New Arrivals: TR 1 - TR 844.9999
Showing 1 - 25 of 138 new items.
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© 2016,The daguerreotype, invented in France, came to America in 1839. By 1851, this early photographic method had been improved by American daguerreotypists to such a degree that it was often referred to as "the American process." The daguerreotype -- now perhaps mostly associated with stiffly posed portraits of serious-visaged nineteenth-century personages -- was an extremely detailed photographic image, produced though a complicated process involving a copper plate, light-sensitive chemicals, and mercury fumes. It was, as Sarah Kate Gillespie shows in this generously illustrated history, something wholly and remarkably new: a product of science and innovative technology that resulted in a visual object. It was a hybrid, with roots in both fine art and science, and it interacted in reciprocally formative ways with fine art, science, and technology. Gillespie maps the evolution of the daguerreotype, as medium and as profession, from its introduction to the ascendancy of the "American process," tracing its relationship to other fields and the professionalization of those fields. She does so by recounting the activities of a series of American daguerreotypists, including fine artists, scientists, and mechanical tinkerers. She describes, for example, experiments undertaken by Samuel F. B. Morse as he made the transition from artist to inventor; how artists made use of the daguerreotype, both borrowing conventions from fine art and establishing new ones for a new medium; the use of the daguerreotype in various sciences, particularly astronomy; and technological innovators who drew on their work in the mechanical arts. By the 1860s, the daguerreotype had been supplanted by newer technologies. Its rise (and fall) represents an early instance of the ever-constant stream of emerging visual technologies. -
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© 2016,Two dozen artists from countries around the world offer their own perspectives on British society. In a project that is unparalleled in its scope and scale, iconic British photographer Martin Parr has selected works, dating from the interwar period to today, that capture the social, cultural, and political identity of the UK through the camera lens. These images range from social documentary and street photography to portraiture and architectural photography and offer a reflection of how Britain is perceived by those outside its borders. The book features some of the leading figures of 20th- and 21st-century photography, including Henri Cartier-Bresson, Bruce Davidson, Robert Frank, David Goldblatt, Candida H#65533;fer, Sergio Larrain, Shinro Ohtake, Paul Strand, and Garry Winogrand. From the Hebrides to Dover, Belfast to Cardiff, modern Britain comes to life from a fresh perspective--and the results are both strange and familiar.
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© 2016,The Daguerreotype Camera of 1839 is a photographic landmark. It introduced the first practical method for taking a photograph, although what is generally acknowledged as the first photograph was actually taken thirteen years before with a different type of camera by Nic#65533;phore Ni#65533;pce. The Leica was the first camera to make the 35mm format popular, but it was by no means the first camera to use 35mm film. Likewise, Polaroid wasnt the first to produce an instant picture camera, but was, surprisingly, the first company to introduce an autofocus single lens reflex. The history of the camera is flush with similar anomalies. This lavishly illustrated book with over 460 pictures looks at the cameras that became landmarks and analyzes how and why they influenced future design sometimes in a big, important manner, other times in a lesser but still significant way.
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© 2016,In a world where nearly everyone has a cellphone camera capable of zapping countless instant photos, it can be a challenge to remember just how special and transformative Polaroid photography was in its day. And yet, there's still something magical for those of us who recall waiting for a Polaroid picture to develop. Writing in the context of two Polaroid Corporation bankruptcies, not to mention the obsolescence of its film, Peter Buse argues that Polaroid was, and is, distinguished by its process--by the fact that, as the New York Times put it in 1947, "the camera does the rest." Polaroid was often dismissed as a toy, but Buse takes it seriously, showing how it encouraged photographic play as well as new forms of artistic practice. Drawing on unprecedented access to the archives of the Polaroid Corporation, Buse reveals Polaroid as photography at its most intimate, where the photographer, photograph, and subject sit in close proximity in both time and space--making Polaroid not only the perfect party camera but also the tool for frankly salacious pictures taking. Along the way, Buse tells the story of the Polaroid Corporation and its ultimately doomed hard-copy wager against the rising tide of digital imaging technology. He explores the continuities and the differences between Polaroid and digital, reflecting on what Polaroid can tell us about how we snap photos today. Richly illustrated, The Camera Does the Rest will delight historians, art critics, analog fanatics, photographers, and all those who miss the thrill of waiting to see what develops.
