History: Fiction or Science? (Chronology, No. 1)

Book Description

Recorded history is a finely-woven magic fabric of intricate lies about events predating the sixteenth century. There is not a single piece of evidence that can be reliably and independently traced back earlier than the eleventh century. This book details events that are substantiated by hard facts and logic, and validated by new astronomical research and statistical analysis of ancient sources.

Customer Reviews:

Calculations are only as good as your numbers.......2007-08-03

Yes, we can all agree that mainstream history is nearly 100% BS due to politics, economics, ego, problems with dating techniques, and various conspiracies. Agreed. But, I've been researching the distinct possibility that human history (in terms of civilizations) are much more ancient than we've been told, so coming across this book was very interesting to me. I wondered how Fomenko could be wrong (if at all) because he is very persuasive in his presentations. Then it dawned on me. If at previous times in prehistory, due to the various catastrophies that are well documented (comets, asteroids, planetary disruptions, plasma discharge, pole reversals, etc) the Earth was in a different position in relation to the sun, different tilt on its axis, different orbit, different rotation (in terms of velocity and DIRECTION), and the continents were in different positions, then would this not cause the ancients to see the sky (constellations) differently? In other words, is Fomenko making erronious assumptions about the physics of the Earth in pre-history, which then corrupt his data with regards to dating the relevant astrology? The last event to seriously disrupt our planet occured roughly 3500 years ago, according to other good researchers, so is it possible Fomenko has been confused by this? The vastly different physics of our planet in the not so distant past may explain this confusion, which is not to say the "mainstream" version of history is correct; on the contrary. I am not an expert in these fields, but wanted to see if this idea could spark discussion.

Pants on fire?.......2007-07-19

Will people ever read before spamming? Yes, Jesuits could not rewrite world history alone, they had help. Anyway, Dr Prof Acad A.Fomenko does not point to jesuits as the driving force of world wide history manipulation in published volumes 1,2,3;, actually he barely mentions the poor devils. Check it with 'Search inside' feature, please. China is rarely mentioned either, in fact, Dr Fomenko is completely eurocentric. Right, his theory contradicts all mainstream schools of history, because in their actual state they are all built on blatantly erroneus chronology. You don't need a mysterious cabal (conspiracy) to falsify history, the falsification is its modus operandi. It is inherent to history(ians) to falsify (distort) events, as it is inherent to humans to boast as it is inherent to power (authority) to legimize itself by referrring to glorious past made to its own order. Dr Prof Fomenko and team have identified scores of instances of such manipulation in Russian, European, etc.. history, and delivered valid statistical proof thereof. His own 'reconstruction' is completely another story. Forget c14 as a valid method of dating. W.Libby has initially discovered a brilliant method of INDEPENDENT dating. Too bad, c14 method has become a joke after a forced marrige with dendrochronology with consensual chronological scale inbuilt. Radiocarbon method can't stand blind tests, but is so very productive as a rubberstamp.

Accepted History & Chronology Must Be Changed. .......2007-04-09

There is no doubt that history as most know it is a sham, & institution's version of History both University & Church is fradulent & inaccurate. Everything was established with an agenda, The real "Dark Ages" are now when we have access to incredible amounts of information past authorities & more important 'common folk' didn't have but our institutions & educators are slow to evolve because of what has ignorantly & arrogantly been taught for too long. This is on many subjects not just Chronology.

For anyone to question "Why would a Mathematician have anything credible to say of History?" The answer is from Dr. Fomenko's preface in the book: "It would be worthwhile to remind the reader that in the XVI-XVII century Chronology was considered to be a subdivision of Mathematics." These volumes could possibly be some of the most important works to date & should be read by everyone with an interest in History, especially professors & educators who have a duty to the public. I have read both books & must say that 'Chronology 1' has some very eye opening & revolutionary information. Even if these volumes are part true the implications are profound & opens the doors to further investigations & questions which must be done. I speak several different lanquages & must say the logic Dr. Fomenko uses with "inflection" of words & words being read from left to right in one region & right to left in another then written backwards, the removal of vowels & get down to basics of words, or different cities & locations having the same name etc. is correct. Vowel usage has always been optional & varied, actually complicating linquistics & study. The first thing one has to understand is that words never had a fixed spelling in history like we do now, the spelling of words was mutable & regional, as well as names & titles of people were vast, varied & changed, NOTHING WAS FIXED or understood linear. Matters of Life & Death as well as financial profiteering yesterday & today were & are made with ignorant, illogical & conspiratorial views of history & reality, it's time people get closer to the Truth & society collectively grow up.

Very Interesting.......2007-03-07

It is a good proposal and I believe it will mature into something even better in the future. I think it deserves to be read.

History as Science Fiction.......2007-01-10

Anatoly Fomenko has written a very intriguing book, full of pictures, charts, and computer 'proof' of his thesis: backwards of AD900 we don't really know what happened or when. Between AD900 and AD1600 there is more certainty, but there is still a lot of fuzzy ground, and things don't get reliable until we get past the 1600's where the printing press made it very difficult for the perpetrators of this timeline manipulation to change anything that had been committed to print. The Dark Ages did not happen. Books were burned for a reason. One organization has doubled the actual length of its existence by expanding the real chronology. Read why.

I had always wondered why Christ died about AD33 and yet men waited until the 11th century to form the Knights Templar, the Cathars, etc and go after the Holy Land by force. Why the 1000 year gap? Turns out there wasn't more than a 10-12 year gap and he proves it using astronomy. This also implies that the planet is not as old as we have been told, and current Christian and other creationist scientists are already championing that idea without being aware of Fomenko's book. The two groups, creationist scientists and the Russian mathematical analysts corroborate each other. Fascinating.

Of course, all this flies in the face of what we have been told traditionally is the 'proper' chronology of western civilization, and most readers will experience 'cognitive dissonance' in reading this book. It means that our history going backwards from AD1600 becomes progressively more incorrect and unreliable until it cannot be trusted at all... in the space of 700-800 years.

