Book Description

A look at the history of Miami, with stunning contemporary and historic photography and captions describing the development of this famous city. Part of the highly successful "Then and Now" series, this book looks at the changes in this exciting city. ... Read more

Reviews (3)

Captiving Photo Book
If you have lived in Miami or have an affinity toward Miami, this is a must-have book. Few people in Miami like Arva Moore Parks have taken the time to document the City's rich history as the fastest-growing metropolis in the United States over the last 100 years. The "then and now" photos offer splendid matches, with interesting and informative historical notes in the caption. Great coffee-table book too!

Memories
I was born and reared in Miami, the fourth generation of my Pioneer South Florida family. I was delighted with this book, it brought back so many memories.

The old photographs are gems, and the descriptions well written and informative. I enjoyed the "then" pictures with the "now", in some instances they are almost unbelievable, the Coconut Grove Womens Club little Club House which I went to frequently is a good example, long may it survive!

Exquisite Photographs
Parks and Klepser do a wonderful job documenting the evolution and transformation of Miami and Miami Beach. A great book for illustrating Miami and Miami Beach's past history (for those people who believe there is little) and a wonderful guide to our present tropical metropolis. ... Read more

Book Description

When our perennial bestseller, Women Before 10 a.m. first made waves in bookstores worldwide, many of the women in Veronique Vial'spresciently delectable collection of portraits - Julia Stiles, Reese Witherspoon, Angelina Jolie, Milla Jovovich, Denise Richards, Laetitia Casta, Julianne Moore and Salma Hayek, among others - were up-and-coming celebrities.Now these fabulous femmes are the trendsetting stars of pop culture, making waves of their own.This deliciously intimate collection of portraits features some of the most captivating beauties and dynamic personalities in entertainment.Caught in the act of sleeping, snuggling, promping, canoodling, dressing, eating, smoking, bathing, parenting, or waking up are today's sexiest and most sought-after actresses, models, artists, and celebrities.Now in paperback, Women Before 10 a.m. meets its mate, Men Before 10 a.m. Too, launching our Veronique Vial franchise, Before 10 a.m., which will explore a multitude of faces and facets of pop culture.Stay tuned for the next release in this series, slated for 2002. ... Read more

Reviews (13)

Candid Shots of Sleepyheads and Fast Starters
The concept of this book was to shoot candid photographs of women doing their normal activities in the morning, following on the successful book done with men in the morning. The purpose was to get the real person behind the polished facade of the famous. Ms. Vial wanted to see "raw, real, natural . . . no makeup, no posing, I wanted their souls." Each photograph was done without additional lighting and was based on a few candid rolls. The book notes the time when the photograph was taken in most cases. Most are from 7 to 10 a.m. The images catch the subjects in bed (alone, and with pets, a mom, children, and men), bathing, showering, with kids, wearing robes, wearing no robes, dressing, exercising, smoking (too many of these), brushing their teeth, drying their hair, putting on make up, having coffee, meditating, making breakfast, eating breakfast, and even working. The concept works best for those who are still half conked-out while they are being photographed, and those who are not professional models. The bright-eyed professional models look just as great as they would on any fashion shoot. It's testimony to their talent for posing without direction. The book contains lots of notes about the subjects, both written in calligraphy and in printed captions at the end of the book. The book would have been a lot better with much more editing. Many of the images add little, other than to make the people look bad. Some of these women looked like they were coming off an all-night drunk or a drug-based party.

The images here would often earn the book an R rating if it were a motion picture. There is total nudity in some cases, but of the modest sort.

A major drawback to doing candid shots in available light is that many of the images end up looking like semi mug shots, because the light was so poor. I feel that more of these should have been eliminated.

The brief foreword by Sean Penn didn't do anything for me. I suggest you skip it.

One of the touching photographs in the collection is of Demi Moore in bed with her dying mother.

Other touching images include mothers playing with their children, pregnant woman struggling with their temporary girth, and women with their pets.

Despite the limitations of the book, I liked many of the photographs either because they did give a window on the soul or because the woman was just so beautiful or interesting that she overcame the circumstances of the photography.

Here are my favorites: Reese Witherspoon; Helena Christensen; Uschi Obermaier; Julia Stiles; Laetitia Casta (7:17 a.m. and under water); Ingrid Seynhaere; Emily Watson; Mia Kirshner (2); Sophis and Tess Medina; Charlotte Flossant; Amanda De Cadenet; Emma Thompson (2nd one); Dyan Cannon; Frederique van der Wal (2); Diane Warren; Eileen Ryan Penn; Debbie Morgan; Sofia Coppola; Sigourney Weaver (2); Joely Fisher; Lisa Marie; Lumi Cavazos; Angie Everhart; Cheryl Tiegs (2); Gina Gershon; Lois Chiles; Jennifer Beals; and Emmanuelle Sallet.

After you finish enjoying this book, I suggest that you do your own version of this photography with the people in your family. Get them at various times in the day when they are at their most open. It will make a wonderful scrapbook!

Find the natural person behind the prepared mask and response, . . . and cherish them!

GREAT
I LOVE THE BOOK... IT IS A COMBINATION OF GREAT ART AND ENTERTAINMENT!

beautiful!! and full of life
I normally don't like to write these reviews, I feel art and music are such subjective experiences, you really need to check it out for yourself. But I had to say that this was a very beautiful book. Its an intimate view into a world, most of us men rarely get to be a part of, especially living in such a fast paced world. Veronique Vial captures these passing moments, tip toeing her way through the homes of some well known and before-they-were-famous woman. All the more reason to appreciate this book. Being a photographer, I can also appreciate the clean straight forward layout, that really shows off her great work. Her previous Men Before Ten am, I found too dark and over designed. Its hard to compare the two, because of the subject, but the printing on Women is superior and it has brighter and livelier feel. Her photographs really capture the moment, which is what great photography is all about.

I would compare her to the likes of the great Magnum photographers like, Bresson, Bruce Davidson, Elliot Erwitt. Her ability to capture the "life" in her subjects and "the moment" shows through in these photographs and her other work (see O Cirque du Soleil).

I gave five of these as gifts to woman friends and they loved and enjoyed this book, seeing themselves captured in these beautiful moments.

Before 10am
I like this book alot, I love b&w pics, I feel that the ladies are not being completely natural for as soon as they open their eyes they see someone with a camera. Great pics though.

