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Books > Arts & Architecture > Photography & photographs > General
'Wow, this is an absolutely brilliant and hot crime read. I loved
the characters and how real it all feels' reader review If you love
Karen Rose, Melinda Leigh and Lisa Gardner, you'll be gripped by
Laura Griffin! With her signature breathless pacing and suspenseful
twists and turns, 'Laura Griffin never fails to put me on the edge
of my seat' (USA TODAY). 'I love smart, sophisticated, fast-moving
romantic thrillers and Laura Griffin writes them brilliantly' JAYNE
ANN KRENTZ 'A pulse-pounding romantic thriller' Publishers Weekly
.............................................................................................
A missing victim. A merciless killer. Up-and-coming attorney Leigh
Larson fights for victims of sexual extortion, harassment, and
online abuse. She's laser-focused on her career and not afraid to
go after the sleaziest targets to get payback for her clients.
Austin homicide detective Brandon Reynolds is no stranger to
midnight callouts, but his investigation of an abandoned car on a
desolate road reveals an unusual crime scene. A pool of blood in
the nearby woods suggests a brutal homicide. But where is the
victim? The vehicle is registered to twenty-six-year-old Vanessa
Adams, yet all Brandon finds inside is a smear of blood and a
business card for Leigh Larson, attorney-at-law. Vanessa had hired
Leigh just before her disappearance, but Leigh has no leads on who
could have wanted her dead. Faced with bewildering evidence and
shocking twists, Leigh and Brandon must work against the clock to
chase down a ruthless criminal who is out for vengeance.
.............................................................................................
Raves for Laura Griffin: 'Desperate Girls is a nail-biting read
from the very first page to the final, shocking twist. I could not
put this book down' MELINDA LEIGH 'Griffin pulls out all the stops
in a phenomenal twist ending that will leave readers stunned'
Publishers Weekly 'An absolutely must read . . . Full of
suspenseful mysterious happenings with a little romance thrown in,
this book hits all the right notes' reader review 'Everything a
reader of romantic suspense could want. Another excellent novel
from Laura Griffin' reader review 'What a fast-paced, well-written
romantic suspense! . . . I cannot say enough about how good this
story was and hope that fans of creepy good romantic suspense will
enjoy it as much as I did' reader review 'An exciting, intriguing,
suspenseful thriller . . . Last Seen Alone was another edge of your
seat adventure' reader review 'A highly suspenseful read with a
gripping edge . . . an unputdownable storyline. Laura Griffin is
one of my favorite storytellers and her latest work is phenomenal'
reader review
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Tulips
(Hardcover)
Andrew Miksys
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R1,101
R1,035
Discovery Miles 10 350
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Since the early 1980s, art photographers from metropolitan France
have been training their lenses on ordinary landscapes throughout
the country they call home. The Topographic Imaginary is the first
book to study this important and flourishing trend. It examines
work by artists who meld documentary and creative modes to attune
viewers to places that mainstream culture tends to tune out, but
which, as Ari J. Blatt argues, are in fact more meaningful than
they initially appear. From views of building sites in Paris,
peri-urban edgelands, or a tangle of trees in a forest, to those
that ponder the play of light and shadow on roadside fields in
Normandy or the tacky colors painted on dated village shopfronts,
images that signal the emergence of a "topographic turn" in
contemporary French photography constitute new ways of seeing and
sensing France's diverse national territory. As Blatt suggests,
they also represent a visual laboratory through which to
investigate how landscape "scapes" our understanding of French
culture. In their efforts to reimagine a more traditional and
time-worn idea of France's shared common space, topographic
photographs animate conversations about capital and class; cities
and their peripheries; the politics and impact of development;
migration and borders; memory, history, and affect; empire and
postcolonialism; national identity; and the changing environment.
The Topographic Imaginary thus reveals how attending to place in
pictures provides valuable insight into the disposition of a nation
in flux.
Throughout its early history, photography's authenticity was
contested and challenged: how true a representation of reality can
a photograph provide? Does the reproduction of a photograph affect
its value as authentic or not? From a Photograph examines these
questions in the light of the early scientific periodical press,
exploring how the perceived veracity of a photograph, its use as
scientific evidence and the technologies developed for printing it
were intimately connected.Before photomechanical printing processes
became widely used in the 1890s, scientific periodicals were unable
to reproduce photographs and instead included these photographic
images as engravings, with the label 'from a photograph'.
Consequently, every image was mediated by a human interlocutor,
introducing the potential for error and misinterpretation. Rather
than 'reading' photographs in the context of where or how they were
taken, this book emphasises the importance of understanding how
photographs are reproduced. It explores and compares the value of
photography as authentic proof in both popular and scientific
publications during this period of significant technological
developments and a growing readership. Three case studies
investigate different uses of photography in print: using pigeons
to transport microphotographs during the Franco-Prussian War; the
debate surrounding the development of instantaneous photography;
and finally the photographs taken of the Transit of Venus in 1874,
unseen by the human eye but captured on camera and made accessible
to the public through the periodical.Addressing a largely
overlooked area of photographic history, From a Photograph makes an
important contribution to this interdisciplinary research and will
be of interest to historians of photography, print culture and
science.
