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Книги з теми "Photography"

Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Photography.

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 22 червня 2024

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1

Hannouch, Hanin. Gabriel Lippmann's Colour Photography. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463728553.

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Physicist Gabriel Lippmann’s (1845–1921) photographic process is one of the oldest methods for producing colour photographs. So why do the achievements of this 1908 Nobel laureate remain mostly unknown outside niche circles? Using the centenary of Lippmann’s death as an opportunity to reflect upon his scientific, photographic, and cultural legacy, this book is the first to explore his interferential colour photography. Initially disclosed in 1891, the emergence of this medium is considered here through three shaping forces: science, media, and museums. A group of international scholars reassess Lippmann’s reception in the history of science, where he is most recognised, by going well beyond his endeavours in France and delving into the complexity of his colour photography as a challenge to various historiographies. Moreover, they analyse colour photographs as optical media, thus pluralising Lippmann photography’s ties to art, cultural and imperial history, as well as media archaeology. The contributors also focus on the interferential plate as a material object in need of both preservation and exhibition, one that continues to fascinate contemporary analogue photographers. This volume allows readers to get to know Lippmann, grasp the interdisciplinary complexity of his colourful work, and ultimately expand his place in the history of photography.

2

Auktionen, Villa Grisebach. Photographie: Photography. Berlin: Villa Grisebach Auktionen, 2002.

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3

Auktionen, Villa Grisebach. Photographie: Photography. Berlin: Villa Grisebach Auktionen, 2003.

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4

Auktionen, Villa Grisebach. Photographie: Photography. Berlin: Villa Grisebach Auktionen, 2004.

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5

Bennett, Terry. Early Photography in Vietnam. GB Folkestone: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9781912961047.

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Early Photography in Vietnam is a fascinating and outstanding pictorial record of photography in Vietnam during the century of French rule. In more than 500 photographs, many published here for the first time, the volume records Vietnam’s capture and occupation by the French, the wide-ranging ethnicities and cultures of Vietnam, the country’s fierce resistance to foreign rule, leading to the reassertion of its own identity and subsequent independence. This benchmark volume also includes a chronology of photography (1845–1954), an index of more than 240 photographers and studios in the same period, appendixes focusing on postcards, royal photographic portraits, Cartes de Visite and Cabinet Cards, as well as a select bibliography and list of illustrations.

6

Wildi, Ernst. Creating world-class photography: How any photographer can create technically flawless photographs. Buffalo, NY: Amherst Media, 2001.

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7

F, Ray Sidney, ed. Photographic imaging and electronic photography. Oxford: Focal Press, 1994.

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8

Sieff, Jeanloup. Jeanloup Sieff: Erotishe photographie = erotic photography = photographie érotique. Berlin: Benedikt Taschen, 1991.

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9

Shaw, Bernard. Bernard Shaw on photography: Essays and photographs. Wellingborough: Equation, 1989.

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10

Eddie, Ephraums, ed. AG plus Photographic: Darkroom practice & photography. London: AG plus Photographic, 1992.

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11

Moreau, Jeffrey. Muni photographs: The photography of Jeffrey Moreau. Orangevale, CA: Carbarn Press, 1991.

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12

Liam, Kelly. Photographs and photography in Irish local history. Dublin: Four Courts Press, 2008.

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13

Liam, Kelly. Photographs and photography in Irish local history. Dublin: Four Courts Press, 2008.

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14

Guibert, Hervé. Ghost image. Los Angeles: Sun & Moon Press, 1996.

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15

Guibert, Hervé. Ghost image. Copenhagen: Green Integer, 1996.

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16

Sin, Hye-yŏng. Changch'i e matsŏda: Han'guk tongsidae sajin pip'yŏng. Sŏul-si: IANN, 2021.

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17

Stuart, Koop, and Centre for Contemporary Photography, eds. Post: Photography post photography. Fitzroy, [Australia?]: Centre for Contemporary Photography, 1995.

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18

Gibbons, Bob. The outdoor photographer: Advanced landscape & countryside photography. London: Blandford Press, 1988.

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19

Kertész, André. André Kertész: The mirror as muse. Chicago: Stephen Daiter Gallery, 1999.

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20

Kertész, André. André Kertész: A lifetime of perception. New York: Andalusian Books, 1993.

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21

John, Freeman. Photography: The new complete guide to taking photographs. London: Collins & Brown, 2003.

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22

Paris, Helga. Fotografien =: Photographs. Hannover: Sprengel Museum, 2004.

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23

Australasian Nature Photography 10. CSIRO Publishing, 2013. http://dx.doi.org/10.1071/9781486300648.

