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Books > Arts & Architecture > Photography & photographs > Photographic collections > Photographic portraits
This work features approximately 100 detailed historic photographs
from The Francis Frith Collection with extended captions and full
introduction. Suitable for tourists, local historians and general
readers.
Around 100 finely-detailed photographs of Manchester in Victorian
and Edwardian times feature in this photographic memoir from the
world-famous Frith archive, with extended captions to pictures and
a full introduction
The lush and unique photography in this book represents National
Geographic's Photo Ark, a major initiative and lifelong project by
photographer Joel Sartore to make portraits of the world's
animals-especially those that are endangered. His powerful message,
conveyed with humor, compassion, and art: to know these animals is
to save them. Sartore is circling the globe, visiting zoos and
wildlife rescue centers to create studio portraits of 12,000
species, with an emphasis on those facing extinction. With a goal
of photographing every animal in captivity in the world, he has
photographed more than 6,000 already and now, thanks to a
multi-year partnership with National Geographic, he may reach his
goal. This book showcases his animal portraits: from tiny to
mammoth, from the Florida grasshopper sparrow to the greater
one-horned rhinoceros. Paired with the eloquent prose of veteran
wildlife writer Douglas Chadwick, and an inspiring foreword from
Harrison Ford, this book presents a thought-provoking argument for
saving all the species of our planet.
Born like Venus on the half shell from the centuries-long tradition
of the nude in painting, the nude first appeared as a subject
matter in photography with the introduction of the medium itself,
between 1837 and 1840, and has continued as an ever-evolving theme
through changing technical developments and cultural mores to the
present day. This volume surveys the subject of nudity from the
earliest surviving photographs of Greek and Roman sculpture through
studies of living nude models for aesthetic or scientific purposes
to the burgeoning practice of exploring the human body as pure
form. The seventy-eight works, selected from the extensive
collection of the J. Paul Getty Museum and further contextualized
here in the essay Masterworks of the Nude, span the entire arc of
the history of photography in a manner that is both fresh and
illuminating. Among the sixty-four photographers included are
nineteenth-century masters Julia Margaret Cameron, Edgar Degas, and
Thomas Eakins; early-twentieth-century artists Man Ray, Alfred
Stieglitz, and Edward Weston; mid-twentieth-century innovators Bill
Brandt, Harry Callahan, and Minor White; late-twentieth-century
image makers Diane Arbus, Robert Mapplethorpe, and Herb Ritts; and
contemporary artists Chuck Close, Timothy Greenfield-Sanders, and
Mona Kuhn.
"You're already famous, now you're going to make me famous,"
photographer Lawrence Schiller said to Marilyn Monroe as they
discussed the photos he was about to shoot of her. "Don't be so
cocky," Marilyn replied, "photographers can be easily replaced."
The year was 1962, and Schiller, 25, was on assignment for Paris
Match magazine. He already knew Marilyn-they had met on the set of
Let's Make Love-but nothing could have prepared him for the day she
appeared nude in the motion picture Something's Got to Give.
Marilyn & Me is an intimate story of a legend before her fall
and a young photographer on his way up. Schiller's extraordinary
photographs and vibrant storytelling take us back to that time with
tact, humor, and compassion. With more than 100 images, including
rare outtakes from the set of Marilyn's last film, the result is a
real and unexpected portrait that captures the star in the midst of
her final months.
This artist's book by the influential but deliberately elusive
Dusseldorf Conceptual photographer features a series of pictures of
a woman putting on her makeup. A peer of Gerhard Richter, Joseph
Beuys and Bernd and Hilla Becher, Feldmann helped pave the way for
artists like Richard Prince, Sherrie Levine and Christopher
Williams.
Havana triggers a wealth of images and projections in our mind's
eye. Beyond the cliches, the phot ographer Eva - Maria Fahrner -
Tutsek focuses her gaze on everyday life in Havana. Her photographs
show life in the streets and the mood of the people. As we look and
read, the light and dark sides of the capital of Cuba are gradually
revealed. The most recent economic recession has brought the
changes which had just begun in Cuba to a standstill. The
associated privations are reflected in the behaviour and the faces
of the people living in Havana. Fahrner - Tutsek's photographs show
the inhabitants of the city a s they go about their business (which
is often non - existent), sit on the street, perhaps play or simply
wait. In a poetic approach the Cuban writer Leonardo Padura
describes life in present - day Havana. The volume is enhanced by
an insightful essay by the n oted photographer and photographic
theorist Michael Freeman.
