Capture amazing pictures of your furry and feathered visitors. Richard Peters won the European Wildlife Photographer of the Year award for a photograph taken in his very ordinary suburban back garden. In this book, he shares the methods he used to get stunning professional nature photos without having to head out on safari. Starting with the basics, this book will show a complete beginner how to capture pro-level pictures from their garden. It covers where to place your camera, how optics can completely change your shot, reveals the gadgets that can enhance your photos, and even how to overcome the elements. This is the perfect book for bird-watchers and animal lovers who want to capture what they see and share their passion with the world. Social media definitely loves a good animal photo!

Designed for the novice or for a course in film editing, the book is the perfect introductory text. Editing is the art of using the building blocks supplied by the writer and director to create a structurally sound and brilliant piece of cinematic dazzle. As the word is to the sentence, so the shot is to the scene, and the editor must write coherently. This book teaches the aspiring editor how to speak the inspiring language of images. For projects, it covers the latest version of Final Cut Express, contains structured exercises, and uses video clips on the companion DVD, to allow the reader to apply the lessons of the book in clear and entertaining ways. Solutions to exercises and PowerPoint slides are available to instructors.Brief Table of Contents: 1 - History of Film Editing. 2 - Different Editing Aesthetics. 3 - How Genre Affects Editing. 4 - Narrative (Fiction) vs. Documentary. 5 - Features vs. Shorts. Part II. Final Cut Express. 6 - A Brief History of NLE Systems; MAC vs. PC; FCP vs. FCE. 7 - Basic Interface of Final Cut Express. 8 - Understanding the Different Tools. 9 - Effects and Advanced Techniques; LiveType. 10 - Understanding Format; Outputting/Exporting. 11 - Why is Kuleshov's Legacy Important? 12 - Sound Design. 13 - Genre 1 - Comedy. 14 - Genre 2 - Drama. 15 Genre 3- Thriller/Horror Film. "

MANOS FANS: You can now own the COLLECTORS EDITION BOOK of "MANOS the Hands of Fate: Original Location Pictures " From the Master's Outdoor Bedroom, to the opening scene Overlook, to The Master & Torgo's house Full color. Never before seen pics about your favorite film

Scholarly Research Paper from the year 2011 in the subject Art - Photography and Film, Old Dominion University (Humanities), language: English, abstract: Garry Winogrand was one of the last masters of so called modern photography. A photojournalist and art photographer, using a Leica reflex camera loaded with a 28mm lens and a TriX 400 iso film, he rose to fame for his street pictures taken extensively across the United States, and across several foreign countries. Winogrand began his entanglement with photography in the 1950s. He created numerous images and produced five published monographs before his death in 1984. One of his famous quotes summarizes his perceptions about photography, as follows: "A work of art is that thing whose form and content are organic to the tools and materials that made it. Still photography is a chemical, mechanical process. Literal description or the illusion of literal description is what the tools and materials of still photography do better than any other graphic medium. A still photograph is the illusion of a literal description of how a camera saw a piece of time and space. Understanding this, one can postulate the following theorem: Anything and all things are photographable. A photograph can only look like how the camera saw what was photographed. Or, how the camera saw the piece of time and space is responsible for how the photograph looks. ....I like to think of photographing as a two-way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing as it is. A photograph must be responsible to both." (Garry Winogrand, Austin Texas, 1974, photograpy quotes.com, 2011) Since then, a lot has changed. We are experiencing a shift in traditional ways of displaying and producing photographs. On the one hand, photographs are now displayed via projectors, digital frames, digital family albums, blogs, and massively on web sites. On the other hand, photographs are now prod

