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Books > Arts & Architecture > Photography & photographs > General
Amnon Weinstein, an Israeli master luthier (violin maker), began a
project more than years ago that may be one of the most creative,
effective, and magnificent approaches to education on the topic of
the Holocaust. Trained by three of the most revered Cremona,
Italian luthiers of the twentieth century, Weinstein's vision was
to restore violins that survived the concentration camps and the
ghettos, even when their owners often did not. To date, more than
seventy violins have been restored to their highest playable
condition. Following restoration, these hauntingly beautiful
instruments have been used in performances by symphonies in Berlin,
Cleveland, Istanbul, London, Quebec, Paris, San Francisco, and many
other cities across the world. Purposefully, Weinstein makes
certain that young musicians as well as members of some of the
world's most famed orchestras perform on them to packed concert
halls. In doing so, it's as if the past owners of the instruments
return to fill the listener-observer's mind and body. In Violins
and Hope, Daniel Levin has made the most compelling and beautiful
series of photographs documenting Weinstein's collection of
violins, his workshop in Tel Aviv, and his processes for
restoration. This book is not a document of place, as much as it is
a document of the ethereal. For what Weinstein has done with these
lost violins has been to transform tragic loss into triumph in the
most inciteful and powerful way imaginable. The care that Levin has
taken to hone in on the idiosyncrasies of Amnon's workshop, and his
uncanny ability to celebrate the beauty of light, is nothing short
of remarkable. The book's foreword is written by arguably the most
well-suited individual anywhere. Born in Austria, Franz
Welser-Moest is one of the most acclaimed conductors of the
twenty-first century. He has been Music Director of the Cleveland
Orchestra since 2002, and, under his direction, The Cleveland, as
it has been fondly named by The New York Times, has had twenty
international tours, with shimmering reviews. All too aware of his
ancestry, Welser-Moest takes on our mutual history as no one else
could. And the book concludes with Levin's interview with Assi
Weinstein, Amnon's wife, who talks about the Violins of Hope
project and its enduring legacy.
We tend to think of silence as the absence of sound, but it is
actually the void where we can hear the sublime notes of nature.
Here, photographer Pete McBride reveals the wonders of these hushed
places in spectacular imagery from the thin-air flanks of Mount
Everest to the depths of the Grand Canyon, from the high-altitude
vistas of the Atacama to the African savannah, and from the
Antarctic Peninsula to the flowing waters of the Ganges and Nile.
These places remind us of the magic of being truly away and how
such places are vanishing. Often showing beauty from vantages where
no other photographer has ever stood, this is a seven-continent
visual tour of global quietude and the power in nature s own sounds
that will both inspire and calm.
- The first book that collects an international range of
accomplished practitioners and academics together to share their
innovative photography practices - Written in a clear and
accessible style, ideal for students and practitioners - Uses
tangible examples and relatable practices that can inspire or be
extrapolated into the reader's own practice - Visually rich with
150 full colour images demonstrating a diverse set of practices.
Reimagines photography through the long history of ideas of
expression The end of the nineteenth century saw massive
developments and innovations in photography at a time when the
forces of Western modernity—industrialization, racialization, and
capitalism—were quickly reshaping the world. The Unintended slows
down the moment in which the technology of photography seemed to
speed itself—and so the history of racial capitalism—up. It
follows the substantial shifts in the markets, mediums, and forms
of photography during a legally murky period at the end of the
nineteenth century. Monica Huerta traces the subtle and paradoxical
ways legal thinking through photographic lenses reinscribed a
particular aesthetics of whiteness in the very conceptions of
property ownership. The book pulls together an archive that
encompasses the histories of performance and portraiture alongside
the legal, pursuing the logics by which property rights involving
photographs are affirmed (or denied) in precedent-setting court
cases and legal texts. Emphasizing the making of “expression”
into property to focus our attention on the failures of control
that cameras do not invent, but rather put new emphasis on, this
book argues that designations of control’s absence are central to
the practice and idea of property-making. The Unintended proposes
that tracking and analyzing the sensed horizons of intention,
control, autonomy, will, and volition offers another way into
understanding how white supremacy functions. Ultimately, its unique
historical reading practice offers a historically-specific vantage
on the everyday workings of racial capitalism and the inheritances
of white supremacy that structure so much of our lives.
