COMPLETED INTRODUCTION TO PHOTOGRAPHY By J. HARRIS GABLE. Originaly published in 1940. Contents include: PREFACE xiii PART I. THEORY OF PHOTOGRAPHY I. PICTURES AND PICTURETAKERS 3 II. THE LENS 7 III. THE CAMERA 18 IV. TYPES OF CAMERAS 2.9 V. FILM 38 VI. OTHER PHOTOGRAPHIC TOOLS 48 PART II. PICTURETAKING VII. OUTDOOR PICTURES 63 VIII. INDOOR PICTURES 76 IX. PORTRAITS AND POSED PICTURES 84 X. SPECIAL SUBJECTS 92. XI. SPECIAL METHODS OF PICTURETAKING 107 XII. MOVIES 134 PART III. DARKROOM WORK XIII. DEVELOPING 153 XIV. PRINTING AND FINISHING 167 XV. ENLARGING 180 XVI, THE DARKROOM 191 vu viii CONTENTS XVIL SPECIAL DARKROOM WORK: 2.01 XVIII. COLOR PRINTS 2.14 XIX. EXHIBITIONS AND SALONS 2.2.4 PART IV. LABORATORY MANUAL X4i INDEX 2.65 LIST OF ILLUSTRATIONS MITZI Frontispiece Facing t a ff i. LANDSCAPE Photograph by Claude Pilger 78 z. PUMP AND STONE BARN Photograph by D wight Kirsch 78 3. INFORMAL PORTRAIT BY DAYLIGHT 79 4. PORTRAIT BY STANDARD LIGHTING 79 5. PROFILE PORTRAIT 79 6. MARIHUANA: POSED PICTURE 79 7-J-94 8. THREE WISE FOOLS Photograph by George Holmes 94 9. NEBRASKA CAPITOL Photograph by Claude Pilger 94 10. JANICE 94 11. CLOUDS Photograph by Claude Pilger 95 iz. FLOWERS Photograph by Claude Pilger 95 13. LIGHTNING Photograph by Claude Pilger loz 14. DREAM LAKE ioz 15. KITTENS Photograph by Claude Pilger 101 1 6. BASEBALL: ACTION PICTURE Photograph by H. A. Coleman 103 17. DEFIANCE Photograph by Claude Pilger 103 18. COPY OF COLORED BIBLE COVER Photograph by Claude Pilger H4 19. PHOTOMACROGRAPH Photograph by Claude Pilger 114 zo. INFRARED PICTURE Photograph by Claude Pilger 114 zi. PHOTOMICROGRAPH OF TOOTH SECTION 115 zz. SAND: TEXTURE PICTURE Photograph by Claude Pilger 115 Z3.OVEREXPOSED, NORMALLY EXPOSED, AND UNDEREXPOSED NEGATIVE I 7 Z4-NEGATIVE AND POSITIVE I 7 zj. UNDEREXPOSED, NORMALLY EXPOSED, AND OVEREXPOSED PRINT I 7 I ix x ILLUSTRATIONS 2.6. NORMAL NEGATIVE PRINTED ON THREE CONTRASTS 171 2.7, PRINTS FROM FLAT AND HARD SUCTIONS OF NEGATIVE SHOWN IN ILLUSTRATION 2.) 171 z8. TEXTURE PRINT 182. 2.9. SNOW EFFECT PRINT 382. 30. SEVEN DIAMETER ENLARGEMENT 182. 31. PRINTING-IN CLOUDS 183 32.. PATTERN xio 33. NEGATIVE AND POSITIVE PHOTOGRAMS 2.10 34. PHOTOMONTAGE Photograph by Claud* Ptl r 2.11 35. RELIEF PRINT zii 36. BACK OF A MUCH-EXHIBITED PRINT 2.2.8 37. PAPER NEGATIVE PROCESS LIST OF FIGURES i. FOCAL LENGTH OF LENS 8 z. FOCAL LENGTH GOVERNS SIZE OF IMAGE 9 3. Focus FOR FAR AND NEAR OBJECTS, SHOWING CIRCLES OF CONFUSION u 4. STOPPING DOWN REDUCES CIRCLES OF CONFUSION iz 5. F: STOP RATIOS 13 6. COMPARATIVE SPEEDS OF LENSES 14 7. MENISCUS LENS 15 8. Focus OF COLORS 15 9. ACHROMATIC LENS 15 10. THEORY OF RECTILINEAR LENS 16 11. LENS ELEMENTS AND RESPECTIVE SPEEDS 17 n. COUPLED RANGE FINDER DIAGRAM 19 13. WESTON EXPOSURE METER zz 14. THE SHUTTER 15 15. VIEW FINDER z6 16. CAMERA OBSCURA zg 17. ACTION OF REFLEX CAMERA 34 18. PHOTOGRAPHER OF THE iSSo's 41 19. INGREDIENTS IN MAKING FILM 41 zo. FILM NOTCHES 46 zi. ACTION OF FILTERS 49 zz. TRIPOD 54 Z3. TILT-PAN HEAD 55 Z4. FILM PACK 57 ZJ. KODAFLECTOR 5 z6. COMPOSITION DIAGRAM FOR ILLUSTRATION i 74 17. DIAGRAM FOR ILLUSTRATION 3 76 z8. INTERIOR GROUP LIGHTING DIAGRAMS 80 zg. PORTRAIT LIGHTING DIAGRAMS 87 30. KODACHROME DIAGRAM Io8