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© 2006,Really, Really Really Easy Step-by-Step Digital Photography explains the process of picture-taking and sharing digital images in terms that a nybody can understand. There are many books on digital photography, but there are few bare-bones guides that take you beyond the baffling tech-speak of camera manuals and photography books and magazines. Really, Really, Really Easy Step-by-Step Digital Photography is written by authors well versed in turning tough concepts into easy step-by-step instructions. Unlike conventional photography books, the authors first delve into the nuts and bolts of storage organization, manipulation and sharing of digital images. The second half of the book covers basic camera usage and guides the reader towards the choice of camera that is appropriate for their skills, needs and budget. For ease of explanation and maximum reach in the market, all instructions are aimed at users running PCs under Windows XP; for the step-by-step photography sequences, the authors make use of a Canon digital camera (other makes will be touched on) as a `generic' model.
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© 2011,Vivian Maier was a professional nanny, who from the 1950s until the 1990s took over 100,000 photographs worldwide - from France to New York City, to Chicago and dozens of other countries - and yet showed the results to no one. The photos are amazing both for the breadth of the work and for the high quality of the humorous, moving, beautiful, and raw images of all facets of city life in America's post-war golden age. It wasn't until realtor and amateur historian John Maloof stumbled upon a box of anonymous negatives that her work was revealed to critical acclaim.
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© 2002,This volume chronicles Gregory Crewdson's Twilight series, elaborate tableaux that capture bizarre surrealities behind deceptively familiar suburban facades. The images are accompanied by an essay from Rick Moody, a novelist renowned for exposing the underbelly of small-town, middle-class America.
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© 2008,In her sympathetic pictures of contortionists, dwarves, ballroom dancers and wrestlers from small towns in Israel, Ukraine, Eastern Europe and England, Michal Chelbin offers a glimpse into worlds both strange and familiar. Her subjects--usually individuals on society's margins--tend to be portrayed offstage, at home, on the street or in a park, and in a disarmingly direct engagement with the viewer: "My aim is to record a scene where there is a mixture of direct information and enigmas and in which there are visual contrasts between young and old, large and small, normal and abnormal," she writes. This sense of candid confrontation between subject and camera is particularly disarming when those subjects are prepubescent girls, whose bodies, as Chelbin puts it, "might be still that of a child, but] their gazes sometimes imply differently." Chelbin's palette is intensely saturated with distinctive pinks, blues and greens, evoking a painterly atmosphere, even occasionally making explicit reference to art history. Though her influences are evident--most notably August Sander and Diane Arbus--the compelling photographs gathered in this first monograph have a unique visual and emotional impact.
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© 2005,In his photographs, Gregory Crewdson presents artfully condensed stories that essentially deal with the penetration of the mysterious into normalcy, often showing something familiar yet unsettling, different, and somewhat inexplicable. This publication is the first to assemble all of the artist's photographic productions in a single volume and includes his most recent, previously unpublished series Beneath the Roses.