Naturally, the curious, open-minded reader will want to know WHO did this, WHY, and did any of the events we think of as really ancient ever happen?
Dr. Fomenko is a respected scientist/mathematician at Moscow State University who has already answered these questions to the satisfaction of his initially skeptical colleagues. Most of them are now believers, a few still refuse to believe (the usual diehards), and of course the western press has ignored Fomenko's work -- for obvious reasons when you read the book. The ones who perpetrated this chronology ruse have a lot to answer for. They are still with us. That's why this book is a well-kept secret.

I gave the book a 4-star rating because I was unable to check out some of his claims; those I checked were as he said. But if even 1/3 of his claims are true, this punches a big hole in what we think is our history, the meaning of western civilization, our educational process (for repeating the ruse as gospel), and the trustworthiness of the organization that perpetrated this ruse, well-intentioned or not.

This book relates to current research into a Young Earth paradigm, to John Keel's discoveries about our planet, and Fr Malachi Martin's insights (in his now out-of-print books). We are indeed sheep who are manipulated and kept ignorant -- for a reason. While knowing what these men have to say may be the "booby prize" (as in: 'what can you do with this knowledge?'), it will provide interesting reading. Didn't someone say: "...and the Truth will set you free."?? For you to judge if this book contains the truth.

Image Transfer on Clay: Screen, Relief, Decal & Monoprint Techniques (A Lark Ceramics Book)

Average customer rating:

Great handbook
good for beginners
Image Transfer on Clay by Paul Andrew Wandless
Image Transfer on Clay
Excellent reference on the subject

Image Transfer on Clay: Screen, Relief, Decal & Monoprint Techniques (A Lark Ceramics Book)
Paul Andrew Wandless
Manufacturer: Lark Books
ProductGroup: Book
Binding: Hardcover

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ASIN: 1579906354

Book Description

The first comprehensive how-to book on the topic! Contemporary ceramists have adapted traditional printmaking procedures to transfer images onto clay surfaces. And, with this thorough resource, anyone can take advantage of these techniques in their own home studio—even those with no printmaking background. The simple processes don’t require fancy equipment. Use silk-screen decals with light-sensitive emulsions to create a master image: then cover with glazes, and voilá! Use colored slips for unique monoprints. Work with stencils, relief blocks, or stamps, trying a variety of materials to mark the clay surface. Each method is carefully laid out in numerous photos, and shown on a finished piece. More than 100 images by leading contemporary artists showcase the techniques and provide a wealth of inspiration.

Customer Reviews:

Great handbook.......2007-08-09

I am a potter and I run a "paint your own pottery" studio. This book was just what I needed to ensure customer requests (as well as my own requirements) can be met as needed. Specifically I was interested in decal transfer to pottery, and the answer is complete in this book. I would recommend it to any potter or pyop studio owner. It's an invaluable resource.

good for beginners.......2007-07-31

This is a good book if your just starting to do image transfer with clay. It takes you trough step by step and has some great pictures If your like me any youve dont it for a while and are looking for something advanced dont bother with this book

Image Transfer on Clay by Paul Andrew Wandless.......2007-07-16

An excellent book, fun and exciting and easy to follow. A wonderful and enriching versatile process - with great photos and stimulating ideas.

Image Transfer on Clay.......2007-06-08

Looks like many processes will be fine to use on my clay but so far I haven't tried any specific ones.

Excellent reference on the subject.......2007-05-20

Very up-to-date information on a plethora of methods for image transfer on clay. Especially loved the section on laser printing on decals and can't wait to give it a try.

Fine Art Printing for Photographers: Exhibition Quality Prints with Inkjet Printers

Average customer rating:

Fine Art Printing
Incredible book on printing
A Very High Quality Publication
Outstanding digital printing resource
If What You See Isn't What You Get, You Need This Book

Fine Art Printing for Photographers: Exhibition Quality Prints with Inkjet Printers
Uwe Steinmueller , and Juergen Gulbins
Manufacturer: Rocky Nook
ProductGroup: Book
Binding: Paperback

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ASIN: 1933952008

Book Description

Today's digital cameras provide image data files allowing large-format output at high resolution. At the same time, printing technology has moved forward at an equally fast pace bringing us new inkjet systems capable of printing in high precision at a very fine resolution, providing an amazing tonality range and longtime stability of inks.

Moreover, these systems are now affordable to the serious photographer. In the hands of knowledgeable and experienced photographers, these new inkjet printers can help create prints comparable to the highest quality darkroom prints on photographic paper.

This book provides the necessary foundation for fine art printing: The understanding of color management, profiling, paper and inks. It demonstrates how to set up the printing workflow as it guides the reader step-by-step through this process from an image file to an outstanding fine art print.

Customer Reviews:

Fine Art Printing.......2007-10-02

This was a very in depth study of principals needed to handle art printing--and the price was fantastic!!

Incredible book on printing.......2007-08-23

I've always struggled to produce prints that match what I see on the screen. This is th best book I've ever read on the subject. It covers everything in great detail, and is very readable. For the first time, I'm able to produce prints that match what I'm seeing on the screen.

A Very High Quality Publication.......2007-07-09

Producing exhibition quality photographic prints on an ink-jet printer requires a knowledge of many areas - printers, papers, inks, color management, editing software, handling and preservation. This outstanding book covers all these topics with the authority of experts. The authors' in-depth knowledge enables them to distill the essence of each topic into very concise prose, which is a pleasure on both the first reading and for subsequent reference. I have tried using other books on producing exhibition quality prints and found them wanting. With this book, I have quickly taken my prints to a new level.

As a minor issue, there are a number of places where a good editor could have tightened up the prose, added a clarifying sentence, or removed a germanic grammatical construction. Maybe for the next edition the authors could engage a more discerning editor. However, this does not affect the book's overall clarity.

One of the pleasures of this book is its design, with beautiful examples of the authors' own work, and a very extensive list of references for further information.

Outstanding digital printing resource.......2007-04-01

The final product for many photographic creative artists is the making and exhibition of high quality prints. In the past, particularly with color prints, this was usually relegated to third-party printing agencies and service bureaus, but with the evolution of today's photo-realistic inkjet printers it is now possible to achieve stunning results right in one's own small office or studio. It's hard to describe the deep satisfaction of watching a perfect inkjet print emerge that is the product of one's considerable investment of time and creative energy.

