Coverage explores the on-board effects, low-light settings, and automatic HDR shooting. Clear explanations detail the ways in which you can use the new features of the Nikon D5100 to add unique shots to your portfolio while an explanation of photography terms gets you confident and savvy with this fun DSLR camera.Covers basic camera controls and functions, shooting in auto mode, setting photo quality, and navigating menus and the view screen Introduces the basics of photography, including the settings that control lighting, exposure, focus, and color Addresses the new low-light and HDR settings Encourages you to use the new onboard effects features and shares tips for improving images with editing software Get a grasp on the fun Nikon D5100 with this fun and friendly guide!

    It’s time that everybody relaxed and took a moment to enjoy the simple pleasures, but we also appreciate it’s easier said than done. That’s why we’ve enlisted the help of an expert to guide you along the path to peace. Meet your mentor: Brian the sloth.

    While no two are identical, Brandel Chamblee, the highly regarded television analyst and former PGA Tour professional, once noticed that the best players of all time have shared similar positions in each part of the swing, from the grip and setup to the footwork, backswing, and follow-through. Since then, Chamblee, a student of the game’s history, has used scientific precision and thoroughness to make a study of the common swing positions of the greats. Now, in The Anatomy of Greatness, he shares what he has learned, offering hundreds of photographs as proof, to show us how we can easily incorporate his findings into our own swings to hit the ball farther, straighter, and more consistently. What does it tell us that the majority of the greats—from Jack Nicklaus and Byron Nelson to modern masters like Tiger Woods—employ a “strong” grip on the club? How did legends like Ben Hogan, Sam Snead, Mickey Wright, and Gary Player unlock hidden power and control by turning in the right knee at address? Why are some modern teachers preaching quiet footwork when forty-eight of the top fifty golfers of all time lifted their left heels on the backswing, allowing them to build power? At the same time that Chamblee is encouraging certain swing virtues, he also debunks a number of popular—but misguided—swing philosophies that have been hindering golfers for years. The result is perhaps the best and clearest explanation of how to hit a golf ball ever published. Golfers can take The Anatomy of Greatness to the driving range and use Chamblee’s clear explanations to build better swings—and get more speed and consistency into their swings—immediately. This book is like having a series of private lessons from the best golfers of all time, and it will help golfers build swings that make the game easier and more fun.

    This book, the permanent embodiment of Edward Steichen's monumental exhibition, reproduces all of the 503 images that Steichen described as a mirror of the essential oneness of mankind throughout the world. Photographs made in all parts of the world, of the gamut of life from birth to death. A classic and inspiring work, The Family of Man has been in print for more than 40 years. The New York Times once wrote that it symbolizes the universality of human emotions. First produced by a magazine publisher and sold by the hundreds of thousands on newsstands and in airport shops, The Family of Man has been in more recent years published by the Museum. It has been continuously in print since 1955; the present thirtieth-anniversary edition was prepared from original photographs with all new duotone plates in 1986.

    In Makeshift Metropolis, Rybczynski has drawn upon a lifetime of observing cities to craft a concise and insightful book that is at once an intellectual history and a masterful critique. Makeshift Metropolis describes how current ideas about urban planning evolved from the movements that defined the twentieth century, such as City Beautiful, the Garden City, and the seminal ideas of Frank Lloyd Wright and Jane Jacobs. If the twentieth century was the age of planning, we now find ourselves in the age of the market, Rybczynski argues, where entrepreneurial developers are shaping the twenty-first-century city with mixed-use developments, downtown living, heterogeneity, density, and liveliness. He introduces readers to projects like Brooklyn Bridge Park, the Yards in Washington, D.C., and, further afield, to the new city of Modi’in, Israel—sites that, in this age of resource scarcity, economic turmoil, and changing human demands, challenge our notion of the city. Erudite and immensely engaging, Makeshift Metropolis is an affirmation of Rybczynski’s role as one of our most original thinkers on the way we live today.

    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.

    It also relates the extraordinary history of the museum's collection, a collection that has enabled the Van Gogh Museum to evolve into a world-renowned centre of knowledge about Van Gogh's work and the art of his time.

