Coverage explores the on-board effects, low-light settings, and automatic HDR shooting. Clear explanations detail the ways in which you can use the new features of the Nikon D5100 to add unique shots to your portfolio while an explanation of photography terms gets you confident and savvy with this fun DSLR camera.Covers basic camera controls and functions, shooting in auto mode, setting photo quality, and navigating menus and the view screen Introduces the basics of photography, including the settings that control lighting, exposure, focus, and color Addresses the new low-light and HDR settings Encourages you to use the new onboard effects features and shares tips for improving images with editing software Get a grasp on the fun Nikon D5100 with this fun and friendly guide!

    Including articles by photographers from Edward Weston to Jo Spence, as well as key thinkers like Roland Barthes, Victor Burgin and Susan Sontag, the essays trace the development of ideas about photography. Each themed section features an editor's introduction setting ideas and debates in their historical and theoretical context.Sections include: Reflections on Photography; Photographic Seeing; Coding and Rhetoric; Photography and the Postmodern; Photo-digital; Documentary and Photojournalism; The Photographic Gaze; Image and Identity; Institutions and Contexts.

    Here Friedlander focuses on the role of his own physical presence in his images. He writes: "At first, my presence in my photos was fascinating and disturbing. But as time passed and I was more a part of other ideas in my photos, I was able to add a giggle to those feelings." Here readers can witness this progression as Friedlander appears in the form of his shadow, or reflected in windows and mirrors, and only occasionally fully visible through his own camera. In some photos he visibly struggles with the notion of self-portraiture, desultorily shooting himself in household mirrors and other reflective surfaces. Soon, though, he begins to toy with the pictures, almost teasingly inserting his shadow into them to amusing and provocative effect--elongated and trailing a group of women seen only from the knees down; cast and bent over a chair as if seated in it; mirroring the silhouette of someone walking down the street ahead of him; or falling on the desert ground, a large bush standing in for hair. These uncanny self-portraits evoke a surprisingly full landscape of the artist's life and mind. This reprint edition of Lee Friedlander: Self Portrait contains nearly 50 duotone images and an afterword by John Szarkowski, former Director of the Department of Photography at The Museum of Modern Art.

    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.

    But his profound influence on other photographers, most famously on Diane Arbus, derives not only from his sensational subject matter and his use of the blinding, close-up flash, but also from his eagerness to photograph the city at all hours, at all levels: coffee shops at three in the morning, hot summer evenings in the tenements, debutante balls, parties in the street, lovers on park benches, the destitute and the lonely. No other photographer has better revealed the non-stop spectacle of life in New York City.Weegee's first book, Naked City (1945), was a runaway success and made him a celebrity who suddenly had assignments from Life and Vogue. By the publication of his second book, Weegee's People (1946), he had cut the wires to his police radio and had begun to photograph the furred and bejeweled grandes dames at the Metropolitan Opera as well as his beloved street people. Naked Hollywood (1953) and Weegee by Weegee (1961) feature portraits of Marilyn Monroe, Andy Warhol, John F. Kennedy, Nikita Khruschev, and Liberace -- many of them viewed through the distorted lens of his Weegee-scope.Regarded as some of the most powerful images of twentieth-century photography, Weegee's work now resides in the permanent collection of the Museum of Modern Art.

    This revised and expanded edition contains a new introduction by Lester Brown, founder and president ofthe Earth Policy Institute, new text and captions by environmental experts, and, best of all, an additional 17 photographs.

    And it was my privilege to listen.” —Sebastião Salgado On a very fortuitous day in 1970, 26-year-old Sebastião Salgado held a camera for the first time. When he looked through the viewfinder, he experienced a revelation: suddenly life made sense. From that day onward—though it took years of hard work before he had the experience to earn his living as a photographer—the camera became his tool for interacting with our world. Salgado, who “always preferred the chiaroscuro palette of black-and-white images,” shot very little color in his early career before giving it up completely. Raised on a farm in Brazil, Salgado possessed a deep love and respect for nature; he was also particularly sensitive to the ways in which human beings are affected by their often devastating socio-economic conditions. Of the myriad works Salgado has produced in his acclaimed career, three long-term projects stand out: Workers (1993), documenting the vanishing way of life of manual laborers across the world, Migrations (2000), a tribute to mass migration driven by hunger, natural disasters, environmental degradation and demographic pressure, and this new opus, Genesis, the result of an epic eight-year expedition to rediscover the mountains, deserts and oceans, the animals and peoples that have so far escaped the imprint of modern society—the land and life of a still-pristine planet. “Some 46% of the planet is still as it was in the time of genesis,” Salgado reminds us. “We must preserve what exists.” The Genesis project, along with the Salgados’ Instituto Terra, are dedicated to showing the beauty of our planet, reversing the damage done to it, and preserving it for the future. Over 30 trips—travelled by foot, light aircraft, seagoing vessels, canoes, and even balloons, through extreme heat and cold and in sometimes dangerous conditions—Salgado created a collection of images showing us nature, animals, and indigenous peoples in breathtaking beauty. Mastering the monochrome with an extreme deftness to rival the virtuoso Ansel Adams, Salgado brings black-and-white photography to a new dimension; the tonal variations in his works, the contrasts of light and dark, recall the works of Old Masters such as Rembrandt and Georges de La Tour. What does one discover in Genesis? The animal species and volcanoes of the Galápagos; penguins, sea lions, cormorants, and whales of the Antarctic and South Atlantic; Brazilian alligators and jaguars; African lions, leopards, and elephants; the isolated Zo’é tribe deep in the Amazon jungle; the Stone Age Korowai people of West Papua; nomadic Dinka cattle farmers in Sudan; Nenet nomads and their reindeer herds in the Arctic Circle; Mentawai jungle communities on islands west of Sumatra; the icebergs of the Antarctic; the volcanoes of Central Africa and the Kamchatka Peninsula; Saharan deserts; the Negro and Juruá rivers in the Amazon; the ravines of the Grand Canyon; the glaciers of Alaska... and beyond. Having dedicated so much time, energy, and passion to the making of this work, Salgado likens Genesis to “my love letter to the planet.” Whereas the limited Collector’s Edition is conceived like a large-format portfolio that meanders across the planet, this unlimited book presents a selection of photographs arranged in five chapters geographically: Planet South, Sanctuaries, Africa, Northern Spaces, Amazonia and Pantanal. Each in its own way, this book and the Collector’s edition—both edited and designed by Lélia Wanick Salgado—pay homage to Salgado’s triumphant and unparalleled Genesis project.The world premiere of Sebastião Salgado: Genesis will open at the Natural History Museum in London on April 11, 2013. The exhibition builds on the Museum’s reputation as the home of the planet’s best nature photography. For further information and to book tickets please go to www.nhm.ac.uk/salgado. Additionally, from May 14th, a special portfolio of plantinum prints from Genesis will be shown at Phillips Howick Place gallery in London.Worldwide venues for the Genesis exhibition:The Natural History Museum, London, UK - April 11 through September 8, 2013 The Royal Ontario Museum, Toronto, Canada - May 2 through September 2, 2013 Ara Pacis Museum, Rome, Italy - May 15 through September 15, 2013 Jardim Botânico, Rio de Janeiro, RJ, Brazil - May 28 through August 25, 2013 Musée de l’Elysée, Lausanne, Switzerland - September 21, 2013 through January 12, 2014 La Maison Européenne de la Photographie (MEP), Paris, France - September 25, 2013 through January 5, 2014 SESC Belenzinho, São Paulo, SP, Brazil - September 9 - November 2013

