Photography and photographs Books

Book SynopsisAs a commercial food photographer, Joe Glyda has shot everything from appetizers to entrées to desserts. In Food Photography, Glyda brings his experience as a teacher and professional photographer to the page, instructing photographers how to light food, use unique camera angles, and work with styles and trends to create timeless and mouth-watering images. Including setup diagrams, toolkits, and instruction for editorial imagery, recipe and cookbook images, as well as images for packaging, this book is an essential resource for taking photographs that creatively meet your client's needs. Also included is invaluable advice on building your team and working with art directors and clients, making Food Photography a one-of-a-kind book that is essential for students of commercial photography, food bloggers, and professional photographers alike. Trade Review"Joe is a gifted photographer, a world-class communicator, and I’ve yet to meet anyone better at teaching food photography than Joe, and this book raises the bar for any book like it. There are insights, tricks, and techniques that you only learn from a lifetime behind the lens, and Joe shares them so openly with us. Every page brings another insight, another tip, and another reason to smile. Food photography is an art. A craft. And having the opportunity to learn it from one of the very best is truly a treat, and what Joe has done with this book is remarkable. You’ll be able to take his techniques and start taking the types of food photography shots you’ve always dreamed of. If I had to come up with one word to describe this book, no doubt it would be ‘delicious!’ Highly recommended for anyone who wants to take their food photography to the next level."—Scott Kelby, Editor & Publisher, Photoshop User Magazine; Director of Education, KelbyOne, Inc."This book is an excellent resource, particularly for those interested in pursuing a career as a commercial food photographer in the advertising industry. The author has a wealth of knowledge and experience which present as a smorgasbord of tips, tricks and techniques to help you to make the most of your images. He also shares detailed insights into food photography teams, individual roles and how a commercial shoot takes shape."—Fran Flynn, Food Photographer, Designer, Author & Educator"The perfect food photography instructional book from a professional in the field. The exceptional visuals of food and tools used within the profession will improve the quality of food imagery for photographers and bloggers instantly." —Amy Brooks Horn, Senior Lecturer of Photography, Northern Arizona University "Joe is a gifted photographer, a world-class communicator, and I’ve yet to meet anyone better at teaching food photography than Joe, and this book raises the bar for any book like it. There are insights, tricks, and techniques that you only learn from a lifetime behind the lens, and Joe shares them so openly with us. Every page brings another insight, another tip, and another reason to smile. Food photography is an art. A craft. And having the opportunity to learn it from one of the very best is truly a treat, and what Joe has done with this book is remarkable. You’ll be able to take his techniques and start taking the types of food photography shots you’ve always dreamed of. If I had to come up with one word to describe this book, no doubt it would be ‘delicious!’ Highly recommended for anyone who wants to take their food photography to the next level."—Scott Kelby, Editor & Publisher, Photoshop User Magazine; Director of Education, KelbyOne, Inc."This book is an excellent resource, particularly for those interested in pursuing a career as a commercial food photographer in the advertising industry. The author has a wealth of knowledge and experience which present as a smorgasbord of tips, tricks and techniques to help you to make the most of your images. He also shares detailed insights into food photography teams, individual roles and how a commercial shoot takes shape."—Fran Flynn, Food Photographer, Designer, Author & Educator"The perfect food photography instructional book from a professional in the field. The exceptional visuals of food and tools used within the profession will improve the quality of food imagery for photographers and bloggers instantly." —Amy Brooks Horn, Senior Lecturer of Photography, Northern Arizona University Table of ContentsPreface; 1). Introduction to Food Photography; 2). Getting Started; 3). The Players; 4). Lighting; 5). The Setup; 6). Tools of the Trade; 7). Post Production; 8). In Conclusion; Index

