For courses in the fundamentals of photography. Explores the fundamentals of photography A Short Course in Photography: Film and Darkroom, 10th Edition introduces readers to the fundamentals of photography including black-and-white, color, and digital. Topics covered include equipment, accessories, the exposure and development of film, and the making and finishing of prints. The authors also offer advice on how to select the shutter speed, point of view, or other elements that can make the difference between an ordinary snapshot and an exciting photograph. All aspects of photography are clearly explained, with every pair of pages covering a complete topic, along with accompanying illustrations, diagrams, and photos. In addition to learning the basics of photography, readers will also be exposed to photographs by great photographers and artists, including Deborah Willis, Roe Ethridge, and Gordon Parks. The 10th Edition includes new artistic examples by contemporary artists, technological updates, and discussion of the latest digital applications.

With the bridge of entry provided by Ken Pienkos and Staff from the new Oxford Library, Whisperings Along the Octoraro is a transformational journey of poetry replete with photographs through the rolling hills of Chester County from its early roots, Indian Hannah with its bucolic farms, Frozen in Time teaming with wildlife: Reinventing Wilderness, Wildlife on the Brink of Discovery; its Amish in Tradition; its celebrated artists like Andrew Wyeth "On Meeting Face to Face," and its artisans, "Marquetry" as well as the plight of the homeless man in "Who Will Take You in, Arvin?" It's a celebration of the enduring values which have been promulgated by the attributes of the thrifty Hausfrau in "Nana's Jewels" and "Kitchen Life" with a penchant for Goethe and Shiller, and the philosophical father in "The Art of Pipe Smoking." Interspersed within are Love Knots, Spun Jewels, and Natural Wonders, "The Maternal Spinster: " Is there a way, we can duplicate your fail-safe instincts, delicate sensory hairs, or the silken threads of your woven nursery, maternal spinster with your fine lines of sensibilities? Let Freedom Ring is an affirmation of the spirit of Americans, stirring the fires of a core belief--united we're free, divided we fall--duty-bound for freedom's call, while the "Peace Rose" containing the colors of many roses beckons the young to circumvent old battlelines drawn The meaning of life is confronted in When is it Time to Die first with our favorite pets, then the people we love best. Stripped bare, defenses lowered, we can absorb the beauty around like a flower past its bloom all shriveled up except for the essence reflected in the soft forgiving light of the moon.......but evenstrategy has certain bounds, deciding the perfect time to go, God alone is discriminating saving soul by soul. The photographs serve to capture the essence of the area with a special ethereal warmth and glow illuminating from the eloquence within.

It was on a Malibu beach in 1988 that Peter Lindbergh shot the White Shirts series, images now known the world over. Simple yet seminal, the photographs introduced us to Linda Evangelista, Christy Turlington, Rachel Williams, Karen Alexander, Tatjana Patitz, and Estelle Lefebure. This marked the beginning of an era that redefined beauty, and Lindbergh would go on to alter the landscape of fashion photography for the decades that followed. This edition gathers more than 300 images from forty years of Lindbergh's career. It traces the German photographer's cinematic inflections and humanist approach, which produced images at once seductive and introspective. In 1980 Rei Kawakubo asked Lindbergh to shoot a Commes des Garcons campaign, one of his earlier forays into commercial photography. Kawakubo gave him carte blanche. The following years brought forth collaborations with the most venerated names in fashion and resulted in a relationship of mutual reverence; Lindbergh's respect for some of the greatest designers of our time is palpable in his portraits. Among those photographed are Azzedine Alaia, Giorgio Armani, Alber Elbaz, John Galliano, Jean Paul Gaultier, Karl Lagerfeld, Thierry Mugler, Yves Saint Laurent, Jil Sander, and Yohji Yamamoto. Widely considered a pioneer in his field, Lindbergh shirked the industry standards of beauty and instead celebrated the essence and individuality of his subjects. He was pivotal to the rise of models such as Kate Moss, Naomi Campbell, Linda Evangelista, Cindy Crawford, Mariacarla Boscono, Lara Stone, Claudia Schiffer, Amber Valletta, Nadja Auermann, and Kristen McMenamy. Lindbergh's reach also extended across Hollywood and beyond: Cate Blanchett, Charlotte Rampling, Richard Gere, Isabelle Huppert, Nicole Kidman, Madonna, Brad Pitt, Catherine Deneuve, and Jeanne Moreau all appear in his works. From the picture chosen by Anna Wintour as the cover of her first Vogue issue to the legendary shot of Tina Turner on the Eiffel Tower, it is never the clothes, celebrity, or glamour that takes center stage in a Lindbergh photograph. Each picture conveys the humanity of its subject with a serene melancholy that is uniquely and unmistakably Lindbergh. From the outset of his career, Lindbergh was well-known in the contemporary art world, where his photographs were exhibited in galleries long before they appeared in magazines. This edition features an updated introduction adapted from an interview in 2016, allowing a glimpse behind Lindbergh's lens, where the photographer recounts his early collaborations, the tenuous relationship between commercial and fine art, and the power of storytelling. About the series TASCHEN is 40! Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible publishing, helping bookworms around the world curate their own library of art, anthropology, and aphrodisia at an unbeatable price. Today we celebrate 40 years of incredible books by staying true to our company credo. The 40 series presents new editions of some of the stars of our program-now more compact, friendly in price, and still realized with the same commitment to impeccable production.

This book explores how photography and documentary film have participated in the representation of the 1994 genocide in Rwanda and its aftermath. This in-depth analysis of professional and amateur photography and the work of Rwandan and international filmmakers offers an insight into not only the unique ability of images to engage with death, memory and the need for evidence, but also their helplessness and inadequacy when confronted with the enormity of the event. Focusing on a range of films and photographs, the book tests notions of truth, evidence, record and witnessing - so often associated with documentary practice - in the specific context of Rwanda and the wider representational framework of African conflict and suffering. Death, Image, Memory is an inquiry into the multiple memorial and evidentiary functions of images that transcends the usual investigations into whether photography and documentary film can reliably attest to the occurrence and truth of an event.

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.

When he arrived in Paris, Koudelka had already produced two outstanding works of reportage. One documented the Prague Spring, while the other, on gypsies, could almost have been an ethnological study had its images not been charged with so much emotion. Unknown in 1970, he rose to become one of the most powerful photographers of his day.This book shows that in the lands of exile through which he travels with his amazing urge to see, Koudelka's own particular talent has been affirmed and expanded.