Oriented toward traditional black and white photography, the book also explores digital techniques and web photography resources, equipment, the exposure and development of film, and the making and finishing of prints.

    Aimed at accountants or readers of other career paths, this book helps them build their decision making skills and understand how to use accounting information to make quality business decisions.

    Now in a new Ninth Edition, this reader-friendly book has been completely revised and improved to ensure that the learning experience is enhanced. It's built on the strength of Irwin's problem-solving methodology, providing readers with a strong foundation as they advance in the field.

    Students will receive a grounding in areas that vary from treatment to organizational and community settings. This edition also includes of new case studies, practice examples and guiding principles.

    The prairies are the heartland of the continent, a vast, windswept plain that flows from Alberta south to Texas and from the Rockies east to the Mississippi River. This is big sky country, and until recently, one of the richest and most magnificent natural grasslands in the world. Today, however, the North American prairies are among the most altered environments on Earth. Thorough, detailed, and scientifically up-to-date, Prairie: A Natural History provides a comprehensive, nontechnical guide to the biology and ecology of this fabled environment, offering a view of the past, a vision for the future, and a clear focus on the present. Sidebars throughout highlight various grasslands species, tell fascinating natural history and conservation stories, and present the traditional Native American view of the prairie and its inhabitants.

    This internationally recognized standard provides the essential tools to practice project management and deliver organizational results.

    For this special hardcover edition, two new appendixes on locales and standard library exception safety (also available at www.research.att.com/ bs/) have been added. The result is complete, authoritative coverage of the C++ language, its standard library, and key design techniques. Based on the ANSI/ISO C++ standard, The C++ Programming Language provides current and comprehensive coverage of all C++ language features and standard library components. For example:abstract classes as interfaces class hierarchies for object-oriented programming templates as the basis for type-safe generic software exceptions for regular error handling namespaces for modularity in large-scale software run-time type identification for loosely coupled systems the C subset of C++ for C compatibility and system-level work standard containers and algorithms standard strings, I/O streams, and numerics C compatibility, internationalization, and exception safety Bjarne Stroustrup makes C++ even more accessible to those new to the language, while adding advanced information and techniques that even expert C++ programmers will find invaluable.

    Learning all the tongue twisting names, picking favorites based on ferocity, armor, or sheer size. For many kids this love of ‘terrible lizards’ fizzles out at some point between starting and leaving primary school. All those fancy names slowly forgotten, no longer any need for a favorite.For all those child dino fanatics who didn’t grow up to become paleontologists, dinosaurs seem like something out of mythology. They are dragons, pictures in books, abstract, other, extinct.They are at the same time familiar and mysterious. And yet we’re in an age of rapid discovery—new dinosaur species and genera are being discovered at an accelerating rate, we’re learning more about what they looked like, how they lived, how they evolved and where they all went.This series isn’t just a top trumps list of dino facts—we’re interested in the why and the how and like all areas of science there is plenty of controversy and debate.

    It provides the general knowledge of mammalian structure that is crucial to the understanding of the other basic sciences, as well as the more detailed information that is directly applicable to the practice of veterinary medicine. Discussing the various body systems, it then offers a working knowledge of them by addressing the regional anatomy of a particular species or group of species.Content is divided into two main sections - body systems and specific species or group of species - for a thorough and more logical study of anatomy.All chapters feature a consistent format, offering a simple and even flow of information.Color inserts enhance the overall quality of the book and better illustrate various anatomical areas of concern.Both small and large animals are covered - including the horse, pig, cow, dog, and cat - to emphasize features and topics that have direct relevance to clinical work. Also included is a chapter on Avian Anatomy.Content has been streamlined to include only the most important information.A new section on imaging greatly enhances diagnostic procedures.The addition of new illustrations provides an emphasis on surface anatomy throughout the text.

    This introductory, one-semester text is designed for non-majors.

    It covers isokinetics, soft tissue injury repair, surgical procedures, exercise rehabilitation, post-operative management and posture.

     Using case examples of both good and bad student practice, the handbook takes students through each step of the dissertation process, from their initial research proposal to the final submission. The author uses clear illustrations of what students need to do - or not do - to reach their potential, helping them to avoid the most common pitfalls. This essential handbook covers: Producing focused and relevant research objectives Writing your literature review Citing your sources correctly Clearly explaining your use of research methods Writing up your findings Summarizing your work by linking your conclusions to your initial proposal Understanding marking schemes Aimed primarily at Master's students or students on short postgraduate courses in business, humanities and the social sciences, this book is also key reading for supervisors and undergraduates considering postgraduate study.

    The book's holistic perspective shows students how nursing care involves more than performing procedures. With a case-based approach to learning, the book offers numerous examples and opportunities for students to think critically. The Seventh Edition includes new features highlighting clinical questions and research, nursing advocacy, and health literacy, and also includes new information related to electronic medical records and documentation. With this textbook you'll find an integrated, cohesive, and student-focused suite of multimedia products to appeal to all types of learners, including a bound-in DVD-ROM and a companion website.

    These areas of knowledge have converged into a modern theory of epidemiology that has been slow to penetrate into textbooks, particularly at the introductory level. Epidemiology: An Introduction closes the gap. It begins with a brief, lucid discussion of causal thinking and causal inference and then takes the reader through the elements of epidemiology, focusing on the measures of disease occurrence and causal effects. With these building blocks in place, the reader learns how to design, analyze and interpret problems that epidemiologists face, including confounding, the role of chance, and the exploration of interactions. All these topics are layered on the foundation of basic principles presented in simple language, with numerous examples and questions for further thought.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner