In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.

     Publisher's Note: This expanded 3rd edition of Photography has FRESH NEW CONTENT to taking pictures even easier than before! These strategies and easy tips will transform your pictures. You'll be proud to show off your photographs to social media and friends and get non stop praise. Within this book's pages you will find the answers to these questions and more. Just some of the questions and topics covered include: Finding Your Way Around The Camera Improving Your Nature and Landscape Photos Improving Your Portrait Photography Why Depending On Software Edits May Be a Mistake Common Mistakes and How To Put Them Right This book breaks training down into easy-to-understand modules. It starts from the very beginning of photography, so you can get great results - even as a beginner!

    His trenchant writings on photography and photographers have been collected for this volume from a broad range of magazines, including "Aperture," "Artforum" and "The Nation." In "Between the Eyes: Essays on Photography and Politics," Strauss tackles subjects as diverse as "Photography and Propaganda," the imagery of dreams, Sebastiao Salgado's epic social documents and the deeply personal photographic revelations of Francesca Woodman. The timely issue of photographic legitimacy is addressed in the essay "Photography and Belief," and in "The Highest Degree of Illusion," Strauss discusses the media frenzy surrounding the events of September 11. As our world is shaped more and more by images and their slipperiness, what he calls a media "pandemonium" in its root meaning of "the place of all howling demons," we need a mind and voice like Levi Strauss' to bring clarity to our vision.

    In 1972, the 13-year-old Woodman made a black-and-white photograph of herself sitting at the far end of a sofa in her home in Boulder, Colorado. Her face is obscured by her hair, light radiates from an unseen source behind her out at the viewer through her right hand. This photograph typifies much of what would characterize Woodman's work to come: a semi-obscured female form merging with or flailing against a somewhat bare and often dilapidated interior. In an oeuvre of around 800 photographs made in just nine years, Woodman performed her own body against the textures of wallpaper, door frame, baths and couches, radically extending the Surrealist photography of Man Ray, Hans Bellmer and Claude Cahun and creating a mood and language all her own. In the 30 years since her untimely death, Woodman has gained a following among successive generations of artists and photographers, a testament to her work's undeniable immediacy and enduring appeal Amid a renewed intensification of interest in Francesca Woodman, this volume is published for a major touring exhibition of her photographs and films at the San Francisco Museum of Modern Art and the Guggenheim. Containing many previously unpublished photographs, it is the definitive Francesca Woodman monograph.Francesca Woodman (1958-1981) was born in Denver, Colorado, to the well-known artists George and Betty Woodman. In 1975 she attended the Rhode Island School of Design, and in 1979 she moved to New York, to attempt to build a career in photography. In 1981, at the age of 22, she committed suicide.

    An indispensable and handy resource for anyone who wants to take better pictures in Yosemite and elsewhere.

    Each chapter is bursting with creative and classic ideas to make the day as meaningful as it is beautiful: Stationery: Save-the-date cards do double duty when printed on coasters or delicate handkerchiefs.Ceremonies: An auspicious bird’s nest adds a beautiful and rustic touch for carrying rings at a farm wedding.Dressing Up: A retro bride goes glam with a feathered veil and pearl button–accented gloves. A casual groom and his mates add a personality pop with chocolate-brown Keds to match their wedding chinos.Cocktail Hour: For a low-key affair, mini grilled cheeses dipped in shot glasses of tomato soup satisfy.Centerpieces: Fruit slices suspended in crystal vases overflowing with Crayola-bright poppies and orchids offer a cheery setting.Cakes: White lace frosting details that match the bride’s dress and the couple’s monogram turn a pale green cake into a chic masterpiece.From classic white-on-white palettes to floral themes to fun fantasy ideas, the choices are limitless. Purple, pink, red, robin’s egg blue—find inspiration at every turn in all the colors a bride can dream of! And The Knot Ultimate Wedding Lookbook is loaded with money-saving ideas that don’t sacrifice style. Expert advice and rich images add up to a delicious visual feast and essential resource to help you create an event as special as you are as a couple.

    Against a backdrop of more than 250 photographs of nature, wildlife, and landscapes, they share insights and advice about what works and what doesn’t, and how small changes can take an image from ordinary to extraordinary. Throughout, all-new tips from digital imaging expert Tim Grey show readers how to make the most of digital technology, whether by choosing the right color space, understanding sensor size, or removing distracting elements in post-processing. The result is an invaluable collection of expert advice updated for the modern age.

    The best 300 of these photographs, in color and black-and-white, are featured in this sumptuous volume. This project will be the subject of a PBS documentary, a feature article in Newsweek, and a traveling exhibit.

    Sally Mann came to the attention of the public in 1992, with a series of intimate portraits of her children and her reputation has risen since then.

