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Originally published in 1969. Alan Roper studies the degree to which Arnold achieved a unity of human significance and literal landscape. If landscape poetry is to rise above the level of what Roper calls "country contentments in verse," the poet cannot think and describe alternately; his thinking and describing must be a part of one another. That Matthew Arnold was aware of the difficulty in achieving the necessary unity becomes clear in his own criticism, which Roper examines along with a large and representative number of Arnold's poems. Considering the latter roughly in the order they were published—except for a fuller analysis of Empedocles on Etna, "The Scholar-Gipsy," and "Thyrsis"—Roper follows important changes in Arnold's view of the function and nature of poetry as it emerged in the poems themselves. Basic to the author's critical method is a distinction between geographical sites and poetic landscapes. Focusing on the ways that Arnold and, to a lesser extent, the Augustan and Romantic poets before him untied thought and description, Roper adds a critical dimension to Arnold scholarship. Concerned not with the development of Arnold's ideas nor with their sources in classical antiquity and the Romantic period, he considers Arnold a self-conscious poet who, though sometimes successful, became increasingly unsuccessful in his efforts to imbue a landscape with meaning for individual or social man.
Arnold Zageris's large format photographic colour prints focus on arctic and sub-arctic regions of Canada. Zageris captures the images using a traditional large format 4x5 view camera, technology that is unsurpassed for landscape photography in this digital age. The method allows for fine details and subtle nuances of form and texture to emerge. Although the colours and contrasts may appear enhanced, these works have no special filters or treatments. Zageris states his commitment is "to search and find the quality of light that can inspire the imagination." His combination of traditional technique and methodical patience lends him the ability to show us a world we may not see otherwise; an extraordinary view of a geographic region not often travelled.
No photographer works in a vacuum. Photographers, like all artists, stand on the shoulders of those who came before them, and they are informed and influenced by those working around them contemporaneously. If you are striving to find your own style, one of the most powerful exercises you can practice is to find influence and inspiration in the work of those around you, and then emulate that work in an effort to define, shape, and grow your own photographic voice. By collecting, imitating, and eventually reshaping and combining the work of those around you, your unique voice can be found and the quality of your work can soar. In Photograph Like a Thief, photographer, author, and retoucher Glyn Dewis embraces the idea of “stealing” and recreating others’ work in order to improve as an artist. By “stepping inside” others’ images, you can learn to reverse engineer their creation, then build an image yourself that simultaneously pays homage to that work yet is also an original creation itself. The book is divided into two parts. In Part 1, Glyn discusses his approach, covering the process of "stealing ideas" and finding inspiration. He also covers the gear he uses, as well as his retouching and post-processing workflow. In a very helpful chapter on “reverse engineering” a photograph, Glyn discusses how to “read” an image by the catchlights, shadow position, and the hardness/softness of the shadows. This is a crucial skill to acquire if you want to recreate another’s look. In Part 2, Glyn works through a series of images, from initial concept and influence to lighting, shooting, and post-processing the image to get to the final result. For each image, he reverse engineers the shot to describe how it was created and discusses how the image influenced him, then works through the gear he used, the lighting for the image, and the post-processing of the image—from the RAW out-of-camera shot to the finished piece. While Glyn's work primarily focuses on portraiture, he finds inspiration and influence from a wide variety of work, from legendary photographers to animated films to book covers to movie posters. By working alongside Glyn in Photograph Like a Thief, you too can learn to find inspiration all around you, discover how that work can influence you, improve your photographic and post-processing skill set, and begin your own journey to defining your unique style. Who knows? Soon, others may be stealing from you.
Discusses the subject matters and cultural significance of the rock art done by Indians in the Coso Range of California.
In the realm of photography, there are artists who possess an uncanny ability to transform the ordinary into the extraordinary, capturing the essence of a moment with exceptional precision. Arnold J Kreisman was one such artist, whose vivid color Kodak slide photography collection serves as a testament to his keen eye and profound passion for the craft. Born in the vibrant city of New York in 1925, Arnold J Kreisman's journey as a photographer was marked by a life filled with diverse experiences and an insatiable curiosity about the world. From his early years growing up in the Sheepshead Bay section of Brooklyn to his invaluable service in the US Army during the aftermath of World War II, Arnold's path was one paved with adventure and a deep appreciation for visual storytelling. Following his honorable discharge from the Army, Arnold embarked on an academic pursuit, earning a Bachelor of Science degree in Geology from the esteemed City College of New York. It was during this time that his passion for photography blossomed, and he began to explore the realms of light, color, and composition with fervor. Arnold's mastery behind the lens truly came to life through his work with color Kodak slides. With an unparalleled ability to capture the world in vibrant hues and intricate details, his photographs transport viewers to different eras, evoking a sense of nostalgia and wonder. Whether documenting the landscapes of Germany during his service in the US Occupation, or meticulously capturing the cultural essence of Chile, the United States, and various Latin American countries during his extensive career, Arnold's slides emanate a timeless quality. His meticulous attention to detail and artistic sensibilities earned Arnold numerous accolades and opportunities to work on prestigious projects, such as his pioneering efforts in creating land use planning maps of Chile. His passion for geography and cartography complemented his photographic skills, enabling him to merge art and science seamlessly. Arnold's adventurous spirit and dedication to his craft were mirrored in his personal life. He was a loving husband, father, and grandfather, cherishing the bonds of family and instilling a love for exploration and discovery in those closest to him. His impact as a photographer extended far beyond his immediate circle, touching the lives of countless individuals who have had the privilege of experiencing his captivating imagery. As we delve into the pages of this photography book, we invite you to embark on a visual journey through the lens of Arnold J Kreisman. Through the vibrant colors and evocative compositions captured in his Kodak slides, we hope to honor his legacy as a masterful photographer, storyteller, and observer of the world around him. Let us immerse ourselves in the beauty of his work, and allow the timeless magic of Arnold's photography to transport us to moments frozen in time.
In 2016, award-winning Minnesota-based photographer R. J. Kern made portraits of youth contestants at Minnesota county fairs. Each participant—some as young as four years old—had spent a year raising an animal, which they had then entered into a 4-H livestock competition. None of the youths who sat for him had succeeded in winning an award, despite the obvious care they had given to their animals. The Unchosen Ones depicts the bloom of youth and the mettle of the kids who grow up on farms, reminding us how resilient children can be when confronted with life's inevitable disappointments. The formal qualities of the lighting and setting endow these young people with a gravitas beyond their years, revealing self-directed dedication in some, and in others, perhaps, the pressures of traditions imposed upon them. Kern's beautiful portraits capture a particular America, a rural world, and a time in life when the layered emotions of youth are laid bare. Four years later, in 2020, Kern returned to photograph his young subjects. The most recent photographs show how the children have grown into adolescence or young adulthood: some of them have continued to pursue animal husbandry, while others have developed other interests. It is likely that some of these kids will not choose to continue running their family farms—an unpredictable and demanding way to make a living. These diptychs are punctuated by lush landscapes of the farms that are their homes. As Kern made the second group of photographs, he asked his young subjects what they had carried forward from their previous experience. What were their thoughts, their dreams, and their goals for the future? How would they fit into the future of agricultural America?