Book Description
For serious amateur photographers who already shoot perfectly focused, accurately exposed images but want to be more creative with a camera, here's the book to consult. More than seventy techniques, both popular and less-familiar approaches, are covered in detail, including advanced exposure, bounced flash and candlelight, infrared, multiple images, soft-focus effects, unusual vantage points, zooming, and other carefully chosen ways to enhance photographs. The A-Z format make sit easy for readers to find a specific technique, and each one is explained in jargon-free language. Top Tips for each technique help readers achieve superb results, even on the first attempt.
Customer Reviews:
Basic.......2007-10-04
Very basic book, mostly for those who are absolute beginners in photography or for point-and-shooters that are upgrading to SLR.
Great Book for Users.......2007-09-27
I purchased this book after reading reviews and having people suggest this literature to me. I have to say that the author makes it very straightforward, concise and comfortable to read. For a amateur photographer, this book is a gem and I highly suggest reading it just to familiarize yourself with the basic conceps of exposure and how you apply it to both digital and film photography.
If You Can Only Afford One Photography Book, THIS IS THE ONE!!!.......2007-09-26
I purchased this book over a year ago and have since bought several more copies to give to my friends that are into photography. It is by far one of the best books out there for teaching ANYONE about correct exposures!! It's a very easy read, I have read it through at least three times, and this guy knows his stuff. There are so many beautiful full page color photos to demonstrate what he is talking about and he gives his settings for all the shots. If you are just starting out in photography, or have been into it for a while, I feel EVERYONE can learn something from this book. After reading this book, obtaining a 'proper exposure' in-camera clicked for me. I gained a thorough understanding of shutter speed, ISO, aperature/f-stop, light, composition, depth of field and many more very important aspects of photography, everything made sense, opened up new creative doors for me. I still don't always achieve the perfect exposure, but I do have complete control over my camera and settings, the whys and how-to-fors. If you can only afford ONE book, this is the one. I rarely do book reviews, but this one deserves it! I submitted some of my own photos above, using various techniques in photography, all learned from this book.
A must have.......2007-09-26
No question, this is an excellent book. I am a intermediate level photographer, it is filled with great tips. Stop reading this and buy the book!
That is what I wanted! All-in-one book for amateurs who want to master photography - both digital and film.......2007-09-21
Well, I never expected to write a review, but I did because this book is what I was looking for. I've been using camera for decades now, but I was mainly point-and-shoot photographer. Yes, everybody liked my pictures but I really did not know how to be consistent in the results. So I got myself a new Nikon D80 and undertook to learn how to take pictures with full control over the process. I browsed through Amazon in search of "become a concious photographer book for dummies" and I ended up buying this book and Ansel Adams's "Camera".
This book has everything you need to move from amateur to prosumer photographer. It expalains what is exposure and light and how you can control it. It gives you hints on metering and some basic special techniques. What is very important is that it gives you plenty of color pictures with short stories on how they were taken and data on exposure parameters so you can check how they impact the final result.
So get this one if you would like to buy one book which would allow you to undersatnd how to take beautiful and creative pictures! I guess that when you finally get it and read it you will be hungry for more information. But then you can get books on specific subjects - here - you have all the basics that you need.
Average customer rating:
- An outstanding vision of the sad reality of this world.
- Amazingly tragic and beautifully awful
- A look at the true horrors of this world!
- Amazing!! Print Quality.
- Um relato dantesco e honesto da nossa época
|
Inferno
James Nachtwey
Manufacturer: Phaidon Press
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ASIN: 0714838152 |
Amazon.com
Though he is probably the world's most honored recent war photographer, James Nachtwey calls himself an "antiwar photographer," as the preeminent critic Luc Sante notes in his excellent foreword to Inferno, a landmark collection of 382 war-crime photos. Nachtwey has taken shrapnel and had his hair literally parted by a bullet, but he's never lost his compassionate outrage. The stunning images in this huge-format book--brutally abused Romanian orphans, Rwandan genocide victims, a rat-hunter family of Indian Untouchables barbecuing dinner, skeletal dehydration victims in Sudan, the miserable in Bosnia, Chechnya, Zaire, Somalia, and Kosovo--are excruciating to look at, yet impossible to tear your eyes away from. Nachtwey's art is meant to force us to face unbearable facts. Faces are the key: you can't gaze into the eyes of a Romanian toddler tied to a bed, or wired to a primitive "electromagnetic therapy" device, and not grasp the horror more fully than you would by watching a TV news item or reading a newspaper piece. (The book's text explains each photo's context.)
Inferno is also a masterpiece in strictly aesthetic terms. The power of Nachtwey's images transcends journalism. Bloody handprints on a living-room wall in Kosovo, the ghostly imprint of a Serb victim's vanished body on a floor, a Hutu with crazed eyes displaying the machete gashes he received for opposing the Tutsis' butchery, a howling orphan in a crib, one eye contracted in anger--these are compositions that depend, like Goya's, on the artist's skill as much as the subject's legitimate claim on our conscience.
