This is the first book to examine the lives and works of women photographers active in the settler colonial nations of the Pacific Rim from 1857-1930. The few histories of women's photography that have been written so far have been confined to developments in Britain, France, Germany and the USA, and have overwhelmingly focused on artistic photography, ignoring the whole area of commercial photography. Taking 12 case studies as representative of the many women who entered the profession between 1857 and 1930, this book deals with both early 20th-century artistic and ethnographic photography in the region and 19th-century commercial photography. In addition to asking how female photographers coped with the pressure of being women in a male-dominated profession, what was new about the techniques and methods they deployed, and the kinds of artistic visions they brought to bear on their subjects, it breaks new ground by asking how they responded as photographers to the on-going decimation and displacement of indigenous peoples as white settlement and capitalism became ever more entrenched across the new world territories of the Pacific Rim, and photography more influenced by the international art movements of Pictorialism and Modernism.

This is the first book to examine the lives and works of women photographers active in the settler colonial nations of the Pacific Rim from 1857-1930. The few histories of women's photography that have been written so far have been confined to developments in Britain, France, Germany and the USA, and have overwhelmingly focused on artistic photography, ignoring the whole area of commercial photography. Taking 12 case studies as representative of the many women who entered the profession between 1857 and 1930, this book deals with both early 20th-century artistic and ethnographic photography in the region and 19th-century commercial photography. In addition to asking how female photographers coped with the pressure of being women in a male-dominated profession, what was new about the techniques and methods they deployed, and the kinds of artistic visions they brought to bear on their subjects, it breaks new ground by asking how they responded as photographers to the on-going decimation and displacement of indigenous peoples as white settlement and capitalism became ever more entrenched across the new world territories of the Pacific Rim, and photography more influenced by the international art movements of Pictorialism and Modernism.

Would You Teach a Fish to Climb a Tree? A Different Take on Kids with ADD, ADHD, OCD and Autism provides us with a refreshing and new perspective on these children who are so different from their peers. Co-authored by three practitioners who have had remarkable success working with them, this book is filled with practical tools, stories, observations, and life changing questions that can be used by anyone who has one of these kids in their life and who is looking for something different. These children are magical and you are sure to fall in love with many of them. There are many magical adults as well ... those who are willing to step beyond what so many experts in the field advocate, into what they actually know to be effective with the children. Parents and siblings and relatives; teachers and therapists and administrators; peers and loved ones and friends ... all will benefit from this groundbreaking book.

If you could learn new tools to use to integrate parents into the play therapy process in a way that could facilitate healing, would you use them? What if you can be you in the play therapy room, no matter what the situation or circumstances ... at ease, confident, caring, aware, totally present ... regardless of who's in the room with you? As play therapists, many of us have an easier time kids than we do with parents. The Keys to the Magic presents you with other possibilities. Anne Maxwell, LCSW, RPT-S has worked for over twenty years with kids and families as a play therapist and family therapist. "Over the years, my practice has evolved into what I call Family Centered Play Therapy." The Keys to the Magic provides you with an overview of Family Centered Play Therapy, and so much more.

This book documents and critically analyses the photographs that helped to strengthen as well as bring down the eugenics movement. Using a large body of racial-type images and a variety of historical and archival sources, and concentrating mainly on developments in Britain, the USA and Nazi Germany, this book explains how photography, as the most powerful visual medium of the late nineteenth and early twentieth centuries, was vital to the eugenics movement's success -- not only did it allow eugenicists to identify the people with superior and inferior hereditary traits, but it helped publicise and lend scientific authority to eugenicists' racial theories. The author argues for a strong connection between the racial-type photographs that eugenicists created and the photographic images produced by nineteenth-century anthropologists and prison authorities, and how the photographic works of contemporary liberal anthropologists played a significant role in the eugenics movement's downfall. Besides adding to our knowledge of photography's crucial role in helping to authorise and implement some of the most controversial social policies of modem times, this book makes a major contribution to our understanding of the history of racism. The book looks at eugenics from the standpoint of its most significant cultural data -- racial-type photography, investigating the techniques, media forms, and styles of photography used by eugenicists, and relating these to their racial theories and their social policies and goals. It demonstrates how the visual archive was crucially constitutive of eugenic racial science because it helped make many of its concepts appear both intuitive as well as scientifically legitimate.

Documents and critically analyses the photographs that helped strengthen as well as bring down the Eugenics Movement. Using a large body of racial-type images and a variety of historical and archival sources, and concentrating mainly on developments in Britain, the USA and Nazi Germany, the author argues that photography, as the most powerful visual medium of the late nineteenth and early twentieth centuries, was vital to the Eugenics Movement's success -- not only did it allow eugenicists to identify the people with superior and inferior hereditary traits, but it helped publicise and lend scientific authority to eugenicists' racial theories. The author further argues for a strong connection between the racial-type photographs that eugenicists created and the photographic images produced by nineteenth-century anthropologists and prison authorities, and that the photographic works of contemporary liberal anthropologists played a significant role in the Eugenics Movement's downfall. Besides adding to our knowledge of photography's crucial role in helping to authorise and implement some of the most controversial social policies of modern times, this book makes a major contribution to our understanding of the history of racism. Most accounts of eugenics have been written by history of science scholars, with an emphasis on the history of science and medicine. In contrast, "Picture Imperfect" looks at eugenics from the standpoint of its most significant cultural data -- racial-type photography, investigating the techniques, media forms, and styles of photography used by eugenicists, and relating these to their racial theories and their social policies and goals. Indeed, the visual archive was crucially constitutive of eugenic racial science because it helped make many of its concepts appear both intuitive as well as scientifically legitimate. Discussion of the history of the eugenics movement encompasses a wide narrative, including Nazi history, US politics, criminology and prison studies, and propaganda.