Saturday, May 29, 2010

The Most Beautiful Villages of Tuscany







The Most Beautiful Villages of Tuscany Overview


Bentley highlights 37 villages and towns, both for their intrinsic beauty and for the part they have played in Tuscan history and culture. Page after page of Palmer's magnificent color photos evoke the beauty of the land. Specially compiled listings of hotels, restaurants, and festivals complete the tribute to Tuscany and its villages.

The Most Beautiful Villages of Tuscany Specifications


With the recent popularity of such notable books as Frances Mayes' Under the Tuscan Sun and Elizabeth Romer's The Tuscan Year: Life and Food in an Italian Valley, a legion of new Italia fans are finding out what many already know: the charm of Tuscany cannot be denied. In The Most Beautiful Villages of Tuscany, author James Bentley and photographer Hugh Palmer offer a decidedly unique view of this remarkable region. Focusing on thirty-six villages and towns from all over Tuscany--chosen for "both their intrinsic beauty and for the part they have played in Tuscan history and culture"--the gorgeous full-color photographs, accompanied by superb accounts of each village, truly "bring the region to life, evoking the richness of architecture and landscape, and bringing out the charm of the Tuscan people." The final chapter is devoted to useful travel information, including passages on hotels and restaurants, market days and festivals, as well as a select bibliography and detailed map of the region. As beautiful as it is informative and entertaining, The Most Beautiful Villages of Tuscany is "the perfect visual tribute to the timeless beauty of these small towns and villages."

Customer Reviews


The book was beautiful. However, it arrived in a torn padded envelope (the book was too heavy for that type of mailer- should have been mailed in a protected box)with the stuffing of the envelope all over and throughout the book and the spine of the book was broken - torn away from the pages. I was very disappointed. It was a gift.


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Friday, May 28, 2010

The Photographer?s Guide to Filters (Photographers Guide)






The Photographer?s Guide to Filters (Photographers Guide) Feature




The Photographer?s Guide to Filters (Photographers Guide) Overview


In this comprehensive guide Lee Frost offers clear answers to the many questions raised about this popular, but largely misunderstood, area of photography. Through easy-to-follow reference charts, specially commissioned comparison shots and inspiring images, beginners will see what filters are available and how to use them: the more experienced can use the images as a source of inspiration.


Customer Reviews


Thank you Mr. Frost for clearing the muddy waters on filter systems! I've researched the web on this topic and have found a lot of useful information, but this is the only guide (that I've found) that provides detailed specs on all the available systems in the marketplace, which filters are compatible with which holders, and what focal length limitations exist with each system (holders can cause vignetting with focal lengths wider than 20mm). Trust me ... it's confusing. Chapter 1 (Choosing a Filter System) alone is worth - the 'low-tack' gum solution is brilliant! My only complaint is that it is a bit dated (2002). It would be nice to see an updated version that addresses how filters work with smaller digital sensors (1.3 and 1.6) that are common in the marketplace today. This book only references 35mm format full frame. Plus, there is an ommission of the compatibility of the Cokin Z holder (which I don't think was available in the market at print). These are pretty minor criticisms, however, as this book provides a wonderful summary on the subject. I would recommend this book to anyone who is thinking of buying a filter system.


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Thursday, May 27, 2010

Picture Yourself Learning Corel Paint Shop Pro X2






Picture Yourself Learning Corel Paint Shop Pro X2 Feature


  • ISBN13: 9781598634259
  • Condition: NEW
  • Notes: Brand New from Publisher. No Remainder Mark.


Picture Yourself Learning Corel Paint Shop Pro X2 Overview


Harness the power of Paint Shop Pro Photo and discover all the fun and practical techniques you can use to perfect your photographs and create dynamic graphic elements. "Picture Yourself Learning Corel Paint Shop Pro Photo X2" introduces you to the tools you need to correct and enhance photographs, beginning with the basics of working with toolbars, palettes, and rulers, and setting up your Paint Shop Pro Photo preferences. Once you are acquainted with the basic tools, you?ll learn how to use layers to make brightness, hue, and color contrast adjustments; how resolution applies to your monitor, your images, and your prints; and how to use the various file and output functions. In addition to numerous retouching and repairing techniques, you?ll discover how to use special effects to turn your photographs into works of art and create digital scrapbook pages and 3D images. In addition to the step-by-step instructions, tips, and notes, you?ll find a glossary to help you define terms that are new to you, as well as appendixes featuring Paint Shop Pro Photo keyboard shortcuts and useful additional resources. Get ready to create beautiful scrapbook pages, panoramas, framed photographs, and more with "Picture Yourself Learning Corel Paint Shop Pro Photo X2."


Customer Reviews


I'm still trying to learn all the in's and out's of this program, and it does do a LOT of things. I did get a manual with the product and bought a book to go with it also, both are helpful. As are a number of my friends who also use this version.
It's a bargain for the price and performs flawlessly with my Vista Home Premium 64bit OS.



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Wednesday, May 26, 2010

Canon EOS Rebel T2i/550D Digital Field Guide







Canon EOS Rebel T2i/550D Digital Field Guide Overview


Be a rebel. Demand all your EOS Rebel T2i has to offer

Canon's flagship EOS Rebel offers you professional features, ease of use, an advanced HD movie mode, 3.7 frames per second shooting speed, and a lot of fun. This book provides a roadmap to all the settings and controls, but it does a great deal more. It guides you through effective exposure control, super color secrets, tips on using Live View, making the best lens choices, how to take videos, and advice on getting great action, nature, and portrait shots.

  • Set up your T2i to get the highest quality images

  • Learn both basic and advanced exposure techniques

  • Explore shooting modes, movie mode, and how to get tack-sharp focus

  • Refresh your knowledge of composition, exposure, and lighting

  • Learn to customize your Rebel T2i and how to add a copyright to your images in the camera

Inside – your free gray and color checker card to help you achieve accurate white balance and color


Customer Reviews


This is a good guide to the relatively new (as of this writing) Canon EOS Rebel T2i/550D camera. The book's size is right (you can easily take it with you), it covers all the essentials of the Canon Rebel T2i, it is not too technical, and it's straightforward and easy to read (without needless attempts at constant humor). If you have never used a digital camera before, or if you are simply new to this specific camera, you should have no problem reading, understanding and using this guide. (Photography professionals or serious amateurs are not the target audience for this book.) The author, Charlotte Lowrie, is a professional photographer with 25 years of experience, a photography teacher, and an author of 14 other camera-related books. She should have her act down pat by now, and in my opinion, she does. Although there is a combination of camera-specific information and more generalized photography content throughout this guide, the first four chapters focus primarily on learning the specifics of the Rebel T2i. Chapter 1 starts right where you'd expect--the camera's controls: front, top, rear and side. The author also covers lens controls, media cards, choosing the file format, file numbering and more. Chapter 2 is all about exposure and focus. (After all, taking a photograph is basically the process of controlling how light is exposed to and focused on a light-sensitive sensor of one sort or another.) The reader learns about the various pre-programmed shooting modes, aperture and shutter controls, ISO (sensor sensitivity), metering modes, etc. Chapter 3 is all about getting your colors the way you want, and Chapter 4 focuses on customizing the Canon T2i for your use.

I'll spend less time on the remaining chapters in order not to run too long. Chapter 5 addresses shooting in live view and tethered. Chapter 6 covers using the movie mode on this camera, and Chapter 7 explores the use of flash. Chapter 8 is one of the most important chapters, in my view, since it addresses the question of the right lenses for your camera. The standard kit lens that comes with this camera is a decent value for the money, but you aren't going to be able to make full use of this remarkable camera without the right (better) lenses. If you don't already know, your investment in lenses may ultimately dwarf your investment in the camera itself.

Starting in Chapter 9, the author moves on to some of the creative aspects of photography. She covers elements of exposure and composition in Chapter 9, and then she moves on in Chapters 10, 11, and 12 to event and action photography, nature and landscape photography, and portrait photography, respectively.

So there you have it. In short, this is a very practical and useful guide. It's easy to read, has plenty of helpful color photos, and provides many detailed instructions--like "turn A, then press B, etc." It should prove to be quite useful for many Canon EOS Rebel T2i/550D owners.



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Tuesday, May 25, 2010

Naked Babies






Naked Babies Feature




Naked Babies Overview


In Naked Babies, Nick Kelsh and Anna Quindlen collaborate to produce a unique view of babies—one that owes nothing to tradition, sentimentality, or the cult of the cute. Unlike traditional baby photographs, Nick Kelsh’s amazing black-and-white pictures focus on specific aspects of babies—the perfection of a hand, the swirls of a cowlick, the smoothness of skin on the neck—and all are honest, exquisite, and invitingly tactile.

Anna Quindlen’s essays are as graceful, snappy, perceptive, and personal as anything she has ever written. They muse on what it is about babies that causes our hearts to crinkle and fold: “The meaning of life is in them.”

You’ll share some of the things that Quindlen has learned as a mother, such as: “From time to time, I would lie on the floor with my babies to see exactly what they were seeing when it looked as though they were just wasting time” and . . . “The next time you’re sitting in a meeting after three cups of coffee, badly needing to go to the bathroom but instead doodling dutifully, crossing your legs and watching the clock, remember that if you were a baby, you would have gone by now, and no one would be the wiser.”

        Kelsh’s photographs and Quindlen’s text complement each other perfectly. Two masters of their craft have created an unusual meditation and wondrous book—a totally original gift for every parent or parent-to-be.


Naked Babies Specifications


Anyone who has ever witnessed a baby escape from his mother's arms--sans clothing--and run wildly, or crawl as the case may be, about the house in what can only be described as a euphoric state knows that babies are really at their best when they're naked. No bonnets or booties to hold them in--just pure, blissful nakedness. In Naked Babies author Anna Quindlen and photographer Nick Kelsh expertly record this unique time in childhood when modesty means nothing at all. Quindlen's perceptive and personal essays are remarkable musings on motherhood and the amazing little miracles that babies are, while Kelsh's photographs are, well, amazing little miracles in their own right. Shot entirely in black-and-white, these are not cutesy, sentimental, or traditional photographs. Rather, Kelsh captures "specific aspects of babies--the perfection of a hand, the swirls of a cowlick, the smoothness of skin on the neck--and all are honest, exquisite, and invitingly tactile." Both "an unusual meditation and a wondrous book," Naked Babies is the perfect gift for the parent or the parent-to-be.

Customer Reviews


I purchased this book years ago, and ever since I have pulled it out every once in awhile and sighed over the amazing pictures of babyhood.

Since having my two children, this book means even more to me. It captures the perfection of babies in their natural state - naked and joyous. The shape of an ear, the way a baby cries with all their breath, the flushed cheek of a sleeping child. I could never take photographs this well, but it perfectly captures the way I want to show my children - perfect in their everyday way.

Anna's text that accompanies the photographs wonderfully captures the bittersweet knowledge of every mother that first lays eyes on their newborn and knows that they are going to grow up so fast. Every mother can't help but see their children as they were when they were babies; naked and perfect. No matter how old our children are, they are still our babies.

This book is an amazing celebration of babyhood. The perfect gift for a baby shower, or any parent.


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Monday, May 24, 2010

Witness: One of the Great Correspondents of the Twentieth Century Tells Her Story (Schocken paperbacks on Judaica)







Witness: One of the Great Correspondents of the Twentieth Century Tells Her Story (Schocken paperbacks on Judaica) Overview


With her perfect memory (and plenty of zip), ninety-five-year-old Ruth Gruber–adventurer, international correspondent, photographer, maker of (and witness to) history, responsible for rescuing hundreds of thousands of Jewish refugees during World War II and after–tells her story in her own words and photographs.