Nachtwey's photographs make us capable of imagining that it could have happened to us. They are hard to forget, or forgive. --Tim Appelo
Book Description
Though he is probably the world's most honored recent war photographer, James Nachtwey calls himself an "antiwar photographer," as the preeminent critic Luc Sante notes in his excellent foreword to Inferno, a landmark collection of 382 war-crime photos. Nachtwey has taken shrapnel and had his hair literally parted by a bullet, but he's never lost his compassionate outrage. The stunning images in this huge-format book--brutally abused Romanian orphans, Rwandan genocide victims, a rat-hunter family of Indian Untouchables barbecuing dinner, skeletal dehydration victims in Sudan, the miserable in Bosnia, Chechnya, Zaire, Somalia, and Kosovo--are excruciating to look at, yet impossible to tear your eyes away from. Nachtwey's art is meant to force us to face unbearable facts. Faces are the key: you can't gaze into the eyes of a Romanian toddler tied to a bed, or wired to a primitive "electromagnetic therapy" device, and not grasp the horror more fully than you would by watching a TV news item or reading a newspaper piece. (The book's text explains each photo's context.)Inferno is also a masterpiece in strictly aesthetic terms. The power of Nachtwey's images transcends journalism. Bloody handprints on a living-room wall in Kosovo, the ghostly imprint of a Serb victim's vanished body on a floor, a Hutu with crazed eyes displaying the machete gashes he received for opposing the Tutsis' butchery, a howling orphan in a crib, one eye contracted in anger--these are compositions that depend, like Goya's, on the artist's skill as much as the subject's legitimate claim on our conscience. Nachtwey's photographs make us capable of imagining that it could have happened to us. They are hard to forget, or forgive. --Tim Appelo
Customer Reviews:
An outstanding vision of the sad reality of this world........2007-08-23
This book is not made to be placed in every hands. But everyone old enough to face the sad reality and the ugly side of the human kind should have a look at it.
Amazingly tragic and beautifully awful.......2007-08-19
I have owned this book for roughly four years now and somehow manage to revisit it at least twice a year. The images are hauntingly beautiful. Nachtwey has a real gift for photography, for capturing that perfect image, with the perfect contrast, stark, naked and vivid. I feel as if I have been not merely an onlooker of these devastatingly breathtaking images, but as though I have been there.
Inferno was the first exposure to Nachtwey I had had, and it certainly has not been the last. His work is amazing.
A look at the true horrors of this world!.......2007-08-03
Awesome, shocking, disturbing, eye opening, these just begin to describe the feelings and emotions of this book. The photographs of mans inhumanity to his fellow man go beyond those images we see on the nightly news. James Nachtwey shows us the world of war, famine and poverty. It is eye opening. For anyone who collects books of photography, this is a must, but, it is not a coffee table book. This is one that you keep in reserve for those days when you think your life if bad or tough. Take it down from the shelf, open it and realize just how hard it could be!.
Amazing!! Print Quality........2007-05-14
What can i say.
It's just wonderful print quality most of Photobook which i bouht.
and Large photo is good too.
Um relato dantesco e honesto da nossa época.......2007-05-11
Uma obra obrigatória para quem acompanha o melhor do fotojornalismo nos últimos 50 anos. Um relato duro, profundo e honesto dos horrores criados pelo homem: Romênia, Somália, Índia, Sudão, Bósnia, Ruanda, Zaire, Chechênia e Kosovo.
Ressalte-se a força extrema das composições de James Nachtwey, valorizadas pela encadernação primorosa em capa dura e pelas grandes ampliações em PB.
Um livro forte, mas profundamente necessário para quem quer reconhecer o lado menos poético do nosso tempo.
Average customer rating:
- A Beautifully Printed Book!!!
- Eugene Smith... what can I say!
- Staff Photographer, Seattle Times, Seattle, Washington
- Review of Smith book from an old friend
|
W. Eugene Smith Photographs 1934-1975
Gilles Mora
Manufacturer: Harry N. Abrams
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ASIN: 0810941910 |
Customer Reviews:
A Beautifully Printed Book!!!.......2005-09-18
Ugly cover design, but beautiful tonal range in the printing of this beautiful collection of Eugene Smith's work. A very comprehensive book of Smith's photojournalistic art.
Eugene Smith... what can I say!.......2002-01-20
Superb. I am a professional photographer, and i really admire Smiths work. This book is a great collection of some of his images.
The publishers did a good job reproducing the photographs, nice detail and tone. Definitely worth the price.
