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Photographer Chris Jackson has been by the Royal family's side on domestic visits and overseas tours for the past fifteen years, resulting in an unparalleled photographic archive of the evolving British Royal family. Occupying a front-row seat to history, Jackson's assignments have taken him to the four corners of the Earth to document the extraordinary breadth and devotion of the Royals to causes such as cancer research, mental health, and HIV awareness in Africa. In his own words in captions and texts, he reveals the magic as well as the logistics of what it's like to photograph the Royal family. The result is this unique collection of photographs of the modern British Royal Family the archive of this multi-award winning Royal Photographer and current Royal Photographer of the Year. From the modern-day fairy tale of the Duke and Duchess of Cambridge's wedding to the births of Prince George and Princess Charlotte and their soon-to-be new sibling to Prince Harry and Meghan Markle's historic marriage to countless Royal tours in between, this book presents the British Monarchy and Queen Elizabeth II, its most enduring icon, through the lens of one of its most trusted photographers. Whether it's Prince George's first day of school, the Duchess of Cambridge playing cricket in Mumbai, or the Invictus Games, Jackson records moments both large and small with a warmth and sincerity that has made him a media standout. Organized by theme, from State Occasions to Charity works to a typical year in the Royal Diary, this book celebrates fifteen years of the Royals in intimate portraits of a singular family's role on the world stage at a unique moment in time.
**THE INSTANT NEW YORK TIMES BESTSELLER** Veteran style journalist Elizabeth Holmes expands her popular Instagram series, So Many Thoughts, into a nuanced look at the fashion and branding of the four most influential members of the British Royal Family: Queen Elizabeth II; Diana, Princess of Wales; Catherine, The Duchess of Cambridge; and Meghan, The Duchess of Sussex. Kate Middleton and Meghan Markle are global style icons, their every fashion choice chronicled and celebrated. With all eyes on them, the duchesses select clothes that send a message about their values, interests, and priorities. Their thoughtful sartorial strategies follow in the footsteps of Queen Elizabeth II and Diana, Princess of Wales, two towering figures known for using their personal style to great acclaim. With one section devoted to each woman, HRH is a celebration of their stories and their style, pairing hundreds of gorgeous photographs with extensive research. A picture emerges of the British monarchy’s evolution and the power of royal fashion, showing there’s always more than what meets the eye.
ELIZABETH II: A QUEEN FOR OUR TIME is a lively and affectionate celebration of the beloved monarch and a beautiful visual record of her extraordinary reign over the past twenty years leading up to her platinum jubilee. For as long as many of us can remember, Queen Elizabeth II has been an omnipresent figurehead—an icon. As Head of the Commonwealth, she is respected and admired around the world in equal measure. Her stalwart presence has signaled stability, neutrality, and responsibility. Uniting all that is British as an ambassador and statesperson, Queen Elizabeth II has seen more of the planet and its people than any other head of state and has engaged with them like no other monarch in British history; she is unquestionably a global voice for our time. As a Getty Images royal photographer, Chris Jackson has been granted privileged access to the monarch and the British royal family. He has documented the Queen’s official engagements over the past two decades, during a period of seismic changes in the British monarchy. "Photographing Her Majesty the Queen has, and is, one of the biggest privileges of my career as Getty Images Royal Photographer. As we head towards the celebration of her Platinum Jubilee, she remains at the heart of a nation and Commonwealth's affections, and is hugely admired and respected around the world,” says Jackson.. “This book is my personal perspective across the last, almost two decades, documenting many different facets of the Monarch's life, from the formal ceremony to family life and those unexpected and heartwarming moments that left me smiling behind the camera". In Jackson’s photographs, documenting public and private moments and accompanied by warm and engaging text offering a personal perspective and behind-the-shot anecdotes, ELIZABETH II: A QUEEN FOR OUR TIME captures her majesty’s great elegance and charm. From royal tours and state dinners to family time and equestrian triumphs, this book takes us to the heart of what it means to be the head of the British royal family. Much has also been made of the Queen’s enduring style, and Jackson shines a spotlight on the coats, dresses, evening gowns, jewels, bags, and accessories that make up her coordinated wardrobe.
Shooting The Picture is the story of Australian press photography from 1888 to today—the power of the medium, seismic changes in the newspaper industry, and photographers who were often more colourful than their subjects. This groundbreaking book explores our political leaders and campaigns, crime, war and censorship, international events, disasters and trauma, sport, celebrity, gender, race and migration. It maps the technological evolution in the industry from the dark room to digital, from picturegram machines to iPhones, and from the death knock to the ascendancy of social media. It raises the question whether these changes will spell the end of traditional press photography as we know it.