Gruber’s life has been extraordinary and extraordinarily heroic. She received a B.A. from New York University in three years, a master’s degree from the University of Wisconsin a year later, and a Ph.D. from the University of Cologne (magna cum laude) one year after that, becoming at age twenty the youngest Ph.D. in the world (it made headlines in The New York Times; the subject of her thesis: the then little-known Virginia Woolf).

At twenty-four, Gruber became an international correspondent for the New York Herald Tribune and traveled across the Soviet Arctic, scooping the world and witnessing, firsthand, the building of cities in the Siberian gulag by the pioneers and prisoners Stalin didn’t execute . . . At thirty, she traveled to Alaska for Harold L. Ickes, FDR’s secretary of the interior, to look into homesteading for G.I.s after World War II . . . And when she was thirty-three, Ickes assigned another secret mission to her–one that transformed her life: Gruber escorted 1,000 Holocaust survivors from Italy to America, the only Jews given refuge in this country during the war. “I have a theory,” Gruber said, “that even though we’re born Jews, there is a moment in our lives when we become Jews. On that ship, I became a Jew.”

Gruber’s role as rescuer of Jews was just beginning.

In Witness, Gruber writes about what she saw and shows us, through her haunting and life-affirming photographs–taken on each of her assignments–the worlds, the people, the landscapes, the courage, the hope, the life she witnessed up close and firsthand: the Siberian gulag of the 1930s and the new cities being built there (Gruber, then untrained as a photographer, brought her first Rolleicord with her) . . . the Alaska highway of 1943, built by 11,000 soldiers, mostly black men from the South (the highway went from Dawson Creek, British Columbia, 1,500 miles to Fairbanks) . . . her thirteen-day voyage on the army-troop transport Henry Gibbins with refugees and wounded American soldiers, escorting and then photographing the refugees as they arrived in Oswego, New York (they arrived in upstate New York as Adolf Eichmann was sending 750,000 Jews from Hungary to Auschwitz).

In 1947, Gruber traveled for the Herald Tribune with the United Nations Special Commission on Palestine (UNSCOP) through the postwar displaced persons camps in Europe, and then to North Africa, Palestine, and the Arab world; the committee’s recommendation that Palestine be partitioned into a Jewish state and an Arab state was one of the key factors that led to the founding of Israel.

We see Gruber’s remarkable photographs of a former
American pleasure boat (which had been renamed Exodus 1947) as it limped into Haifa harbor, trying to deliver 4,500 Jewish refugees (including 600 orphans), under attack by five British destroyers and a cruiser that stormed the Exodus with guns, tear gas, and truncheons, while the crew of the Exodus fought back with potatoes, sticks, and cans of kosher meat. In a cable to the Herald Tribune, Gruber reported that “the ship looks like a matchbox splintered by a nutcracker.” She was with the people of the Exodus and photographed them when they were herded onto three prison ships. Gruber represented the entire American press aboard the ship Runnymede Park, photographing the prisoners as they defiantly painted a swastika on the Union Jack.

During her thirty-two years as a correspondent, Ruth Gruber photographed what she saw and captured the triumph of the human spirit.

“Take photographs with your heart,” Edward Steichen told her.

Witness is a revelation–of a time, a place, a world, a spirit, a belief. It is, above all else, a book of heart.


Customer Reviews


"Witness"
By Ruth Gruber
Review by Phyllis Johnson
Landing assignments her male colleagues hadn't, flying to the Soviet Arctic and then to Europe, seeing an exodus from a country ravaged during the Holocaust, Ruth Gruber was quite a photojournalist. She writes her memoir in "Witness" and serves as an inspiration to anyone spending his or her life tracking down a story, particularly one that may change someone's life for the better.
A life full of adventure and passion for human justice is evident in her 257 page book published by Schocken Books. Sometimes smuggling a notebook in her bra, she ran the gamut from studying Eskimos in Alaska to talking to exiled prisoners in Soviet Gulag.
Photos, black and white images, showing the Soviet Arctic and Alaska documented images of rustic living and reflections of the soul. She wrote of seeing the Aleuts in harm's way of the Japanese, then photographed their exodus. Her photos also show the exodus from the devastation caused by Hitler during the Holocaust in World War II..
A master at capturing intense emotion found in hardships, she knew how to get down in the trenches to get the best possible photos to tell a story. She went behind the scenes, sometimes dubbed as a simulated general to avoid a worse fate if captured as a spy.
Later, she got stories from the refugees onboard an army transport and then pulled into the NY Harbor on August 3, 1944- the same day Anne Frank's family was betrayed. Ruth was accompanying to the United States 1,000 refugees invited by President Franklin Delano Roosevelt while day and night Adolph Eichmann was rushing cattle trains carrying 750,00 Jews into the death camps at Auschwitz.
She records her travels to Europe, the Holy Land and the Arab World, and how she came to be witness to the Nuremberg Trials. Seeing the plight of the Jews trying to come home to Palestine, she interviewed both Arabs and Jews, and followed the journey of Iraqi Jews to Israel. Seeing compassion in a lawyer and social activist named Phil, she was moved to marry him.
Ruth Gruber's account of the ongoing struggle for those seeking justice and fair treatment in life is both vivid and poignant in her book, "Witness."