Staff Photographer, Seattle Times, Seattle, Washington.......2000-07-17
An excellent display and text of one of one of the world's great photojournalists. I would recomend this book highly to any fan of E. Eugne Smith
Review of Smith book from an old friend.......1999-01-08
SMITH BOOK REVIEW
Having risked hernia to browse the impressive new book of an old friend and neighbor, ( W. Eugene Smith; Photographs 1934-1975 John T. Hill/Gilles Mora) what first grabs is the space, air and light enveloping these intense images with almost a loving caress, a sense of freshness and sunlight never possible in our dim, dingy-dusty claustrophobic Sixth Avenue loft building, where, just outside my studio door, were piled stacks upon stacks of his work mounted on black 16x20 dogeared mats, just waiting to be stolen, but which were, in fact, attributed by many visitors to some magical drugstore, and could I, please, arrange to have their wedding pictures made there, too? Gene couldn't sell one print for even twenty-five bucks in those days. Every night when I came home to sleep there was the despairing Clement Attlee staring upward at the bare light bulb over my doorway.
That was forty years ago, and twenty since Gene went to that great blast of ferrocyanide in the sky, and much ado about him has taken place in the interim. New York fifties mindset was Freudian psychoanalysis; everyone went to a shrink. Any prominent individualistic tendencies were often condemned to one definition of neurosis or another, and in the rather small and specious world of photography , Gene's maverick determination stood out in high relief. Businessmen photographers-- like the young Lee Friedlander, himself awash in Freudophilia, considered Gene a `spoiler', pretentious-precious, and went instead to sit at the feet of the polymorphous Walker Evans; yes, "pomposity" was pretty much the legend that Gene's exit from LIFE brought down around his head. Not a team player at all; tsk tsk. And in his brave repudiation of corporate moloch, Gene valiantly pratfalled himself right into the lap of utter poverty.
To large extent, Gene's persona seemed to require a struggle against impossible odds; it focused and sharpened him to the high standards he demanded from himself , and he was no slouch when it came to grandstanding, often with tears, his anti-Goliath position. He built his own Myth of Smith, his self-invented public (relations?) image, fine when LIFE was footing the bill, but now, inside our firetrap former whorehouse , there was real rent to pay, real electric bills, bona fide empty refrigerators. That is about when we began to get acquainted--- I never really bought the Myth; for me he was just the strangely interesting guy downstairs who became a great pal.
Outside the loft, Gene was quick to acquire the packagable cliche of the garret-starved self-destructive artist. Compared to Van Gogh, he earned some residue of American Puritan contempt; this man whose great humanity was most evident in his work was treated most inhumanely by his peers.
Inside the loft, for many years the two of us were in daily contact, working and trying to exist under extremely difficult economic circumstances, and we often had one helluva good time!! I found him to be a genial, generous, courageous---often outrageous-- warm wildly witty man, always humble, sensitive, shy and hard-working, sharing a great interest in art, with a remarkable philosophical perspective. We jabbered of Welles and Chaplin , wide angle lenses, witches, Goya, Haiti, Satchmo, Stravinsky, O'Casey, Joyce, Kazan, war, suicide, politics, cock-fought over girls, guzzled cheap scotch, and swung with the jazz that regularly took place in my studio , as if great mind trips could avert the cold fact of the necessity to eat. I remember one hot summer day, making cream cheese and molasses sandwiches for us on cinamon bread. Gene argued that we didn't have to buy the molasses because we could get the iron from our rusty tap water. As a rule, his antic humor and punning sense managed always to keep things slightly off-balance; this man who had such a profoundly dramatic instinct and attraction for the tragic had also a capricious spirit of the absurd in the way he conducted his daily life; Van Gogh with a manic dash of Robin Williams.
And astonishingly productive. Yet always the gloomy impassioned chairoscuro came out of the darkroom-- prints blacker than black, then mounted on black, dense, intense, often in layout strangulation, making sure; I , W. Eugene Smith , won't let you go gently into that unferrocyanided good night. Sans assignments, now more artist than journalist, for years on end Gene shuffled his prints, made and remade PITTSBURG, photographed our jazz and our personal La Boheme, tried a failed book, a failed magazine, and finally luck brought him The Jewish Museum show and then his crescendo, Minimata.
One night in Bradley's in 1975, Gene said, "Well, Dave, I finally got there at last. I've got ten thousand dollars in the bank for the first time. Of course, it's only going to be there about a week."
Jump cut posthumous; an icon, passed away amongst us, is now suddenly acknowledged. Many who jeered him, refused him recognition, now come out to sycophant, to pedestal, to celebrate his life-- including LIFE itself. Gee, we're SO sorry; but let's exploit!
Those twenty-five dollar prints buckled the registers at auctions, and giant profits were made; yes, the same old art-woe story--- just at the time Vinnie the Gogh himself was pulling down millions in Sotheby sales. The dark side of Gene, finally, surely, took care of his children and at least one of his wives.
We get a brilliant and sensitive biography by Jim Hughes, a soso documentary, worldwide traveling shows. And then it seemed over. "There's no money left around for Gene Smith anymore" comments executor John Morris in the late eighties, handing his stewardship over to Gene's bastard son.