The convergence of desktop computing power with wide-gamut, archival-quality inkjet printers has returned creative control to the artist. But along with control comes the weight of personal responsibility, and learning to use this sophisticated equipment takes a lot of time and mental resources. Many authors have addressed the general issue of digital image output, but none that I've read previously have done as good a job in bringing together and covering both thoroughly and with rare clarity the myriad of factors relating to the making and finishing of exhibition-quality fine art photographic prints.

There are many issues involved. The concepts of light and color and how photographic input and output devices encode and translate color is fundamental to the process, underscoring the absolute requirement for a carefully calibrated and profiled color management system throughout one's entire workflow. Types of ink affect not only how prints appear under different lighting conditions but how long they'll last. Papers come in an almost endless variety of types and surfaces, both of which impact final appearance and longevity. How one prepares a file in the selected image editor also has a large impact on final output and extensive methods are detailed for achieving optimum results. Specific printer operations are covered with screen shots of dialog boxes that make some otherwise obscure choices very clear. Several specialized printing programs are also discussed, including Qimage and two RIPs (raster image processors). Last but not least is an extensive resource listing providing internet contact information for many of the products discussed throughout the book. This has special merit today due to the speed with which technology advances, often quickly dating what is set to print in a bound book.

If you are serious about making the highest quality photographic inkjet prints for display, there is no better reference piece than this book to increase your knowledge of the subject. Very highly recommended.

If What You See Isn't What You Get, You Need This Book.......2007-02-20

This handy, easy-to-use book by Uwe Steinmueller and Juergen Gulbins leads the reader gently into the expensive and complex world of Fine Art Printing.

Your first question for Fine Art Printing might well be: Why bother? Why not have your large format prints done professionally?

For instance, Epson, one of the brands discussed in the book has come out with a new, UltraChrome K3 line of inks and 13- 44-inch-wide printers. From my experience, these printers do indeed produce studio quality prints and prepress proofs. With prices ranging from $850 to $5000, they are affordable within the context of commercial production. Nevertheless, it might be a risky investment if you don't have a good grasp of the process and mechanics of printing.

This book bridges that gap. From a very basic level of color, lines per inch to materials and inks to more complex CMS management and software manipulation, this books covers the subject in enough depth to give you a real understanding, but it doesn't drown you're your interest in a flood of super-technical details.

One of the most common problems in printing is the disparity between what you see on your monitor and what comes out of your printer. Color management and monitor calibration are huge in printing and these subjects are covered well in this volume. (If you need more, specific information he publisher, Rocky Nook has another excellent offering: Color Management in Digital Photography.)

The whole process is fascinating - seeing the scene, taking the photo, moving the photo to the computer for processing, outputting the photo to hard copy. The question is: Does your print convey the story/feeling you wanted to share when you initially took the photograph?

One thing about the book amused me. It is replete with color illustrations and many of them purport to show before-and-after and/or the application of various effects. It's probably just my tired old eyes, but in many cases I was hard-pressed to see any difference. Nevertheless, when I tried the suggested techniques on my own work, I saw the results and was very pleased with them.

The fact remains that the more you learn about the printing process, even at a very basic level, the happier you'll be with the hard copy version of your photos.

Digital Art Studio: Techniques for Combining Inkjet Printing with Traditional Art Materials

Average customer rating:

Digital Art Studio
Best book out there for combining inkjet and traditional media
I have been having a blast with this book
Best productivity book
A Must for Artists Exploring Innovative in Art

Digital Art Studio: Techniques for Combining Inkjet Printing with Traditional Art Materials
Karin Schminke , Dorothy Simpson Krause , and Bonny Pierce Lhotka
Manufacturer: Watson-Guptill
ProductGroup: Book
Binding: Paperback

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ASIN: 0823013421

Book Description

Utilizing the combined experience of three traditional artists turned digital imaging pioneers, Digital Art Studio champions combining traditional art techniques with digital media. From their unique position as artists, educators, and technology consultants, the authors provide a wide range of ways to integrate digital processes, using them in unusual and challenging ways to reinvent traditional art techniques. The computer is profiled as the ultimate mixed-media machine, allowing the artist to readily combine an unbelievable array of media. The book covers the basic processes for preparing commercially available surfaces (canvas and watercolor and printmaking papers) and custom surfaces (handmade papers, wood, leather, and antique fabrics). More advanced methods are covered, including transferring digital images to absorbent surfaces and transferring digital images to three-dimensional surfaces. A showcase of the work of artists who have combined digital and traditional materials to produce outstanding work will inspire all artists, new and seasoned alike, to explore the new world of mixing traditional art with digital media.

Customer Reviews:

Digital Art Studio.......2007-09-30

I thought this book would offer a beginning to the discussion between old and new technologies in Fine Art. The descriptions of the digital techniques are good, however the examples shown are not varied enough. Everything starts to look alike - as though made for an "crafts" audience. I was hoping for something that explored the subject more in-depth. A good example is the chapter: where "Digital and Traditional Printmaking Meet". I couldn't find the "Traditional" Printmaking. I had hoped to use it for a text book, but it covered to wide a spectrum, and nothing in depth enough. It is a hard balance to find

Best book out there for combining inkjet and traditional media.......2007-08-11

I was recently introduced to the work of Dorothy Simpson Krause. In looking through her stunning portfolio on her site (www.dotkrause.com), I found a reference to this book. I had just purchased a wide-format Epson printer, so finding this book was like mana from heaven. The book is a fantastic overview of what you can (and can't) do combining digital and analog printing techniques. For each technique presented, the author covers caveats for particular printers, as well as necessary tools. Techniques are presented in a very straightforward manner, with many chapters including an aside of "creative explorations" for you to further explore the aforementioned techniques. The color plates alone are worth the price of the book. This book is a must have addition to any digital art studio bookshelf.

I have been having a blast with this book.......2007-07-24

I'm a photographer/digital artist who was feeling that he'd lost touch with the hands-on of image making. This book for me has been a guide to stepping back from Photoshop and getting my hands dirty again.

Right now I'm playing with the white gelatin fresco transfers and have been very satisfied with the results. I use an Epson 4800. The processes described in this book are very well written and precise, but also give you tips so that you can alter the process and find a variation that works for you.