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Volte-face
(Hardcover)
Oliver Curtis; Afterword by Geoff Dyer
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R1,124
R827
Discovery Miles 8 270
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Combining case studies with theoretical and philosophical insights,
this book explores the role of photography in representing conflict
and genocide, both during and after the break-up of Yugoslavia.
Concentrating on the photographer, this book considers the practice
of photojournalism rather than simply in terms of its consumption
and use by the media. The experiences and working methods of
photographers in the field are analysed, showing how practitioners
conceptualised their work and responded to larger questions about
neutrality and moral responsibility. Presenting this 'active' form
of witness, author Paul Lowe investigates a crucial ethical paradox
faced by photojournalists. Moving beyond the end of the Yugoslav
Wars in 2001, this book also considers the therapeutic and
validating potential of photography for survivors, featuring
photographers whose work centres on memory and reconciliation.
Based on archival research, close reading and discourse analyses of
photographs, and interviews with a range of international
photographers, this book explores how photography from this period
has been used and remediated in editorial photojournalism, fine art
documentary and advocacy photography. This book will be of interest
to scholars in the history of photography, art and visual culture,
and photojournalism.
The astonishingly lyrical and subtle tones and shades of Yumiko
Izu's rare platinum-palladium prints are showcased in this quality
publication which juxtaposes images from her two most idiosyncratic
collections SECRET GARDEN and FARAWAY. While her exquisite
compositions, shot with an 180-mm lens on a large-format Deardorff
view camera, are every bit as lovely as the fluid music she relates
them to, it's her mastery of tonal expression that really sets her
fine art apart.
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Jazorina
(Hardcover, UK ed.)
Freya Najade; Text written by Lucy Davies
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R982
R688
Discovery Miles 6 880
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A fascinating account of the avant-garde photo-based arts from the
early Soviet Union, featuring many previously unpublished images
Finalist for a 2015 National Jewish Book Award in the Visual Arts
category Following the 1917 Russian Revolution, photography, film,
and posters played an essential role in the campaign to disseminate
modernity and Communist ideology. From early experimental works by
Alexander Rodchenko and El Lissitzky to the modernist
photojournalism of Arkady Shaikhet and Max Penson, Soviet
photographers were not only in the vanguard of style and
technological innovation but also radical in their integration of
art and politics. Filmmakers such as Dziga Vertov, Sergei
Eisenstein, and Esfir Shub pioneered cinematic techniques for works
intended to mobilize viewers. Covering the period from the
Revolution to the beginning of World War II, The Power of Pictures
considers Soviet avant-garde photography and film in the context of
political history and culture. Three essays trace this generation
of artists, their experiments with new media, and their pursuit of
a new political order. A wealth of stunning photographs, film
stills, and film posters, as well as magazine and book designs,
demonstrate that their output encompassed a spectacular range of
style, content, and perspective, and an extraordinary sense of the
power of the photograph to change the world. Published in
association with the Jewish Museum, New York Exhibition Schedule:
Jewish Museum, New York (09/25/15-02/02/16) Frist Center for the
Visual Arts, Nashville (03/11/16-07/04/16) Joods Historisch Museum,
Amsterdam (07/24/16-11/27/16)
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Egypt
(Paperback)
Trevor Naylor
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R240
Discovery Miles 2 400
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Four thousand years before the birth of Christ, ancient Egypt was
the cradle of modern civilization. Pharaohs built great cities on
the fertile banks of the River Nile, and employed thousands of
labourers to create lavish tombs and temples such as Thebes and the
pyramids of the Giza plateau. Today the exceptional beauty and
scale of the antiquities is legendary, drawing millions of visitors
to Egypt's monuments each year. But the nation is much more than
even that. From the beaches on the Red Sea to the Nile, from the
markets in Cairo and Alexandria to the country's Roman, Coptic and
Sassanid history, and Arab and Ottoman culture, Egypt is
spectacular. Ranging from desert monasteries to the trade on the
Suez Canal, from mausoleums hidden for centuries to medieval souks
to urban life today, Egypt takes the reader from the mountains to
the sea, from the desert to the city, from the ancient to the
modern. Featuring 200 colour photographs and captions explaining
the fascinating stories behind each image, Egypt is a stunning
portrait of an ancient and modern land.
The Victorian era heralded an age of transformation in which
momentous changes in the field of natural history coincided with
the rise of new visual technologies. Concurrently, different parts
of the British Empire began to more actively claim their right to
being acknowledged as indispensable contributors to knowledge and
the progress of empire. This book addresses the complex
relationship between natural history and photography from the 1850s
to the 1880s in Britain and its colonies: Australia, New Zealand
and, to a lesser extent, India. Coinciding with the rise of the
modern museum, photography's arrival was timely, and it rapidly
became an essential technology for recording and publicising rare
objects and valuable collections. Also during this period, the
medium assumed a more significant role in the professional
practices and reputations of naturalists than has been previously
recognized, and it figured increasingly within the expanding
specialized networks that were central to the production and
dissemination of new knowledge. In an interrogation that ranges
from the first forays into museum photography and early attempts to
document collecting expeditions to the importance of traditional
and photographic portraiture for the recognition of scientific
discoveries, this book not only recasts the parameters of what we
actually identify as natural history photography in the Victorian
era but also how we understand the very structure of empire in
relation to this genre at that time.
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Road Wallah
(Hardcover)
Dougie Wallace
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R1,123
R983
Discovery Miles 9 830
Save R140 (12%)
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