Now, surprise! comes this current coffee table dominatrix which gives Gene's babies, his pictures, the opportunity to have a life of their own in renewal. SNAP!! Of course one can argue anew the merits of the individual essays and which choices are the best, etc., but for myself-- having gone to bed amidst these images for many years, there's something new about them now; suddenly welcome. There is a spank-spank/no-no here; not all of what we see are Gene's own prints, very much against the artist's wishes, but the damage is by no means on the level of, say, Clement Greenberg's sanding off the paint on David Smith's sculptures after his death. And most of these choices help illuminate Gene's way of seeing and working. There are also textual inaccuracies; Hall Overton did not own the loft bldg. I had rented three floors, and Hall rented originally from me, and my friend Sid Grossman sent over Harold Feinstein to share Hall's floor. When Harold left, he brought in Gene.
I liked John Hill's technical essay at the closure. I was with Gene the night MAD EYES burnt out all the surrounding background, with ritual Clan MacGregor celebration, for neither of us-- one painter, one photographer-- gave a whit about `objectivity'.
This spacious book-bomb adds honor and light to these master photographs, allowing them their own life and breathing room not usually available. Gene's insistence on control force-gilded his lilies, giving barely any space in his layouts to let the eye feel free to wander on its own volition. Now one can look afresh with impunity, and they look a bit different--even better.
In any event, Gene, now busily groping angels, can no longer argue in his own defense, no longer joke, weep, holler, cajole, rage, pun. And he doesn't need to.
You know? This fellow really had one goddamned great eye and sense of when.
David X Young
Oct 22 1998
Book Description
For seven decades, Life has been thrilling the world with its unrivaled presentation of the very best photography to be found. Here, the editors have assembled the crme de la crme from the magazines vast collection of images.Because Life has always dealt with matters of every sort, the entire spectrum of society is represented in these pages. One after another, there are unforgettable photos from Hollywoods greatest stars, from the wonders of small-town America, from the terrible wars, as well as from the zestful years of childhood. Life has always represented the apex in photojournalism and its roster of great photographers is unequaled.
Customer Reviews:
Excellent Photo's and Stories of Our History.......2007-07-18
This booked turned out to be a prized gift for a history buff friend of ours. Absolutely LOVED IT and wants to share it with his grandkids. Interesting reading, in a beautiful format.
Too much of America........2007-04-15
I picked up this book and "The Great LIFE Photographers" off the shelf of an art bookstore last night. Great books, a lot of emotion, great photography. Although, I wouldn't recommend buying these two books together. A lot of the photos are repeated, so one should be enough.
When I was going through this book, I was slightly annoyed by how "American" it is. I'm sure the Americans did a lot of great things. But about half a dozen of photos of baseball games/players?
Between those two books, I recommend "The Great LIFE Photographers" as it is smaller, more compact, and puts less emphasis on the US.
the image of a century.......2007-04-11
the life of each day all over the world.
The life of men and woman , in peace and at war.
To have, absolutely.
A reminder of how great the original Life Magazine was and what photojournalism should be.......2007-04-01
Before television - an era that well over half the population never experienced - there was Life Magazine, which brought the world into people's homes. The magazine's editors hired the world's best photographers who in turn became some of the world's greatest photojournalists. Life also never said no to great photography from any source. Life was, indeed, a window into life for many millions.
Alas, society moved on and rising costs and television ultimately killed off Life, Saturday Evening Post, Look and many other wonderful magazines.
This book is actually a little bit disappointing in that it is only 304 pages, 251 of them being given to pictures from Life Magazine. The book could have - and, in my opinion, should have - been two, three or even four times the size. Life Magazine represented the epitome of photojournalism for much of its history and I think people would pay handsomely to have the "complete" Life photo collection. Perhaps someday, like the New Yorker did with its cartoons and articles, all of Life's photos will be available for browsing on DVD.
In the meantime, for any student of popular culture, 20th Century History, photojournalism or photography, this book is essential. It does contain a wonderful treasure of Life photography, which in turn gives a mirror into the world as it was.
Perhaps the best part of the book are the tiny reproductions of every Life cover. These provide a true summary of the fleeting nature of fame (many Life cover subjects are entirely forgotten today), the restless world with its wars, famines and other upheavals - and reaffirmation that nothing ever changes.
For the money, this is a wonderful value - a great browsing and viewing experience.
Jerry
Life: The Platinum Anniversary Collection.......2007-01-27
If you want a coffeetable book that has decades of images which have enthralled all of us, this is the perfect choice. Also, photographers can learn what makes a compelling image.
Book Description
Bruce Feiler recently reprised the journey through the Holy Land that led to his breakthrough bestseller Walking the Bible––this time he took along a documentary film crew. The result will be a heavily marketed PBS series in January 2006 and a lush illustrated book, WALKING THE BIBLE: A PHOTOGRAPHIC JOURNEY.