    The Barnes Collection has been conservatively valued at more than $6 billion and includes some 69 Cézannes (more than in all the museums of Paris combined), 60 Matisses, 44 Picassos, 18 Rousseaus, 14 Modiglianis, and no fewer than 180 Renoirs. Yet the Barnes is in crisis. Its founder, Dr. Albert C. Barnes (1872), grew up in the slums of late-nineteenth-century Philadelphia only to become first a physician and later a pharmaceutical king. By 1920, this self-made man was already well on his way to becoming one of the great art collectors of his day. But this is also the story of Richard Glanton, who escaped poverty in rural Georgia to become a high-flying, politically powerful Philadelphia lawyer. It was Glanton who took the Barnes art on its celebrated worldwide tour, renovated the galleries-and presided over a decade of expensive litigation. The most famous of these court cases—this one in federal court—pitted the Barnes against its wealthy neighbors. The goal: A 52-car parking lot for the Barnes. The cost: more than $6 million in legal fees. Today, Glanton is no longer president of the Barnes, and the new board is seeking to move the collection into the city. Yet another court case will decide whether they can or not. The battle of the Barnes has only just begun. "Here, at long last, is the whole truth about the Dickensian legal tug-of-war—unimaginably tangled, unsparingly vicious, unprecedentedly cynical—that threatens the survival of one of the greatest private art collections of the twentieth century. From now on, anyone who seeks to understand the desperate plight of the Barnes Collection will have to start by reading this important book." —Terry Teachout, author of The Skeptic: A Life of H. L. Mencken "John Anderson has produced a riveting account of curators, trustees, and lawyers fighting for control of the world-famous Barnes Collection of French impressionist art from the 1950s to the present. Based on hundreds of revealing interviews, Art Held Hostage reads like a superb mystery novel: This gem of investigative reporting is a sure contender for the national best-seller lists." —Howard R. Lamar, Sterling Professor Emeritus of History, Yale University

    It offers an unprecedented look inside this secretive, glamorous, gold-plated industry, describing just how Sotheby's and Christie's grew from clubby, aristocratic businesses into slick international corporations. And it shows how the groundwork for the most recent illegal activities was laid decades before the perpetrators were caught by federal prosecutors.

    For when Jeanette Winterson looks at works as diverse as the Mona Lisa and Virginia Woolf's The Waves, she frees them from layers of preconception and restores their power to exalt and unnerve, shock and transform us."Art Objects is a book to be admired for its effort to speak exorbitantly, urgently and sometimes beautifully about art and about our individual and collective need for serious art."--Los Angeles Times

    The participants in the controversy which raged during June–July this year forgot that as many four previous governors of the RBI have had their terms cut short. The recent debate has to be seen in this context. This volume focuses on all the governors of the RBI since 1935 and describes how almost all of them had problems with the government. It is inherent in the tasks they are charged with. It also shows how, after 1957, when Jawaharlal Nehru accepted the resignation of Benegal Rama Rau after the latter’s quarrel with the finance minister, T. T. Krishnamachari, the RBI virtually became a department of the finance ministry. Its claims to independence have been revived only after 2002, when financial sector reform changed the structure of a large part of the financial economy. The book ends with advice to future governors about what they should remember: they are the servants of the sovereign, not independent Wu-li masters. They have to manage the government, not fight it. Theirs, as a former governor sensibly pointed out, is a circumscribed independence, the perimeters of which are defined by the government.

    Robinson – a former body–builder, one–time bouncer, and lifelong fight connoisseur – takes readers on a no–holds–barred plunge into what fighting is all about, and what fighters live for. If George Plimpton had muscles and had been choked out one too many times––this is the book he could have written.When Robinson and his fellow fighters mix it up, they live completely for the moment: absorbed in the feel of muscles slippery with sweat; the metallic tang of blood mingling with saliva in the mouth; the sweet, firm thud of taped knuckles impacting flesh. They fight because it feels good. They fight because they want to win. And even if they get their asses kicked, they fight because they love fighting.Fight is part encyclopedia, part panegyric to fighting in all its forms and glory. Robinson's narrative – told in his trademark tough–guy, stream–of–consciousness noir voice – punctuates this explanatory compendium of the fighting world. From wrestling, jiu–jitsu, boxing and muay thai to bar fighting, hand–to–hand combat, prison fighting and hockey fights, from the greatest movie fight scenes to how to throw the perfect left hook, Fight is a scene–by–scene tour of the bloody but beautiful underworld that is the art of fighting.With his aficionado's enthusiasm and fast–paced, addictive voice, Robinson's Fight combines compelling text with beautiful photographs to create an illustrated book as edgy and interesting as it is gorgeous.

    A substantial written component by Fischer details his upbringing on the outskirts of Zurich, Switzerland, and the hardships and triumphs he faced bringing the visions of his groundbreaking bands Hellhammer and eventually Celtic Frost to reality. In addition, the book includes an introduction by Nocturno Culto of Norwegian black metal act Darkthrone, and a foreword by noted metal author Joel McIver.Without question Only Death Is Real goes farther than any other source in exploring the origins of underground heavy metal. The wealth of visual information is astounding, both in terms of documenting early 1980s headbangers and exposing the still-relevant imagery of the first Hellhammer and Celtic Frost photo sessions. On top of that, the written chapters combine Tom Fischer’s often shocking stories with lengthy quotes from Martin Eric Ain and the other main Hellhammer members, explaining in intimately human terms how extreme metal was born.

    A unique guided tour of the techniques of acting.

    In a body of work spanning over a half-century, he was variously a draughtsman, a printmaker, a sculptor and a painter. This short book is both a biography and a guide to his art. It focuses on the extraordinary works that Henri Matisse made during the last period of his life - the large-scale cut-outs on coloured paper, including his famous Blue Nudes, The Snail and Large Composition with Masks.