Acclaimed professional wedding photographer Glen Rea Johnson not only teaches you how to take memorable photos, it also shows you how to start a wedding photography business. Packed with great tips and savvy advice, this new edition helps you set up efficient workflows, choose camera equipment, manipulate images, make impressive presentations, and launch smart, photo-based marketing strategies to build your business. The book is loaded with new, superb photos that illustrate photography techniques but it is not a portfolio of Glen's best work, and in fact a large percentage of the images in this book were actually pulled from the trash bin because those are the most valuable in showing what not to do, or how to avoid certain mistakes. This book shows you how to set up and capture beautiful photos, posed or candid, in all kinds of settings, for weddings and other special events. You will find information and practical marketing strategies for building your own photography business, including how to build a Web site that attracts clients. Covers camera equipment and accessories, post-shoot digital darkroom techniques, digital editing software, and how to print your images successfully. Gives you invaluable insights and tips from the author, who is one of the country's top wedding and special events photographers. Capture better pictures of some of life's most memorable events, and build a successful photography business with this indispensable guide!

    Compiled by veteran travelers Nathaniel and Andrew Lande, this extravagantly entertaining volume collects superlatives galore: top sporting events and tropical island hideaways, glorious gardens and magnificent museums, stylish ski runs, superb cigars, and even the Ten Best Things to Do on a Sunday Afternoon in more than a dozen of the world's greatest cities. Here are the tastiest foods life has to offer to cordon bleu gourmets, barbecue fanatics, and hard-core chocoholics; here too are a whole host of trips and expeditions for any taste and to every continent including Antarctica, each complete itinerary a unique variation upon the theme of the 21st century Grand Tour.Highlighted by 200 color illustrations, studded with cosmopolitan sidebars and savvy tips, and equipped with a wide array of detailed information on luxury hotels, resorts, restaurants, and more, as well as a wealth of transportation options via land, sea or air, this elegant and sophisticated treasury of travel lore will awaken the wanderlust in readers everywhere.

    --"Andy Grundberg"~The world is so visually complicated that the word "banal" scarcely is very intelligent to use. All days are similar, no matter what part of this planet we're in. --"William Eggleston"

    An Indian boy by adoption, J. W. Schultz has told his paleface brothers many good Indian tales. "Apauk, Caller of Buffalo", was a lad in the land and the days of the great buffalo herds. Apauk. a Blackfoot boy. was taught when young the art of calling buffalo. A new type of the wooly, wild west Indian story appears in "Apauk, Caller of Buffalo." More thrilling than Action, the life story of the greatest of the Blackfeet medicine men, not only possesses an enthralling interest but gives the reader an authoritative historical picture of the life of the American Indian on the great western plains before the invasion of the white man. The biographer, James Wlllard Schultz, is an adopted member of the Blackfeet tribe and has lived the life of an Indian for forty years. Schultz writes: "ALTHOUGH I had known Apauk A—Flint Knife—for some time, it was not until the winter of 1879—80 that I became intimately acquainted with him. He was at that time the oldest member of the Piegan tribe of the Blackfeet Confederacy, and certainly looked it, for his once tall and powerful figure was shrunken and bent, and his skin had the appearance of wrinkled brown parchment. "In the fall of 1879, the late Joseph Kipp built a trading-post at the junction of the Judith River and Warm Spring Creek, near where the town of Lewistown, Montana, now stands, and as usual I passed the winter there with him. We had with us all the bands of the Piegans, and some of the bands of the Blood tribe, from Canada. The country was swarming with game, buffalo, elk, antelope, and deer, and the people hunted and were care-free and happy, as they had ever been up to that time. Camped beside our trading-post was old Hugh Monroe, or Rising Wolf, who had joined the Piegans in 1816, and it was through him that I came to know Apauk well enough to get the story of his remarkably adventurous and romantic youth. The two old men were great chums. Old as they were —Monroe was born in 1798, and Apauk was several years his senior—on pleasant days they mounted their horses and went hunting, and seldom failed to bring in game of some kind. And what a picturesque pair they were ! Both wore capotes ——hooded coats made from three-point Hudson Bay Company blankets—and leggins to match, and each carried an ancient Hudson Bay fuke, or flint-lock gun. They would have nothing to do with cap rifles, or the rim-fire cartridge, repeating weapons of modern make. Hundreds—yes, thousands of head of various game, many a savage grizzly, and a score or two of the enemy—— Sioux, Cree, Crow, Cheyenne, and Assiniboine, had they killed with the sputtering pieces, and they were their most cherished possessions. "Oh, that I could live over again those buffalo days! Those Winter evenings in Monroe’s or Apauk’s lodge, listening to their tales of the long ago! Nor was I the only interested listener: always there was a complete circle of guests around the cheerful fire; old men, to whom the tales brought memories of their own eventful days, and young men, who heard with intense interest of the adventures of their grandfathers, and of the “ calling of the buffalo,” which strange and wonderful method of obtaining at one swoop a whole tribe’s store of Winter food, they were never to witness. For the luring of whole herds of buffalo to their death had been Apauk’s sacred, honored, and danger-fraught avocation.

