Colibris

In Fandomania, photographer Elena Dorfman examines the pop culture phenomenon of “cosplay,” in which participants dress up in costumesâand live part of their livesâas characters from video games, animated films, and Japanese graphic novels. This exploding subculture flourishes at convention centers, college dorms, private clubs, and in homes across the country. Dorfman puts herself quietly behind the scenes of these fan-based events to create a remarkable collective portrait. As she describes it, “The theater of cosplay has no boundaries, is unpredictable, open-ended. It includes both the fantastic and the mundane, the sexually aberrant and innocent, female characters who become samurai warriors and brainy scientists, and male characters who magically change their sex.” Explorations of identity through portraiture are at the forefront of Dorfman’s work, with the blurred lines between fantasy and reality a continuing theme. She allows each individual a spotlight in which to enact their fantasy. The effect is pointedly evocative of this new world of role playing and narrative, one in which scenery is secondary and persona is everything.

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French photographer Yann Arthus-Bertrand and his devoted team have spent five years putting together this voluminous gallery, selecting 195 images from 100,000 photographs taken from helicopters in the skies over 75 countries. It is a staggering achievement and precisely shows how vaguely we know our world. Statistics play a secondary, but vital, role; the text that accompanies the shots (a paragraph each, with a short essay adorning every chapter), highlights the degree to which we have abused our Eden, providing a sobering adjunct to what can at times be mistaken for a planetary holiday brochure. Of primary concern, however, are the pictures. Almost every plate is double page, reproduced in sumptuous vibrant color, with helpful fold-out notes for each shot. The standard is a visual treat but, damn it, books should be luxurious sometimes. Huge African cotton bales become cauliflowers, logs floating down the Amazon are nothing more than matchsticks, the extraordinary contours of Turkey’s Cappadocia are more like lunar scapes and South African sea-lions gathered to mate eerily echo an earlier crowd of curious humans in Côte D’Ivoire. In contrast, a solitary human figure frequently gives perspective to a shot, though occasionally superfluously, for the obliquity of perception can add resonant depth, reducing mighty river courses to glistening snail trails. Much on show is conventional, exceptional landscape photography, but Arthus-Bertrand also trains his lens on our fingerprints smudging the idyll, such as the depressingly overcrowded shanty towns favelas of Rio de Janeiro or the sprawling communal rubbish heap of Mexico City. However, the hovering eye, like a benevolent celestial deity, cannot help but impose a fragile beauty even on these blights, reclaiming the scarring chaos from its despoilers and harnessing the sense of mortal finitism necessary for a solution of ecological sustained development to be convincingly reached. Arthus-Bertrand’s desire to take his art “beyond the anecdotal”, to give his subject the space in which to impose its own beauty, allows a gleefully conspiratorial voyeurism, at once empowering and humbling, that at its best captures something quasi-religious in its intense calm. As Louis Armstrong once growled, what a wonderful world. –David Vincent

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This volume, illustrated with 45 photographs, explores the cultural significance of six exhibitions or new museum installations, all opening in Paris between mid-1937 and early 1938: the commercially oriented world’s fair titled L’Exposition Internationale des Art et Techniques; the historical Musee des Monuments Francais; the ethnographic Musee de l’Homme; two massive art retrospectives, one sponsored by the state of France and the other by the municipality of Paris; and L’Exposition Internationale du Surrealisme. James D. Herbert capitalizes on the proximity of these disparate exhibits to show how they competed with and yet also complemented one another in visually rendering the full scope of human accomplishment through time and across the globe. In this task, Herbert argues, they both succeeded and failed in interesting and productive ways. He asserts that the exhibitions projected and, in a sense, created (created precisely through the act of projection) the real world that they ostensibly only represented.

In fact, Herbert argues, the exhibitions developed a particular sense of French national identity - one that, in managing to be at the same moment both inwardly focused and beneficently expansive, would prevent a vivid contrast to the growing German nationalism of the Third Reich. His epilogue takes a final look at these issues from the perspective of Jean Cocteau’s 1950 film “Orphee”.

