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Alfred Hitchcock's Rear Window comes to mind when looking at Gail Albert Halaban's book of photographers of city dwellers peering into their neighbours' windows, Out My Window. The photographs are views across streets, alleyways and airshafts, peering through windows to reveal intimate portraits. These beautiful voyeuristic pictures capture both the intimacy and remoteness of living in proximity to so many strangers. Out My Window can be seen as an exploration of the contradictory impulses of metropolitan life: the desire to connect and the desire to be left alone.
Italian Views is a continuation of Gail Albert Halaban's series Out My Window, featuring intimate domestic portraits against the cinematic backdrop of the city. In this new chapter, the artist shifts her focus from Paris to Italy--steadying her gaze through the windows of others in communities throughout Florence, Milan, Venice, Palermo, Naples, Lucca, and Rome. Albert Halaban works with local residents to stage and collaborate on each portrait, and through her lens, the viewer is welcomed into the private lives of ordinary Italian people. Her photographs explore the conventions and tensions of urban lifestyles, feelings of isolation in the city, and the intimacies of home and daily life. Paired with the photographs are short vignettes by Albert Halaban, imagining what the neighbors might see of her subjects on a daily basis, and Francine Prose contributes a meditative essay discussing the curious thrill of being a viewer. This invitation to envision the lives of neighbors through windows renders the characters and settings of Italy personal and mysterious.
For decades now tattoos have been potent symbols of the Los Angeles gang-life scene. The black and white tattoos with recognizable gang symbols appear on members' faces, necks and all over their bodies, making their gang affiliation immediately clear to whomever crosses their path. This can mean the difference between life and death on he streets, and just as often, in prison. What does this prominently placed imagery mean for those men and women who somehow extricate themselves from gang life or are released from prison or want to separate themselves from the gang and start life anew? The very tattoos which may have helped guard against the constant threat of rival gangs now bar many ex-gang members from employment, life without harassment, and the freedom to move on from a past they have worked hard to overcome. Skin Deep is a photography project that seeks to show the effects of this ongoing gang conflict in Los Angeles. Photographer Steven Burton set out to photograph realistic portraits of former gang members who are trying to escape the revolving door of death and prison. For these men and women, the aftermath of gang life is not only carried within--it is also scrawled across their faces and bodies. Skin Deep uniquely highlights the impact tattoos have on the way a person is perceived by showing what each participant might look like without them. Utilizing before and, thanks to the advantages of Photoshop, after photographs, these men and women got a chance to see what they'd look like without the inked visual armor. After the bare images were presented to each, they were asked to talk about themselves and their families, what tattoos represent to them, and their aspirations for the future. Seeing themselves without tattoos--many for the first time in decades--naturally brought about a wide range of emotions, recollections, hopes, and dreams, with responses such as: "I am shocked. I don't know what to say about this. I am going to give this to my mom, she is going to be so happy." "I think this guy in the pictures would judge the one with tattoos right off the top." "That's crazy, that looks real crazy. Those came out cool man! I think I like it better without the tattoos." Burton met his subjects thanks to Father Greg Boyle, the founder of Homeboy Industries in LA, and the entire project is inspired by his tireless work to help rehabilitate these former gang members and give them all a crucial second chance in life. Skin Deep offers a chance to expose the realities these individuals face when trying to rebuild their lives and re-enter society. As importantly, for the public, the project provokes consideration regarding how society perceives and judges people with tattoos and violent pasts and seeks to garner empathy for those caught in the crosshairs of gang life as they try to change their futures.
Midnight Modern brings into focus a view of Palm Springs and its internationally renowned modernist houses never before shown, shot entirely by the light of the full moon. Created over the course of three years by Australian photographer Tom Blachford, the surreal images function as portals in time, with the homes, cars, and beautiful scenery appearing almost exactly as it all did 60 years ago. The crisp moonlight adds a new dimension to the famous mecca of desert modernism and shows a contrasting side of a town famous for its sunshine, cocktails, and hedonism. Working closely with the Palm Springs community, Blachford gained remarkable access to some of the most coveted architectural jewels in the area, including the Kaufmann Desert House, Edris House, Frey House II, Frank Sinatra Twin Palms Estate, and dozens of restored Alexander tract homes in the valley. Blachford's work builds on the famous documentary and lifestyle approaches of Julius Shulman and Slim Aarons, but injects a signature mystery. His cinematic aesthetic acts as a stage for an untold narrative, inviting the viewer to script their own drama going on behind the walls of these historic homes. This original, lush work is a rich contribution to the record for those midcentury architecture and design lovers fascinated by Palm Springs.