One part adventure story, one part archaeological detective work, one part spiritual exploration, WALKING THE BIBLE: A PHOTOGRAPHIC JOURNEY is a fascinating, unprecedented journey––by foot, jeep, rowboat, and camel––through the most famous stories ever told. The combination of beautiful photography and Feiler's evocative prose will irresistibly draw readers into the Holy Land. In these pages the biblical landscape comes alive as Feiler treks though Turkey, Israel, the Palestinian territories, Egypt, the Sinai, and Jordan visiting the actual places where some of history's most famous events took place, from the mountain where Noah's ark landed to the site of the legendary burning bush. He visits the desert outpost in Turkey where Abraham first heard the words of God and sleeps on the summit where Moses overlooked the Promised Land.
Customer Reviews:
beautiful photographs.......2007-01-16
We bought this book for my father-in-law. My husband was skeptical because he wasn't sure he would have the time to read a book. My 8-year-old daughter looked through the whole book before we wrapped it, exclaming on just about every page, "Oh, this is so beautiful!" and then said, "This will be okay for Grandad, it's mostly pictures." He did seem to like it on Christmas Day
Beautiful.......2007-01-11
This book is a great companion to Walking the Bible book or CD set
A striking visual panorama, not to be missed........2007-01-07
WALKING THE BIBLE: A PHOTOGRAPHIC JOURNEY could also have been featured in our Spirituality section: it's reviewed here for its striking photo impact so that artists don't miss the value of its presentation. It's a companion volume to the new PBS series on its way: in 2004 Feiler reprised the 10,000 mile walk through the Middle East deserts which led to his WALKING THE BIBLE. This photographic odyssey blends stunning photos - many taken by Feiler - with a survey of Biblical places and landscapes. A striking visual panorama, not to be missed.
Diane C. Donovan
California Bookwatch
A beautiful walk.......2006-11-06
This is a real walk through the holy land especially if you can't get there.
Walking the Bible.......2006-11-04
Intellectually written with attention to spiritual doctrines. Page turning photos kept the reader at once connected to the readings.
Book Description
Colossal spectacle preserved in 128 rare, vintage photographs with concise, fact-filled text: 200 buildings — 79 of foreign governments, 38 of U.S. states — the original ferris wheel, first midway, Edison's kinetoscope, much more. 128 black-and-white photographs. Captions. Map. Index.
Customer Reviews:
Great look at the "White City".......2006-07-25
A beautiful collection of images, showing the wonders of the 1893 fair. A great look back.
Fantasy City.......2005-08-15
One book leads to another. After reading The Devil in the White City, I wanted to see the Exposition described in the book. It definitely was an amazing sight to see and this book satisfied most of that curiosity. To go one better, I might look for a book that goes even further into that time in life. The city is every bit the accomplishment as described in the afore mentioned book. Where is the America of that artful integrity, that is, to do the best that can be accomplished? Gone to disposable products including much of architecture.
Book Description
Window Seat: The Art of Digital Photography and Creative Thinking is a complete view of a creative project from the artist's perspective. Julieanne Kost, a Photoshop and creative thinking expert, has taken her own experience shooting images out of commercial airplane windows to create a unique creative seminar.
The first section of the book, The Art of Creative Thinking: The Principles, outlines Julieanne's method for staying creative in an increasingly complicated world. In her personal stories, advice, and philosophies, you'll find inspiration if you're stuck or just can't get started. You may recognize some of your own less-than-productive thought processes as she describes her own struggle to let go of the everyday flotsam of life to find a quiet mental space in which she can think, dream, and create.
The second part of the book, Window Seat: The Portfolio, is a collection of images culled from over 3000 photographs Julieanne shot from commercial airplane windows over a period of five years. The photographs are accompanied by brief commentaries addressing various aspects of the process, from the original inspiration to issues of control, subject matter, image selection, and manipulation.
The Appendix contains technical information: a discussion of the equipment and media Julieanne used to shoot the photos; how she processed the photographs using Adobe Camera Raw; the Photoshop techniques she employed to correct, retouch, and manipulate the images; her personal file management system; and how she prepares her files for printing.
This book is essential reading for photographers and artists looking for ways to stay creatively awake, aware, and alive.
Customer Reviews:
Wrong book for me........2007-09-20
I love aviation and photography yet lack any professional training in either field. I had hoped this book would be at a level I could gain something from--I was wrong.
For cloud lovers only............2007-09-15
I was really disappointed by this book. It should have been entitled `Interesting Clouds'.
Out of the first 121 pages only 11 and a half contain text, the rest are pictures of rivers, cornfields and clouds. This limited text is mostly fluff, with the author wondering why passengers would rather watch the in flight movie than marvel at what's outside their windows. The only creative thinking involved is that if you have to travel for work a lot, you might as well take pictures out of the window. The most technical advice is to not sit over the wing, and be sure to get a window seat (duh!), and let's not forget to be careful in the post 9/11 world, using a camera may be a suspicious activity.