Anglophiles and students of portraiture will find that The Royal Portrait fills a surprising void in the literature, as Scott (Royal Collection) presents for the first time a survey of British portraits housed in the various venues of the Royal Collection. The broad scope ranges from Richard II (the first British king portrayed) to Queen Elizabeth II; the latter monarch, along with Queen Victoria, is the subject of an independent chapter, while other chapters focus on images of royals from a particular dynastic house, such as the Stuart and the Hanoverian. Through an interesting selection of diverse media and formats employed in different periods, Scott explores the central question of "what constitutes a royal portrait?" The answers are multifaceted and contingent on such factors as patronage, function, royal control, and artistic intention; nevertheless symbolic visual conventions can still be traced in the representations of British monarchs over the centuries. This is a clearly written, well-illustrated survey; for more in-depth analyses of particular works one will need to turn to specialized sources, e.g., D. Howarth's Images of Rule (1997). Summing Up: Highly recommended. Lower-division undergraduates through researchers/faculty; general readers. General Readers; Lower-division Undergraduates; Upper-division Undergraduates; Graduate Students; Researchers/Faculty. Reviewed by J. K. Dabbs.
Mandated to foster a sense of national cohesion The National Film Board of Canada's Still Photography Division was the country's official photographer during the mid-twentieth century. Like the Farm Security Administration and other agencies in the US, the NFB used photographs to serve the nation. Division photographers shot everything from official state functions to images of the routine events of daily life, producing some of the most dynamic photographs of the time, seen by millions of Canadians - and international audiences - in newspapers, magazines, exhibitions, and filmstrips. In The Official Picture, Carol Payne argues that the Still Photography Division played a significant role in Canadian nation-building during WWII and the two decades that followed. Payne examines key images, themes, and periods in the Division's history - including the depiction of women munitions workers, landscape photography in the 1950s and 60s, and portraits of Canadians during the Centennial in 1967 - to demonstrate how abstract concepts of nationhood and citizenship, as well as attitudes toward gender, class, linguistic identity, and conceptions of race were reproduced in photographs. The Official Picture looks closely at the work of many Division photographers from staff members Chris Lund and Gar Lunney during the 1940s and 1950s to the expressive documentary photography of Michel Lambeth, Michael Semak, and Pierre Gaudard, in the 1960s and after. The Division also produced a substantial body of Northern imagery documenting Inuit and Native peoples. Payne details how Inuit groups have turned to the archive in recent years in an effort to reaffirm their own cultural identity. For decades, the Still Photography Division served as the country's image bank, producing a government-endorsed "official picture" of Canada. A rich archival study, The Official Picture brings the hisotry of the Division, long overshadowed by the Board's cinematic divisions, to light.
Out of Australia’s total population of around nine million, an estimated seven million people turned out to catch a glimpse of the newly crowned Queen Elizabeth II in 1954. Sixty years later, in April 2014, television news bulletins, newspapers and social media were awash with stories of the royal visit of Prince William, his wife Catherine and their baby son George. The frequent, whirlwind royal tours of today are a far cry from those to Australia between 1867 and 1954. These stretched over months, bursting with events such as civic receptions, state banquets, military reviews, cricket matches, agricultural shows, processions, schoolchildren’s pageants and the laying of foundation stones. Occasionally shambolic, quarrelsome and raucous affairs, they were always intensely patriotic. While most of the visits described in this book are from the British Royal Family, royals from other countries appear too, including ‘Our Mary’ of the Danish Royal Family, proudly claimed by Australians as their own. Royal Visits to Australia provides a fascinating glimpse into the evolving Australian psyche and cultural identity. Although our enthusiasm for the Royal Family has waxed and waned over the decades, it is tempting to attribute the fervour of today’s young people to modern celebrity culture. Royal Visits to Australia uncovers an affection that runs much deeper than a passing crush. The book is richly illustrated with stunning full page and double-page black-and-white photos from the early years to magnificent colour photos of more recent years. Also included is a vast array of drawings, lithographs, illuminated addresses, magazine articles, programs, menus and invitation cards and other souvenirs. Royal Visits to Australia is packed with fascinating stories and firsthand accounts. Read about an assassination attempt on Prince Alfred, the first royal visitor, in 1867; the weeping and hysteria of hundreds of thousands of people at Fremantle at the departure of the Duke and Duchess of Cornwall and York, in 1901; the unprecedented scenes of wild welcome at the 1954 visit of Queen Elizabeth II, the first reigning monarch to visit Australia; allegations of the Irish Republican Army (IRA) attempting to assassinate Prince Philip in Sydney in 1973; media obsession with discerning romantic gestures and stories of cracks in the marriage of Prince Charles and Princess Diana, in the 1980s; and, in 2014, William and Kate’s visit, with baby George in tow, the first royal tour since the social media revolution.