Its goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Each book features the creative process and core thinking of a photographer told in their own words and through pictures of their choosing, and is introduced by a well-known student of the featured photographer. In this book, Todd Hido explores the genres of landscape, interior and nude photography, with emphasis on creating images from a personal perspective and with a sense of intimacy. Through words and photographs, he also offers insight into his own practice and discusses a wide range of creative issues, including mining one's own memory and experience as inspiration; using light, texture and detail for greater impact; exploring the narrative potential activated when sequencing images; and creating powerful stories with emotional weight and beauty.Todd Hido (born 1968) is a San Francisco Bay Area-based artist. He is well known for his photography of urban and suburban housing across the United States, and for his use of detail and luminous color. His previous books include House Hunting (2001), Outskirts (2002), Roaming (2004) and Between the Two (2007). He is a recipient of a Eureka Fellowship and a Wallace Alexander Gerbode Foundation Visual Arts Award, and is represented by Stephen Wirtz Gallery in San Francisco. He is an adjunct professor at California College of the Arts.Gregory Halpern received a BA in history and literature from Harvard University and an MFA from California College of the Arts. His third book of photographs, entitled A, is a photographic ramble through the streets of the American Rust Belt. His other books include Omaha Sketchbook and Harvard Works Because We Do. He currently teaches at the Rochester Institute of Technology and is the coeditor of The Photographer's Playbook (Aperture 2013).

    Packed with practical tips and iconic images, this accessible book will teach everything you need to take meaningful pictures of the places that matter to you most.Split into five sections, the book covers composition, exposure, light, manipulation and location.Featuring the work of iconic photographers: Alec Soth, Ansel Adams, Martin Parr, Robert Adams, Todd Hido, Rut Blees Luxemburg, Julius Shulman, Rinko Kawauchi, Thomas Ruff, Tim Hetherington, Joel Sternfeld, Kyler Zeleny, Julius Shulman, Bert Danckaert, Mitch Epstein, Mitch Dobrowner, Massimo Vitali, Joel Meyerowitz, Stephen Tourlentes, Lee Friedlander, Yoshinori Mizutani, John Hilliard, Simon Norfolk, Charles March, Floto + Warner, Olaf Otto Becker, John Gossage, Kikuji Kawanda, Richard Misrach, Harry Cory Wright, Philippe Chancel, Harry Gruyaert, Brassaï, Richard Mosse, Dodo Jin Ming, Tina Hillier, Jorma Puranen, William Henry Jackson, Matt Siber, Mike Slack, Reiner Riedler, John Davies, Fay Godwin, Dilon Marsh, Steffi Klenz, Kathy Ryan, Bernd and Hilla Becher, Joan Fontcuberta, Ying Ang, and Charles Duke.Read This if You Want to Take Great Photographs of Places is part of the internationally–bestselling 'Read This' series, which has sold over half–a–million books worldwide and has been translated into over 20 languages.More titles in the 'Read This' series:Read This if You Want to Take Great Photographs by Henry Carroll (9781780673356)Read This if You Want to Take Great Photographs of People by Henry Carroll (9781780676241)Use This if You Want to Take Great Photographs: A Photo Journal by Henry Carroll (9781780678887)Read This if You Want to Be Great at Drawing by Selwyn Leamy (9781786270542)Read This if You Want to Be a Great Writer by Ross Raisin (9781786271976)Read This if You Want to Be Instagram Famous edited by Henry Carroll (9781780679679)

    Americans embraced these visions and incorporated fantasy into reality: mid-century fashion, popular music, eating and drinking, and even architecture were influenced by the Tiki trend. With unfettered enthusiasm—ignoring scholarly authenticity and political correctness—American artisans molded the Tiki into their own image, creating a mid-century pop culture genre that was forgotten until the 2000s, when urban archeologist Sven Kirsten wrested the figure of the Tiki from obscurity with his pioneering TASCHEN books The Book of Tiki and Tiki Modern. This book traces the development of Tiki as romantic vision and kitschy cultural appropriation, from its earliest beginnings when James Cook “discovered” the Pacific Islands in the second half of the 18th century to Herman Melville’s South Sea adventure stories like Moby Dick and Gauguin’s exuberant, exotic paintings to the jungle fantasies of the Hollywood dream factory. Published in connection with an exhibition at the prestigious Musée du quai Branly in Paris, Tiki Pop the culmination of Sven Kirsten’s research efforts. With his widely lauded visual style, the author places venerable ancient godheads next to their Polynesian pop counterparts. With hundreds of previously unpublished images, the story of Tiki the 20th-century pop icon unfolds from its earliest beginnings to its spectacular downfall in the dawning awareness of the Western world’s colonial misdeeds.