The appendix (about 25 pages) is devoted to how to improve your pictures of clouds using Photoshop. I'm sure everyone has to have knowledge of how to remove tints and glare from airplane windows.
Save your money, go outside on a cloudy day with your camera and have a ball! Personally, I'm going to burn this book and take photos of the clouds of smoke, so that I'll get at least some use out of it.
very helpful.......2007-09-13
I have learned a new consepts in showing what is important in the picture. Great book and learning tool.
I love this book!.......2007-08-28
I absolutely love this book!
I found every image, every page to be filled with breathtaking beauty.
Even the most simple photos of clouds, Julieanne Kost has managed to create images the likes I have never seen before.
She has managed to take something that I had always taken for granted, the view from a plane window, and created a whole new vision for me to enjoy. Maybe that is the best way to describe it, her work is the difference between simply seeing and true vision.
I flip through this book whenever I am in need of inspiration.
I have bought 5 copies now and given 4 as gifts.
Everyone whom I gave these to, genuinely loved them as much as I do.
I suggest you buy your 5 now ;-)
Lovely to Look At.......2007-06-23
Window Seat (The Art of Digital Photography & Creative Thinking) by Julieanne Kost
Reviewed by Diane Williams, member of the Eureka Photoshop Users Group, 6/20/07
Window Seat is 90% coffee table photo book and 10% self-help and imaging techniques work flow book.
This 147 page book is a beautiful visual memory of those sights you see when you gaze out the window of a plane. I know I have tried to capture what I see out the window of a plane and have been very disappointed by the images. I may be able to make something of them now with this work flow.
Kost shows us sample original images captured by her and we see the final image after she has applied image corrections in Photoshop. Her instructions are brief. This is not a step-by-step tutorial giving all the input numbers. It is a general overview of the work flow what may be necessary, how you get there by pointing to the tools, and what they can do for you.
The self-help part of the book lists Julieanne's 18 self help and creative thinking hints. Here they are:
Master your tools.
Listen to what your life is trying to tell you.
Be open to whatever comes your way.
Share what you know and learn from others.
Collaborate with other creative people, especially the quiet ones.
Be flexible. Learn to negotiate.
Fix whatever you complain about most.
View every challenge as a possible discovery.
Take 15 minutes for yourself everyday.
Figure out what you need to do to reach your zero point.
Integrate work and Art; both will benefit.
Take up an interest in something you know nothing about.
Look at new stuff- and what you already know- with fresh perspective.
Keep a journal.
Visualize first, Photoshop second.
Replace your thoughts with intuition
Play! Play! Play!
Know when you're done.
This book is worth a look even if it is just to vicariously have the window seat. It will not teach anyone much about Photoshop.
Average customer rating:
- An excellent academic introduction to aerial photography
|
Aerial Photography and Image Interpretation
David P. Paine , and
James D. Kiser
Manufacturer: Wiley
ProductGroup: Book
Binding: Hardcover
Architectural
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General
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ASIN: 0471204897 |
Book Description
Includes new material on orthophotography, soft photogrammetry, and digital image capture and interpretation.
* Introduces the latest non-photographic and space-based imaging platforms and sensors (Landsat, LIDAR, thermal, multispectral).
* Provides new information on elementary sampling techniques and statistics.
Customer Reviews:
An excellent academic introduction to aerial photography.......2004-08-25
This book is an outstanding, in-depth introduction to the science of aerial photography. At the outset, it must be said that this book does not tell you how to bring in, register, or project your aerial photo in a particular GIS application. What it does tell you is how that photo came about and how it might be interpreted or used. The text reads well, but does require the reader's full attention to absorb all the information.
Amazon.com
A 1947 lunch meeting of four friends proved to be one of the most auspicious dates in the history of photojournalism. It was around a lunch table that day that Robert Capa, Henri Cartier-Bresson, George Rodger, and David Seymour--each recently returned from covering World War II and its aftermath--formed the Magnum photo agency. Since then, Magnum photographers, with their singular knack for capturing history in an instant, have been responsible for creating many of the most iconic images of our world, in both war and peace. Magnum Degrees is a selection of agency photos that illustrates the range of subject matter and imagery the photographers have captured over the last half century.
