In the late 1970s, the George Eastman House approached a group of photographers to ask for their favorite recipes and food-related photographs to go with them, in pursuit of publishing a cookbook. Playing off George Eastman's own famous recipe for lemon meringue pie, as well as former director Beaumont Newhall's love of food, the cookbook grew from the idea that photographers' talent in the darkroom must also translate into special skills in the kitchen. The recipes do not disappoint, with Robert Adams's Big Sugar Cookies, Ansel Adams's Poached Eggs in Beer, Richard Avedon's Royal Pot Roast, Imogen Cunningham's Borscht, William Eggleston's Cheese Grits Casserole, Stephen Shore's Key Lime Pie Supreme, and Ed Ruscha's Cactus Omelet, to name a few. The book was never published, and the materials have remained in George Eastman House's collection ever since. Now, forty years later, this extensive and distinctive archive of untouched recipes and photographs are published in The Photographer's Cookbook for the first time. The book provides a time capsule of contemporary photographers of the 1970s-many before they made a name for themselves-as well as a fascinating look at how they depicted food, family, and home, taking readers behind the camera and into the hearts, and stomachs of some of photography's most important practitioners.

CRITS: A Student Manual is a practical guide to help art and design students obtain maximum benefits from the most common method of teaching these subjects in college: the studio critique. CRITS positions studio critiques as positive, productive, and inspirational means to foster development - not occasions to be feared. It explains the requisite skills, knowledge, and attitudes for meaningful and motivational participation in critiques. CRITS teaches students the hows and whys of critiques so that they can gain enriching benefits from their instructors and peers during and after critiques. Renowned author Terry Barrett informs, guides, and reassures students on the potential value of studio critiques. Filled with real-life examples of what works well, and what doesn't, Barrett provides readers with the tools to see crits as opportunities to participate, observe, reflect, and develop - improving art and design engagement at all levels.

Grounded in real-life experiences and scenarios, this practical guide offers editorial, non-profit, foundation, and corporate photographers an honest and insightful approach to running a freelance photography business. Pulling from thirty years of experience as a freelance photographer, veteran Todd Bigelow presents a timely and detailed account of the methods and tactics best used to navigate and succeed in the profession. He explores the topics that define the business of freelancing, including: analyzing photography contracts; creating and maintaining an image archive; licensing for revenue; client development; registering for copyright; combating copyright infringement; and understanding tax issues, freelance business structures, and more. Chapters feature examples of real contract clauses and emails to better prepare readers for the practical daily activities that are essential to growing a success business. Likewise, Bigelow shares conversational anecdotes throughout to provide real insight into the world of freelancing. Based on the author's sought-after Business of Photography Workshop, this book is an essential guide for emerging, mid-career, and experienced photographers interested in starting or improving their own freelance business.

"A meticulous and shattering investigation of eight horrific pictures..."-L'Arche In December 1941, on a shore near the Latvian city of Liepaja, Nazi death squads (the Einsatzgruppen) and local collaborators murdered in three days more than 2,700 Jews. The majority were women and children, most men having already been shot during the summer. The perpetrators took pictures of the December killings. These pictures are among the rare photographs from the first period of the extermination, during which over 800 000 Jews from the Baltic to the Black Sea were shot to death. By showing the importance of photography in understanding persecution, Nadine Fresco offers a powerful meditation on these images while confronting the essential questions of testimony and guilt. From the forward by Dorota Glowackay: Straddling the boundary between historical inquiry and personal reflection, this extraordinary text unfolds as a series of encounters with eponymic Holocaust photographs. Although only a small number of photographs are reproduced here, Fresco provides evocative descriptions of many well-known images: synagogues and Torah scrolls burning on the night of Kristallnacht; deportations to the ghettos and the camps; and, finally, mass executions in the killing fi elds of Eastern Europe. The unique set of photographs included in On the Death of Jews shows groups of women and children from Liepaja (Liepaja), shortly before they were killed in December 1941 in the dunes of Shkede (Skede) on the Baltic Sea. In the last photograph of the series, we see the victims' bodies tumbling into the pit.

This beautiful book explains the basics of composition and using your camera, but quickly moves on to show you how to try many different flower photography techniques, both indoors and out. Through clear step-by-step guides and stunning examples, it shows you how to capture the smallest flower portrait through to broad garden landscapes. There are ideas on how to develop a creative eye using available light, colour and background. The most important rules of flower photography are explained, and also how to break them. It shows how to use a light box in your home for flower portrait photography and still life and explains how to edit your photos and take them to another level. As well as practical advice it provides inspiration through a monthly photo gallery giving ideas of botanical subjects to capture throughout the year.