Alternative processes in the digital realm are an adventure just as much as they are in the analog world. They cost both time and money with trial and error, but the results are always worth it in the end. Much more so than just putting store-bought materials in your machine and clicking 'print'. This book may not be for everyone, but if you like to think and work outside of the box, this book will be sure to inspire!

Best productivity book.......2007-05-07

The best book I ever bought for my work. Full of tips and tricks it's the best value for an "art" book I ever made. And every day I discover new things ... I hope there will be another book of the authors in the near future!

A Must for Artists Exploring Innovative in Art.......2007-04-12

I found the book incredibly helpful. There are many creative explorations artists can follow. It got me out of an artistic rut! All of a sudden I was excited again about art and all the different new ways I could create!

Some parts of the book require a large expensive printer, but most can be done with your desktop. I decided to explore one of the projects that required a really good printer so I simply contacted someone to print what I needed.

Overall, this book provides cutting edge methods and explorations in the digital world in which we live. Defintely worth the price I paid for the book.

Mastering Digital Printing, Second Edition (Digital Process and Print)

Average customer rating:

Very Misleading Title
For all photo printer users
Aged commentary still somewhat useful
Take your digital printing to the next level
More about how to spec printing equipment than about making prints

Mastering Digital Printing, Second Edition (Digital Process and Print)
Harald Johnson
Manufacturer: Course Technology PTR
ProductGroup: Book
Binding: Paperback

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Accessories:

ASIN: 1592004318

Book Description

This book serves as a unique, comprehensive reference guide to digital printing for photography and fine art. It combines a thorough introduction to this expressive medium, instruction in the latest techniques, and a gallery of the best examples of digital art into a one-of-a-kind resource guide. Whether you are a photographer, traditional or digital artist, or printmaker, this book will help you master the techniques unique to the new world of digital printing.

Customer Reviews:

Very Misleading Title.......2007-09-03

Only 25 pages (Chapter 8) out of almost 400 total actually talk about making a print. The technique the author uses is highly based around the trial and error method. A Master printer, in my mind, should be able to hit it on the first print not after experimentation and a lot of testing. If that is not enough to lose interest in this author, there are some serious mistakes in those 25 pages as well. For instance page 268, there is a reference to the Print Space Profile--Same As Source. Anyone who knows how to print, knows that Same As Source is used ONLY to print a Target. I didn't see any reference in the book to a Target. I don't think the author knows what a Target is. This Book is a big disappointment for me. Take out Chapter 8 and come up with a different title.

For all photo printer users.......2007-06-20

This book will help any digital photographer/printer to learn about printing phtographs.

Aged commentary still somewhat useful.......2007-01-04

This book is getting mighty long in the tooth. It addresses inkjet printers from long before they became so good and useful. The approach to CMS, or color management systems, is superficial, and does not even address tools available when the book was written. It completely skips color spaces and the understanding of light and color.
However, it does give a broad beginning approach to understanding color printing. If you are just beginning to learn, this book is a good introduction covering many of the topics you will need an introduction to. Once past the introductory phase of learning, this book is of little value, being to basic in its handling of subjects to really be useful.

Take your digital printing to the next level.......2006-09-06

Mastering Digital Printing is a comprehensive manual/textbook for the professional photographer or artist who demands the knowledge to control every aspect of his/her final output, as well as the printmakers who assist them in this process. From printing techniques, file management, history, paper selection, every aspect of printing is here. The photos and bios of printers, artists, and photographers in their studios is helpful to see the layout of the workspace and creative ways of using the space available. This is the book you need to take your digital printing to the next level.

More about how to spec printing equipment than about making prints.......2006-04-20

This handsome volume badly disappointed me. I think the proper rating for the book is about one and a half stars, but I gave it two out of generosity.

If you don't have a printer and are looking to buy one, it gives a pretty good round-up of the choices, technologies, and papers. The problem with this kind of thing, of course, is that it is necessarily dated--so it can't really serve as a buyer's guide.

If you already have a printer--I have an Epson 4800--and a source of digital images, you won't find much information here about how to make great prints. The only section on the actual print making process shows the dialogs for one printer, probably the author's. Totally unhelpful unless you have that printer (and you've probably already figured out how those dialogs work if you have that printer).

The section on RIP software is way overview, and doesn't provide any decent guidance on how to proceed with it.

I'm not given to writing negative reviews, and I don't often return books (as I am with this one), but in the face of all the positive feedback for this book I feel compelled to provide my opinion. As I said, if you are looking to buy a printer, this might help you understand the basic technology issues (although the models have changed since the book was written). Otherwise, the only use I see for it is as a "gee whiz" coffee table book for would-be digital printers rather than a serious reference manual.

Rick Sammon's Complete Guide to Digital Photography 2.0: Taking, Making, Editing, Storing, Printing, and Sharing Better Digital Images Featuring Adobe Photoshop Elements

Average customer rating:

As good as they say, but let's correct a misquote...
Easy to Read & Understand
An enjoyable but not completely satisfying read.
A must read Digital Photography book for everyone
Enjoyable / Informative Book

Rick Sammon's Complete Guide to Digital Photography 2.0: Taking, Making, Editing, Storing, Printing, and Sharing Better Digital Images Featuring Adobe Photoshop Elements
Rick Sammon
Manufacturer: W. W. Norton
ProductGroup: Book
Binding: Paperback

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ASIN: 0393329143

Book Description

"Clear, concise, lively, well-organized and opinionated."—Popular Photography and Imaging

In this thorough revision of his best-selling guide, Rick Sammon covers all the steps in the digital photographic process. The book teaches basic technical picture taking and the art of photography, plus introductory and advanced digital techniques.

Orchestrating over 1,000 images into easy-to-read lessons, Sammon uses an approach of "learning to see and seeing to learn" with pairs of images, software screen shots, and the best photographs from his own shooting assignments.

New for this edition, all the image editing tips feature the popular Adobe Photoshop® Elements®; file format discussions now include working with Camera RAW files; and more than 170 new color images have been added. 1000 color photographs.