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© 2015,Before the live streaming of international fashion shows and the instant publication of runway images online, the collections were strictly 'invitation only'. It was the photographer, runway's unsung hero, who allowed us a glimpse of an exclusive and fascinating spectacle. A visual journey through three decades of photographing runway shows in Paris, Milan, London and New York, Fashion's Front Line showcases dazzling images taken by long-serving catwalk photographer Niall McInerney, whose life's work has been painstakingly preserved and made available through Bloomsbury Publishing's Fashion Photography Archive. Giving readers the complete picture, the book captures many rare and never-before-seen images of iconic moments on the runway as well as famous faces on the front row and the buzzing atmosphere backstage. With commentary from the photographer himself, as well as interviews with top international fashion insiders, Fashion's Front Line is a unique window onto the world of late 20th-century fashion. As good as a front row ticket, this book will be a must-have for fashion lovers. Interviewees include: Designer Antony Price; model agent Sarah Doukas; PR and lifestyle guru Lynne Franks; hair stylist Sam McKnight; director of photography Simon Chaudoir; editors and fashion commentators Caryn Franklin, Debbi Mason, Kathryn Samuel, Elizabeth Walker, Brenda Polan and Iain R. Webb; photographers Andrew Lamb, Niall McInerney, Chris Moore, Anthea Simms and Mitchell Sams; set designer and art director Simon Costin; fashion consultant and former show producer Mikel Rosen; show producer John Walford; and digital entrepreneur Jonathan Chippindale.
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© 2016,Since its founding in 1916, British Vogue has acted as a cultural barometer, placing fashion in the context of art, literature, and politics. The magazine has captured the zeitgeist of each decade--the austerity and optimism that followed two world wars, the swinging London scene of the sixties, the radical seventies, the image-conscious eighties--and continues to be on the cutting edge of design and photography. Decade by decade, Vogue 100 presents the greatest moments in the magazine's history--the photography, illustrations, and essays that recorded the fashion and taste of the time. Complete with essays that detail the rich history of each decade, the book covers the artists, designers, photographers, and writers who shaped the cultural landscape of the 20th century and beyond. With more than 300 photographs of these pivotal figures--from Matisse to Bacon, Freud to Hirst, Dietrich to Paltrow, and Schiaparelli to McQueen-- Vogue 100 offers an in-depth look at a century of Britain's fashion, art, and culture.
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© 2015,The open American West is nearly gone. The New West is a photographic essay about what came to fill it -- freeways, tract homes, low-rise business buildings and signs. In five sequences of pictures taken along the front wall of the Colorado Rocky Mountains, Robert Adams has documented a representative sampling of the whole suburban Southwest. These views have a double power. At first they shock; normally we try to forget the commercial squalor they depict. Slowly, however, they reveal aspects of the geography -- the shape of the land itself, for example -- that are beyond man's harm. Adams has written that "all land, no matter what has happened to it, has over it a grace, an absolutely persistent beauty," and his photographs show this. Originally published in 1974, The New West is now regarded as a classic, standing alongside Walker Evans's American Photographs and Robert Frank's The Americans in the pantheon of landmark volumes of photography exploring American culture and society. This new edition marks the book's fortieth anniversary and the beginning of a longterm commitment by Steidl to publish the full extent Robert Adams's remarkable body of work.
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© 2015,The open American West is nearly gone. The New West is a photographic essay about what came to fill it -- freeways, tract homes, low-rise business buildings and signs. In five sequences of pictures taken along the front wall of the Colorado Rocky Mountains, Robert Adams has documented a representative sampling of the whole suburban Southwest. These views have a double power. At first they shock; normally we try to forget the commercial squalor they depict. Slowly, however, they reveal aspects of the geography -- the shape of the land itself, for example -- that are beyond man's harm. Adams has written that "all land, no matter what has happened to it, has over it a grace, an absolutely persistent beauty," and his photographs show this. Originally published in 1974, The New West is now regarded as a classic, standing alongside Walker Evans's American Photographs and Robert Frank's The Americans in the pantheon of landmark volumes of photography exploring American culture and society. This new edition marks the book's fortieth anniversary and the beginning of a longterm commitment by Steidl to publish the full extent Robert Adams's remarkable body of work.