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Book SynopsisPhotography and Collaboration offers a fresh perspective on existing debates in art photography and on the act of photography in general. Unlike conventional accounts that celebrate individual photographers and their personal visions, this book investigates the idea that authorship in photography is often more complex and multiple than we imagine involving not only various forms of partnership between photographers, but also an astonishing array of relationships with photographed subjects and viewers. Thematic chapters explore the increasing prevalence of collaborative approaches to photography among a broad range of international artists from conceptual practices in the 1960s to the most recent digital manifestations. Positioning contemporary work in a broader historical and theoretical context, the book reveals that collaboration is an overlooked but essential dimension of the medium's development and potential.Trade Review"Daniel Palmer’s Photography and Collaboration impacts many of our conventional views, and it does so with substantial force. The book offers a number of important new arguments about collaboration in photographic practices, and synthesizes a great deal of material in ways that compel us to re-imagine much of what we thought we knew about the history of photography. - Alexander Alberro, Barnard College/Columbia University, USA Daniel Palmer’s new book, Photography and Collaboration, is a fascinating and invaluable contribution to the literature on contemporary art and to the history of photography. It is remarkable for his attention to the actual practice of photography. This is important because understanding how to take photographs is a problem, a learned craft and a set of rules to be flouted that all artists negotiate in different ways but for precise reasons. Palmer explains the sequence of reasons why photographers negotiated collaborations through photographs and why artist collaborations chose particular photographic methods. He writes with impressive lucidity and authority. - Charles Green, University of Melbourne, Australia Palmer’s book makes a valuable contribution to discussion about photographic practice now, situating it within a framework of collaboration and social encounter influenced by the writings of Azoulay, that is absolutely timely. He brings his examples of recent practices together in a distinctive way and within a tightly framed argument which makes a strong pitch for fundamentally rethinking the way we think about photography as a medium. Incorporating a broad theoretical overview and closely argued case studies this will be a really useful book for anyone studying the subject at university level. - Joanna Lowry, University of Brighton, UK By focusing on the surprisingly little-studied area of photographic collaboration, Daniel Palmer gives us a new framework through which to understand a remarkable breadth of photographic practice, both contemporary and historical. Photography & Collaboration addresses a lively and timely set of issues of key importance to artists today – from the ever-increasing relevance of social practices to the seemingly ubiquitous state of networked imagery – and offers fresh insights on canonical histories. - Kate Palmer Albers, University of Arizona, USA There has always been a collaborative effort and spirit connected to photography. This is particularly true since 1960. In his new book, Photography and Collaboration, Daniel Palmer admirably brings this tradition to light. With insight and skill, he pulls together a diverse and international cadre of photographers and artists who help us see that the study of collaboration does, in fact, augment our study of photography. - James R. Swensen, Brigham Young University, USA"Table of ContentsIntroduction1. Ideologies of Photographic Authorship2. Impersonal Evidence: Photography as Readymade3. Collaborative Documents: Photography in the Name of Community4. Relational Portraiture: Photography as Social Encounter5. Aggregated Authorship: Found Photography and Social NetworksConclusionBibliographyIndex

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Book SynopsisWith their power to create a sense of proximity and empathy, photographs have long been a crucial means of exchanging ideas between people across the globe; this book explores the role of photography in shaping ideas about race and difference from the 1840s to the 1948 Declaration of Human Rights. Focusing on Australian experience in a global context, a rich selection of case studies drawing on a range of visual genres, from portraiture to ethnographic to scientific photographs show how photographic encounters between Aboriginals, missionaries, scientists, photographers and writers fuelled international debates about morality, law, politics and human rights.Drawing on new archival research, Photography, Humanitarianism, Empire is essential reading for students and scholars of race, visuality and the histories of empire and human rights.Trade Review"A significant contribution to the history of humanitarianism, combining valuable descriptions of imagery with a careful analysis of the contexts in which photographs of Indigenous Australians were produced and used. - Johannes Paulmann, Director, Leibniz Institute of European History, Germany Historically situated yet framed within contemporary debates about human rights, Lydon challenges us to reconsider the photographic archive of colonialism and its legacy. Richly illustrated, and using a diverse range of little analysed source material from the 1840s to the 1950s, Lydon also importantly draws attention to the ethical issues that the research and use of these materials entails. - Gaye Sculthorpe, Curator, Oceania, The British Museum, UK Lydon presents her argument through clear and concise cases ... She carefully intersperses visual and cultural theories throughout the text in an amount that offers critical perspective without losing the narrative thread of the argument. The publication is also richly illustrated with archival photographs. - Visual Studies"Table of Contents1. Introduction: Photography, Humanitarianism, Empire2. One Blood: The Nucleus of the Native Church3. Veritable Apollos: Beauty, Race and Scientists4. Blind Spots or Bearing Witness: Antislavery and Frontier Violence in Australia5. Popularizing Anthropology: Elsie Masson and Baldwin Spencer6. ‘A Ray of Special Resemblance’: H. G. Wells and Colonial Embarrassment 7. Happy Families?: UNESCO’s Human Rights Exhibition in Australia, 1951NotesBibliographyIndex

