The Language of the Lens explores the expressive power of the camera lens and the storytelling contributions that this critical tool can make to a film project. This book offers a unique approach to learning how lenses can produce aesthetically and narratively compelling images in movies, through a close examination of the various ways lens techniques control the look of space, movement, focus, flares, distortion, and the "optical personality" of your story's visual landscape. Loaded with vivid examples from commercial, independent, and world cinema, The Language of the Lens presents dozens of insightful case studies examining their conceptual, narrative, and technical approaches to reveal how master filmmakers have harnessed the power of lenses to express the entire range of emotions, themes, tone, atmosphere, subtexts, moods, and abstract concepts. The Language of the Lens provides filmmakers, at any level or experience, with a wealth of knowledge to unleash the full expressive power of any lens at their disposal, whether they are shooting with state-of-the-art cinema lenses or a smartphone, and everything in between.

These are the most memorable underwater images from the prestigious Wildlife Photographer of the Year competition. They have been specially selected for this unique book from the hundred of thousands of images received over the last 50 years. The collection gives us a glimpse into an often unseen world containing many strange and beguiling creatures. Each image is accompanied by a story from the photographer, explaining what the image means to them and how they were able to capture it. This portfolio reveals a spectacular panoply of life, which is as diverse and colourful as anything found on land.

With the next generation of raw cinema cameras you can finally shoot professionally with uncompressed raw motion pictures without compromising your image or your budget. In "Cinema Raw: Shooting and Color Grading with the Ikonoskop, Digital Bolex, and Blackmagic Cinema Cameras," Lancaster takes you through the birth of these new cameras and includes an exclusive behind-the-scenes look at Digital Bolex. He field tests each camera and discusses the importance of shooting in raw and guides you through the raw color grading process so you can create stunning films. Interviews with professionals who have shot documentaries, shorts, and promotionals with these cameras are featured throughout, allowing you to learn field production techniques under real world conditions.

FEATURES:

• Behind-the-scenes case studies for the next generation of low budget cinema cameras

• Recommended gear lists to begin your raw shooting experience

• Full color post workflows that help you realize your boldest cinematic visions

• A companion website (www.kurtlancaster.com) featuring raw projects covered in the book; video interviews with the creators of the Digital Bolex, Joe Rubinstein and Elle Schneider; and resources for further study of raw cinema

* Become an eloquent visual storyteller through effective and expressive choices for each and every shot in your film with hundreds of full-color examples from your favorite blockbusters in this easy-to-reference guide * Types of shots covered include close-ups, long shots, over the shoulder shots, group shots, zoom shots, pan shots, dolly shots, tracking shots, and more * The 2nd edition has been comprehensively updated with new movie examples of various shots featured, a new chapter on The Overhead Shot, expanded sections on aspect ratios, rule of thirds, shooting formats, and updated organisation into parts on sizes conventions and dynamics.

The story of one of the most important and least-understood jobs in moviemaking--film editing--is here told by one of the wizards, Ralph Rosenblum, whose credentials include six Woody Allen films, as well as "The Pawnbroker, The Producers," and "Goodbye, Columbus," Rosenblum and journalist Robert Karen have written both a history of the profession and a personal account, a highly entertaining, instructive, and revelatory book that will make any reader a more aware movie-viewer.

