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First Photographs is an eyewitness to the origins of modern photography. This book - the only monograph on Talbot to be supported by the curator of the Fox Talbot Museum - includes many never-before-published images of landscapes, architectural studies, and portraiture from Talbot's personal archive and selections from his detailed research notebooks made during the 1830s and 1840s, currently housed at the Fox Talbot Museum at Lacock Abbey in Chippenham, England. In addition to his technological contributions, Talbot's own photographs represent exceptional and prescient artistic achievement. Arthur Ollman, director of the Museum of Photographic Arts, San Diego, contributes an innovative analysis of both the aesthetic and social significance of Talbot's first photographic image, the "Oriel Window," through a remarkable evocation of Talbot's late-life reflection one sunny afternoon beneath his window in Lacock Abbey. Curator Carol McCusker considers how the women of the Lacock household influenced Talbot's aesthetic choices. First Photographs also includes a biography and timeline of Talbot's eventful life and revolutionary work by the preeminent Talbot scholar Michael Gray.
Modern fashion photography was born when three brothers, Parisian postcard photographers, shifted their lenses to the upper echelon of French society in the early twentieth century. As impromptu portraits of beautiful women in inimitable finery at racecourses, resorts, and cafs began to appear in magazines, courant designers such as Chanel, Herms, and Madeleine Vionnet rushed to send their models to posh watering holes to be photographed with the beau monde. The first-ever showcase of 300 rich black and white Seberger images, this luxe collection is a must-have for fashionistas, Francophiles, and vintage clothing enthusiasts. Elegance recalls a bygone era of glamour, and illuminates the candid beginnings of a now highly stylized photographic form.
Capturing the Light starts with a tiny scrap of purple-tinged paper, 176 years old and about the size of a postage stamp. On it you can just make out a tiny, ghostly image of a gothic window, an image so small and perfect that it 'might be supposed to be the work of some Lilliputian artist': the world's first photographic negative. This captivating book traces the lives of two very different men in the 1830s, both racing to be the first to solve one of the world's oldest problems: how to capture an image and keep it for ever. On the one hand there is Henry Fox Talbot: a quiet, solitary gentleman-amateur tinkering away on his farm in the English countryside. On the other Louis Daguerre, a flamboyant, charismatic French showman in search of fame and fortune. Only one question remains: who will get there first?
In 1906 George Shiras III (1859–1942) published a series of remarkable nighttime photographs in National Geographic. Taken with crude equipment, the black-and-white photographs featured leaping whitetail deer, a beaver gnawing on a tree, and a snowy owl perched along the shore of a lake in Michigan’s Upper Peninsula. The pictures, stunning in detail and composition, celebrated American wildlife at a time when many species were going extinct because of habitat loss and unrestrained hunting. As a congressman and lawyer, Shiras joined forces with his friend Theodore Roosevelt and scientists in Washington, DC, who shaped the conservation movement during the Progressive Era. His legal and legislative efforts culminated with the passage of the Migratory Bird Treaty Act. Camera Hunter recounts Shiras’s life and craft as he traveled to wild country in North America, refined his trail camera techniques, and advocated for the protection of wildlife. This biography serves as an important record of Shiras’s accomplishments as a visual artist, wildlife conservationist, adventurer, and legislator.
The miracle of life—for a new generation. The completely revised fifth edition of the beloved classic offers an astonishing glimpse of the world within the womb alongside authoritative advice for expectant parents. Deep inside a woman’s body, a miracle occurs. An egg and sperm meet and a new human being is created. Through the unique photographs of Lennart Nilsson, we see the fascinating process of fertilization unfold and watch as an embryo develops from a tiny cluster of cells into a fetus, growing and maturing day by day until the time comes to meet the world outside the womb. The book also describes pregnancy from a parent's perspective, diving into maternity care, health during pregnancy, prenatal testing, and labor and delivery. First published nearly fifty years ago, A Child Is Born broke astonishing new ground, bringing the magic of pregnancy and birth to life. This is the fifth edition of the beloved international classic, which teams Nilsson’s classic medical photographs with new documentary photographs by Linda Forsell and a revised text by professor Lars Hamberger and midwife Gudrun Abascal.
