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With its breathtaking marble palazzi and cathedrals, labyrinth-like azure canals, and palpable spellbinding energy, Venice is a veritable feast for all the senses-and especially the eyes. Whether through casual iPhone snaps or professional-grade images, Venice is, without a doubt, one of the most photographed locations on earth. But it's never been captured quite like this before. Inspired by its myriad charms and undeniable allure, French photographer Serge Ramelli set out to photograph the mythic Italian city with his signature dramatic flair. Ramelli interprets Venice with a fascinating cinematic-infused style of color photography. From its bustling sites-such as the Piazza San Marco, Rialto Bridge, and Grand Canal-to its mysterious narrow alleyways, Ramelli takes readers on a stunning visual journey through Venice-bathed in morning mist, at sunrise or sunset, viewers can feel the city's irresistible seduction and secrets. A shot of the opulent Saint Mark's Basilica-devoid of its usual crowds of visitors-evokes a quiet beauty. While a scene of gondolas floating on tranquil lagoon waters invites quiet reflection. For longtime visitors, lifelong natives, aspiring tourists, and everyone in between, Serge Ramelli's Venice truly reflects the poetry, splendor, and romance that characterize this beloved Italian city-making it the perfect title for any serious library of photography, travel, or art.
Allen Ellenzweig traces the male gaze upon men as captured by the camera throughout the history of photography. More than one hundred striking, provocative duotone photographs reflect a wide-ranging history of photographic male homoeroticism and the spiritual, physical, and intellectual exchange among men. Accompanying these images is a detailed account of the multiple, complex meanings of the homoerotic that have taken shape from the 1850s to today.
Ellenzweig situates each of his artists within their historical context, with chapters devoted to specific photographers and eras. He begins with nineteenth-century French photographer Eug?ne Durieu and his studies of the male nude, created under the direction of painter Eug?ne Delacroix. He then takes readers all the way through the rebellious 1960s and the disputes surrounding Robert Mapplethorpe's controversial retrospective in 1989 and 1990. Showing that homoeroticism in photography is anything but a contemporary invention, Ellenzweig unites photographers across the stylistic spectrum within a theme that came to inspire a host of larger spiritual, physical, and intellectual ideals.
Michael Muller has carved a career out of impressive encounters. Famed for his portraits of the world's most elite actors, musicians, and sports stars, he has in the last decade built up one of the most spectacular portfolios of underwater shark photography. Muller's quest is to document sharks with an unprecedented proximity and precision, bringing the Hollywood portrait session to the ocean predator. In ocean depths around the world, he approaches the sharks with a patented seven-bulb, 1200-watt plexi-encased strobe lighting rig, developed with NASA engineering, and no cage. This collection of Muller's images, including the first-known photograph of a great white breaching at night, is a catalog of adrenalin and awe. Arranged geographically, it follows Muller's ocean adventures from black tip and sand tiger sharks in South Africa to great hammerheads in the Bahamas, with thrilling narratives from each trip documenting the challenges and near-misses along the way. To compliment Muller's work for advocacy organizations such as WildAid and EarthEcho, the images are contextualized with essays from Philippe Cousteau, Jr. and marine biologist Alison Kock, who discuss exploration and conservation of our oceanic kingdom. Culture writer Arty Nelson adds an overview of Muller's work, while a technical section explains the precise equipment behind these spectacular shots. Together, these insightful texts and awesome images offer a record of breathtaking photographic feats, a tribute to the beauty and might of the shark, and a rallying cry for its fragile future.This book is also available in a signed Collector's Edition and two Art Editions, each including a signed and numbered print.
Offers a unique and critical witness to significant historic photographs, from the period of the inception of photography to the Edwardian era. Asserts historic photographs as vivid and lyrical artefacts which live both as a source of enrichment in contemporary artistic experience, and as documentary witness to our own age. Shows photography as an art in intimate cultural conjunction with painting and literature. We cannot travel back into the past! In the garish light of the blaze of contemporary `selfies' and of the digital editing of photographs, photography has lost contact with the abstract impact and the purity of dimension of historic photography. Historic photography offers, instead, a unique and vivid witness to the lived experience of the past - in our own age. In his new book Keith Steiner brings us face to face with historic photographs as both the camera's memories, and as definitive and enduring entities of the present. He explores how our perceptual dialogue with historic imagery is also an encounter with the bias rooted in our register of the literary, the optical, and the cultural. Keith Steiner's authoritative, perceptive, illuminating, and penetrating text focuses key examples of historic photography in their fullness of register as artistic, perceptual, philosophic and cultural jewels. These mysterious, haunting photographs are thus revealed by the author in the full light of our age as sometime lyrical, metaphorical encounters of prose and poetry; and equally, and eternally, as of the fabric and geometry of now.
The photography industry is a difficult environment to exist in, with competition high and profits often low. Having worked his way into a profitable position as a professional photographer, James Williams shares his wisdom with aspiring pros, digging deep to provide hard-won advice on how to survive and thrive.
Beginning in 1936, just two years after Ron Buckley started what was to be almost half a decade working for the railways, London Midland Steam shows the changes in locomotive power taking place throughout the London Midland and Scottish Railway and its successor, the London Midland Region of British Railways. The photographs show the design work of Samuel Johnson, Henry Fowler, John Aspinall, George Hughes and William Stanier, featuring celebrated locomotives such as Fowler's three-cylinder `Royal Scot' class and Stanier's impressive `Princess Royal' and `Princess Coronation' classes, as well as the `Black Five' and `Jubilee' classes. With previously unpublished images from Buckley's archive and expert captions from Brian Dickson, London Midland Steam is a unique look at the glory days of steam.