Review by Phyllis Johnson, author of "Being Frank with Anne" -poetic interpretation of Anne Frank's diary. (Community Press- end Nov 2007 release)



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Saturday, May 22, 2010

Our World: Photographs by Molly Malone Cook Text by Mary Oliver






Our World: Photographs by Molly Malone Cook Text by Mary Oliver Feature




Our World: Photographs by Molly Malone Cook Text by Mary Oliver Overview


Photographs and prose from the world Molly Malone Cook and poet Mary Oliver shared for forty years
 
Mary Oliver, winner of the Pulitzer Prize and National Book Award, is one of the most celebrated poets in America. Her partner Molly Malone Cook, who died in 2005, was a photographer and pioneer gallery owner. Intertwining Oliver’s prose with Cook’s photographs, Our World is an intimate testament to their life together. The poet’s moving text captures not only the unique qualities of her partner’s work, but the very texture of their shared world.



Customer Reviews


Simply the name Mary Oliver causes a shift in my countenance and my being. My steps are different when I am present to who she is as a writer and human being, so it shouldn't surprise me, what happened this morning.

I was minding my own business walking across my local bookstore when I heard the sound of wind rushing from my mouth. It was like the jolt happened so quickly my brain couldn't quite orient around the words, "Our World" and the names Mary Oliver and Molly Malone Cook.

I had no choice. I had to stop all my other book plans and sit with this one, just be with it, soak it in, allow it to do its work on my soul as I knew intuitively it would.

Last winter I became the self-appointed one woman marketing machine for Mary Oliver's "Thirst" - a collection of poetry written as she grieved the loss of her life partner, Molly Malone Cook, someone who I never knew yet felt I knew through reading Oliver's work. I stood at a bookstore crying as I read that book, sobbing, openly - aching and simultaneously being stunned by the beauty of the poetry.

Now, in this volume, not only do I have words - I have Molly Malone Cook's photography.

It is like being invited into the most intimate chambers of a lifetime soul-love affair. It is deeply personal, extremely intense memoir of love. That energy is on each page as Oliver builds a model of appreciation for Molly Malone Cook for us all to follow.

Now, the "other" juicy stuff - photos by Molly Malone Cook that show a deep love and appreciation of books, of learning, of activism, of art and of the "faces of the world" - one of her early childhood ambitions, so it tells us in the text "was to see every face in America."

Well, in these photographs "every" face is, indeed, communicated.

We see photographers, playwrights, restaurateurs, activists and places the writers and artists among us dream about seeing.

There are too many numerous memorable quotes to share here - and I don't want to take away your own discovery of words that speak directly to you.

I know I will be forever grateful for the work of Mary Oliver and this volume amplifies that gratitude by bringing Molly Malone Cook to life for me in a more vivid way than in the past.

I can only hope there will be many more opportunities for my heart and breath to be swept away, simply by seeing this author's name on a book jacket.


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Friday, May 21, 2010

Shutterbabe: Adventures in Love and War







Shutterbabe: Adventures in Love and War Overview


Fresh out of college and passionate about photography, Deborah Copaken Kogan moved to Paris in 1988 and began knocking on photo agency doors, begging to be given a photojournalism assignment. Within weeks she was on the back of a truck in Afghanistan, the only woman—and the only journalist—in a convoy of mujahideen, the rebel “freedom fighters” at the time. She had traveled there with a handsome but dangerously unpredictable Frenchman, and the interwoven stories of their relationship and the assignment set the pace for Shutterbabe’s six chapters, each covering a different corner of the globe, each linked to a man in Kogan’s life at the time.

From Zimbabwe to Romania, from Russia to Haiti, Kogan takes her readers on a heartbreaking yet surprisingly hilarious journey through a mine-strewn decade, seamlessly blending her personal battles—sexism, battery, life-threatening danger—with the historical ones—wars, revolution, unfathomable suffering—it was her job to record.



Customer Reviews


This very unusual book is fascinating whether you are interested in pursuing a career in journalism or just curious about what life is like as a woman covering war for a living. This "Shutterbabe" tells the story of her life from behind the camera across different battle zones around the globe. She also tells of the men she meets and gets involved with. There has been some criticism of the book for these tales of sexual escapades, but this is the raw story of a real person's life, and I think that they reflect a complete story, instead of one massaged to make the author look better.

My only disappointment with the story is that she finally gives it all up for motherhood, but that is real life too. Before that, Kogan was a producer for "Dateline" on NBC after her return to the United States. She speaks of tiring of wartime weariness and equates photojournalists to vultures who prey on others' misery--all of which I find disingenuous for someone who made her own living this way for many years. It's ok to change your mind, but I believe that photojournalism is an important way of bringing news to people, and I think Kogan would agree or she would have pursued another way of making a living with her camera in the first place.

Despite these claims, I highly recommend this book to everyone, particularly young women interested in journalism. This book is a real insider's look at covering war, from a woman's point of view, something (unfortunately) we still don't hear that much of, even in the 21st century. Don't miss it.


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Thursday, May 20, 2010

Mastering HD Video with Your DSLR







Mastering HD Video with Your DSLR Overview


Many of the newest DSLRs include HD video capability, and while the interest from the photography community was initially cool, we have seen a recent shift. Photographers are beginning to explore the video capabilities of their cameras and want to learn about the art and craft of creating high quality video.

In this book learn how to capture and edit video footage, how to achieve the unique "motion picture look " and the effects which have not been possible with standard digital video equipment. The book takes the reader all the way from mastering video concepts, specific video features of their DSLRs, and equipment needed to shoot video, to understanding the restrictions, problems, and pitfalls of shooting video with a DSLR. Using an easy to follow approach of introducing concepts, thoroughly explaining the process of shooting video, and finally presenting step-by-step projects that take the reader from capture to editing. Examples and other useful materials and video clips can be found on the DVD that comes with the book.

Photographers who are ready to give HD video a serious try, as well as videographers interested in exploring the possibilities of DSLRs for their work, will find this book an indispensable source of technical know-how and inspiration.






