reinforce bonds with one another, represent bodies, place people and events in imaginative geographies and making things visible, while making others, such as suicide, invisible. Photographic practices became, thus, frames of experience. -- .

The Routledge Companion to Photography and Visual Culture is a seminal reference source for the ever-changing field of photography. Comprising an impressive range of essays written by experts and scholars from across the globe, this book examines the medium's history, its central issues and emerging trends, and its much-discussed future. The essays explore the current debates surrounding the photograph as object, art, document, propaganda, truth, selling tool, and universal language; the perception of photography archives as burdens, rather than treasures; the continual technological development reshaping the field; photography as a tool of representation and control, and more, in this time of unprecedented image consumerism.

Focusing on the presence of the photographer's gaze as an integral part of constructing meaningful images, Roswell Angier combines theory and practice, to provide you with the technical advice and inspiration you need to develop your skills in portrait photography.Fully updated to take into account advances in creative work and photographic technology, this second edition also includes stunning new visuals and a discussion on the role of social media in the practice of portraiture.Each chapter includes a practical assignment, designed to help you explore various kinds of portrait photography and produce a range of different styles for your creative portfolio.