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Sisters
(Hardcover)
Sophie Harris-Taylor
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R457
R372
Discovery Miles 3 720
Save R85 (19%)
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Ships in 9 - 15 working days
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Humanitas is the result of a five-year photographic adventure.
During this time, Fredric Roberts traveled extensively throughout
Asia, from India to Cambodia, Bhutan to Thailand, Myanmar to China,
some areas that were recently in the news after being ravaged by
the tsunami. While this collection of images preceded the disaster
and was only coincidentally released in its wake, it became a
timely tribute to these people. Cicero coined the term humanitas
(literally, GCGBPhuman natureGC[yen]) to describe the development
of human virtue in all its forms, denoting fortitude, judgment,
prudence, eloquence, and even love of honor - which contrasts with
our contemporary connotation of humanity (understanding,
benevolence, compassion, mercy). The Latin term is certainly a
fitting title as we are struck not with pity for his subjectsGCO
poverty, but with respect and awe for their individual fortitude
and eloquence: each photograph tells us a compelling story. From a
touching portrait of a mother and child to isolated monks at
prayer, RobertsGCOs fifty-five photographs introduce us to a wide
array of fascinating individuals. With an introduction by Arthur
Ollman, Director of the Museum of Photographic Arts, and an
afterword by Dennis High, Executive Director/Curator, Center for
Photographic Art, Humanitas captures the spirit and the beauty of
each subject and will be a sheer delight to any lover of
photography or travel.
Between 1935 and 1938 the celebrated photographer Roman Vishniac
explored the cities and villages of Eastern Europe, capturing life
in the Jewish "shtetlekh" of Poland, Romania, Russia, and Hungary,
communities that even then seemed threatened--not by destruction
and extermination, which no one foresaw, but by change. Using a
hidden camera and under difficult circumstances, Vishniac was able
to take over sixteen thousand photographs; most were left with his
father in a village in France for the duration of the war. With the
publication of "Children of a Vanished World," seventy of those
photographs are available, thirty-six for the first time. The book
is devoted to a subject Vishniac especially loved, and one whose
mystery and spontaneity he captured with particular poignancy:
children.
Selected and edited by the photographer's daughter, Mara Vishniac
Kohn, and translator and coeditor Miriam Hartman Flacks, these
images show children playing, children studying, children in the
midst of a world that was about to disappear. They capture the
daily life of their subjects, at once ordinary and extraordinary.
The photographs are accompanied by a selection of nursery rhymes,
songs, poems, and chants for children's games in both Yiddish and
English translation. Thanks to Vishniac's visual artistry and the
editors' choice of traditional Yiddish verses, a part of this
wonderful culture can be preserved for future generations.
Earlier books of Roman Vishniac's photographs include "To Give Them
Light: The Legacy of Roman Vishniac" (1995), "A Vanished World"
(1983), and "Polish Jews" (1947).
A major exhibition titled "Children of a Vanished World:
Photographs byRoman Vishniac" is scheduled at the Museum of Jewish
Heritage in New York. The show will open to the public on March 7
and run through June 4, 2000.
An indigenous reservation in the colony of Victoria, Australia, the
Coranderrk Aboriginal Station was a major site of cross-cultural
contact the mid-nineteenth century and early twentieth. Coranderrk
was located just outside Melbourne, and from its opening in the
1860s the colonial government commissioned many photographs of its
Aboriginal residents. The photographs taken at Coranderrk Station
circulated across the western world; they were mounted in
exhibition displays and classified among other ethnographic "data"
within museum collections. The immense Coranderrk photographic
archive is the subject of this detailed, richly illustrated
examination of the role of visual imagery in the colonial project.
