Scott Kelby, author of The Digital Photography Book, part 1, the top-selling digital photography book of all time, is back with an entirely new book that picks up right where part 1 left off. It's more of that “Ah ha–so that's how they do it,” straight-to-the-point, skip-thetechno- jargon stuff you can really use today that made part 1 so successful. This book truly has a brilliant premise, and here’s how Scott describes it: “If you and I were out on a shoot and you asked me, ‘When I use my flash, the background behind the person I’m shooting turns black. How do I fix that?’ I wouldn’t give you a lecture on flash ratios, or start a discussion on flash synchronization and re...
The J. Paul Getty Museum owns eighty-two photographs by Moholy-Nagy, almost fifty of which are presented in this volume, the second in the Museum's In Focus series on photographers. The plates are accompanied by commentaries by Katherine Ware, Assistant Curator in the Department of Photographs. Ms. Ware, along with Thomas Barrow, Jeannine Fiedler, Charles Hagen, Hattula Moholy-Nagy, Weston Naef, and Leland Rice, participated in a colloquium on the life and work of Moholy-Nagy at the Museum in 1994.
Seventeen-year-old Micheline Helsing is a tetrachromat, able to see ghosts in color and capture them on film, but when a routine hunt goes awry, Micheline is infected with a curse known as a soulchain and if she is unable to exorcise the entity in seven days, she will be destroyed, body and soul.
Cameras can capture what the eye can't perceive: the presence of infrared light. And shooting infrared (IR) with a digital camera makes it easier than ever to create distinctively dreamlike high-contrast black-and-white pictures. Using a wealth of stunning images, this thorough resource explores the technical and creative possibilities of this unique and increasingly popular medium. Begin with the basic concepts for shooting infrared, along with an overview of equipment. Get tips on focus and exposure; IR filters; and having a camera converted to shoot specifically in infrared. Follow instructions for processing and printing the photos--including toner effects and faux color. One glance through this guide and it's clear why infrared pictures are fun to take and beautiful to look at.
Strange, outdated laws from each of the 50 U.S. states—some overturned, some still on the books, and some merely the stuff of legends—are depicted with sly wit by Olivia Locher. Incisive, ironic, and gorgeous, these images will appeal to art buffs and trivia fans alike. A foreword from American poet Kenneth Goldsmith and an interview with the artist by Eric Shiner, former director of the Andy Warhol Museum, contextualize rising-star Locher's photography. From serving wine in teacups in Kansas to licking a toad in Kentucky or perming a child's hair in Nebraska, breaking the law has never looked so good.
The Visual Toolbox: 60 Lessons for Stronger Photographs is author David duChemin's conception of a “curriculum” for the first year of a photography school that doesn't exist, but could. It's what he calls “the bones”—a year's worth of lessons and assignments for photographers who want to do more than just master their cameras; it's for those who want to create photographs. It's for photographers who are stuck and for those having a hard time making it an aesthetic art and not merely a technical craft. The book is targeted at any aspiring, hobbyist, or pro photographer who can benefit from sitting with a photographer and teacher who has learned—and is still learning—these lesson...
The twelve monumental silver-gilt standing cups known as the Aldobrandini Tazze constitute perhaps the most enigmatic masterpiece of Renaissance European metalwork. Topped with statuettes of the Twelve Caesars, the tazze are decorated with marvelously detailed scenes illustrating the lives of those ancient Roman rulers. The work’s origin is unknown, and the ensemble was divided in the nineteenth century and widely dispersed, greatly hampering study. This volume, inspired by a groundbreaking symposium at The Metropolitan Museum of Art, examines topics ranging from the tazze’s representation of the ancient world to their fate in the hands of nineteenth-century collectors, and presents newly discovered archival material and advanced scientific findings. The distinguished essayists propose answers to critical questions that have long surrounded the set and shed light on the stature of Renaissance goldsmiths’ work as an art form, establishing a new standard for the study of Renaissance silver.
A new edition of the moving, photographic story of the photographer and his relationship with his self-possessed, lovable cat, Ernie, features never-before-published pictures and a few more private thoughts from Ernie himself.