And of her Friends, male and female, and her acquaintances as well. But Merritt's favourite motif is herself: she poses almost every minute of the day for her camera, taking photographs of herself in bed, in the shower, having sex with her friend, masturbating with and without accessories, from every imaginable angle and with the camera usually at arm's length. Merritt, born 1977, works with a digital camera, the Polaroid of the 90s, breaking down the most intimate details into universally accessible bits of information. Eric Kroll came across Natacha Merritt by chance in the internet, where she had put several of her photographs. This was something that left the tradition of classical pin-up and fetish photography, in which Kroll himself works, far behind. Face to face with Merritt's photographs one can reflect on intimacy and publicity in the digital age, on narcissism even, or on radical self-exploration with the help of the camera. But this all sounds better as Natacha Merritt herself puts it: in her view, she has found a new mode of masturbating her way into the next millennium.

    The book reveals how much we've come to know about our fascinating world through the pages and unforgettable imagery of National Geographic, and taps key voices from the forefront of ocean and space exploration, climate science, archaeology, mountaineering, and many other disciplines to peer with us over the horizon and see where we are heading in the future.

    Its roots stem from a heady blend of horror movies, heavy metal music, Satanism, Paganism, and adolescent angst. In the early-mid 1990s, members of this extremist underground committed murder, burned down medieval wooden churches, and desecrated graveyards. What started as juvenile frenzy came to symbolize the start of a war against Christianity, a return to the worship of the ancient Norse gods, and the complete rejection of mainstream society.

    It is unusual, remarkable, for a major writer also to be an accomplished photographer. Eudora Welty is one of the very few whose great talent has been expressed in both photographs and fiction. This book, Eudora Welty: Photographs, brings together in one volume about 250 representative photographs from the few thousand that she took during the 1930s, '40s, and '50s. Although her camera's view finder compresses much, like the frame in which she conceives her fiction, it finds elements that convey her deep compassion and her artist's sensibilities. From the confines of her native Mississippi these photographs unfold the world of Eudora Welty's art, reaching, extending, and exploring. In the Deep South of Depression times, when she began writing, she discovered the place into which she had been born and which would always be her subject. From here, as these photographs show, she approached and risked the outside world. From rural Mississippi to New Orleans, Charleston, New York City, and Yaddo, and then to Ireland, England, and the Continent, Welty widened her vision and expanded her art. These photographs reveal that both in her fiction and in the pictures she took it has always been in place, in the special qualities of what is local, that she found her impulse.

    From Robert Capa's stark photograph of a Loyalist soldier being shot in the head during the Spanish Civil War to Eve Arnold's astonishingly intimate portraits of well-known faces - from Joan Crawford to Malcolm X - Magnum has changed how we perceive our political leaders, social crises, and the communities next door.Magnum's photographers are some of the most talented, brave, and resourceful in the world: the founders, Robert Capa, David Seymour, George Rodger, and Henri Cartier-Bresson; and recruits, including Eve Arnold, Bruce Davidson, Mary Ellen Mark, Susan Meiselas, Inge Morath, James Nachtwey, Eugene Richards, and Sebastiao Salgado. Magnum follows them on assignment, facing bodyguards and visa troubles and taking to the risk-filled trenches of several wars for the perfect shot. Full of wonderful stories and heroic feats, Magnum is an essential volume for anyone interested in photography or photojournalism.

    Find your favourite pop-culture character in this collection of silhouettes from well-known movie, television, comics and video game characters!

    McGinnis began his career in 1947 as a cartoonist, and produced his first cover illustrations for 1956 issues of the magazines True Detective and Master Detective. Then in 1958, he painted his first paperback book cover, and from that day forward his work was in demand.   The emergence of the “McGinnis Woman”—long-legged, intelligent, alluring, and enigmatic—established him as the go-to artist for detective novels. His work appeared on Mike Shayne titles and the Perry Mason series, and he produced 100 paintings for the Carter Brown adventures. Yet McGinnis became famous for his work in other genres as well: espionage, romance, historicals, gothics, and Westerns.   McGinnis’s first major magazine assignments were for The Saturday Evening Post, and his work has graced the pages of Cosmopolitan, National Geographic, Good Housekeeping, Guideposts, and others. McGinnis women frequently cropped up in the men’s magazines of the ’60s and ’70s.   His first movie poster was for Breakfast at Tiffany’s, with an iconic rendering of Audrey Hepburn. Almost instantly, his poster artwork could be seen everywhere—in theaters, on billboards, in newspapers, and even on soundtrack albums. His work for Hollywood became a who’s-who, with posters for James Bond, The Odd Couple, Woody Allen, The Private Life of Sherlock Holmes, and many more.   Some of his most ambitious works have been his gallery paintings, often depicting stunning American landscapes, vast Western vistas, and of course, beautiful women. The Art of Robert E. McGinnis collection reveals the full scope and beauty of the work of a true American master—one whose legacy continues today.

