The highly anticipated second volume to the widely acclaimed and celebrated self-portrait series, Somnyama Ngonyama, Hail the Dark Lioness

In Somnyama Ngonyama, Hail the Dark Lioness, Volume II, Zanele Muholi explores and expands upon new personas and poetic interpretations of personhood, queerness, Blackness, and the possibilities of self. Since the publication of the first volume in 2018, Muholi has continued to photograph themself in a range of new international locations. Drawing on material props found in each environment, Muholi boldly explores their own image and innate possibilities as a Black individual in today’s global society, and—most important—speaks emphatically in response to contemporary and historical racisms. Renée Mussai, curator and historian, brings together written contributions from more than ten curators, poets, and authors, building a poetic and experimental framework that extends the idea of speculative futures and the potentiality of multivalent selves. Powerfully arresting, this collection further amplifies Muholi’s expressive and radical manifesto. As they state in the first volume, “My practice as a visual activist looks at Black resistance—existence as well as insistence.”

This innovative volume explores the idea that while photographs are images, they are also objects, and this materiality is integral to their meaning and use. The case studies presented focus on photographs active in different institutional, political, religious and domestic spheres, where physical properties, the nature of their use and the cultural formations in which they function make their 'objectness' central to how we should understand them. The book's contributions are drawn from disciplines including the history of photography, visual anthropology and art history, with case studies from a range of countries such as the Netherlands, North America, Australia, Japan, Romania and Tibet. Each shows the methodological strategies they have developed in order to fully exploit the idea of the materiality of photographic images.

This innovative volume explores the idea that while photographs are images, they are also objects, and this materiality is integral to their meaning and use. The case studies presented focus on photographs active in different institutional, political, religious and domestic spheres, where physical properties, the nature of their use and the cultural formations in which they function make their 'objectness' central to how we should understand them. The international contributors are drawn from disciplines including the history of photogarphy, visual anthropology and art history, and their pieces focus on areas ranging from the Netherlands, North America and Australia to Japan, Romania and Tibet. Each shows the methodological strategies they have developed in order to fully exploit the idea of the materiality of photographic images. Inspiring and instructive, the book can be used either as an overview of this exciting new area of investigation, or as a practical guide to the student or academic on how to understand photographs as objects in diverse contexts.

Extreme Lakeland by Nadir Khan and Tom McNally is a stunning photographic celebration of all that makes the Lake District a magnet for those with a heart for adventure and who want to immerse themselves in the beauty of the hills and mountains of this jewel in the English landscape. From the crags of the high fells to the lakes and tarns for which the Lakes is famous, Nadir and Tom showcase incredible adventure sports through the seasons, including rock climbing, mountain biking, fell running, wild swimming, stand-up paddleboarding, base jumping and ski touring. Alongside a foreword by renowned rock climber Leo Houlding, and original illustrations by Anna Sharpe, there are inspirational literary contributions from wild swimmer Gilly McArthur, fell runner Ellis Bland, climbers Anna Taylor and Peter Goulding, and adventurer Jon Sparks. Extreme Lakeland is a visual feast for those that treasure the Lake District.

This book is for all who have wanted to capture the beauty of flowers in photographs, but felt they lacked the experience to succeed. With 215 vivid color photos of a wide range of flowers, professional photographer Lucian Niemeyer takes readers through the steps necessary to create artful color photographs, including the right choices of setting, lighting, color palette, and equipment, photographic techniques, and documentation and storage of the resulting images. He shows how flowers from the United States, Brazil, Africa, Bali, the Caribbean, Europe, and Canada were photographed in widely varied settings, under morning and evening skies. He shows various tones and moods that may be achieved when proper photographic techniques are applied.

This book examines the archival aesthetic of mourning and memory developed by Latin American artists and photographers between 1997-2016. Particular attention is paid to how photographs of the assassinated or disappeared political dissident of the 1970s and 1980s, as found in family albums and in official archives, were not only re-imagined as conduits for private mourning, but also became allegories of social trauma and the struggle against socio-political amnesia. Memorials, art installations, photo-essays, street projections, and documentary films are all considered as media for the reframing of these archival images from the era of the Cold War dictatorships in Argentina, Chile, Guatemala, and Uruguay. While the turn of the millennium was supposedly marked by "the end of history" and, with the advent of digital technologies, by "the end of photography," these works served to interrupt and hence, belie the dominant narrative on both counts. Indeed, the book's overarching contention is that the viewer's affective identification with distant suffering when engaging these artworks is equally interrupted: instead, the viewer is invited to apprehend memorial images as emblems of national and international histories of ideological struggle.

The prospect of public speaking is daunting and often frightening for many people. Despite this, most students and professionals must make public presentations in one capacity or another over the course of their careers. What makes dealing with their fear difficult is that most have never been taught how to give a professional presentation. The purpose of this book is to provide some guidance in the 'how to's' of giving professional presentations in the behavioral sciences and related professions.
The book is written specifically for students and professionals who have little or no experience of giving presentations and for those who are particularly anxious about public speaking. It gives concrete advice about designing, delivering, and defending presentations. This advice includes recognition of the appropriate goals of the presentation, using the appropriate fonts, projecting one's voice, and dealing with stage fright. Also included is advice on giving persuasive presentations, drawing on recent social psychological research, and advice on lecturing to students.
Each chapter also includes summary tables to help readers organize their thoughts after each section. The book ends with some examples of good and bad overhead displays and slides.

