The eight essays in Beauty in Photography provide a critical appreciation of photography by one of its foremost proponents. The result is a rare book of criticism, alive to the pleasure and mysteries of true exploration.
This is an updated and newly revised edition of the classic book The Art of Photography: An Approach to Personal Expression. Originally published in 1994 and first revised in 2010, The Art of Photography has sold well over 100,000 copies and has firmly established itself as the most readable, understandable, and complete textbook on photography. Featuring nearly 200 beautiful photographs in both black-and-white and color, as well as numerous charts, graphs, and tables, this book presents the world of photography to beginner, intermediate, and advanced photographers who seek to make a personal statement through the medium of photography.
Without talking down to anyone or talking over anyone's head, renowned photographer, teacher, and author Bruce Barnbaum presents how-to techniques for both traditional and digital approaches. In this newest edition of the book, Barnbaum has included many new images and has completely revised the text, with particular focus on two crucial chapters covering digital photography: he revised a chapter covering the digital zone system, and includes a brand-new chapter on image adjustments using digital tools. There is also a new chapter discussing the concepts of “art versus technique” and “traditional versus digital” approaches to photography. Throughout the book, Barnbaum goes well beyond the technical, as he delves deeply into the philosophical, expressive, and creative aspects of photography so often avoided in other books.
In this fully revised and greatly expanded second edition of The Essence of Photography, world-renowned photographer and teacher Bruce Barnbaum draws upon 50 years of experience and observation to teach the art of photographic seeing and creativity.
There is a lot more to photography than simply picking up a camera, pointing it toward something, and tripping the shutter. Achieving a great photograph requires thought and preparation, an understanding of the photographic process, and a firm grasp of how light and composition affect a photo. There must be personal involvement and personal expression. There must be experimentation, with the recognition that only a small percentage of experiments end successfully.
In this revised and expanded second edition of The Essence of Photography, best-selling author and world-renowned photographer and teacher Bruce Barnbaum explores these seldom-discussed issues by drawing upon his personal experiences and observations from 50 years of photographing and teaching. In addition to photographs, Bruce also uses painting, music, and writing, as well as the sciences and even business, to provide pertinent examples of creative thinking. These examples serve as stepping stones that will lead you to your own heightened ability to see and be creative.
The best of Harry Benson's era-defining Beatles portfolio, capturing the Liverpudlian quartet on the road, performing, and coming to terms with skyrocketing fame. From a pillow fight in Paris to their first U.S. tour, shot in luminous black and white, Benson's pictures show intimate glimpses of George, John, Paul, and Ringo composing, relaxing, and engaging with euphoric fans.
This elegantly packaged celebration of birds from around the world unites incredible animal portraits from Joel Sartore's distinguished National Geographic Photo Ark project with inspiring text by up-and-coming birder Noah Strycker. It includes hundreds of species, from tiny finches to charismatic eagles; brilliant toucans, intricate birds of paradise, and perennial favorites such as parrots, hummingbirds, and owls also make colorful appearances. Everyone who cares about birds--from the family with a bird feeder outside the kitchen window to the serious birder with a life list of thousands--will flock to this distinctive and uplifting book.
In The New Black Vanguard: Photography between Art and Fashion, curator and critic Antwaun Sargent addresses a radical transformation taking place in fashion and art today. The featuring of the Black figure and Black runway and cover models in the media and art has been one marker of increasingly inclusive fashion and art communities. More critically, however, the contemporary visual vocabulary around beauty and the body has been reinfused with new vitality and substance thanks to an increase in powerful images authored by an international community of Black photographers.
In a richly illustrated essay, Sargent opens up the conversation around the role of the Black body in the marketplace; the cross-pollination between art, fashion, and culture in constructing an image; and the institutional barriers that have historically been an impediment to Black photographers participating more fully in the fashion (and art) industries.
"Take nothing but photographs, leave nothing but footprints." This is the unspoken rule of urban explorers, who sometimes risk their safety, police records, and even their lives to explore abandoned buildings, sewers and storm drains, transit tunnels, utility tunnels, high-security areas of inhabited buildings, and even catacombs such as those in Paris, Rome, Odessa and Naples. Although these urban explorers usually work solo or in small teams, they collectively put forth a ground cry against a modern culture that embraces the new, polished, uniform, and mundane. Urban explorers find the beauty layers of graffiti by years worth of writers, multi-hued peeling paint, antique objects, someone s initials left in the dust on a broken stained glass window and physical manifestations of memory that abandoned, impermanent urban spaces can hold. Beauty in Decay features the best in full-color, panoramic photographs from urban exploration or Urbex around the world. Overgrown industrial complexes, disused lunatic asylums, abandoned palaces and forgotten monasteries are showcased, and paired with clear-sighted, poetic text.
