Featuring a series of images, this title takes you on a tour of South-East England. It includes photographs of the South Downs, the Weald of Kent, the Thames and its estuary, and the White Cliffs of Dover, as well as castles, stately homes and gardens.

The images in 'Industrial Scars' and the narrative that accompanies them tell the story of the impact of the consumer life-style on the natural systems that support life on the planet. These photographs, mostly aerial and taken at locations around the world, are masterworks of composition and colour, made with a nod to the great abstract painters of modern art. This book is the result of countless hours of research and careful planning by New York photographer J. Henry Fair, who travels to the locations and charters a small plane to photograph areas usually fenced off from prying eyes so he can get a true view of our real footprint. This is a new edition.

Presidents Herbert Clark Hoover and George Walker Bush were challenged many times during their political careers. "On Floods and Photo Ops: How Herbert Hoover and George W. Bush Exploited Catastrophes" focuses on the visual record of two such tests: the relief efforts led by Commerce Secretary Hoover during the 1927 Mississippi River flood and the Bush team's response to Hurricane Katrina. By concentrating on these two historic events, Paul Martin Lester discusses political photography, particularly the use of photo ops during catastrophes. He illuminates the evolution of a genre and explores the differences and similarities between these two American politicians. Hoover and Bush reached the pinnacle of political achievement, only to lose in the court of popular opinion.

From two photo ops that occurred almost eighty years apart, Lester offers a model for close readings and comparisons of images in practicing visual history. Under Lester's examination, these otherwise unremarkable photographs speak volumes about political response to natural disasters. He offers readers not just a deeper appreciation of these pictures but a methodology for seriously studying photographs and what they can reveal about a historical moment.

In his expansive history of documentary work in the South during the twentieth-century, Scott L. Matthews examines the motivations and methodologies of several pivotal documentarians, including sociologist Howard Odum, photographers Jack Delano and Danny Lyon, and music ethnographer John Cohen. Their work salvaged and celebrated folk cultures threatened by modernization or strived to reveal and reform problems linked to region's racial caste system and exploitative agricultural economy. Images of alluring primitivism and troubling pathology often blurred together, neutralizing the aims of documentary work carried out in the name of reform during the Progressive era, New Deal, and Civil Rights Movement. Black and white southerners in turn often resisted documentarians' attempts to turn their private lives into public symbols. The accumulation of these influential and, occasionally, controversial, documentary images created an enduring, complex, and sometimes self-defeating mythology about the South that persists into the twenty-first century.

Transnational Cinematography Studies introduces new perspectives to the discipline of film and media studies. First, this volume focuses on a crucial yet largely unexplored area in film and media studies: the substantial communication between critical studies of cinema and film production practices. This book integrates theories and practices of cinematographic technology. Secondly, Transnational Cinematography Studies expands the scope of film and media studies into the arena of transnationalism. Cinema is now discussed in terms of globalization of audio-visual cultures, with regard to such issues as Hollywood film studios' so-called "runaway productions" and multi-national co-productions; Hollywood remakes of Asian horror films or Hong-Kong martial arts films; and the growing significance of international film festivals. However, this volume proposes that globalization is not in itself new in the history of cinema, and that cinema has always been at the forefront of transnational culture from the beginning of its history.

Successful audio-visual presentations are the result of careful management by--as well as creative collaboration between--the client and the professional communications firm. Because of their high visibility within the corporation, presentations risk falling prey to script by committee unless there is a clear plan at hand for managing the project. Executives who find themselves responsible for a presentation need to be fully aware of what audio-visual can and cannot do--and how to go about getting it done right. In this how-to guide for corporate executives, author Richard Worth covers every step of the process in sequence, from determining objectives to preparing for production and post-production. While the emphasis is on working with an audio-visual professional, Worth also includes do-it-yourself tips for readers who want to keep the project in-house.

Selecting slides, video, film or multimedia is one of the first choices to make. This decision, like others that follow, should be based on a determination of purpose, audience and message. Worth provides easy-to-follow worksheets to help get the planning process going. Readers looking for budget guidelines will learn how much money they will need to invest to get the presentations they want. And, to help readers select the communications professional they will be working with, Worth offers down-to-earth advice based on his years of practical experience. In non-technical language, he critiques and analyzes samples of script proposals and treatments, providing valuable insight into the creative process. Any executive or manager responsible for sales, training, public relations, fund-raising, employee relations, or recruitment will find this a valuable resource for planning and implementing effective presentations.

Allowing us to travel mid-air through London, "High Above London" leads us to a thoroughly new appreciation of a city that has always been foremost in people's imagination. These splendid aerial photographs reveal a complex city of contrasts. An urban cluster without regular order, the city is actually a collection of villages that grew up around Roman Londinium, and today each has its own history, character, architecture, and even rhythm - and all are illustrated in the beautiful photographs. The sky offers a perfect vantage point to view and understand this city of contrasts with its cultural diversity and multi cultural nature.

In the middle years of the Great Depression, Erskine Caldwell and photographer Margaret Bourke-White spent eighteen months traveling across the back roads of the Deep South-from South Carolina to Arkansas-to document the living conditions of the sharecropper. Their collaboration resulted in You Have Seen Their Faces, a graphic portrayal of America's desperately poor rural underclass. First published in 1937, it is a classic comparable to Jacob Riis's How the Other Half Lives and James Agee and Walker Evans's Let Us Now Praise Famous Men, which it preceded by more than three years. Caldwell lets the poor speak for themselves. Supported by his commentary, they tell how the tenant system exploited whites and blacks alike and fostered animosity between them. Bourke-White, who sometimes waited hours for the right moment, captures her subjects in the shacks where they lived, the depleted fields where they plowed, and the churches where they worshipped.

This book presents three interrelated essays about cinematography which offer a theoretical understanding of the ways that film practitioners orchestrate light in today's post-digital context. Cinematography is a practice at the heart of film production which traditionally involves the control of light and camera technologies to creatively capture moving imagery. During recent years, the widespread adoption of digital processes in cinematography has received a good deal of critical attention from practitioners and scholars alike, however little specific consideration about evolving lighting practices can be found amongst this discourse. Drawing on new-materialist ideas, actor-network theory and the concept of co-creativity, these essays examine the impact of changing production processes for the role and responsibilities of a cinematographer with a specific focus on lighting. Each essay advances a new perspective on the discipline, moving from the notion of light as vision to light as material, from technology as a tool to technology as a network, and from cinematography as an industry to cinematography as a collaborative art.

Tutorial in nature, this book is based on a series of papers presented at a workshop in Japan. It constitutes the first single-volume guide to the basic methods of analyzing microstrip patch antennas, and the characteristics of rectangular, circular and arbitrarily shaped patch antennas. Supported by 273 equations, tables and illustrations this book should prove a useful tool for anyone doing applied research in antennas.

This comprehensive bibliography is the first to catalog, describe, and index the vast body of TV, video, and film materials dealing with John F. Kennedy's assassination. This guide to the first newsreels, and later films and documentaries, TV programs, videos, and little-known materials is organized for the most part chronologically and by genre of work. This research guide points also to North American and United Kingdom film libraries and archives and provides a short list of key sources of printed materials. The appendix and indexes to titles; TV stations and production companies; interviewers and witnesses; and presenters, reporters, and narrators make the bibliography easily accessible for those studying JFK, modern history, political science, and sociology.