When I'm there, sitting with those folks, listening and talking, he said to Coles, I'm part of that life, and I'm near it in my head, too.... Back here, sitting near this typewriter--its different. I'm a writer. I'm a doctor living in Rutherford who is describing 'a world elsewhere.' Williams captured the great difficulty in documentary writing--the gulf that separates the reality of the subject from the point of view of the observer . Now, in this thought-provoking volume, the renowned child psychiatrist Robert Coles, author of the Pulitzer Prize-winning Children in Crisis series, offers a penetrating look into the nature of documentary work. Utilizing the documentaries of writers, photographers, and others, Coles shows how their prose and pictures are influenced by the observer's frame of reference: their social and educational background, personal morals, and political beliefs. He discusses literary documentaries: James Agee's searching portrait of Depression-era tenant farmers, Let Us Now Praise Famous Men, and George Orwell's passionate description of England's coal-miners, The Road to Wigan Pier. Like many documentarians, Coles argues, Agee and Orwell did not try to be objective, but instead showered unadulterated praise on the noble poor and vituperative contempt on the more privileged classes (including themselves) for exploiting these workers. Documentary photographs could be equally revealing about the observer. Coles analyzes how famous photographers such as Walker Evans and Dorthea Lange edited and cropped their pictures to produce a desired effect. Even the shield of the camera could not hide the presence of the photographer. Coles also illuminates his points through his personal portraits of William Carlos Williams; Robert Moses, one of the leaders of the Student Non-Violent Coordinating Committee during the 1960s; Erik H. Erikson, biographer of Mahatma Gandhi and Martin Luther; and others. Documentary work, Coles concludes, is more a narrative constructed by the observer than a true slice of reality. With the growth in popularity of films such as Ken Burns's The Civil War and the controversial basketball documentary Hoop Dreams, the question of what is real in documentary work is more pressing than ever. Through revealing discussions with documentarians and insightful analysis of their work, complemented by dramatic black-and-white photographs from Lange and Evans, Doing Documentary Work will provoke the reader into reconsidering how fine the line is between truth and fiction. It is an invaluable resource for students of the documentary and anyone interested in this important genre.

    When he and his wife and business partner, Barbara Cushman Rowell, perished in a small-plane crash in 2002, he had just completed a landmark assignment for National Geographic and had begun making stunning new images of his favorite old haunts in the Sierra Nevada.Fortunately for us, his productivity was immense and his photographs eticulously archived, making possible this first and only comprehensive retrospective of his work. It includes more than 175 images representing all phases and dimensions of Rowell’s singular career, chosen by the editors with whom he worked most closely, overseen by his family and studio colleagues, and reproduced to the highest standards of lithography from digital masters of his 35mm frames. Complementing and illuminating the pictures are essays and commentaries by Rowell’s friends and associates from the worlds of mountaineering, conservation, photography, and publishing, along with an in-depth biographical introduction by Robert Roper and an appreciation of his work by photography critic Andy Grundberg.

    While on set, Mark met the women of Ward 81, the only locked hospital security ward for women in the state: the inmates were considered dangerous to themselves or to others. In February of 1976, just before the ward closed (it ceased to exist in November of 1977, when it became the female section of a coeducational treatment ward), Mark and Karen Folger Jacobs, a writer and social scientist, were given permission to make a more extended stay, living on the ward in order to photograph and interview the women. They spent 36 days on Ward 81, photographing and documenting. Jacobs recalls their slow, inevitable assimilation: "We felt the degeneration of our own bodies and the erosion of our self-confidence. We were horrified at the thought of what we might become after a year or two of confinement and therapy on Ward 81." This new hardcover edition adds 10 new pictures to the original. Ward 81 is a sobering investigation into the lives and treatment of the mentally ill.

    If photography helped shape art in the twentieth century, it has begun to dominate it in the twenty-first. Not only are major international museums and galleries devoting blockbuster exhibitions to the medium, but artist-photographers are being celebrated as contemporary masters, with their work commanding unprecedented prices. This essential survey presents the work of 76 of the most important and best-loved artist-photographers in the world today, including Andreas Gursky, Thomas Struth, Cindy Sherman, Jeff Wall, Sophie Calle, Wolfgang Tillmans, Nan Goldin, Martin Parr, Allan Sekula, Boris Mikhailov, Inez van Lamsweerde, Stephen Meisel, Philip-Lorca diCorcia and Sam Taylor-Wood. Introductions to each thematic section-City, Portrait, Document, Object, Landscape, Fashion and Narrative-offer words from the artists and valuable insights into their motivation, inspiration and intentions. An introduction to the volume as a whole sets out the historical relationship between art and photography from the early nineteenth century forward, and covers the art world's embrace of the medium in recent decades. "Art Photography Now" is a deep and visually striking guide to the essential aspects of contemporary photography.