    Some of the 50 flower images in this collection, all in colour, date from the early 1980s, but many of them from the months leading to his death in 1989.

    Yet in 1979, the Amon Carter Museum of Fort Worth, Texas, daringly commissioned him to do just that.The resulting 1985 exhibition and book, In the American West, was a milestone in American photography and Avedon's most important body of work. His unflinching portraits of oilfield and slaughterhouse workers, miners, waitresses, drifters, mental patients, teenagers, and others captured the unknown and often-ignored people who work at hard, uncelebrated jobs. Making no apologies for shattering stereotypes of the West and Westerners, Avedon said, "I'm looking for a new definition of a photographic portrait. I'm looking for people who are surprising—heartbreaking—or beautiful in a terrifying way. Beauty that might scare you to death until you acknowledge it as part of yourself."Photographer Laura Wilson worked with Avedon during the six years he was making In the American West. In Avedon at Work, she presents a unique photographic record of his creation of this masterwork—the first time a major photographer has been documented in great depth over an extended period of time. She combines images she made during the photographic sessions with entries from her journal to show Avedon's working methods, his choice of subjects, his creative process, and even his experiments and failures. Also included are a number of Avedon's finished portraits, as well as his own comments and letters from some of the subjects.Avedon at Work adds a new dimension to our understanding of one of the twentieth century's most significant series of portraits. For everyone interested in the creative process it confirms that, in Laura Wilson's words, "much as all these photographs may appear to be moments that just occurred, they are finally, in varying degrees, works of the imagination."

    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.

    Now you can learn how to photograph children with the style, clarity, color, and beauty you see in professional photographs. This fun guide combines humor with solid know-how to show you how to compose shots, handle cameras from basic compacts to advanced dSLRs, take portraits or candids, create prints that impress, and even work with kids Packed with beautiful examples and written in a down-to-earth style from one mom to another, this book will help mamarazzis everywhere take better photos.Moms are one of the fastest-growing segments of the camera-toting demographic, and the blogosphere has a term for them, "mamarazzis"Mixes information, inspiration, and fun for women who want to take better photographs of the children in their livesExplains how to set up a camera and use the controls on basic compacts up to advanced dSLR camerasCovers shot composition, determining settings, exposing images correctly, the essentials of printing images, how to process for clear and bright color, and moreIncludes stunning examples of portraits and candids of childrenBecome a better mamarazzi with this fun and informative guide

    But photography has surely changed during these many decades. The rigs and gear of old have given way-first slowly, then all at once-to sleek miracle machines that process pixels and have made the darkroom obsolete. The casual photog puts eye to lens, sets everything on auto and captures a photograph that is . . . perfectly fine. One of LIFE's master shooters-in fact, the final in the long line of distinguished LIFE staff photographers-was Joe McNally, and he has always believed that with a little preparation and care, with a dash of enthusiasm and daring added to the equation, anyone can make a better photo-anyone can turn a "keeper" into a treasure. This was true in days of yore, and it's true in the digital age. Your marvelous new camera, fresh from its box, can indeed perform splendid feats. Joe explains in this book how to take best advantage of what it was designed to do, and also when it is wise to outthink your camera or push your camera-to go for the gold, to create that indelible family memory that you will have blown up as large as the technology will allow, and that will hang on the wall forevermore. As the storied LIFE photographer and photo editor John Loengard points out in his eloquent foreword to this volume, there are cameras and there are cameras, and they've always been able to do tricks. And then there is photography. Other guides may give you the one, two, three of producing a reasonably well exposed shot, but Joe McNally and the editors of LIFE can give you that, and then can show you how to make a picture. In a detailed, friendly, conversational, anecdotal, sometimes rollicking way, that's what they do in these pages. Prepare to click.

    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."

    As almost every photographer knows, the word -photograph- has its roots in two Greek words that, together, mean -drawing with light.- But what is less commonly acknowledged and understood is the role that shadow plays in creating striking, expressive imagery, especially in portraiture. It is through deft, nuanced use of both light and shadow that you can move beyond shooting simply ordinary, competent headshots into the realm of creating dramatic portraiture that can so powerfully convey a subject's inner essence, communicate a personal narrative, and express your photographic vision. In The Dramatic Portrait: The Art of Crafting Light and Shadow, Chris Knight addresses portraiture with a unique approach to both light and shadow that allows you to improve and elevate your own portraiture. He begins with the history of portraiture, from the early work of Egyptians and Greeks to the sublime treatment of light and subject by artists such as Caravaggio, Rembrandt, and Vermeer. Chris then dives into a deep, hands-on exploration of light, shadow, and portraiture, offering numerous lessons and takeaways. He covers: - The qualities of light: hard, soft, and the spectrum in between- The relationships between light, subject, and background, and how to control them- Lighting patterns such as Paramount, Rembrandt, loop, and split- Lighting ratios and how they affect contrast in your image- Equipment: from big and small modifiers to grids, snoots, barn doors, flags, and gels- Multiple setups for portrait shoots, including those that utilize one, two, and three lights- How color contributes to drama and mood, eliciting an emotional response from the viewer- How to approach styling your portrait, from wardrobe to background- The post-processing workflow, including developing the RAW file, maximizing contrast, color grading, retouching, and dodging and burning for heightened drama and effect- How all of these elements culminate to help you define your personal style and create your own narrative