Customer Reviews:

As good as they say, but let's correct a misquote..........2007-09-30

New photographers will appreciate the fact that most of Parts I, II, III and VII in this 445-page book, a total of more than 250 pages, is about photography subjects other than digital photography per se. These subjects include sharpness, autofocus, the rule of thirds, using flash, and so on. Understandably, though, experienced film photographers who want to move on to digital photography, or those who already have books on general photography, may see it differently. So I am in sympathy with reviewer "A Photographer, Planet Earth" when he complains "first they want to teach you a little basic photography..." then it's on to "Photoshop tricks".

Readers who want to focus on the "digital" in digital photograpy might want to look at "Complete Digital Photography" by Ben Long and "Digital Photography, Expert Techniques," by Ken Milburn.

Sammon's digital photography book deserves its good reviews, because his obvious enthusiasm for the medium transcends the book's faults, or perhaps what some would call its overly broad approach. There is only one error that Sammon's enthusiasm does not transcend. He misquotes one of the world's greatest photographers, the late Henri Cartier-Bresson, about his philosophy of image-making. Each of Sammon's chapters begins with an italicized quotation. So when you see, at the top of Lesson 15 on page 87, this comment attributed to Cartier-Bresson -- "To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event" -- you may think that is what Cartier-Bresson really said.

But that is not what he said. In the preface to his book "The Decisive Moment," Henri Cartier-Bresson wrote, "To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms that give that event its proper expression."

To get the first half of this quote right, and omit the second half entirely, is to miss the whole point, and in doing so to seriously misinform young people about Cartier-Bresson's actual philosophy. It is a philosophy that the photographer lived for many years as he wandered Europe on foot. The Frenchman's well known work actually does reveal a talent for organizing circles, ovals, arches, and other shapes so as to enhance the meaning of the photograph! What he did in recognizing the meaning of an event and *at the same time* organizing shapes and forms within the frame so as to express that meaning is incredible. Study his photos with his stated philosophy in mind and you will only marvel more. He didn't just teach it; he lived it.

Sammon is an admirer of Cartier-Bresson. That being the case, I hope that in the future he will be more careful how he quotes him.

I'll close with a compliment. Sammon has an enviable rapport with his subjects -- and these include people from all over the world. I admire this quality of Sammon and his book, and I think you will too.

Easy to Read & Understand.......2007-07-19

I've only recently begun shooting pictures digitally. I took a short class on Crime Scene Photography that scratched the surface, but I wanted to learn more. Rick Sammon writes in a very conversational way that makes his book fun to read and easy to understand. This book is great for the beginner and the advanced alike. There are countless tips on general photography as well as editing your photos in PhotoShop. This book is certainly worth the time to read and re-read. I keep it around now as a reference.

An enjoyable but not completely satisfying read........2007-06-12

I'm giving this book four stars based almost solely on Rick Sammon's enthusiasm. He is obviously a person who enjoys what he does and likes interacting with others. His writing was lively enough so I read the book in one afternoon. The bottom line problem with this guide is the same bottom line problem I'm finding in all digital photography guides I've encountered. The first thing they want to do is teach you a little basic photography knowledge and the next thing they do is tell you how to use Photoshop tricks to create "artful photos" that, in effect, minimizes the need for knowledge of basic photography. Photography is more than tricks and "secrets of the pros" and Photoshop is a fine tool for photographers to augment their work. Unfortunately, most digital photography teaching vehicles today emphasize the ghastly and tasteless manipulations in Photoshop and fail to emphasize learning basic camera technique. To Rick Sammon's credit, he does provide a measure of how to use tools available for in-camera control as opposed to relying solely on Photoshop corrections and manipulations in post production. But when the chapters on the various Photoshop tools and manipulations come into play, it's still a lot of ghastly and tasteless trickery that takes center stage.

The higher quality, professional and advanced amateur digital cameras that are available today are so sophisticated, it's difficult to really screw up your pictures if you have a basic grasp of photography and how to use the camera's features. Despite this, a lot of people are screwing up their pictures in post production by relying on photo editing software. Sammon's examples in the Photoshop Elements portions of this book point this out very clearly. The "before Photoshop" photos are often preferable to the "after Photoshop" photos. I'm not speaking of basic operations such as minor color corrections, cropping, sharpening, etc. I'm speaking of the use of filters and borders and the cut-and-paste collages that Sammon often refers to as "artistic" which are, in fact, perfect examples of over-processed pseudo-art.

I'm not really picking on Rick Sammon here. I thoroughly enjoyed this book and I've enjoyed Sammon's writing and photography in other publications as well. It's just that we really don't need more people playing around with their computers to create the photographic equivalent of black velvet paintings.

A must read Digital Photography book for everyone.......2007-06-08

I bought this book about 3 months ago . This book as well as its earlier edition changes my concept about digital photography. One thing that I am missing in the 2nd edition is the absence of Adobe photoshop CS2 treatment. I think that would be more attractive option. The approach of Rick Sammon is wonderful. He covers picture for almost all the remote corners of the world, specifically Asian and South American countries. I strongly suggest this book for everyone involved in digital photography.

Enjoyable / Informative Book.......2007-06-08

I attended a seminar by Rick Sammon just a few weeks ago and had to get his book. I'm new in digital photography and his approach is straight forward and entertaining while being very informative. Highly recommended.

Nash Editions: Photography and the Art of Digital Printing (VOICES)

Average customer rating:

Inspiration Through Examples and History
A must have book, but ...
High expectations
Not how to do it but how it happened
A beautiful work...

Nash Editions: Photography and the Art of Digital Printing (VOICES)

Manufacturer: New Riders Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0321316304

Book Description

Most of us know him as one member of the band Crosby, Stills, Nash and Young, but what you may not know is that at the same time Graham Nash was rocking the world, he was also pursuing a parallel career in photography and digital imaging. Nash Editionsâthe world’s premier fine-art digital printmaking studio, which Graham co-founded with R. Mac Holbertârepresents the pinnacle of those efforts. This book uses thought-provoking essays and glorious artwork to sum up not only Nash Editions’ achievements but also the state of fine-art digital printmaking. After a brief history of printmaking, you’ll reach the heart of the book: an essay by Holbert on the genesis of Nash Editions and fine-art digital printing (which details the studio's interactions with major artists like David Hockney); an essay by MoMA consultant Henry Wilhelm (which includes a technical comparison of traditionally and digitally prepared prints); and commentary from Nash Editions artists. The book’s more than 100 illustrations include Nash Editions artwork, photos of artists in the studio, images of the machines used in digital printing, and illustrations of the proofing process.