    This new model replaces the popular D5000 and creates a nice bridge between the more beginner-level D3100 and the high-end D7000.This book has one goal: to teach D5100 owners how to make great shots using their new Nikon camera. Users learn how to use the D5100 to create the type of photos that inspired them to buy the camera in the first place. Everything in the book is in service of creating a great image.Starting with the top ten things users need to know about the camera, photographer Rob Sylvan carefully guides readers through the operating features. Owners get practical advice from a pro on which settings to use when, great shooting tips, and even end-of-chapter assignments.

    But photography has surely changed during these many decades. The rigs and gear of old have given way-first slowly, then all at once-to sleek miracle machines that process pixels and have made the darkroom obsolete. The casual photog puts eye to lens, sets everything on auto and captures a photograph that is . . . perfectly fine. One of LIFE's master shooters-in fact, the final in the long line of distinguished LIFE staff photographers-was Joe McNally, and he has always believed that with a little preparation and care, with a dash of enthusiasm and daring added to the equation, anyone can make a better photo-anyone can turn a "keeper" into a treasure. This was true in days of yore, and it's true in the digital age. Your marvelous new camera, fresh from its box, can indeed perform splendid feats. Joe explains in this book how to take best advantage of what it was designed to do, and also when it is wise to outthink your camera or push your camera-to go for the gold, to create that indelible family memory that you will have blown up as large as the technology will allow, and that will hang on the wall forevermore. As the storied LIFE photographer and photo editor John Loengard points out in his eloquent foreword to this volume, there are cameras and there are cameras, and they've always been able to do tricks. And then there is photography. Other guides may give you the one, two, three of producing a reasonably well exposed shot, but Joe McNally and the editors of LIFE can give you that, and then can show you how to make a picture. In a detailed, friendly, conversational, anecdotal, sometimes rollicking way, that's what they do in these pages. Prepare to click.

    But before achieving fame as an author, Carroll was a prolific and sophisticated photographer, acutely engaged in the art world of Victorian England. This illustrated volume examines Carroll's photographs not as the sideline of a celebrated writer, but as the creations of a serious photographic artist, and demonstrates their importance to the history of photography. Douglas Nickel traces the evolution in thought about Carroll's photography in the period since his death, demonstrating the ways it has been viewed largely through the filter of his literary reputation. Key to this have been certain preconceptions built up around Carroll's attitudes toward children, especially Alice Liddell, the inspiration for his first book and the subject of a number of his photographs. Nickel demonstrates how, by overturning the modern myths that have attached themselves to Carroll's photography, the works themselves can be seen again as they were by their original Victorian viewers. This analysis is designed to reveal not only Carroll's signal achievement in the medium, but also a new understanding of Victorian art photography in general.

    What took place as an astonished public came upon these snowballs -- each weighing about a ton -- is captured in spontaneous and evocative pictures taken by photographers working around the clock.Here, then, is the story of Goldsworthy's largest ephemeral work to date. Made in one century (the 20th) and unwrapped to melt very slowly in the next, this is four-dimensional sculpture in which the lifespan and history of the snowballs are as important as their appearance at any moment. As Judith Collins explains in her introduction, and Goldsworthy in his diaries, this is a natural progression from his previous work with snow. Goldsworthy presents a unique confrontation between the wilderness and the city -- snowballs made in the Scottish winter brought to the streets of London in the summertime.

    Eliot Porter's photographs of the natural world, spanning thirty-five years and five continents -- from an Antarctic ice floe to an American desert to an Icelandic lava field -- reveal in mesmerizing ways what scientists are beginning to see for themselves: the patterns, relations, and interactions present in nature's disorder and wildness. This is the perfect marriage of image and text -- brilliant full-color photographs by the preeminent nature photographer of his generation together with an illuminating essay by the widely praised author of Chaos.

    Today, a wave of new technology has given this photographic genre a new lease of life, from phone cameras to specialist lenses to digital zooms. The Street Photography Manual leads the reader through a series of fully illustrated tutorials, including how to shoot a face in a crowd and how to train your eye to observe and capture the unexpected. Readers will be inspired by some of the best street photographers in the world, and then go forth and create their own memorable images.

