Go here. Do that. Work here. Buy that.

Spend each day bored, staring at a screen, wondering if this is really all there is.

There is another way.

My name is Nightscape. Through years of training, I get to see the city in a way nobody else does. With this book, I want to show you what the world looks like through my eyes and inspire everyone to find their passion.

Don’t let anyone tell you what your limits are.

At first glance, Jessica Ingram's landscape photographs could have been made nearly anywhere in the American South: a fenced-in backyard, a dirt road lined by overgrowth, a field grooved with muddy tire prints. These seemingly ordinary places, however, were the sites of pivotal events during the civil rights era, though often there is not a plaque with dates and names to mark their importance. Many of these places are where the bodies of African Americans-activists, mill workers, store owners, sharecroppers, children and teenagers-were murdered or found, victims of racist violence. These images are interspersed with oral histories from victims' families and investigative journalists, as well as pages from newspapers and FBI files and other ephemera. With Road Through Midnight, the result of nearly a decade of research and fieldwork, Ingram unlocks powerful and complex histories to reframe these commonplace landscapes as sites of both remembrance and resistance and transform the way we regard both what has happened and what's happening now-as the fight for civil rights goes on and memorialization has become the literal subject of contested cultural and societal ground.

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.

Aretha was private. I respected this and she trusted me. Linda Solomon met Aretha Franklin in 1983 when she was just beginning her career as a photo journalist and newspaper columnist. Franklin's brother and business manager arranged for Solomon to capture the singer's major career events-just as she was coming back home to Detroit from California-while Franklin requested that Solomon document everything else. Everything. And she did just that. What developed over these years of photographing birthday and Christmas parties in her home, annual celebrity galas, private backstage moments during national awards ceremonies, photo shoots with the iconic pink Cadillac, and more was a friendship between two women who grew to enjoy and respect one another. The Queen Next Door is a book full of firsts as Solomon was invited not only to capture historical events in Aretha'smusic career showcasing Detroit, but to join in with the Franklin family's most intimate and cherished moments in her beloved hometown. From performance rehearsals with James Brown to off-camera shenanigans while filming a music video with the Rolling Stones, from her first television special to her first time performing with the Detroit Symphony Orchestra, to her last performance with her sisters at her father's church and her son's college graduation celebration. In the book's afterword, Sabrina Garrett Owens, Franklin's niece, honors her aunt, a woman who wasan over whelming supporter of civil rights, women's rights, and fundraising campaigns that helped to benefit her hometown. There was a time in her career-when Franklin was more in demand than ever before-when she insisted that if someone wanted her to perform, they had to come to Detroit. During this time all of her majorconcerts, national television specials, music videos, and commercials would happen in Detroit. Aretha Franklin showed her respect for the people in the city who championed her from the very beginning when she started singing as a young girl in the church choir. Franklin used to say, ""I am the lady next door when I am not on stage."" The Queen Next Door offers fans a personaland unseen look at an extraordinary woman in her most natural moments-both regal and intimate-and highlightsher devotion to her family and her hometown Detroit-""forever and ever.

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.

Cinematography is the art and craft of visualizing and recording the moving image. The cinematographer therefore has to use their technical and creative skills to photographically capture the mood of the film and the vision of the director. Done properly, they add the magic and depth to a film, giving it a defining edge. This practical book explains the principles behind cinematography, as well as the skills of the cinematographer. Having described the equipment, it looks at how to interpret the script and advises on how to find a visual style. Written by a respected cinematographer, it also explains the roles of the camera crew and the importance of working as a team.

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.

World War II from Above offers a never-before-seen combination of annotated satellite images and expertly drawn battle maps. It aims to satisfy both the military history buff and those seeking a visually stunning history gift book, bringing the war vividly and dramatically to life by showing the actual landscapes where battles took place along with specially commissioned annotations depicting remarkable events, troop movements, heroic last stands, or even where individual soldiers stood or fell. Each of the 25 chapters features an enhanced Google Earth image, along with specially commissioned battle maps showing every facet of the conflict in exceptional detail. Here you will find all the key milestones of World War II: the invasion of France, Germany's first blitzkrieg offensives, the Battle of Alamein, Monte Cassino, Arnhem, the invasion of Sicily, the Battle of the Bulge, Iwo Jima, D-Day and the final push to Berlin, along with a host of other strategic and battle maps from every geographical location. Written by a highly decorated soldier and leading military history expert, this is an innovative, richly detailed and visually stunning overview of history's most destructive conflict.

Winner, Association of American Publishers' Professional and Scholarly Publishing Award in Business, Management and Accounting

The Corporate Eye examines the intersection of photography as a mass technology with corporate concerns about efficiency in the Progressive period. Discussing the work of, among others, Frederick W. Taylor, Eadweard Muybridge, Frank Gilbreth, and Lewis Hine, Elspeth H. Brown explores this intersection through a variety of examples, including racial discrimination in hiring, the problem of photographic realism, and the gendered assumptions at work in the origins of modern marketing. She concludes that the goal uniting the various forms and applications of photographic production in that era was the increased rationalization of the modern economy through a set of interlocking managerial innovations, technologies that sought to redesign not only industrial production but the modern subject itself.

"A highly welcome contribution to the field of business history as well as American visual culture." -- Business History Review

"This highly readable, interdisciplinary book provides insights into both the history of American economic development and the history of photography." -- Patricia Johnson, Afterimage

"A unique and interdisciplinary analysis of the intersection between visual and commercial culture in the USA." -- History of Photography

"The Corporate Eye is American studies and interdisciplinary cultural history at its best." -- Journal of American History

"This is a book whose 'big picture' is fully in focus." -- Technology and Culture

"Meticulous research and rich contextualization... A welcome and imaginative addition to the history of visualtechnologies and commercial history." -- Industrial Archaeology

Elspeth H. Brown is an associate professor of history at the University of Toronto and the director of the Centre for the Study of the United States, Munck Centre for International Studies, University of Toronto.

