The "Capcom 30th Anniversary Character Encyclopedia" celebrates Capcom's 30 years in the industry and gives fans concise information about every major Capcom character, their key artwork, statistics, background information, and interesting notes on the history of each character and game franchise. Including almost 200 characters from the Capcom family, this "Character Encyclopedia" sheds new light on these characters in a way nothing else does!

    There are 45 tips listed on these pages, so you will have no excuse for leaving your camera in the cupboard. Let's get you motivated!Topics include:13 Bad Habits That Can Ruin Your Photography5 Habits Of Highly Effective Photographers12 Ways To Find New Inspiration10 Commandments For Landscapers5 Resources & Courses

    As the Soviet people looked back on decades of war and famine, conquest and achievement, and forward to sweeping changes during a time of new leadership and openness, the photographers were granted unprecedented access to homes, factories, schools and even prisons. They traveled to all 15 Soviet republics and across 11 time zones. They ventured into areas that have been closed to outsiders for centuries, and they came back with candid images of the daily life of the people behind the headlines, capturing a lost Soviet era, the twilight of a country.

    Or maybe you weren’t afraid—maybe you just didn’t know what to ask or where to start. In The Oil Painting Course You’ve Always Wanted, author Kathleen Staiger presents crystal clear, step-by-step lessons that build to reinforce learning. Brush control, creating the illusion of three dimensions, foolproof color mixing, still-life painting, landscapes, and portraits—every topic is covered in clear text, diagrams, illustrations, exercises, and demonstrations. Staiger has taught oil painting for more than thirty-five years; many of her students are now exhibiting and selling their paintings. Everyone from beginning hobby painters, to art students, to BFA graduates has questions about oil painting. Here at last are the answers!

    Always have a fresh fill on hand with this catalog of basic fills and patterns. The Fast Freehand Fills series provides zen expressionists with a repertoire of found and unique basic patterns that are easy to draw freehand. Wavy checkerboards, fishnets, pinstripe pajamas and dog bones are all waiting inside this catalog of fills. Great for zen drawing, mandalas and artistic journaling.

    It's happened to all of us—we find, tucked away in the corner of our shopping cart, someone's discarded grocery list. Who's the person buying "Whole milk, heavy cream, ice cream, cheese, and Gas-Ex?" Why would someone need to write down "Coors and Oreos" on a matchbook cover—couldn't he just remember those two items? And what's the person like who scrawled their list on a PROZAC notepad? Taking her clues from the items listed, the types of paper written on, the handwriting, and even misspellings ("Aunt Spray"), Hillary saw that each list—at once mundane and personal—offered an intimate peek into a complete stranger's life. She chose 26 lists and imagined who the shoppers might be. She then transformed herself into all 26 people, one by one, literally stepping into each character—all ages, genders, and ethnicities—with hair, makeup, outfits, and one Fu Manchu. Photographer Barbara Green then captured unforgettable images of Hillary portraying these shoppers at their neighborhood markets. Hillary came to love these characters, so her accompanying stories for each are as poignant and hilarious as the photographs. She brings to life richly imagined inner worlds, including one for macho Woody, a self-described "Lady's Man with NO BANKRUPTCIES ready to meet just one Special Lady with NO KIDS." After getting to know these grocery shoppers through Miss Carlip's dedicated voyeurism, going to the supermarket will never be the same.

    Originally published in 1986, this dark, democratic environment provided the setting for photographer Bruce Davidson's first extensive series in color. Subway riders are set against a gritty, graffiti-strewn background, displayed in tones Davidson described as "an iridescence like that I had seen in photographs of deep-sea fish." Never before has the subway been portrayed in such detail, revealing the interplay of its inner landscape and out vistas. The images include lovers, commuters, tourists, families, and the homeless. From weary straphangers to languorous ladies in summer dresses to stalking predators, Davidson's compassionate vision illuminates the stubborn survival of humanity. From the spring of 1980 to 1985, Davidson explored and shot six hundred miles of subway tracks. In his own words, "I wanted to transform this subway from its dark, degrading, and impersonal reality into images that open up our experience again to the color, sensuality, and vitality of the individual souls that ride it each day." Now nearly 25 years later, and on the eve of the subway's 100th anniversary, St. Ann's Press is publishing a new edition of Davidson's classic book. This edition adds forty unseen images to the original book, and includes a new introduction by Arthur Ollman of the Museum of Photographic Art in San Diego, and a foreword by Fred Braithwaite (aka Fab Five Freddy), the original graffiti artist. It also includes Bruce Davidson and Henry Geldzahler's original essays.

