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Postcards from China is a penetrating collection of texts and pictures: spontaneous, of-the-moment images that go straight to the heart of life. Counting down from Day 100 - in the back of a motorcycle rickshaw - Booz Morejohn takes on modern Chengdu, observing her surroundings with a keen eye and sharp perspective gained from three decades of reflection on China. Her broad range of subjects include street fashion, pandas, food delivery men, bubble tea, baby split pants, garbage recycling, transport and habits of the mega-rich.
Atlantic City was born in the mid-nineteenth century and grew so big, so fast, that it captured the American imagination. It was 'the World's Playground'. Its hotels were the largest and finest, its nightclubs legendary, its boardwalk an endless promenade. And then, as it began to fade, the casinos came. And instead of reviving the city they killed it. Chief among the villains in this piece is Donald J Trump, who built his casinos on dunes of debt and bled them into bankruptcy. On the presidential campaign trail Trump boasted of his 'success' in Atlantic City, how he had outwitted Wall Street and leveraged his own name for riches. He would do for America what he had done for Atlantic City, he said. And so it came to be. Brian Rose has documented what remains of the city in the aftermath of the casino explosion. The images are haunting. Atlantic City may never recover.
The first comprehensive and detailed presentation of techniques for authenticating digital images. Photographs have been doctored since photography was invented. Dictators have erased people from photographs and from history. Politicians have manipulated photos for short-term political gain. Altering photographs in the predigital era required time-consuming darkroom work. Today, powerful and low-cost digital technology makes it relatively easy to alter digital images, and the resulting fakes are difficult to detect. The field of photo forensics-pioneered in Hany Farid's lab at Dartmouth College-restores some trust to photography. In this book, Farid describes techniques that can be used to authenticate photos. He provides the intuition and background as well as the mathematical and algorithmic details needed to understand, implement, and utilize a variety of photo forensic techniques. Farid traces the entire imaging pipeline. He begins with the physics and geometry of the interaction of light with the physical world, proceeds through the way light passes through a camera lens, the conversion of light to pixel values in the electronic sensor, the packaging of the pixel values into a digital image file, and the pixel-level artifacts introduced by photo-editing software. Modeling the path of light during image creation reveals physical, geometric, and statistical regularities that are disrupted during the creation of a fake. Various forensic techniques exploit these irregularities to detect traces of tampering. A chapter of case studies examines the authenticity of viral video and famously questionable photographs including "Golden Eagle Snatches Kid" and the Lee Harvey Oswald backyard photo.
Examining the relationship between theatre and photography, this book shows how the two intertwine and provide vantage points for understanding each other. Joel Anderson explores the theory and practice of photographing theatre and performance, as well as theatre and photography's mutual preoccupation with posing, staging, framing, and stillness.
A hotspot in the North Atlantic, Iceland is one of the world's most unusual countries. It is Europe's second largest island but its most sparsely populated country. Sitting astride the Mid-Atlantic Ridge, linking the North Atlantic plate with the Eurasian plate, it is closer to Greenland than Europe. It lies just south of the Arctic Circle, but, warmed by Gulf Stream waters, has a temperate climate. It has fiery volcanoes and freezing glaciers, striking black sand beaches and hot geysers - the word geyser itself comes from Icelandic. And a geologically young landmass, Iceland is still taking shape: a volcanic eruption in 1963 caused the formation of the new island of Surtsey. Iceland is a fascinating exploration of this most beautiful island. From volcanoes and lava flows to geysers and geothermal pools, from bird life to whale-watching, from national parks, verdant valleys to inland tundra, and from how waterfalls are used for hydro-electric power to Reykjavik's city life, the book is packed with 200 spectacular colour photographs. Presented in a landscape format and with captions explaining the story behind each entry, Iceland is a stunning collection of images celebrating the world's most curious island.