Intimate and lovely
I love portraits. I like to see how complex and how powerful and how beautiful we can be as humans. I love to histories and hopes etched into people's faces and bodies. _Women Before 10 A.M._ successfully and repeatedly evoked these kinds of powerful emotions in me. I would have bought it at twice the price. ... Read more

Book Description

Renowned photographer Lauren Greenfield has won acclaim and awards for her studies of youth culture. In Girl Culture, she combines a photojournalist’s sense of story with fine-art composition and color to create an astonishing and intelligent exploration of American girls. Her photographs provide a window into the secret worlds of girls’ social lives and private rituals, the dressing room and locker room, as well as the iconic subcultures of the popular clique: cheerleaders, showgirls, strippers, debutantes, actresses, and models. With 100 hypnotic photographs, 20 interviews with the subjects, and an introduction by foremost historian of American girlhood Joan Jacobs Brumberg, Greenfield reveals the exhibitionist nature of modern femininity and how far it has drifted from the feminine ideologies of the past. ... Read more

Reviews (15)

ARTWEEK REVIEW - FEBRUARY 2003
Lauren Greenfield's photographs from her most recent project, Girl Culture,
represents an important return to traditional photography and a break with
the popular, staged work of the past decade. Using a 35mm camera and
working intuitively and spontaneously, Greenfield returns to the basics -
picturing that which is important and reorganizing the chaos of the real
world into compelling and complex images that speak to our experiences as
emotional beings. This may sound simple, but over the past ten years,
photographers have moved far from the traditional approach and into the
imaginative fictions of Hollywood films, utilizing elaborate productions
crews and massive digital prints. Greenfield, in a powerful and compelling
exhibition and book, brings photography back down to earth, and in doing so,
signals a shift in contemporary picture making.

Greenfield has spent more than five years photographing young women and
girls, plumbing the zeitgeist for clues about body image, self-esteem,
consumerism and sexuality. As you can imagine, the results are not pretty.
They are skewed toward the complicated psychological arena where
self-awareness is mixed with victimization. The exhibition and book are
quite different experiences due to the fact that the publication included
interviews with the subjects. For a full appreciation of how vital this
work is to photography and to women¹s studies, it is important to see them
both. I found a pervasive sadness to the interviews, wherein women spoke of
the pressures to be thin, stylish and sexual and then expressed admiration
for these ideals, like an alcoholic who continues drinking, encouraging
others to join in.

The exhibition at Stephen Cohen Gallery is immediately remarkable due to the
intimate scale of the photographs. The prints range from 11 by 14 inches to
16 by 20 inches with only a few being larger. This changes the experience
of the work by drawing the viewers in close to read and interpret the
images. Besides the modest print size, when we get close to the
photographs, we can see the tiny specks of grain and notice that some of
them are a bit out of focus. This may seem sound like a criticism, but
these imperfections are a refreshing departure from the majority of
contemporary photography, suggesting the haphazard complexity of real life
and the medium¹s dependence on the artist¹s unique vision.

Greenfield¹s photographs are well known from major magazines and often
display a biting criticism and acerbic wit. These characteristics are used
mercilessly in some of the images. Lillian, then 18, shops at Kirna Zabete,
New York shows the pretty blonde sitting in an upscale boutique, holding a
red shoe. Her mouth hangs open in mid-sentence and its red-lined, oval
shape is echoed in the red, open-toed, ankle-strapped slingback she is
holding. Lillian reeks of having too much money and too little taste, and
the photograph is an indictment of her shallowness and vanity. In the
interview, Lillian says she hates being a blonde but claims to be so only
because she¹s an actress. Her awareness of the burden of beauty is
outweighed by her greedy consumerism. Another highly critical image shows
pornographic film star Taylor Wayne, who, dripping in jewelry, strikes a
clichéd pose, her massive breasts practically bursting from her dress. She
looks like a parody of herself, more of a mannequin than a real woman.

Greenfield¹s tone is more forgiving when she examines subjects who have less
control over their lives. The photographs of kids and teenagers, some at
weight-loss camp, exude a compassion that is balanced with the artist¹s
critical eye. Paula, 11, at weight-loss camp, Catskill, New York is
heartbreaking but empowering. Apprehensive of the camera, the pudgy girl
with crimson cheeks turns her body away, clasping her hands in front of her
chest defensively. Greenfield photographs her in the shade without a flash,
and the soft, cool-cyan light bespeaks the girl¹s vulnerability. Using
wide-angle lens and slightly tilting the camera, she keeps our attention on
the girl¹s face and accents her expression and wide body. The image is
gentle but also has the effect of suggesting her inner power and creates an
optimism not seen in the more critical pictures. So too with the image of
Joyce, Elysia and Alison at their friend¹s sixteenth birthday party.
Instead of primping or showing off, the three girls embrace and comfort each
other. The picture is so intimate that it reveals an emotional support
system so vital to many of the younger women pictured here.

The power and importance of Greenfield¹s work arises from its combination of
poignant subject matter, powerful compositions and framing, and the profound
connection between the subject and tradition the artist creates through her
masterful technique. The only weakness in the work is the dense contrast
between shadows and lights in many of the prints which takes away from their
emotional strengths. Greenfield is often referred to as a photojournalist,
which understates her importance in the art world. She is certainly not
driven to make pictures just because she is on assignment, but more likely
out of the desire to express her personal vision through relevant subjects.
Like Nan Goldin who, in 1987, showed that there was more to photography than
postmodern intellectualism, Greenfield takes us away from the monotonous,
digitized unreality of so much contemporary fine art photography. In so
doing, she reestablishes the primacy of the individual artist¹s vision in
connecting passion and subject matter.