The book, which overflows with photographs and includes only the briefest amount of text, is arranged thematically to effectively highlight the wide scope of images even within a narrow field. In "Middle East," Larry Towell captures boys playing in Gaza, while Micha Bar-Am trains his camera on a Jewish man, wrapped in a prayer shawl, fleeing a smoke bomb in Jerusalem. In "India," in the town of Benares, Ferdinando Scianna snaps photos of an excruciatingly thin man carrying his dead daughter and two nicely dressed young girls frolicking in the water. In "Religion," photographer Abbas trains his lens both on a man reenacting the Crucifixion in the Philippines and a woman being physically moved by the Holy Spirit in a rural Georgia church. As some of the themes--"Refugees," "Child Victims," "In the Camps," "War in Africa"--suggest, many of the images here are powerfully disturbing. Others, particularly those collected under the headings "Trees," "Fishing," and "Architecture," are lyrically beautiful. Still others, like Martin Parr's photographs of tourists on vacation the world over, are witty and comic. Taken together, the thousand or so photos here capture the often surprising, always complex nature of humanity and do justice to the agency founders' original intention to "document the world as it really is." --Jordana Moskowitz
Book Description
A 1947 lunch meeting of four friends proved to be one of the most auspicious dates in the history of photojournalism. It was around a lunch table that day that Robert Capa, Henri Cartier-Bresson, George Rodger, and David Seymour--each recently returned from covering World War II and its aftermath--formed the Magnum photo agency. Since then, Magnum photographers, with their singular knack for capturing history in an instant, have been responsible for creating many of the most iconic images of our world, in both war and peace. Magnum Degrees is a selection of agency photos that illustrates the range of subject matter and imagery the photographers have captured over the last half century. The book, which overflows with photographs and includes only the briefest amount of text, is arranged thematically to effectively highlight the wide scope of images even within a narrow field. In "Middle East," Larry Towell captures boys playing in Gaza, while Micha Bar-Am trains his camera on a Jewish man, wrapped in a prayer shawl, fleeing a smoke bomb in Jerusalem. In "India," in the town of Benares, Ferdinando Scianna snaps photos of an excruciatingly thin man carrying his dead daughter and two nicely dressed young girls frolicking in the water. In "Religion," photographer Abbas trains his lens both on a man reenacting the Crucifixion in the Philippines and a woman being physically moved by the Holy Spirit in a rural Georgia church. As some of the themes--"Refugees," "Child Victims," "In the Camps," "War in Africa"--suggest, many of the images here are powerfully disturbing. Others, particularly those collected under the headings "Trees," "Fishing," and "Architecture," are lyrically beautiful. Still others, like Martin Parr's photographs of tourists on vacation the world over, are witty and comic. Taken together, the thousand or so photos here capture the often surprising, always complex nature of humanity and do justice to the agency founders' original intention to "document the world as it really is." --Jordana Moskowitz
Customer Reviews:
extraordinary book.......2007-07-18
This is one of the very best book of photos that I have seen in my life. I you like photos you would love this book, even if it contains some very crude photos. I think it is a must for anyone enyoying the art of photograf.
magnum degrees.......2007-05-10
these pictures speak a million words: about the beautiful things in life as well as the dark side of life.
Really Nice.......2007-03-19
One of the best books of photojournalism that I've ever seen. Highly recommended.
Just BUY IT.......2002-12-17
It took me a year to get all the way through it. Each image is independently powerful, enough so that I had to spend a great deal of time studying each diptic (a year in total). If you can judge this book by it's cover, then judge it by one word on it's cover - MAGNUM. You won't be disappointed.
A great album, can be a great Christmas present.......2001-11-16
This collection of Magnum photographs is amazing. The pictures are broken into differnet thematic or geographic categories--war, environment, famine, etc. While there is very little text and almost no captions at all, the pictures are enough to speak to the subject. It contains both recent photographs and old ones, becoming something like an encyclopediea of photography.
It is a beautiful edition, worth having and will make an excellent, classy present not only for a photography enthusiast, but for everybody.
Amazon.com
Photography is such a constant in our culture that we've forgotten that years ago it must have seemed more like magic than art, science, or craft. The Photographic Art of William Henry Fox Talbot brings us back to the spectacular moment of wonder when photography was first invented. Talbot, born 200 years ago, was a successful mathematician and frustrated draftsman when he invented photography out of his personal desire to make more realistic drawings. He saw his new process as a way for nature to make her own perfect pictures.
Talbot first experimented with salts of silver that produced sun-darkened shadows of objects placed on paper. Many experiments later, he realized that negatives could be reversed, and was eventually able to produce multiple prints. Apart from the brilliance of his invention, the images that Talbot captured are beautiful and mysterious. Softer than modern photography, these pictures look like paintings: gentle leaves, breath-taking sunlight glowing through windows, negatives of intricate lace, reproductions of paintings, and posed pictures of family. Talbot varied the size of his images, making tiny prints from boxes he called mousetraps (a mouselike perspective on the world) to larger landscape portraits. The magic resonates with a thoughtfulness that may have resulted from the slow process of early image-making. How amazing it must have been, seeing and creating the world on paper for the very first time. Aside from the spectacular pictures, the text covers Talbot's life and his experimental processes, and each of the 100 images is given its own explanatory text. --J.P. Cohen
Book Description
William Henry Fox Talbot (1800-1877) is best remembered as the scientist who invented photography. Others had tried recording the images projected by a lens, but Talbot was the first to grasp the physical basis for realizing this dream and to conceive of a practical means for fixing these ephemeral images permanently onto a sheet of paper. But Talbot's considerable technical achievements have often overshadowed his growth as an artist. Larry Schaaf examines this artistic growth by bringing together for the first time high quality reproductions of one hundred photographs representing the full sweep of Talbot's work. These beautiful images are not only records of scientific triumphs, but also the evidence of the first steps in shaping a totally new type of vision.
