Jersey, Channel Islands Jersey Photographic Museum 1996
Fine This is a fine hardcover copy of the book. Well illustrated. Light shelf wear. Tight binding. Clean pages. Not an ex-library copy. Shipped Weight: Under 1 kilogram. Category: Photography; ISBN: 1874657009. ISBN/EAN: 9781874657002. Inventory No: 011939. Hard Cover
[Schlagwörter: Twin Lens Photography Photography;]
Schecks, Nachnahme (zzgl. Nachnahme-Kosten), Per Rechnung
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(ca. 28,79 EUR)
Vivays Publishing Ltd 2011
176, 200 col photos. 250x250mm. PB. NEW. . This book offers an extraordinary insight into the microworld through the lens of a camera, which has magnified the familiar and the unfamiliar living things that surround us. Images of insects; close-ups of spiders; delicate butterflies with wing patterns that rival the most elegant fabrics; fish whose scales create intricate designs...these are just a few of the living creatures featured in this book. Many of these images include rare exotic species and creatures that have scarcely been captured by the camera's lens before. The book's images are accompanied by professional photographers' recommendation on equipment and techniques necessary to obtain the types of photographic effects shown. This book will be of interest to photographers, naturalists, environmentalists, biologists and those who are simply fascinated by the world around us. 
[Schlagwörter: 16566; Entomology; Insects; Natural History; Photography; Entomology; Insects; Natural History; Photography; Entomology; Insects; Natural History; Photography;]
Preis: UK£ 12,00
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(ca. 24,14 EUR)
Folio. (318 x 242 mm). Original publisher's cloth-backed rust boards by A. Tarrant, with his discreet stamp to front pastedown: 'A. TARRANT, BINDER / 16 Gt. QUEEN St.', gilt title within elaborate gilt decorative border to upper board, boards with decoration in blind, original yellow endpapers, boxed. Printed title with motto from Virgil, leaf with list of plates and 23 mounted Talbotype (or calotype from the Greek 'beautiful picture') images, of which 13 are full-page, each numbered on the mount at lower right in ink, initial and final blank leaves. Tipped-in to front free endpaper is the 'Notice to the Reader'. Condition: Plates with uneven fading, as usual, central areas of most plates retaining strong dark impressions, outer areas of images rather lighter, but universally visible. Binding glue perished, contents loose in original boards.
Extremely rare unrestored copy - including the 'Notice to the Reader' - of William Fox Talbot's first photographically illustrated publication in book form; published in 1845, Sun Pictures in Scotland, was issued between parts IV and V of Talbot's seminal The Pencil of Nature.Inspired by the writings of Sir Walter Scott (note Talbot's punning title), the focus of a Victorian personality cult not to be underestimated, the twenty-three images of Sun Pictures in Scotland were taken by Talbot on a tour of those sites and locations most connected to Scott. The calotypes depict Edinburgh, Scott's house Abbotsford, Loch Katrine, Melrose, Doune Castle, Dryburgh Abbey (site of Scott's tomb) and so on. The book appears to have been issued to subscribers and was intended to publicise Talbot's work in society, aided by the social influence of his mother Lady Elisabeth Feilding. It is likely that Angela Burdett-Coutts - among notables such as the Queen, the Duke of Devonshire and the Duchess of Bedford - was one such subscriber.William Henry Fox Talbot (1800-1877), began experimenting with capturing images on light-sensitive paper around 1833 while at Lake Como, and patented the calotype (from the Greek 'kalos' - beautiful) or 'sun picture', also called a Talbotype, in 1840. It was the first instance of a photograph secured on paper and produced with paper negatives, the negative/positive technique still in use today, which allowed for multiple copies of the same image to be made, as opposed to the daguerreotype invented by L. J. M. Daguerre in 1839.The novelty of Fox Talbot's new process is highlighted by the 'Notice to the Reader': 'The plates of the present work are impressed by the agency of Light alone, without any aid whatever from the artist's pencil. They are the sun-pictures themselves, and not, as some persons have imagined, engravings in imitation.'Angela Burdett-Coutts (1814 - 1906), the daughter of Sir Francis Burdett and his wife Sophia, nee Coutts, the daughter of Coutts & Co. founder Thomas Coutts, was, on the achievement of her majority in 1837, the inheritor of some 3,000,000, making her the 'richest heiress in England'. A noted collector, patron of the arts, endower of scholarships and philanthropist, she was created first Baroness Burdett-Coutts of Highgate and Brookfield by Queen Victoria