Do you ever wish you had a photographic memory? Imprint 25 classic photographs on your mind by matching the two halves of the image and piecing together the history of photography in the process. Featuring 25 world-famous photographers, from Anna Atkins to Martin Parr, this unique new memory game is a perfect gift for fans of photography and art. MATCH IT: A fun, simple game of matching pairs. In the format of a classic memory game, this unique photographic memory game will have you piecing together famous artworks! BEAUTIFULLY DESIGNED: Discover 50 cards imprinting 25 classic photographs on your mind by matching the two halves. EASY TO PLAY: Easy to understand instructions make it possible to start playing right away. HIGHEST QUALITY: Includes a full colour booklet with information on all 25 world-famous photographers from Anna Atkins to Martin Parr and many more GIFTS: The perfect gift for photography and art fans or simply people wanting to get to know photographers work more. Other Match It games available from Laurence King Publishing include: You Callin' Me a Cheetah?, Who Did This Poo?, Twins Memory Game, Pick a Flower, Match These Bones, Match a Mummy, Match a Leaf, Dogs & Puppies, Cats & Kittens, Do You Look Like Your Dog?, Do You Look Like Your Cat?

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.

The second half of the 19th century was a time of extensive political upheaval in central east Europe that saw the negotiation of conflicting territorial claims in the region by the Russian, Austrian and Prussian empires. The post-WW1 settlement gave rise to the formation of the independent nation states of Poland, Lithuania, Ukraine, Latvia and Belarus. Less well know is that this same period was also an era of keen photographic activity. During this time of empire-, state- and nation-building, cultural heritage was a potent vehicle and a provider of collective memory and identity.This innovative account analyses the relationship between politics, history, cultural heritage and photography in central east Europe between 1859 and 1945. To understand the work photographs 'do' in the construction of cultural heritage, the author analyses a wide range of little-known photographic archives created by contemporary professional and amateur photographers. Their work was extensively exploited in contemporary debates, appearing in albums, books, journals, exhibitions, museum exhibits, postcards and newspapers aimed at both scientific and popular and national and international publics. An extensive analysis of how photographic practices and outcomes were applied, borrowed, copied, appropriated and transmitted shows how photography was used to exert or subvert power, on the one hand, and as a tool in constructing and negotiating group identities on the other. By weaving photography and its patterns of making, dissemination and archival survival through major historical narratives, this volume reveals the centrality of photography and visual discourse at pivotal moments of modern history.

"It's dangerous to be an honest man." - Michael Corleone, Godfather III As special photographer on the sets and locations of Francis Ford Coppola's The Godfather trilogy, Steve Schapiro had the remarkable experience of witnessing legendary actors giving some of their most memorable performances. Schapiro immortalized Marlon Brando, Al Pacino, Robert De Niro, James Caan, Robert Duvall, and Diane Keaton in photos that have since become iconic images, instantly recognizable and endlessly imitated. Gathered together in this book are Schapiro's finest photographs from all three Godfather films, lovingly reproduced from the original negatives. With contextual essays and interviews covering the trilogy in its entirety, this book contains over 300 color and black-and-white images. Schapiro's images take us behind the scenes of this epic and inimitable cinematic saga, revealing the director's working process, capturing the moods and personalities involved, and providing insight into the making of movie history. 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 alternative study of archive and photography brings many types of image assemblages into view, always in relation to the regulated systems operating within the institutional milieu. The archive catalogue is presented as a critical tool for mapping image time, and the language of image description is seen as having a life, a worth and an aesthetic value of its own. Functioning at the intersection of text and image, the book combines media culture, archival techniques, and contemporary discourse on art and conceptual writing.

This book grapples with fundamental questions about the evolving nature of pictorial representation, and the role photography has played in this ongoing process. These issues are explored through a close analysis of key themes that underpin the photography practice of Canadian artist Jeff Wall and through examining important works that have defined his oeuvre. Wall's strategic revival of 'the picture' has had a resounding influence on the development of contemporary art photography, by expanding the conceptual and technical frameworks of the medium and introducing a self-reflexive criticality. Naomi Merritt brings a new and original contribution to the scholarship on one of the most significant figures to have shaped the course of contemporary art photography since the 1970s and shines a light on the multilayered connections between photography and art. This book will be of interest to scholars in the history of photography, art and visual culture, and contemporary art history.

In the middle of the nineteenth century a sympathetic relationship between art, science and technology laid the groundwork for photography to flourish, including camera obscura and the panorama. This is a lavishly produced book on the eventful first thirty years of photography in Scotland - around 1840 - 70. The photographers whose work is discussed include David Octavius Hill, Robert Adamson, James Valentine, Thomas Annan and George Washington Wilson plus practitioners not previously mentioned in any publication. Julia Margaret Cameron's encounter with Scotland is also described as is the work of Scottish photographers abroad.

This early works on photography is a comprehensive and informative guide on the subject and its twenty five chapters and numerous diagrams make for absorbing reading throughout with much of the information still useful and practical today. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

The Joy of Photoshop is the long-awaited book from the social media sensation James Fridman. Have you ever taken a seemingly perfect picture only to have it ruined by one tiny detail? Photoshop master James Fridman is only too happy to help, even if he sometimes takes requests a little too literally. The Joy of Photoshop contains James's best-loved and funniest image alterations. From the woman who wished to look like a mermaid, to super-fans who want to be edited into their favourite movies, his followers never get quite what they asked for. Including plenty of never-before-seen pictures, this meme-tastic book will have you in stitches!