Doctoral Thesis / Dissertation from the year 2008 in the subject Art - Photography and Film, grade: cum laude, University of Edinburgh, language: English, abstract: Photomontage has more to do with film than with any other art form - they have in common the technique of montage. (Sergei Tretyakov) By considering that photomontage and film use the technique of cutting and gluing as dominant artistic device, and that montage, a technique unifying art and technology for the first time, emerged as a dominant artistic feature of the avant-garde, this thesis will explore the ideological and perceptual implications of its advent in avant-garde art and film. The technological advances of the beginning of the twentieth century, and particularly the advent of photography, allowed avant-garde artists to break free from traditional concepts of artistic production - they dispensed with the old criteria of uniqueness, originality, handicraft and personal style. At a time when many avant-garde artists abruptly ceased to paint, photomontage emerged as the privileged locus for a caesura with traditional art forms. Photomontage envisioned film aesthetics insofar as it combines and juxtaposes images of various perspectival planes and angles (Raoul Hausmann described his early photomontages as "motionless moving pictures"). A corresponding observation can be made on the use of montage in cinema, a technique which crucially underpins the illusion of movement created through the succession of photographic stills. The present thesis will investigate photomontage and film in order to examine the effect technological reproduction played in revolutionising artistic production, perception and ideology - where the technique and philosophy of montage was key.

Photography and the outdoors could have been made for each other. This book is about making the most of that connection. Outdoor enthusiasts who want their photographs to do full justice to the quality of their outdoor experiences need look no further. Building on the foundations of the original Cicerone guide to outdoor photography, this second edition has been rewritten from the ground up, and expanded to cover a wide range of outdoor activities on land, in and on the water, in the air and in extreme environments. Professional outdoor photographers Jon Sparks and Chiz Dakin introduce and explain essential technical concepts in the clearest possible language. The emphasis is on practical, realistic advice for people who want to take better photographs of what they like doing best, while still enjoying it to the max.

Project Report from the year 2010 in the subject Art - Photography and Film, grade: -, -, language: English, abstract: 100 Great Tips for the Amateur DSLR Photographer The Cape Town Best Seller e-Book Series International Edition 100 Great Tips for the Amateur DSLR Amateur Photographer addresses the basic 'must know' and 'need to know' tips to get you going with your DSLR (digital single-lens reflex) camera. It is written in a language that is easy to understand and cuts to the chase. No complicated technical jargon, or sequential training methodology. My method is one of emersion - YOU are thrown in at the deep end YOU, the learner and aspirant photographer, yes YOU, decide the pace, the topic or tip, the duration of practice, etc. And it is all demonstrated in clear photographs that illustrates the underlying tip. Just page to the topic of interest and 'Voila ', it is explained in one or five (?) printable and descriptive photographs Take this with you and go and practice it. There are 100 easy to understand tips - all beautifully illustrated by yours truly in about 190 or so photographs covering all the issues you need to get you going and truly enjoy this fine art form. Topics include studio work, panning, spot metering, nudity, z-cards, low light photography and host of other topics. You'll love it Michael Paulse (AUTHOR)

Cinema and Colour: The Saturated Image is a major new critical study of the use of colour in cinema. Using the dialectic of colour and monochrome as a starting point, Paul Coates explores the symbolic meanings that colour bears in different cultures, and engages with a range of critical approaches to filmic colour, building on the work of such theorists as Sergei Eisenstein, Rudolf Arnheim and Stanley Cavell. Coates also provides close analyses of films by directors such as Antonioni, Bergman, Godard, Hitchcock, Hou Hsiao-Hsien, Sirk, Kieslowski, Tarkovsky, Von Trier and Zhang Yimou. Coates' focus is on films that deliberately exploit the rich multiplicity of cultural meanings and associations ascribed to colour, including All That Heaven Allows, Deux ou trois choses que je sais d'elle, The Double Life of Veronique, The Flight of the Red Balloon, Red Desert, Schindler's List, Silent Light, Solaris, The Three Colours Trilogy and The Wizard of Oz.

In The Guerrilla Guide to Moviemaking, C.R. Bell's twenty years experience as a cinematographer merge with his delightful cartooning style and clear prose, providing a valuable guide to educators and the self-taught alike, offering unique bite-sized lessons to help beginning filmmakers develop the skill, the vocabulary and an affordable toolkit for better filmmaking. With an emphasis on inexpensive alternatives to traditional high-priced lighting and grip equipment, Bell's delightfully hilarious sketches make the filmmaking process simple to understand and easy to apply, including some of the trickiest technical aspects of planning, setting up camera angles, shooting, lighting, editing and sound. His cleverly conceived illustrations make these lessons memorable, and include practical tips that anyone can apply to elevate the quality of their films.