BEHIND PHOTOGRAPHS: ARCHIVING PHOTOGRAPHIC LEGENDS began as the personal quest of photographer Tim Mantoani to document and preserve noted photographers together with their images. “We have come to a point in history where we are losing both photographic recording mediums and iconic photographers,” Mantoani comments. “While many people are familiar with iconic photographs, the general public has no idea of who created them. This book became a means to do that, the photographer and their photograph in one image.”
As to why he is using a soon-to-be-extinct photographic medium only a handful of which survive, the 20×24 Polaroid, Mantoani explains, “I chose the format for two reasons. First, it is very possible that in just a few years, film for this camera will no longer exist. Second, to me this is the ultimate view camera. If you are going to call the greatest living photographers and ask to make a photo of them and you are shooting 35mm digital, they may not take your call. But if you say you are shooting 20×24 Polaroid, they will at least listen to your pitch.”
In Believing is Seeing Academy Award-winning director Errol Morris turns his eye to the nature of truth in photography. In his inimitable style, Morris untangles the mysteries behind an eclectic range of documentary photographs, from the ambrotype of three children found clasped in the hands of an unknown soldier at Gettysburg to the indelible portraits of the WPA photography project. Each essay in the book presents the reader with a conundrum and investigates the relationship between photographs and the real world they supposedly record. During the Crimean War, Roger Fenton took two nearly identical photographs of the Valley of the Shadow of Death-one of a road covered with cannonballs, the other of the same road without cannonballs. Susan Sontag later claimed that Fenton posed the first photograph, prompting Morris to return to Crimea to investigate. Can we recover the truth behind Fenton's intentions in a photograph taken 150 years ago? In the midst of the Great Depression and one of the worst droughts on record, FDR's Farm Service Administration sent several photographers, including Arthur Rothstein, Dorothea Lange, and Walker Evans, to document rural poverty. When Rothstein was discovered to have moved the cow skull in his now-iconic photograph, fiscal conservatives-furious over taxpayer money funding an artistic project-claimed the photographs were liberal propaganda. What is the difference between journalistic evidence, fine art, and staged propaganda? During the Israeli-Lebanese war in 2006, no fewer than four different photojournalists took photographs in Beirut of toys lying in the rubble of bombings, provoking accusations of posing and anti-Israeli bias at the news organizations. Why were there so many similar photographs? And were the accusers objecting to the photos themselves or to the conclusions readers drew from them? With his keen sense of irony, skepticism, and humor, Morris reveals in these and many other investigations how photographs can obscure as much as they reveal and how what we see is often determined by our beliefs. Part detective story, part philosophical meditation, Believing Is Seeing is a highly original exploration of photography and perception from one of America's most provocative observers.
In Bending the Frame, Fred Ritchin--Professor of Photography & Imaging at New York University's Tisch School of the Arts, and author of After Photography--examines the complex relations between social justice and photojournalism in today's oversaturated political and media climates. Is visual journalism even effective at all, given the ease with which so many of us can simply record events? And how can the impact of iconic images from the Civil Rights Movement or the Vietnam War be compared to, say, the consequences of leaked images from Abu Ghraib? Do changes in strategy imply changes in accountability and responsibility for visual journalism as a whole? Ritchin intends his discussion--which ranges across new media but also includes uses of video as well as a wide range of books and exhibitions--to provide critical tools with which to approach the various efforts of today's visual (and "citizen") journalists and documentary photographers. He also examines the historical uses of photography and related media to inspire social change, the better to pose the critical question that lies at the heart of his book: How can images promote new thinking and make a difference in the world?
A follow-up to the successful and acclaimed "Best Business Practices for Photographers", this updated and expanded edition serves as an even more comprehensive guide to achieving financial success and personal satisfaction in your business as a photographer. Included in this new edition are sections on licensing your work, making the career change from a staff photographer to a freelancer, surviving an IRS audit, and more. This book includes best practices in interacting with clients, negotiating contracts and licenses, and business operations. "Best Business Practices for Photographers, Second Edition" is the key to a successful career in photography.
Business and Legal Forms for Photographers, 4th Edition contains 34 forms for photographers, each accompanied by step-by-step instructions, advice on standard contractual provisions, and unique negotiation checklists to guide professionals to the best deal. Included are contracts for wedding, portrait, and assignment photography; publishing, collaboration, and licensing contracts; property and model releases; assignment estimate/confirmation/invoice; delivery memo; stock photography invoice; stock agency agreement; permission form; copyright registration and transfer forms; nondisclosure agreement; license of rights; license of electronic rights; trademark application; employment application and agreement; and more. Included is a CD-ROM containing electronic versions of each form. New to this edition are forms for leases, subleases, and lease assignments, plus an update to cover changes in copyright registration.