This summer, Aperture presents a special issue focused on the relationship between photography, urbanism, and activist trajectories from Delhi. The issue explores multiple incarnations of the city's photographic culture, from O. P. Sharma's experimental works from the 1960s to Aditi Jain's intimate tableaux of Delhi's trans community today. Interviews with revered writer Arundhati Roy and with Bangladesh's best-known photojournalist, Shahidul Alam, illuminate sites of protest in the city and throughout South Asia. Skye Arundhati Thomas revisits Sheba Chhachhi's feminist staged portraits from the 1980s and '90s. Featuring a cross section of dynamic image-makers and thinkers, such as Jyoti Dhar, Sunil Gupta, Ishan Tankha, and Anshika Varma, and emerging voices Uzma Mohsin and Prarthna Singh, the issue is a distinctive meditation on regionalism, politics, and identity, through archival and contemporary photographic viewpoints.

Anniversary issue features seven original commissions by leading photographers and artists, and seven essays about Aperture's legacy by award-winning writers and critics This fall, Aperture celebrates seventy years in print with an issue that explores the magazine's past while charting its future. Reflecting on the founding editors' original mission and drawing on Aperture's global community of photographers, writers, and thinkers, this issue features seven original artist commissions as well as seven essays by some of the most incisive writers working today--each engaging with the magazine's archive in distinct ways. Among the original artist commissions, Inaki Bonillas selects iconic images and texts from the Aperture's archive from the 1950s to produce open-ended narrative collages. Dayanita Singh reflects on the 1960s and the family album as a serious photographic form. Yto Barrada enacts sculptural interventions to issues and spreads from the 1970s, using remnants of the late artist Bettina Grossman's color paper cutouts. Mark Steinmetz draws inspiration from the magazine's Summer 1987 issue, "Mothers & Daughters," to compose a photo essay of his wife, the photographer Irina Rozovsky, and their daughter Amelia. Considering the matrix of censorship, art, and religion in the 1990s, John Edmonds creates a tableau about family, faith, and grief. Hannah Whitaker explores the turn of the century, and the ways in which our anxieties about technology create speculative worlds. And Hank Willis Thomas draws on Aperture's issues from the 2010s to create a series of collages that reference traditional quilt patterning, revivifying history and remixing the present. Looking back upon Aperture's legacy, Darryl Pinckney reconsiders the photographer and editor Minor White, whose vision shaped the magazine for nearly two decades, beginning in the 1950s. Olivia Laing writes about the 1960s and the tensions between reportage and artistry in the work of Dorothea Lange, W. Eugene Smith, and others. Geoff Dyer revisits to the 1970s, which he considers a decade of new ideas and deeper reflection on the medium, looking into the works of William Eggleston and Ralph Eugene Meatyard. Brian Wallis looks back at the politics, art, identity, and the "culture wars" of the 1980s, while Susan Stryker reflects on Aperture's archive from the 1990s and its foregrounding of identity beyond the gender binary, evoking Catherine Opie, Elaine Reichek, and Aperture's pathbreaking "Male/Female" issue. Lynne Tillman illustrates how photographers searched for the tangible in an increasingly digital world in the 2000s, and the Pulitzer Prize-winning critic Salamishah Tillet shows how the photo album became a source of connection and narrative amid the information overabundance of the 2010s.

Dieses Buch prasentiert erstmals das Werk des Kurators, Kunstkenners und Kulturvermittlers Claus Friede als proaktiv schreibenden, uberraschend vielseitigen und versatilen Autor. Ein Textkorpus von 85 reprasentativen Beitragen aus den vergangenen 30 Jahren (1990-2020) illustriert Friedes breit angelegtes Themenspektrum aus den Bereichen Kunst, Musik, Film, Literatur und Kultur. Pragnant zeichnen sie seine intellektuelle und mediale Wende von der analogen zur digitalen Welt nach. Der zweite Buchteil lenkt den "fremden" Blick auf Friedes Schaffen aus der Perspektive diverser Kollegen und Freunde. Ein ausfuhrlicher biobibliographischer Anhang sowie reichhaltiges Bildmaterial runden den prismatischen Einblick in die transkulturellen Wirkungskreise von Claus Friede ab.

This essential reference for photography students explains how to become part of the professional community. By defining professional photography today, and exploring what is expected of professional photographers, the book demystifies this often-misunderstood and misjudged career track. The easily accessible text provides readers with valuable information, inspiration, and education on topics including developing your photographic voice, finding your area of specialization, exploring the moving image, building a website, and understanding self-presentation, promotion, legal aspects, and marketing. It also features inspirational projects for students to embark on their education in photography.