American Photo Review Jan/Feb 2003
They are always blond, it seems, and always thin: the Popular Girls of every woman's haunted teenage memories. They are named Monique or Sandy or, of course, Heather, and their lithe legs stretch a mile from their fashionably rolled-up shorts to their totally cool sneakers - a degree of stylistic perfection unattainable by mere mortals. They seem so preternaturally gifted that you wonder whether such grace can persist into adulthood. (Maybe you hope it doesn't.) You also wonder whether these girls are happy.
Lauren Greenfield wondered just that when she traveled to Edina, Minnesota, in 1998 to photograph a story for The New York Times Magazine on the expansive topic of "being 13." Her pictures of the glorious blond Alpha Girls ruling over the seventh grade there began to provide an answer. The photos also began to convince Greenfield that there was much to be revealed about the real lives of American girls. It all led to a new book, Girl Culture (Chronicle Books, $40), an ambitious effort that blurs the distinction between photojournalism, art, and social science. (An accompanying exhibition of the images opened in October at the Pace/MacGill Gallery in New York and will be traveling to the Stephen Cohen Gallery in Los Angeles in December and the Robert Koch Gallery in San Francisco in January.) "What I learned shooting the 'popular girls' in Edina was how hard it was to stay on top," says Greenfield, "and how insecure they felt about their social position. One said she was afraid she would come to school one day and suddenly find that she wasn't in the popular group anymore. Another girl said that if she could do it over again, she'd rather have real friends who liked her for who she was." Instead, she was rewarded for who she appeared to be.
That raw truth - the tyranny of appearance in the lives of young girls and women-lies at the center of Greenfield's book. The girls in Girl Culture range from four-year-olds playing dress-up in spangly princess outfits to awkward teenagers arriving at a weight-loss summer camp to Las Vegas showgirls and strippers plying their trade. In one way or another, all of them are defined by how they look. Like the photographs in Greenfield's first book, 1997's acclaimed Fast Forward: Growing Up in the Shadow of Hollywood, the images in Girl Culture are often weighty with unflinching detail. In one shot, a showgirl named Anne-Margaret is seen reflected in her dressing-room mirror at the Stardust Hotel in Las Vegas. Taped to the side of the mirror is a handwritten note that reads I APPROVE OF MYSELF alongside pictures of models the dancer admires. That picture, shot on assignment for Stern magazine, got Greenfield thinking "about how girls construct their identities, how they use pieces of the outside world to express themselves."
Soon, Greenfield, who recently became a member of the VII photo agency, began seeing aspects of girl culture all around her: on an assignment in Florida shooting a story on spring break, with its "girls gone wild" partying; while photographing Chattanooga, Tennessee, debutantes who complained about being fat as a size four; and while shooting the Edina teenagers, whose unforgiving social structure was described by one of their mothers as consisting of "tier-one, tier-two, and tier-three girls." Putting the book together, Greenfield says, was an intuitive process. "I made a lot of different pictures that seemed like pieces of the puzzle," she says, "but I didn't know until I was editing it whether they would all fit together." The puzzle included some surprising juxtapositions, tying together the worlds of girls and adult women. "When I looked at the exhibitionism of strippers, it reminded me of little girls and how they perform, how they look for approval," the photographer says. "In pictures, you can't help seeing the similarities in dress and body language."
The work was also cathartic. Greenfield was once, after all, a little girl who grew into a woman in the American body culture, and she recounts her own teenage years of chronic dieting, anxiety about her own popularity, and a conviction that her outer appearance reflected the imperfections that lurked on the inside. In this Greenfield has plenty of company. One eating-disorder clinic estimates that 85 percent of adult females wake up each morning dissatisfied with their weight and appearance, determined to somehow replicate the ever-shrinking dimensions of "lollipop" actresses and models (so called because their heads look oversized atop their sticklike frames). Joan Jacobs Brumberg, a historian at Cornell University, who wrote the introduction to Greenfield's book, feels that the current cultural environment, fueled by commercial forces outside the family and community, is actually toxic for adolescent girls "because of the anxieties it generates about the developing female body and sexuality."
One bright spot in this dispiriting landscape of insecurity and self-blame is the rise of girls' athletics, which is credited with giving at least some girls a body identity that arises from their abilities rather than their decorativeness. Greenfield says that the athletes she photographed-including tennis star Venus Williams, members of the Stanford University women's swim team, and players on the Little Indians softball team in Naples, Florida, where girls' softball is a local tradition-had a sense of a goal broader than themselves. "They have a larger and more important context in which to see themselves," she says, "that has to do with making a faster time, or coming through for their team, rather than simply looking good when they walk out the door."
The book also features Greenfield's bracingly honest interviews with some of the girls she photographed, such as Stephanie, 14, whom the photographer met at the weight-loss camp, and Sheena, a 15-year-old struggling with her body image (see page 56). "I think it's a challenging culture for girls to grow up in," Greenfield admits. "My role isn't to condemn it, but to try to show the pieces, to put them together. This book is a subjective view of one aspect of the girl culture. It's not the whole story, but it's the part of the story that leaves no one untouched."

Very chic and lovely!
The photographs taken in this book were wonderful and fun, but the only reason why I gave it a 4 was because it didn't have much variety [and, to be honest, was a bit cliché]. However, I did find the book very interesting and the stories for each photo made it twice as good. I definitely would recommend it.

What It's Like for a Girl
I first saw this exhibit at the CCP at the University of Arizona, when I was 18 years old. Since then, I have not been able to erase Greenfield's images from my mind. Not only are her photographs beautiful and powerful, but the testimonials that go with each photo are heartbreaking. After I saw the exhibit, I had to have the book... but I didn't end up buying it until years later. I was happy to find that the book has expanded content--more pictures, longer testimonials, an introduction by JJ Brumburg (excellent!) and an essay written by Lauren Greenfield herself. I highly, highly recommend this book to anyone interested in the psychology and sexuality of America's female population.

Flash Art Magazine Review, February 2004
American photographer Lauren Greenfield's recent exhibition is entitled "Girl Culture". The artist's stunning documentary photographs are prompting comparisons to other female photographers such as Tina Barney and Nan Goldin.

Like Barney, also a documentarist of the social realms of contemporary America, Greenfield painstakingly monitors subtle variations of self-representation, made congruent with commonly accepted ideals at the earliest possible stage in a person's development. The rites Greenfield are watching are those of the common girl. In this way, "Girl Culture" presents the opposite of the body-hiding conventions of Barney's East Coast WASPs. Greenfield focuses on the procedures of preparing and presenting the body in a body-fixated mass culture.

"Girl Just Want to Have Fun" springs to mind as a disturbing euphemism for living the life of a little girl, an adolescent, or a grown woman in the United States today. Oscillating between overeating, starving, and self-mutilation, these girls become conditioned at an early age (even as young as four) by dressing up (and looking frighteningly grown-up) in a brutally competitive environment filled with drastic misconceptions of beauty.

The radical affirmation of the standardized ideal sometimes results in travesty, such as when we look through the photographer's eyes at both Las Vegas showgirls and minors wearing too much makeup. Greenfield knows her craft. Her eye is never hurtful or brutally revealing, but instead allows her subjects to present themselves the way they like, the way they live - knowing that the production of the self in front of the camera can be more revealing than any pose the photographer suggests.

Beauty, for most of these girls and women, is used as a weapon. It seems to grant self-esteem and acceptance. The outer appearance supports and covers the self simultaneously until the individual is no longer indistinguishable from the masses, until it seems to blend in smoothly. The American body is a body for the masses that results in mass display of the manipulated, operated, augmented body on such ritual occasions as pageants and spring breaks. Greenfield shows the way that these rituals conceal a rigid subtext of pain, suppression, and denial.