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Book SynopsisThis collection explores women's multifaceted historical and contemporary involvement in photography in Africa. The book offers new ways of thinking about the history of photography, exploring through case studies the complex and historically specific articulations of gender and photography on the continent, and attending to the challenge and potential of contemporary feminist and postcolonial engagements with the medium. The volume is organised in thematic sections that present the lives and work of historically significant yet overlooked women photographers, as well as the work of acclaimed contemporary African women photographers such as Héla Ammar, Fatoumata Diabaté, Lebohang Kganye and Zanele Muholi. The book offers critical reflections on the politics of gendered knowledge production and the production of racialised and gendered identities and alternative and subaltern subjectivities. Several chapters illuminate how contemporary African women photographers, colleTrade Review‘From the early committed generation of African female studio and press photographers to the contemporary generation of artists and curators, this long-overdue book is a stimulating invitation to further investigation into the rich and unique contributions of African women to the field of photography, and brings new perspectives to research.’Érika Nimis, Department of Art History, Université du Québec à Montréal‘This book opens an unprecedented aperture on the diverse photographic practices of women in Africa – as authors, curators, custodians. The scintillating essays urge us to rethink the ways in which history, photography, and gender have inflected each other in the past, and how they might yield new possibilities for envisioning the future.’Jean Comaroff, Department of African and African American Studies, Harvard UniversityTable of ContentsPreface ; 1. New lines of sight: Perspectives on women and photography in Africa ; PART I: WRITING WOMEN INTO PHOTOGRAPHIC HISTORIES ; 2. A working woman’s eye: Anne Fischer and the South African photography of Weimar women in exile ; 3. Curating images, performing narratives: Women and photography in the Usakos old location ; 4. Women photographers in Angola and Mozambique (1909-1950): A history of an absence ; PART II: PHOTOGRAPHIC DIALOGUES WITH THE PAST ; 5. ‘Don’t touch’: Inheriting the Deo Gratias Photo Studio in Ghana – an interview with Kate Tamakloe-Vanderpuije; 6. Photographic representations of Tunisian women from the late 1940s to the present: A transgenerational palimpsest ; 7. Some collaborative readings of personal and cultural photographs from Southern Africa in the 1980s ; PART III: GENDER AND SEXUALITY IN PHOTOGRAPHIC PRACTICE ; 8. ‘We own the night’: Youth and self-fashioning in Fatoumata Diabaté’s Sutigi ; 9. Photographs and memory making: Curating Kewpie: Daughter of District Six ; 10. Beyond the frame: Zanele’s Muholi’s queer visual activism ; PART IV: FEMINIST AND POSTCOLONIAL PRACTICES ; 11. Affective archives: Re-animating family photographs in the works of Lebohang Kganye and Thenjiwe Niki Nkosi ; 12. Visual currencies: Performative photography in South African contemporary art ; 13. Héla Ammar’s Tarz: An affective and imaginative memory upon dispossession

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Book SynopsisThis bookexplores a range of photographic practices, including landscape and portraiture, still life and abstract, and considers techniques such as, directorial photography, photomontage and camera-less photography. With case studies and practical exercises, the reader is introduced to a structured way of developing creative solutions to the work they want to make, fusing personal ideas with knowledge, compositional elements and practical skills. The book enables informed choices to be made about the reader''s personal growth as a photographer, contributing to the creation of original photographic work that is informed, meaningful and relevant. Additional reading and resources, on historical and contemporary practices, ideas and techniques, are suggested in each chapter to inspire further enquiry and experimentation.Trade ReviewThis book is a wonderful introduction to the art of 'photographic seeing’, and follows the image-making process from inception to final display. It would be a most useful text for students who are beginning their journey into understanding photography, visual culture, and the world around themselves. -- Adam DeKraker, Associate Professor of Photography, Kendall College of Art and Design, USATable of ContentsIntroduction 1: Choosing a topicShaping the idea The creative cycle Structure and planning Research and development materials Case Study 1 Exercise 1 Suggested Reading 2: Style: Exploring photography genresStill Life Portraiture Landscape Documentary Abstract Case Study 2 Exercise 2 Suggested Reading 3: Theme: Understanding the issuesFactual record Interpretation and expression Content v's Form Case Study 3 Exercise 3 Suggested Reading 4: Approach: Looking at techniqueDirectorial photography Photomontage & composite images Image & Text Series & Sequencing Found Photography Camera-­-less photography Case Study 4 Exercise 4 Suggested Reading 5: Managing your projectDeveloping critical distance Reflection and feedback Further considerations Case Study 5 Exercise 5 Suggested Reading 6: Completing your workPresenting your work to an audience Handmade and electronic books Online gallery Wall based work Site specific and installation based work Case Study 6 Exercise 6 Suggested Reading Conclusion

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Book SynopsisThe stolen snapshot is a staple of the modern tabloid press, as ubiquitous as it is notorious. The first in-depth history of British tabloid photojournalism, this book explores the origin of the unauthorised celebrity photograph in the early 20th century, tracing its rise in the 1900s through to the first legal trial concerning the right to privacy from photographers shortly after the Second World War. Packed with case studies from the glamorous to the infamous, the book argues that the candid snap was a tabloid innovation that drew its power from Britain's unique class tensions. Used by papers such as the Daily Mirror and Daily Sketch as a vehicle of mass communication, this new form of image played an important and often overlooked role in constructing the idea of the press photographer as a documentary eyewitness. From Edward VIII and Wallis Simpson to aristocratic debutantes Lady Diana Cooper and Margaret Whigham, the rage of the social elite at being pictured so intimately withoutTable of Contents1. “For those who could see but could not read”: Photojournalism in London, 1904-19382. Shooting People: The Press Photographer and the Candid Portrait 3. Snapping the Royals: The Press Photographer and the Challenge to the British Monarchy4. Spectacular “Society”: Celebrity and Aristocratic Decline in the Photographic Press5. “The snapshots of press photographers are governed by no law”: The Tabloid Photographer and the Right to Privacy.

