"Jay B. Sauceda is creating a new kind of literature for the state, a visual literature that is as significant and powerful as John Graves's Goodbye to a River, Robert Caro's The Path to Power, Edna Ferber's Giant, or T. R. Fehrenbach's Lone Star. His compositions accomplish what all great work does-offering a new way of seeing things so familiar that we have stopped seeing them." -Rick Bass in Texas Monthly On the ground, Texas is a vast patchwork of natural and human landscapes-wide open spaces contrasting with sprawling cities; the watery worlds of rivers, lakes, and coastlines giving way to the arid vistas of plains and deserts. From the air, though, Texas takes on a wholeness that unites the landscapes that people manufacture with the land that nature still sculpts. This is the Texas that Jay B. Sauceda portrays in A Mile above Texas, a book of stunning aerial photographs that document the entire perimeter of the state. Sauceda flew 3,822 miles, over five days in 2015, in a single-engine Cessna. He shot more than 44,000 photos from the plane, via handheld cameras and GoPros attached to the wings. This book presents the very best of those photographs in sections that cover each leg of the trip: Victoria to Marshall, Marshall to Dalhart, Dalhart to El Paso, El Paso to Marfa, and Marfa to Mustang Beach. With fresh views of Texas's beaches and rivers, woodlands and deserts, cities and farms, A Mile above Texas offers an encompassing view of the state that perhaps only flyers and migratory birds have enjoyed before now.

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. "

Motion pictures were first seen in 1894, when Thomas Edison introduced the Kinetoscope, a device for individually looking at film through a viewer. Over the next three years, Edison manufactured almost 1,000 Kinetoscopes and produced some 250 films to show in them. A million people worldwide first saw motion pictures through these devices.

This book describes in detail how Kinetoscopes worked and how they were sold, and describes the parlors to which the public flocked, fascinated by the novelty of moving images. It examines how the machines were copied by others and later eclipsed by the advent of projection. It also indicates where surviving machines can be found in the United States and Europe. The book concludes with an index to Edison's films between 1892 and 1896, and presents titles, filming dates, subject descriptions, and information on the location of surviving copies. Copiously illustrated, the book is a vital research tool for all students of motion picture history.

A current overview of Display Systems, written by recognised experts in the field. This book gives practical guidance on the latest technological developments and new application areas of displays which will enable the reader to gain an understanding of the current state of the art as well as the major trends that will shape future applications of displays and display systems. Display Systems offers an insight into display technology with a view to defining its best potential, by focusing on performance assessment and optimum utilisation. It brings together complimentary disciplines of design, hardware and usage, covering a wide range of developments, and is written by leading international experts. The book is divided into three sections: (1) requirements for display systems, covering topics such as applications and evaluation; (2) display technology, covering developments in flat panel displays as well as CRT’s; and (3) display characterisation, including measurement techniques and colour specification. Also covered are ergonomic requirements for display systems and their mutual dependence on standards. The book will be welcomed by scientists, technologists and engineers active in the field and also by the developers of a wide range of systems and applications for displays. Its technical content is suitable for final year undergraduate or postgraduate study. The Society for Information Display (SID) is an international society which has the aim of encouraging the development of all aspects of the field of information display. Indeed, it is the only international society dedicated solely to this field, which is broad and inter—disciplinary, not only in the scientific sense, but through development and manufacturing to marketing. Wiley SID Series in Display Technology This volume is the first in the series which aims to present a comprehensive technical discussion of the many disciplines which must be combined in the development of display systems. Further volumes will be announced in due course and more information on SID, its aims and activities can be found from its home page.

'The Sites of Ancient Greece' presents 150 of Georg Gerster's most spectacular and evocative photographs of the landscapes and architecture - both ancient and modern - of Greece, a country he has visited and photographed numerous times in his long career. The photographs in this book were taken between 1996 and 2006. A short preface by Gerster himself and an introductory essay convey a sense of why this country, its history, myths and landscapes, have captured the hearts and minds of so many for thousands of years, from ancient kings and poets to modern holiday-makers. In addition, a map of the featured locations and a timeline listing the key dates, events and eras of the ancient Greek world help set the scene for the picture section to follow. Arranged geographically by region, the images in this book take the viewer on a guided tour of Greece and her islands, from cloud-topped Mount Olympus, home of the Gods, in the northern mainland to the isle of Crete in the Mediterranean Sea.

