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What is the evolving relationship between words and images in the photographic essay? How do the purpose and form of the photographic essay change over time? And how are relationships between the contributors, subject, and readers communicated explicitly and implicitly in both content and form? Klingensmith explores these questions in In Appropriate Distance as she traces the development of the photographic essay from the 1890s to the 1990s and beyond. By examining classic examples such as How the Other Half Lives, American Exodus, and Let Us Now Praise Famous Men, as well as more contemporary projects including work by John Berger, Jean Mohr, Wendy Ewald, and Zana Briski, Klingensmith examines the codependence of words and images and the long-standing collaboration required of creator and subject in this exploration of the ethics of representation.
Mecca the Blessed, Medina the Radiant is an unprecedented photographic exploration of the most holy cities of Islam and the hajj, or annual pilgrimage during Ramadan, when more than a million faithful journey to Mecca's Great Mosque to commemorate the first revelation of the Qur'an (Koran). This book allows both Muslims and those unfamiliar with the Islamic faith complete access to the holiest sites of one of the world's major religions, practiced by a quarter of the world's population but often misunderstood in the west. Photographer Ali Kazuyoshi Namachi, a Muslim convert from Japan, garnered the full support of Saudi Arabian authorities rarely given to shoot in cities where photography is strictly controlled and non-Muslims are not allowed. An expansive work of photojournalism, Mecca the Blessed, Medina the Radiant includes: 140 full-colour, never-before-seen photographs. Mystical places and scenes of Islam. Breathtaking aerial photographs of the Arabian terrain. Vistas of teeming crowds of worshippers surrounding the Kacbah, Mecca's sacred center. Intense portraits of faithful Muslims in prayer. Magnificent architecture reflecting the faith of the believers. Archival illustrations. Text by Seyyed Hossein Nasr, one of the most highly regarded scholars of Islam, enhances the stunning Islamic holy city photographs to illuminate many aspects of Islamic belief that have remained enigma to non-Muslims until now.
Practice til you’re perfect with expert drills, tips, and exercises!
There's only one way to take your hand lettering to the next level...practice, practice, practice. Now this handy workbook provides the smart coaching and blank workspace to make your daily practice easier, more efficient, and fun. It's the ideal way to speed you on your way to creating gorgeous and unique lettering styles.
The companion to Brush Pen Lettering, this book features helpful practice pages with guided lines, hints and tips, and drills of specific letterform combinations that will help you hone your brush pen skills.
Spectacular nebulae where stars are born, beautiful star clusters from the early formation of the Milky Way, and galaxies as far as a billion light years away, all feature in this book of stunning images from astro photographer Chris Baker. The author takes the reader on a journey through time and space to the Deep Sky, far beyond our Solar System. It is a pictorial description of the awe-inspiring wondrous objects that exist out there . The images are of objects from hundreds to many millions of light years away; distances of such enormity are hard for our minds to grasp. The book presents fascinating information on what the Earth was like when the light started its earth-bound journey through space. For example, as the light left the Andromeda Galaxy 2.5 million years ago on its interstellar journey to Chris's telescope, the Himalayas are still being raised and Polar Bears roam Britain. Chapters are included describing the basics of astrophotography, as modern telescopes and cameras make this a rewarding hobby well within reach of the amateur astronomer. Chris describes his observatory in the mountains of Spain along with practical guidance on how to get started in astrophotography. With a concise, clear discussion on the background of astronomical science, this is above all, a book to celebrate the beauty and fascination of space.
Originally published in Italy, this book captures the moment when the world's most adored and electrifying rock group entered the setting of Fellini's La Dolce Vita. Geppetti's candid shots of John, Paul, George and Ringo, their entourage and fans, depict the glowing youthfulness and frenzy of the 'Help ' era.
In late 2013, photographer Stephan W rth embarked on a whirlwindroad trip, winding his way across Burundi, a small landlocked nation in the heart of East Africa. Snapping images on a hidden iPhone during his journey, W rth portrays everyday life in the impoverished country, from the bustling open-air markets of its capital, Bujumbura, to the plantations of sweet banana and coffee deep in the country's foothills. The photographs highlight the integral role the bicycle--or ikinga--plays in Burundi's culture. With a candid eye that recalls Walker Evans' surreptitious subway shots of New York in the 1930s, W rth's photographs reveal a lively, resourceful and entrenched bicycle culture that is vital not only to Burundi's economy, but also to the daily survival of its countrymen. At times playful and intimate, Ikinga is a bold meditation upon the power of creativity and improvisation during times of great difficulty.
The advertising campaigns launched by Kodak in the early years of snapshot photography stand at the center of a shift in American domestic life that goes deeper than technological innovations in cameras and film. Before the advent of Kodak advertising in 1888, writes Nancy Martha West, Americans were much more willing to allow sorrow into the space of the domestic photograph, as evidenced by the popularity of postmortem photography in the mid-nineteenth century. Through the taking of snapshots, Kodak taught Americans to see their experiences as objects of nostalgia, to arrange their lives in such a way that painful or unpleasant aspects were systematically erased.