Remarkable is the sheer absence of men in all of these scenes. With the exception of a spring ritual, in which a group of men hold up a woman like a broken Barbie doll, they are almost invisible. They occupy the women's fantasies, their longings, their projections. Thus, they are included in every picture that Greenfield takes, with a girl culture unfolding in front of the backdrop of dominant male culture. In this respect, Greenfield's seemingly objective photography contains a tangiable, important critique. (Written by Magdalena Kroner) ... Read more

Book Description

Place all the fashion photographs taken in a given year end to end, and what you have is a very long, very misleading footpath back to the blunt centre.Alternately, every year Fashion Images de Mode filters out the same-old-same-old set pieces and the rehashed mediocrity to deliver the cutting edge of world fashion images - all in one building.Globally recognized as a leading brand in fashion and photography, the rigorously selected shoots form a style bible for the year, crossed with a crystal ball into the coming seasons.Edited by Lisa Lovatt-Smith, this year's deluxe swagbag of sexy, shouty and brilliantly subtle victories for human decor features a meditation on the fine art of androgyny by Mariuccia Casadio with illustrations from Annette Aurell, an in-depth look at the legacy of Jean Loup Sieff by Tiggy Maconochie and the personal choice of uber-chic photographer Terry Richardson.With a preface by Rankin and photographic contributions from David LaChapelle, Elaine Constantine, Katerina Jebb, Andrea Giacobbe, Warren du Preez and Nick Thornton Jones, this year's publication is as haute directional as it gets.Fashion Images de Mode: a thing of beauty and a resource forever. ... Read more

Reviews (1)

FANTASTIC! THIS IS ART.... UNIQUE... plastic@uoe.com.ve
Este libro es fantastico,fotografías espectaculares, el diseño gráfico es ingenioso, este libro contiene una excelente recopilación de fotos de fashion muy buena (sobre todo las fotos realizadas por Jean-Baptiste Mondino), además se nota que el criterio de selección de fotos es netamente artistico y no comercial como suele suceder con los libros de fotografías cuyo tema central es la moda que no son nada artisticos ni de buen gusto solo lo hacen por vender mas una cierta marca de ropa....Este libro resumen en imagenes gran parte de la apertura visual y el rompimiento de esquemas de la moda.... Imagenes muy bellas y ademas imagenes bien heavy/hardcore de las modelos... si lo consiguen comprenlo... if you find it buy it! it's great... buy it! ... Read more

Reviews (1)

Thirties brainwashing
A fascinating photo study of how two nations used photography to push their own political agenda. Author Bendavid-Val sums it up as...'The moral Russian individual was called upon to yeild unselfishly to his people. Americans on the other hand believed that the individual had a basic right to act aggressively on his own behalf, to make his own future...'.

The book starts with a super twenty-four pages of photos, each spread has a Soviet photo facing an American one, both dealing with the same subject, children, street scenes, farm workers, power stations, in a bar, shop windows etc. They do look very similar, least at first glance!

The essence of the book are two portfolios of black and white photos, first the Soviets with seventy-seven then the Americans with seventy-four, they are mostly one to a page and beautifully printed.

The author explains in an illustrated essay the thinking behind taking pictures for propaganda, this could turn out to be a bit of a hazard in the old Soviet Union where creative folk could become non-people as happened to photo-editor Lazar Mezhericher, declared a saboteur in 1937 and photographer Yakov Khalip who had the misfortune to take portraits of NKVD boss Nikolai Yezhov who vanished one fine day, also in 1937. Khalip's work was suddenly tainted!
Incidentally 'The Commissar Vanishes' by David King is an interesting book about the falsification of photos in Stalin's Russia

What the author does not cover is why the American photos are technically so much better than the Soviet ones. I assume this has to do with Roy Stryker's very tight shooting scripts that he made his photographers follow. Also the output of the FSA had to compete with commercial images from ad agencies and the like. The Soviet photographers would hardly have had to worry about such competition and so their photos were much more subjective and creative. Strangely a lot of the American photos were taken in the early forties, despite the book title refering to photography in the 1930s.

Unfortunately there is no index or bibliography, which I would have expected. In the 'Listomania' section of my...'see more about me' page I have made a Top-Ten list of books about about FSA photographs.

Leah Bendavid-Val is to be congratulated on producing an excellent book about documentary photogrphy during the 1930s. These photographs are some of the greatest ever taken. ... Read more

Amazon.com

One can only imagine the amazement felt by L.J.M. Daguerre, when, in the summer of 1839, he gazed upon the first photograph ever made. An image of the view from his Paris apartment of the bustling Boulevard du Temple, it was remarkably detailed yet mysteriously vacant, save for a single man in the distance who appeared to be having his boots polished; the rest of the passersby evaded capture due to the necessarily long exposure. And thus began the world-shaking practice of photography. A New History of Photography was created after the French Ministry of Culture observed that there were no books produced in France that addressed the history of the art form. Rather than present the standard chronological survey, this book's creators chose to produce a volume that would encompass photography's historical evolution as well as its role in society.

Editor Michel Frizot writes a substantial portion of the text, along with 29 additional authors who offer a plethora of analytical information and a wide variety of points of view. Periods, social practice, contextual analysis, historical questions, influential innovations, and aesthetic turning points are explored around themes ranging from chemistry to the snapshot, ethnography to color printing, evidence to advertising, and much, much more. This ambitious book includes many images not familiar to an American audience, offering a fascinating visual smorgasbord that demonstrates the breadth of applications and interpretations that photography has seen from its very inception. Put simply, it is a book about why people take photographs and what photographs can do. At a whopping 776 pages, this weighty volume has something for everyone. --A.C. Smith ... Read more

Reviews (2)

A HISTORY OF EVOLUTION
Yes, we all love Avedon, Bourke-White, Capa, Doisneau, etc. But do we all understand how photography evolved from gelatine and silver plates, to Man Ray and then Newton? If you want to have a general perpective of the history of photography, and access to wonderful pictures not previosly divulged to the general public, I would recommend this comprehensive and well organized book

"New History" very, very comprehensive.
This is a lot of book. A lot, a lot of book. It's essays are well written to be easily accessible, clearly showing that the contributors understand and are passionate about photography. Clever thematic content allows you to browse at topics that interest you rather than get lost in a strictly chronological rendition of photography's development. The essays deftly weave together the various influences on the medium as it mutated over time. But best of all are the hundreds of photos, many that neither I nor other professional photographers I know have ever seen published elsewhere. Serious photographers are interested in the development of photographic representation. This book is the ideal place to begin to get to grips with that whole fascinating topic. Highly recommended. ... Read more

Book Description

Photographer Richard Mack has brought the vistas and majesty of the Lewis & Clark Trail to life in a magnificent set of 248 color photographs. Richard spent two years visiting key locations along the Lewis & Clark Trail–by plane, auto, and on foot–shooting specific locations at the same time of year as was originally experienced. The result is an extraordinary set of images capturing the incredible diversity of the American landscape in different seasons. The Lewis & Clark Expedition–also known as the Corps of Discovery–is regarded as one of the epic stories in American history.