Offering close readings of the photographs in the context of
Australian history and nineteenth- and early-twentieth-century
photographic practice, Jane Lydon reveals how western society came
to understand Aboriginal people through these images. At the same
time, she demonstrates that the photos were not solely a tool of
colonial exploitation. The residents of Coranderrk had a
sophisticated understanding of how they were portrayed, and they
became adept at manipulating their representations.Lydon shows how
the photographic portrayals of the Aboriginal residents of
Coranderrk changed over time, reflecting various ideas of the
colonial mission-from humanitarianism to control to assimilation.
In the early twentieth century, the images were used on
stereotypical postcards circulated among the white population,
showing what appeared to be compliant, transformed Aboriginal
subjects. The station closed in 1924 and disappeared from public
view until it was rediscovered by scholars years later. Aboriginal
Australians purchased the station in 1998, and, as Lydon describes,
today they are using the Coranderrk photographic archive in new
ways, to identify family members and tell stories of their own.
A groundbreaking photobook about women without children. The nude
images challenge the negative attitudes within society towards
women who are not mothers, and the text shares their stories of
birth and death, choice, freedom, pain ... and regret. 50 colour
images show real nude women in the foetal position: they come from
all walks of life - professionals, artists: a few have mental
health issues or disabilities; some have fragile relationships with
their birth mother; a couple identify as other than heterosexual.
Mum's not the word debates the social stigmatisation of women, who,
by choice, circumstance or, for whatever reason, go against the
instinct for childbirth and maternal productivity.
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Humanitas II
(Hardcover)
Fredric Roberts; Introduction by Deborah Willis
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R1,018
Discovery Miles 10 180
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In a brilliant follow-up to his critically acclaimed book,
Humanitas, Fredric Roberts continues his journey in search of
humanity with Humanitas II, chronicling stories of beauty and
grace, work and family, spirituality and devotion, while redefining
photographic documentation and representation. This time he takes
us to Mumbai and throughout the state of the Gujarat in India.
RobertsGCOs striking photographs explore India today and its links
to the past. Here are day-to-day events as well as special
ceremonies, giving us a firsthand view of these peoples that serves
to the gap between GCGBPusGC[yen] and GCGBPthem.GC[yen] The subject
often looks directly at the photographer and at the reader,
effortlessly prompting a cross-cultural dialogue. Arthur Ollman,
Director of the Museum of Photographic Arts, returns in this volume
with a foreword, and Deborah Willis contributes her introduction to
place this stunning second installment of Humanitas in context.
North Dakotan Shane Balkowitsch's first personal camera was not an
Instamatic Kodak or a point-and- shoot Nikon, but rather a large
format wet plate camera. As a self-taught 'image-maker' and one of
the fewer than 1,000 wet plate collodion artists practicing around
the world, Balkowitsch has fully devoted himself to mastering the
obsolete photographic technology since 2012. Approaching the
historically embedded technique from a contemporary perspective,
Balkowitsch's process transforms the limitations of the medium -
its labour and time sensitive nature - into opportunities for
creative explorations. Northern Plains Native Americans: A Modern
Wet Plate Perspective presents a selection from Balkowitsch's
photographic project which aims to capture 1000 wet plate portraits
of Native Americans. His photographs highlight the dignity of his
subjects, depicting them not as archetypes, but individuals of
contemporary identities and historical legacies.
India's emerging LGBTQ community depicted in a groundbreaking
series of gorgeous, full-colour photographs, in affordable and
stylish paperback. Delhi offers a stunning series of more than 150
full-color documentary photographs and companion first-person
texts, which together offer an unprecedented portrait of LGBTQ
people's lives in India today. Focusing on Delhi, noted
photographers Sunil Gupta and Charan Singh chronicle the halting
emergence of networks of men and women living under the shadow of
stigma and criminalized behavior.