Ever wish you could push the "reset" button on the world in which you live as well as the one you carry inside your head? Are you tired of a culture that seems infatuated with wealth and the superfluous, where people can become famous simply by being outrageous or otherwise well known? If that world is not working for you, perhaps you should consider a trip to the desert, just as holy men, mystics, prophets, and eccentrics have done for thousands of years, seeking solitude and inspiration, wisdom and direction in a land of extremes. This is what author Jim Barbee did, seeking Inner Space in the expansive California Desert that lies just 100 miles east of Los Angeles and the other coastal cities of Southern California. Sin Sombras is Barbee's attempt, in photographs and stories, to relive the California Desert: a landscape where there are no shadows (sin sombras), no shade, no place to hide or find relief. It is a wild, arid, and sparsely populated region, "flyover" country for most travelers, a place to pass through or endure, but also home to hardy individuals who live in one of the harshest climates on Earth. The photographs were taken largely between El Centro and Barstow, California, including the famous Salton Sea. They depict the land, towns, people, and human artifacts that tell a visual story of pilgrimage, survival, and adaptation. The accompanying stories walk the boundary between fact and fiction and are offered as reflections on themes inspired by the pictures: awe, mystery, longing, death, mistakes, and the power of chance in our lives. Sin Sombras is a unique work of artistic and spiritual exploration. One might even say it is a sojourn to find the meaning of life, if there is one, in the unforgiving but awe-inspiring world of the California Desert. Enjoy the ride.

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.

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.

For the first time of its invention, photography has been used to visualize events that are either too fast or too slow for the eye to perceive, or subjects that are outside the spectral range of the human eye. This book shows how you can photograph a range of subjects and see the world as never before. Written with clear and accessible text, it explores and suggests techniques that expose new images in new ways, and pushes the boundaries of the photographer's creative potential. Techniques include: ultraviolet (UV) and infrared (IR) photography; high speed and time-lapse photography; close-up, macro and photography with the aid of a microscope and finally, photography using polarized light. Most of the techniques are accessible to all photographers using readily available equipment (UV and IR will require some specialist items), and have been relatively unexplored so give the adventurous photographer great potential to experiment and produce unique images.

The Astrophotography Manual, Second Edition is for photographers ready to move beyond standard SLR cameras and editing software to create beautiful images of nebulas, galaxies, clusters, and the stars. Beginning with a brief astronomy primer, this book takes readers through the full astrophotography process, from choosing and using equipment to image capture, calibration, and processing. This combination of technical background and hands-on approach brings the science down to earth, with practical methods to ensure success. This second edition now includes: Over 170 pages of new content within 22 new chapters, with 600 full-color illustrations. Covers a wide range of hardware, including mobile devices, remote control and new technologies. Further insights into leading software, including automation, Sequence Generator Pro and PixInsight Ground-breaking practical chapters on hardware and software as well as alternative astrophotography pursuits

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 Selous Game Reserve in southern Tanzania is Africa's oldest and largest protected area. Proclaimed in 1896 and bigger than Switzerland, the Selous is a UNESCO World Heritage Site. The Selous remains one of Africa's largest and greatest undisturbed ecosystems, teeming with life including one of the two largest elephant populations remaining on the African continent, probably half of all of the wild dogs in Africa, vast herds of buffalo as well as more lions than any other protected area on the continent as reported by National Geographic in August 2013. The game reserve is becoming more important by the day as the pressure on elephants and other species grows - problems that are addressed here in this book. New York-born photographer Rob Ross has spent much of the past four years photographing in this vast and difficult to access reserve. He has compiled more than 100,000 images showing all aspects of the reserves varied landscapes, seasons, flora and large and small fauna.The spectacular large-format photography book features a selection of the very best images including landscapes, wildlife portraits and behaviour, night photography, impressionist style work and breath-taking aerials.

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.

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.