Customer Reviews:

Inspiration Through Examples and History .......2007-06-16

With respect to the nature of this book's content and message Eric Burrows' review title hit the nail on the bean: "Not how to do it but how it happened". Don't buy this book with the expectation of learning technical tricks for printing. Rather, "Nash Editions; Photography and the Art of Digital Printing" is a retrospective look at the pathfinding inkjet printing work of Mac Holbert and Graham Nash. The book actually consists of several essays by various authors, including Mr. Archival Permanence himself, Henry Wilhelm.

I found this book to be a fascinating stroll down the relatively short (to-date) path of fine art inkjet printing. But I also found it strangely inspiring. After spending a couple of hours with this book I felt compelled to devote even more effort to my own printing.

A must have book, but ..........2007-06-14

Nash Editions deserves all credit for kick starting the fine-art/inkjet revolution but I'm not sure this book adds much to what is already well known. For sure there's lot of great images herein, but the presentation is a bit sloppy. We hear the same story over again from multiple participants and (in my copy at least) the more interesting narration from Holbert ends mid sentence. If you're interested in the history of the inkjet, this is a book you'll have to have but the lack of care/thought in its presentation does seem a little like exploitation.

High expectations.......2007-05-06

Just a few years ago the terms "art" and "inkjet print" weren't tolerated in communal context. Now, as with many media evolutions, sensibilities have to a large degree changed. One of the forces instrumental in altering the art community's entrenched mindset against the inkjet process has been a small digital fine-art inkjet photography studio by the name of Nash Editions. Through the collaborative pioneering of a handful of deep-pocketed, influential, and very determined artistic entrepreneurs, Nash Editions helped develop, refine, and establish broad acceptance for the digital fine-art inkjet printing. This is their story.

At first blush this lavishly printed (and expensive) book promises a consuming elegance that sweeps you away. It has star power too, with one of the leading personalities none other than Graham Nash of Crosby, Still & Nash fame. It also includes rich and very personal histories of the birth and labored growth of the digital printing service company, of permanence in various photographic media, and of photography itself as a medium of expression. The book also includes images by a broad selection of visual artists spread throughout in an eclectic smorgasbord.

But there are a few elements that detract somewhat from the book's rich objectives. With several authors contributing, certain parts of the story get repeated - several times in fact - and the tone at times begins to sound slightly obsequious and self-lauding, to the point that one is led to the impression that Nash Editions (the company) was pretty much the sole entity that dragged digital printing from practically nothing in the early 1990s to it's high level of sophistication and acceptance today. While Nash Editions can certainly claim historic "firsts" in several categories within the digital printing revolution, a thoughtful person might wonder if there weren't just a few other significant contemporaries working toward the same goals. And on a purely technical note, one of the sections of the book ends in the middle of a paragraph, leaving the reader guessing as to the intended conclusion; perhaps a little tighter editing would have been helpful.

So, should you buy this book? Yes, if you're a photographic artist interested in the history of the digital printing process or the concept and science of photographic media permanence. And of course it will serve too as visual stimulation and a contemporary two-dimensional artwork study; one can learn a great deal by looking carefully at other artist's work.

Not how to do it but how it happened.......2007-03-31

Although I knew roughly of Graham Nash's involvement in the early days of digital printing I did not know the detail. Having been fooling around with digital printing about as long as Nash, but without his money or expertise, I found the book fascinating. This book will not tell you how to get the best print, but it does tell the story of the people who had the vision and knowledge to start it all off. A good read with some good essays by photographers who were involved. I think that it is a worthwhile addition to my photographic library. An eye opener to those who just push the button and a good print comes out.

A beautiful work..........2007-01-15

Most of the time when you view photography, you think about the image and composition, not the process of how the image is put on paper. In Nash Editions: Photography and the Art of Digital Printing by Nash Editions, you'll think more about the printing process than usual. And there's some really stunning photography, to boot!

Contents:
Introduction - Graham Nash
The History of Nash Editions - R. Mac Holbert
The Four Stages of Photography - Richard Benson
A History of Permanence in Traditional and Digital Color Photography: The Role of Nash Editions - Henry Wilhelm
Selected Bibliography
Acknowledgements
Index

This book consists of four essays centered around the process of image creation on paper. Nash Editions focuses on the creation of high-end digital image printing, and as such has learned a lot about the process and history of how photos are transferred to paper. From the chemical-heavy techniques of the early days of photography to the digital printing processes of today, you'll gain insights into issues such as color fidelity and permanence. I now know why all those pictures of the sixties faded out so badly... The more visually stunning part of the book consists of the large number of images throughout the book. From black-and-white landscapes to portraits to abstract compilations, each page turn gives the reader another treat to ponder and enjoy. Very beautiful compositions... If this were a hardbound book, it'd be a classic "coffee-table" book. As a paperback, it doesn't have quite the same outward impact as other books similar to this. But it definitely holds its own in terms of content.

This is a book that any serious photographer would enjoy owning...

The Reproduction of Colour (The Wiley-IS&T Series in Imaging Science and Technology)

Average customer rating:

The best book on color photogaphy I have ever read
The definitive reference on the reproduction of color.

The Reproduction of Colour (The Wiley-IS&T Series in Imaging Science and Technology)
R.W.G. Hunt
Manufacturer: Wiley
ProductGroup: Book
Binding: Hardcover

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ASIN: 0470024259

Book Description

Increasing use of digital signals for transmitting data in television, photography and printing means the reproduction of pictorial colour in the 21 ^st century continues to drive innovation in its development.

Hunt’s classic text The Reproduction of Colour has been fully revised and updated for the sixth edition to provide a comprehensive introduction to colour imaging and colour reproduction. New illustrations, diagrams and photographs ensure that both students and practising engineers using colour images can gain a full understanding of the theory and practical applications behind the phenomena they encounter.

Key features:

Describes the fundamental principles of colour reproduction for photography, television, printing and electronic imaging.
Provides detailed coverage of the physics of light and the property of colorants.
Includes new chapters on digital printing and digital imaging, which discuss colour reproduction on HDTV and desktop publishing.
Presents expanded coverage of the evaluation of colour appearance.