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Book SynopsisFormerly a British colony, the island of Cyprus is now a divided country, where histories of political and cultural conflicts, as well as competing identities, are still contested. Cyprus provides the ideal case study for this innovative exploration, extensively illustrated, of how the practice of photography in relation to its political, cultural and economic contexts both contributes and responds to the formation of identity. Contributors from Cyprus, Greece, the UK and the USA, representing diverse disciplines, draw from photography theory, art history, anthropology and sociology to explore how the island and its people have been represented photographically. They reveal how the different gazes- colonial, political, gendered, and within art photography- contribute to the creation of individual and national identities and, by extension, to the creation and re-creation of imagery of Cyprus as place. While Photography and Cyprus focuses on one geographical and cultural territory, the questions this book asks and the themes and arguments it follows apply also to other places characterized by their colonial heritage. The intriguing example of Cyprus thus serves as a fitting test-ground for current debates relating to photography, place and identity.Table of ContentsIntroduction, Liz Wells, Theopisti Stylianou-Lambert & Nicos PhilippouThe Political Gaze: Memory, Politics & the Construction of National 2.Pride And Prejudice: Photography and Memory in Cyprus, Yiannis Toumazis3.“Imagining Cyprus”: Exhibitions of Cypriot Photography and their Reception in Greece, 1950-1980, Iro Katsaridou4.Developing identities: the history of the Turkish Cypriot photographic subject, Alev Adil5.Beyond Nostalgia, Stephanos StephanidesThe Colonial Gaze: Colonial Views, Postcolonial 6.John Thomson: Through Cyprus with a Camera, Between Beautifying and Bountiful Nature, Hercules Papaioannou7.The National Geographic and Half Oriental Cyprus, Nicos PhilippouThe Gendered Gaze: Framing Gender & Other 8.En-gendering Cypriots: from Colonial Images to Postcolonial Identities, Stavros Stavrou Karayanni 9.Tourists’ Photographic Conventions and the Rock of Aphrodite, Theopisti Stylianou-Lambert10.The Photographic Pieta: A Model of Gender, Protest and Spatial - Temporal Dislocation in Modern Cyprus, Elizabeth Hoak-DoeringThe Art Gaze: Contemporary Art 11.Defying “Cypriotness” in the work of Haris Epaminonda and Christodoulos Panayiotou, Elena Stylianou12.Tracey Emin’s Photographs and Videos of Cyprus and Turkey, Jennifer Way13.Walking Narratives, Haris PellapaisiotisIndex

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Book SynopsisIn the mid-1860s Arthur J Munby began to collect the first mass-produced photographic images of working-class women in England, recording fascinating details about the women, the places he purchased the photographs and the raging debates on this new commercial practice of photography, in accompanying diaries. Many of these images – not to mention Munby’s fascinating diaries - have never been published before. This book examines this previously un-investigated archive, offering a fresh and arresting perspective on the interrelationships between photographic representations of working-class women, the creation of new identities of class and gender and the evolution of popular conceptions of photography itself.Trade ReviewReading this book, I experienced the same astonishment that I have felt reading previous studies of Munby ... The notes, records, sketches, and photographs brought together in the archive are of the utmost importance to historians of nineteenth-century society and culture and, as we now also appreciate, to historians of photography. - Victorian StudiesTable of ContentsIntroduction: The Munby Archive 1 Academically Locating the Archive: History and Theory of Photography – The Nineteenth Century 2 What is a Photograph? 3 Th e City, Photography and Relations of Looking 4 Who was Munby? Useful Readings of the Munby Archive 5 Munby and the Turn to Photography: Hannah, the Private Urban Collection and the Search for Phot, 7 Dressing Above Your Station and Making it Work for Him: Domestic Photographs of the Urban Working-C lass Woman 8 Under the Skin: Munby’s Photographs of Facially Disfigured Women – Th e Real and the Symbolic, Appendix: Th e Photographic Archiveographic Truth 6 Starting to Collect: Munby and his Turn to Commercially Produced Photographs of Working-C lass Women