    Robert Mapplethorpe's black-and-white Polaroid photographs from the 1970s--a medium in which he established the style that would bring him international acclaim--are brought together in this exquisite volume for the first time.Prestel Publications

    Although Edward Steichen had exhibited some of Leiter's color photography at The Museum of Modern Art in 1953, it remained virtually unknown to the world thereafter. Leiter moved to New York in 1946 to become a painter, but through his friendship with Richard Pousette-Dart he quickly recognized the creative potential of photography. Leiter continued to paint, exhibiting with Philip Guston and Willem de Kooning, but the camera remained his ever-present means of recording life in the metropolis. None of Leiter's contemporaries, with the partial exception of Helen Levitt, assembled a comparable body of work: subtle, often abstract compositions of lyrical, eloquent color.

    Ever since the early 1970s Goldin has lived with and among drag queens, documenting both their glamour and their struggles. The Other Side is her very personal declaration of love and gratitude to these drag queens, who showed her a way out of the captivity of pre-packaged, socially prescribed identity. As she put it: "The pictures in this book are not of people suffering gender dysphoria but rather expressing gender euphoria.... The people in these pictures are truly revolutionary; they are the real winners in the battle of the sexes because they have stepped out of the ring". In contrast to much of the early 90s drag queen mania, The Other Side has brilliantly passed the test of time: Goldin's photographs are as beautiful, moving, and vibrant as ever, heralding the utopian promises of a world where gender has stopped being a prison -- a vision that remains as vital and acute as it was when the book was first published.

    Suspended for a few seconds, they float in their own space and time with their own hidden prospects. For want of a better term, we call these moments “magical” and when we remember them they are cloaked in a halo of special meaning.’For 14-year-old Johnny Clegg, hearing Zulu street music as plucked on the strings of a guitar by Charlie Mzila one evening outside a corner café in Bellevue, Johannesburg, was one such ‘magical’ moment. The success story of Juluka and later Savuka, and the cross-cultural celebration of music, language, story, dance and song that stirred the hearts of millions across the world, is well documented. Their music was the soundtrack to many South Africans’ lives during the turbulent 70s and 80s as the country moved from legislated oppression to democratic freedom. It crossed borders, boundaries and generations, resonating around the world and back again. Less known is the story of how it all began and developed. Scatterling of Africa is that origin story, as Johnny Clegg wrote it and wanted it told. It is the story of how the son of an unconventional mother, grandson of Jewish immigrants, came to realise that identity can be a choice, and home is a place you leave and return to as surely as the seasons change.

    After the Limited Test Ban Treaty between the United States and the Soviet Union in 1963, nuclear testing went underground. It became literally invisible—but more frequent: the United States conducted a further 723 underground tests, the last in 1992. 100 Suns documents the era of visible nuclear testing, the atmospheric era, with one hundred photographs drawn by Michael Light from the archives at Los Alamos National Laboratory and the U.S. National Archives in Maryland. It includes previously classified material from the clandestine Lookout Mountain Air Force Station based in Hollywood, whose film directors, cameramen and still photographers were sworn to secrecy.The title, 100 Suns, refers to the response by J.Robert Oppenheimer to the world’s first nuclear explosion in New Mexico when he quoted a passage from the Bhagavad Gita, the classic Vedic text: “If the radiance of a thousand suns were to burst forth at once in the sky, that would be like the splendor of the Mighty One . . . I am become Death, the destroyer of worlds.” This was Oppenheimer’s attempt to describe the otherwise indescribable. 100 Suns likewise confronts the indescribable by presenting without embellishment the stark evidence of the tests at the moment of detonation. Since the tests were conducted either in Nevada or the Pacific the book is simply divided between the desert and the ocean. Each photograph is presented with the name of the test, its explosive yield in kilotons or megatons, the date and the location. The enormity of the events recorded is contrasted with the understated neutrality of bare data. Interspersed within the sequence of explosions are pictures of the awestruck witnesses. The evidence of these photographs is terrifying in its implication while at same time profoundly disconcerting as a spectacle. The visual grandeur of such imagery is balanced by the chilling facts provided at the end of the book in the detailed captions, a chronology of the development of nuclear weaponry and an extensive bibliography. A dramatic sequel to Michael Light’s Full Moon, 100 Suns forms an unprecedented historical document.

    The exciting pieces come from an international array of artists, each with a unique perspective. The stylishly varied collection has a little bit of everything: the cups range from handbuilt to wheel-thrown, practical to sculptural, round to square. Benjamin Schulman's "Stacked Teacup Set" takes a strictly functional approach, while Heather O'Brien's "Dessert Cups on Stand" focuses on aesthetic form rather than usefulness. Annette Gates' "Espresso Shot Cups with Rubies" has a surface design of simple abstract lines and dots of glaze and jewels. Some are whimsical, others starkly conceptual. Every one is a treat for the eye.

    The chapters follow a progressive sequence that teaches basic skills through practical, accessible exercises–how to handle a brush, achieve the right paint consistency, mix color, and create dimension–building a solid foundation that readers can rely on as painting projects grow more challenging. A special feature is the artwork and commentary of real students, which helps beginners set realistic goals and shows them how other artists at the same level of experience have worked through inevitable setbacks to achieve success.

    Lots of posters and memorabilia.