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“Creative Vision” aims to bridge the creative divide between progressive digital image creation and traditional photographic concerns. The emphasis here is on creativity, inspiration, and encouraging experimentation rather than technique, rules, or safe strolls down well-trodden artistic paths. It will encourage photographers and fine artists to explore a range of different disciplines as a means of enhancing their primary artistic goals, by mixing-it-up, living a little dangerously, and waving goodbye to entrenched attitudes.
About author
Jeremy Webb is a freelance photographer, digital artist and a tutor in photography at Great Yarmouth College, Norfolk with extensive experience in a wide variety of businesses including design of on-line education courses. He is contributor to numerous magazines and websites and undertakes regular exhibitions and commissions of his work.

Puteti comanda aceasta carte acum. In 48 de ore cartea este la dumneavoastra acasa, la locul de munca sau la oricare alta adresa.

Here is a complete retrospective of photographer Lewis Morleyâs career. Morley is most famous for his iconic image of a naked Christine Keeler astride a chair, but he also took the first fashion photographs of Twiggy and Jean Shrimpton, and these and scores of other photographs are included in this book, which offers the first opportunity to view the entire range of his output.

Puteti comanda aceasta carte acum. In 48 de ore cartea este la dumneavoastra acasa, la locul de munca sau la oricare alta adresa.

It’s time to throw away the scissors and pour the paste down the drain. With a digital camera and computer, anyone can make innovative and colourful scrapbooks, interactive calendars, and exciting slideshows, or share their memories via CD, email, or the World Wide Web. Make Your Own Digital Scrapbook guides you through the basics of taking good photographs, the process of linking camera to computer, and how to create innovative projects that your friends and family will enjoy. Whether it’s a family tree, a personalized mug, a collage, a website or a home movie, the easy-to-follow explanations will take you step-by-step through the techniques and give you great ideas that work. What’s more, the book also provides a useful, non-technical introduction to digital photography, image-editing hardware and software, and the basic skills involved. Packed with useful information in a fun, digestible format, Make Your Own Digital Scrapbook is the perfect read for digital camera users who want to do more with their photos.

Puteti comanda aceasta carte acum. In 48 de ore cartea este la dumneavoastra acasa, la locul de munca sau la oricare alta adresa.

This is a collection of photographs of the beautiful and complex land of Ireland, by some of the greatest names at Magnum, the leading photographic agency of modern times.
Pret: 75 Lei
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Puteti comanda aceasta carte acum. In 48 de ore cartea este la dumneavoastra acasa, la locul de munca sau la oricare alta adresa.

This book will become the ‘bible’ for all mobile digital photographers.
About author
Michael Freeman is an international photographer and writer who specializes in travel, architecture and Asian art. He has been principal photographer for the Smithsonian Magazine for many years, and has worked for Time-Life Books and Reader’s Digest. He has written more than 20 photographic books, including the best-selling Complete Guide to Digital Photography.

Puteti comanda aceasta carte acum. In 48 de ore cartea este la dumneavoastra acasa, la locul de munca sau la oricare alta adresa.

An intimate view of football, this title not only represents a chronological record of the whole football experience, but also brings together all the strands of the game by providing a visual gallery of players, coaches, fans, grounds, personalities, media and politics - not to mention socio-cultural issues. The chapters are divided into key subjects, each representing a distinctive element of the sport, from the football strip to the effect of the media. The book explores how football has changed and developed, including personalities who contributed to the profile of the industry.

About author

Photographer Peter Robinson trained at Leicester College of Art and The Royal College of Art, and began his professional career in 1965. After working on The Football League magazine he was invited by Sir Stanley Rous on behalf of FIFA to photograph the Mexico ‘70 World Cup. Over a period of 35 years, Robinson has covered 9 World Cups, the English and Scottish leagues, the FA Cup, the League Cup, and the European Cup/Champions League. He has run his own photographic agency, and has mounted major exhibitions of his work. Author Will Hoon studied Design History at the Royal College of Art, where he also embarked on the first academic appraisal of the material culture of English professional football. Elements of this ground-breaking study were later used the V&A exhibition ‘Streetstyles’ and BBC North’s ‘Kicking and Screaming: A History of English Football’. –This text refers to an out of print or unavailable edition of this title.

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