Launched in an era when speed and grandeur went hand in hand, the RMS Queen Mary is the last survivor of the golden age of ocean liners. From the time of her maiden voyage in 1936, passengers crossed the North Atlantic cocooned in luxury. Movie stars, tycoons, politicians, and royalty shared a ship with everyday people, for whom this was a once-in-a-lifetime experience. During World War II, the Queen Mary ferried countless soldiers safely across the sea and, at war's end, carried their brides and babies home to America. Refurbished and polished to her previous glory, the Queen Mary continued to carry passengers until her final voyage to Long Beach in 1967. The RMS Queen Mary now serves as a floating hotel and tourist attraction, a living testament to her glamorous history, a generous showcase of art, and a magnificent example of a time when oceans could be crossed in both comfort and beauty.

This book focuses on photography within the social research field, building a solid foundation for photography as a social research method and describing different techniques and applications of photo research. It provides a comprehensive approach to research photography, from preparation and the ethical considerations that need to be understood prior to going into the field, to collecting data, analysis and preparing research for publication. It also introduces artistic genres of photography to help readers with the choices they make when pursuing photographic research and as a reminder that when collecting photographs that they are in fact producing art. The ethical issues examined place a new focus on dignity and considerations of participant anonymity and recognition, informed consent, working with vulnerable groups, unequal power relationships and possible intervention. Combining preparation and ethics, it examines how best to collect and take good photographs, and explores the practical issues of stigma and introduces Verstaendnis (german: understanding) to aid researchers in the field. Subsequently, the book discusses the different photo-analytical approaches for researchers and provides examples of how to analyse photographs using the different techniques. Lastly, it offers guidelines, with examples, for researchers wanting to publish their work.

Newcastle is England's most northerly city and shares a long history with Gateshead, its neighbour on the south side of the River Tyne. The two, city and town respectively, are a heady mix of the old and new; both were industrial powerhouses during the 19th Century that have successfully embraced recent change, reinventing themselves as vibrant places of entertainment and culture. With this book in hand, journey over and under the Tyne to discover treasures such as the steam turbine ship Turbinia, a sleekly streamlined example of north-eastern mechanical know-how; wander across the wide-open space of the Town Moor, where President Jimmy Carter has the right to graze cattle; take in Saltwell Towers, an eccentric castle in the leafy surroundings of Saltwell Park; then top it all off with a pint in a pub where the ghost of Charles I may well make an appearance. Written by a Geordie, this book will help you explore the quirkier side of both Newcastle and Gateshead, and discover their hidden gems.

The Marina Bay Sand, the Changi Jewel and the fast-paced, high-rise city are what immediately comes to one's mind about Singapore. This is 'The Weekender's' first flight into the Asia Pacific region and this issue will present Singapore in a different and more laid-back perspective than you might be used to. However, it will still showcase the iconic architecture and landmarks that juxtapose with a melting pot of diverse heritages/cultures and remnants of the city-state's colonial past. And at the same, this issue explores the blurred boundaries between the old and the new, the hardscapes and the softscapes. From starting the weekend with breakfast at a local enclave, rich in history and culture, to wandering the grounds of the UNESCO Heritage listed Botanical Gardens and then ending the day sipping a cocktail along Keong Siak Road, a trendy neighbourhood littered with eateries and bars, Matthew aspires for the book to bring about a more local and intimate experience of what the city-state has to offer for a weekend getaway or a pit-stop to explore the rest of region. Whilst the flow of the book will incorporate the weekend trajectory, the mixture of content will mean that a reader is both influenced by Matthew's imagery of the city, without explicitly having to follow a specific route but allow them to adventure at will.