    In this acclaimed reference work, Martin covers everything from the core aspects of working in Photoshop to advanced techniques for professional results. Subjects covered include organizing a digital workflow, improving creativity, output, automating Photoshop, and using Camera RAW. The style of the book is extremely clear, with real examples, diagrams, illustrations, and step-by-step explanations supporting the text throughout. This is, quite simply, the essential reference for photographers of all levels using Photoshop. All DVD content is now available online at http://booksite.focalpress.com/compan... for kindle and eBook readers. * Learn Photoshop the Martin Evening way! Everything you need to know for superb photographic results using Photoshop CS5 * Accompanying DVD includes the images used in the book, as well as QuickTime movie tutorials that show you how to get results fast * Packed with diagrams, step-by-steps, and over 750 color images

      In 1963, Brian May and his father Harold started to build the Red Special, an electric guitar meant to outperform anything commercially made. "My dad and I decided to make an electric guitar. I designed an instrument from scratch, with the intention that it would have a capability beyond anything that was out there, more tunable, with a greater range of pitches and sounds, with a better tremolo, and with a capability of feeding back through the air in a 'good' way'." (Brian May). Brian used the Red Special guitar on every Queen and solo album that he recorded and at the vast majority of his live performances: the roof of Buckingham Palace, Live Aid, the closing ceremony of the London 2012 Olympics . . . and beyond. Here, Brian talks about his one-of-a-kind instrument, from its creation on. Along with original diagrams, sketches, and notes, May has included a great selection of photographs of himself with the guitar, in action from the last 40 years, and photographs of every stage of the Red Special's creation, which was fully dismantled and photographed inside and out just for this book, as well as close-ups and X-rays, and Brian will be commenting on it all. It is a unique guitar with unique sound. Any fan of Queen, Brian, or electric guitars will find this book utterly fascinating. 200 clr and b&w illus.

    Simultaneous.

    A novel that isn't about any subject at all including fiction, nonfiction, fantasy or anything else that could be written about. This book is solely for entertainment and a conversation piece. Please do not take it seriously.

    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.

    As in Vavra's most popular books, all are alone and running free in glorious natural settings: a white Arabian in a sun-washed desert; a black Friesian galloping in snowdrifts; a gray Andalusian amid violet flowers; a chestnut Arabian prancing in autumn leaves.These lush photographs are accompanied by poetry and are followed by text and drawing that profile each breed, highlighting the particularly outstanding traits of each horse depicted. Vavra pays special attention to the Andalusian, providing an essay on its romantic history. Presented on natural, handmade paper, Horses of the Sun fuses the beautiful simplicity of Vavra's earlier works with a new, fresh image of horses. For anyone who loves horses or simply appreciates the finest of photography, Horses of the Sun is a lovely gift -- a paean to this most beloved of animals.

    Like the music on the discs, they address such issues as love, life, death, fashion, and rebellion. For music fans the covers are the expression of a period, of a particular time in their lives. Many are works of art and have become as famous as the music they stand for such as Andy Warhol's covers, for example, including the banana he designed for The Velvet Underground. This special edition of Record Covers presents a selection of the best 60s to 90s rock album covers from music archivist, disc jockey, journalist, and ex-record publicity executive Michael Ochs's enormous private collection. Both a trip down memory lane and a study in the evolution of cover art, this is a sweeping look at an under-appreciated art form.This edition is in English, French and German.

    Features commentary, color stills, sketches, storyboards, and illustrations used to envision the rich fantasy world of the film. Also includes a complete English-language script.