This is a beginner's guide -a hand-holding fun ride with step-by-step instructions and illustrative screenshots. If you want to write a professional script or screenplay using the open source tool Celtx, this book is for you. You need not have any previous knowledge of Celtx or any other writing software.

This is an up-to-date guide to all the basics of HD video, one of the hottest new features on D-SLR cameras. It looks at, among other things, recording audio, shooting techniques and outputting final video files. HD video is one of the hottest new features on digital SLR cameras and photographers are eager to understand how it works and optimise their results. Digital experts Rob Sheppard and Michael Guncheon have created an up-to-date guide to all the basics. They address gear, recording audio, shooting techniques, formats and standards for HD video, editing video and audio files and outputting final video files, everything a photographer new to the technology needs to know!

In celebration of Louisiana State University's sesquicentennial, Treasures of LSU trumpets the numerous and diverse riches found throughout the Baton Rouge campus and beyond. The 101 distinguished artworks, architectural gems, research collections, and scientific and cultural artifacts highlighted here represent only a small fraction of the material resources that surround and engage LSU faculty, staff, and students on a daily basis. As LSU chancellor emeritus Paul W. Murrill declares in his foreword, "All reflect expressions of superb quality. All encourage, in one way or another, the human spirit to soar."

Some of these treasures act as artistic backdrops to everyday campus life. In Unity Ascending, the striking Frank Hayden sculpture, greets all who enter the LSU Student Union. Vibrant Depression-era murals decorate the corridors of Allen Hall. Other treasures reside in out-of-the-way places. The Department of Geology and Geophysics houses the Henry V. Howe Type Collection of shelled microorganisms -- tiny, beautifully varied fossils that frequently aid geologists in determining the ages of rocks and features of ancient environments. The LSU Museum of Natural Science, in Foster Hall, holds one of the largest and most prestigious research collections of bird specimens in the world.

An LSU cadet uniform and a hand-spun Acadian quilt from the LSU Textile & Costume Museum; an enchanting silky-camellia specimen from the collections of the LSU Herbarium, founded in 1869; pottery by Walter Anderson and portraits by William Hogarth and Joshua Reynolds from the LSU Museum of Art -- all showcase the immense variety of LSU's assets. Other featured treasures include a historic dogtrot house at the LSU Rural Life Museum, John James Audubon's double elephant folio Birds of America from the E. A. McIlhenny Natural History Collection at Hill Memorial Library, and cherished campus landmarks like the Indian Mounds, the French House, and Mike the Tiger's habitat.

Full-page color photographs set off the treasures to stunning effect. Interpretive essays by LSU faculty, staff, and students explain the origins, history, and sometimes myths surrounding each item. Published by LSU Press during its seventy-fifth year of operation, Treasures of LSU is itself a treasure that inspires pleasure and amazement in discovering the wealth and diversity of LSU's resources and affirms the university's numerous cultural contributions to the world community.

This book contains 55 of the 110 interviews conducted from 2003-2005 for the feature-length documentary Cinematographer Style. The lessons from these interviews is that there is no textbook for cinematography. It is an art, like painting, writing or composing. No two artists express themselves in exactly the same way. Peter Anderson, ASC Bill Bennett, ASC Gabriel Beristain, ASC Larry Bridges Jonathan Brown, ASC Stephen Burum, ASC Bill Butler, ASC Bobby Byrne, ASC Russell Carpenter, ASC Peter Collister, ASC Ericson Core Dean Cundey, ASC Caleb Deschanel, ASC Ron Dexter, ASC Ernest Dickerson, ASC Richard Edlund, ASC Don Fauntleroy, ASC Steve Fierberg, ASC Michael Goi, ASC Stephen Goldblatt, ASC, BSC Robbie Greenberg, ASC Ernie Holzman, ASC Judy Irola, ASC Mark Irwin, ASC, CSC Johnny Jensen, ASC Francis Kenny, ASC Richard Kline, ASC Fred Koenekamp, ASC Matthew Leonetti, ASC Matthew Libatique, ASC Stephen Lighthill, ASC Bruce Logan, ASC Isidore Mankofsky, ASC Clark Mathis, ASC Rob McLachlan, ASC Chuck Minsky, ASC Kramer Morgenthau, ASC Hiro Narita, ASC Michael Negrin, ASC Sol Negrin, ASC Woody Omens, ASC Daniel Pearl, ASC Wally Pfister, ASC Bob Primes, ASC Tony Richmond, ASC, BSC Pete Romano, ASC Paul Ryan, ASC John Schwartzman, ASC Dante Spinotti, ASC Uli Steiger, ASC Tom Stern, ASC Vittorio Storaro, ASC, AIC Rodney, Taylor, ASC John Toll, ASC Amy Vincent, ASC