    With The BetterPhoto Guide to Digital Photography, those mysterious icons, strange jargon, and dizzying array of imaging software and hardware quickly become tools to create great pictures.Illustrated with full-color photos for guidance, this easy, practical, lesson-based workbook gives you a step-by-step tutorial in getting bright, crisp, beautiful pictures from your digital camera every time. Assignments at the end of each chapter give you the opportunity to go out and test your new skills in real life.Learn about exposure, file formats and quality settings, low-light photography, digital filters and white balance, composition and lens choice, manipulating images, printing, and much more, all in a handy, bring-along format. Everyone who wants to create great photos needs The BetterPhoto Guide to Digital Photography!

    Designed by renowned graphic artist Fabien Baron to be the ultimate makeup how-to book, Makeup Your Mind is a comprehensive compilation of Before and After photographs, each containing instructional acetate overlays, covering almost every face type, complexion, eye color, and facial feature found on the runway today. Makeup Your Mind is also a revolutionary instruction manual on makeup from one of the most respected and imitated cosmetics artists in fashion today: a makeup book designed and constructed as a durable paperback companion suitable for the vanity or for the car, sliding in and out of its attractive hardcover binder as needed, containing precise instructional guides on clear plastic overlays indicating exactly what goes where, allowing you to see the finished effect for perfect results. Summarizing each chapter on "Eyes", "Lips", "Neutrals", "Shimmer", "Monochrome and Suntan", "Pastels", Color, and "Skincare" are François Nars’ trademarked guidelines on the technique of applying makeup for that dazzling NARS look. Showcasing the famous NARS look are today’s top models, including Karen Elson, Maggie Rizer, Naomi Campbell, Devon Aoki, Trish Goff, Erin O’Connor, Sophie Dahl, May Anderson, Ling, Aurelie, Missy Rayder, Elsa, Caroline Ribero, Eva Herzagova, and many others. Makeup Your Mind features these women and more in sixty-three stunning Before and After pictures. All of the models were shot sans makeup for the Before pictures, displaying their bare-naked faces replete with imperfections and idiosyncrasies. Their transformations in the After pictures span from natural and elegant to fun and outrageous. In superb four-color photographs and brilliant acetate instructional guides, Makeup Your Mind demonstrates how makeup can minimize flaws and maximize beauty potential for every woman.

    This collection takes a Japanese perspective into the secrets of his appeal, from his life philosophy and lyricism to masterful colors and compositions reminiscent of ukiyo-e. Some two hundred works—including early street photographs, images for advertising, nudes, and paintings—cover Leiter’s career from the 1940s onward, accompanied by quotations from the artist himself that express his singular worldview. Saul Leiter was born in 1923 in Pittsburgh. He pioneered a painterly approach to color photography in the 1940s and produced covers for fashion magazines such as Vogue and Harper’s Bazaar before largely withdrawing from public attention in the 1980s. The publication of his first collection, Early Color, by Steidl in 2006 inspired an avid “rediscovery” that has since led to worldwide exhibitions and the release of a documentary, In No Great Hurry: 13 Lessons in Life with Saul Leiter (2014). He died in New York in 2013.size: 210 × 148 × 28 mmbinding: softcoverlanguage: english/japanese

    A Checker taxicab and a conductor’s baton. An oyster and a mastodon tusk. Inspired by A History of the World in 100 Objects, The New York Times’ Sam Roberts chose fifty objects that embody the narrative of New York for a feature article in the paper. Many more suggestions came from readers, and so Roberts has expanded the list to 101. Here are just a few of what this keepsake volume offers: · The Flushing Remonstrance, a 1657 petition for religious freedom that was a precursor to the First Amendment to the Constitution.· Beads from the African Burial Ground, 1700s. Slavery was legal in New York until 1827, although many free blacks lived in the city. The African Burial Ground closed in 1792 and was only recently rediscovered.· The bagel, early 1900s. The quintessential and undisputed New York food (excepting perhaps the pizza).· The Automat vending machine, 1912. Put a nickel in the slot and get a cup of coffee or a piece of pie. It was the early twentieth century version of fast food.· The “I Love NY” logo designed by Milton Glaser in 1977 for a campaign to increase tourism. Along with Saul Steinberg’s famous New Yorker cover depicting a New Yorker’s view of the world, it was perhaps the most famous and most frequently reproduced graphic symbol of the time.Unique, sometimes whimsical, always important, A History of New York in 101 Objects is a beautiful chronicle of the remarkable history of the Big Apple that will enrich your mind and rekindle memories.