In film history, director-cinematographer collaborations were on a labor spectrum, with the model of the contracted camera operator in the silent era and that of the cinematographer in the sound era. But in Weimar era German filmmaking, 1919-33, a short period of intense artistic activity and political and economic instability, these models existed side by side due to the emergence of camera operators as independent visual artists and collaborators with directors. Berlin in the 1920s was the chief site of the interdisciplinary avant-garde of the Modernist movement in the visual, literary, architectural, design, typographical, sartorial, and performance arts in Europe. The Weimar Revolution that arose in the aftermath of the November 1918 Armistice and that established the Weimar Republic informed and agitated all of the art movements, such as Expressionism, Dada, the Bauhaus, Minimalism, Objectivism, Verism, and Neue Sachlichkeit ("New Objectivity"). Among the avant-garde forms of these new stylistically and culturally negotiated arts, the cinema was foremost and since its inception had been a radical experimental practice in new visual technologies that proved instrumental in changing how human beings perceived movement, structure, perspective, light exposure, temporal duration, continuity, spatial orientation, human postural, facial, vocal, and gestural displays, and their own spectatorship, as well as conventions of storytelling like narrative, setting, theme, character, and structure. Whereas most of the arts mobilized into schools, movements, institutions, and other structures, cinema, a collaborative art, tended to organize around its ensembles of practitioners. Historically, the silent film era, 1895-1927, is associated with auteurs, the precursors of Francois Truffaut and other filmmakers in the 1960s: actuality filmmakers and pioneers like R. W. Paul and Fred and Joe Evans in England, Auguste and Luis Lumiere and Georges Melies in France, and Charles Chaplin and Buster Keaton in America, who, by managing all the compositional, executional, and editorial facets of film production-scripting, directing, acting, photographing, set, costume, and lighting design, editing, and marketing-imposed their personal vision or authorship on the film. The dichotomy of the auteur and the production ensemble established a production hierarchy in most filmmaking. In formative German silent film, however, this hierarchy was less rank or class driven, because collaborative partnerships took precedence over single authorship. Whereas in silent film production in most countries the terms filmmaker and director were synonymous, in German silent film the plural term filmemacherin connoted both directors and cinematographers, along with the rest of the filmmaking crew. Thus, German silent filmmakers' principle contribution to the new medium and art of film was less the representational iconographies of Expressionist, New Objective, and Naturalist styles than the executional practice of co-authorship and co-production, in distinctive cinematographer-director partnerships such as those of cinematographer Theodor Sparkuhl and director Ernst Lubitsch; Fritz Arno Wagner with F. W. Murnau, Fritz Lang, and G. W. Pabst; Rudolf Mate with Carl Theodor Dreyer; Guido Seeber with Lang and Pabst; and Carl Hoffmann with Lang and Murnau.

The Pines is a photographic exploration looking at remnants of the momentous and sacred old-growth longleaf pinelands across the southeastern United States. Historically, this was once one of America's most significant landscapes. This book is Chuck Hemard's experience in the present that gives a tiny glimpse of insight into both past and future. Chuck Hemard has work included in public collections across the southeast United States, including the Columbus Museum of Art in Columbus GA and the Ogden Museum of Southern Art in New Orleans. Nick Norwood is a professor of creative writing at Columbus State University and the director of the Carson McCullers Center for Writers and Musicians in Columbus, Georgia and Nyack, New York. Dr. Rebecca Barlow, Alabama Cooperative Extension System Specialist and Associate Professor, Auburn University School of Forestry and Wildlife Sciences

Song lyrics fly across the screen in time to music. A globe spins and zooms into a war-torn country. Money rises from a screen to explain an economic situation. Now, more than ever, we are surrounded by these motion graphics on our TV and cinema screens, on our smartphones, computers, and tablets, on Main Street and in our galleries. Motion Graphics: Principles and Processes from the Ground Up is your introduction to the core principles of the discipline, whether your background or ambitions lie in animation, graphic design, film production, or visual effects. Ian Crook and Peter Beare provide you with a wide understanding of the key concepts and techniques that will help you plan, develop and produce your own creative projects.

Robert Hirsch's Exploring Color Photography is the thinking photographer's guide to color imagemaking. Now in its sixth edition, this pioneering text clearly and concisely instructs students and intermediate photographers in the fundamental aesthetic and technical building blocks needed to create thought-provoking digital and analog color photographs. Taking both a conceptual and pragmatic approach, the book avoids getting bogged down in complex, ever-changing technological matters, allowing it to stay fresh and engaging. Known as the Bible of Color Photography, its stimulating assignments encourage students to be adventurous and to take responsibility for learning and working independently. The emphasis on design and postmodern theoretical concepts stresses the thought process behind the creation of intriguing images. It's extensive and inspiring collection of images and accompanying captions allow makers to provide insight into how photographic methodology was utilized to visualize and communicate their objectives. The text continues to deliver inspiring leadership in the field of color photography with the latest accurate information, ideas, commentary, history, a diverse collection of contemporary images, and expanded cellphone photography coverage. A "Problem Solving and Writing" chapter offers methods and exercises that help one learn to be a visual problem solver and to discuss and write succinctly about the concepts at the foundation of one's work. Exploringcolorphotography.com, the companion website, has been revamped and updated to feature more student and teacher resources, including a new web-based timeline: As It Happened: A Chronological History of Color Photography.

