An unlikely but firm friendship between a professional wildlife photographer and a retired vicar with a passion for aviation has resulted in this extra-ordinary collaboration which celebrates the diversity of Shropshire, as seen from the air. Over a period of two years, Mark Sisson (below left) and the Reverend Henry Morris (below right) have met up at short notice, weather permitting, to fly over different parts of Shropshire. Angling the small Socata aircraft at 45 degrees, Vicar Henry has put Mark in the right position to photograph the network of canals, waterways, ridges, hills and valleys, patchworks of crops, quarries, monuments, towns and villages. Mark has tried to capture the surprises and the beauty of Shropshire from the air.

As its centenary year gets underway, ARRI looks back at its rich history, assesses the values and principles that have helped it reach this milestone anniversary, and sets its sights firmly on the future. 2017 marks 100 years since August Arnold and Robert Richter rented a small former shoemaker's store in Munich and set up shop as a film technology firm. The two young friends started with just one product: a copying machine they built on a lathe Richter ha d received as a Christmas present from his parents. Taking the first two letters of their surnames, they christened their new enterprise ARRI. Arnold and Richter were camera operators, film producers and an equipment rental outfit before they ever manu factured an ARRI camera. From the very beginning they worked directly with filmmakers and the insight they gained helped them to develop equipment that met real on - set needs. First and foremost they were film enthusiasts, driven by a love for visual storyt elling and technology. In today's industry, with technology driven at breakneck speed by marketing hype, this philosophy of listening to what filmmakers want - rather than telling them - is more The Academy of Motion Picture Arts and Sciences has recogniz ed ARRI's engineers and their contributions to the industry with 19 Scientific and Technical Awards. On the occasion of the anniversary year ARRI has spoken to about 200 filmmakers - film directors, cameramen, gaffer, historians, producers, technicians, in novators and inventors - from around the globe and asked them about their view on the film industry, t echnology , and art as well as their stories about this world - k nown manufacturer. We tell the story of ARRI, but not as one long essay: We offer a collection of short films; experiences and short ane c dotes : a kaleidoscope about the history of the company, the technical achievements, the involved people, about clients, using the equipment and services. They talk about how ARRI and how the inventions helped them telling their stories.

Film editing is part of the long process of formulating, acquiring and presenting the images and sounds that make a film. The film editor makes decisions about the arrangement of the visual and aural material that they receive in the cutting room, not for their own satisfaction but to stimulate the participation of the cinema and television viewer. Three interrelated aspects, Emotion, Performance and Story, influence this decision-making. Combining history, practice, study and theory, Film Editing: Emotion, Performance, Story investigates why certain editorial decisions can encourage the emotional and narrative engagement of the audience. With full-color examples from features, short films and commercials, this book introduces a range of different editing styles and techniques to provide editors with a context on which to build their practice. Julie Lambden takes a discursive approach exploring the many options open to the editor whether this is the fine point at which to cut or the exact structuring of scenes within a whole film. Examples are closely analysed and discussed using frame grabs, graphics and plans. The book opens discussions on our psychological and cognitive behavior, and asks why certain picture and sound configurations can affect us emotionally. Interspersed with chapters on the fundamental tools of editing are studies of three editing strategies. Each is a method of persuasion that the editor can use to elicit a response in the audience, whether that is sympathy for a character or belief in the fictional world.

Photographer O. N. Pruitt (1891-1967) was for some forty years the de facto documentarian of Lowndes County, Mississippi, and its county seat, Columbus--known to locals as "Possum Town." His body of work recalls many FSA photographers, but Pruitt was not an outsider with an agenda; he was a community member with intimate knowledge of the town and its residents. He photographed his fellow White citizens and Black ones as well, in circumstances ranging from the mundane to the horrific: family picnics, parades, river baptisms, carnivals, fires, funerals, two of Mississippi's last public and legal executions by hanging, and most grimly, a lynching. From formal portraits to candid images of events in the moment, Pruitt's documentary of a specific yet representative southern town offers viewers today an invitation to meditate on the vexing interrelations of photography, community, race, and historical memory. Columbus native Berkley Hudson was photographed by Pruitt, and for more than three decades he has considered and curated Pruitt's expansive archive, both as a scholar of media and visual journalism and as a community member. This stunning book presents Pruitt's photography as never before, combining more than 150 images with a biographical introduction and Hudson's short essays and reflective captions on subjects such as religion and racial violence, small-town work-life and entertainment, and the idea of visual legacy as linked to historical memory.