West looks at a wide assortment of Kodak's most popular inventions and marketing strategies, including the "Kodak Girl," the momentous invention of the Brownie camera in 1900, the "Story Campaign" during World War I, and even the Vanity Kodak Ensemble, a camera introduced in 1926 that came fully equipped with lipstick.
At the beginning of its campaign, Kodak advertising primarily sold the fun of taking pictures. Ads from this period celebrate the sheer pleasure of snapshot photography--the delight of handling a diminutive camera, of not worrying about developing and printing, of capturing subjects in candid moments. But after 1900, a crucial shift began to take place in the company's marketing strategy. The preservation of domestic memories became Kodak's most important mission. With the introduction of the Brownie camera at the turn of the century, the importance of home began to replace leisure activity as the subject of ads, and at the end of World War I, Americans seemed desperately to need photographs to confirm familial unity.
By 1932, Kodak had become so intoxicated with the power of its own marketing that it came up with the most bizarre idea of all, the "Death Campaign." Initiated but never published, this campaign based on pictures of dead loved ones brought Kodak advertising full circle. Having launched one of the most successful campaigns in advertising history, the company did not seem to notice that selling a painful subject might be more difficult than selling momentary pleasure or nostalgia.
Enhanced with over 50 reproductions of the ads themselves, 16 of them in color, Kodak and the Lens of Nostalgia vividly illustrates the fundamental changes in American culture and the function of memory in the formative years of the twentieth century.
The water vole is one of Britain's most endangered mammals. A native of the British Isles, and popularised in modern culture as 'Ratty' in Kenneth Grahame's The Wind in the Willows, the water vole is a cherished resident of our rivers, canals, streams and ponds. But this once ever-present mammal, like so many others, is now in danger - during the 1990s Britain's water vole population declined by over 80 per cent, and it is now fully protected by law in England and Wales. In The Water Vole, Christine Gregory, author of Brown Hares in the Derbyshire Dales and A River in Time, tells the story of the water vole, past, present and future, principally through its history in the waterways of Derbyshire. Having spent several years studying Derbyshire's water vole population and habitats, and capturing their behaviour intimately through her photography, Christine has developed a relationship with many of the custodians of the county's waterways, who are vital to the survival of the water vole. Decades of painstaking research into the decline of the water vole and the visionary work of conservationists give much cause for hope. Respecting our countryside and wild places and rebuilding the health of our rivers is key: we all have a role to play in the water vole's future.
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.
Diary of a Camera is Richard Quinney's meditation on the art and history of photography. Printed in the tradition of fine art photography, this handsome book features 173 photographs by Quinney, each accompanied by a narrative vignette that provides perspectives on the history of photography and the changing technology of making visual images. It will appeal to a wide range of photographers, from occasional photographers to professional documentary and fine art photographers. Readers and viewers will learn immediately that the narrator of Diary of a Camera is the camera itself. The camera tells the story of what it is to be a camera, how and what the camera selects to photograph, and reflections on being a camera in the course of a year of photographing.
James and Karla Murray are the bestselling authors of Store Front - The Disappearing Face of New York, a vital and widely applauded document of citys iconic facades. In New York Nights, the Murrays take us on a new photographic journey the citys nightlife now and through the years. This stunning body of work portrays a Gotham at play in a mythical realm of nocturnal pursuits. The Murrays have taken vivid photographs of an outstanding selections of bars pubs, restaurants cafes, music venues, and shops, all with historical significance and enduring after-dark aesthetics. Turning the pages of New York Nights, one can easily imagine
Amat, an artist who specializes in stains, did not miss this opportunity to document this manifestation of traditional folklore and anthropological significance. Immersed in the tumult black tar, recording with his camera the ink-stained celebrants, Amat produced a series of images on which later he made subtle interventions with black paint, bringing out a sense of movement, masking a face, or underlining a fleeting trace. The dance of ink with ink is heightened into a striking dialogue of blackened surfaces.
Theorists critique photography for "objectifying" its subjects and manipulating appearances for the sake of art. In this bold counterargument, John Roberts recasts photography's violating powers of disclosure and aesthetic technique as part of a complex "social ontology" that exposes the hierarchies, divisions, and exclusions behind appearances. The photographer must "arrive unannounced" and "get in the way of the world," Roberts argues, committing photography to the truth-claims of the spectator over the self-interests and sensitivities of the subject. Yet even though the violating capacity of the photograph results from external power relations, the photographer is still faced with an ethical choice: whether to advance photography's truth-claims on the basis of these powers or to diminish or veil these powers to protect the integrity of the subject. Photography's acts of intrusion and destabilization, then, constantly test the photographer at the point of production, in the darkroom, and at the computer, especially in our 24-hour digital image culture. In this game-changing work, Roberts refunctions photography's place in the world, politically and theoretically restoring its reputation as a truth-producing medium.
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