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Books on the topic 'Photographie de classes'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

Classic golf. Harry N. Abrams, 2004.

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2

Adams, Ansel. Ansel Adams: Classic images. New York Graphic Society Book/Little, Brown, 1987.

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3

Rosenbluth, Vera. Classic scrapbooking. Hartley & Marks Publishers, 1998.

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4

McIntosh, William S. Classic Portrait Photography. Amherst Media, Inc., 2010.

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5

The Drake Relays: America's athletic classic, a photographic essay. University of Iowa Press, 2014.

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6

Banks, Iain M. Classic glamour photography. Amphoto, 1987.

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7

Muybridge, Eadweard. Horses and other animals in motion: 45 classic photographic sequences. Dover Publications, 1985.

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8

Loengard, John. Life classic photographs: A personal interpretation. New York Graphic Society Books, 1988.

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9

Bob, Cato, ed. Life classic photographs: A personal interpretation. Little, Brown, 1996.

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10

Loengard, John. Life classic photographs: A personal interpretation. Thames and Hudson, 1988.

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11

Life classic photographs: A personal interpretation. Thames and Hudson, 1996.

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12

John, Szarkowski, and Adams Ansel 1902-, eds. Ansel Adams: Classic images. Little, Brown, 1986.

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13

Presten, Eric. Vintage flyers guidebook: A photographic guidebook of antique and classic aircraft. Prewar Publications, 2000.

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14

1936-, London Barbara, and Horenstein Henry, eds. Instant projects: A handbook of demonstrations and assignments for photography classes. Polaroid Corp., 1986.

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15

Mamie, Van Doren, and Kobal Collection, eds. Va-va-voom: Classic Hollywood pin-ups. Metro Books, 2008.

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16

The classic collection. Life Books, 2008.

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17

Charpentier-Boude, Christine. La photo de classe: Palimpseste contemporain de l'institution scolaire. L'Harmattan, 2009.

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18

La photo de classe: Palimpseste contemporain de l'institution scolaire. L'Harmattan, 2009.

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19

The Rickford files: Classic New York photographs. St Martin's Griffin, 2000.

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20

1902-, Adams Ansel, Cikovsky Nicolai, and National Gallery of Art (U.S.), eds. Ansel Adams: Classic images : the museum set. New York Graphic Society Books/Little, Brown, 1985.

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21

Working lives c. 1900: A photographic essay. University of Otago Press], 2014.

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22

Levy, Michael. Selecting and using classic cameras: A user's guide to evaluating features, condition & usability of classic cameras. Amherst Media, Inc., 2002.

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23

Martin, Harrison. Lisa Fonssagrives: Three decades of classic fashion photography. Vendome Press, 1996.

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24

Classic Farber nudes: 20 years of photography. Amphoto, 1991.

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25

Classic & contemporary nude photography: A personal view. Blandford, 1989.

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26

Bernstein, Gary. Portrait Hollywood: Gary Bernstein's classic celebrity photographs. Woodford Press, 1994.

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27

Chamberlain, David. Classic& contemporary nude photography: A personal view. Blandford, 1989.

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28

Classic &contemporary nude photography: A personal view. Blandford, 1990.

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29

Walter, Borgers, ed. Physique: Classic photographs of naked athletes. Thames & Hudson, 2004.

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30

Gowland, Peter. Classic nude photography: Techniques and images. Amherst Media, 2001.

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31

Lepetit, Emmanuelle. Le petit Nicolas: La photo de classe. Gallimard jeunesse, 2012.

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32

Collecting and using classic cameras. Thames and Hudson, 1986.

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33

Collecting and using classic SLRs. Thames & Hudson, 1997.

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34

Shanxi Sheng she ying yi shu jing pin ji: Classic photographic art exhibition of Shanxi. Shanxi ren min chu ban she, 2011.

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35

Peter, Steinfeld, ed. Classics: The best the world has to offer. General Pub. Group, 1997.

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36

Blossfeldt, Karl. Natural art forms: 120 classic photographs. Dover Publications, 1998.

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37

Pickups: Classic American trucks. Random House, 1996.

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38

Harvey, Chris. All-time classic cars. ChancellorPress, 1993.

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39

Vieira, Mark A. Hollywood portraits: Classic scene stills 1929-41. Brompton, 1988.

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40

B, Kunhardt Philip, ed. Life laughs last: 200 more classic photos from the famous back page of America's magazine. Simon and Schuster, 1989.

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41

Edelstein, T. J. Donald Cooper: Photographs of the classic British theatre. Mount Holyoke College Art Museum, 1987.

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42

Shooting Stars: Favorite Photos Taken by Classic Celebrities. Stoddart, 1998.

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43

Shooting stars: Favorite photos taken by classic celebrities. General Publ., 1998.

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44

Masters of Photography: Classic Photographic Artists of Our Time. Carlton Books, Limited, 2008.

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45

Ami, Bel. Bel Ami: Classics, 2004. Bruno Gmunder, 2003.

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46

LOVE Classic Cars. Thousand Words Press, A, 2016.

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47

Morton, Christopher. The Anthropological Lens. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198812913.001.0001.

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Sir Edward Evan Evans-Pritchard (1902-1973) is widely considered the most influential British anthropologist of the twentieth century, known to generations of students for his seminal works on South Sudanese ethnography Witchcraft, Oracles and Magic Among the Azande (OUP 1937) and The Nuer (OUP 1940). In these works, now classics in the anthropological literature, Evans-Pritchard broke new ground on questions of rationality, social accountability, kinship, social and political organization, and religion, as well as influentially moving the discipline in Britain away from the natural sciences a

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48

Reilly, Rick, and Walter Iooss Jr. Classic Golf: The Photographs of Walter Iooss Jr. Harry N. Abrams, 2004.

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49

Soares, Marc J., and John R. Soares. 100 Classic Hikes Northern California (100 Classic Hikes). 3rd ed. Mountaineers Books, 2008.

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50

Finnegan, Cara A. Recognizing Lincoln. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039263.003.0003.

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This chapter examines how viewers in the late nineteenth century made sense of a photograph of Abraham Lincoln, published by McClure's magazine thirty years after his assassination. Revealed to the American public in 1895, nearly five decades after its creation, the daguerreotype reproduction featured a Lincoln few had seen before: a thirty-something, well-groomed, middle-class gentleman. In order to understand viewers' readings of the Lincoln portrait, the chapter investigates portrait photography in relation to the discourses of phrenology and physiognomy. It shows that viewers treated the L

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