Within a few years of the introduction of photography into the United States in 1839, slaveholders had already begun commissioning photographic portraits of their slaves. Ex-slaves-turned-abolitionists such as Frederick Douglass had come to see how sitting for a portrait could help them project humanity and dignity amidst northern racism. In the first decade of the medium, enslaved people had begun entering southern daguerreotype studios of their own volition, posing for cameras, and leaving with visual treasures they could keep in their pockets. And, as the Civil War raged, Union soldiers would orchestrate pictures with fugitive slaves that envisioned racial hierarchy as slavery fell. In these ways and others, from the earliest days of the medium to the first moments of emancipation, photography powerfully influenced how bondage and freedom were documented, imagined, and contested. By 1865, it would be difficult for many Americans to look back upon slavery and its fall without thinking of a photograph. Exposing Slavery explores how photography altered and was, in turn, shaped by conflicts over human bondage. Drawing on an original source base that includes hundreds of unpublished and little-studied photographs of slaves, ex-slaves, free African Americans, and abolitionists, as well as written archival materials, it puts visual culture at the center of understanding the experience of late slavery. It assesses how photography helped southerners to defend slavery, enslaved people to shape their social ties, abolitionists to strengthen their movement, and soldiers to pictorially enact interracial society during the Civil War. With diverse goals, these peoples transformed photography from a scientific curiosity into a political tool over only a few decades. This creative first book sheds new light on conflicts over late American slavery, while also revealing a key moment in the relationship between modern visual culture and racialized forms of power and resistance.
"Few inventions have had as powerful an influence as the camera, and few modes of expression have enjoyed the enduring artistic, scientific, and popular appeal of photography. We are so focused on the products of the camera, the indelible images marking our lives and times, that it's easy to forget the instrument itself has a history. Now that history has been comprehensively traced for photography buffs and amateurs alike by Todd Gustavson, Curator of Technology at George Eastman House. In this ... volume, hundreds of new and archival images from George Eastman House bring the story to life and provide an unmatched reference source. Vast in its scope, this ... book is an in-depth visual and narrative look at the camera, and consequently photography itself"--Jacket.
A rich and fresh perspective on the history of photography, tracing the complex links between technological innovation, social change, and artistic intervention. As a medium of documentation, social commentary, commercial marketing, artistic exploration, and self-expression over the last two centuries, photography has in many ways defined the way we view ourselves and the world around us. A Chronology of Photography traces the development of the medium from early experiments with optics by artists and scientists, through the birth of photography in 1839, with the innovations of Louis Daguerre and Henry Fox Talbot, right up to the present-day explosion of digital media, with Instagram and the selfie dominating visual discourse. Providing a unique timeline framework and in-depth commentary, this volume takes a purely chronological approach to present a fresh social, political, and cultural perspective on the subject. Tracing the complex links between technological innovation, social change, and artistic intervention, A Chronology of Photography is an invaluable and comprehensive overview of photography’s history including deeper explorations of key themes and moments.
An intimate meditation on photography for the ages, curated around 120 epochal photographs. In On Photographs, curator and writer David Campany presents an exploration of photography in 120 photographs. Proceeding not by chronology or genre or photographer, Campany's eclectic selection unfolds according to its own logic. We see work by Henri Cartier-Bresson, William Eggleston, Helen Levitt, Garry Winogrand, Yves Louise Lawler, Andreas Gursky, and Rineke Dijkstra. There is fashion photography by William Klein, one of Vivian Maier's contact sheets, and a carefully staged scene by Gregory Crewdson, as well as images culled from magazines and advertisements. Each of the 120 photographs is accompanied by Campany's lucid and incisive commentary.