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Wednesday, May 19, 2010

Starburst: Color Photography in America 1970-1980







Starburst: Color Photography in America 1970-1980 Overview


It is hard to imagine today that the artistic value of color photography was once questioned and controversial, even as recently as the 1980s. William Eggleston's watershed exhibition at The Museum of Modern Art, New York, in 1976, generated plenty of scorn and confusion, as spectators struggled to accept his seemingly ordinary-looking color images of Southern life as art. Early photographs by Stephen Shore, Helen Levitt, Joel Meyerowitz and others received similarly hostile or ambivalent reviews. Color photography also had opponents within photography, most notoriously in Henri Cartier-Bresson. But as color processes both diversified and grew more sophisticated, and further approaches to the medium developed, the floodgates were opened wide. Starburst examines the first great practitioners of artistic color photography in the United States: Eggleston, Shore, Levitt, Meyerowitz, plus Joel Sternfeld, William Christenberry, John Divola, Mitch Epstein, Jan Groover, Robert Heinecken, Barbara Kasten, Les Krims, Richard Misrach, John Pfahl, Leo Rubinfien, Neal Slavin, Eve Sonneman and many more. Grounded in reviews of sources from the 1970s, and with an abundance of images, this survey makes a thorough assessment of this paradigm shift in the history of art photography.


Customer Reviews


Sally Eauclaire, in her two books, the 1984: New Color New Work: 18 Photographic Essays and the 1987: American Independents: Eighteen Color Photographers covered many of the artists in 'Starburst' and a common element in the three books is that they all consider eighteen photographers, eight are in all three. Kevin Moore's book is very comprehensive with 301 photos in color and he writes a detailed twenty-nine page historical essay outlining the changes from a slow color start in the early seventies to a full blown acceptance by the start of the eighties. William Eggleston could probably be considered the photographer to really get things going with his 1976 MoMA exhibition and as Moore says, few people, at the time, "got it". Wasn't color just for family snaps, magazine covers and the ads inside? Art photography was black and white, end of story. Looking at Eggleston's 1973 photo of the red ceiling, light bulb and wires perhaps it was understandable that folks didn't get it.

After Moore's essay and another twelve pages with contributions by Leo Rubinfien and James Crump each of the eighteen gets a portfolio of their work, all of it interesting and nicely, rather typical of each persons output. There are, though a couple of oddities: Robert Heinecken gets twenty-four examples, including a very repetitive eighteen, of his anti-war Vietnam soldier overprinted on cosmetic and fashion ads and Stephen Shore has all ten of his fake postcards he had printed for the road trip across the country in 1971, surely the six pages for these could have been better used for more of his real work.

Predictably with this photographic style overview there are going to be some artists that you'll appreciate more than others. I find Robert Heinecken ads, Les Krim's Polaroid work and Richard Misrach's Hawaii jungle none too fascinating but I was amazed at John Pfahl's altered landscapes, Harry Callahan's eleven stunning 1977 exterior shots of houses and Neal Slavin's lovely group portraits. The subject matter of these eighteen photographers is incredibly varied, though landscapes are perhaps a dominant theme.

'Starburst' covers its subject well but I thought that the book had a rather cold presentation. It is predictably over-designed: the text is in one column using a rather stark sans face (Avenir); with tiny page numbers (five point); footnotes (in six point) at the back of the book instead of being placed in the very generous margins on each relevant page. Worst of all, though the pages are the wrong format. Because it is upright the ninety-six landscape photos, the dominant format, all sit rather uneasily on the page with too much white space above and below them. If the book had been landscape all these photos could have been larger and it would have easily accommodated all the other photos as well.

I think I still prefer Sally Eauclaire's coverage of these photographers rather than the 'Starburst' version. Her two books, with 327 images, present each photograph in a more sympathetic landscape format.

***SEE SOME INSIDE PAGES by clicking 'customer images' under the cover.



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Saturday, May 15, 2010

The Mind's Eye: Writings on Photography and Photographers







The Mind's Eye: Writings on Photography and Photographers Overview


Henri Cartier-Bresson's indelible writings on photography and photographers have been published sporadically over the past forty-five years. His essays--several of which have never before been translated into English--are collected here for the first time. The Mind's Eye features Cartier-Bresson's famous text on "the decisive moment" as well as his observations on Moscow, Cuba, and China during turbulent times. These essays ring with the same immediacy and visual intensity that characterize his photography Essays by Henri Cartier-Bresson. Hardcover, 5.25 x 8.25 in./112 pgs


Customer Reviews


Henri Cartier-Bresson, one of the founder of Magnum Photos rarely write, he rather shoot or sketch. That makes this book quite rare and significant. It compile Bresson writing in one book. Bresson discussed about his thought about photography especially photojournalism.

By reading this book, you get insight about what inside Bresson's mind on photography, philosophy and what he thinks about other artists. Part two of the book discuss about Bresson's travel to China, Cuba etc. It provides interesting insight on his journey.

However, this book is not technical how-to book, if you are looking for book that teach you how to take photo like Bresson, then you are looking for a wrong book. However, I think that the map/rules for Bresson's style can't be explained because it is basically no rules or map. But, you can get some valuable insights from this book and perhaps get a feel what Bresson is about.

Here are some interesting paragraphs that I quote right from the book:

"Subject does not consist of a collection of facts, for facts in themselves offer little interest. Through facts, however, we can reach an understanding of the laws that govern them, and be better able to select the essential ones which communicate reality."

"The camera is for us a tool, not a pretty mechanical toy. In the precise functioning of the mechanical object perhaps there is an unconscious compensation for the anxietes and uncertainties of daily endevor. In any case, people think far too much about technique and not enough about seeing."

"Complicated equipment and light reflectors and various other items of hardware are enough, to my mind, to prevent the birdie from coming out."


