An extraordinary photographic exploration of North Korea, from a Westerner who lived in Pyongyang and explored the country beyond for nearly two years. What happens when you travel to a place where even basic truths are ambiguous? Where sometimes you can't trust your own eyes or feelings? Where the divide between real and imagined is never clear? For two years, Lindsey Miller lived in North Korea, long regarded as one of the most closed societies on earth. As one of Pyongyang's small community of resident foreigners, Lindsey was granted remarkable freedoms to experience the country without government minders. She had a front row seat as North Korea shot into the headlines during an unprecedented period of military tension with the US and the subsequent historic Singapore Summit. However, it was the connection with individuals and their families, and the day-to-day reality of control and repression, that delivered the real revelations of North Korean life, and which left Lindsey utterly changed from the woman who had nervously disembarked from her plane onto an empty runway just two years before. This is her extraordinary photographic account, a testament to the hidden humanity of North Korea.

This richly evocative study of photography has two major emphases, that the language of description (be it title, caption, or text) is deeply implicated in how a viewer looks at photographs, and that the use of a photograph determines its meaning.

Bringing together an international team of scholars, this book offers new perspectives on the impact that the Bauhaus and its teaching had on a wide range of artistic practices. Three of the fields in which the Bauhaus generated immediately transformative effects were housing, typography, and photography. Contributors go further to chart the surprising relation of the school to contemporary developments in hairstyling and shop window display in unprecedented detail. New scholarship has detailed the degree to which Bauhaus faculty and students set off around the world, but it has seldom paid attention to its impact in communist East Germany or in countries like Ireland where no Bauhausler settled. This wide-ranging collection makes clear that a century after its founding, many new stories remain to be told about the influence of the twentieth century's most innovative arts institution. The book will be of interest to scholars working in art history, design history, photography, and architectural history.

This book offers an analysis of the socio-historical conditions of the rise of postwar Italian photography, considers its practices, and outlines its destiny. Antonella Russo provides an incisive examination of Neorealist photography, delineates its periodization, traces its instances and its progressive popularization and subsequent co-optation that occurred with the advent of the industrialization of photographic magazines. This volume examines the ethno(photo)graphic missions of Ernesto De Martino in the deep South of Italy, the key role played by the Neorealist writer and painter Carlo Levi as "ambassador of international photography", and the journeys of David Seymour, Henry Cartier Bresson, and Paul Strand in Neorealist Italy. The text includes an account the formation and proliferation of Italian photographic associations and their role in institutionalizing and promoting Italian photography, their link to British and other European photographic societies, and the subsequent decline of Neorealism. It also considers the inception of non-objective photography that thrived soon after the war, in concurrence with the circulation of Neorealism, thus debunking the myth identifying all Italian postwar photography with the Neorealist image. This book will be particularly useful for scholars and students in the history and theory of photography, and Italian history.

Move over, Man Ray, there are new collage artists in town! Match the contemporary works of 30 different artists and be inspired by the colourful and comprehensive card deck. The Collage Memory Game provides you with an insight into the broad art movement. Collage is a technique of art production, primarily used in the visual arts, where the artwork is made from an assemblage of different forms, thus creating a new whole. It allowed artists to engage with existing materials, to which they could assign new contexts in order to create a brand new artwork. Ranging from newspapers and magazines to maps, tickets, propaganda, photographs, ribbons, postage stamps, paint, text and found objects, the elements of collage participate in a handy creative process of putting artworks together and even breaking them apart, in an artistic exploration into the unknown. The origins of collage can be traced back hundreds of years, but this technique made a dramatic reappearance in the early 20th century as an art form of novelty.

This visual record gives a comprehensive view of modern roller derby. Through 353 images, professional photographer Jules Doyle, a.k.a. Axle Adams, documents regular season bouts and independent tournaments, both flat track and banked track. Experience the thrill of victory and the agony of defeat. Jules Doyle gets front and center, capturing all the crushing hits, stifling blocking, and nimble jamming. He also goes behind the scenes for the private moments: pre-bout rituals, injuries, and the frustration of being sent to the penalty box. Having photographed over seventy leagues in action, Doyle traces the rise in popularity of this fast-growing sport from its original founders to the modern day "stars." Fans of roller derby and lovers of fast-paced, contact sports will enjoy modern roller derby's history, while photography buffs will appreciate Doyle's artistic prose with the camera.