The trail stretches across the American landscape starting in St. Louis and follows the Missouri River through the woodlands of the Midwest, out onto the Great Plains before crossing Montana, entering the Bitterroot Mountains in Idaho, and gliding down the Clearwater, Snake, and Columbia rivers to the Pacific Ocean. The pioneering exploits of the Corps of Discovery have been thoroughly chronicled in thousands of pages of narrative by historians as well as in the journals of Meriwether Lewis and William Clark. These words have helped capture in riveting and descriptive detail the sense of discovery and, in particular, the wonder of viewing untouched landscapes and various species of animals for the first time. Unfortunately, the only "pictures" from this expedition were those painted by the words and drawings of Lewis & Clark. Until now.

For those interested in the Lewis & Clark Expedition specifically and American history in general, this book is an invaluable supplement to the narrative works in their collection. For those who are simply awestruck by the splendor of nature or the power of photography, this once-in-a-lifetime collection of images will be a treasured addition to their library. ... Read more

Reviews (1)

A genuine work of art
Those who have read and admired Steven E. Ambrose's "Undaunted Courage" will be moved by this photographic depiction of Lewis and Clark's Journey of Exploration.The photography is incredibly vivid, and romantically evokes the magic of the western American landscape. A masterful piece of work. ... Read more

Book Description

Herb Ritts is one of the most notorious and successful photographers working today. The Los Angeles-based imagemaker has created portfolios for Vogue, Vanity Fair, and other magazines, done movie ads and music videos, and worked with fashion-world clients such as Calvin Klein and Giorgio Armani. This sumptuous catalogue, published to accompany an exhibition at the Fondation Cartier pour l'art contemporain in Paris, includes an interview with Herb Ritts. One hundred photographs, some previously unpublished, exemplify the rigorous, disconcerting work of one of the most remarkable photographers of the contemporary art, fashion, and entertainment worlds. Herb Ritts's subjects include Antonio Banderas, Sandra Bernhard, Louise Bourgeois,Charles Bukowski, William S. Burroughs, Francesco Clemente, Joseph Fiennes, Dizzy Gillespie, Mel Gibson, Keith Haring, Stephen Hawking, Michael Jordan, Jackie Joyner-Kersee, B. B. King, Roy Lichtenstein, Ewan MacGregor, Nelson Mandela, Edward Norton, Robert Rauschenberg, Christopher Reeve, and Tina Turner. 94 duotone photographs. ... Read more

Reviews (14)

Powerful Black & White Imagery
As an amateur photographer, I have always found Herb Ritts to be one of the greatest modern photographers living. Similiar to many celebrity photographers such as Richard Avedon, David LaChapelle, and Annie Liebowitz, Ritts captures the essence that is celebrity perfectly. Whether it is the photograph of Madonna and Sean Pean as a loving couple, or a gathering of today's top supermodels (all nude) Ritts has an eye for detail, as well as an approach few photographers nowadays don't utilize, direct communication with your subjects. In the past (and even in the present) celebrity photography can be a pain as many celebrities tend to want their agents around them whenever there is a shoot.

Many of Ritts photographs in this compilation happen to be of a homoerotic nature. Ritts, who is openly gay, captures the essence of male sexuality perfect, and the results can be enjoyed by anyone regardless of their orientation.

I hope in the future Ritts comes out with another huge compilation of his work. His recent work with such celebrities such as Monica Lewinsky and Janet Jackson should be published in a volume, but for the meanwhile, purchase this book for your coffee table or library. It will make an interesting topic of conversation with anyone. Ritts is pure genius!

Herb Ritts: Work
I was mesmorized by this book! Herb Ritts has the ability to not ownly create a beautiful portrait, but to capture I personality of his models. Each photograph tells a fabulous story of fantasy, glamour, and often just everyday life. I would highly recommend this collection. Among my favorite celebrity photos: Johnny Depp on the set of Edward Scissorhands, Jim Carrey dressed as a Mermaid, Tom Cruise on the set of Mission Impossible 2, the tattooed arm of Axle Rose, and a mysterious grin by Roy Lichtenstein. These photos are also large enough (most are at least 8x10) to remove and frame.

Beautiful coffee table book & conversation piece
I received this book as a gift. I can't tell you how many times at a party or get-together at our home someone has picked this up, and then it has become the topic of conversation. The book gets passed around the entire night because everyone wants to look at it, and once someone starts flipping through the pages they simply can't put it down because they want to look at every image. Several of the photos are of celebrities, but they are somewhat disguised. Example: Cindy Crawford made up as a man. It is fun to do a "double take" as you try to guess who some of the subjects are. As always, Herb Ritts' images are masterpieces. This was a wonderful gift.

A Mixed Bag of Photographs
This catalogue of the retrospective of Ritts' work in the mid 90's at the Museum of Fine Arts, Boston by its very nature has a lot of photographs that are included in previous volumes: many of the nudes, the African photos, the series called Duo and "celebrity portraits." Unlike many celebrity photographers, Ritts was able to create photographs that rarely if ever are duplicates of either his or other artists' work. You get a good sense of that from looking at all of the small copies of all the photos published at the end of this volume. That is no small accomplishment. Many of the nudes and/or erotic photographs have been around for so long and reproduced so often that they have almost become cliches. For example, the series of "Fred With Tires." These show up in calendars, refrigerator magnets, posters ad nauseam. The nine photographs of Bill T. Jones, one of which graces the cover of this hefty volume, should be called "Eunuch, I-IX." The poor man has been castrated by the stroke of an airbrush. I assume we are politically rather than anatomically correct here. This show was clearly no repetition of the Mapplethorpe Exhibit in Cincinnati!