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Portrait
(Paperback)
Jean-Luc Nancy; Translated by Sarah Clift, Simon Sparks; Introduction by Jeffrey S. Librett
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R671
Discovery Miles 6 710
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This book examines the practice of portraits as a way in to
grasping the paradoxes of subjectivity. To Nancy, the portrait is
suspended between likeness and strangeness, identity and distance,
representation and presentation, exactitude and forcefulness. It
can identify an individual, but it can also express the dynamics by
means of which its subject advances and withdraws. The book
consists of two extended essays written a decade apart but in close
conversation, in which Nancy considers the range of aspirations
articulated by the portrait. Heavily illustrated, it includes a
newly written preface bringing the two essays together and a
substantial Introduction by Jeffrey Librett, which places Nancy's
work within the range of thinking of aesthetics and the subject,
from religion, to aesthetics, to psychoanalysis. Though undergirded
by a powerful grasp of the philosophical and psychoanalytic
tradition that has rendered our sense of the subject so
problematic, Nancy's book is at heart a delightful, unpretentious
reading of three dozen portraits, from ancient drinking mugs to
recent experimental or parodic pieces in which the artistic
representation of a sitter is made from their blood, germ cultures,
or DNA. The contemporary world of ubiquitous photos, Nancy argues,
in no way makes the portrait a thing of the past. On the contrary,
the forms of appearing that mark the portrait continue to challenge
how we see the bodies and representations that dominate our world.
On March 11, 2011 one of the most powerful earthquakes in recorded
history devastated Japan, triggering a massive tsunami and nuclear
meltdowns at three reactors in the Fukushima Daiichi Nuclear Power
Plant complex in a triple disaster known as 3.11. On five separate
journeys, Japanese-born performer and dancer Eiko Otake and
historian and photographer William Johnston visited multiple
locations across Fukushima, creating 200 transformative color
photographs that document the irradiated landscape, accentuated by
Eiko's poses depicting both the sorrow and dignity of the land. The
book also includes essays and commentary reflecting on art,
disaster, and grief. "By placing my body in these places, I thought
of the generations of people who used to live there. Now desolate,
only time and wind continue to move." - Eiko Otake "This book is of
people who had lived in Fukushima and had to leave, and of people
who had died there before the disaster. This book is of Fukushima,
of a dancer, of a performance, of a gaze. A gaze of a dancer, of
time, and of a photographer. And this book is of you, your gaze.
When you take time to look at and look into each photograph, we
hope it becomes a performance for you and with you, of Fukushima.
By witnessing events and places, we actually change them and
ourselves in ways that may not always be apparent but are
important. Through photographing Eiko in these places in Fukushima,
we are witnessing not only her and the places themselves, but the
people whose lives crossed with those places." - William Johnston
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Portraits
(Hardcover)
Lasse Hoile
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R955
R781
Discovery Miles 7 810
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Shakespeare by McBean collects 300 images, many never before
published, taken by the renowned photographer Angus McBean.
Incorporating images from every one of Shakespeare’s plays
performed at the RSC, with some from the Old Vic, between the years
1945–62, it is a veritable who’s who of the British stage.
Richard Burton, Vivien Leigh, Robert Donat, Alec Guiness, Michael
Redgrave, Peggy Ashcroft, Laurence Olivier, Edith Evans, Paul
Scofield, Diana Rigg, Anthony Quayle, Charles Laughton, John
Gielgud, Peter O’Toole and Dorothy Tutin are just some of the
names that appear. Angus McBean was an exceptional talent, whether
he was transforming the photography of rehearsals, inspiring the
Beatles, or entertaining his admireres with his light-hearted
espousal of surrealism in portraiture. In a career lasting half a
century his influence can be seen in everything from advertising to
pop culture. -- .
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Kinship
(Hardcover)
Dorothy Moss, Leslie Urena, Robyn Asleson; Text written by Taina Caragol, Charlotte Ickes
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R528
Discovery Miles 5 280
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Recent events have pushed artists to visualize ideas of closeness
in a new light. Kinship, published on the occasion of the National
Portrait Gallery's tenth "Portraiture Now" exhibition, features the
work of eight leading contemporary artists who explore familial
relationships through photography, painting, sculpture, and
performance. Contemporary portraiture offers a way to consider the
mutable yet enduring qualities of familial relationships and the
internal and external forces that affect our bonds with others. For
example, interpretations of distance - whether emotional, physical,
or geographical - have recently become more fraught. By recognizing
the transformations that occur in the genre of portraiture and the
threads that today's portraits share, we can better understand the
universality and specificity of kinship. List of artists: Njideka
Akunyili Crosby, Jess T. Dugan, LaToya Ruby Frazier, Jessica Todd
Harper, Thomas Holton, Sedrick Huckaby, Anna Tsouhlarakis
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