From the creator/editor of Who Shot Rock & Roll (“I loved this book” —Dwight Garner, The New York Times. “Whatever Gail Buckland writes, I want to read”), a book that brings together the work of 165 extraordinary photographers, most of their images heralded, most of their names unknown; photographs that capture the essence of athletes’ mastery of mind/body/soul against the odds, doing the impossible, seeming to defy the laws of gravity, the laws of physics, and showing what human will, discipline, drive, and desire look like when suspended in time. The first book to show the range, cultural importance, and aesthetics of sports photography, much of it legendary, all of it powerful. Here, in more than 280 spectacular images—more than 130 in full color—are great action photographs; portraits of athletes, famous and unknown; athletes off the field and behind the scenes; athletes practicing, working out, the daily relentless effort of training and achieving physical perfection. Buckland writes that sports photographers have always been central to the technical advancement of photography, that they have designed longer lenses, faster shutters, motor drives, underwater casings, and remote controls, allowing us to see what we could never see—and hold on to—with the naked eye. Here are photographs by such masters as Henri Cartier-Bresson, Robert Capa, Danny Lyon, Walker Evans, Annie Leibovitz, and 160 more, names not necessarily known to the public but whose photographic work is considered iconic . . . Here are photographs of Willie Mays . . . Carl Lewis . . . Ian Botham . . . Kobe Bryant . . . Magic Johnson . . . Muhammad Ali . . . Serena Williams . . . Bobby Orr . . . Stirling Moss . . . Jesse Owens . . . Mark Spitz . . . Roger Federer . . . Jackie Robinson. Here is the work of the great sports photographers Neil Leifer, Walter Iooss Jr., Bob Martin, Al Bello, Robert Riger, and Heinz Kleutmeier of Sports Illustrated, who was the first to put a camera at the bottom of an Olympic swimming pool and photograph swimmers from below . . . Here are pictures by Charles Hoff, the New York Daily News photographer of the 1930s, 1940s, and 1950s, whose images of the 1936 Berlin Olympics still inspire shock and awe . . . and those of Ernst Haas, whose innovative color pictures of bullfighting of the 1950s remain poetic evocations of a bloody sport . . . To make the selections for Who Shot Sports, Buckland, a former curator of the Royal Photographic Society of Great Britain and Benjamin Menschel Distinguished Visiting Professor at Cooper Union, has drawn upon the work of more than fifty archives, from the Museum of Fine Arts, Houston, to Sports Illustrated, Condé Nast, Getty Images, the National Baseball Hall of Fame, L’Équipe, The New York Times, and the archives of the International Olympic Committee in Lausanne. Here are classic and unknown sports images that capture the uncapturable, that allow us to experience “kinetic beauty,” and that give us the essence and meaning—the transcendent power—of sports.
Filled with dreamlike and eerie images, this first book of photographs from the director David Lynch offers a window into the iconic filmmaker's creative vision. Anyone familiar with David Lynch's cinematic achievement will identify similarities between this series of photographs and his most powerful films. Dark and beautiful, mystical and enigmatic, these photos reveal Lynch's unique style. The exterior and interior black and white shots of factories in Berlin, Poland, New York, England, and other locations are filled with Lynchian characteristics: labyrinthine passages, decaying walls, industrial waste, and detritus. Devoid of nature, the dying, manmade structures are actually being overtaken by nature's innate power. They are haunting cathedrals of a bygone industrial era--the perfect setting for a David Lynch film, and a revealing addition to his unique and fascinating oeuvre.
A celebration of the timeless act of reading - as seen through the lens of one of the world's most beloved photographers Young or old, rich or poor, engaged in the sacred or the secular, people everywhere read. This homage to the beauty and seductiveness of reading brings together a collection of photographs taken by Steve McCurry over his nearly four decades of travel and is introduced by award-winning writer, Paul Theroux. McCurry's mesmerizing images of the universal human act of reading are an acknowledgement of - and a tribute to - the overwhelming power of the written word.
Jenny Lewis is a photographer from East London who has spent the last five years taking portraits of mothers within the first 24-hours of giving birth. Lewis states she is documenting the quiet moment just after giving birth when the female identity of motherhood is being established'. In addition to featuring the portraits of 40 women the book includes an introduction by art and photography critic Lucy Davies as well as a number of personal quotes gathered from interviews about the first day of life and early motherhood.'
This book presents the fiercely intelligent internet-based performance of artist Amalia Ulman, which she eventually revealed to be a critical artwork about issues of online identity. Amalia Ulman's performance "Excellences & Perfections", which unfolded on Instagram in 2014, follows an aspiring it-girl who undergoes a series of cosmetic surgeries and lifestyle changes to help jumpstart her career. For six months Ulman mesmerized her followers with nearly daily posts that documented a young woman trying on different personas in order to make her way in the world. Finally, the real Amalia Ulman revealed the fiction that she had created--a performance piece about identity, gender, class, sexuality, and lifestyle porn. The illustrations are presented in chronological order to give readers the experience of viewing the work as an uninterrupted stream, in the way her followers first saw them on social media. A forerunner of a new brand of performance art, Ulman has made a significant statement about the intersection of life and art--one that couldn't be more timely or compelling.
"Michael Levin's photographs have gained international attention. The American fine art magazine Focus declared that "Michael Levin's captivating images are soulful and evocative; he is truly one of the rising stars in the world of photography". He has won numerous prestigious awards including 'Photographer of the Year' at the 2006/07 International Photography Awards in New York and 'Fine Art Photographer of the Year' at the 2007 Prix de la Photographie in Paris." "Using long exposures, Levin pulls his world taut, so that what remains in the landscape feels essential and revealed. There is a deceptive simplicity in his images as if these places need only to be found to be realised. Places that are simple and totemic. It is Levin's pure sensibility which arranges this view, which finds these small moments and gives them weight and value and timelessness. He is particularly adept at capturing the smooth skin of light, the way it rolls over a place in the course of minutes rendering his subjects with their own private beauty. Levin illuminates these common places with new intent, making images which are both transfixing and transformative."--BOOK JACKET.