Celebrity photographs are often just that. They are interesting only if you know the model. A fine portrait photographer can shoot someone we do not know and make that person interesting to us. Many though certainly not all of Ritts' photos rise to that level. For that reason, he will always be revered as an artist. I would put the photos of Whoopi Goldberg, William Burroughs and Mike Ovitz in that category, to name three. Even if we did not know who these people are, Ritts makes us want to know them. Proof of this, at least for me, is that I was mesmerized by the photo of Ovitz and didn't have the slightest idea initially of who he was. These photographs are intriguing and draw the viewer in. Finally, for my money, the three incomparable shots of Eunice Kennedy Shriver are simply the best portraits in the book. The first time I leafed through this volume, these fantastic shots jumped out at me.

I treasure my signed copy of another of Ritts' books. I'm sorry that he will never take another photograph.

Amazing
Although, sadly, Herb Ritts has passed away I'm sure he'll be remembered as one of the greatest celebrity photographers ever. With that being said, I'll admit that I am NOT a Hollywood-glam-celebrity fanatic, and I hate public obsession with celebrities. However, I will admit my admiration of Herb Ritts' introverted and sophisticated images of Hollywood identities. I keep my copy of "Herb Ritts: Work" next to the wild and outgoing "Lachapelle Land" by David Lachapelle, which together show an interesting contrast in approach to celebrity photography.

The first third of the book is comprised of Herb Ritts' nudes and "unearthly" abstract nudes, most of them photographed in the 1980's. The remaining are photographs in Africa and his famous artist and celebrity portraits. One of my favorite photos is of photographer/sculptor Joel-Peter Witkin with his son, a rather down-to-earth and affectionate portrayal of such a "macabre-oriented" artist.

I was always intimidated by the price of this book, but I knew I had to have it. Luckly, I got a new 1st ed. copy for about thirty-bucks with online auction (I'm sure the seller was hitting himself on the head with it). However, I would've WELL paid $135+ on this as it is one of the most well-bound luxurious photography books I've seen. The book itself is finely printed, and I would definately recommend adding this "essential" to any monograph book collection. ... Read more

Reviews (1)

The greatest landscape photographer of all time!
When I look at a photograph done by Paul Caponigro I feel inspired and moved by what the image says to me. He has a way was translating a mood and feeling through his choice of subject matter and point of view. In many instances he can make the natural world speak and motion towards a sensibility that can create many emotions. There is a meditative atmosphere to his prints and choice of subject matter that in many ways invokes a mythic or gothic feeling. Caponigro's work whether it be a traditional landscape or a created still life continues to catch the eye of whoever sees it. He is an artist of the finest caliber who does what he loves and does as he likes. Although his work is obviously very personal to him, he is willing to share with all his viewers his beliefs and views of the world as he sees it. I often look at his work and feel honored that he is willing to share a special place in the world that he has discovered. There is little doubt that he does his photographs for other people to enjoy, not just himself. Paul Caponigro shows us the world like no other person can, he adds mystery and beauty to all kinds of places both natural and man made. Over the past forty-five years Caponigro has defined what it means to truly become a landscape artist. The work he has done has classified itself in a realm all by itself and has given other landscape lovers a place to strive to. His dedication to the craft of photography shows clearly in all the work he produces, and in many ways he has shown us the natural world as it has never been shown before. ... Read more

Amazon.com

In 1953, When Audrey Hepburn burst onto the screen in Roman Holiday, she forever changed the international ideal of elegance, grace, and beauty. Suddenly, glamour and even sexiness seemed attainable for women everywhere; Audrey was uncommonly beautiful, but she was real--hers was a look anyone could aim for, but few could pull off as effortlessly or effectively. By mixing a few classic elements of "Audrey style"--the little black dress, ballet flats with slim capri pants, bold hats and sunglasses--suburban housewives became more Hollywood than Hoboken in an instant.

Here author Pamela Clarke Keogh introduces us to the woman behind the clothes, using words from friends, fellow actors, and designers who dressed her to paint a picture of a truly remarkable woman. A humanitarian, artist, friend, and above all, survivor, Audrey inspired women and men alike to approach life with spirit, grace, and simplicity. The nearly 100 color and black-and-white photographs, paired with original sketches from such fashion luminaries as Givenchy, Manolo Blahnik, and Vera Wang, show that Audrey was much more than a beautiful, well-dressed personality; her courage and individuality come shining through in every page. --Leah Ball ... Read more

Reviews (56)

For audrey fashionistas
This book is somehat hypocritical - the text urging us to find our own, individual style which is what Audrey would have wanted, among inserts urging us to slavishly imitate Audrey's clothes and makeup! The photo of the author in a very audrey-esque black turtleneck notwithstanding, this is a good effort, with wonderful photos making up for the slight and overlaudatory text. (Givenchy could have written a bit more, I thought, maybe he is not a very literary man) Check out 'Adieu Audrey', another (superior) tribute.

Fabulous tribute to a woman w/style & beauty beyond compare!
As an avid admirer of Audrey Hepburn, I have long been aware that she was not just exceptionally beautiful, but genuinely kind and generous as well. This book serves as not only a tribute to a personal grace, beauty, and stylishness beyond compare, but manages to also capture her history as a great humanitarian. I was enthralled by the elegant photographs and the insightful prose accompanying them. Like Audrey, this book is the epitome of grace, beauty, style, warmth, and substance. Exceptional subject AND exceptional author, indeed! I will return to this volume again and again for many years to come. It deserves 5+ stars!!

A perfect book about a perfect lady
I really like this book-it really shows what an absolutely beautiful lady she was-she certainly was very sensual and sexy.She knew how to project herself without going overboard-
the lady had class and it really showed.There aren't any actresses like Audrey anymore-I really miss her.

I highly recommend getting this book.

Delivery doesn't match topic
A book like this should have more pictures. The ones it does have don't have captions. The writing is fairly ameteurish but does have some interesting stuff despite being from an angle I didn't like. I didn't like the big black pages with the white lettered quotes not just because some of the quotes weren't especially good, but because you can't read the middle that is in the binding and seems to be poor quality ink or paper. All around this book is just okay, great topic, poor delivery.

The Zen of Audrey's Style
A fun book for all Audrey admirers with a gentle warning to unquestioning mimics: The essence of Audrey is not to follow. ... Read more

Book Description

Evocative pictures by the master of Paris, New York and Hungary. Taken in the early 20th century up through the 1970s. ... Read more

Book Description

The most arresting photographic images in our history-all the way up to the World Trade Center tragedy and the 2002 war in Afghanistan-come to life in this complete compilation of Pulitzer Prize-winning news and feature photos, along with the stories behind them.

More than 235 prize-winning photographs offer a year-by-year, dramatically visual chronicle of our times. Each beautifully reproduced image is accompanied by key information on how the shot was taken and the stunning story behind it, as told to author Hal Buell by the photographers. An accompanying timeline, placing each photo in its historical context, features yet another 265 photographs.