Harold Davis has become one of the most prolific photography authors in the business. Much more than a "software" guy, Harold is a truly unique, supremely talented photographer whose surreal images have become instantly recognizable, and he is perhaps best known for his images of flowers. In this gorgeous guide Harold delves deep into the world of flowers and provides everything that the hobbyist and serious amateur photographer needs to know to capture stunning images. The basics of equipment (for shooting both indoors and outdoors) are covered first. He then moves on to discuss different types of flowers and the intricacies of shooting each variety, before moving on to tips for capturing the particular sensuality of a flower in bloom. Finally, Harold brings in some of his patented techniques from The Photoshop Darkroom to show how these tools can be specifically applied to flower photography. Macro, nature, and flower photographers as well as general garden and flower enthusiasts will find much to enjoy in this gorgeous, practial collection of some of today's best flower imagery.

The original foreign film--its sights and sounds--is available to all, but the viewer is utterly dependent on a translator and an untold number of technicians who produce the graphic text or disconnected speech through which we must approach the foreign film. A bad translation can ruin a film's beauty, muddy its plot, and turn any joke sour.
In this wide-ranging work, Abe Mark Nornes examines the relationships between moving-image media and translation and contends that film was a globalized medium from its beginning and that its transnational traffic has been greatly influenced by interpreters. He discusses the translation of film theory, interpretation at festivals and for coproductions, silent era practice," talkies," subtitling, and dubbing.
Nornes--who has written subtitles for Japanese cinema--looks at the ways misprision of theory translations produced stylistic change, how silent era lecturers contributed to the construction of national cinemas, how subtitlers can learn from anime fans, and how ultimately interpreters can be, in his terms, "traders or traitors."
Abe Mark Nornes is associate professor of Asian languages and cultures and film and video studies at the University of Michigan. He is the author of Japanese Documentary Film" (Minnesota, 2003) and Forest of Pressure" (Minnesota, 2007).

To many, the North is a familiar but inaccessible place. Yet images of the region are within easy reach, in magazine racks, on our coffee tables, and on television, computer, and movie screens. In Northern Exposures, Peter Geller uncovers the history behind these popular conceptions of the Canadian North.

Carefully detailed screenshots and step-by-step directions illustrate how to use Sony's new consumer-level video and audio editing applications, in a concise, time-efficient way. Readers learn the rudiments of navigating Vegas Movie Studio and the companion audio applications, Sound Forge Audio Studio and ACID Music Studio, to perform a complete range of tasks, from editing video and audio, to compositing and outputting their final project. This is the eighth book in the new VASST Instant Series produced in cooperation with the Sundance Media Group.

To many, the North is a familiar but inaccessible place. Yet images of the region are within easy reach, in magazine racks, on our coffee tables, and on television, computer, and movie screens. In Northern Exposures, Peter Geller uncovers the history behind these popular conceptions of the Canadian North. This book examines the photographic and film practice of the Canadian government, the Anglican Church of Canada, and the Hudson's Bay Company, the three major colonial institutions involved in the arctic and sub-arctic. In the first half of the twentieth century, visual representations of the region were widely circulated in official publications and presented in film shows and lantern slide lectures. including federal government special investigator Major Lachlan T. Burwash, first Bishop of the Arctic Archibald Lang Fleming, Beaver magazine editor and publicity expert Douglas McKay, and photographer-filmmaker-author Richard Finnie, this book engages in a contextual approach to reading images, analyzing the interrelated aspects of production, circulation, and reception. Geller reveals the varied ways in which taking and displaying pictures of northern people and places contributed to the extension of control over the northern reaches of the Canadian nation. culture and the relationship between photographic ways of seeing and the expansion of colonial power, while raising important questions about the role of visual representation in understanding the past. It will be of interest to those concerned with Canadian and cultural history, Northern and Aboriginal studies, film and communication, art history, anthropology, and visual culture.