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Book SynopsisGives concrete advice about designing, delivering, and defending presentations, and is written specifically for students and professionals who have little or no experience of giving presentations.Trade Review"This is a very comforting book for someone with a fear of speaking because it provides a clear set of guidelines to follow, while at the same time reminding others that there IS something to do to prepare for a talk other than just showing up!" -- Elizabeth J. Marsh, Washington University"This book is clearly written and fills an important gap in the market. I sincerely hope that it will spur people to think again about how they should best get their message across." -- Jamie Ward, University College LondonTable of ContentsIntroduction. Chapter 1. Design: Preparing YourPresentation. Planning Your Presentation. Making Overheads and Slides. Working With Powerpoint. Making Graphs. Using Handouts. Chapter 2. Delivery: PresentingYour Work. Before Beginning. Speaking to People. Stage Fright. Chapter 3. Defence: Answering Questions andDefending Your Work. Anticipate Questions Before Your Presentation. Listen to Your Audience. Maintain Control Over Your Audience. Practice Your Presentation Multiple Times, Out Loud, With an Overhead, Slide or Powerpoint Projector. Chapter 4. Persuasion: On Being MoreInfluential. On the Social Psychology of Social Influence. Social Influence and Power Tactics. Chapter 5. Pedagogy: Some Comments on Teaching Students. Classroom Lecturing Requires the Same Professionalism as Other Presentations. Chapter 6. Prototypes: Examples of Goodand Bad Overheads and Slides. References.

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Book SynopsisStreet photography is perhaps the best-loved and most widely known of all photographic genres, with names like Cartier-Bresson, Brassai and Doisneau familiar even to those with a fleeting knowledge of the medium. Yet, what exactly is street photography? From what viewpoint does it present its subjects, and how does this viewpoint differ from that of documentary photography? Looking closely at the work of Atget, Kertesz, Bovis, Rene-Jacques, Brassai, Doisneau, Cartier- Bresson and more, this elegantly written book, extensively illustrated with both well-known and neglected works, unpicks Parisian street photography's affinity with Impressionist art, as well as its complex relationship with parallel literary trends and authors from Baudelaire to Philippe Soupault. Clive Scott traces street photography's origins, asking what really what happened to photography when it first abandoned the studio, and brings to the fore fascinating questions about the way the street photographer captures or frames those subjects - traders, lovers, entertainers - so beloved of the genre.In doing so, Scott reveals street photography to be a poetic, even 'picturesque' form, looking not to the individual but to the type; not to the 'reality' of the street but to its 'romance'.Table of ContentsIllustrations, introduction 1 out of the studio into the street 2 the street-photographic and the documentary 3 street arts and street métiers 4 street photography: the appropriateness of language and an appropriate language 5 streets, buildings and the gendered city, conclusion

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Book SynopsisThe advent of photography opened up new worlds to 19th century viewers, who were able to visualize themselves and the world beyond in unprecedented detail. But the emphasis on the photography's objectivity masked the subjectivity inherent in deciding what to record, from what angle and when. This text examines this inherent subjectivity. Drawing on photographs that come from personal albums, corporate archives, commercial photographers, government reports and which were produced as art, as record, as data, the work shows how the photography shaped and was shaped by geographical concerns.Trade Review'A compelling read...if you are interested in the relationship between geographical imagination and photographic representation you will enjoy this historical journey through the practices and idea of both.' - Katrine Kjoeller, The Magazine of the Royal Geographical Society 'diverse perspectives on the subject' 'does an excellent job' 'a major contribution and should be read by everyone who uses images in teaching, research or publication.' - Area Journal; Landscape Research: "Schwarz and Ryan have provided some excellent case studies and ideas for geographers to use." 'An altogether wonderful set of reflections on the reciprocal relations between photographic impulses and geographical imaginings. 'Picturing Place' illuminates how place is pictured. But it does much more. It shows the central place of picturing in the making of geographical knowledge. No one interested in visual culture can afford to be without this outstanding collection of interdisciplinary essays ranging over five continents and fifteen decades.' - David N. LivingstoneTable of ContentsContents vi Figures vii Acknowledgements x Contributors xii Introduction: Photography and the Geographical Imagination 1 Joan M. Schwartz and James R. Ryan PART I Picturing Place 19 1 La Mission Heliographique: Architectural Photography, Collective Memory and the Patrimony of France, 1851 21 M. Christine Boyer 2 Retracing the Outlines of Rome: Intertextuality and Imaginative Geographies in Nineteenth-Century Photographs 55 Maria Antonella Pelizzari 3 Visualizing Eternity: Photographic Constructions of the Grand Canyon 74 David E. Nye 4 Family as Place: Family Photograph Albums and the Domestication of Public and Private Space 96 Deborah Chambers PART II Framing the Nation 115 5 Picturing Nations: Landscape Photography and National Identity in Britain and Germany in the Mid-Nineteenth Century 117 Jens Jager 6 Capturing and Losing the 'Lie of the Land': Railway Photography and Colonial Nationalism in Early Twentieth-Century South Africa 141 Jeremy Foster 7 Constructing the State, Managing the Corporation, Transforming the Individual: Photography, Immigration and the Canadian National Railways, 1925-30 162 Brian S. Osbourne PART III Colonial Encounters 193 8 Emperors of the Gaze: Photographic Practices and Productions of Space in Egypt, 1839-1914 195 Derek Gregory 9 Mapping a Sacred Geography:Photographic Surveys by the Royal Engineers in the Holy Land, 1864-68 226 Kathleen Stewart Howe 10 Home and Empire:Photographs of British Families in the Lucknow Album 1856-57 243 Alison Blunt 11 Negotiating Spaces: Some Photographic Incidents in the Western Pacific, 1883-84 261 Elizabeth Edwards Epilogue 281 12 Wunderkammer to World Wide Web:Picturing Place in the Post-Photographic Era 283 William J. Mitchell Notes 305 Index 347