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Color Work
(Hardcover)
Rene Groebli
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R1,844
R1,688
Discovery Miles 16 880
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Why take a self-portrait but obscure your face with a lightbulb
(Lee Friedlander, Provincetown, Cape Cod, Massachusetts (1968)? Or
deliberately underexpose an image (Vera Lutter, Battersea Power
Station, XI: July 13 , 2004)? And why photograph a ceiling (William
Eggleston, Red Ceiling , 1973)? In Why It Does Not Have To Be In
Focus , Jackie Higgins offers a lively, informed defence of modern
photography. Choosing 100 key photographs - with particular
emphasis on the last twenty years - she examines what inspired each
photographer in the first place, and traces how the piece was
executed. In doing so, she brings to light the layers of meaning
and artifice behind these singular works, some of which were
initially dismissed out of hand for being blurred, overexposed or
'badly' composed. The often controversial works discussed in this
book play with our expectations of a photograph, our ingrained
tendency to believe that it is telling us the unadorned truth.
Jackie Higgins's book proves once and for all that there's much
more to the art of photography than just pointing and clicking.
Suits that pop with loud colors and dazzling patterns, complete
with a nearly ubiquitous bowtie, define the style of the new
"dandy." Described as "high-styled rebels" by author Shantrelle P.
Lewis, black men with a penchant for color and refined fashion,
both new and vintage, have gained popular attention in recent
years, influencing mainstream fashion. But black dandyism itself is
not new; originating in Enlightenment England's slave culture, it
has continued for generations in black cultures around the world.
Now, set against the backdrop of hip-hop culture, this iteration of
dandies is redefining what it means to be black, masculine, and
fashionable. Dandy Lion presents and celebrates individual dandy
personalities, designers and tailors, movements and events that
define contemporary dandyism. Throughout the book, self-expression
is communicated through personal style, clothing, shoes, hats, and
swagger. Lewis's carefully curated selection of contemporary
photographs surveys the movement across the globe in spectacular
form, with all of the vibrant patterns, electrifying colors, and
fanciful poses of this brilliant style subculture.
The Photo Student Handbook is a collection of short, easy-to-read
chapters filled with expert advice on enhancing image-making skills
and launching a career as a professional photographer. Designed to
help students grow beyond the technical aspects of photography,
this book presents a variety of methods and strategies proven to
strengthen visual awareness, engage creative thinking, and deepen
the conceptual aspects of image-making. Topics include how to: -
improve the ability to see actively - understand light as a main
character - cultivate a creative mind - make a standout portfolio -
unpack critical theory - find and develop a creative voice. Packed
with valuable tips, insights, and advice from over a hundred
instructors, professionals, senior students, and experts, this book
is engineered to help instructors guide students step-by-step
through the methods and strategies needed to achieve creative
success both in the classroom and the real world. This book is
ideal for intermediate- and advanced-level photography students and
instructors alike. Visit the accompanying website
www.photostudent.net for extra chapters, exercises, quizzes, and
more.
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Mick Rock Exposed
(Paperback)
Mick Rock; Foreword by Tom Stoppard; Afterword by Andrew Loog Oldman
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R558
R466
Discovery Miles 4 660
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A new, small format edition of the acclaimed rock photographer's
definitive collection Mick Rock is the foremost rock photographer
of his generation. Here, he reveals his definitive collection of
images, telling the story in his own words of his early career and
the larger-than-life characters with whom he mixed, from Bowie to
Pharrell, Deborah Harry to Karen O. As well as being a
retrospective of his work, it is a cultural journey through a time
when rock ruled. It is a compendium of experiences, eyewitness
accounts, and intimate detail, all culminating in candid incidental
visual insights and time-tested iconic imagery that we all
recognize today. This is a vivid and memorable account of Rock's
adventures behind the camera, a colorful blend of the overt and the
intimate, the beautiful, and the irreverent truly exposed.