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Анотація:

The bioregion of Australia, New Zealand, Antarctica and New Guinea possesses a unique natural heritage stretching back over 80 million years since the break-up of the great southern continent of Gondwana. The South Australian Museum and Australian Geographic focus on enhancing a general knowledge of this extraordinary legacy by encouraging photography of the region’s nature and wilderness, and promoting an annual competition to find the Australian Geographic ANZANG Nature Photographer of the Year. Australasian Nature Photography: ANZANG Tenth Collection presents the finest photographs submitted to the 2013 Australian Geographic ANZANG Nature Photographer of the Year competition. Each photograph is accompanied by technical information as well as anecdotes about how the picture was taken, which will stimulate yet further interest in the flora and fauna and their conservation in the region.

24

Australasian Nature Photography 08. CSIRO Publishing, 2011. http://dx.doi.org/10.1071/9780643106802.

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The bioregion of Australia, New Zealand, Antarctica and New Guinea possesses a unique natural heritage stretching back over 50 million years since the break-up of the great southern continent of Gondwanaland. The South Australian Museum focuses on enhancing a general knowledge of this extraordinary legacy by encouraging photography of the region’s nature and wilderness, and promoting an annual competition to find the Nature Photographer of the Year. Australasian Nature Photography: ANZANG Eighth Collection presents the finest photographs submitted to the competition. Each photograph is accompanied by technical information as well as anecdotes about how the picture was taken, which will stimulate yet further interest in the flora and fauna and their conservation in the region.

25

Australasian Nature Photography 09. CSIRO Publishing, 2012. http://dx.doi.org/10.1071/9780643108271.

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The bioregion of Australia, New Zealand, Antarctica and New Guinea possesses a unique natural heritage stretching back over 50 million years since the break-up of the great southern continent of Gondwanaland. The South Australian Museum focuses on enhancing a general knowledge of this extraordinary legacy by encouraging photography of the region’s nature and wilderness, and promoting an annual competition to find the Nature Photographer of the Year. Australasian Nature Photography: ANZANG Ninth Collection presents the finest photographs submitted to the competition. Each photograph is accompanied by technical information as well as anecdotes about how the picture was taken, which will stimulate yet further interest in the flora and fauna and their conservation in the region.

26

Hannouch, Hanin, ed. Gabriel Lippmann’s Colour Photography. Amsterdam University Press B.V., 2022. http://dx.doi.org/10.5040/9789048561940.

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Анотація:

Physicist Gabriel Lippmann’s (1845–1921) photographic process is one of the oldest methods for producing colour photographs. So why do the achievements of this 1908 Nobel laureate remain mostly unknown outside niche circles? Using the centenary of Lippmann’s death as an opportunity to reflect upon his scientific, photographic, and cultural legacy, this book is the first to explore his interferential colour photography. Initially disclosed in 1891, the emergence of this medium is considered here through three shaping forces: science, media, and museums. A group of international scholars reassess Lippmann’s reception in the history of science, where he is most recognised, by going well beyond his endeavours in France and delving into the complexity of his colour photography as a challenge to various historiographies. Moreover, they analyse colour photographs as optical media, thus pluralising Lippmann photography’s ties to art, cultural and imperial history, as well as media archaeology. The contributors also focus on the interferential plate as a material object in need of both preservation and exhibition, one that continues to fascinate contemporary analogue photographers. This volume allows readers to get to know Lippmann, grasp the interdisciplinary complexity of his colourful work, and ultimately expand his place in the history of photography.

27

Warburton, Nigel. Photography. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0036.

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Photography is the most widespread form of visual communication using still images. Since its invention the medium has not changed substantially, or at least not until the recent invention of digital photography. The uses to which photography has been put and the conventions surrounding those uses have, however, evolved significantly. Those analytic philosophers who have written about still photography have for the most part focused on quite a narrow range of topics. Their main concern has been to characterize the nature of the causal link between object photographed and photographic image.

28

(Editor), Lionel Bovier, Inez van Lamsweerde (Photographer), Valerie Belin (Photographer), Leo Fabrizio (Photographer), and Natacha Lesveur (Photographer), eds. Ecal Photography/Photographie. JRP/Ringier, 2005.

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29

n/a. Digital Photographer (Photography). Harpercollins Reference, 2008.

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30

Heidelberg, Marisa. Travel Photography Book : Specific Insight into Creating Photographs for the Travel Photographer: Digital Photography. Independently Published, 2021.

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31

Trefzer, Annette. Exposing Mississippi. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496837493.001.0001.

