In Girl Culture, she combines a photojournalists sense of story with fine-art composition and color to create an astonishing and intelligent exploration of American girls. Her photographs provide a window into the secret worlds of girls social lives and private rituals, the dressing room and locker room, as well as the iconic subcultures of the popular clique: cheerleaders, showgirls, strippers, debutantes, actresses, and models. With 100 hypnotic photographs, 20 interviews with the subjects, and an introduction by foremost historian of American girlhood Joan Jacobs Brumberg, Greenfield reveals the exhibitionist nature of modern femininity and how far it has drifted from the feminine ideologies of the past.

    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.

    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.

    There's a Russian Shawl Quilt, inspired by traditional motifs of Russian folk art, a Floral Frocks Quilt inspired by summer dresses, flower gardens and herbaceous borders and a Suits and Ties Quilt reusing sober woollen suiting contrasting with extravagant silk ties designed in an Irish Chain.Finally, a practical section covers all the knowledge you’ll need – from chainpiecing, hand-quilting and sandwiching to binding, storage and caring for your quilt. Armed with the design tools, you can embark on your quilting journey and begin creating your own personal masterpiece.

    Minutes to Midnight is the ambitious photographic record of that adventure, in which Parke presents a proud but uneasy nation struggling to craft its identity from different cultures and traditions. Minutes to Midnight merges traditional documentary techniques and imagination to create a dark visual narrative portraying Australia with a mix of nostalgia, romanticism and brooding realism. This is not a record of the physical landscape but of an emotional one. It is a story of human anxiety and intensity which, although told from Australia, represents a universal human condition in the world today.

     Scott doesn t just show you which sliders do what (every Lightroom book will do that). Instead, by using the following three simple, yet brilliant, techniques that make it just an incredible learning tool, this book shows you how to create your own photography workflow using Lightroom: Throughout the book, Scott shares his own personal settings and studio-tested techniques. Each year he trains thousands of Lightroom users at his "Lightroom Live!" tour and through that he s learned what really works, what doesn t, and he tells you flat out which techniques work best, which to avoid, and why. The entire book is laid out in a real workflow order with everything step by step, so you can begin using Lightroom like a pro from the start. What really sets this book apart is the last chapter. This is where Scott dramatically answers his #1 most-asked Lightroom question, which is: "Exactly what order am I supposed to do things in, and where does Photoshop fit in?" You ll see Scott s entire start-to-finish Lightroom 4 workflow and learn how to incorporate it into your own workflow. Scott knows first-hand the challenges today s digital photographers are facing, and what they want to learn next to make their workflow faster, easier, and more fun. He has incorporated all of that into this major update for Lightroom 4. It s the first and only book to bring the whole process together in such a clear, concise, and visual way. Plus, the book includes a special chapter on integrating Adobe Photoshop seamlessly into your workflow, and you ll also learn some of Scott s latest Photoshop portrait retouching techniques and special effects, which take this book to a whole new level. There is no faster, more straight-to-the-point, or more fun way to learn Lightroom than with this groundbreaking book."

    Whether you're an experienced enthusiast or toy camera neophyte, you'll find Plastic Cameras: Toying with Creativity chock full of tantalizing tips, fun facts and, of course, absolutely striking photographs taken with the lowest tech and simplest tools around. I got me a Holga. Now What? Holgas need a little TLC before they're ready to go out in the world and start snapping. Plastic Cameras: Toying with Creativity digs through all the different Holga models available, lays out thier advantages and quirks and helps you get up to speed on all the prep you'll need to do to jump in on the toy-camera revolution. What should I Feed my Holga? Holgas, Dianas, other toy cameras can use many types of film. Plastic Cameras: Toying with Creativity, lays all their pros and cons on the line letting you get some images you want, and some you could just never imagine. Can Holga come out to play?Plastic Cameras: Toying with Creativity will help you steer your way through all the details and quirks of taking wonderful and weird pictures with your toy camera. We'll explore possible subjects and the best way to shoot them and play with all sorts of techniques from vignetting, to multiple exposures, to panoramas, close-ups, movement, night photography, flare, flash, color and more. For the Intrepid Holga-ographerFor the Holga master, we've diagramed and described advanced toy camera modifications and introduce you to a variety of problems, solutions and inventions born from toy cameras' "limitations." What Next?From negatives to prints or pixels, we help you navigate your post-shooting choices.Don't ForgetThe Diana, Banner, Action Sampler, Photo Blaster, and Lensbaby are all toy cameras with their own loveable qualities. We'll look beyond the Holga to show a whole wide world of toys. Artists Artists in this book include: Michael AckermanJonathan BaileyEric Havelock-BaillieJames BalogBetsy BellSusan BowenLaura BurltonDavid BurnettNancy BursonPerry DilbeckJill EnfieldAnnette FournetMegan GreenWesley KennedyTeru KuwayamaMary Ann LynchAnne Arden McDonaldDaniel MillerTed OrlandRobert OwenBecky RamotowskiNancy RexrothFrancisco Mata RosasRichard RossFranco SalmoiraghiMichael SherwinHarvey SteinGordon StettiniusMark SinkKurt SmithSandy SorlienPauline St. Denis;-p r a b u!