This work is dedicated to CMOS based imaging with the emphasis on
the noise modeling, characterization and optimization in order to
contribute to the design of high performance imagers in general and
range imagers in particular. CMOS is known to be superior to CCD
due to its flexibility in terms of integration capabilities, but
typically has to be enhanced to compete at parameters as for
instance noise, dynamic range or spectral response. Temporal noise
is an important topic, since it is one of the most crucial
parameters that ultimately limits the performance and cannot be
corrected. This work gathers the widespread theory on noise and
extends the theory by a non-rigorous but potentially computing
efficient algorithm to estimate noise in time sampled systems. This
work contributed to two generations of LDPD based ToF range image
sensors and proposed a new approach to implement the MSI PM ToF
principle. This was verified to yield a significantly faster charge
transfer, better linearity, dark current and matching performance.
A non-linear and time-variant model is provided that takes into
account undesired phenomena such as finite charge transfer speed
and a parasitic sensitivity to light when the shutters should
remain OFF, to allow for investigations of largesignal
characteristics, sensitivity and precision. It was demonstrated
that the model converges to a standard photodetector model and
properly resembles the measurements. Finally the impact of these
undesired phenomena on the range measurement performance is
demonstrated.
Comet presents the amazing story of the Rosetta space probe and its
interstellar voyage to the comet Tchoury. Its mission - to find
clues to the origins of our solar system and the emergence of life
on Earth. Following a ten-year voyage and a journey spanning
millions of kilometres through our Solar System, the Rosetta
entered the comet's orbit. Its lander, Philae - a miniature science
laboratory - landed directly on Tchoury's surface and was able to
take the photographs presented here. This triumph of scientific
endeavour brought back a raft of incredible new photographs, the
best of which are featured here. The book is built around the
various phases in Rosetta's journey: leaving Earth, breaching its
atmosphere and watching the lights of home recede; skirting the
Moon and coming close to Mars; plunging into the cosmos' starry
void and approaching the comet; and, finally, landing on Tchoury.
The photographs are accompanied by a text that reflects on the
objectives of the mission and the accomplishment of such a
technological feat for humanity. Detailed captions provide the
reader with accessible scientific information, enabling them to get
to the heart of the subject.
We Were Here: Sexuality, Photography, and Cultural Difference
offers an unparalleled firsthand account of the influential
photographer and curator Sunil Gupta's writing and critical inquiry
since the 1970s. Newspaper articles, speeches, and essays show
Gupta's crucial role at the center of grassroots queer and
postcolonial organizing throughout an artistic career lived between
Canada, the UK, and India. In his pieces about homosexuality in
Indian cities, the AIDS crisis, the Black Arts Movement, or key
figures including Joy Gregory and Robert Mapplethorpe, Gupta
foregrounds the power of cultural activism in the politically
fraught contexts of London and Delhi, and illuminates the essential
connections between queer migration and self-discovery. Continually
questioning given forms of identity, Gupta offers artists and
curators multiple strategies of resistance, carving out space for
new ways of imagining what it might mean to live, love, and create.
In the 21st century photography has come of age as a contemporary
art form. Almost two centuries after photographic technology was
first invented, the art world has fully embraced it as a legitimate
medium, equal in status to painting and sculpture. This book
provides an introduction to the extraordinary range of contemporary
art photography, from portraits of intimate life to highly staged,
'directorial' spectacle. The vast span of photographers whose work
is reproduced includes established artists such as Isa Genzken,
Jeff Wall, Sophie Calle, Thomas Demand, Nan Goldin and Sherry
Levine, as well as emerging talents such as Sara VanDerBeek, Rashid
Johnson, Viviane Sassen and Amalia Ulman. This new edition
revitalizes previous discussion of works from the 2000s through
dialogue with more recent practice. Adding to the wide selection
featured of work, Cotton celebrates a new generation of artists,
who are shaping photography as a culturally significant medium for
our current socio-political climate.
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Marilyn
(Hardcover)
Emily Berl
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R1,259
R1,168
Discovery Miles 11 680
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Provides over 325 full-color photos illustrating real-world
examples of quality scene work and optimal crime scene photographic
techniques Offers step-by-step procedures for recording difficult
photographic images, including painting with light, UV/IR
photographs, and laser (shooting) reconstruction photographs
Presents all the unique insights, techniques, and tips from a crime
scene investigator with over 1,000 crimes scenes worked and nearly
20 years’ experience in a major-metropolitan city New to this
edition: test questions and instructors’ material to encourage
use in schools, police academies, and colleges and universities
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Painting
(Hardcover)
Toshio Shibata
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R1,466
R1,346
Discovery Miles 13 460
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EZY RYDERS
(Hardcover)
Cate Dingley
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R1,014
R955
Discovery Miles 9 550
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As the 1970s drew to a close and changes in music, fashion and
attitudes collided to form Punk, Sheila Rock was right at the heart
of the electrifying youth movement.