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Friday, May 14, 2010

Film Form: Essays in Film Theory






Film Form: Essays in Film Theory Feature


  • ISBN13: 9780156309202
  • Condition: USED - LIKE NEW
  • Notes:


Film Form: Essays in Film Theory Overview


Twelve essays written between 1928 and 1945 that demonstrate key points in the development of Eisenstein’s film theory and in particular his analysis of the sound-film medium. Edited, translated, and with an Introduction by Jay Leyda; Index; photographs and diagrams.


Film Form: Essays in Film Theory Specifications


After D.W. Griffith, the most important figure in the history of the international cinema is Sergei Eisenstein. Both men died in 1948, but Eisenstein left a double legacy: not only was he one of the greatest filmmakers of all time, but he was also a magnificent film theorist, perhaps the most important one ever. This book of his essays, superbly translated and edited by Jay Leyda, reprints some of his most vital writings on the art of the cinema, including articles on the language and structure of the movies, the differences between theater and film, and the author's efforts to adapt Theodore Dreiser's An American Tragedy for the screen. In "The Cinematic Principle and the Ideogram," Eisenstein analyzes the written symbols of the Japanese language as a model for film editing. "Dickens, Griffith, and the Film Today," one of the author's most famous pieces, speaks of Griffith as a Dickensian director and then argues for a kind of filmmaking that transcends Griffith's literal style in order to touch its audience on an ideological and metaphorical level. This volume also includes the notorious "statement" on sound movies, which argues against the use of synchronous sound and in favor of jarring, contrapuntal audio that Eisenstein believed would add new dimensions to the talking picture. Idiosyncratic, engrossing, and brilliant, Eisenstein's essays will inspire you to reevaluate everything you thought you knew about the movies.

Customer Reviews


As many of the early film theorists, Eisenstein has a tendency to propose as universals the principles of a specific school. The Soviet school of montage, whose heyday was in the late 20s, finds its most brilliant auteur here expounding not only upon its philosophy of cinema, but on ways in which this philosophy is in fitting with Marxism, the Hegelian dialectic and science. As such, it is a brilliant manifesto, a seminal work of greater value than any of those by Kuleshov, Pudovkin, Vertov, Dovzhenko or other montagists.

Nonetheless, it is problematic in several ways, and an understanding of the nature of its idiosyncrasies is extremely valuable. First, in an effort to "prove" his hypotheses, Eisenstein often attempts to reconcile film and physics in ways that are inappropriate and pseudo-scientific. He presents himself, in that sense, as both Eisenstein and amateur Einstein. Further, case studies are often chosen from his own work, in effect limiting the reader's freedom to disagree with his conclusions. Finally, the manner in which he expresses his thoughts is beyond elliptical. At times, it appears that one would have had to have been living in Russia at the time that these essays were written and to have been thinking about the same issues that Eisenstein was to comprehend what he is getting at. [On the other hand, for those who have had the joy of reading Wittgenstein, for example, this should be a good book to take to the beach.]

As indicated above, these problems can be explained. Communists have always had a complex relationship with the Social Darwinists. On one hand, Marxism was born out of progressive, evolutionary thinking; on the other hand, Marxists dismiss the idea of "survival of the fittest" as primitive and untenable. Soviet biologists often found themselves in the unique position of having to reconcile their theories with the party line, supported by hand selected data. In the end, of course, the value of art and science were measured by the rigid slide rule of the Communist Party. Science that did not promote its agenda was considered "anti-revolutionary."

Eisenstein is the very Comrade Lysenko of cinema. He hoists high the myth of science (i.e., the systematic study of physical Truth), reduced essentially to propaganda, and borne along on the shoulders of dubious examples. The most convenient (most incontrovertible) of these are those taken from his own films, the full meaning of which belongs to his own demesne. The language Eisenstein uses to construct his arguments is wisely selected: The more clearly one understands his propagandist averments and the less clearly the logic upon which they are based, the more likely one is to accept them as fact. Somewhat hypocritically, then, Eisenstein selects the voice of the intellectual elite to speak to the masses, hiding his true political intentions behind a veil of empty esotericism. Like the soothsayer, the illusionist and the ringleader, "Film Form" operates in the realm of baseless belief in which arguments gain validity relative not to WHAT they say but the WAY in which they say it. For this very reason, it is an important read... the very dogma of Bolshevik art.


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Tuesday, May 11, 2010

Peter Beard







Peter Beard Overview


Photographer, collector, diarist, and writer of books Peter Beard has fashioned his life into a work of art; the illustrated diaries he kept from a young age evolved into a serious career as an artist and earned him a central position in the international art world. He was painted by Francis Bacon, painted on by Salvador Dalí, and made diaries with Andy Warhol; he toured with Truman Capote and the Rolling Stones, created books with Jacqueline Onassis and Mick Jagger all of whom are brought to life, literally and figuratively, in his work. As a fashion photographer, he took Vogue stars like Veruschka to Africa and brought new ones most notably Iman back to the U.S. with him.

His love affair with natural history and wildlife, which informs most of his work, began when he was a teenager. He had read the books of Isak Dinesen (Karen Blixen) and after spending time in Kenya and befriending the author, bought a piece of land near hers. It was the early 1960s and the big game hunters led safaris, with all the colonial elements Beard had read about in Out of Africa characterizing the open life and landscape, but the times were changing. Beard witnessed the dawn of Kenya`s population explosion, which challenged finite resources and stressed animal populations including the starving elephants of Tsavo, dying by the tens of thousands in a wasteland of eaten trees. So he documented what he saw with diaries, photographs, and collages. He went against the wind in publishing unique and sometimes shocking books of these works. The corpses were laid bare; the facts were carefully written down sometimes in type, often by hand, occasionally with blood.

Peter Beard's most important collages are included, along with hundreds of smaller-scale works and diaries, magnified to show every detail from Beard's meticulous handwriting and old-master-inspired drawings to stones and bones and bits of animals pasted to the page.