A classicist, physicist, and mathematician by training, Talbot originally viewed his new invention as a means of visual documentation, particularly of the botanical specimens he loved so dearly. But gradually his new technology taught him to see, and the growth of Talbot's personal vision defined the beginnings of modern photography. The resulting corpus of work ranged from seminal early images rich in primal beauty to later, fully sophisticated photographs. Illuminating these images with excerpts from Talbot's own writings and those of his contemporaries, this book is a visual celebration of the early days of photography.
The one hundred plates are reproduced in the actual size of the originals and in all the subtle colors that comprised Talbot's early work. They range from Talbot's Lilliputian pre-1839 negatives (made in "mousetrap" cameras) through botanical photograms to mid-1840s calotypes that demonstrate a sure command of the new art. Each plate is discussed in detail, drawing on important new research conducted by the author.
Published to coincide with the 200th anniversary of Talbot's birth, The Photographic Art of William Henry Fox Talbot will not only deepen our understanding of early photography but will also serve as an important archive for those who may never have the pleasure to witness firsthand these rare and fragile works. As such, this beautifully produced book is an essential addition to the library of anyone who collects, studies, and admires photography.
Customer Reviews:
100 quality plates from the father of modern photography.......2006-12-23
This book is a very large weighty tome, measuring 28cm x 32cm x 4cm. It has 21 pages of text discussing Fox Talbot's work and the photographic process. The remaining few hundred pages are devoted to high quality plates of 100 of his images and a page of text detailing the background to each of these images. Sometimes this text uses rather flowery arty language and certainly not in the style of the dry highly scientifically orientated writings of Talbot at the time. Plus there's no detailed 'Talbot life story' as such, but then much of that is available on the web, e.g. www.foxtalbot.arts.gla.ac.uk. However on the web there are precious few of his photographs on view because of the very high copyright charges for reproduction, hence the attraction of this book.
My only disappointment is that only one solar microscope image is shown - a slice of horse chestnut (I am a microscopist by trade), the remaining 'scientific' images being termed `contact prints' of things like leaves and flowers (e.g. Vines, Honeysuckle, pine needles, orchids) - although I am advised by Talbot authorities that these were most probably taken using the solar microscope as well. Many images are people-less and static e.g. Lacock Abbey windows, lace, breakfast table, Library books, articles of glass, Milliner's Window, Hungerford bridge, The Royal Pavilion, Trinity Church and various woodland scenes. There are about 15 plates with people who stayed still long enough to be recorded in the image, such as: the footman, a group taking tea, the ladder, his daughter, Lady Feilding reclining, Charles Porter drinking tea. These photographs are nothing like as impressive as late Victorian photo images, such as city and dockland scenes, but they are fascinating from a historical perspective. These Talbot images date from 1835 to 1845, and naturally some show serious fading (they don't appear to be retouched at all - a good thing). Also included is a painted B&W silhouette portrait of Talbot as a boy [age 7] that contrasts very well with his later photographic images.
In fact Englishmen Thomas Wedgewood took the first photographs before 1802, but unfortunately couldn't devise a way to fix the image, so the photographs slowly faded from view after they were taken and are now lost (but some of Wedgewood's images may have survived to the 1860's). Although Frenchman Daguerre published first in 1839 with his mercury photographic process, Fox Talbot developed the modern 'negative' process, so that many prints could be taken from one image. So a very interesting book of the art (and science) of the father of modern photography, but perhaps it can be rather expensive (reflecting its high quality production). Three stars for value, four stars for content.
Fantastic.......2004-09-12
It is incredible. I am viewing people so far back in time that I am enchanted. I am viewing a fashionable Paris Blvd in the 1940's and am in a position to compare Zola's naturalism in my mind to the truth.
I am thrilled with my purchase.
Schaaf's Fox Talbot.......2000-09-20
Larry Schaaf has put together an absolute benchmark of a book. To all of you who sat in the "college survey of art history," saw the 2" by 2" Fox Talbot image "The Soliloquy of the Broom" and wondered what the fuss was about; see this book. To all of you photographers who secretly wonder if photography is really art; see this book. One hundred images are reproduced with (no kidding) breathtaking quality and nuance. Each image is accompanied by a very readable account of how the image was produced and enough descriptive detail about the original image to satisfy an archeologist.
If you are a photo researcher or archivist; read Schaaf's notes on "The photographic artifact as historical map" (p. 22). It is clear, it is complete, it is definitive. I wish all histories and text books could read like this.
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