The Reproduction of Colour is already used as a basis for lectures in universities and specialist institutions and continues to be an essential resource for scientists, engineers and developers needing to appreciate the technologies of colour perception.

Reviews of the Fifth Edition:

"The book is beautifully written and superbly presented. It is a credit to both author and publisher, and deserves to be on the shelves of anyone who has any concern with the reproduction of colour."

From The Journal of Photographic Science, Vol. 43 1995

"Using his ability as a teacher, Dr Hunt has made potentially very difficult topics quite readable…he brings the insight that leads the reader to a greater depth of understanding."

From Color Research and Application, Vol. 23 1998

The Society for Imaging Science and Technology is an international society that aims to advance the science and practices of image assessment. A major objective of the Wiley-IS&T series will be to explain the latest scientific and technological developments in the field of imaging at a professional level. The broad scope of the series will focus on imaging in all its aspects, with particular emphasis on digital printing, electronic imaging, photofinishing, image preservation, image assessment, image archiving, pre-press technologies and hybrid imaging systems.

Customer Reviews:

The best book on color photogaphy I have ever read.......2007-04-29

In my opinion, this is the best book on color photography that I have read. Of course, it covers other topics, but it devotes a substantial amount of text, graphs and formulas to that topic. In recent months, I have acquired a fair number of books on the subject of photography and color theory, some of them very formula-intensive and some descriptive and math-primitive; but this one stands head and shoulder above the rest in its effort to describe the fundamental principles.

I bought this book primarily because I wanted to learn whether it is possible, and if it is, how to predict the RGB density values of negative film versus the CYM density of the photo enlarging filter. I believe that I have found my answers in this book. Yet I was also quite pleasantly surprised to learn a lot more about color photography and reproduction. As I was reading this book, many things to which I had had unanswered questions from reading those other books have fallen in their logical place.

I would highly recommend this book for anyone interested in color photography and who wants to learn not only the practical aspects of it (i.e. the result and the practice) but also the "why" of it (i.e. its scientific and experimental fundamentals). You do, though, have to have some knowledge of linear algebra and chemistry, although I would not call this book math-intensive.

The definitive reference on the reproduction of color........1997-09-17

The author has an impressive array of initials after his name; he is, amongst other things, a Doctor of Science, a Member of the Imperial College, an Associate of the Royal College of Science, and a Fellow of the Royal Photographic Society as well as a Visiting Professor of Physiological Optics and of Colour Science, and a former Assistant Director of Research at Kodak. He has also been Chairman of the Colorimetry Committee of the International Commision on Illumination, and Chairman of the International Colour Association.

First published in 1957 and now in its much enhanced 5th edition, The Reproduction of Colour is the most comprehensive single resource available. Two quotes from the preface to the 5th edition describe what it is about:

"The object (is to present) the fundamental principles of colour reproduction, whether by photography, television, or printing in the hopes that all those engaged in producing, selling, buying, or using colour pictures will be able to see the nature of the problems they encounter. Those who want a general statement on colour reproduction will find it in the first part, and those who want a more detailed discussion of any one application in which they are particularly interested (will find it) in the later parts." and "The reproduction of colour involves physiology, psychology, physics, chemistry, and technology. presents complexities, (and) involves a wide variety of enterprises". Even though there are individuals skilled in processing and printing their own color film, and DTP bureaux had taken over some of the work of traditional printing houses, color reproduction was, until not so long ago, the province of technicians in the photographic, printing, and television industries, Now we have crossed the threshold of a new era in which a massive technology transfer is taking place, putting effective control over color into the hands of a much wider range of users. Even home users now have available to them very powerful tools that enable production of images that are, to the ordinary eye, indistinguishable from quality photographic prints.

That brings with it a need to understand the technology of color reproduction, and the definitive text is Dr Hunt's book. I have rated it 10/10 because of the remarkably wide range of disciplines covered and its astounding technical depth. Without it most of the information presented would have to be gleaned from numerous other books, professional journals, and published papers. Further, one does not have to have a scientific background to gain some understanding of what is involved in the reproduction of color. The fields covered television, photography, and printing are becoming less discrete with the application of digital technology; those who use computerized systems for the reproduction of color images will find relevant information spread throughout most parts of this book.

It is not a popular account, a color-for-cretins guide, or a how-to manual. This is a technical resource written in a style that makes it readable without diluting its professional integrity. Not all readers will need, or even want, to know the chemical structure of cyclic methylene magneta couplers, but may want information about the effects of signal processing on color reproduction. In what other recently published text would one find a comparison table of film speeds that includes the Weston system?

The Reproduction of Colour should be in any library with holdings on technical subjects; professionals in DTP, printing, photolabs, television, and digital imaging should have it; and anyone teaching or studying graphic arts, computer science, photography, printing, or subjects related to television technology should be aware of this edition. A check of some large libraries suggests that librarians may think earlier editions are good enough, but new developments demand this latest edition. Teachers of science in sub-tertiary institutions may well find this a useful text for its practical application of science to topical real-life problems.

Book Description

Digital Negatives: Using Photoshop to Create Digital Negatives for Silver and Alternative
Process Printing bridges the world of traditional photographic printing with digital technology. A digital negative, prepared in Photoshop, allows you to skip the dark room time developing the negativesgetting straight to a variety of printing processes including silver, platinum, and a host of other alternative processes. You will see this as an opportunity to mix technology with traditional photo processes resulting in more time for your art! In the recent past, photographers that wanted digital negatives had to take their business to labs. Now all of you Photoshop users can incorporate this practice into your workflow of choice.

*Easy, quick start recommendations for specific supplies and instructions for making your first print quickly without all the details of calibrating digital negatives.
·Offers expert instruction for the more advanced; much of the book will be focused on how to calibrate digital negatives, configure a digital darkroom, and fine tune prints from digital negatives
·Adventurous, experimental techniques take printing using alternative processes into new options including toning, multiple printing, printing with ink and platinum, plus others.