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.

Take your video projects to the next level with the power of green screen! This easy-to-follow guide clearly explains green screen technology and shows, step-by-step, how to dream up and create professional-grade video effects. Written by a teacher-maker-librarian, The Green Screen Makerspace Project Book features 25 low-cost DIY projects that include materials lists, start-to-finish instructions, and detailed photos. You will get coverage of software that readers at any skill level, in any makerspace from a library to a living room can use to produce videos with high-quality green screen effects. *Learn about the history and evolution of green screen *Explore the underlying science and technology *Build your own inexpensive-or free!-green screen *Choose a suitable lighting kit or find the best natural light *Put it all together and create visually interesting presentations *Edit your videos using PC, Mac, and Chromebook programs

An avid gamer and sharp media critic explains meritocracy's negative contribution to video game culture-and what can be done about it Video games have brought entertainment, education, and innovation to millions, but gaming also has its dark sides. From the deep-bred misogyny epitomized by GamerGate to the endemic malice of abusive player communities, gamer culture has had serious real-world repercussions, ranging from death threats to sexist industry practices and racist condemnations. In The Toxic Meritocracy of Video Games, new media critic and longtime gamer Christopher A. Paul explains how video games' focus on meritocracy empowers this negative culture. Paul first shows why meritocracy is integral to video-game design, narratives, and values. Games typically valorize skill and technique, and common video-game practices (such as leveling) build meritocratic thinking into the most basic premises. Video games are often assumed to have an even playing field, but they facilitate skill transfer from game to game, allowing certain players a built-in advantage. The Toxic Meritocracy of Video Games identifies deep-seated challenges in the culture of video games-but all is not lost. As Paul argues, similarly meritocratic institutions like professional sports and higher education have found powerful remedies to alleviate their own toxic cultures, including active recruiting and strategies that promote values such as contingency, luck, and serendipity. These can be brought to the gamer universe, Paul contends, ultimately fostering a more diverse, accepting, and self-reflective culture that is not only good for gamers but good for video games as well.

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.

The eye is sovereign in every art but music. Reading, writing and painting are all but soundless deeds of sight."" These are the words of Reynolds Price (1933-2011), one America's greatest writers. In his novels, short stories, poems and plays - forty-one books in all - Price renders with keenness, clarity and profound eloquence the experience of life, both the visible and invisible, the outward and the interior. What is not well known is that Price was also a visionary collector. In his modest North Carolina house, nestled among southern pines and hardwoods, Price - confined to a wheelchair for the last three decades of his life - curated and arranged his books, photographs, paintings, sculptures, masks, religious icons, and objects he collected, purchased, or was given over the years, creating a visual environment that directly reflected his life, his experiences, his passions and preoccupations. After his death in 2011, Price's family invited acclaimed photographer, Alex Harris to photograph the house. In this remarkably intimate and revealing book, Harris and his wife, writer Margaret Sartor, pair sixty of Harris's color photographs with excerpts from Price's fiction, non-fiction, poetry, and interviews. As longtime neighbors and friends who spent time in his house over many years, they show the ways in which the art and memorabilia Price collected inspired his writing and illuminates connections between the visible world he constructed and the creations of his mind. As we turn the pages of this book, it is as if Reynolds Price himself takes us on a guided tour of his home. And as we walk through his rooms, he reveals his private world, recounts significant episodes in his life, and speaks with wisdom and humor about the people, ideas, and beliefs most important to him. As readers we follow, we listen, and we see. Reynolds Price's connection to his house - where he lived and worked for over four decades - offers insight into our own lives and loves, teaches us about the importance of place, shows how to be fully engaged in the world, how to strive to live a meaningful life.

This Project Planning Note is intended to cover the taking of oblique aerial photographs of the historic environment. It includes advice on planning and carrying out aerial reconnaissance projects and lists relevant sources of further information. This Project Planning Note is intended to be read in conjunction with the MoRPHE Project Managers Guide which gives generic guidance on project management.

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.

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

In this revealing study, Daisuke Miyao explores "the aesthetics of shadow" in Japanese cinema in the first half of the twentieth century. This term, coined by the production designer Yoshino Nobutaka, refers to the perception that shadows add depth and mystery. Miyao analyzes how this notion became naturalized as the representation of beauty in Japanese films, situating Japanese cinema within transnational film history. He examines the significant roles lighting played in distinguishing the styles of Japanese film from American and European film and the ways that lighting facilitated the formulation of a coherent new Japanese cultural tradition. Miyao discusses the influences of Hollywood and German cinema alongside Japanese Kabuki theater lighting traditions and the emergence of neon commercial lighting during this period. He argues that lighting technology in cinema had been structured by the conflicts of modernity in Japan, including capitalist transitions in the film industry, the articulation of Japanese cultural and national identity, and increased subjectivity for individuals. By focusing on the understudied element of film lighting and treating cinematographers and lighting designers as essential collaborators in moviemaking, Miyao offers a rereading of Japanese film history.

In the mid-1950s, Swiss-born New Yorker Robert Frank embarked on a ten-thousand-mile road trip across America, capturing thousands of photographs of all levels of a rapidly changing society. The resultant photo book, "The Americans," represents a seminal moment in both photography and in America's understanding of itself. To mark the book's fiftieth anniversary, Jonathan Day revisits this pivotal work and contributes a thoughtful and revealing critical commentary. Though the importance of "The Americans" has been widely acknowledged, it still retains much of its mystery. This comprehensive analysis places it thoroughly in the context of contemporary photography, literature, music, and advertising from its own period through the present.