Looking at works by Carrie Mae Weems, Toni Morrison, Emily Dickinson, Flannery O'Connor, Dorothy Allison, Carson McCullers, and Zora Neale Hurston, Claire Raymond uncovers a pattern of femininity constructed around representations of sadistic violence in American women's literature and photography from the late nineteenth and twentieth centuries. Dickinson's poetry is read through its relationship to the Southern Agrarian critics who championed her work. While the representations of violence found in Carrie Mae Weems's installation From Here I Saw What Happened and I Cried, Morrison's Beloved, Dickinson's poetry, O'Connor's 'A View of the Woods' and 'A Good Man Is Hard to Find,' Allison's Bastard Out of Carolina, McCullers' Ballad of the Sad Cafe, and Hurston's Mules and Men are diverse in terms of artistic presentation, all allude to or are set in the antebellum and Jim Crow South. In addition, all involve feminine characters whose subjectivity is shaped by the practice of seeing acts of violence inflicted where there can be no effective resistance. While not proposing an equivalence between representing violence in visual images and written text, Raymond does suggest that visual images of violence can be interpreted in context with written evocations of violent imagery. Invoking sadism in its ethical sense of violence enacted on a victim for whom self-defense and recourse of any kind are impossible, Raymond's study is ultimately an exploration of the idea that a femininity constructed by the positioning of feminine characters as witnesses to sadistic acts is a phenomenon distinctly of the American South that is linked to the culture's history of racism.

This is the first book to detail both the public and private side of a wildly popular yet little understood American sport. Demolition derbies began in the late 1950s and today an estimated one million fans attend the 1,500 to 2,500 or more demolition derbies held around the United States each year.

The Crown in Focus traces the remarkable relationship between the British Royal Family and photography over the course of nearly 200 years, from Queen Victoria and Prince Albert's enthusiastic adoption of the emerging technology in the mid-19th century to the use of Instagram by the modern monarchy. Today, photographs of the British Royal Family remain some of the most widely distributed images across the world. Featuring iconic formal portraits alongside little-known pictures from private collections, this fascinating book explores how each new development of the medium has been embraced to record royal life. Since its invention almost two centuries ago, photography has created an unprecedented intimacy between monarch and subject. Where previously royal painted portraiture allowed a degree of control and an element of creative licence and negotiation between artist and sitter, the development of the photographic image provided the public with a more personal window on to the lives of the people behind the pageantry. Over the years, the medium has helped to shape the role and purpose of the Royal Family - to the point where, in a rapidly changing society, the close connection between Crown and camera has ensured the continued survival and popularity of the British monarchy. The book also considers the art of royal photography through the monarchy's patronage of such major 20th-century photographers as Cecil Beaton and family members Lord Snowdon and Patrick Lichfield, and such contemporary photographers as Chris Jackson. Members of the Royal Family have always been keen photographers themselves. The Crown in Focus includes pictures from their private albums, and looks, too, at the publication of photographs by the royals, from Queen Alexandra to the Duchess of Cambridge, where the personal view has become the public image. Written by an expert curator from Historic Royal Palaces and published to coincide with a major new exhibition at Kensington Palace, the book combines an introductory essay with 200 extraordinary royal images and engaging extended captions that reveal the story behind each photograph.

Isms: Understanding Photography packs an enormous amount of detail into a handy, attractive guide tracing the evolution of photography through a series of interconnected trends, groups, themes and movements - from the invention of the photographic process to the post-internet age. Organised chronologically, this is a uniquely international, comprehensive guide to photography with concise, readable and jargon-free but scholarly insight into major photographers, movements and themes of the past 170 years. In an age where photography is of more resonance and interest than ever before, Isms: Understanding Photography offers an in-depth and clear exposition of photography for the interested general reader or student.

"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.

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 book 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.

Photography is a ubiquitous part of the public sphere. Yet we rarely stop to think about the important role that photography plays in helping to define what and who constitute the public. Photography and Its Publics brings together leading experts and emerging thinkers to consider the special role of photography in shaping how the public is addressed, seen and represented.This book responds to a growing body of recent scholarship and flourishing interest in photography's connections to the law, society, culture, politics, social change, the media and visual ethics.Photography and Its Publics presents the public sphere as a vibrant setting where these realms are produced, contested and entwined. Public spheres involve yet exceed the limits of families, interest groups, identities and communities. They are dynamic realms of visibility, discussion, reflection and possible conflict among strangers of different race, age, gender, social and economic status. Through studies of photography in South America, North America, Europe and Australasia, the contributors consider how photography has changed the way we understand and locate the public sphere. As they address key themes including the referential and imaginative qualities of photography, the transnational circulation of photographs, online publics, social change, violence, conflict and the ethics of spectatorship, the authors provide new insight into photography's vital role in defining public life.