Related link: Free Email Alerting

The prospect of public speaking is daunting and often frightening for many people. Despite this, most students and professionals must make public presentations in one capacity or another over the course of their careers. What makes dealing with their fear difficult is that most have never been taught how to give a professional presentation. The purpose of this book is to provide some guidance in the 'how to's' of giving professional presentations in the behavioral sciences and related professions.
The book is written specifically for students and professionals who have little or no experience of giving presentations and for those who are particularly anxious about public speaking. It gives concrete advice about designing, delivering, and defending presentations. This advice includes recognition of the appropriate goals of the presentation, using the appropriate fonts, projecting one's voice, and dealing with stage fright. Also included is advice on giving persuasive presentations, drawing on recent social psychological research, and advice on lecturing to students.
Each chapter also includes summary tables to help readers organize their thoughts after each section. The book ends with some examples of good and bad overhead displays and slides.

Related link: Free Email Alerting

Peer behind the curtain and journey into Voodoo's hidden world. A forbidden and often-misunderstood subject, Voodoo has never before been photographically depicted in this way. The people and the spirits of Voodoo are creatively conjured in dozens of photos from world-renowned photographer Justice Howard, coupled with the insightful words of Voodoo Queen Bloody Mary. Subjects include Papa Legba, gatekeeper of the crossroads, and the revered priestess Marie Laveau. See the realities behind Voodoo dolls and meet graveyard rulers Baron Samedi and Maman Brigitte. Voodoo priestess Bloody Mary shares intriguing background information for each of the concepts and explains the meaning of ritual items, from food offerings to libation to the misconceptions of animal sacrifice.

Using rare archival material from the Alkazi Collection, together with supplementary visuals, these essays re-evaluate the official reading of the Uprising. Linked accounts negotiate Mutiny landscapes and architecture: the internal dynamic of the rebellion decoded through topography and monuments. Along with rebels, British troops and their determined generals, and various professional and amateur photographers, the dramatic vista of the Uprising in these essays is also inhabited by a range of significant characters central to the action, including the warrior queen Lakshmi Bai, the exiled last Mughal emperor Bahadur Shah Zafar and the poet Mirza Ghalib. Published in association with the Alkazi Collection of Photography.

There have been major advances in therapeutic photography since Del's first book in 2013, and the recent lockdowns have accelerated the field further.

This collaborative project by a scientist and artist from the Johns Hopkins University School of Medicine asks the reader to consider the aesthetics of human disease, a dynamically powerful force of nature that acts without regard to race, religion, or culture. Here more than sixty medical science professionals present visually stunning patterns of different diseases affecting various areas of the human anatomy. Captured with a variety of imaging technology ranging from spectral karyotyping to scanning electron microscopy, we see beauty in the delicate lacework of fungal hyphae invading a blood vessel, the structure of the normal cerebellum, and the desperate drive of metastasizing cancer cells. However, appreciation of the imagery produced by disease, which smacks of modern art, is bittersweet; we simultaneously experience the beauty of the natural world and the pain of those living with these disease processes. Ultimately, this series of images will leave the viewer with an understanding and appreciation of visual beauty inherent within the field of modern medical science.

A compelling visual anthology of one of photography’s most popular subjects, reframing our understanding of why we photograph animals and why photographing them matters to us and the planet.

A visual overview of the history and future of animal photography, Why We Photograph Animals encourages us to think and rethink the way we have looked at - and used - animals and to consider our future relationships with non-human species.

Multi-stranded, this book features the work of more than 100 photographers supported by thematic essays that provide historical context; interviews with and contributions by leading contemporary photographers that explore their influences, methods and motivations; and dazzling visual collections that present the very best animal photography from its inception to the present day. The result is a book that will engage those with an interest in wildlife photography and the natural world, but also those with a concern for the future of the planet.

Huw Lewis-Jones’s expert authorship and curation celebrates extraordinary images by brilliant photographers, but also allows us to understand why people have photographed animals at different points in history and what it means in the present. Why We Photograph Animals is deliberately not a conventional history of wildlife photography. It’s an exploration of the animal in photography. It speaks to our ongoing desire to look at animals; to understand, misunderstand and appreciate them; to use and abuse them; to neglect or come to value and protect them.

This selection of women's writings on photography proposes a new and different history, demonstrating the ways in which women's perspectives have advanced photographic criticism over 150 years, focusing it more deeply and, with the advent of feminist approaches, increasingly challenging its orthodoxies. Included in the book are Rosalind Krauss, Ingrid Sischy, Vicki Goldberg and Carol Squiers.

Perfect for fans of Portia MacIntosh, Mhairi McFarlane and Catherine Walsh.Madison reckons she's a pretty good judge of character. When a disaster at work brings professional photographer Toby into her life, she has him all worked out within minutes. As their work collaboration blossoms into friendship, her preconceptions about him are only strengthened. The problem is that Madison has got one aspect of Toby completely wrong, and it tears their friendship apart when she finds out. How will she make sense of his revelation and, more importantly, how on earth will she get him to talk to her again?

Photography of art has served as a basis for the reconstruction of works of art and as a vehicle for the dissemination and reinterpretation of art. This book provides the first definitive treatment of the subject, with essays from noted authorities in the fields of art history, architecture, and photography. The essays explore the many meanings of photography as documentation for the art historian, inspiration for the artist, and as a means of critical interpretation of works of art. Art History Through the Camera's Lens will be important reading for students, historians, librarians, and curators of the visual arts. Readership: Academics and professionals in the areas of art history, history of photography, archival management, archaeology, historiography, philosophy of art, and critical theory.

Dreich: (especially of weather) dreary; bleak. Complaining about the weather is a national pastime for Scots - it's no surprise that one of our favourite words is 'dreich'! This is another in McCredie's series of photography books that celebrate of all that is dreich. Fifty dreich images of Edinburgh, accompanied by fifty equally dreich captions. To the author's mind the images in this book are uplifting and joyful. There is nothing miserable about dreich. A sunny day has no more right to exist than a dreich one.