Louis, a self trained photorapher , grew up on a smallholding north east of Pretoria in South Africa. Louis qualified in the field of commerce and followed a corporate career in a large financial services organisation . At the age of 40, Louis started to take photography, his hobby for many years, more seriously.

He enrolled for varies courses and did a lot of self studying on the subject. Louis discovered the value of photography as a medium to communicate without words and how to paint stories with light. He became passionate about photographing remote landscapes, places and ordinary people. Over the last 20 years, Louis has participated in several solo and group exhibitions. He exhibits permanently in Price Albert, his hometown, and shares his passion for photography with others during workshops .

Artemis: Her History and Rebirth After 20 years of publishing Artemis, year 2000 marked more than the end of the 20th century and the beginning of a new millennium. It also marked the end of a respected and distinguished small press journal. Artemis was one of the few publications in southwest Virginia to provide an off campus literary and arts presence in our communities. After fourteen years of retirement, 2013 began her journey back into publication. Today, Artemis2014 has been reborn to celebrate and give voice to artists and writers in the Blue Ridge Mountains and beyond. The origin of Artemis is rooted in social activism, starting in 1977 as a writing workshop for the T.A.P. Women's Center in Roanoke, Virginia. It's founder, Jeri Nolan Rogers, encouraged women in the group to express themselves through poetry and other art genres as a therapeutic tool. For the first few years of publication, Artemis showcased the work of women from this group. In 1979 the journal expanded its scope to include men and the community art large. Throughout its history, Artemis presented many educational and cultural events: school mentorship programs, an annual Winter Lights Festival, live readings at Hollins University and other venues such as the Art Museum of Western Virginia, Mill Mountain Theatre, the Blue Ridge Writer's Conference and more. Artemis was also a place for many contributors to debut their work. They were published side by side with national and state poet laureates, a Pulitzer Prize nominee, a T.S. Eliot prize winner, VCA and VCCA literary prize winners, an NAACP Image Award recipient, and numerous other award winners. Continuing the tradition, Artemis 2014 is presenting a number of first-time-published poets and artists. Along with many distinguished, published contributors, we are especially honored to present the work of our guest poet Nikki Giovanni, and guest photographer Sam Krisch. Their contributions to poetry and art are unparalleled. We, the editors, proudly present a new and resurrected Artemis. We hope that you enjoy this 2014 edition and many more to follow. Artemis, P.O. Box 505, Floyd, VA 24091 ArtemisJournal.org

American women have made significant contributions to the field of photography for well over a century. This bibliography compiles more than 1,070 sources for over 600 photographers from the 1880s to the present. As women's role in society changed, so did their role as photographers. In the early years, women often served as photographic assistants in their husbands' studios. The photography equipment, initially heavy and difficult to transport, was improved in the 1880s by George Eastman's innovations. With the lighter camera equipment, photography became accessible to everyone. Women photographers became journalists and portraitists who documented vanishing cultures and ways of life. Many of these important female photographers recorded life in the growing Northwest and the streets of New York City, became pioneers of historic photography as they captured the plight of Americans fleeing the Dust Bowl and the horrors of the concentration camps, and were members of the Photo-Secessionist Movement to promote photography as a true art form. This source serves as a checklist for not only the famous but also the less familiar women photographers who deserve attention.

The Forth Rail Bridge is one of the world's great engineering feats, and one of its most well-known. When it opened in 1890, the cantilevered bridge had one of the world's longest spans, at 541 metres. Its distinctive and innovative design marks it as an important milestone in bridge construction during the period when railways came to dominate long-distance land travel. Spanning the estuary of one of the country's great rivers, the Forth Bridge revolutionised travel within Scotland, and it continues to carry and freight more than 130 years after its official opening. This view of the Forth Rail Bridge features the Gresley A4 Class Pacific Plover locomotive and was painted by Terence Cuneo (1907-1996) for British Railways in 1952. Cuneo withstood gales of over 50 mph as he sketched the scene from a girder above the track.