Every autumn, thousands of migrating Red-tailed Hawks arrive on the southern Great Plains to spend the winter, and Oklahoma is one of the best places to observe this amazing phenomenon. Above the prairie, as Oscar Hammerstein wrote, they make ""lazy circles in the sky,"" but not for entertainment, theirs or ours. Author Jim Lish draws on more than forty years' experience as a professional biologist and ornithologist to present almost two hundred color photographs of Red-tails and relate important lessons in southern Great Plains biodiversity, underscoring the place of the Red-tailed Hawk in Oklahoma's tallgrass prairie ecology. Winter's Hawk introduces the reader to the hawk's biology, social behavior, and useful role in limiting destructive rodent populations. In sharing many anecdotes from his long experience in the field, Lish describes the hunting techniques of Red-tails, their competition with other raptors, and their behavior in the presence of human observers. He describes the subtle differences in plumage, and other characteristics between the various subspecies of Red-tailed Hawks that winter here. His account of their behavior includes intergenerational warfare, in which young Red-tails are frequently the losers. Detailed and scientifically accurate, this informal, jargon-free account will appeal to birders, sportsmen, naturalists, and falconers, as well as biologists. Red-tails can see ultraviolet light, which enables them to easily locate trails left by rodents. Cotton rats are by far their most important winter food, but they also eat carrion, large snakes, medium-sized mammals, and smaller birds. The main motive for the birds' behavior, Lish reminds us, is survival, and he includes birds'-eye views of the hazards Red-tails face: foot injuries, damage to feathers, starvation, electrocution, and illegal shooting. A treasure trove of rich descriptive writing and astonishing photographs, Winter's Hawk inspires readers to help preserve these magnificent birds of prey so that future generations may see a Red-tail standing sentinel over a field or circling above it.

Video is a part of everyday life, comparable to driving a car or taking a shower. It is nearly omnipresent, available on demand and attached to nearby anything, anywhere. Online Video became something vital and independent. With all the video created by the cameras around us, constantly uploading, sharing, linking, and relating, a blue ocean is covering our planet, an ocean of video. What might look as bluish noise and dust from the far outside, might embed beautiful and fascinating living scapes of moving images, objects constantly changing, re-arranging, assembling, evolving, collapsing, but never disappearing, a real cinema. Andreas Treske describes and theorizes these objects formerly named video, their forms, behaviours and properties.

"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

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.

Dokument aus dem Jahr 2012 im Fachbereich Kunst - Fotografie und Film, Note: -, -, Sprache: Deutsch, Abstract: Zur Kultfigur des Films avancierte aufgrund zahlreicher Mythen und Legenden die schwedisch-amerikanische Filmschauspielerin Greta Garbo (1905-1990), deren burgerlicher Name Greta Lovisa Gustafsson war. In Stummfilmen der 1920-er Jahre beeindruckte die Gottliche" mit ihrer kuhlen, nordischen Schonheit und durch ihr Talent, Gefuhle mit sparsamen Gesten auszudrucken. Die Kurzbiografie Greta Garbo - Die Gottliche" des Wiesbadener Autors Ernst Probst schildert ihr Leben.

In the months leading up to the 2020 presidential election, Portland made national news with nightly social justice protests, often met with violent response by counter protestors and law enforcement. Though frequently regarded as a progressive hub, Portland has a long history of racial inequality and oppression, and the city’s entrenched divisions gained new attention during the Trump years. The photos in Protest City present a visceral visual record of this significant moment in Portland’s history. The majority of the 121 photos included in the book were taken between May and October 2020, but the end of the collection is supplemented with photos from protests in late 2020 and early 2021 around various related issues, including the Red House on Mississippi and demonstrations on January 6 and 21. Dundon’s striking photos recreate the immediacy and impact of the protests. The text includes a chronology and statement from the author; a foreword by Donnell Alexander; and a historical introduction by Carmen Thompson. The publisher and author would like to thank Magnum Foundation, Documentary Arts, and the Economic Hardship Reporting Project for their generous support of this publication. Additional funding has been provided by Furthermore: a program of the J. M. Kaplan Fund.

Enhance your animated features and shorts with this polished guide to channeling your vision and imagination from a former Disney animator and director. Learn how to become a strong visual storyteller through better use of color, volume, shape, shadow, and light - as well as discover how to tap into your imagination and refine your own personal vision. Francis Glebas, the director of Piglet's Big Day, guides you through the animation design process in a way that only years of expertise can provide. Discover how to create unique worlds and compelling characters as well as the difference between real-world and cartoon physics as Francis breaks down animated scenes to show you how and why to layout your animation.

What explains our current obsession with selfies? In I Love My Selfie noted cultural critic Ilan Stavans explores the selfie's historical and cultural roots by discussing everything from Greek mythology and Shakespeare to Andy Warhol, James Franco, and Pope Francis. He sees selfies as tools people use to disguise or present themselves as spontaneous and casual. This collaboration includes a portfolio of fifty autoportraits by the artist ADAL; he and Stavans use them as a way to question the notion of the self and to engage with artists, celebrities, technology, identity, and politics. Provocative and engaging, I Love My Selfie will change the way readers think about this unavoidable phenomenon of twenty-first-century life.