    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.

    Used to confirm identity, to sell products, to reshape the real, to visualize the news, to record and communicate the personal moment, and as an art form in its own right, photography is now one of the most accessible and pervasive of media. "Photography: The Key Concepts" provides an ideal guide to the place of photography in our society and to the extraordinary range of photographic genres. Outlining the history of photography and explaining the body of theory which has built up around its use, the book guides the reader through the genres of documentary, portraiture, landscape, still life, art and global photography. Illustrated with a range of historical and contemporary images and case material, this book is essential reading for anyone interested in photography.

    Whether you’re photographing children, weddings, maternity and boudoir, or portraits of any kind, The Luminous Portrait will inspire you with Elizabeth’s personal approach and award-wining images, sharing the art to making flattering portraits that appear “lit from within.”

    What does it mean to become a photographer in the twenty-first century? This thoughtful collection of essays illuminates the spirit of the people who make the indelible images of our times. Aspiring and professional photographers—especially those in arts programs throughout the United States—will appreciate the comprehensive vision of The Education of a Photographer. Classic writings from the twentieth century as well as the thoughts of the most influential talents working today, plus essays from designers, editors, and gallery owners, make this a compelling look at what drives and inspires photographers to create great work.

    Maybe the wedding is mid-day in the middle of a field, or perhaps the event is in a florescent-lit room. These scenarios can be particularly intimidating for beginning photographers who don't know how to handle the many undesirable lighting situations they may encounter. In "Shooting in Sh*tty Light," professional photographers Lindsay Adler and Erik Valind cover the top ten worst lighting situations and provide a variety of solutions for each. They explain which solutions are most practical and why one option might be preferable over another, examining such problems as extremely low lighting when no flash is allowed, strong backlight, and the light on an overcast day. Unlike other books that focus on natural light or lighting in general, this book addresses a very real need of beginning photographers, answering the question, "What do I do when the lighting is terrible?" Lindsay and Erik candidly show you the tools at your disposal, demonstrating the techniques essential to getting the job done with minimal fuss. Shows how to deal with ten of the worst lighting situations, such as harsh midday light, extremely low light, and mixed light.Offers real-life examples and practical solutions for handling poor light, such as identifying natural reflectors, bouncing light off a wall, or utilizing flash gels. Features a fun, conversational style to help you conquer the fear of poor lighting and approach any lighting situation with confidence!

    The Photographer's Playbook features photography assignments, as well as ideas, stories and anecdotes from many of the world's most talented photographers and photography professionals. Whether you're looking for exercises to improve your craft--alone or in a group--or you're interested in learning more about the medium, this playful collection will inspire fresh ways of engaging with photographic process. Inside you will find advice for better shooting and editing, creative ways to start new projects, games and activities and insight into the practices of those responsible for our most iconic photographs--John Baldessari, Tina Barney, Philip-Lorca diCorcia, Jim Goldberg, Miranda July, Susan Meiselas, Stephen Shore, Alec Soth, Tim Walker and many more. The book also features a Polaroid alphabet by Mike Slack, which divides each chapter, and a handy subject guide. Edited by acclaimed photographers Jason Fulford and Gregory Halpern, the assignments and project ideas in this book are indispensable for teachers and students, and great fun for everyone fascinated by taking pictures.Jason Fulford is a photographer and cofounder of the non-profit publisher J&L Books. He has lectured at more than a dozen art schools and universities and is a contributing editor to Blind Spot magazine. Fulford's photographs have been featured in Harper's, the New York Times Magazine, Time, Blind Spot, Aperture, and on book jackets for Don DeLillo, John Updike, Bertrand Russell, Jorge Luis Borges, Terry Eagleton, Ernest Hemingway and Richard Ford. His published books include Sunbird (2000), Crushed (2003), Raising Frogs for $$$ (2006), The Mushroom Collector (2010) and Hotel Oracle (2013).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.

    With over 250 photographs, some of which have never been exhibited or published before, this is the only comprehensive monograph on Woodman. Original research by Dr. Chris Townsend relates Woodman's work to its American and European influences, from post-minimal sculptors such as Richard Serra to American 'gothic' photographers such as Ralph Eugene Meatyard. Included are extracts and facsimile pages from Woodman's journals, illuminating her thought processes and giving a unique insight into her methods of working.

    You must first approach the subject with the proper sense of perception, with the ability to visualize the finished print before you commit a scene to pixels, but still be flexible and spontaneous. Master Fine Art photographer Vincent Versace has spent his career learning and teaching the art of perception and how to translate it into stunning images. In Welcome to Oz,  he delves into what it means to approach digital photography cinematically, to use your perception, your camera, and Photoshop to capture the movement of life in a still image. Features: Adapt your workflow to the image so you always know how best to use your tools Turn a seemingly impossible photographic scenario into a successful image Practice “image harvesting” to combine the best parts of  many captures to create an optimum final result Create black and white prints that have the look, feel and “richness” of traditional silver prints without ever leaving the RGB color space 224 pages.