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The layperson's picture of the photographer at work encompasses many scenarios: the fashion photographer clicking away while flattering and cajoling the model; the crime scene reporter crouched over the dead body; the photojournalist dodging bullets as he or she strives to snatch a dramatic image from the battlefield. In The Photographed Photographer, Guido Cecere--art historian, art director and a photographer himself--turns the lens back on the image-maker with a compilation of nearly 500 portraits of photographers culled from prints, drawings, posters, ads, books, magazines, ornaments, stamps, postcards, figurines and of course photographs. The images are arranged across 18 themed chapters, from military photography to advertising, cinema to eroticism, parody to cartoons. Works by Alinari, Mario Giacomelli, Weegee, Gianni Berengo Gardin, Oliviero Toscani, Margaret Bourke White, Mario Cresci and Elio Ciol, and poster and drawing artists such as Marcello Dudovich, Gino Boccasile and Guido Crepax are included.

Ausreichend/Acceptable: Exemplar mit vollständigem Text und sämtlichen Abbildungen oder Karten. Schmutztitel oder Vorsatz können fehlen. Einband bzw. Schutzumschlag weisen unter Umständen starke Gebrauchsspuren auf. / Describes a book or dust jacket that has the complete text pages (including those with maps or plates) but may lack endpapers, half-title, etc. (which must be noted). Binding, dust jacket (if any), etc may also be worn.

This award winning book is a modern photo essay on the Gospel of John, creatively combining brilliant photographs of contemporary Israel, with the Apostle John's complete Gospel from the 1611 King James Version of the Holy Bible. Photographed during the summer of 2010, this modern pictorial takes you on a unique visual journey through the Gospel, following the path of Jesus through the Holy Land, and shines a new light on John's story of life, light & love. Whether or not you've read John's Gospel, this interpretation is moving and uniquely presents the story in a beautifully produced art book with 170 black & white or color photographs, and presents the words of Jesus in the color red, as in tradition. This book makes a great gift and the quality of its craftsmanship and photography will a beautiful addition to any room in your home.

The item shows wear from consistent use, but it remains in good condition and works perfectly. All pages and cover are intact including the dust cover, if applicable . Spine may show signs of wear. Pages may include limited notes and highlighting. May NOT include discs, access code or other supplemental materials.

How has the seaside been photographed? From the roaring waves of the nineteenth century through the reportage of the 1960s and the critical documentary of the 80s and 90s, to what is perhaps the more intimate work of the last ten years. No-one can tell it exactly the way it is. We all have a vision of the seaside which is uniquely our own. Memories, false and real, are aided and abetted by photography, a unique, fascinating, but in the end unreliable source of evidence. And time changes everything. What remains are a set of substantial fragments, thoughts along the way, obsessions, records, constructions, journeys. Ours for the takingTable of ContentsIntroduction · Waves on the Beach · Shell Stories: Editing the Seaside from the Thirties to the Eighties · Seaside Bohemias · Reporting Back · Halcyon Days · Road Trips · Who’s Looking at the Family? Seaside Chronicles from Then until Now · Worlds in a Small Room: The Seaside Hotel · Gazing Up Close and from a Distance: Performing Studio Portraiture in the 21st Century · Undercurrents: Revising the Seaside from the Sixties to the Nineties

Cover and edges may have some wear.

In an era before television and air travel, Burton Holmes – the “The Travelogue Man,” as he called himself – was for many people the only window on the world. Single-handed, he brought the glamour and excitement of foreign lands to Americans unable to go themselves. That excitement is re-created in this magnificent album of his photographs, accompanied by his own writing. He rode the Trans-Siberian Railroad across Russia while they were still laying the track. He was in Naples in 1906, and recorded Vesuvius’ most devastating eruption in modern times. He covered the building of the Panama Canal, the Russo-Japanese War, the Boxer Rebellion in China. Holmes not only brought these and other events to American audiences, he even presented them in color. In the 1890s, his 3 ½ x 4 ½-inch glass slides were exquisitely hand-painted in watercolor by a team of Japanese artists. In later years the painting was done in the United States by artists personally trained by Holmes, work so

Cover and edges may have some wear.

This engrossing book presents the photographs of four historically engaged artists and explains what they reveal about the highly dramatic revolutionary and post-revolutionary period in Mexico from 1910 to 1935. The works of these photographers—American Walter H. Horne, Italian Tina Modotti, and Mexicans Agustín Víctor Casasola  and Manuel Álvarez Bravo—are discussed not just as windows onto events but as artworks that offer both objective reporting and stylized expression. The twenty-five years covered in the book encompass some of the most convulsive developments in Mexico, from the violence and cataclysmic changes wrought by the Mexican Revolution to the immense struggles to forge a new nation and a new government. During this period, the work of the four photographers—two primarily documentary,  one propagandistic, and one artistic and personal—enabled Mexicans to understand the forces that had brought their nation to armed conflict and social transformation.