in 1871 in recognition of her charitable works. A figure of great interest to the Victorian public and the receiver of numerous offers of marriage, Burdett-Coutts remained a spinster until her marriage to her secretary, William Bartlett, in 1881. The marriage provoked further interest as her 29-year-old secretary was nearly 40 years her junior. At her death in 1906, Burdett-Coutts had donated nearly 3,000,000 for the purpose of good works and charitable foundations. Among her many other causes, Burdett-Coutts founded the RSPCA and the NSPCC and received the Turkish order of the Medjidieh for her relief efforts during the 1877 Russo-Turkish War; she remains the only woman thus honoured.'With its narrowly focused goal and limited number of copies distributed only to subscribers, Sun Pictures in Scotland remains one of the the most enigmatic of all Talbot's photographic ventures. Nevertheless, it can reasonably claim to be the first photographic essay in the history of the medium.' (Taylor).'Aesthetically, Talbot's pictures possess many merits.' (Cecil Beaton, British Photographers, 1944).'It may be considered the first photographically illustrated work to be published in book form.' (Gernsheim).[PROVENANCE: Armorial bookplate of Angela Burdett-Coutts, the philanthropist and 'richest heiress in England' to front pastedown; manuscript note in sepia to front pastedown: 'Miss Burdett-Coutts / Stratton Street / A B / The First discovery of the Art'; and her ownership inscription in sepia to title page: 'Miss Burdett-Coutts, Stratton St. / A B'].[Gernsheim 7; Johnson T55; The Truthful Lens 161; Gernsheim History of Photography, pg. 173; Taylor, Impressed by Light, pg. 21 - 22; Schaaf, The Photographic Art of William Henry Fox Talbot pg. 202 - 211].
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Steidl, Göttingen. 2008. First edition, first printing. Mint, new, unread; originally shrink-wrapped in plublisher's plastic foil. Hardcover (linen) without dustjacket (as issued). 248 x 337 mm. 440 pages. 220 black & white plates. Edited by Cristina Vives and Mark Sanders. Foreword by Diana Diaz. Printed paper over board. "Alberto Korda is internationally recognised as one of the masters of revolutionary Cuban photography whose portraits of Che Guevara and Fidel Castro inspired a generation of radical youth throughout the 1960s and 1970s. His most famous image is undoubtedly his powerful 1960 portrait of Che entitled Heroic Guerrilla, which has since become the most reproduced image in the history of photography. What is less known is that prior to the revolution in 1959 Korda was considered to be the 'Avedon of Cuba', a progressive fashion photographer whose portraits of leading Cuban models such as his second wife Norka graced the covers of leading fashion magazines around the world. Equally, his work of the 1970s and 1980s, that witnessed a prolonged discovery of underwater photography alongside a return to fashion, has been largely neglected. This book covers all aspects of Korda's extraordinary career with specific reference to his interest in fashion, the revolution and other features of Cuban society. Starting with his early advertising work from the early 1950s the book traces Korda's entry into the world of fashion and his belief in what he termed an 'aesthetics of beauty'. He explored this idea not only in the sensuous curves of the female form but also in the unique landscape of Cuba as well as within the magnificence of the heroic revolutionary. The book also includes his extensive documentation of Castro and Che. A Revolutionary Lens is a celebration of Korda's belief in beauty and has been edited with full support of Alberto Korda's daughter Diana Diaz of the Korda estate. All prints that appear in the book have been completed under the supervision and care of Jose A. Figueroa, Alberto Korda's photographic assistant throughout the 1960s and 70s." (from the publisher) Alberto Korda was born in Havana and took many jobs before beginning as a photographer's assistant. After the Revolution Korda was one of the leading photographers for the Cuban newspaper Revolucion and closely followed Fidel Castro throughout the 1960s. Two decades later he became internationally recognised as one of the most important figures in the history of Cuban Photography. From 1968 to 1978 he concentrated on underwater photography until a Japanese exhibition stimulated international interest in his work. Korda suffered a fatal heart attack in Paris in 2001 while presenting an exhibition of his work.**********Steidl, Göttingen. 2009. Erstausgabe. Neu, ungelesen, verlagsfrisch; noch original-verschweißt in der Plastikfolie des Verlags. Hardcover (Leinen) ohne Schutzumschlag (nur so erschienen). 248 x 337 mm. 440 Seiten. 220 schwarz-weiß Fotos. Editiert von Cristina Vives und Mark Sanders. Vorwort von Diana Diaz.