Primary data acquisition is the front end of mapping, GIS and remote sensing and involves: aviation, navigation, photography, cameras (film and digital systems), GPS systems, surveying (ground control), photogrammetry and computerized systems.This book deals with differential GPS systems, survey flight management systems (both simple and sophisticated), film types, modern film survey cameras such as LH RC-30, Z/I RMK-TOP, digital cameras, infrared methods, laser profilers, airborne laser mapping, satellite systems, laboratory processing (chemical and digital), camera platforms (fixed wing and helicopter). A fresh approach to the subject includes: soft-copy photogrammetry using desk-top computerized systems, film scanners and direct digital camera inputs. Comparisons are made between old film-based technologies and the new digital camera systems, including the Z/I modular digital mapping camera and the LH 'push-broom' ADS 40 camera.

Self-taught photographer Hugh Mangum was born in 1877 in Durham, North Carolina, as its burgeoning tobacco economy put the frontier-like boomtown on the map. As an itinerant portraitist working primarily in North Carolina and Virginia during the rise of Jim Crow, Mangum welcomed into his temporary studios a clientele that was both racially and economically diverse. After his death in 1922, his glass plate negatives remained stored in his darkroom, a tobacco barn, for fifty years. Slated for demolition in the 1970s, the barn was saved at the last moment-and with it, this surprising and unparalleled document of life at the turn of the twentieth century, a turbulent time in the history of the American South. Hugh Mangum's multiple-image, glass plate negatives reveal the open-door policy of his studio to show us lives marked both by notable affluence and hard work, all imbued with a strong sense of individuality, self-creation, and often joy. Seen and experienced in the present, the portraits hint at unexpected relationships and histories and also confirm how historical photographs have the power to subvert familiar narratives. Mangum's photographs are not only images; they are objects that have survived a history of their own and exist within the larger political and cultural history of the American South, demonstrating the unpredictable alchemy that often characterizes the best art-its ability over time to evolve with and absorb life and meaning beyond the intentions or expectations of the artist.

Filmmaker Jay Holben has been battling in the production trenches for most of his life. For the past 17 years, he's chronicled his adventures in the pages of American Cinematographer, Digital Video, Videography, and TV Technology. Now, in Behind the Lens: Dispatches from the Cinematic Trenches, he's compiled nearly 100 of his best articles on everything from camera technology and lenses to tips and techniques for better lighting. Whether you're making independent films, commercials, music videos, documentaries, television shows, event videos, or industrials, this full color collection provides the tools you need to take your work to the next level and succeed in the world of digital motion imaging. Featured topics include: *Tech, including the fundamentals of how digital images are formed and how they evolved to match the look of a film, as well as image compression and control *Optics, providing a thorough examination of lenses and lens interchangeability, depth of field, filters, flare, quality, MTF, and more *Cameras, instructing you in using exposure tools, ISO, white balance, infrared, and stabilizers *Lighting, featuring advice on using lighting sources and fixtures and how to tackle common lighting problems Additional tips and tricks cover improving audio, celestial photography, deciding if film school is right for you, and much more. For over a decade Jay Holben has worked as a director of photography in Los Angeles on features, commercials, television shows, and music videos. He is a former technical editor and frequent contributing writer for American Cinematographer, the current technical editor and columnist for Digital Video, and the lighting columnist for TV Technology. The author of A Shot in the Dark: A Creative DIY Guide to Digital Video Lighting on (Almost) No Budget, Holben is also on faculty for the Global Cinematography Institute. He is now an independent producer and director.

Though photographers Dorothea Lange and Ansel Adams were contemporaries and longtime friends, most of their work portrays contrasting subject matter. Lange's artistic photodocumentation set a new aesthetic standard for social commentary; Adams lit up nature's wonders with an unfailing eye and preeminent technical skill. That they joined together to photograph Mormons in Utah in the early 1950s for Life magazine may come as a surprise. In a Rugged Land examines the history and content of the two photographers' forgotten collaboration Three Mormon Towns. Looking at Adams's and Lange's photographs, extant letters, and personal memories, the book provides a window into an important moment in their careers and seeks to understand why a project that once held such promise ended in disillusionment and is now little more than a footnote in their illustrative biographies. Swensen's in-depth research and interpretation helps make sense of what they did and places their efforts alongside others who were also exploring the particular qualities of the Mormon village at that time.

This classic anthology provides essential models for analyzing sound stylistics through the detailed study of critical sound films. Elisabeth Weis and John Belton carefully curate major essays from the world's most respected film historians, aestheticians, and theorists, including Douglas Gomery, Barry Salt, Rick Altman, Mary Ann Doane, S. M. Eisenstein, V. I. Pudovkin, Ren? Clair, B?la Bel?zs, Siegfried Kracauer, Christian Metz, David Bordwell, Kristin Thompson, No?l Burch, and Arthur Knight. Their selections recount the innovations and triumphs of Ernst Lubitsch, Fritz Lang, Orson Welles, Alfred Hitchcock, Rouben Mamoulian, Dziga Vertov, Robert Bresson, Jean-Luc Godard, Robert Altman, and Francis Ford Coppola, among many others, and explicate the techniques and practices of sound filmmaking from initial recordings to final theater playback. Film Sound is the ideal companion for anyone seeking both a comprehensive introduction to the form and a rich survey of its historical and global evolution.