    Seasons is a lavish volume that ambles through the year with beauty and simplicity.

    Written by an international team of experts, this definitive history of photography looks at every step of the field's dynamic evolution, period by period and movement by movement. Each key genre is chronologically presented within its social, economic, and political context, along with close analysis of specially selected works that best exemplify the characteristics of the period. With more than 500 gorgeous examples in black and white and color, the book explores in-depth virtually every aspect of the medium since its first public demonstration in 1839 to the latest innovations: from early portraits and the birth of photojournalism to travel photography and the mapping of the world; from the Pictorialists to the avant-garde; from celebrity and fashion to documentary and landscape. Along the way readers will learn why some photographs are considered iconic, and why the medium as an art form continues to challenge and enthrall us.

    His journal has become a classic of photographic literature. Weston was a towering figure in twentieth-century photography, whose restless quest for beauty and the mystical presence behind it resulted in a body of work unrivaled in the medium. John Szarkowski observes that "It was as though the things of everyday experience had been transformed... into organic sculptures, the forms of which were both the expression and the justification of the life within... He had freed his eyes of conventional expectation, and had taught them to see the statement of intent that resides in natural form."

    This book, the permanent embodiment of Edward Steichen's monumental exhibition, reproduces all of the 503 images that Steichen described as a mirror of the essential oneness of mankind throughout the world. Photographs made in all parts of the world, of the gamut of life from birth to death. A classic and inspiring work, The Family of Man has been in print for more than 40 years. The New York Times once wrote that it symbolizes the universality of human emotions. First produced by a magazine publisher and sold by the hundreds of thousands on newsstands and in airport shops, The Family of Man has been in more recent years published by the Museum. It has been continuously in print since 1955; the present thirtieth-anniversary edition was prepared from original photographs with all new duotone plates in 1986.

    He is also drawn to the mystery and unexpected beauty found in abandoned architecture. Here Vanden Brink captures and illuminates in stunning black and white images abandoned structures such as mills, bridges, grain elevators, churches, and storefronts-structures that once were important and useful. With text by historic preservation expert Howard Mansfield, this collection of photos grants permanence to places that may soon vanish forever.

    As word began to spread, similar establishments popped up across the country. Men lined up outside these cafés waiting to pay three times the usual cost for coffee served by a panty-free young woman, hoping to catch a fortuitous glimpse. Within a few years, a new craze took hold: the no-panties "massage" parlor. Competition for customers led these new types of businesses to offer an increasingly bizarre range of services: fondling clients through holes in coffins whilst they lie naked inside playing dead, interiors catering to commuter-train fetishists, young virgin role-playing, etc. Amongst these many destinations was a Tokyo club called Lucky Hole. Here, the premise was ridiculously simple: clients stood on one side of a plywood partition, a hostess on the other; in between them was simply a hole big enough for a certain part of the male anatomy to pass through. Nobuyoshi Araki was a frequent visitor to the sex clubs of Tokyo's Shinjuku neighborhood, and he photographed them profusely until the golden age of Japan's sex industry came to a screeching halt in February 1985, with the enactment of the New Amusement Business Control and Improvement Act. In over 800 photos, Tokyo Lucky Hole documents the free-for-all spirit of those clubs via Araki's lens.

    This exquisite book, now in softcover, is the result of that bold and immensely personal project. Through the accompanying essay, Brandenburg shares his innermost thoughts and passions as he witnesses the cycle of nature near his home in the northwoods of Minnesota.Brandenburg also contributes new photos and an Epilog that illustrates and discusses the devastating summer wind storm that wreaked havoc on the locations photographed for the original project.

    But the star of such films as The Great Escape, Love with the Proper Stranger, Nevada Smith, The Getaway, and Papillon was largely a mystery off-screen. These photos, taken over a six-year period during the 1960s by one of the actor's best friends, show the hidden McQueen: tender, sensitive, and unpredictable.