Special features:

Two volumes in a cloth slipcase
Volume 1 (PB1): 200 pages of diaries and 294 pages of collages + 5 fold-out; original essay by photo critic Owen Edwards. Nearly all the diaries and collages from the original book are included, plus two new collages finished in 2007.

Volume 2 (PB2): Image index with captions for all pictures from Volume 1, personal photos and early work of the artist, interview with the artist by Steven M. L. Aronson, a facsimile reprint of Beard s 1993 handwritten essay from the sold-out first issue of Blind Spot magazine, extensive bibliography, filmography, and a list of exhibitions.
Originally published in 2006 in TASCHEN's Collector's Edition series, the book sold out instantly upon publication and earned accolades from publications the world over. The book you couldn't get your hands on is finally available in bookstores everywhere, and at a nice price!


Customer Reviews


I have waited for years to be able to afford a book of the diaries - this was much more. In 24hours I've read very little of it - just swam in many of the pictures and scraped off the blood wondering if it were real or paint. The picture of the death of a culture and of many of it's wildlife mixed with expensive advertising design was difficult - but I felt the difficulty wasn't with a particular person (what a gloreous madman - we need them) but that we all watched it... pretending we didn't. I love, love Karin and just those photos and words would have been worth it. But the...what do I call it "art", the BOOKS; the commitment to do this work and I think probably more honestly than I could. Oh, to hold one in my hand and sniff! It was worth the wait. Thank you PB


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Saturday, May 8, 2010

Photographing Yosemite Digital Field Guide






Photographing Yosemite Digital Field Guide Feature


  • ISBN13: 9780470586860
  • Condition: NEW
  • Notes: Brand New from Publisher. No Remainder Mark.


Photographing Yosemite Digital Field Guide Overview


The ideal companion guide for capturing awe-inspiring photos of Yosemite!

Whether using a compact camera or a high-end dSLR, this companion guide provides you with detailed information for taking spectacular shots of some of the most recognizable landmarks in the world. Whether you aim to capture memorable photos of Half Dome, El Capitan, Vernal Fall, Mariposa Grove, or one of Yosemite's other many remarkable attractions, this portable resource goes where you go and walks you through valuable tips and techniques for taking the best shot possible.

You'll discover suggested locations for taking photos, recommended equipment, what camera settings to use, best times of day to photograph specific attractions, how to handle weather challenges, and more. In addition, beautiful images of Yosemite's most breathtaking attractions and recognizable landmarks serve to both inspire and assist you as you embark on an amazing photographic adventure!

  • Elevates your photography skills to a new level with photography secrets from professional photographer Lewis Kemper
  • Presents clear, understandable tips and techniques that span all skill levels, using all types of digital cameras, from compact cameras to high end DSLRs
  • Features Yosemite's main attractions in alphabetical order as well as thumb tabs on the pages so you can quickly and easily access the information you are looking for
  • Shares detailed information and insight on critical topics, such as ideal locations to photograph from, the best time of day to shoot, camera equipment to have handy, weather conditions, and optimal camera settings to consider

Whether you're a local familiar with the territory or a visitor seeing this beautiful U.S. National Park for the first time, this handy guide will help capture fantastic photos!


Customer Reviews


Very Nice book - loved that the book tells you where the best place to take different shots. Every picture in the book gives you detailed information on where the shot was taken. Lots of great ideas on how to pull off some of your own wonderful pictures......Used them all, and Love the Pictures I took!


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Thursday, May 6, 2010

Planet Ice: A Climate for Change






Planet Ice: A Climate for Change Feature




Planet Ice: A Climate for Change Overview


What the ice tells us about the past may help us understand the future of ice, and us, on Earth.

Planet Ice documents the beauty and the power of ice and its unique role in revealing the changing condition of the planet. Glaciers and ice fields are critical to the health of our world--and we are making them disappear.

Pairing the striking glacier photography of James Martin with essays by Patagonia founder Yvon Chouinard, polar bear expert Ian Stirling, ice scientist Richard Alley, glaciologist Gino Casassa, and noted writers Gretel Ehrlich, Nick Jans, and Broughton Coburn, Planet Ice examines the characteristics of polar, mountain, and tropical ice. It also explores human concepts of ice and wilderness; the lives of penguins, polar bears, and other fauna that depend on ice; the far-reaching effects of climate change; and our responsibilities as stewards of the natural world. Yet this is not just a book of science. Together, these authors illuminate the profound connection between ice--a substance that is at once mutable and forceful--and the wellbeing of our global community.

*Photographer has spent 15 years documenting ice all over the world
*Book is part of a funded multi-media advocacy campaign
*Climate change and melting ice will remain front page news for years to come


Customer Reviews


Firstly, the photography in Planet Ice is truly astonishing. The fifteen years that James Martin spent photographing ice, animals and the outdoors shows in this gorgeous account of the rapidly changing ice on earth. This book provides a comprehensive - and stunning - visual view of the true nature of climate change, supported by leaders in the fields on paleoclimatology, glaciology, ice climbing, polar bears and etc. With essays by such voices as Patagonia founder Yvonne Chouinard, glaciologist Gino Casassa, and ice scientist Richard Alley, a well-formed picture of the disturbing truth about our rapidly changing earth is painted and elegantly documented in Martin's images. Whether your desire is to have a deepened understanding of global climate change or to admire exquisitely captured pictures of ice formations, wildlife and wild lands, you're sure to find something special in Planet Ice.


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Tuesday, May 4, 2010

Fundamentals of Photography: The Essential Handbook for Both Digital and Film Cameras






Fundamentals of Photography: The Essential Handbook for Both Digital and Film Cameras Feature


  • ISBN13: 9780375711572
  • Condition: NEW
  • Notes: Brand New from Publisher. No Remainder Mark.


