The book traces his immense impact on the portrayal of the leading stars year by year, from his arrival in California in 1925 until his departure in 1943. During that time he photographed all of the greatest personalities, at Metro-Goldwyn-Mayer, Warner Brothers, and Columbia as well as independently. The prints come from the Chapman Collection, one of the most extensive archives of original Hurrell photographs in the world, and they include a number of rarities and surprises. Although some photos by Hurrell are familiar and frequently reproduced, most of the images in this book will come as a revelation, since they have not been published in over half a century. The genesis of the pictures is examined in a remarkable text by Mark A. Vieira, himself a highly regarded portrait photographer, who came to know Hurrell well during the photographer's later years. Vieira explains in detail Hurrell's technical feats of lighting and retouching. And drawing on firsthand accounts, he vividly re-creates the lively interplay between the photographer and his subjects at the shooting sessions in which these portraits were taken.

    The album sold a million copies worldwide, introduced the Flaming Lips to a mass audience, and made them one of the best-known cult bands in rock history.Staring at Sound is the tale of the Flaming Lips's fascinating career (which, in reality, began in 1983) and the many colorful personalities in their orbit, especially Wayne Coyne, their charismatic and visionary founder. Based on hundreds of hours of interviews with the band, it follows the Flaming Lips through the thriving indie-rock underground of the 1980s and the alternative-rock movement of the early '90s, during which they found fans in such rock legends as Paul McCartney, the Rolling Stones, Robert Plant, and Devo, and respected peers in such acts as the White Stripes, Radiohead, and Beck. It concludes with exclusive coverage of the creation of the group's latest album, At War with the Mystics.

    She is most famous for the long-term photographic record of the lives of her and her friends, The Ballad of Sexual Dependency. She calls this "the diary I let people read." Her work comments frankly on all aspects of the lives of her immediate circle, the main themes being relationships, sexuality, eroticism, and the problems of alcohol and drug addiction. More recently, her images have shown the devastating effect AIDS has had on this community of friends. Her work is by turns disturbing, poignant, and celebratory.

    The photos are somewhere between documentary and romanticism. Where he could have taken straight documentary photos of poverty and tattered Western/white clothing, he instead staged warrior meetings on horseback and the like.

    While he is undoubtedly one of the best-loved and best-known visionaries of American art, photographers also recognize him as a pioneer of technique, a theoretician, and as one of the great teachers of the craft of photography. His zone system has been widely adapted, but Adams unique imagery also relied on his determination and application at every stage of the photographic process; he spent years in his darkroom, as well as out in the open air. For decades, this kind of attention to detail required the kind of equipment, time, and facilities that were out of the reach of most photographers--but now, in the digital age, technology has finally made his techniques accessible. This book will show you what can be learned from Adams working process, and how these lessons can be applied today. The craft of Adams photography is discussed, and the ZONE SYSTEM is related to the digital age. Sections on light, composition, mood, and the darkroom all show what can be achieved today using and understanding his thinking. Michael Frye's own photography provides many stunning examples of the results that can be achieved and, as one of Adams' natural successors in the field, he is well placed to analyze the inspirational shots which open each chapter.

    Offers a behind-the scenes, photographic look at a 1996 concert tour with the legendary Patti Smith, presenting more than one hundred images that capture life on the road with the artist.

    Braque thought the ideal state would be reached when we said nothing at all in front of a painting. But we are very far from reaching that state. We remain incorrigibly verbal creatures who love to explain things, to form opinions, to argue... It is a rare picture which stuns, or argues, us into silence. And if one does, it is only a short time before we want to explain and understand the very silence into which we have been plunged.'Julian Barnes began writing about art with a chapter on Géricault's The Raft of the Medusa in his 1989 novel A History of the World in 10½ Chapters. Since then he has written a series of remarkable essays , chiefly about French artists, for a variety of journals and magazines. Gathering them for this book, he realised that he had unwittingly been retracing the story of how art made its way from Romanticism to Realism and into Modernism.

    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.

    Like Apple, it was an innovation machine that cranked out one must-have product after another. Led by its own visionary genius founder, Edwin Land, Polaroid grew from a 1937 garage start-up into a billion-dollar pop-culture phenomenon. Instant tells the remarkable tale of Land's one-of-a-kind invention-from Polaroid's first instant camera to hit the market in 1948, to its meteoric rise in popularity and adoption by artists such as Ansel Adams, Andy Warhol, and Chuck Close, to the company's dramatic decline into bankruptcy in the late '90s and its unlikely resurrection in the digital age. Instant is both an inspiring tale of American ingenuity and a cautionary business tale about the perils of companies that lose their creative edge.

    On Being a Photographer has become one of the most popular books ever written with practical advice for photographers.

    It tells the story of William Stoner, who attends the state university to study agronomy, but instead falls in love with English literature and becomes an academic. The novel narrates the many disappointments and struggles in Stoner's academic and personal life, including his estrangement from his wife and daughter, set against the backdrop of the first half of the twentieth century.In his entry in the Bookmarked series, author Steve Almond writes about why Stoner has endured, and the manner in which it speaks to the impoverishment of the inner life in America. Almond will also use the book as a launching pad for an investigation of America’s soul, in the process, writing about his own struggles as a student of writing, as a father and husband, and as a man grappling with his own mortality.

    Lesy has collected and arranged photographs taken between 1890 and 1910 by a Black River Falls photographer, Charles Van Schaik.

    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."

    Gathering some of his most iconic images, many of which were taken in the far corners of the earth, this exquisite book brings a fresh perspective to his extensive catalog. Recognized as a pioneer of American color photography since the 1970s, Webb has consistently created photographs characterized by intense color and light. His work, with its richly layered and complex composition, touches on multiple genres, including street photography, photojournalism, and fine art, but as Webb claims, "to me it all is photography. You have to go out and explore the world with a camera." Webb's ability to distill gesture, color and contrasting cultural tensions into single, beguiling frames results in evocative images that convey a sense of enigma, irony and humor. Featuring key works alongside previously unpublished photographs, The Suffering of Light provides the most thorough examination to date of this modern master's prolific, 30-year career.The photographs of Alex Webb (born 1952) have appeared in a wide range of publications, including The New York Times Magazine, Life, Stern and National Geographic, and have been exhibited at the International Center of Photography, New York; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York. He is a recipient of the Leica Medal of Excellence (2000) and the Premio Internacional de Fotografia Alcobendas (2009). A member of Magnum Photos since 1976, Webb lives in New York City.

    This book uniquely concentrates on creative techniques for the digital SLR photographer. Photography with Digital SLR and "SLR-like" cameras isn't exactly like conventional film SLR photography; nor is it exactly like digital photography with non-SLR cameras. DSLRs have special advantages, special features, and special problems that need to be addressed and embraced. In addition, users of these cameras tend to expect more from their photography and crave the kind of information that will let them wring every ounce of creativity out of their equipment. Anyone who has a Windows PC or Macintosh and a digital SLR camera will find advanced techniques in this book. Readers will cover various aspects of DSLRs including: why DSLRs work best for creative posing for group and individual portraits, using DSLRs to capture close-up scenes on the desktop using the digital camera's special capabilities, how to get great travel photos with a DSLR, and how to archive them when far from a computer.