This unique and moving volume is completely up to date, including the 2000-2001 winners.Recent photos include images of students fleeing Columbine High School and the striking shot of federal agents taking Elian Gonzales from the arms of his relatives at gunpoint. ... Read more

Reviews (1)

Heart-rendering depictions by devoted photojournalists
This book contains the best Pulitzer awarded pictures from its inception since 1942. Most of the photos are in B&W and you begin to realise how much more powerful and appropriate it is to be shot in this medium, as it strips away the epidermi of the scene and reveals the emotional flesh of the moment. Every photo is accompanied with a commentary about how it was made and the situation that exposed the determination, patience and grit of the photographer. And for each year that is chronicled, four thumbnail pics of other events in that year is depicted, to give a sense of the timeline of the situation.

This book makes you want to be a photojournalist. ... Read more

Book Description

Carlo Mollino (1905–1973) was one of the most inspired mid-20th-century architects and designers. In a career that spanned more than four decades, Mollino designed buildings, homes, cars, aircraft, women’s fashion, and theater sets. He was a renaissance man who sought to articulate movement and sensuality in his designs. Even more compelling are the magically surreal Polaroid images Mollino made in his Turin studio during the last 14 years of his life, seen here in the first-ever collection of Mollino’s carefully honed erotic photographs of women. From 1,500 works, the Ferraris have culled over 250 representative images in which Molino posed his models in evocative clothing, staged the backdrops, and finally, altered the photos with a microscopic paintbrush to attain his ideal view of the female form. Only a few of Mollino’s Polaroids have ever been viewed by the public. ... Read more

Reviews (1)

A range of small color vintage photos of women
Fulvio Ferrari's Carlo Mollino Polaroids gathers a range of small color vintage photos of women. Chapters provide intriguing images which are diverse and unusual. An excellent art library acquisition, especially for collections strong in photography. ... Read more

Book Description

Based on Abrams' hugely successful Earth From Above: 365 Days, this new and improved edition includes 60 additional pages and almost 200 brand-new, eye-popping images by renowned aerial photographer Yann Arthus-Bertrand. Reaching across the continents, from the icebergs of Antarctica to the cotton fields of India to the olive plantations of Spain, the breathtaking, full-color photographs are accompanied by informative new captions that illuminate what we see and describe the environmental concerns related to each location.

In addition, all 12 chapters of the book now open with an insightful introduction by one of several noted authors who address a wide variety of subjects critical to the present and future health of our planet: agriculture, biodiversity, sustainable development, energy, forests, fresh water, seas and oceans, global warming. Earth from Above: 366 Days offers us a valuable new perspective on our spectacular but fragile environment. ... Read more

Reviews (2)

Beautiful photos spoiled by propaganda.
The photos get 5 stars, Unfortunately, the text is a constant stream of preachy eco-alarmism. Various leftwing "intellectuals" introduce each chapter with astonishingly naive tracts: the one on "poverty" could have been exerpted directly from the communist manifesto.

Enjoy the photos, but ignore the text and read instead Lomborg's "Sceptical Environmentalist" and Norberg's "Defense of Global Capitalism"

Another Stunning Collection from Arthus-Bertrand
I have both Earth from Above (the BIG book) and Earth from Above: 365 Days. Both books contain hundreds and hundreds of images that I find extraordinary -- intoxicatingly beautiful images of our world. I am happy to report that this newest volume adds many more absolutely stunning NEW images to the Arthus-Bertrand collection.

This new volume is not just an expanded and/or revised version of older editions. At least eighty percent of the photos are entirely new. Another ten to fifteen percent contain either DIFFERENT photos of a given geographic site (e.g., the famous "heart" on New Caledonia) or explore the same theme in a new area (e.g., the photo of a windmill farm in this edition is in Denmark instead of California.)

The only criticism I can make of this new edition is that it occasionally flirts with tourist kitsch. I'm thinking of the photos of Neuschwanstein Castle in Bavaria and Tower Bridge in London. Still, even these rather tame and familiar images are balanced with other fantastic views of less familiar landmarks on the world tourism trail. (The photo of Jaisalmer in Rajasthan, India is absolutely the finest picture of that magical city that I have ever seen.)

If you already own Arthus-Bertrand's other books, you will not be disappointed by this latest collecton. If this is your first exposure to his photography. . .well, I envy you. Please check out his other fine books. He offers a multitude of images that never fail to beguile and astonish. ... Read more

Reviews (6)

Very Informative
This book is used as a text for a history of photography course at Idaho State University. It is an excellent book and the pictures are reproduced beautifully. When I saw the book on the shelf, I thought I would have to pay at least $100 for it. I was happily surprised to find out how inexpensive it is.

my basic source book
I am the Curator of the Pfeifer Collection of Classical American Photography in Zürich, Switzerland and previously to this, the Assistant Director of the Paul Strand Archive. I have been writing about photography since 1985. Since it was published, I have used Rosenblum's book extensively. It is the first source book I go to when doing my research.

Superb! by fermed
I have owned a copy of this book for several years and it still gets used with the frequency it deserves. I confess having been quite ignorant about the history of photography: it seemed the type of record I would not be particularly interested in (old photos are too old, and new ones are in the daily paper); but my attempt to read Susan Sontag's book ON PHOTOGRAPHY demanded precisely the nearby presence of a reference such as this one, and so I came to own my copy. The book is very thorough, deeply scholarly, and broadly based. If it has to do with the record of photography as culture it is likely to be found here. I treasure it.

This book is just one of the must-have's in life.
It's just the basics, put plainly and simply for everyone to absorb

Outstanding
The book is an outstanding and thorough history of the photographic process, equipment, photographers and styles from Niepce's first photos through color photographs from the 1980's. A very complete survey,especially of thephotographers with lots of examples. ... Read more

Reviews (1)

A GREAT SURPRISE
The book is essentially the companion to one of the most fascinating shows that I ever stumbled upon. Last November in London, I went to the Design Museum[founded by Terrence Conran] to view an exhibit of aluminum[aluminium].

Coincidentally, there was this Vogue show. Having paid my admission to the museum, I viewed this exhibit as well. Now, I don't pretend to know much about fashion nor photography. And this show blew me away. And so does this book, but not as well as the show, of course.

An assemblage of insights into the culture and history of the twentieth century that I would never have encountered on my own. Not only does the story reveal how conde nast's money financed some of the more significant technical innovations in photography[which intrigued me since I try to follow the history of science and technology], but I was also fascinated to discover how it was that Vogue may have had the most energetic and brave war correspondent/photographer of WW2: and it was a beautiful and talented woman - Lee Miller. Do take the time to find out all you can about her.

