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Experience the vibrant culture and cityscape of Dallas, Texas through the lens of photographer Clifton Church. This stunning collection of images captures the unique energy and charm of one of America's most beloved cities. 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.
My father, Connell R. Miller Sr. (1918-1954), was a noted Dallas, Texas, photographer whose camera captured everything from the aftermath of a tornado to the zany antics of the Dallas Bonehead Club. Dad's interest in and dedication to photography began shortly after he graduated from high school and travelled to Berlin for the 1936 Olympic Games. Bringing home a large number of unprocessed rolls of film, he set up a small darkroom where he soon became proficient in the developing and printing process. He had adopted his trademark, large format Speed Graphic press-type camera by 1939, preferring the sharp enlargements the 4x5 negatives would give him over those images taken on small 35mm film. He would have been successful solely shooting weddings, sports, or even pets, but street photography was his passion, and his domain was the world around him--the city and its people with their activities in a simpler, less hurried time.
Do cameras influence courtroom proceedings? What effect, if any, do they have on trial participants? What implications do televised trials have on due process? Why have the courts, including the Supreme Court, traditionally excluded cameras? What, in short, is the future of the camera in the courtroom? Through interviews with numerous legal scholars, judges, attorneys, defendants, jurors, witnesses, and journalists, these questions and many others are thoroughly examined. The impact of the cameras in several high-profile trials is analyzed, as are a number of cases in which cameras were excluded. A look at Court TV provides an instructive overview of the good and bad of television coverage. Includes an updated preface and a new introduction.