Unread book in perfect condition.

Text deutsch und englisch. Sehr aufwändig gestalteter Bildband mit Farbfotograhien auf Ganzseiten, Doppelseiten, teilweise ausklappbar. Vorwort von Marcia Haydee. *Schutzumschlag hinten mit leichten Knickfältchen, sonst nur minimale Gebrauchsspuren. Sprache: Deutsch Gewicht in Gramm: 2100

Photographer Frédéric Chaubin reveals 90 buildings sited in 14 former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union.Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the “speaking architecture” widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of identity. It also outlines the geography of the USSR, showing how local influences made their exotic twists before the country was brought to its end.Frédéric Chaubin’s Cosmic Communist Constructions Photographed was elected best book on architecture of the year 2010 by the International Artbook and Film Festival in Perpignan, France (Festival International du Livre d’Art & du Film Perpignan).

Book by Park, Andy; Smolan, Rick

Hardcover. Iconic 1960s photographs from one of Magnum's finest photographers. "More than perhaps any other photographer from this often-stereotyped decade, Hurn presents one of the most authentic and visually exciting essays on the 1960s that I have encountered." Tony Nourmand, Editor-in-Chief, R A P A magnificent volume curated with insight and appreciation for a true master of his art. Magnum photographer David Hurn's rendering of the 1960s encompasses both Hollywood screen idols and East End sun-seekers; headline news, alongside rituals unchanged for centuries. Photoessays from the streets of New York, anti-Vietnam protests, the London Soho scene, the French Riviera, Queen Charlotte's Ball and the Isle of Wight Festival in 1969; portraits of Michael Caine, Quentin Crisp, Julie Christie, amongst many more; and Hurn's work within the film industry, capturing The Beatles during filming of A Hard Day's Night, Sean Connery in From Russia With Love and Jane Fonda in Barbarella. An incredibly well-rounded vision of the 1960s that is not to be missed. "Life as it unfolds in front of the camera is full of so much complexity, wonder and surprise that I find it unnecessary to create new realities. There is more pleasure, for me, in things as they are." David Hurn Introduced by Peter Doggett Iconic 1960s photographs from one of Magnum's most prominent photographers. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

May have some shelf-wear due to normal use. Your purchase funds free job training and education in the greater Seattle area. Thank you for supporting Goodwills nonprofit mission!

Rare photographs of City Hall, Logan Square, Independence Hall, Betsy Ross House, other landmarks juxtaposed with contemporary views. Introduction. Captions.

Photographer Frédéric Chaubin reveals 90 buildings sited in 14 former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union.Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the “speaking architecture” widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of identity. It also outlines the geography of the USSR, showing how local influences made their exotic twists before the country was brought to its end.Frédéric Chaubin’s Cosmic Communist Constructions Photographed was elected best book on architecture of the year 2010 by the International Artbook and Film Festival in Perpignan, France (Festival International du Livre d’Art & du Film Perpignan).

Flowers have been a universal cultural object for millennia. They are an important aesthetic element in everyday life worldwide, and have played a highly symbolic role in art throughout the ages. Over the past few years, Makoto Azuma has created a furor in the art world with his floral installations, in which he creates unusual new shapes from plants and flowers and their component parts. Inspired by the Japanese tradition of ikebana―the art of flower arranging―Azuma creates novel and previously unseen aesthetics by bringing together unusual plants that wouldn’t usually meet in nature―some of them exotic ―in extraordinary arrangements. Shunsuke Shiinoki, who opened the “haute-couture” florists Jardin des Fleurs in Tokyo in 2002 in association with Makoto Azuma, captured these exceptional floral installations in extraordinary photographs.

David Goldblatt (1930–2018) began working on Some Afrikaners Photographed (1975) in 1963. He had sold his father’s clothing store where he worked, and become a full-time photographer. The ruling Afrikaner National Party―many of its leaders and members had supported the Nazis in the World War II―was firming its grip on the country in the face of black resistance. Yet Goldblatt was drawn not to the events of the time but to “the quiet and commonplace where nothing ‘happened’ and yet all was contained and immanent.” Making these photos he explored his ambivalence toward the Afrikaners he knew from his father’s store. Most, he guessed, were National Party voters, yet he experienced them as “austere, upright, unaffected people of rare generosity of spirit and earthy humor.” Their potency and contradictions moved and disturbed him; their influence pervaded his life. The book includes an essay by famed South African writer Antjie Krog.

Photographs taken throughout Italy show children, nurses, performers, fashion models, clergy, police, soldiers, farmers, and fishermen