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisModernism both influenced and was fascinated by the rhetorical and aesthetic manifestations of fascism. In examining how four artists and writers represented fascist leaders, Annalisa Zox-Weaver aims to achieve a more complex understanding of the modernist political imagination. She examines how photographer Lee Miller, filmmaker Leni Riefenstahl, writer Gertrude Stein and journalist Janet Flanner interpret, dramatize and exploit Hitler, GÃring and PÃtain. Within their own artistic medium, each of these modernists explore confrontations between private and public identity, and historical narrative and the construction of myth. This study makes use of extensive archival material, such as letters, photographs, journals, unpublished manuscripts and ephemera, and includes ten illustrations. This interdisciplinary perspective opens up wider discussions of the relationship between artists and dictators, modernism and fascism, and authority and representation.Table of ContentsIntroduction: occupations; 1. In her image: Leni Riefenstahl's cinematic Hitler; 2. Stein's secret sharers: great men and modernist authority; 3. 'A face inappropriate to fame': Janet Flanner, the 'Fuhrer' profiles, and the image of the fascist leader; 4. Berchtesgaden is burning: Lee Miller, iconicity, and the demise of the Nazi leader; Conclusion: from monster to muse; Bibliography; Index.

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Book SynopsisTrade Review"Catie Marron has done a splendid job of bringing together some of the smartest voices to reflect on some of the most beautiful or important or intriguing public spaces in the world. The result is itself magical." -- Fareed Zakaria, In Defense of A Liberal Education "A charming and informative guide to the architecture, history, politics, and culture of landmark square... City squares are vital spaces throughout much of the globe... Beautiful photos follow each essay." -- Chicago Tribune "Smartly divided into thematic sections: culture, geopolitics, and history...[and] beautifully illustrated." -- Wall Street Journal "Kaleidoscopic...A lively and stylishly illustrated collection, it's perfect for dipping into on a bench in Union Square, or with an aperitivo in the Campo de'Fiori." -- Financial Times "City Squares is a beautiful and haunting collection of essays by some of the finest writers of today. Each chapter is a jewel in itself. Taken together, however, these essays demonstrate the endurance of the human spirit in the spaces and squares of public life." -- Dr. Amanda Foreman, historian and author of Georgiana, Duchess of Devonshire and A World on Fire "Savor many of the world's most important writers on many of the world's most important places-city squares that incubate and animate democracy, culture and the human spirit. I love learning about how the personal stories of writers I admire intersect with history and urban life." -- Jonathan Alter, journalist and New York Times bestselling author "The essays and their accompanying photography interact with one another, constructing a cross-cultural narrative of diverse societal interaction and activism." -- Publishers Weekly "A corrective to travel writing's tendency to obsess over wilderness and mountains, this collection of essays zooms in on the squares at the heart of the world's cities." -- Financial Times Summer Books "[A] brilliant anthology of essays celebrating the city square...which travelers invariably find indispensable as starting, ending, or gathering points." -- National Geographic "The contributions...are thoughtful and sometimes even surprising... A worthy celebration of the 'one essential urban space'... Dozens of images make a grand testimonial to how people live their lives in public spaces." -- Kirkus Reviews "City Squares packs an anthropological punch... The book isn't just a chronicle of the formation of urban identity; it speaks to the evolution of the modern human." -- Surface Magazine "Demonstrates the potential of public space to influence both personal lives and social conditions... These 18 essays remind us that we bring ourselves to fill the empty spaces." -- PopMatters.com "I found myself with city-break wanderlust after dipping into this absorbing and visually striking anthology...[of] stellar writers... There are arresting photographs throughout." -- The Bookseller (Editor's Choice) "Catie Marron's City Squares is a revelation. It takes you on an incredible journey across the world's greatest cities and their squares through the eyes of the best writers and thinkers. With every turn of the page, you will learn something new." -- Richard Florida, nationally bestselling author of The Rise of the Creative Class and Global Research Professor at New York University "Recommended for those with an interest in how urban spaces intersect with culture, history, and politics, and for travelers seeking a deeper understanding of these famous locations." -- Library Journal "Highly intelligent." -- Introspective Magazine