Over the last twenty years, Ireland has undergone significant transformation and, as a consequence, notions of Irish identity and nationality have been in constant flux. For this reason, it is a timely moment to consider visual representations, both past and present, of Irish cultural life, and contribute to conversations about questions such as: What kind of iconic currencies does Ireland have? How should we see them? Are there specific ideological frameworks operating when we imagine Ireland? Can we imagine Irishness differently? Viewpoints explores the ways in which visual texts engage with questions of Irish culture, and the manner in which those texts are received, circulated, and consumed. By way of recourse to a range of theoretical positions that include feminism, psychoanalysis, phenomenology, philosophy, and queer theory, the collection presents multiple and variegated perspectives on Irish texts, culture, society, and life. With essays on theories of visualisation and early Irish photography, adaptation and memory in the diasporic image, identities in Irish photographic art, the advertising of therapeutic 'wellness' sites, as well as essays which read and focus Irish film and television 'differently', this book brings new critical readings to how we 'see' Irish culture.
In the decades after its invention in 1839, photography was inextricably linked to the Middle East. Introduced as a crucial tool for Egyptologists and Orientalists who needed to document their archaeological findings, the photograph was easier and faster to produce in intense Middle Eastern light making the region one of the original sites for the practice of photography. A pioneering study of this intertwined history, Camera Orientalis traces the Middle East's influences on photography's evolution, as well as photography's effect on Europe's view of "the Orient." Considering a range of Western and Middle Eastern archival material from the late nineteenth and early twentieth centuries, Ali Behdad offers a rich account of how photography transformed Europe's distinctly Orientalist vision into what seemed objective fact, a transformation that proved central to the project of European colonialism. At the same time, Orientalism was useful for photographers from both regions, as it gave them a set of conventions by which to frame exotic Middle Eastern cultures for Western audiences. Behdad also shows how Middle Eastern audiences embraced photography as a way to foreground status and patriarchal values while also exoticizing other social classes. An important examination of previously overlooked European and Middle Eastern photographers and studios, Camera Orientalis demonstrates that, far from being a one-sided European development, Orientalist photography was the product of rich cultural contact between the East and the West.
Makes the latest technology accessible to those who want to drastically improve their photography.
Singapore Then and Now brings together rare archival images of this global city-state and matches them with specially commissioned photos of the same sites as they appear today. Vaughan Grylls (author/photographer of Oxford Then and Now, Cambridge Then and Now and Hong Kong Then and Now) has rounded up all of the key sites that make up this fascinating and diverse place, from gleaming new skyscrapers and shopping malls to magnificent temples and ancient rainforests. The breathtaking contrast between past and present make this a fascinating addition to the long-running Then and Now series. Sites include: Elgin Bridge, Empress Place Building, Victoria Theatre and Concert Hall, Fullerton Hotel, Johnston's Pier, Singapore Cricket Club, the Supreme Court, Capitol Theatre, Raffles Hotel, Masjid Sultan Mosque, Ellison Building, Coleman Bridge, Fort Canning, National Museum, YMCA Building, Cathay Building, Thian Hock Keng Temple, Sri Mariamman Temple, Tanjong Pagar Dock, Marina Bay Sands Hotel, Johor-Singapore Causeway, Ford Factory, Changi Village.
From photography's earliest days, the thrill and immediacy of the new medium were defined at the first public exhibitions. Half art, half science, photography captured the attention of everyone from eager technophiles to curious painters: the art of representation was about to change. This is the first book to study the history of photography via international exhibitions. The foremost historians of the medium describe the most important shows and set them in the context of their times, from London's Great Exhibition of 1851 to today. Edited by Alessandra Mauro, with contributions by and interviews with a host of international photography experts, this will be required reading for anyone with a serious interest in photography and curating, and provides the most informative and wide- ranging survey available of the era's defining medium.