Master the complex realities of 3D postproduction workflows and solutions with this one-of-a-kind guide. Brimming with techniques that have been used on actual 3D productions and can easily be incorporated into your own workflows, Rick Baumgartner's 3D Postproduction offers you: The best practices for 3D preproduction and production to ensure a smooth post process, saving both time and money Abundant workflow diagrams, screen grabs, and checklists to reinforce your learning with visual cues Common postproduction considerations such as dailies, assembly, cutting, and color correction, and how they differ between 3D and 2D post pipelines Examples of 3D gone bad and how those scenarios can be avoided In-depth interviews with working professionals and extensive tutorials that provide practical insight from the trenches of real-world 3D postproduction A companion website (www.focalpress.com/cw/baumgartner) featuring project files and video clips demonstrating the 3D workflows covered in the book An effective 3D postproduction workflow allows for easier and more flexible editing, greater capacity for visual effects enhancement, the ability to fix production mistakes, and much more. You can't afford to miss out! Bring your 3D projects to the next level with 3D Postproduction: Stereoscopic Workflows and Techniques.

Love is less confined than ever, as is our desire to capture it. Engagement photography has become an essential and valuable component of wedding photography for both your clients and your photography business. Successfully booking romantic portrait sessions and providing your couples with creative, playful, and beautiful images can mean a lasting -and lucrative- relationship. Award winning photographer Stephanie Williams shares her approach to engagement photography, including her thoughts on the psychology of shooting and directing couples, current industry trends, and the use of blogs and social media. Discover photography tips on romantic styling, workflow, and branding that will help get your engagement sessions recognized by prospective clients and industry publications. Whether you are an aspiring photographer or established professional, this book is sure to inform and inspire your next photo shoot. Read tips and testimonials from prominent wedding professionals, bloggers, editors and stylists, as well as Stephanie's actual clients. Learn how to build your brand and get your work published. Improve or refresh your technical skill through practical lighting, equipment, and technique guidance. Diversify the way you interact with clients and style your shoots. Be inspired through gorgeous photographs.

A recent New York Times article discussed food photography as one of the hottest trends in the social media and blogosphere world. The explosion of food related television shows, magazines, and cookbooks is testament to just how popular this area of photography has become, and while food photographers and food stylists are more in demand than ever before, they are also facing more competition for commissioned work. Professional and successful food stylists don't like to give away their secrets, but in this all new companion volume to Food Styling for Photographers, Linda Bellingham and Jean Ann Bybee do just that. This dynamic stylist/photographer team combines their decades of experience in each field to show professional and up-and-coming food stylists and photographers how to perfect grill marks, create the perfect pancake, convey the feeling of an icy-cold beer on a hot summer day, and more in this indispensible guide to food photography preparation. In addition to hundreds of step-by-step as well as completed project images, the authors also provide extensive shopping lists, lighting set-ups, comments on what works and what doesn't, and more to ensure that the budding food photographer or stylist has all of the information they need to create culinary works of art.

An argument that video is not merely an intermediate stage between analog and digital but a medium in its own right; traces the theoretical genealogy of video and examines the different concepts of video seen in works by Vito Acconci, Ulrike Rosenbach, Steina and Woody Vasulka, and others. Video is an electronic medium, dependent on the transfer of electronic signals. Video signals are in constant movement, circulating between camera and monitor. This process of simultaneous production and reproduction makes video the most reflexive of media, distinct from both photography and film (in which the image or a sequence of images is central). Because it is processual and not bound to recording and the appearance of a "frame," video shares properties with the computer. In this book, Yvonne Spielmann argues that video is not merely an intermediate stage between analog and digital but a medium in its own right. Video has metamorphosed from technology to medium, with a set of aesthetic languages that are specific to it, and current critical debates on new media still need to recognize this. Spielmann considers video as "transformation imagery," acknowledging the centrality in video of the transitions between images-and the fact that these transitions are explicitly reflected in new processes. After situating video in a genealogical model that demonstrates both its continuities and discontinuities with other media, Spielmann considers three strands of video praxis-documentary, experimental art, and experimental image-making (which is concerned primarily with signal processing). She then discusses selected works by such artists as Vito Acconci, Ulrike Rosenbach, Joan Jonas, Nam June Paik, Peter Campus, Dara Birnbaum, Nan Hoover, Lynn Hershman, Gary Hill, Steina and Woody Vasulka, Bill Seaman, and others. These works serve to demonstrate the spectrum of possibilities in video as medium and point to connections with other forms of media. Finally, Spielmann discusses the potential of interactivity, complexity, and hybridization in the future of video as a medium.