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Book SynopsisA delightful photographic journey into a year in the life of a team of sled dogs, based on Braverman’s wildly popular Twitter feed.When Blair Braverman started posting pictures of her dog team on Twitter, she had no idea the response she would get. Being a musher, after all, isn’t just about racing—raising dogs from puppyhood to retirement (and beyond) is a full-time job. She and her husband, musher Quince Mountain, wanted to share stories about life with their dog team. And not just the big stuff, like expeditions and wild animal encounters, but also the everyday things: the challenge of storing a thousand pounds of raw meat, scouting new trails with the dogs, the decisions that go into putting a team together, how she trains puppies to be brave. These were goofy stories, scary stories, heartfelt stories, stories that clearly connected with people and kept going viral.Inspired by those connections, Dogs on the

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Book SynopsisJeff Carlson is a columnist for the Seattle Times and a contributing editor at TidBITS, and writes for publications such as DPReview, CreativePro, and Macworld. He is the author of the books Take Control of Your Digital Photos, Take Control of Your Digital Storage, and Take Control of Lightroom CC, among many other titles, including several editions of Photoshop Elements: Visual QuickStart Guide. He also co-hosts the podcast PhotoActive and leads photography workshops in the Pacific Northwest. He believes there's never enough coffee, and does his best to test that theory. Table of Contents1 A Quick Tour of Photoshop Elements 2 Importing and Sorting Photos 3 Tagging, Grouping, and Searching Photos 4 Image Editing Background and Basics 5 Working With Color and Making Selections 6 Fixing Lighting and Exposure Problems 7 Reframing, Retouching, and Recomposing Images 8 Combining Images 9 Getting Creative 10 Printing, Sharing, and Exporting

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Book SynopsisA brilliant and hilarious collection of photographs, featuring 50 pairs of gorgeous men and candid canines When the world has you down, there's no better way to instant happiness than handsome men paired with cute puppies. In this new book from the creators of the popular blog Des Hommes et des Chatons, you'll find an original collection of 100 clever photo match-ups, with a heartthrob human on one page and a pooch in a similar pose or with a similar expression on the next.Taking a walk.Playing catch.Basking in sunshine.Toweling off after a bath.Can't decide between man or man's best friend? Well, with Men & Dogs, you don't have to choose.

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Book SynopsisAndy Warhol's daily practice of photography during the last decade of his life, examined and documented for the first time.“A picture means I know where I was every minute. That's why I take pictures.”—Andy WarholFrom 1976 until his death in 1987, Andy Warhol was never without his camera. He snapped photos at discos, dinner parties, flea markets, and wrestling matches. Friends, boyfriends, business associates, socialites, celebrities, passers by: all captured Warhol's attention—at least for the moment he looked through the lens. In a way, Warhol's daily photography practice anticipated our current smart phone habits—our need to record our friends, our families, and our food. Warhol printed only about 17 percent of the 130,000 exposures he left on contact sheets. In 2014, Stanford's Cantor Center for the Arts acquired the 3,600 contact sheets from the Warhol Foundation. This book examines and documents for the first time these contact s

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Book SynopsisThe recreation of a landmark in 1930s documentary photography.The 1939 book Changing New York by Berenice Abbott, with text by Elizabeth McCausland, is a landmark of American documentary photography and the career-defining publication by one of modernism's most prominent photographers. Yet no one has ever seen the book that Abbott and McCausland actually planned and wrote. In this book, art historian Sarah M. Miller recreates Abbott and McCausland's original manuscript for Changing New York by sequencing Abbott's one hundred photographs with McCausland's astonishing caption texts. This reconstruction is accompanied by a selection of archival documents that illuminate how the project was developed, and how the original publisher drastically altered it.Miller analyzes the manuscript and its revisions to unearth Abbott and McCausland's critical engagement with New York City's built environment and their unique theory of documentary

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Book SynopsisEssays on a range of photographic topics by the recently appointed Joel and Anne Ehrenkranz Chief Curator of Photography at MoMASince 1839... offers a selection of essays by the renowned photography historian Clément Chéroux. Appointed Joel and Anne Ehrenkranz Chief Curator of Photography at the Museum of Modern Art (MoMA) in New York in 2020, Chéroux takes on a variety of topics, from the history of vernacular photography to the influence of documentary photography on Surrealism. These texts, newly translated into English and published together in one volume for the first time, reflect the breadth of Chéroux’s thinking, the rigor of his approach, and his endless curiosity about photographs. In this strikingly designed and generously illustrated volume, Chéroux presents unique case studies and untold stories. He discusses ways of sharing images, from the nineteenth century to the digital age; considers the utopi