The African American at the end of the nineteenth century was described by W. E. B. Du Bois as "two souls in one dark body, whose dogged strength alone keeps it from being torn asunder." In the United States today, the hyphen between these two souls-African and American, African-American-is still being negotiated. In "Harlem", Gayatri Chakravorty Spivak engages with twenty-four photographs by Alice Attie as she attempts teleopoiesis, which she describes as a reaching toward the distant other through the empathetic power of the imagination. In the hands of Spivak, teleopoiesis is a kind of identity politics in which one disrupts identity as a result of migration or exile. For the last two decades, Spivak notes, Harlem has been the focus of major economic development. As the old Harlem disappears into a present that simultaneously demands and rejects a cultural essence, Spivak dwells in Attie's images, trying to navigate some middle ground between the rock of social history and the hard place of a collective culture.
Hershberger is the winner of a 2015 Insight Award from the Society for Photographic Education for his work on this book and for his overall contributions to the field! Photographic Theory: An Historical Anthology presents a compendium of readings spanning ancient times to the digital age that are related to the history, nature, and current status of debates in photographic theory. * Offers an authoritative and academically up-to-date compendium of the history of photographic theory * Represents the only collection to include ancient, Renaissance, and 19th-, 20th-, and 21st-century writings related to the subject * Stresses the drama of historical and contemporary debates within theoretical circles * Features comprehensive coverage of recent trends in digital photography * Fills a much-needed gap in the existing literature
Begun in 2009, Daniel Schwartz's latest photographic art project considers visible evidence of the disappearance of glaciers around the world as a starting point for reflections on climate history and the relationship between glacial cycles and human lifespan, on natural ecology and human `progress'. The project's geographical field of interest extends from today's Alpine cryosphere to areas of prehistoric glaciation in what is now the great plain of Switzerland, to as far afield as Pakistan (Karakoram range), Uganda (Rwenzori range) and Peru (Cordillera Blanca), all of which demonstrate dramatically shrinking glaciers at differing stages. Schwartz has travelled widely over many years, creating unique new views of rarely photographed equatorial African glaciers. Combining spectacular close aerial photography with archive documents, Schwartz links visual art and the natural sciences, continuing an interdisciplinary tradition with roots in early 18th-century Switzerland, the birthplace of glaciology. Neither documentary nor pure artwork, these beautiful photographs, shot in exceptional and arresting detail, define new ways to examine glaciers as a functional archive of human presence, and to consider human intervention in natural history.
This very popular book now includes an Index.
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.
From fairy tales to photography, nowhere is the complexity of human-animal relationships more apparent than in the creative arts. Art illuminates the nature and significance of animals in modern, Western thought, capturing the complicated union that has long existed between the animal kingdom and us. In Beauty and the Beast, authors Arluke and Bogdan explore this relationship through the unique lens of photo postcards. This visual medium offers an enormous and relatively untapped archive to document their subject compellingly. The importance of photo postcards goes beyond their abundance. Recognized as the "people's photography", photo postcards were typically taken by photographers who were part of the community they were photographing. Their intimacy with the people and places they captured resulted in a vernacular record of the life and times of the period unavailable in other kinds of photography. Arluke and Bogdan use these postcards to tell the story of human-animal relations in the United States from approximately 1905 to 1935. During these years, Americans experienced profound changes that altered their connection with animals and influenced perceptions and treatment of them today. Wide-ranging in scope, Beauty and the Beast looks at the variety of roles animals played in society, from pets and laborers to symbols and prey. The authors discuss the contradictions, dualisms, and paradoxes of our relationship to animals, illustrating how animals were distanced and embraced, commoditized and anthropomorphized. With over 350 illustrations, this book presents a vivid chronicle of the deep cultural ambivalence that characterized human-animal relations in the early twentieth century and that continues today.
Cinema and photography are both intimately associated with time-cinema with time in passing, the photograph with the lost moment. In Photography, Cinema, Memory, Damian Peter Sutton explores time in both media to present a radical new understanding of the photographic image as always coming into being. Drawing on Gilles Deleuze's concept of the crystal image to move beyond the tropes of immobility, stasis, and death, Sutton's analysis reveals the open-endedness of time expressed in the photograph, either as a potential for an abundant future or as a depth of meandering remembrance. He presents an innovative taxonomy of time in the photograph, considering particular representations of time in the work of Nan Goldin, Eugene Atget, Andy Warhol, and others. He contrasts this taxonomy with representations of time in cinema since 1895, offering fresh readings of the films of the Lumiere brothers and Mitchell & Kenyon, as well as more recent works including Eternal Sunshine of the Spotless Mind, Amelie, and A Matter of Life and Death. Throughout this work, Sutton connects and grounds cinema and photography as starting points to comprehend how we come to terms, ultimately, with time itself as pure, immanent change.
Since the early 1990s, Berlin-based Palestinian multimedia artist Steve Sabella (born 1975) has created photographic cycles, such as "Jerusalem in Exile" (2006), "Exit" (2007), "In Exile" (2008), "Euphoria" (2010), "Beyond Euphoria" (2012), "Metamorphosis" (2012) and "Independence" (2013), that explore exile, identity and migration. This book describes the genesis of his oeuvre.
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