Customer Reviews:

Highly recommended to all photographic printmakers!.......2007-06-14

Dan Burkholder gets the credit for introducing digital negatives for contact printing processes several years ago, but it is Ron Reeder and Brad Hinkle who have finally worked out a system that produces extremely repeatable results. Now photographers everywhere can easily harness the power of Photoshop to create stunning prints using just about any contact printing process available. I have personally used this book to create salted-paper prints, van dykes, cyanotypes, and silver gelatin prints with pleasing results.

I teach alternative processes year round in Denver, Colorado, and as any instructor knows, the easiest way to hook a student on something new is the accessibility of the process. Even my darkroom shy students are taking notice of the work a small handful of pioneering students are experimenting with at our school using this excellent text. One student exclaimed to me just last week "this book will save the darkroom".

If you are looking for a system to harness the power of Photoshop with the beauty of a hand-crafted print, this is the best resource available!

AT LAST! a book about digitnal negative making... that is about making digital negatives........2007-05-29

This book has been a long time coming. after spending countless hours on my own, then experimenting with another well known book by dan burkholder (who has some good ideas but ultimately is outdated and there are really only a few pages that deal with 'inkjet negative' making.) this book has answered many of my long standing questions of how to create your own curve for output and then be able to check your work for accuracy. to many resources tell you to buy one specific printer (which by the time the book is printed has been discontinued), one specific ink, and one specific printing media (OHP was discontinued by its manufacturer), and if you do not then their cookie cutter curve will not work exaclty correct.

so thank the authors for sharing this information in a very down to earth way. it has opened a new door in photo printing for the masses.

No website .......2007-05-16

The website is not accessible, last two days. There is no contact info to resolve this major issue. To obtain critical information and instuctions thoughout the book the website is the only source. I am inclined to give a 4-5 star rating for the book if it had information that was advertised.

From .......2007-04-02

The last few years have seen alternative photographic processes grow in use. From the street studios in Providence to the booming gallery scene in Chelsea, hand-coated emulsions are a popular counter to the photographic digital revolution.

Brad Henkel and Ron Reeder have deftly organized the work flow necessary to produce the high quality large format negtaives necessary for many of these processes. Their "Digital Negatives.." provides clear simple instructions (along with PhotoShop curves and calibration step wedges at their [...]) for the artist who wants to launch quickly with minimal theory. The book also has excellent detail for those who seek more (The Quadtone RIP profile instruction is top quality).

I found their explanation of calibrating PhotoShop curves to print media very clear and easy to practice. The two authors have expanded on the groundbreaking work of Dan Burkholder (Making Digital Negatives for Contact Printing) and Mark I. Nelson's "Precision Digital Negatives", but have kept their processes open and very approachable. Key screen flows are presented for both the Mac and PC environments.

The book also includes a number of fine art and practical process illustrations (How about a Becquerel contact Daguerreotype from a D1x RAW file!). I would strongly recommend this book for the alternative process artist who is ready to move from litho film and pyro developer to digtial contact negative production.

In addition to your computer, you will need a scanner and good quality inkjet printer, as well as Photoshop CS, to get started.

NWG 3-31-07

digital negatives.......2007-02-21

I found the book very helpful and easy to follow! I particularly like the fact that you can go to chapter four and start printing really great negatives. I made some platinum prints and after a little trial and error on my mixture and exposing time I was able to get pretty nice prints. I am a bigginer and found the book easy to understand. Hope it helps!

The New Book of Image Transfer: How to Add Any Image to Almost Anything with Fabulous Results

Average customer rating:

Problems with Instructions
A very FUN and HIP book!
Save your money
VERY cool projects!
This is a great book!

The New Book of Image Transfer: How to Add Any Image to Almost Anything with Fabulous Results
Debba Haupert
Manufacturer: Lark Books
ProductGroup: Book
Binding: Hardcover

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ASIN: 1579905293

Book Description

With the 40 fabulous projects in this eye-opening manual and the revolutionary new forms of transfer paper on the market, such as Lazertran, it’s possible to reproduce any design on a wide variety of surfaces effortlessly. The basic technique couldn’t be easier. Simply photocopy an image onto the paper, soak it for a minute, and the picture slides off as a transparent decal. Adhere it to nonporous surfaces such as metal, plastic, or fabric using the adhesive on the back of the film. Embellish a metal cocktail shaker and matching ice bucket with a retro 50’s design, scatter coffee beans on an espresso cup, or put playful sheep on a child’s pillow. It’s creative fun, and an inspiring start to a great new craft.

Customer Reviews:

Problems with Instructions.......2007-06-04

I was really looking forward to learning how to use my own custom decals to decorate plates similar to those on the book's cover; unfortunately, I discovered what I can only assume is an error, possibly a misprint, in the instructions for baking decals onto ceramics. After soaking the decal in water, the book instructs you to place the transfer 'face up' on the object. In fact Lazertran's own web site and various arts/crafts sites on the Internet state just the opposite - the image should be placed face down. Yes, face down. (You would have printed the image in reverse if text was involved.) After removing the paper backing, the glue should then be washed off completely before beginning the baking process.

I had to toss the old cachepot I used as my experimental project, which was okay since I chose it with the knowledge that it was my first attempt and if something went wrong, it wouldn't be that big a deal. The author did mention that the glue would turn brown in the baking process but I assumed that meant what glue may have gotten squished out around the edges of the transfer or inadvertently smeared onto the object during application.

Aside from the above, the book was not bad - but not great either. It was just mediocre. The designs, most of which were copyright-free images culled from the Internet or simply the author's own photographs, were not what I would consider particularly inspirational or awe inspiring.

I wish I could recommend the book for instructional purposes but I can't do that due to the problems I ran into. Most of the techniques can be found on the Internet anyway, sans step-by-step photos.

A very FUN and HIP book!.......2006-06-08

The book is full of fun ideas as described in the Editorial Reviews. The artist brings transferring images to an entirely new level. The instructions are clear, product resources are listed and after learning the basics, the possibilities are endless.

I gladly learned from this book the proper way to use water slip decals. My process always bubbled .. so the price of the book was worth finding out the why and how to correct my way.

The book is packed full of 40 plus practical projects and the content is extremely educational while being fun. The photographs are gorgeous. Personalization will always be 'hip' therefore, I predict this book will stay 'hip' for many years to come.

Save your money.......2006-06-08

I was so