Have you ever wondered what it is that professional photographers do day in and day out that enables them to take consistently compelling images? Or thought that unravelling the insider secrets of the professionals could inspire you? This book takes a contemporary and innovative approach to revealing the day-to-day habits of the world's most successful wildlife, landscape and macro photographers, divulging the core skills and techniques through which they excel.
This book is crammed full with expert advice taken from the world's leading pros directly from the field. It will empower the development of your skills to a professional level and fire your imagination. Starting with the basics of how to plan a rewarding field trip (whether locally or afar) for one day or a month, and covering all aspects of camera handling and photographic technique including: how to make perfect exposures every time, ensure pin-sharp images of moving subjects, decipher the complexities of camera menus and controls, and break through the mysteries of composition.
And, having learned the secrets to success, the book maps out some simple yet powerful photo exercises and self-assignments to encourage you to explore all facets of digital photography and put into practice the essential skills that will make you, too, a highly successful photographer.

THE INSIDER'S GUIDE TO THE DIGITAL REVOLUTION.

. READERS ON BRIAN McKERNAN
. ***** "A must for anyone who cares about navigating the new world of digital content."*.

. ***** "The digital revolution 'Bible' ... an invaluable resource for anyone seriously interested in video, TV, streaming, and movies, and ... it's a great read."*.

. ***** "A must-have ... reveals the lessons learned from decades of failure and success ... and gives roadmaps to the future."*.

. * On Creating Digital Content: Video Production for Web, Broadcast, and Cinema, co-edited by Brian McKernan.

. INSIDE THE PARADIGM SHIFT THAT'S REMAKING THE MOTI0N PICTURE INDUSTRY
. Not since the advent of sound has technology so greatly impacted motion pictures. With its huge cost-saving potential, digital technology can alter every aspect of the movie-making process, from shooting through postproduction to delivery and exhibition..

. The digital cinema revolution is the result of years of progress in the technologies of film, computer graphics, and high-definition television. Now Brian McKernan, founding editor of Digital Cinema magazine, provides an up-to-date look at how new digital technologies are reshaping the movie industry.. Digital cinema -- how it came about, its history and pioneers. Understanding digital image compression. The latest camera choices for digital cinematography -- from high end systems to the affordable world of indie filmmaking. Audio and the cinema -- why sound is half the picture. The revolution in postproduction -- the convergence of computer graphics, HDTV, film, and video. Nonlinear editingsoftware choices, new techniques, and digital compositing. Digitalintermediates--color grading, changing the shot after the shoot, film transfer, and film recording. Independent digital filmmaking in Hollywood and across the nation -- the democratization of the movies. The new role of the cinematographer in the digital age. Understanding digital projection technologies. What digital cinema means to indie productions, exhibitors, film distribution, and the future of the movies.

. You'll also find insights on the cost-vs.-quality controversy, the impact of digital cinema on creative freedom, and the integration of film and digital from such leading filmmakers as George Lucas, Robert Rodriguez, and Michael Ballhaus ASC..

Digital Cinema considers how new technologies have revolutionized the medium, while investigating the continuities that might remain from filmmaking’s analog era. In the process, it raises provocative questions about the status of realism in a pixel-generated digital medium whose scenes often defy the laws of physics. It also considers what these changes might bode for the future of cinema. How will digital works be preserved and shared? And will the emergence of virtual reality finally consign cinema to obsolescence?   Stephen Prince offers a clear, concise account of how digital cinema both extends longstanding traditions of filmmaking and challenges some fundamental assumptions about film. It is essential reading for anyone interested in understanding how movies are shot, produced, distributed, and consumed in the twenty-first century.  

Photographing landscape with a film camera is different than with a digital camera. There are several books on the market that cover landscape photography but few of them are specifically for the digital photographer. This book is what you are looking for
Digital Landscape Photography covers:
* equipment such as accessories and lenses
* exposure from shutter speed and other common mistakes
* shooting
* light and its importance
* composing your perfect photo
* printing
* and a special section on specific subjects such as waterfalls and sunrises
Digital Landscape Photography, written by experts that have been shooting outdoors for decades, is a fresh look at current ways to shoot landscapes by making the most of digital format.