Erstausgabe, Sprache: Englisch
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Abrams Books,Nov 2010
NEUBUCH! 316x295x30 mm
Egypt's landscape, from sand-swept desert ruins to the brilliant water of the Red Sea to the vibrant city of Cairo, is as legendary as its mythical history. Home to hieroglyphs, pharaohs, and the Great Pyramids of Giza, Egypt's rich cultural heritage truly merits its place in the cradle of civilization. In this breathtaking photographic journey down the Nile river, renowned photographer Philip Plisson travels by air with bestselling author and Egyptologist Christian Jacq to create this celebration of a spectacular landscape. Plisson's expert lens captures stunning icons of antiquity with the same grace and beauty as it presents the people of Egypt, subsisting as they have for centuries in communities along the Nile delta. Jacq's illuminating text provides a history of the subjects of Plisson's 250 splendid photos, inviting readers to rediscover Egypt as they have never known it before.
[Schlagwörter: Ägypten / Bildband; Englische Bücher / Kunst, Architektur, Fotografie; Englische Bücher / Reise / Afrika; Luftbild; PHOTOGRAPHY / Subjects & Themes / Regional (see also TRAVEL / Pictorials); TRAVEL / Pictorials (see also PHOTOGRAPHY / Subjects & Themes / Regional)]
81 weitere Einträge gefunden im
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Ahmedabad, India Mapin Publishing 2001
At the turn of the millennium, photography is ubiquitous and unquestioned. A century-and-a half ago however, notes curator and scholar Vidya Dehejia, "the simple ability to produce a photograph was in itself a marvel. . . .The early decades of the nineteenth century witnessed the pursuit of a dream, an obsession with cajoling nature into a miraculous reflection upon a surface where it could be captured and retained for all time." India was at the vanguard of the explosion of photography; both Indian and foreigner (mainly British) strove to document and reveal the Indian landscape, people, and architecture. The essays in this book reveal the history and importance of photography in India, from the appeal of the panorama to the documentation of people, places, and princes-and to the outstanding Indian photographer, Lala Deen Dayal, who was unique in being esteemed by both the world of the British and the world of princely India. This book appeals to specialists and nonspecialists alike all those who love early photography or British India are bound to enjoy India through the Lens. Vidya Dehejia, curator of the exhibition, editor of and contributor to the book, is deputy director and chief curator of the Arthur M. Sackler Gallery and the Freer Gallery of Art. Contributors: Charles Allen, an author and broadcaster best known for his social histories of the British colonial era; John Falconer, curator of photographs, Oriental and India Office Collections, British Library; Michael Gray, curator at the National Trust, Fox Talbot Museum, Lacock, England, and scientific director of Ikons Centre Imaging Project, University of Pordenone, Italy; David Harris, independent curator and photographic historian specializing in nineteenth-century and contemporary architectural and landscape photography; Jane Ricketts, independent scholar and collector who has concentrated on the work of British photographers in India in the nineteenth century; and Gary Sampson, associate professor of art history at the Cleveland Institute of Art. Printed Pages: 320 with 220 b/w photographs reproduced as 4-colour from Sepia prints in 200 screen, bibliography, glossary. First Edition New Hard Cover 11" x 9.5"; First Edition
[Schlagwörter: Indian Photography History CulturePhotography]
Hardcover, Schutzumschlag, Erstausgabe
Preis: US$ 89,25
Versand (Standard): US$ 11,00
Gesamt: US$ 100,25
(ca. 72,15 EUR)
London National Portrait Gallery 2004
336 pp.with 900 illustrations. The book is an exhibition catalogue and presents over 1000 postcards of ordinary people made exceptional by the lens of the camera. These images, all real photographs in postcard form, have been selected from the extensive collection of the artist, Tom Phillips, a postcard collector for a quarter of a century. In the first half of the 20th Century, the picture postcard transformed the art of portraiture from elite pastime to popular craze. Photographic equipment was cheaper, film faster, studios sprang up in every town, on every seaside promenade. In this democratic new medium, cook and chatelaine, poacher and gamekeeper, boss and labourer, manager and clerk were suddenly equal. Everyone became a postcard. VERY FINE COPY, AS NEW 1st edition Ppbck, card covers 19,5 x 25 cm; 1st edition