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Book SynopsisThe first-ever volume of the photographs of German writer W.G. Sebald, exquisitely designed to shed new light on his creative process, as it chronicles the images and encounters that shaped his writing life.Shadows of Reality presents a unique, fully illustrated catalogue of W.G. Sebald’s photographs: an extraordinary combination of film negatives, prints, and slides from the University of East Anglia’s photographic collection, the Deutsches Literaturarchiv Marbach, and the Sebald Estate. Complementing the exhibition Lines of Sight: W.G. Sebald’s East Anglia and edited by literary scholar Clive Scott and photography curator Nick Warr, this wonderfully comprehensive book covers the multiple photographic facets of Sebald’s published work and includes a substantial amount of material that has not been made public before.Introduced by Nick Warr, who offers an intriguing overview of the author's critical relationship to photo

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Book SynopsisTrade Review"[Ian McAllister] combines stunning photography of the natural world—lush underwater reefs, Kermode cubs feeding on salmon, spyhopping orcas, preening puffins—with stories from his explorations and perspectives from the indigenous people who have lived here for tens of thousands of years.The result is a convincing testament for a place on the planet largely untouched by the modern world, and a prayer to keep it that way." -- Christian Martin * Cascadia Weekly *"[A] jewel of conservation insight . . . Anyone who loves and honors the natural world and our place within it should reserve a place for this volume on their bookshelf." * American Book Review *

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Book SynopsisTrade Review"The photographs of Tom Reese show the contrasts of the healing work in progress. . . . Once and Future River uncovers many of the Duwamish’s stories, with a focus on the power of restoration and reconciliation." * Cascadia Weekly *"The star is the photography of Tom Reese who finds beauty and nature in the river without ever trying to sugarcoat the reality of damaged wildlife and ways of life. . . . Reese’s images tell the contemporary story of a river being reclaimed, of the good work being done to restore the natural environment and mitigate a history of cultural violence. The Duwamish is a wound, one largely hidden from sight and history. This important book will open your eyes." -- Knute Berger * Crosscut *"This captivating book engages the Duwamish River in image and word. With nearly a hundred color photographs, the photographer and longtime Duwamish River advocate Tom Reese captures the rich textures, complicated pressures, and restless visions that give meaning to the contemporary Duwamish River. The writer Eric Wagner . . . composes a multifaceted narrative of the evolving relationships between people and the river." -- Ken Yocom * Pacific Northwest Quarterly (PNQ) *"From the recovering chinook salmon to the manufacturing plants that turned the Duwamish into a Superfund site, the images in this book portray a dynamic river carrying its complex legacy into a difficult recovery." -- Rebecca Worby * High Country News *

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book SynopsisUndeniably one of the most influential innovations of the modern world, the car has revolutionized manufacturing and transformed how we move, forever changing our landscapes, cities, environments and economies. With each revolution, each transformation, have come almost unmatched impacts upon wider culture, changing not only the way we live, but the ways we look at and consider the world around us. The influence of the car upon photography and the work created by photographers since the early 20th century can be clearly traced through the V&A's photography collection. Autofocus explores the deep cultural significance and impact of the car on the history of photography, playing a role both as subject matter and as a genuine creative vehicle the means by which photographers have accomplished many of their great works. Written by Marta Weiss, Senior Curator of Photographs at the V&A, and published to coincide with the opening in November 2019 of the exhibition Cars: Accelerating the Mode

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Book SynopsisWhy do elephants flap their ears? How much do they eat? Why do they roll in mud? This book answers these questions and many more, including intriguing facts about elephants' trunks, tusks and tails, their families and friends, what they get up to from dawn to dusk, and the special relationship between elephants and humans.Trade Review'Beautiful, dramatic and poignant in equal measures' - Mumsnet'A charming book … jam-packed full of interesting facts … it really is one of those books the whole family can enjoy' - Mummyfever.co.uk'Entertaining and dramatic, Elephants also has an educational aspect and will be highly popular with all wildlife enthusiasts' - Magpie That'Accessible, non-patronising text accompanies photographs of every elephantine element, from close-ups of astoundingly long eyelashes to portraits of elephants that appear to be made of chocolate because they are so covered in mud. For all ages' - Jewish ChronicleTable of Contents1. Trunks, Tusks and Tails: Trunks; Tusks; Ears; Tails; Size, Strength and Speed • 2. Family and Friends: Babies; The Family; The Herd; Old Age • 3. From Dawn to Dusk: Eating and Drinking; Washing; Swimming; Playing; Fighting; Sleeping • 4. Elephants and Humans: Carrying Logs; Carrying People; Sport; Festivals • 5. Elephants and Other Animals: The Lion; The Gazelle; The Birds; The Waterhole

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