Contributions by Howard Ball, Peter Edelman, Aram Goudsouzian, Robert E. Luckett Jr., Ellen B. Meacham, Stanley Nelson, and Charles L. Overby A Past That Won't Rest: Images of the Civil Rights Movement in Mississippi collects never-before-published photographs taken by Jim Lucas (1944-1980), an exceptional documentary photographer. His black-and-white images, taken during 1964 through 1968, depict events from the civil rights movement including the search for the missing civil rights workers in Neshoba County, the Meredith March Against Fear, Senator Robert F. Kennedy's visit to the Mississippi Delta, and more. The photographs exemplify Lucas's technical skill and reveal the essential truth in his subjects and the circumstances surrounding them. Lucas had a gift for telling a visual story, an instinctive eye for framing his shots, and a keen human sensibility as a photojournalist. A college student in Jackson, Mississippi, in 1964, he was on his way to becoming a professional photojournalist when Freedom Summer exploded. Lucas found himself in the middle of events that would command the attention of the whole world. He cultivated his contacts and honed his craft behind the camera as a stringer for Time and Life magazines as well as the Associated Press. Lucas tragically lost his life in a car accident in 1980, but his photographs have survived and preserve a powerful visual legacy for Mississippi. Over one hundred gorgeously sharp photographs are paired with definitive essays by scholars of the events depicted, thereby adding insight and historical context to the book. Charles L. Overby, a fellow Jacksonian and young journalist at the time, provides a foreword about growing up in that tumultuous era.

In this volume, Tanya Sheehan takes humor seriously in order to trace how photographic comedy was used in America and transnationally to express evolving ideas about race, black emancipation, and civil rights in the mid-1800s and into the twentieth century. Sheehan employs a trove of understudied materials to write a new history of photography, one that encompasses the rise of the commercial portrait studio in the 1840s, the popularization of amateur photography around 1900, and the mass circulation of postcards and other photographic ephemera in the twentieth century. She examines the racial politics that shaped some of the most essential elements of the medium, from the negative-positive process to the convention of the photographic smile. The book also places historical discourses in relation to contemporary art that critiques racism through humor, including the work of Genevieve Grieves, Adrian Piper, Lorna Simpson, Kara Walker, and Fred Wilson. By treating racial humor about and within the photographic medium as complex social commentary, rather than a collectible curiosity, Study in Black and White enriches our understanding of photography in popular culture. Transhistorical and interdisciplinary, this book will be of vital interest to scholars of art history and visual studies, critical race studies, U.S. history, and African American studies.

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).

The first photo book by the Nasa astronaut Scott Kelly, who spent a record-breaking Year in Space. This is an awe-inspiring collection of the photos Scott took himself while on board the International Space Station, many of which have never been seen before. Scott Kelly has seen the world in ways most of us never will. During his record-breaking 340 consecutive days on board the ISS, Scott Kelly circled the earth 5,440 times, witnessing 10,944 sunrises and sunsets - that's 16 a day. In all this time, he posted just 713 photos on Instagram. But it's not all sunrises, sunsets and #nofilter. Through the photos Kelly took during his time in space, we can learn to see the world in a new way and we are afforded a glimpse into a life that most of us will never encounter but of which many of us dream. This book will show you what it's really like to be a Nasa astronaut.

The works included in this volume are not shots taken directly from reality but, instead, they offer landscapes that were recreated through a complex photographic staging, in which Maselli highlights, through different techniques such as fragmentation, repetition, proliferation and superposition, the magnificence of the mountain ranges previously photographed from nature. These recreations, which pursue the bewilderment of the sublime, also embrace the vehicular concern of contemporary photographic discourse: the elucidation of the boundaries between reality and its representation.

Camera trapping is a powerful and now widely used tool in scientific research on wildlife ecology and management. It provides a unique opportunity for collecting knowledge, investigating the presence of animals, or recording and studying behaviour. Its visual nature makes it easy to successfully convey findings to a wide audience. This book provides a much-needed guide to the sound use of camera trapping for the most common ecological applications to wildlife research. Each phase involved in the use of camera trapping is covered: - Selecting the right camera type - Set-up and field deployment of your camera trap - Defining the sampling design: presence/absence, species inventory, abundance; occupancy at species level; capture-mark-recapture for density estimation; behavioural studies; community-level analysis - Data storage, management and analysis for your research topic, with illustrative examples for using R and Excel - Using camera trapping for monitoring, conservation and public engagement. Each chapter in this edited volume is essential reading for students, scientists, ecologists, educators and professionals involved in wildlife research or management.

