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People Saving Their Trees in Hurricane Sandy will raise funds for charities to plant trees in stricken areas. Read inspiring, heartfelt, and heroic stories from people who used the Tree Whispering Storm Prep Whispers to help their trees survive Hurricane Sandy and to empower themselves in the face of disaster.
The very thing that makes wide-angle photography so compelling also makes it a challenge: While you're sure to capture a vast scene using a wide-angle lens, it can be difficult to direct the viewer's attention when so many elements are included in an image. For many photographers, the results of their wide-angle attempts are a disappointment and they just can't seem to achieve that "Wow" they are hoping for in their images. Whether you're new to wide-angle lenses or you've been frustrated by them for a long time, expert photographer, teacher, and author Chris Marquardt is here to help. Wide-Angle Photography is packed with information--as well as beautiful and inspiring photography--that will help you take your wide-angle image making to the next level. In a friendly, accessible manner Chris walks you through in-depth discussions of both the advantages and the pitfalls of wide-angle photography, the fundamentals you need to know, composition and design principles, and the specific genres in which wide-angle lenses can be used to create outstanding images--not only for landscape photography, but for portrait, street, architectural, and interior photography, as well. Throughout the book, Chris offers hands-on exercises that drive home the concepts being taught so you can learn by doing. Chris also dedicates two full chapters to tilt-shift lenses for those who are interested in exploring and maximizing the fascinating capabilities these kinds of lenses offer. Topics include: Types of lenses and filters Understanding depth of field Angles of view, crop factors, and focal lengths Handling distortion and aberrations Composition, design, and context Point of view and perspective Wide-angle for various genres Panoramas and stitching images Tilt-shift lenses Hands-on exercises And much more...
"An incisive biography of the prolific photo-essayist W. Eugene Smith; In an interview with Philippe Halsman, W. Eugene Smith remarked: "I didn't write the rules, why should I follow them?" Famously unabashed, Smith is photography's most celebrated humanist. During his reign as a photo-essayist at Life magazine in the 1940s and 1950s, he established himself as an intimate chronicler of human culture. His photographs of jazz musicians, disasters, doctors, and midwives revolutionized the role that image-making played in journalism, transforming photography for decades to come. In 1997, lured by the intoxicating trail of people that emerged from Smith's stupefying archive, Sam Stephenson set out to research those who knew him from various angles. In Gene Smith's Sink, Stephenson revives Smith's life and legacy, merging traditional biography with highly untraditional digressions. Traveling across twenty-nine states, Japan, and the Pacific, Stephenson tracks down a lively cast of characters, including the playwright Tennessee Williams, to whom Smith likened himself; the avant-garde filmmaker Stan Brakhage, with whom he once shared a chalet; the artist Mary Frank, who was married to his friend Robert Frank; and Thelonious Monk and Sonny Clark, whom Smith recorded on surreptitious tapes. The result of twenty years of research, Gene Smith's Sink is an unprecedented look into the photographer's beguiling legacy and the subjects around him"--
The art and legacy of a towering figure in the independent film movement.
Why does Indian Cinema look different, sound different and is so lengthy? Why are the dialogues so long winding? Why are our costumes so gaudy and garish? Why do we have so many songs in our films? Why do our actors burst into songs and dances for no reason? Are we a society that is exactly like our Cinema? Why are films directed by Saytyajit Ray great and not so great by some other Directors. Have you ever called your spouse ‘Sajni or Sajna’ or ‘Saiyan’ or ‘Balam’ ? Perhaps no, then why does our Cinema use these words? Why does Hindi language Cinema use words or the language that no one uses in real life? Why is it that a Cinema that is almost part of life for millions of Indians and now even foreigners has been dubbed mindless and silly? How many language Cinemas does Indian Cinema comprise of ? Do people who dismiss Indian Cinema as ‘Bollywood’ even understand that 30% of our feature films at least belong to the globally termed ‘art-house cinema class’. Find all answers in the book.
Videojournalism is a new field that has grown out of traditional print photojournalism, slideshows that combine sound and pictures, public radio, documentary filmmaking and the best of television news features. This amalgam of traditions has emerged to serve the Internet's voracious appetite for video stories.Videojournalism is written for the new generation of "backpack" journalists. The solo videojournalist must find a riveting story; gain access to charismatic characters who can tell their own tales; shoot candid clips; expertly interview the players; record clear, clean sound; write a script with pizzazz; and, finally, edit the material into a piece worthy of five minutes of a viewer's attention. Videojournalism addresses all of these challenges, and more - never losing sight of the main point: telling a great story. This book, based on extensive interviews with professionals in the field, is for anyone learning how to master the art and craft of telling real short-form stories with words, sound and pictures for the Web or television. The opening chapters cover the foundations of multimedia storytelling, and the book progresses to the techniques required to shoot professional video, and record high quality sound and market the resulting product. Videojournalism also has its own website - go to just one URL and find all the stories mentioned in the book. You also will find various "how-to videos on the site. To keep up with the latest changes in the field such as new cameras, new books, new stories or editing software, check the site regularly and "like" www.facebook.com/KobreGuide.
In 1927, when 24-year-old Charlotte Perriand (1903–1999) walked into Le Corbusier's studio and asked him to hire her as a furniture designer, he responded, "We don't embroider cushions here." After seeing her remarkable designs, however, Le Corbusier enjoyed a long collaboration with Perriand, who would go on to work as an architect, town planner, and political activist. This revelatory book is the first to show Perriand's photography, an important tool in her creative process and intellectual development, and a reflection of her political views. Made from the late 1920s through 1941, these striking images, many previously unpublished, testify to the collaborative spirit of the avant-garde movement, in which painters, architects, and photographers worked together to achieve creative breakthroughs.