The Visual Dictionary of Photography provides clear definitions of key terms and concepts, backed up by hundreds of illustrative examples. Covering practical terms, it deals with the terminology of both digital and traditional photography. David Prakel has produced an invaluable resource for anyone interested in photography, lens-based media and related visual arts. This book serves not only to explain terms and words but also acts as a source of inspiration, encouraging exploration through understanding.Over 250 terms are explained and contextualised, with concise definitions accompanied by illustrations and examples taken from historical and contemporary photography.The dictionary covers analogue terms still in current usage as well as modern digital terminology such as Raw format and High dynamic range. It also defines a wide variety of practical terms, including ISO speed, Backlighting and Noise, as well as conceptual terms and photographic styles, ranging from Photojournalism to Distortion.

This revised second edition of the best-selling handbook provides practical, actionable insights on how to establish a successful photography business in the current climate. Written from the perspective of a photographer's agent, this book offers the perfect viewpoint to honestly assess what works, what doesn't, and why some photographers succeed where others fail. Packed with useful templates and advice from leading photographers and commissioners working in all areas of the profession today, industry expert Lisa Pritchard covers all of the essentials: preparing the best portfolio and website; marketing yourself; getting clients; costing and producing shoots; finding representation; financing and running your business; navigating contracts and legal obligations; and more. Updated to take account of shifts in the industry and the increasing importance of digital marketing and social media, this book provides fresh insight and inspiration for the budding and established professional. This book is essential reading for anyone who wants to be a professional photographer - whether studying to become one, thinking of a change of career, or wanting to know how to improve their existing photography business.

Does a photograph freeze a moment of time? What does it mean to treat a photographic image as an artefact? In the visual culture of the 21st century, do new digital and social forms change the status of photography as archival or objective - or are they revealing something more fundamental about photography's longstanding relationships with time and knowledge?Archaeology and Photography imagines a new kind of Visual Archaeology that tackles these questions. The book reassesses the central place of Photography as an archaeological method, and re-wires our cross-disciplinary conceptions of time, objectivity and archives, from the History of Art to the History of Science.Through twelve new wide-ranging and challenging studies from an emerging generation of archaeological thinkers, Archaeology and Photography introduces new approaches to historical photographs in museums and to contemporaryphotographic practice in the field. The book re-frames the relationship between Photography and Archaeology, past and present, as more than a metaphor or an analogy - but a shared vision.Archaeology and Photography calls for a change in how we think about photography and time. It argues that new archaeological accounts of duration and presence can replace older conceptions of the photograph as a snapshot orremnant received in the present. The book challenges us to imagine Photography, like Archaeology, not as a representation of the past and the reception of traces in the present but as an ongoing transformation of objectivity and archive.Archaeology and Photography will prove indispensable to students, researchers and practitioners in History, Photography, Art, Archaeology, Anthropology, Science and Technology Studies and Museum and Heritage Studies.

This anthology offers a fresh approach to the philosophical aspects of photography. The essays, written by contemporary philosophers in a thorough and engaging manner, explore the far-reaching ethical dimensions of photography as it is used today.
A first-of-its-kind anthology exploring the link between the art of photography and the theoretical questions it raises
Written in a thorough and engaging manner
Essayists are all contemporary philosophers who bring with them an exceptional understanding of the broader metaphysical issues pertaining to photography
Takes a fresh look at some familiar issues - photographic truth, objectivity, and realism
Introduces newer issues such as the ethical use of photography or the effect of digital-imaging technology on how we appreciate images

Achieve the Best Camera Design: Up-to-Date Information on MCMs Miniature camera modules (MCMs), such as webcams, have rapidly become ubiquitous in our day-to-day devices, from mobile phones to interactive TV systems. MCMs-or "smart" cameras-can zoom, adjust their frame rate automatically with illumination change, focus at different distances, compensate for hand shake, and transform captured images. With contributions from academics and field engineers, Smart Mini-Cameras discusses the structure, operation principles, applications, and future trends of miniature mobile cameras. It compares this technology with traditional digital still cameras and explains the specific requirements of MCM components (imposed by the size or type of application) in terms of optical design, image sensor, and functionalities. The book describes the implementation of several active functionalities, including liquid crystal auto focus (AF) and optical image stabilization (OIS). It also explores how new technologies, such as the curved detector and transforming optics, are stimulating novel trends, including a miniature panoramic lens on mobile phones. By providing you with an understanding of the components and performance tradeoffs of MCMs, this book will help you achieve the best camera design. It also answers frequently asked questions, such as the importance of the number of megapixels in a mobile phone camera and the value of AF and OIS features.

