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Libri sul tema "Photography"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 15 febbraio 2025

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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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Abstract (sommario):
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.
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2

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

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3

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

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4

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

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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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Abstract (sommario):
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.
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6

F, Ray Sidney, a cura di. Photographic imaging and electronic photography. Oxford: Focal Press, 1994.

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7

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

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8

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

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9

Eddie, Ephraums, a cura di. AG plus Photographic: Darkroom practice & photography. London: AG plus Photographic, 1992.

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10

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

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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

Stoltz, Liv. Thinking photography - using photography. Stockholm, Sweden: Centrum för Fotografi/Centre for Photography, 2012.

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14

Stuart, Koop, e Centre for Contemporary Photography, a cura di. Post: Photography post photography. Fitzroy, [Australia?]: Centre for Contemporary Photography, 1995.

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15

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

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16

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

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17

Daniele, Sallenave, e Centre National de la Photographie., a cura di. André Kertész. Paris: Centre National de la Photographie, 1985.

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18

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

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19

Collins, Phil. I only want you to love me. Brighton: Photoworks in collaboration with the Brighton Photo Biennial, 2003.

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20

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

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21

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

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Abstract (sommario):
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.
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22

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

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Abstract (sommario):
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.
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23

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

Testo completo
Abstract (sommario):
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.
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24

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

Testo completo
Abstract (sommario):
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.
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25

Auktionen, Villa Grisebach. Photography: Photographie. Berlin, 1998.

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26

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

Testo completo
Abstract (sommario):
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.
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27

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

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28

Photographie + Photoarbeiten: Photography. Köln: Kunsthaus Lempertz, 2003.

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29

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.

Testo completo
Abstract (sommario):
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.
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32

Hereford, Royal. Photographic Guide : Digital Photography Language: Focused Photography Books. Independently Published, 2021.

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33

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

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34

(Contributor), Kunsthalle Bremen, a cura di. Gunther Forg Photographs: Fotografie/Photography. Snoeck, 2006.

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35

Strader, Orlando. Photography Business : How to Be a Photographer: Learn Photography. Independently Published, 2021.

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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

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

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38

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

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39

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

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40

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

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41

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

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42

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

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43

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

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44

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

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45

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

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46

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

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47

Mondrian and Photography: The Complete Photographs. Hatje Cantz Verlag GmbH & Co KG, 2023.

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48

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

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49

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

Testo completo
Abstract (sommario):
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.
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50

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

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