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Internationally known as a writer, Eudora Welty has also been spotlighted as a talented photographer. The prevalent idea remains that Welty simply took snapshots before she found her true calling as a renowned fiction writer. But who was Welty as a photographer? What did she see? How and why did she photograph? And what did Welty know about modern photography? This book elucidates Welty's photographic vision and answers these questions by exploring her photographic archive and writings on photography. The photographs Welty took in the 1930s and 1940s frame her visual response to the cultural landscapes of the segregated South during the Depression. The photobook One Time, One Place, which was selected, curated, and shaped into a visual narrative by Welty herself, serves as a starting point and guide for the chapters on her spatial hermeneutic. The book is divided into sections by locations and offers how the framing of these areas reveals Welty's radical commentary of the spaces her camera captured. There are over eighty images, including some never-before-seen archival photographs, and sections of the book draw on over three hundred more. The chapters on institutional, leisure, and memorial landscapes address how Welty's photographs contribute to, reflect on, and intervene in customary visual constructions of the Depression-era South.

32

Dk Publishing and Tom Ang. Digital Photography Complete Photographer. Kindersley Ltd., Dorling, 2016.

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33

Forg, Gunther. Gunther Forg Photographs: Fotografie/Photography. Snoeck, 2006.

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34

Wildi, Ernst. Creating World-Class Photography: How Any Photographer Can Create Technically Flawless Photographs. Amherst Media, Incorporated, 2001.

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35

Wildi, Ernst. Creating World-Class Photography: How Any Photographer Can Create Technically Flawless Photographs. Amherst Media, Incorporated, 2012.

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36

Wildi, Ernst. Creating World-Class Photography: How Any Photographer Can Create Technically Flawless Photographs. Amherst Media, Incorporated, 2001.

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37

Publishing and Z. Z. Publishing. Photographer Notebook: Photography Calendar Journal. Independently Published, 2020.

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38

Popular Photography's Slr Photography, 1987. CBS Magazine, 1987.

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39

Dickie, Chris. AG+ Photographic (Darkroom Practice & Photography). Timothy Benn Publishing Ltd, 2000.

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40

Popular Photography's Slr Photography, 1986. CBS Magazine, 1986.

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41

Wittmann, Gary. Digital Photography: Learn How to Take Beautiful Photographs with Digital Photography. Independently Published, 2020.

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42

Jansen, Leo, Piet Mondrian, Wietse Coppes, and Chris Stolwijk. Mondrian and Photography: The Complete Photographs. Hatje Cantz Verlag GmbH & Co KG, 2023.

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43

Kensington, Ltd Christie's South. 20th century photographs and photography books. London, 1998.

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44

McGregor, Iona, and Dorothy I. Kidd. Bairns-Scottish Children in Photographs (Photography). National Museums of Scotland, 1994.

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45

McGregor, Iona, and Dorothy I. Kidd. Bairns-Scottish Children in Photographs (Photography). National Museums of Scotland, 1995.

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46

Beaumont, Sheona. The Bible in Photography. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9780567706553.

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Sheona Beaumont addresses the untold story of biblical subjects in photography. She argues that stories, characters, and symbols from the Bible are found to pervade photographic practices and ideas, across the worlds of advertising and reportage, the book and the gallery, in theoretical discourse and in the words of photographers themselves. Beaumont engages interpretative tools from biblical reception studies, art history, and visual culture criticism in order to present four terms for describing photography’s latent spirituality: the index, the icon, the tableau, and the vision. Throughout her journey she includes lively discussion of selected fine art photography dealing with the Bible in surprising ways, from images by William Henry Fox Talbot in the 19th century to David Mach in the 21st. Far from telling a secular story, photography and the conditions of its representations are exposed in theological depth.; Beaumont skillfully interweaves discussion of the images and theology, arguing for the dynamic and potent voice of the Bible in photography and enriching visual culture criticism with a renewed religious understanding.

47

Inc, American Showcase. American Showcase: Photography (Showcase Photography). Amshow & Archive, 1992.

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48

Inc, American Showcase. American Showcase: Photography (Showcase Photography). Amshow & Archive, 1990.

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49

Inc, American Showcase. American Showcase: Photography/16 (Showcase Photography). Amshow & Archive, 1993.

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50

Finnegan, Cara A. The Presence of Unknown Soldiers and Imaginary Spirits. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039263.003.0002.

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This chapter analyzes close readings of photographs of the battlefield dead at Antietam, published accounts of photographs of unknown soldiers, and public commentary and trial transcripts related to the practice of spirit photography. Such photographs posed considerable reading problems for viewers who were unaccustomed to the idea of photographic representations of death and the afterlife. In a time of national crisis, grief, and trauma, viewers made sense of such images by drawing on their recognition of photography's capacity to produce presence. The chapter first provides an overview of Civil War photography before turning to photographs of unknown soldiers at the Battle of Antietam. It also considers how the most permanent of absences were seemingly erased by the mysterious appearance of the apparent spirits of deceased family and friends in photographic portraits. During a period in which the collective grief of the “republic of suffering” vividly animated public life, those who read both war and spirit photographs recognized the medium's capacity for producing presence in the face of the most traumatic of absences.