    Often, a photographer will spend long days capturing photos only to return with a set of images that he or she is not completely satisfied with. Sure, the lighting and exposure may have turned out great, but the overall composition of the photos leaves something to be desired. In short, they lack that “wow” factor that they see in other photographers’ shots.Composition is the foundation in which great photography is built upon. A photo may be properly lit and contain good subject matter, but if it is doesn’t have good composition it will never be considered more than an amateur shot. How can you overcome this? We’ll teach you in this book. Finally, a Book on the Art of Photography that Teaches Tips and Tricks for Creative Composition! Our intention with this book is to teach you the tips and tricks professionals use to craft a great image design and learn how to incorporate these into composition that will lay the foundation for you to create amazing photos. Once you master the art of photography composition, you’ll know exactly what elements it takes to compose a great shot before you even touch the shutter button! As a result, it will free you up to concentrate on the other ingredients that go into making a beautiful photograph.Digital photography composition techniques you'll learn include: - How to develop the ability to see and shoot great digital photographs- Multiple ways in which to compose the best shot, regardless of subject matter- What the rule of thirds is and how to use it to your advantage- Where to place dominant vertical or horizontal subjects within the frame for maximum results- How to effectively use symmetry in photography- Understanding balance and visual weight within a photo- How to use lines in photography- How each type of line (horizontal, vertical, diagonal and curved) can be used to evoke a specific feeling within the viewer- How to instantly make a boring composition more dynamic- Ways in which to use different camera angles to add interest to a photo- How to master Out of Focus Foreground Framing, a signature style of many professional photographers- Unique ways to composing better backgrounds in any situation- How less can actually be more in photography- and much more!If you own a camera you owe it to yourself to learn how to master the art of composition in photography. The lessons taught in this book will provide you with knowledge you can use or the rest of your life as a photographer. Throughout this book you’ll find multiple examples of great photography composition that you can use for inspiration for your own shots. Secure your copy of this book and start your journey to better photography today!

    A member of the prestigious Magnum agency since 1954, he has photographed all over the world and his images have been the subject of many books and exhibitions.Containing over 500 pictures, over half of which have never been published before, Elliott Erwitt Snaps is a unique and comprehensive survey of his work. From famous images such as Nikita Khrushchev and Richard Nixon arguing in Moscow in 1959 and Marilyn Monroe with the cast of the movie The Misfits, to his many more personal images of places, things, people and animals, Erwitt's unmistakable, often witty, style gives us a snapshot of the famous and the ordinary, the strange and the mundane over a period of more than half a century, through the lens of one of the period's finest image-makers.The book is arranged in nine chapters, each with a one-word title: Look, Move, Play, Read, Rest, Touch, Tell, Point, Stand. For Erwitt, whose photography is a study and celebration of life, these are the basic actions of life - the things people do. The photographs are not intended to illustrate the words, but the words act as a means of grouping and organizing, making broad connections and also playing with pun and ambiguity, in keeping with the visual games Erwitt plays.

    In this book, Chris Orwig offers a unique perspective on the creative process, showing you how to find meaning in your work, be inspired, and discover the life for which you were designed.With thoughtful and engaging chapters such as "Keep the Edges Wild," "Einstein's Game of Connect the Dots," and "Grit and Glory," Chris presents each concept through personal examples--his own and others'--showing how to live a more creative and meaningful life.Drawn from his 12 years as a faculty member at the prestigious Brooks Institute as well as his experience leading creative inspiration and photography workshops and speaking on global stages, Chris's stories are designed to teach you how to discover your own creative voice. Each chapter includes exercises to help you incorporate what you've learned and connect the topics directly to your own experience. Features the friendly, approachable voice of Chris Orwig, whose photography, teaching, and speaking have inspired countless aspiring amateurs and professionals alike Includes exercises in every chapter to help you put the concepts you learned into practice Offers an elegant design filled with the author's original photographs captured to visually support the ideas discussed in the book For resources and inspiration, check out the book's companion site, thecreativefight.com.

    Some of the 50 flower images in this collection, all in colour, date from the early 1980s, but many of them from the months leading to his death in 1989.

    Internationally famous Czech photographer Jan Saudek is no exception, and equally as uncompromising in pursuit of his own unique vision. For over four decades Saudek has created a parallel photographic universe, a two-dimensional home full of longing, peopled with the most extraordinary characters and colored by desire. The timeless strength of his hand-tinted photographs lies in their poetic compositions and their forceful?at times ribald?pictorial language, with its overtones of medieval genre pictures and Baroque mythology. Rejecting the traditional beauty in his famous nude photographs, Saudek shows the distinctively different: old women, fat women, children; real people in tableaux vivants that remind us of everything from surreal early movies to fin-de-siecle carnival nights. They exist outside time, a uniquely colored and almost mythical theater of dreams. Covering his debut in the 1950s through his lesser-known work to recent images, this dazzling collection offers us the true "velvet revolution," fertile and unsettling images from the dreams we might still have. The author: Daniela Mr?zkov?, critic and editor of the Czech magazines Revue fotografie and Fotografie-Magaz?n, is the author of sixteen books on photography published in the Czech Republic and abroad, and the curator of around fifty photography exhibitions. She has been a member of international juries, and has authored film and television documentaries on photography and photographers. She hasfollowed Jan Saudek's work since his early years and is the author of Saudek's first Czech monograph, The Theatre of Life.