By entering and critically re-activating the Zionist photographic
archive established by the Division of Journalism and Propaganda of
the Jewish National Fund, this research examines its rippling
impact on civil landscapes prior to 1948 in Palestine, and its
lasting impact on the region to date. This study argues that the
Zionist movement makes particular use of the machinery of the
photographic archive, aiming to constitute the boundaries of
Palestine as a Jewish state, claiming ownership over the land and
announcing internationally the success of its enterprise, thus
substantiating the image it sought to embed as the "reality" of the
land. This archive was not stand-alone, as it was functioning in
relation to a vast, complicated network of organizational systems
and technologies, in the Middle East and across the world.
Crucially, this system functioned as a national archive in future
tense, for a nation-state that was not yet in existence, seeking to
substantiate its regional authority and shape its cultural
repository, outlining parameters for inclusion and exclusion from
its civic space. The book will be of interest to scholars working
in art history, photography history, visual culture, Jewish
studies, Israel studies, and Middle East studies.
Whether pasted into an album, framed or shared on social media, the
family photograph simultaneously offers a private and public
insight into the identity and past of its subject. Long considered
a model for understanding individual identity, the idea of the
family has increasingly formed the basis for exploring collective
pasts and cultural memory. Picturing the Family investigates how
visual representations of the family reveal both personal and
shared histories, evaluating the testimonial and social value of
photography and film.Combining academic and creative,
practice-based approaches, this collection of essays introduces a
dialogue between scholars and artists working at the intersection
between family, memory and visual media. Many of the authors are
both researchers and practitioners, whose chapters engage with
their own work and that of others, informed by critical frameworks.
From the act of revisiting old, personal photographs to the sale of
family albums through internet auction, the twelve chapters each
present a different collection of photographs or artwork as case
studies for understanding how these visual representations of the
family perform memory and identity. Building on extensive research
into family photographs and memory, the book considers the
implications of new cultural forms for how the family is perceived
and how we relate to the past. While focusing on the forms of
visual representation, above all photographs, the authors also
reflect on the contextualization and 'remediation' of photography
in albums, films, museums and online.
How are events turned into news pictures that define them for the
audience? How do events become commodified into pictures that both
capture them and reiterate the values of the agencies that sell
them? This book looks at every stage of the production of news
photographs as they move to and from the ground and are sold around
the world. Based on extensive fieldwork at a leading international
news agency that includes participant observation with
photographers in the field, at the agency's local and global
picture desks in Israel, Singapore, and the UK, in-depth interviews
with pictures professionals, and observations and in-depth
interviews at The Guardian's picture desk in London, the findings
in this book point to a wide cultural production infrastructure
hidden from - and yet also nurtured and thus very much determined
by - the consumer's eye.
Heritage, Photography, and the Affective Past critically examines
the production, consumption, and interpretation of photography
across various heritage domains, from global image archives to the
domestic arena of the family album. Through original ethnographic
and archival research, the book sheds new light on the role
photography has played in the emergence, expansion, and
articulation of heritage in diverse sociocultural contexts. Drawing
on wide-ranging experience across the heritage sector and two
international case studies - Angkor in Cambodia and the town of
Famagusta, Cyprus - the book makes a major contribution to our
understanding of the role photography has played and continues to
play in shaping experiences and conceptualisations of heritage. One
of the core aims of the book is to problematise and potentially
redirect the varied usages of photography within current practice,
usages which remain woefully undertheorised, despite their
often-central role in shaping heritage. Ultimately, by focusing
attention on a hitherto underexamined aspect of the heritage
phenomenon, namely its manifold interconnections with photography,
this book provides fresh insight to the making and remaking of the
past in the present, and the alternative heritages that might come
into being around emergent photographic forms and approaches.
Heritage, Photography, and the Affective Past uses photography as a
method of enquiry as well as a tool of documentation. It will be of
interest to scholars and students of heritage, photography,
anthropology, museology, public archaeology, and tourism. The book
will also be a valuable resource for heritage practitioners working
around the globe.
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