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© 2015,The status of photographs in the history of museum collections is a complex one. From its very beginnings the double capacity of photography - as a tool for making a visual record on the one hand and an aesthetic form in its own right on the other - has created tensions about its place in the hierarchy of museum objects. While major collections of 'art' photography have grown in status and visibility, photographs not designated 'art' are often invisible in museums. Yet almost every museum has photographs as part of its ecosystem, gathered as information, corroboration or documentation, shaping the understanding of other classes of objects, and many of these collections remain uncatalogued and their significance unrecognised. This volume presents a series of case studies on the historical collecting and usage of photographs in museums. Using critically informed empirical investigation, it explores substantive and historiographical questions such as what is the historical patterning in the way photographs have been produced, collected and retained by museums? How do categories of the aesthetic and evidential shape the history of collecting photographs? What has been the work of photographs in museums? What does an understanding of photograph collections add to our understanding of collections history more broadly? What are the methodological demands of research on photograph collections?The case studies cover a wide range of museums and collection types, from art galleries to maritime museums, national collections to local history museums, and international perspectives including Cuba, France, Germany, New Zealand, South Africa and the UK. Together they offer a fascinating insight into both the history of collections and collecting, and into the practices and poetics of archives across a range of disciplines, including the history of science, museum studies, archaeology and anthropology.
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© 2015,The status of photographs in the history of museum collections is a complex one. From its very beginnings the double capacity of photography - as a tool for making a visual record on the one hand and an aesthetic form in its own right on the other - has created tensions about its place in the hierarchy of museum objects. While major collections of 'art' photography have grown in status and visibility, photographs not designated 'art' are often invisible in museums. Yet almost every museum has photographs as part of its ecosystem, gathered as information, corroboration or documentation, shaping the understanding of other classes of objects, and many of these collections remain uncatalogued and their significance unrecognised. This volume presents a series of case studies on the historical collecting and usage of photographs in museums. Using critically informed empirical investigation, it explores substantive and historiographical questions such as what is the historical patterning in the way photographs have been produced, collected and retained by museums? How do categories of the aesthetic and evidential shape the history of collecting photographs? What has been the work of photographs in museums? What does an understanding of photograph collections add to our understanding of collections history more broadly? What are the methodological demands of research on photograph collections?The case studies cover a wide range of museums and collection types, from art galleries to maritime museums, national collections to local history museums, and international perspectives including Cuba, France, Germany, New Zealand, South Africa and the UK. Together they offer a fascinating insight into both the history of collections and collecting, and into the practices and poetics of archives across a range of disciplines, including the history of science, museum studies, archaeology and anthropology.
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© 2015,The remarkable photography collection of the University of New Mexico Art Museum owes its unique character and quality to the directors, curators, scholars, and artists who have taught, worked, and studied at the museum and in the university's Department of Art and Art History. In this indispensable book, these distinguished scholars and artists reflect on the pictures from the collection that hold significance to them. Through their own professional and artistic practice, they represent different generations of aesthetic voices and intellectual directions. As one of the earliest collegiate institutions to begin collecting photography, the University of New Mexico Art Museum holds a stunning array of images that span photography's 175-year history. In addition to iconic works by famous photographers, this book also features less familiar but equally masterful pictures. Together, these essays represent a unique history of photography and this renowned museum.
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© 2014,From a legendary American photojournalist, iconic photographs from the Korean War to Picasso at his most intimate. David Douglas Duncan is one of the most revered American photographers of the twentieth century. Born in 1916, he was a witness to most of the century and captured many of its historic events and epic personalities through his lens. Beginning as a Marine Corps combat photographer in 1943, Duncan assembled a portfolio that features some of the most arresting photographs taken of World War II, the Korean War, and the Vietnam War. Duncan often plunged into the middle of the action to get the best shot, and his heroics with the camera won him a job with Life magazine. During his career, he traveled the world, shooting conflicts in Iran, Turkey, Morocco, Saudi Arabia, and Russia. In 1956, he knocked on Pablo Picasso's door and began a friendship that would make him the only person to photograph Picasso's personal paintings and the artist in intimate scenarios--such as the bathtub. In My 20th Century , the now ninety-eight-year-old Duncan offers a curated selection of some of his very best photographs and a summary of his lifelong work. Designed by his own hands, the book includes riveting shots of a world torn by war, invigorated by art, and colored by diverse cultures. A true poet of the lens, adventurer, and teller of stories, Duncan belongs to the present as much as he does the past. His legacy lives on in this powerful visual tableau.