And lastly, the photos are knock-outs. I wouldn't have done this show or this book deliberately, but having stumbled into the show, I have to pronounce it one of the most educational exhibitions that I have encountered. ... Read more

Book Description

Award-winning nature photographer Jim Brandenburg gave himself a challenge: for ninety days between the autumnal equinox and the winter solstice, he would take only one photograph each day.This exquisite book, now in softcover, is the result of that bold and immensely personal project.Through the accompanying essay, Brandenburg shares his innermost thoughts and passions as he witnesses the cycle of nature near his home in the northwoods of Minnesota.Brandenburg also contributes new photos and an Epilog that illustrates and discusses the devastating summer wind storm that wreaked havoc on the locations photographed for the original project. ... Read more

Reviews (15)

I normally hesitate to use this word, but...profound.
I'm a verbal type; I'd rather read a beautifully written description of a frozen lake than stare at a picture of it anytime. Even knowing that, my mother gave me this book several years ago, and I fell in love. I sat with it for hours, seeing, dreaming, and I still take it down often to do the same again. The photographer, Jim Brandenburg, set himself the challenge of taking only one photograph each day for three months, in the boreal forest where he makes his home. The result is a portrait of life as many of us can never experience it: not just "calendar shots," but pictures that show the cruelty of man, the certainty of death, the very simple beauty of a single bright leaf burning on the dark, still waters of an evening pond. Some photos are amazing in themselves and some seem ordinary in the extreme, but it is important to take them as a whole, and see what you learn from the journey.

Gorgeous and thought provoking
Jim Brandenburg has stepped beyond the comfortable environs of the successful photographer and created a true work of art. The premise is audacious... take only one photograph per day for ninety consecutive days and set them in order to illustrate the minimalist way of thinking so often absent in photo assignments. With typical photo-journalism assignments for publications such as National Geographic resulting in up to tens of thousands of photos, the presentation of ninety varied and spontaneous images exposed Brandenburg to the very real possibility that the result might be unwieldy and chaotic. The genius in this book is the way the images, supported by a gentle and well written narrative, weave a seamless tapestry of a three month journey. Lest one think this book is simply pretty pictures, look at the photograph of a poacher's kill... haunting, visceral and yet not gratuitously graphic. Images such as this give this book an edge that is gripping and very meaningful. Brandenburg is a "wolf person" extroardinaire... but here he expands his subject matter while paradoxically stripping his assignment down to the very barest of essentials. He presents some of the most flatly beautiful images I have ever seen in print. Lake Superior is not only a national treasure, it is Hiawatha's water... haunting, ethereal, powerful and fundamental. Brandenburg shows us several of the great lake's moods. The Boundary Waters area is a primordial wilderness still relatively unmolested. Brandenburg brings the delicate tracery of these waters and the winter's embrace alive. The Aurora Borealis is vivid, the midnight sun is brooding and the frozen waterfall speaks of latent, pent-up power awaiting spring's release. This book almost talks. Impressive, beautiful, moving and pretty amazing.

Challenge Achieved with Grace
I gave this book to my parents several years ago and still leaf slowly through its pages whenever visiting their home in northern Minnesota. For amateurs and professionals alike, his is a fascinating photographic concept: your own property? a favorite park? your family? or pet? a holiday?

Old fashioned and wonderful
It's so more agreable to have this engagement calendar on your desk than a modern and dull looking electronic device. Use an old fountain pen to take your notes, and wait till the ink is dry before turning the page! Wonderful pictures under your eyes every day of the year! You can escape and image yourself so far from the busy and noisy modern world. I'm waiting for the 2003 edition.

Simply amazing, on many levels
Jim Brandenburg has been among my favorite photographers for years, and I've always been overwhelmed by his ability to capture a moment in time so perfectly. _Chased by the Light_ definitely didn't disappoint me at all; in fact, it gave me an entirely new respect and admiration for this amazing man.

Most folks know that published photographers often shoot dozens or hundreds of rolls of film for every shot that is published, and Jim is no exception to the rule. What he's done with this self-assignment, only one frame per day for 90 days, shows his courage as well as his commitment to his art. I can't imagine the number of beautiful scenes he must have passed up, perhaps in anguish, knowing he could capture it, if only he broke his own rule "just this once." But, he pressed on, searching for His Perfect Moment of the Day. Truly remarkable.

Some of the photos presented in this book are less than perfect; Jim's willingness to publish them as is (apart from a bit of cropping, tone and color correction, he says) demonstrates his love of photography, his humbleness, and his human-ness. Most of the shots are better than many of us could take on our best days, with a full roll - that he is able to take only one picture, and come up with something like his 'Maple leaf in pond" piece is beyond amazing.

His narrative is really what makes the book, though; read any of his books, and you'll find yourself drawn onward by his voice as well as his photos, because he gives you a peek of what goes on behind the lens, who the person is who takes the pictures, and why a particular shot appealed to him (or how he stumbled upon it completely by chance.) Jim's photos makes it look easy, but his words let us know his struggles as well as his passion for his subjects.

It takes remarkable skills to find the wildlife shots he has - his abilities as a tracker must be absolutely incredible. Most of us will never see the animals shown here in their natural, undisturbed settings. Fortunately for us, Jim brings back some of his experiences by which we may experience a vicarious thrill.

I have only a few people in this world whom I call "role models," but Jim Brandenburg is among them. Thanks to this book, I now have even more reason to love this man, his devotion to nature, and his photographs. ... Read more

Book Description

This text is for beginning to intermediate users of Avid Xpress, Xpress DV, or Media Composer.These digital editing systems offer a tremendous number of tools that open up myriad creative possibilities for the film and videomaker, but are as a result difficult to master. The chapters guide readers through an editing project, while the accompanying DVD provides narrative footage to download for immediate, hands-on practice. The book can be read and studied at home, or while sitting in front of an Avid, following the book's step-by-step instructions.

The new edition is updated to reflect the latest versions of Avid software, including an emphasis on the Xpress DV for Mac and Windows. There is also new material on Script Integration, a powerful tool now available on almost all of Avid's products, and a new chapter on how Avid can help the reader create material for current and future widescreen television formats.

úA beginning text designed for anyone new to the Avid
úComplete step-by-step instructions assume no prior knowledge
úCompanion DVD contains footage from a narrative scene, so students can begin editing immediately ... Read more

Reviews (10)

Simple and Understandable: No Techno-babble Here.
For once, a book about technology that does not reduce itself to techno-babbl