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Clear instructions and step-by-step photographs teach you how to mix chemicals and apply light-sensitive emulsions by hand, how to create imagery in and out of the darkroom, how to translocate Polaroid photos and magazine and newspaper pictures, and how to alter black-and-white photographs. A color portfolio highlights the work of internationally known artists such as Robert Rauschenberg, Todd Walker, and most recently Doug and Mike Starn, and an invaluable list of supply sources (including e-mail addresses) from throughout North America and Europe is included at the end of the book. Setting aside old distinctions between photographer and nonphotographer, New Dimensions in Photo Processes invites artists in all media to discover nonsilver imaging techniques. Painters, printmakers, fiber artists, sculptors, illustrators and photographers alike will find this a valuable, practical text outlining creative processes that require little or no knowledge of photography and chemistry.
From the National Book Award-winning author of Slaves in the Family, a riveting true life/true crime narrative of the partnership between the murderer who invented the movies and the robber baron who built the railroads. One hundred and thirty years ago Eadweard Muybridge invented stop-motion photography, anticipating and making possible motion pictures. He was the first to capture time and play it back for an audience, giving birth to visual media and screen entertainments of all kinds. Yet the artist and inventor Muybridge was also a murderer who killed coolly and meticulously, and his trial is one of the early instances of a media sensation. His patron was railroad tycoon (and former California governor) Leland Stanford, whose particular obsession was whether four hooves of a running horse ever left the ground at once. Stanford hired Muybridge and his camera to answer that question. And between them, the murderer and the railroad mogul launched the age of visual media. Set in California during its frontier decades, The Tycoon and the Inventor interweaves Muybridge's quest to unlock the secrets of motion through photography, an obsessive murder plot, and the peculiar partnership of an eccentric inventor and a driven entrepreneur. A tale from the great American West, this popular history unspools a story of passion, wealth, and sinister ingenuity.
The book is a history of the ferrotype, or tintype, in American photography, from its origin in the 1850s until 1880. The heart of the book is the extended accounts of the improvements in the presentation of the images and of the inventors and businessmen who made the improvements and advanced their careers. These accounts are brought together by the wonderfully interesting reproductions of actual tintypes. The author's writing is intelligent and engaging. Her enthusiasm for the topic, which shines through the text, carries the reader along with her.
Two collectors of 19th-century photographia and a professor of photography, theater, and cinema (Ohio State U.) explore the uniquely American form of photography also known as melainotype and the ferrotype. Developed in Ohio, it flourished between 1861 and 1863 and was faster, cheaper, and more durable than the daguerreotype. It involved reproducing the photographic image on thin sheets of iron instead of glass. A century later they reveal details of hairstyles, clothing, and surroundings and a degree of relaxation that are lost from the more formal daguerreotypes of the time. Annotation copyrighted by Book News, Inc., Portland, OR
Looking for America: The Visual Production of Nation andPeople is a groundbreaking collection that explores the“visual” in defining the kaleidoscope of Americanexperience and American identity in the 20th century. Covers enduringly important topics in American history:nationhood, class, politics of identity, and the visual mapping of“others” Includes editorial introductions, suggested readings, a primeron how to "read" an image, and a guide to visual archives andcollections Well-illustrated book for those in American Studies and relatedfields eager to incorporate the visual into theirteaching—and telling—of the American story.
Beginning with 1953, entries for Motion pictures and filmstrips, Music and phonorecords form separate parts of the Library of Congress catalogue. Entries for Maps and atlases were issued separately 1953-1955.