"You eat with your eyes first," and no one turns a photograph of food into a culinary masterpiece like a food stylist. Food Styling for Photographers is the next best thing to having renowned food stylist Linda Bellingham by your side. Linda has worked with clients Baskin Robbins Ice Cream, McDonald's, Tyson Foods, FritoLay, and many, many more. Professional photographer Jean Ann Bybee has worked with Harry & David, Dominos, Sara Lee, Seven-Up Company, and more. Jean Ann provides a seasoned photographer's point of view with helpful tips throughout.
If you are hungry for unique photo assignments and want to expand your portfolio, this guide provides the well-kept secrets of food styling techniques that can make your photos good enough to eat.
Each chapter covers step-by-step instructions with mouth-watering photographs illustrating techniques for the creation of hero products that photographers at any level can whip up.
Bon Appetit!
Tips include:
* Supply lists
* Step-by-step photo illustrations
* Discussions about the rationale for using real versus fake foods
* Settings and props
* Handling and care of the hero before it goes on set
* On-set techniques for preserving the hero
* Lighting discussions of the hero shots

The Mississippi Delta is known for many things. It is a land of stark contrast, in which rich soil produces an agricultural bounty as well as fearsome economic want. The Delta has compelled generations of writers, musicians, and artists to chronicle and engage its harsh and mysterious beauty. Seen through the penetrating lens of noted photographer Maude Schuyler Clay, the nearly deserted buildings and landscapes of the Delta are brought to life by the dogs that roam the wide fields and swamp-soaked shadows.

For the past fifteen years, Clay has been driving the back roads photographing her native Delta. In the darkroom of her hundred-year-old family homestead in Sumner, Mississippi, she has developed hundreds of images of eroding architecture, misty bayous, small stands of woods, endless rows of crops. And dogs. Clay has spotted and captured the elemental spirit of dogs eking out existences from this majestic landscape. In her iconic book "Delta Land," Clay introduced the "Dog in the Fog," the muscular lab standing watch in the mist and trees of Cassidy Bayou. This photo became widely recognized, and Clay wanted to further explore the relationship between the land and the numerous dogs populating its fields, bayous, and abandoned spaces.

This new book, "Delta Dogs," celebrates the canines who roam this most storied corner of Mississippi. Some of Clay's photographs feature lone dogs dwarfed by kudzu-choked trees and hidden among the brambles adjacent to plowed fields. In others, dogs travel in amiable packs, trotting toward a shared but mysterious adventure. Her Delta dogs are by turns soulful, eager, wary, resigned, menacing, and contented.

Writers Brad Watson and Beth Ann Fennelly ponder Clay's dogs and their connections to the Delta, speculating about their role in the drama of everyday life and about their relationships to the humans who share this landscape with them. In a photographer's afterword, Clay writes about discovering the beauty of her native land from within. She finds that the ubiquitous presence of the Delta dog gives scale, life, and sometimes even whimsy and intent to her Mississippi landscape.

Nature photography is a great way to enjoy nature and take it home without spoiling its beauty. This book covers the fundamentals of nature photography for beginners and additional detail for readers with 35mm SLRs who want to improve their technique. Specific tips for photographing wildlife, landscapes, and close-ups are provided in addition to information on using falters, natural and artificial light, lens choices, and when and where to shoot. A full glossary of definitions and appendixes covering 10 quick nature photography tips, troubleshooting, and frequently asked questions are included.

Infrared photography offers a new look for the wedding album, with ethereal grays and whites and a smooth, glowing skin tone, but the technique is tricky in the hectic setting of a wedding. This step-by-step manual meets the special needs of photographers who must achieve unique and beautiful portraits outside the studio. The proper equipment for infrared photography, selecting and protecting sensitive infrared film, and packaging and marketing infrared wedding photography are covered.

Featuring compelling images created by more than 35 of the world's best nature photographers, this book is packed with stunning examples of wildlife portraiture, fine art landscape images, and botanical and insect close-ups. Full color.

In this book, the interaction between high-end molecular gastronomy and architecture is explained in an illuminating and entertaining way.

Corporate video production used to be seen as a bland area of video, with a talking-head, PowerPoint-slide style. Now, corporate video is seen as more important than ever before, with opportunities for companies to distribute video online and more contracts available to video professionals. Stu Sweetow shows aspiring and pro videographers how to land coveted corporate contracts with comprehensive techniques learned from his years in the industry. Corporate Video Production teaches videographers how to make imaginative corporate videos with eye-catching design, rhythmic editing tricks, and essential scriptwriting and interview techniques. Readers will learn how to shoot on location or in a studio and how to work with employees-turned-actors. Armed with Sweetow's advice, videographers will get contracts and produce online videos and podcasts for corporations, government agencies, and non-profit organizations.