This new edition of The Photographic Image in Digital Culture explores the condition of photography after some 20 years of remediation and transformation by digital technology. Through ten especially commissioned essays, by some of the leading scholars in the field of contemporary photography studies, a range of key topics are discussed including: the meaning of software in the production of photograph; the nature of networked photographs; the screen as the site of photographic display; the simulation of photography in the videogame; photography, ubiquitous computing and technologies of ambient intelligence; developments in vernacular photography and social media; the photograph and the digital archive; the curation and exhibition of the networked photograph; the dominance of the image bank in commercial and advertising photography; the complexities of citizen photojournalism. A recurring theme addressed throughout is the nature of 'photography after photography' and the paradoxical nature of the medium in the 21st century; a time when the traditional technology of photography has become defunct while there is more 'photography' than ever. This is an ideal book for students studying photography and digital media.

This new edition of The Photographic Image in Digital Culture explores the condition of photography after some 20 years of remediation and transformation by digital technology. Through ten especially commissioned essays, by some of the leading scholars in the field of contemporary photography studies, a range of key topics are discussed including: the meaning of software in the production of photograph; the nature of networked photographs; the screen as the site of photographic display; the simulation of photography in the videogame; photography, ubiquitous computing and technologies of ambient intelligence; developments in vernacular photography and social media; the photograph and the digital archive; the curation and exhibition of the networked photograph; the dominance of the image bank in commercial and advertising photography; the complexities of citizen photojournalism. A recurring theme addressed throughout is the nature of 'photography after photography' and the paradoxical nature of the medium in the 21st century; a time when the traditional technology of photography has become defunct while there is more 'photography' than ever. This is an ideal book for students studying photography and digital media.

The Handbook of Photography Studies is a state-of-the-art overview of the field of photography studies, examining its thematic interests, dynamic research methodologies and multiple scholarly directions. It is a source of well-informed, analytical and reflective discussions of all the main subjects that photography scholars have been concerned with as well as a rigorous study of the field's persistent expansion at a time when digital technology regularly boosts our exposure to new and historical photographs alike. Split into five core parts, the Handbook analyzes the field's histories, theories and research strategies; discusses photography in academic disciplinary and interdisciplinary contexts; draws out the main concerns of photographic scholarship; interrogates photography's cultural and geopolitical influences; and examines photography's multiple uses and continued changing faces. Each part begins with an introductory text, giving historical contextualization and scholarly orientation. Featuring the work of international experts, and offering diverse examples, insights and discussions of the field's rich historiography, the Handbook provides critical guidance to the most recent research in photography studies. This pioneering and comprehensive volume presents a systematic synopsis of the subject that will be an invaluable resource for photography researchers and students from all disciplinary backgrounds in the arts, humanities and social sciences.

In a moving intervention into Romantic-era depictions of the dead and wounded, Philip Shaw's timely study directs our gaze to the neglected figure of the common soldier. How suffering and sentiment were portrayed in a variety of visual and verbal media is Shaw's particular concern, as he examines a wide range of print and visual media, from paintings to sketches to political prose and anti-war poetry, and from writings on culture and aesthetics to graphic satires and early photographs. Whilst classical portraiture and history painting certainly conspired with official ideologies to deflect attention from the true costs of war, other works of art, literary as well as visual, proffered representations that countered the view that suffering on and off the battlefield is noble or heroic. Shaw uncovers a history of changing attitudes towards suffering, from mid-eighteenth century ambivalence to late eighteenth- and early nineteenth-century concepts of moral sentiment. Thus, Shaw's story is one of how images of death and wounding facilitated and queried these shifts in the perception of war, qualifying as well as consolidating ideas of individual and national unanimity. Informed by readings of the letters and journals of serving soldiers, surgeons' notebooks and sketches, and the writings of peace and war agitators, Shaw's study shows how an attention to the depiction of suffering and the development of 'liberal' sentiment enables a reconfiguring of historical and theoretical notions of the body as a site of pain and as a locus of violent national imaginings.