In this greatly anticipated book The Art of Boudoir Photography: How to Create Stunning Photographs of Women, pro photographer Christa Meola goes beyond photography instruction to include detailed information on how to help women look and feel beautiful by cultivating their sex appeal. This beautifully illustrated guide will not only enhance your understanding of how to bring out the best in every woman, but also sharpen your photography skills in order to capture her successfully.
In All the Colors I Am Inside, Deb Achak reflects on our relationship
with the soft, quiet voice of our intuition and the beauty of who
we are under the surface. Achak explores how our inner voice
leads us on the most surprising and glorious adventures, but to
hear it, we must quiet our brains and savor the present moment.
Bringing together human and spiritual worlds, she uses landscapes
that are rich and mysterious, the way our dreams and
meditations might feel, and portraits in which the subject is consumed
by nature, swept up by it. Achak seeks to represent the
pictorial quality of intuition using imagery that walks the line
between rare and familiar. Ultimately, the work invites us to
think less, feel more.
Perhaps one of the most iconic and symbolic cities in America, Los Angeles, California is also one of the most extreme. It is a place where dreams and storytelling about the human experience are a big and glamorous industry. Sparks of possibility around hopes and dreams reaching stardom-level, coexist alongside risk and staggering disappointment. The city's sprawling infrastructure holds both jaw-dropping wealth and poverty, and even the landscape reflects a disparity in experience: the rolling waves, pristine beaches, and nightly sunsets into the ocean line one side of the city, and wildfires and mudslides are annual factors on the inland side.
Landscapes hold stories and are the harbors of memories for the generations who chase chickens across yards, walk among the grasses, build homes, grow gardens, watch their children kick balls outside, watch the sky change with the seasons and the patterns of days. Alicia Bruce's book, I Burn But I Am Not Consumed (Daylight Books, July 11, 2023), is a visually immersive experience that documents through photographs, narratives, and images of ephemera, the 16 year battle between the residents of the Scottish community of Menie defending their land and homes from takeover by Donald Trump.
During the period of Covid lockdown, Buchanan was caretaking family members impacted by the pandemic, while also navigating the unique challenges of an aging mother in and out of a care facility. Buchanan found comfort and a sense of grounding in daily walks along the mountain ridge and in nearby natural areas.
French photographer Jean-Pierre Gilson is recognised as one of the leading European landscape photographers and over the past forty years, more than a hundred exhibitions have been devoted to his work. In this new book he explores the English landscapes that have influenced many of the most famous British artists and writers.
This wide-ranging exhibition by the photographer Ralph Gibson (*1939) presents the development of his work from the 1960s to the present day based on selected series. The exhibition is being developed in a direct collaboration between the artist and the curator, Dr. Sabine Schnakenberg, and is composed of some 300 analogue and digital works in black and white and color from the artist's private collection as well as works that the collector F.C. Gundlach acquired during his collaboration with Ralph Gibson in the early 1980s for his private photography collection, which is now on permanent loan to the House of Photography at the Deichtorhallen.
Noguchi and Greece, Greece and Noguchi examines the relationship between one of the 20th century’s most celebrated artists, Isamu Noguchi (1904–88), and the Mediterranean country he regularly visited for decades through the lens of Objects of Common Interest (OoCI). This two-volume set considers the influence of Greek culture on Noguchi’s work, and the metamorphosing identity he established from engaging with multiple cultures, diverse practitioners and a variety of mediums.
The photos in Street Life are almost all taken in Lithuania, during the years 1959-1977, at a time when the country was part of the Soviet Union. Soviet troops first took over in 1940, retreating after the Nazi invasion and leaving over 200,000 Jews – over 90% of whom would be murdered -- at the mercy of detachments of German Einsatzgruppen and anti-Semitic Lithuanian auxiliaries. Soviet control was reasserted in 1944 and Lithuania largely vanished behind the ‘iron curtain' until Gorbachev's reforms in the mid-1980s. This historical background is not the concern of Suktus's work, his affinities remain with people not politics, but his photographs are far removed from scenes of cosmopolitan life in Western Europe.
The composed photographs show mothers holding or leaning over their sons, as well as images of some of the mothers alone and reflective and were taken across the United States in 26 cities. Many of the images are accompanied by a brief quote from the mother. For example, "That one moment can define the rest of your life. When I wake up and before I sleep at night my son is the one person that's always on my mind - I want to know that he's safe. I feel hurt, anguish, and emotional turmoil. I recognize that this was only for a moment in time but that's actually a depiction of life -every second is a moment in time.