Susan Sontag's On Photography is a seminal and groundbreaking work on the subject. Susan Sontag's groundbreaking critique of photography asks forceful questions about the moral and aesthetic issues surrounding this art form. Photographs are everywhere, and the 'insatiability of the photographing eye' has profoundly altered our relationship with the world. Photographs have the power to shock, idealize or seduce, they create a sense of nostalgia and act as a memorial, and they can be used as evidence against us or to identify us. In these six incisive essays, Sontag examines the ways in which we use these omnipresent images to manufacture a sense of reality and authority in our lives. 'Sontag offers enough food for thought to satisfy the most intellectual of appetites' The Times 'A brilliant analysis of the profound changes photographic images have made in our way of looking at the world, and at ourselves' Washington Post 'The most original and illuminating study of the subject' New Yorker One of America's best-known and most admired writers, Susan Sontag was also a leading commentator on contemporary culture until her death in December 2004. Her books include four novels and numerous works of non-fiction, among them Regarding the Pain of Others, On Photography, Illness as Metaphor, At the Same Time, Against Interpretation and Other Essays and Reborn: Early Diaries 1947-1963, all of which are published by Penguin. A further eight books, including the collections of essays Under the Sign of Saturn and Where the Stress Falls, and the novels The Volcano Lover and The Benefactor, are available from Penguin Modern Classics.
The first day of the battle of the Somme, 1 July 1916, was the most devastating event of the First World War for the British army. In Zero Hour, 14 superlatively photographed panoramas (each one a four-page gatefold, opening to nearly 1 metre wide) show the Somme's major sites as they look today. Taken from the exact viewpoints of the front-line British troops as they began their advance towards the German trenches at 7.30 a.m., these hauntingly peaceful present-day views are annotated (in the handwritten military style of the time) to show the lethal German defensive positions at the moment of the attack. Jolyon Fenwick's eerily compelling photographs are accompanied by detailed maps and vivid descriptions of the day's events, detailing their awful human loss: out of 116,000 British and Empire troops committed to the assault, by nightfall 57,470 had become casualties, and 19,240 were dead. Zero Hour is simultaneously a celebration of the renewing power of nature, and a powerful and unconventional reminder of the horrors of the past.
No photographer came close to capturing the sensations, scandals, and catastrophes of 1930s and '40s New York like Weegee (1899-1968). His striking images--captured through his uncanny ability to be on the spot and ready to shoot when things happened--have become part of the visual vocabulary through which we understand the period. This book, however, offers something new: drawing on an NEA archive that was only discovered in 2012, it presents countless never-before-seen Weegee photos. We see new angles on many of his familiar subjects--from the hardened police officer to the loud-mouthed crook; the midnight boozer to the dancing jazz musician; a dramatic conflagration to the celebrations at the end of World War II--but we also get a glimpse of an unknown side of Weegee through surprising photographs of happy people enjoying themselves. The works are complemented by a fascinating account of the rediscovery of the archive, which had been missing for decades.
In one of the most eloquent accounts of photography ever devised (originally published in 1982 and unavailable for many years), the writer John Berger and the photographer Jean Mohr set out to understand the fundamental nature of photography and how it makes its impact. Asking a range of questions - What is a photograph? What do photographs mean? How can they be used? - they give their answers in terms of a photograph as `a meeting place where the interests of the photographer, the photographed, the viewer and those who are using the photography are often contradictory'. From these beginnings they develop a theory of photography that has at its centre the form's essential ambiguity, arguing that photography is totally unlike a film and has nothing to do with reportage. Rather, it constitutes `another way of telling'. The unique combination of critic and photographer results in a work that moves beyond the landmarks established by Walter Benjamin, Roland Barthes and Susan Sontag to establish a new theory of photography. This unique combination of words and pictures includes 230 photographs by Jean Mohr.
The definitive history of photography book, Seizing the Light: A Social & Aesthetic History of Photography delivers the fascinating story of how photography as an art form came into being, and its continued development, maturity, and transformation. Covering the major events, practitioners, works, and social effects of photographic practice, Robert Hirsch provides a concise and discerning chronological account of Western photography. This fundamental starting place shows the diversity of makers, inventors, issues, and applications, exploring the artistic, critical, and social aspects of the creative process. The third edition includes up-to-date information about contemporary photographers like Cindy Sherman and Yang Yongliang, and comprehensive coverage of the digital revolution, including the rise of mobile photography, the citizen as journalist, and the role of social media. Highly illustrated with full-color images and contributions from hundreds of artists around the world, Seizing the Light serves as a gateway to the history of photography. Written in an accessible style, it is perfect for students newly engaging with the practice of photography and for experienced photographers wanting to contextualize their own work.
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