    This new edition, the first in nearly five years, is completely updated for the age of digital photography. It continues the book’s tradition of introducing astoundingly effective, previously unknown methods of image enhancement. The original photographs found in the book come from a variety of professional sources, and all correction exercises are on the included CD. Professional Photoshop has changed radically from edition to edition, and this time is no exception--with almost 90 percent new content and completely overhauled coverage of curves, channel blending, and sharpening.Professional Photoshop offers a full explanation of: How curves bring out detail in the most important areas of the imagen A comprehensive strategy for blending channels to create deeper, stronger images The strengths and weaknesses of CMYK, LAB, and RGB, and when to use each one The first detailed look at the Shadow/Highlight command--and even more sophis-ticated ways to enhance contrast in the lightest and darkest parts of the imagen Sharpening strategies, in three full chapters, including the innovative hiraloam method (High Radius, Low Amount). Plus, a fiendishly effective method of merging hiraloam and conventional unsharp masking The realities--and the politics--of preparing files for commercial offset printing and how to deal with colors that are out of the press’s gamut What Camera Raw and similar acquisition modules can offer Typical problems of digital captures that were not found in the age of film--and how to correct for them

    The reality is that film has never gone away, and in recent years has experienced a surging, renewed popularity-sometimes simply for its retro, analog status, but mostly for film's ability to create a look and feel that many believe digital can still not achieve. If anyone can attest to this, it's Utah photographer Jonathan Canlas, who exclusively shoots with film, and has both an extremely successful wedding photography business as well as a series of popular workshops held numerous times per year around the world. In "Film Is Not Dead: A Digital Photographer's Guide to Shooting Film, " Canlas teams up with co-author Kristen Kalp to open the doors for anyone who wants to begin-or return to-shooting film. Casual, irreverent, fun, inspiring, and beautiful, this unique 10x8 hardcover book teaches the reader the basics of film, cameras, and shooting in this medium. Whether it's discussing the different tone and color characteristics of different films (Kodak, Fuji, etc.), how to load a medium-format camera back, how to create proper exposures, how and where to get film processed, or how Jonathan uses fun, plastic cameras like the Holga in his commercial and personal work, "Film Is Not Dead "appeals to anyone who is searching to finally begin creating that film look, but until now hasn't known where to start.

    Drawn from their work over the past thirty years, this book is an inclusive look at the people and cultures from across this broad continent.With their unique eye for Africa and its inhabitants, Beckwith and Fisher have brought forth a masterpiece in the genre—and a moving, personal tribute to some of the most beautiful people on Earth.

    PHOTOGRAPHING THE WORLD AROUND YOU, is about learning to see and about using your camera to record and interpret what you see where ever you are.

    He is a mentor, teacher, and trailblazer to many photographers, and a hero to those who feel Jay's teaching has changed the way they see and create their own photography. He is a living legend whose work is studied around the world, and whose teaching style and presentation garner standing ovations and critical acclaim every time he takes the stage.Now, for the first time ever, Jay puts his amazing insights and learning moments from a lifetime behind the lens into a book that communicates the three most important aspects of street photography: light, gesture, and color. Each page unveils something new and challenges you to rethink everything you know about the bigger picture of photography. This isn't a book about f-stops or ISOs. It's about seeing. It's about being surrounded by the ordinary and learning how to find the extraordinary. It's about training your mind, and your eyes, to see and capture the world in a way that delights, engages, and captivates your viewers, and there is nobody that communicates this, visually or through the written word, like Jay Maisel.Light, Gesture & Color is the seminal work of one of the true photographic geniuses of our time, and it can be your key to opening another level of understanding, appreciation, wonder, and creativity as you learn to express yourself, and your view of the world, through your camera. If you're ready to break through the barriers that have held your photography back and that have kept you from making the types of images you've always dreamed of, and you're ready to learn what photography is really about, you're holding the key in your hands at this very moment.

    He insists that the problems of vision are inseparable from the operation of social power and examines how, beginning in the 1820s, the observer became the site of new discourses and practices that situated vision within the body as a physiological event. Alongside the sudden appearance of physiological optics, Crary points out, theories and models of "subjective vision" were developed that gave the observer a new autonomy and productivity while simultaneously allowing new forms of control and standardization of vision.Crary examines a range of diverse work in philosophy, in the empirical sciences, and in the elements of an emerging mass visual culture. He discusses at length the significance of optical apparatuses such as the stereoscope and of precinematic devices, detailing how they were the product of new physiological knowledge. He also shows how these forms of mass culture, usually labeled as "realist," were in fact based on abstract models of vision, and he suggests that mimetic or perspectival notions of vision and representation were initially abandoned in the first half of the nineteenth century within a variety of powerful institutions and discourses, well before the modernist painting of the 1870s and 1880s.