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

The 4th of July 1954 marks a crucial event in German history. With a 3:2 victory over a Hungarian team that had not been beaten for four whole years West Germany had won the F.I.F.A. World Cup for the first time. Helmut Rahn?'s winning goal instantly revived the spirit of an entire country that not even a decade before had experienced huge devastation in the Second World War and a general sentiment that 'we are somebody again' began to overlie the whole population. This triumph went on to be remembered as the 'Miracle of Bern'. In 2003, German director S nke Wortmann, in collaboration with the German Football Association (D.F.B.), was the first to attempt a full reconstruction of this event in the extent of a feature film. While there had been a certain fear that Wortmann might destroy what had already become a myth in the minds of many Germans, he himself believed that the film was necessary in order to keep the legend alive for a younger generation, who had no direct connection to or never even heard of this renowned event. In the end, Wortmann?'s film The Miracle of Bern drew more than three million people to the box office, thus making it one of the most successful films of 2003 over the whole of Europe, even though some journalists sharply criticized it as being the 'most American German film of all time'. In their opinion, Wortmann's predominant concern was to emphasize the mythical character of West Germany's sporting triumph. This was something that had never been attempted before in German cinema, but of which there are plenty examples in what might be called the 'classic' American sports film of the 1980s. In this regard, however, most reviews remain rather vague. Therefore, this study is aimed to provide a closer analysis of the subject matter, concentrating on the comparison of The Miracle of Bern to three successful 1980s' U.S. sports films, namely Field of Dreams (1989), The Natural (1984) and Hoosiers (1986). Furthermore I would like to suggest possib

In an age of digital technology and renewed anxiety about media piracy, "Inherent Vice" revisits the recent analog past with an eye-opening exploration of the aesthetic and legal innovations of home video. Analog videotape was introduced to consumers as a blank format, essentially as a bootleg technology, for recording television without permission. The studios initially resisted VCRs and began legal action to oppose their marketing. In turn, U.S. courts controversially reinterpreted copyright law to protect users' right to record, while content owners eventually developed ways to exploit the video market. Lucas Hilderbrand shows how videotape and fair use offer essential lessons relevant to contemporary progressive media policy.

Videotape not only radically changed how audiences accessed the content they wanted and loved but also altered how they watched it. Hilderbrand develops an aesthetic theory of analog video, an "aesthetics of access" most boldly embodied by bootleg videos. He contends that the medium specificity of videotape becomes most apparent through repeated duplication, wear, and technical failure; video's visible and audible degeneration signals its uses for legal transgressions and illicit pleasures. Bringing formal and cultural analysis into dialogue with industrial history and case law, Hilderbrand examines four decades of often overlooked histories of video recording, including the first network news archive, the underground circulation of "Superstar: The Karen Carpenter Story," a feminist tape-sharing network, and the phenomenally popular website YouTube. This book reveals the creative uses of videotape that have made essential content more accessible and expanded our understanding of copyright law. It is a politically provocative, unabashedly nostalgic ode to analog.

"Film Editing" provides an introduction to the craft of editing in the non-silent film. In clear and accessible language, Valerie Orpen considers editing as an expressive strategy rather than a mere technique. She reveals that editing can be approached and studied in a similar way to other aspects of film. Traditionally, studies on editing or montage tend to focus on silent cinema, yet this book claims that an examination of editing should also consider the role of the soundtrack. The aim of "Film Editing" is to examine the way in which editing can make meaning. The book addresses editing as part of a wider context and as a crucial element of the overarching design and vision of a film. Consequently, this book incorporates other parameters, such as mise-en-sc?ne, framing, sound, genre, history, and performance. By examining a number of mainstream and art films, such as Godard's "A bout de souffle," Hitchcock's "Rear Window," and Scorsese's "Raging Bull, Film Editing" seeks to dispel the notion that editing is necessarily polarized as continuity versus discontinuity.

Brian & Janet Stoppee have incorporated their decades of daily, hands-on expertise at image-making plus their leading seminars and one-on-one training into the most comprehensive guide to photographic lighting available! It's impossible to be successful in photography without a mastery of light. It's the basis of all things photographic. The Stoppees welcome the reader into their professional world with a conversational tone that makes you feel as if you are a member of their team in pre-production planning, out on a shoot, or back at their studio, in post-production. They've packed the book with full color, vibrant images and lighting diagrams that make the technology easy to quickly understand. This compendium of professional know-how shows you how to both manipulate nature's light and create natural-looking illumination with artificial light sources. Whether you're a professional photographer, you use photography in your profession, or you just want your images to look more professional, this book is your resource to creating far superior digital images. You'll gain a greater understanding of: .Light's Properties .Digital Exposure .Optics .Metering .Color .Pre-Production .Adobe Camera Raw . Scanning .Light Modifying Tools .Support Systems .Daylight Fluorescent .HMI .Wireless Battery Flash .Digital Studio Flash .Digital Tablets .Painter .Professional Printing ...and much more, just like the world's top image-makers. The Stoppees' darkroom is all digital, so without this guide to photography and light, you'll be left in the dark ages!

This book contains 55 of the 110 interviews from the feature-length documentary Cinematographer Style. The lessons from these interviews is that there is no textbook for cinematography. It is an art, like painting, writing or composing. No two artists express themselves in exactly the same way.

The secret of shooting a wedding is not knowing what to shoot, but knowing what not to miss. The Shoot-It-Yourself Wedding Video Guide reveals the secrets of successful wedding day coverage, explaining in details how to shoot at bride's and groom's houses, how to travel from place to place without missing major events, how to start and finish the ceremony and the reception. All the little secrets of trade, some of them learned hard way, were laid out open in the book that fits in your camera bag.

This one-of-a-kind book, more than seven years in the making, is a dramatic photoexploration of the Indian subcontinent from the air. The breathtaking visuals, many of them photographed from over 30,000 feet from the cockpit of MIG fighter planes, and others from AN-12 transporters and MI-8 choppers, are a poetic mosaic of the stunning variety of India's entire landscape -- from ocean to sky. The Andaman Islands and the Indian Ocean in the south, the rain forests of the western coastline, the sparkling harbours of Goa, Rajasthan's golden sands, hamlets and tea plantations of the jungles in the North-east, the mighty peaks, glaciers and rivers of the Himalayas -- all combine in a profusion of kaleidoscopic images to make an awe-inspiring statement of the earth as art.

This book is about the least known, yet very fascinating part of the photographic industry, namely Photofinishing. It converts images, be they digital or film, from the camera to print, greeting cards or other media. Ever since George Eastman introduced inexpensive films and cameras at the end of the nineteenth century, photography has been one of the most popular pastimes. Prior to that time, photography was very complicated not to mention expensive and very few people practiced it. Eastman realised that to popularise photography, a developing and printing service was required and he launched this with the slogan You press the button we do the rest . That was the beginning of the photofinishing industry, which is what the book is about. The book s first two chapters are a short history of photography from Daguerre and Fox Talbot in 1839 to the present day. Then there are 3 chapters about the technology of photofinishing, including minilabs and the digital age. These are followed by accounts of photofinishing in the US, the UK, France, Germany, Italy and Japan plus a short note concerning other countries. These chapters include many anecdotes, often by larger than life characters, which many people will find entertaining. Finally there is a chapter about photo labs and the environment. The book is written in an easy to read style combining interesting historical stories with descriptions of technology which are not widely known. It is aimed to appeal to a wide spectrum of readers, including happy snappers, serious photographers, people who have worked in the photofinishing industry and students. Not everyone will want to read every page of the book, but there is plenty to appeal to most people who have any interest in photography. For this reason alone it should make an attractive present. The authors, Peter Rockwell and Peter Knaack have spent much of their working lives in this very international industry and have inside knowledge of how it operates in many countries.