    Fuller expresses what may well be his penultimate view of the human condition. Here, in a mood at once philosophical and involved, Mr. Fuller traces man's intellectual evolution and weighs his capability for survival on this magnificent craft, this Spaceship Earth, this superbly designed sphere of almost negligible dimension in the great vastness of space.Mr. Fuller is optimistic that man will survive and, through research and development and increased industrialization, generate wealth so rapidly that he can do very great things. But, he notes, there must be an enormous educational task successfully accomplished right now to convert man's tendency toward oblivion into a realization of his potential, to a universe-exploring advantage from this Spaceship Earth.It has been noted that Mr. Fuller spins ideas in clusters, and clusters of his ideas generate still other clusters. The concept spaceship earth is Mr. Fuller's, and though used by Barbara Ward as the title of a work of her own the idea was acknowledged by her there as deriving from Mr. Fuller. The brilliant syntheses of some fundamental Fuller principles given here makes of this book a microcosm of the Fuller system.

    They reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the twenties and thirties, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announces the end of Soviet Union. Taking advantage of the collapsing monolithic structure, the holes of the widening net, architects revisited all the chronological periods and styles, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba sanatorium), others expressed their imagination in an expressionist way (Tbilisi wedding palace). A summer camp, inspired by sketches of a prototype lunar base, lays claim to its suprematist influence (Promethee). Then comes the speaking architecture widespread in the last years of the USSR: a crematorium adorned with concrete flames (Kiev crematorium), a technological institute with a flying saucer crashed on the roof (Kiev institute), a political center watching you like a Big Brother (Kaliningrad House of Soviet). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of privacy and it also outlines the geography of the USSR, showing how local influences made their exotic twists before bringing the country to its end.

    All aspects of Roman art and architecture are treated, including private art and domestic architecture, the art of the Eastern and Western provinces, the art of freedmen, and the so-called minor arts, including cameos, silverware, and coins. The book is divided into four parts-Monarchy and Republic, Early Empire, High Empire, and Late Empire-and traces the development of Roman art from its beginnings in the 8th century BCE to the mid fourth century CE, with special chapters devoted to Pompeii and Herculaneum, Ostia, funerary and provincial art and architecture, and the earliest Christian art.

    He has left his greatest mark on Rome where Papal patronage provided him with enormous architectural commissions.TABLE OF CONTENTSBerniniList of PlatesList of Text FiguresForewordIntroduction1. The Prodigy2. Bernini in Command3. Disaster and Triumph4. Two Churches and St. Peter’s5. Le Cavalier en France6. The Late WorksBibliographical NoteNotes to the TextIndex

    More than 40 million students have trusted Schaum's to help them succeed in the classroom and on exams. Schaum's is the key to faster learning and higher grades in every subject. Each Outline presents all the essential course information in an easy-to-follow, topic-by-topic format. You also get hundreds of examples, solved problems, and practice exercises to test your skills. This Schaum's Outline gives you Practice problems with full explanations that reinforce knowledge Coverage of the most up-to-date developments in your course field In-depth review of practices and applications Fully compatible with your classroom text, Schaum's highlights all the important facts you need to know. Use Schaum's to shorten your study time-and get your best test scores! Schaum's Outlines-Problem Solved.

    You’ll discover picturesque lanes, enjoy the best city views, and tour outlying islands in the lagoon. Dine at a romantic canal-side restaurant, or join the locals at a characteristic cicchetti bar and munch seafood-on-a-toothpick. As the stars shine over St. Mark’s Square, sway to the free music of café orchestras.Rick’s candid, humorous advice will guide you to good-value hotels and restaurants. You’ll learn how to explore Venice hassle-free and get up-to-date advice on what’s worth your time and money. More than just reviews and directions, a Rick Steves guidebook is a tour guide in your pocket.

    An airliner capable of flying at more than twice the speed of sound, the Concorde had completed 25 years of successful flights, whisking wealthy passengers--from diplomats to rock stars to corporate titans--between continents on brief and glamorous flights. Yet on this fateful day, the chartered Concorde jet, en route to America, crashed and killed all 109 passengers and crew onboard and four people on the ground. Urgent questions immediately arose as investigators scrambled to discover what had gone wrong. What caused the fire? Could it have been prevented? And, most urgently, was the Concorde safe to fly? Last Days of the Concorde addresses these issues and many more, offering a fascinating insider's look at the dramatic disaster, the hunt for clues, and the systemic overhauls that followed the crash.

