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This beautiful coffee table book showcases the work of some of America's most talented photographers. From Ansel Adams to Cindy Sherman, the book features stunning examples of both classic and contemporary photography. Each photograph is accompanied by a brief commentary that provides insight into the artist's style and technique. A must-have for photography enthusiasts and collectors. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This book is a rich record of life in small-town southeastern Alaska in the late 1800s and early 1900s. It is the first book to showcase the photographs of Vincent Soboleff, an amateur Russian American photographer whose community included Tlingit Indians from a nearby village as well as Russian Americans, so-called Creoles, who worked in a local fertilizer factory. Using a Kodak camera, Soboleff, the son of a Russian Orthodox priest, documented the life of this multiethnic parish at work and at play until 1920. Despite their significance, few of Soboleff’s photographs have been published since their discovery in 1950. Anthropologist Sergei Kan rectifies that oversight in A Russian American Photographer in Tlingit Country, which brings together more than 100 of Soboleff’s striking black-and-white images. Combining Soboleff’s photographs with ethnographic fieldwork and archival research, Kan brings to life the communities of Killisnoo, where Soboleff grew up, and Angoon, the Tlingit village. The photographs gathered here depict Russian Creoles, Euro-Americans, the operation of the Killisnoo factory, and the daily life of its workers. But Soboleff’s work is especially valuable as a record of Tlingit life. As a member of this multiethnic community, he was able to take unusually personal photographs of people and daily life. Soboleff’s photographs offer candid and intimate glimpses into Tlingit people’s then-new economic pursuits such as commercial fishing, selling berries, and making “Indian curios” to sell to tourists. Other images show white, Creole, and Native factory workers rubbing shoulders while keeping a certain distance during leisure time. Kan offers readers, historians, and photography lovers a beautiful visual resource on Tlingit and Russian American life that shows how the two cultures intertwined in southeastern Alaska at the turn of the past century.
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ American Photography, Volume 10 Frank Roy Fraprie Boston, 1916 Photography; General; Photography; Photography / General
An introduction to 500 photographers from the mid-19th century to today.
When restrictive immigration laws were introduced in the late-nineteenth and early-twentieth centuries, they involved new requirements for photographing and documenting immigrants--regulations for visually inspecting race and health. This work is the first to take a comprehensive look at the history of immigration policy in the United States through the prism of visual culture. Including many previously unpublished images, and taking a new look at Lewis Hine's photographs, Anna Pegler-Gordon considers the role and uses of visual documentation at Angel Island for Chinese immigrants, at Ellis Island for European immigrants, and on the U.S.-Mexico border. Including fascinating close visual analysis and detailed histories of immigrants in addition to the perspectives of officials, this richly illustrated book traces how visual regulations became central in the early development of U.S. immigration policy and in the introduction of racial immigration restrictions. In so doing, it provides the historical context for understanding more recent developments in immigration policy and, at the same time, sheds new light on the cultural history of American photography.
Some of the most memorable images in the history of photography have come about through the creative tension between art and commerce - creating images that have been able to transcend the time in which they were made, and enabling them to represent that time in perpetuity. Many of the artists featured in this edition are the hidden names behind the some of the world's biggest and most prestigious brands, like Bruce Weber the photographer who defines the semi erotic brand imagery behind Abercrombie & Fitch and Calvin Klein, or a name less well known Solve Sundsbo who crafts the provocative brand imagery for Tom Ford. London based but Peruvian Mario Testino is almost as famous as the subjects he shoots. forever remembered for his Tom Ford era Gucci campaigns with styling by none other than Corinne Roitfeld, and who could forget the "rock with royalty" campaign Testino launched to launch the new Burberry image to stellar heights around the world. Featuring the greats; Miles Aldridge David Bailey Steven Klein Mert and Marcus Sarah Moon Rankin Stéphane Sednaoui Mario Testino Fashion Industry Broadcast’s “MASTERS OF PHOTOGRAPHY” is a series: MASTERS OF PHOTOGRAPHY – Vol 9 Living Legends MASTERS OF PHOTOGRAPHY – Vol 10 Living Legends MASTERS OF PHOTOGRAPHY – Vol 11 Immortals MASTERS OF PHOTOGRAPHY – Vol 12 Immortals MASTERS OF PHOTOGRAPHY – Vol 13 Australians MASTERS OF PHOTOGRAPHY – Vol 50 Living Legends MASTERS OF PHOTOGRAPHY – Vol 51 The Muse MASTERS OF PHOTOGRAPHY – Vol 52 New Gen Fashion Industry Broadcast is a leading global publisher of lifestyle titles, this multi edition set has been created as a hard cover colour coffee table books for $45.00, e-books for $9.99 from Amazon Kindle, Barnes and Noble Nook, Apple iBook’s, Google books, Stanza and Kobo, Apps for mobile devices and a TV documentary series is also in the works. A very special video rich multimedia App version with hundreds and hundreds of original videos, interviews, runway shows, behind the scenes at fashion shoots and advertisements, is available through Apple’s iTunes App store and other major App stores for just $4.99 per edition. Look for “MASTERS OF PHOTOGRAPHY” on the Apple App store. Contact [email protected]
Compiled with the input of a committee of researchers, scholars, and photographers, 'The Latin American Photobook' presents 150 volumes from Argentina, Bolivia, Brazil, Chile, Colombia, Cuba, Ecuador, Mexico, Nicaragua, Peru, and Venezuela. It begins with the 1920s and continues up to today.
When, in 1907, Alfred Stieglitz took a simple picture of passengers on a ship bound for Europe, he could not have known that The Steerage, as it was soon called, would become a modernist icon and, from today’s vantage, arguably the most famous photograph made by an American photographer. In complementary essays, a photo historian and a photographer reassess this important picture, rediscovering the complex social and aesthetic ideas that informed it and explaining how over the years it has achieved its status as a masterpiece. What aspects of Stieglitz’s ideas and sometimes-murky ambitions help us understand the picture’s achievements? How should we assess the photograph in relation to Stieglitz’s many writings about it? The authors of this book explore what The Steerage might mean in at least two senses—by itself, as a grand and self-sufficient work, and also ineluctably bound up with the many stories told about it. They make the photograph, today, what Stieglitz himself made it over the years—a photo-text work.