James Ellroy, the undisputed master of crime writing, has teamed up with the Los Angeles Police Museum to present a stunning text on 1953 LA. While combing the museum's photo archives, Ellroy discovered that the year featured a wide array of stark and unusual imagery--and he has written 25,000 words that illuminate the crimes and law enforcement of the era. Ellroy offers context and layers on wild and rich atmosphere--this is the cauldron that was police work in the city of the tarnished angels more than six decades ago. More than 80 duotone photos are spread throughout the book in the manner of hard-edged police evidence.
Renowned photographer George Lange's work is guided by one simple truth: An unforgettable photograph is not about what the subject looks like, but what it feels like. In this entirely new kind of photography guide, written by Mr. Lange and Scott Mowbray, magazine editor and longtime amateur photographer, the rest of us will learn how to take photographs that don't just document life but celebrate it.
No fancy equipment required. Just hundreds of simple, inspiring ideas and lessons--each one illustrated with a photograph--organized around the six essential principles of seeing like a photographer. (Here's one: Shoot the Moment, Not the Subject.)
Here's why to shoot in natural light--always. The fun of putting babies in surprising places. How to get intimate with food. Using a dramatic sky as your backdrop. The benefit of learning to know the light in every room of your house. Shooting hands or feet instead of faces. How to move past the "I was here" postcard effect. How to catch the in-between moments. Because in the end, it's about living the moment, shooting the moment--and being in the moment forever.
This life of George Eastman is the first biography since 1930 of the man who transformed the world of photography. As a 23-year-old bank clerk, Eastman bought his first camera and began simplifying the cumbersome and messy wet-plate process. With only two years' experience, he patented a dry-plate coating machine and began selling photographic plates. Soon, the business was doing so well that he quit his job at the bank and started his own company.
Eastman's success was based in part on his own inventions, but even more on his ability to raise capital, recruit technically skilled employees, sell his own products, and outmaneuver his competitors. In this revealing and informative new biography, Brayer shows us how such key innovations as roll film and the light, hand-held camera helped the Eastman Kodak Company dominate the world market.
More importantly, Brayer draws a vivid portrait of the man behind the money. Eastman worked hard at keeping out of the limelight and even insisted that his donations be kept anonymous, prompting the Boston Globe to call him "America's most modest and least- known millionaire." His aggressive business personality was a sharp contrast to his personal life: Eastman once joked that it was his goal to take two six-month vacations in a year. He would regularly forsake the office to bicycle around Europe or ride a stagecoach through the snowy trails of Yellowstone Park. He was an art lover, who once bartered 60 shares of Kodak stock in the 1890s for a painting he felt he must have, and a classical music enthusiast, who built a school for the training of virtuosos.
Despite his retirement in 1925, Eastman showed little sign of slowing down. Making moneyhad been interesting, but putting money to work became more so. In the 1920s he designed a special camera for use in orthodontia and established elaborate dental clinics for needy children in Rochester, London, Paris, Brussels, Stockholm, and Rome. He oversaw the building of the Eastman Theatre and the Eastman School of Music. His contributions built a new campus for the Massachusetts Institute of Technology and a new medical school for the University of Rochester. Finally, he became the largest contributor to the education of African Americans during the 1920s and the Tuskeegee Institute's most important benefactor.
Peterson, the associate curator of photographs at the Minneapolis Institute of Arts introduces this collection with a history of that museum's photography collection and the founding photography curator Carroll T. Hartwell (d.2007). The approximately 100 b&w plates that follow present a chronological sampling of the museum's photojournalism, documentary photography, and street photography collections, opening with a salt print from 1845 by William Henry Fox Talbot. One work per artist is included, with an accompanying profile of the life and career of the photographer. Works by Hans Bellmer, Arthur Rothstein, Val Telberg, Ansel Adams, and Dorothea Lange are included, and the book concludes with recent works by Luis González Palma, Alex Soth, and Todd Webb. Oversize: 9.25x12". Annotation ©2009 Book News, Inc., Portland, OR (booknews.com)
A graceful, contemplative volume, Camera Lucida was first published in 1979. Commenting on artists such as Avedon, Clifford, Mapplethorpe, and Nadar, Roland Barthes presents photography as being outside the codes of language or culture, acting on the body as much as on the mind, and rendering death and loss more acutely than any other medium. This groundbreaking approach established Camera Lucida as one of the most important books of theory on the subject, along with Susan Sontag's On Photography.
Winner of an Award of Merit from the American Association for State and Local History (AASLH) Leadership in History Awards.
In this collection of stunning and storied photographs--ranging from daguerreotypes to studio portraits to snapshots--historian Bruce White explores historical images taken of Ojibwe people through 1950: A baby in a cradleboard. A family building a birch-bark canoe. Studio portraits of girlfriends. Snapshots from a grandmother's album. These and other familiar scenes are showcased in We Are at Home: Pictures of the Ojibwe People.
This rich record of Native history and culture is available through a quirk of history: white settlement of Minnesota coincided with the development of photographic processes that allowed itinerant and studio photographers to capture images of local people and scenes, including those of the Ojibwe, who had called Minnesota home for centuries. White considers the negotiation that went on between the photographers and the photographed--and what power the latter wielded.
Ultimately, this book tells more about the people in the pictures--what they were doing on a particular day, how they came to be photographed, how they made use of costumes and props--than about the photographers who documented, and in some cases doctored, views of Ojibwe life. The result is a vivid history of a people at home in Minnesota's landscape.