Fundamentals of Photography: The Essential Handbook for Both Digital and Film Cameras Overview


The most comprehensive, accessible, and completely up-to-date guide available for today’s photographer: whether beginner or advanced, using a film camera or digital.

Award-winning photographer Tom Ang provides a thorough, explicitly detailed bottom-to-top understanding of modern photography, explaining all the techniques that will help anyone who uses a camera—in a professional capacity or as a snapshot shooter—improve the quality of his or her photographs. Here is everything you need to know: from the most practical advice (the fundamental facts about light sources) to the most sophisticated nuances (how light is measured through photometry), from the basics of the camera (which button controls which function) to the finer points of framing with an LCD viewfinder, featuring a selection of Ang’s most inspiring images. For users of film cameras, Ang explains the differences between types of film and details the various methods of processing and darkroom techniques.

Ang delves into the development and transformation of photography by digital techniques. For the digital-camera contingent, there’s a specificity of previously unavailable information about the cameras and about processing, digitizing, and outputting the images. Ang also discusses subjects usually ignored in manuals but of interest to all photographers, including critical theory, the presentation of images, the function of the human eye in the perception of images, and ethical and copyright issues.

Fundamentals of Photography is an essential book for every photographer.


Customer Reviews


Several years ago, I was enamored with black and white photography and, for an amateur, owned a plethora of very good 35mm equipment. Unfortunately, in a series of events with the cyber harlot I was living with at the time that should have aired on some shock value TV talk shows, it was absconded and ended up in the hands of a short-lived lover which ate walrus blubber in the far north. Fortuitously, a wondrous friend of mine rekindled my interest in film photography again.

This book is what I deem "The Holy Grail of Photography." It is authored by an award-winning photographer, and it covers the gamut of information, from the fundamentals to the advanced. It is inclusive and pertains to both the film and digital realms, covering the topic of light to the mechanics of cameras and the handling and use of lenses and shooting. This book covers an astounding and varied amount of material and is easily comprehensible and applicable--not to mention fascinating.

Each topic is also color-coded at the top of the page, so the separation of subject matter can easily be discerned, and, after time, memorized for easy access and referenced with the color-coding without referring to the index. This is a thoughtful feature.

I actually believe Tom Ang utilized some state-of-the-art equipment that was capable of extracting a perfect data dump directly from his brain to the written word. His love for his craft is very evident. If you happen to be neophyte to photography and have caught the fever, or are a grizzled old pro, you will benefit from Tom Ang's incredible amount of photographic knowledge. I believe I will make a trip up north this year and shoot some Canadians--with a camera of course!

Reviewed by Lee Crawford


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Sunday, May 2, 2010

High Dynamic Range Digital Photography For Dummies






High Dynamic Range Digital Photography For Dummies Feature


  • ISBN13: 9780470560921
  • Condition: NEW
  • Notes: Brand New from Publisher. No Remainder Mark.


High Dynamic Range Digital Photography For Dummies Overview


Create amazing HDR photos with this full-color, plain-English guide

Your secret is safe with us. Even if you don't have the latest high-end high dynamic range (HDR) camera equipment, you can still create striking images that appear as if you do with the tips, tricks, and techniques in this helpful guide. Discover how to use bracketing effectively, get the most out of a tripod, finesse your photos with Photoshop, and make it all go easier with this practical and inspiring book.

  • Shines a light on HDR-what it is, how it's done, and what tools you need
  • Walks you through how to take good photographs, from using the right settings to choosing good HDR subjects
  • Demonstrates how to put all your images together in a single photo, including selecting the software, establishing workflow, and creating files
  • Covers how you can clean up digital residue, how to create HDR in black and white, and much more
  • Packed with beautiful and inspiring full-color HDR images to fire your imagination

Get fresh ideas, avoid mistakes, and produce memorable images with this essential guide.


Customer Reviews


I've always had a problem with the "For Dummies" brand. I often read on the subway and I didn't want strangers thinking I was dumb. If you suffer from this syndrome and want to learn the basics of High Dynamic Range photography (HDR) get over it, or you'll miss a good introduction to an important aspect of photographic technology and even art.

HDR is a method of combining multiple digital exposures of a subject to create a range of tones in a photograph closer to what the human eye sees than a single camera shot reveals. In "High Dynamic Range Digital Photography for Dummies" Robert Correll explains the process of creating such images. While he doesn't waste page space explaining photography fundamentals, he does cover the process in small easily accessible steps for the photographer who already understands how to capture images with his camera. After describing the equipment and software involved, the author tells the details of capturing HDR images and then processing these images, first in HDR software and then in post-processing software, like Photoshop Elements, including so-called pseudo HDRs. He also discusses creating HDR panoramas and black-and-white HDR images.

The book follows the usual jocular style of the "For Dummies" series (does the publisher have a special "wiseacre" editor?) including the cartoons and the usual "Part of Tens". Correll demonstrates computer processing using Photomatix Pro, which is becoming the standard for HDR software, and Photoshop Elements. Photoshop users will not have much difficulty making the translation from Photoshop Elements but users of HDR software like FDRTools, which uses a different paradigm, may have a harder time. (Demo versions of most of the software are available for download.)

Although the book discusses each of the sliders and buttons in Photomatix Pro and what it does, it was almost impossible to tell the subtle differences from the tiny illustrations often provided. I also felt that the author should have spent a little more time explaining the wide range of image outcomes possible in HDR processing from realistic to surrealistic, and which sliders effect those results. I suppose there is no substitute for sitting down in front of the computer and playing with the sliders in Photomatix Pro with live images. Even though I've used HDR software successfully for several years, I still have a hard time wrapping my mind around exactly what some of the controls in Photomatix Pro do. But for someone new to HDR, this volume is one of the best ways presently available to step into the process.





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