    A low-pressure system had been stalled over Italy for six weeks and on the previous day it had begun to rain again. Nineteen inches fell in twenty-four hours, more than half of the annual total. By two o’clock in the morning twenty-thousand cubic feet of water per second was moving towards Florence. Soon manhole covers in Santa Croce were exploding into the air as jets of water began shooting out of the now overwhelmed sewer system. Cellars, vaults, and strong-rooms were filling with water. Night watchmen on the Ponte Vecchio alerted the bridge’s jewelers and goldsmiths to come quickly to rescue their wares. By then the water was moving at forty miles per hour at a height of twenty-four feet. At 7:26 a.m. all of Florence’s electric civic clocks came to a stop. The Piazza Santa Croce was under twenty-two feet of water. Beneath the surface, twelve feet of mud, sewage, debris, and oil sludge were starting to ooze and settle into the cellars and crypts and room after room above them. Six-hundred-thousand tons of it would smother, clot, and encrust the city. Dark Water brings the flood and its aftermath to life through the voices of witnesses past and present. Two young American artists wade heedlessly through the inundated city carrying their baby in order to witness its devastated beauty: the Ponte Vecchio buried in debris and Ghiberti’s panels from the doors of the Florence Baptistery, lying heaped in yard-deep mud; the swamped Uffizi Gallery; and, in the city libraries, one billion pages of Renaissance and antique books, soaked in mire. A Life magazine photographer, stowing away on an army helicopter, arrives to capture a drama that, he felt, “could only be told by Dante” amid the flooded tombs of Machiavelli and Michelangelo in Giotto and Vasari’s Santa Croce. A British student, one of thousands of “mud angels” who rushed to Florence to save its art, spends a month scraping mud and mold from Cimabue’s magnificent and neglected Crocifisso as intrigues and infighting among international art experts and connoisseurs swirl around him. And during the fortieth anniversary commemorations of 2006 the author asks himself why art matters so very much to us, and how beauty seems to somehow save the world even in the face of overwhelming disaster.

    While these buildings might stand as ghosts of the past today, their stories live on within these pages. The team behind BuildingsofDetroit.com brings you the memories of those who caught trains out of the majestic Michigan Central Station, necked with girlfriends in the balcony of the palatial Michigan Theatre, danced the night away at the Vanity Ballroom and kicked out the jams at the Grande Ballroom. As Detroit Free Press Architecture Critic John Gallagher said, the buildings in these pages held a central place in the story of Detroit's Auto Century. It was America's story, too. Detroiters lived, loved, toiled, played, celebrated and dreamed great dreams in these buildings and thereby helped shape a nation."

    The Geography of Nowhere tallies up the huge economic, social, and spiritual costs that America is paying for its car-crazed lifestyle. It is also a wake-up call for citizens to reinvent the places where we live and work, to build communities that are once again worthy of our affection. Kunstler proposes that by reviving civic art and civic life, we will rediscover public virtue and a new vision of the common good. "The future will require us to build better places," Kunstler says, "or the future will belong to other people in other societies."The Geography of Nowhere has become a touchstone work in the two decades since its initial publication, its incisive commentary giving language to the feeling of millions of Americans that our nation's suburban environments were ceasing to be credible human habitats. Since that time, the work has inspired city planners, architects, legislators, designers and citizens everywhere. In this special 20th Anniversary edition, dozens of authors and experts in various fields share their perspective on James Howard Kunstler's brave and seminal work.

    This new, revised and extended edition of this seminal work will not only inspire architects and students to design more holistic architecture, but will enrich the general reader's perception of the world around them. The Eyes of the Skin has become a classic of architectural theory and consists of two extended essays. The first surveys the historical development of the ocular-centric paradigm in western culture since the Greeks, and its impact on the experience of the world and the nature of architecture. The second examines the role of the other senses in authentic architectural experiences, and points the way towards a multi-sensory architecture which facilitates a sense of belonging and integration.

    He died in 1492 at the age of forty-three. He came to power in fifteenth-century Florence at the age of twenty. In the twenty-odd years of his rule, this banker, politician, international diplomat, free-wheeling poet and songwriter, and energetic revolutionary helped to give shape, tone, and tempo to that truly dazzling time of Western history, the Renaissance. This book, by award-winning author Charles L. Mee, Jr., recounts the remarkable life of Lorenzo de’ Medici and of the times in which he lived.