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© 2016,A fun collection of Martin Parr's food pictures, which documents the simple notion that 'we are what we eat'. Real Foodcelebrates all things food through the eyes of the renowned British photographer Martin Parr - a kaleidoscope of foods the world over, from hot dogs to sticky buns and langoustine to lemon meringue pie. Featuring photographs taken throughout Martin Parr's prolific career to-date, Real Foodwill comprise the very best of Parr's iconic imagery - a collection of close-up food shots, in typical garish colour, taken by Parr throughout his travels across the world. Introduced with an essay by Fergus Henderson, British chef and founder of the restaurant St John's in London, which considers Parr's photographs in the context of global cuisine, and Parr's fascination with the social aspect of food that is at the heart of these photographs.
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© 2016,Adobe's Lightroom has emerged as a must-have software due to its powerful editing tools and time saving organizational capabilities but how you establish a personalized, creative workflow that optimizes this technology, your time, and your art eludes most photographers. Jason Bradley, award-winning photographer and Lightroom pro, shares the answers to these questions in this practical and easy to follow guide that taps into the "how" and the "why" of a professional photographer's creative workflow in Lightroom. Bradley will show you how all workflows can be simplified into three steps: establishing, managing, and rendering the file, alongside stunning photographs and explanations from his own experiences. This book will not only teach you how to work within Lightroom but, ultimately, how to make Lightroom work for you.
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© 2016,In 2005, photographer Chris Hondros captured a striking image of a young Iraqi girl in the aftermath of the killing of her parents by American soldiers. The shot stunned the world and has since become iconic--comparable to the infamous photo by Nick Ut of a Vietnamese girl running from a napalm attack. Both images serve as microcosms for their respective conflicts. Afterimages looks at the work of war photographers like Hondros and Ut to understand how photojournalism interacts with the American worldview. Liam Kennedy here maps the evolving relations between the American way of war and photographic coverage of it. Organized in its first section around key US military actions over the last fifty years, the book then moves on to examine how photographers engaged with these conflicts on wider ethical and political grounds, and finally on to the genre of photojournalism itself. Illustrated throughout with examples of the photographs being considered, Afterimages argues that photographs are important means for critical reflection on war, violence, and human rights. It goes on to analyze the high ethical, sociopolitical, and legalistic value we place on the still image's ability to bear witness and stimulate action.
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© 2015,Emphasizing Roman Vishniac's prodigious talents as one of the great documentary photographers of the 20th century, this volume presents the full range of his artistic genius. Drawn from the International Center of Photography's vast holdings of work by Roman Vishniac (1897-1990), this generously illustrated and expansive volume offers a new and profound consideration of this key modernist photographer. In addition to featuring Vishniac's best-known work--the iconic images of Jewish life in Eastern Europe before the Holocaust-- this publication also introduces many previously unpublished photographs spanning more than six decades of Vishniac's work. These include newly discovered images of prewar Berlin, rare film footage from rural Jewish communities in Carpatheina Ruthania, documentation of postwar ruins and Displaced Persons' camps, and vivid coverage of Jewish life in America in the 1940s and '50s. Essays by world-renowned scholars of photography, Jewish history and culture address these newfound images and consider them in the context of modernist tendencies in Berlin in the 1920s and '30s; the rise of Nazi power in Germany and Eastern Europe; the uses of social documentary photography for relief organizations; the experiences of exile, displacement, and assimilation; and the impact of Vishniac's pioneering scientific research in color photomicroscopy in the 1950s and '60s. This first retrospective monograph on Roman Vishniac offers many new perspectives on the work and career of this important photographer, positioning him as one of the great modernists and social documentary photographers of the last century.