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An evolution of snapshot photography from Victorian times to the digital age. The arrival of the first snapshot camera in Victorian times bred a new kind of photographer, one who might never before have thought of owning a camera, but for whom the ability to take pictures without any previous experience offered a new liberation. The way snapshot cameras and the pictures they took evolved through the following years and into today’s digital age is what this book is all about. With more than 200 mono pictures and sixteen pages of color, it examines how different types of snapshot camera opened up opportunities to shoot new kinds of picture; reveals the dubious way in which snapshot photographers were once perceived; shows how to identify where and when certain snapshots were taken; looks at the role of professional snapshot photographers; examines the part snapshots have played in social history; and explains why yesterday’s snapshots are still so important today.
An evolution of snapshot photography from Victorian times to the digital age. The arrival of the first snapshot camera in Victorian times bred a new kind of photographer, one who might never before have thought of owning a camera, but for whom the ability to take pictures without any previous experience offered a new liberation. The way snapshot cameras and the pictures they took evolved through the following years and into today’s digital age is what this book is all about. With more than 200 mono pictures and sixteen pages of color, it examines how different types of snapshot camera opened up opportunities to shoot new kinds of picture; reveals the dubious way in which snapshot photographers were once perceived; shows how to identify where and when certain snapshots were taken; looks at the role of professional snapshot photographers; examines the part snapshots have played in social history; and explains why yesterday’s snapshots are still so important today.
From the sod houses of South Dakota to the skyscrapers of New York City, these personal photographs form the first people's photo history of America.
'Snapshot Chronicles' is a visual exploration of the creative outpouring made possible by the camera.
A guide to landscape photography using a DSLR camera covers such topics as light, composition, perspective, lenses, black-and-white images, and HDR.
An examination of the contradictions within a form of expression that is both public and private, specific and abstract, conventional and countercultural. Snapshots capture everyday occasions. Taken by amateur photographers with simple point-and-shoot cameras, snapshots often commemorate something that is private and personal; yet they also reflect widely held cultural conventions. The poses may be formulaic, but a photograph of loved ones can evoke a deep affective response. In Snapshot Photography, Catherine Zuromskis examines the development of a form of visual expression that is both public and private. Scholars of art and culture tend to discount snapshot photography; it is too ubiquitous, too unremarkable, too personal. Zuromskis argues for its significance. Snapshot photographers, she contends, are not so much creating spontaneous records of their lives as they are participating in a prescriptive cultural ritual. A snapshot is not only a record of interpersonal intimacy but also a means of linking private symbols of domestic harmony to public ideas of social conformity. Through a series of case studies, Zuromskis explores the social life of snapshot photography in the United States in the latter half of the twentieth century. She examines the treatment of snapshot photography in the 2002 film One Hour Photo and in the television crime drama Law and Order: Special Victims Unit; the growing interest of collectors and museum curators in “vintage” snapshots; and the “snapshot aesthetic” of Andy Warhol and Nan Goldin. She finds that Warhol’s photographs of the Factory community and Goldin’s intense and intimate photographs of friends and family use the conventions of the snapshot to celebrate an alternate version of “family values.” In today’s digital age, snapshot photography has become even more ubiquitous and ephemeral—and, significantly, more public. But buried within snapshot photography’s mythic construction, Zuromskis argues, is a site of democratic possibility.
In Sports Photography: From Snapshots to Great Shots, author and sports photographer Bill Frakes shows you how to capture the key elements of sports photographs–motion and emotion, style and scene, place and purpose–whether you’re at a baseball tournament, a track meet, or a professional football game. Starting with the basics of equipment, camera settings, and exposure, Bill covers the fundamental techniques of sports photography–understanding lighting, handling composition and focus, and timing peak action. He explains how to choose a shooting position on the field of play, identify the defining moments away from the action, and learn the etiquette of covering live sporting events. He then breaks down the shooting processes of specific sports, outlining the challenges and demands of each and showing how to isolate individual athletes in action. Beautifully illustrated with large, vibrant photos, this book teaches you how to take control of your photography to get the sports photo you want every time you pick up the camera. Master the photographic basics of composition, focus, depth of field, and much more Get tips on shooting with long and short lenses, learning when to use them and why Learn key techniques for photographing various sports, including football, baseball, basketball, soccer, and more Fully grasp all the concepts and techniques as you go, with assignments at the end of every chapter And once you’ve got the shot, show it off! Join the book’s Flickr group to share your photos and ideas for great sports shots at flickr.com/groups/sportsphotographyfromsnapshotstogreatshots.
A picture-rich field guide to American photography, from daguerreotype to digital. We are all photographers now, with camera phones in hand and social media accounts at the ready. And we know which pictures we like. But what makes a "good picture"? And how could anyone think those old styles were actually good? Soft-focus yearbook photos from the '80s are now hopelessly—and happily—outdated, as are the low-angle portraits fashionable in the 1940s or the blank stares of the 1840s. From portraits to products, landscapes to food pics, Good Pictures proves that the history of photography is a history of changing styles. In a series of short, engaging essays, Kim Beil uncovers the origins of fifty photographic trends and investigates their original appeal, their decline, and sometimes their reuse by later generations of photographers. Drawing on a wealth of visual material, from vintage how-to manuals to magazine articles for working photographers, this full-color book illustrates the evolution of trends with hundreds of pictures made by amateurs, artists, and commercial photographers alike. Whether for selfies or sepia tones, the rules for good pictures are always shifting, reflecting new ways of thinking about ourselves and our place in the visual world.
Beautifully illustrated in color with many rare and unique photographs, prints, and drawings, "The Cambridge Illustrated History of Prehistoric Art" presents the first balanced and truly worldwide survey of prehistoric art. A fascinating study of an often neglected area, the book is a powerful combination of illustration and analysis. 164 color plates. Copyright © Libri GmbH. All rights reserved.
A fascinating look at how snapshots by seven Post-Impressionist artists influenced their work and the history of photography The advent of the Kodak camera in 1888 made photography accessible to amateurs as well as to professionals. Artists were not immune to its allure, and many began experimenting with the camera as a means of observing the world and capturing their own images of it. Snapshot investigates seven Post-Impressionist painters and printmakers: Pierre Bonnard, George Hendrik Breitner, Maurice Denis, Henri Evenepoel, Henri Rivière, Félix Vallotton, and Edouard Vuillard. Although celebrated for their works on canvas and paper, these artists also made many personal and informal snapshots. Depicting interiors, city streets, nudes, and portraits, these photographs were kept private and never exhibited. As a result, most have never been seen by the public. Juxtaposing personal photographs with related paintings and prints by these Post-Impressionist artists, Snapshot offers a new perspective on early photography and on the synthesis of painting, printmaking, and photography at the end of the 19th century. Published in association with the Phillips Collection, the Van Gogh Museum, and the Indianapolis Museum of Art Exhibition Schedule: The Van Gogh Museum 10/14/11-01/08/12 The Phillips Collection 02/04/12-05/06/12 The Indianapolis Museum of Art 06/08/12-09/02/12