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Princeton Architectural Press, New York, 2009. First edition, first printing. Mint, unread, still originally shrink-wrapped in publisher's plastic foil. Got 4 nominations by "Photoeye" and was selected from over 27 famous people (Alec Soth, Martin Parr, John Gossage etc.) as one of the most important photobooks 2009. Photographs by Richard Barnes. Essays by Jonathan Rosen and Susan Yelavich. Hardcover with dustjacket. A buffalo stands horns to head with a man who is calmly vacuuming the snow-covered plains beneath its feet. A herd of plastic-wrapped zebras surrounds a giraffe, while a man on scaffolding above paints them a lovely trompe l'oeil sky. Photographer Richard Barnes has spent more than ten years documenting the way we assemble, contain, and catalog the natural world. Barnes's behind-the-scenes photographs are haunting reminders that there is nothing natural about a natural history museum. Animal Logic, Barnes's first monograph, collects four related species of his photographic work that touch on themes relevant to science, history, archaeology, and architecture. Through his lens, sights and objects normally hidden from public view-half-installed dioramas, partially wrapped specimens, anatomical models, exploded skulls, and taxidermied animals in shipping crates-take on a strange beauty. Barnes peels back layers of artifice to reveal the tangle of artistry, craftsmanship, and curatorial decisions inside every lifelike diorama and meticulously arranged glass case. Animal Logic investigates both the human desire to construct artificial worlds for "the wild" and the haunting and poignant worlds the real wild constructs. Barnes's camera freezes migrating starlings to reveal the visual poetry hidden inside their dense formations. His extraordinary photographs of birds' nests constructed from detritus-string, plastic, milkweed, tinsel, hair, dental floss, pine needles-sculpturally embody our often complicated relationship with nature. Animal Logic presents more than 120 of Barnes's photographs and includes essays by Jonathan Rosen of the New York Times and curator Susan Yelavich, which explore the themes that emerge from Barnes's unique body of work.***************Princeton Architectural Press, New York, 2009. Amerikanische Erstausgabe. Originalausgabe. Neu, ungelesen, verlagsfrisch; noch original-verschweißt in der Plastikfolie des Verlegers. Bekam von "Photoeye" 4 Nominierungen und wurde somit von 27 namhaften Gremiumsmitgliedern (unter anderem Alec Soth, Martin Parr, John Gossage) zu den 10 wichtigsten Fotobüchern 2009 gewählt. Fotografien von Richard Barnes. Essays von Jonathan Rosen und Susan Yelavich. Hardcover mit Schutzumschlag.
Erstausgabe, Sprache: Deutsch
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Lustre/Roli Books 0000
New Hardcover . The lens of a camera never more brilliantly captured the well-orchestrated spectacle of pomp and glory that was thev Raj, than in the portraits of the rulers of Princely India. Both amateur and professional early Indian photographers captured rulers and their families at their flattering best, creating enduring images that remain evocative and crucial visual documents of our past. The depiction of the Indian ruler was primarily governed by formal court protocol and etiquette, but also by the capabilities of early photographic technology and the capacity of its practitioners for experiment. The resulting images offer glimpses of a glorious past, but equally reveal the carefully choreographed presentation of royal personas for posterity and the hidden story of the patronaEUR"photographer relationship, which played a significant role in enabling it. It is vital then, to see the picture from multiple viewpoints, both contextual and metaphorical, and this volume draws the many threads together for the first time, including the history and functions of both portraiture as well as photography in India; the socio-cultural position of the portrait (princely or otherwise) in the past two centuries; and their political subtext. Drawing on previously unpublished material from collections across India and the world, and illustrated with the resulting panoply of images, the reader is at last in possession of an accessible, comprehensive introduction to royal Indian portraits. Printed Pages: 256. .
[Schlagwörter: Posing for Posterity Royal Indian PortraitsPramod Kumar KG (Author) & Arvind Singh Mewar (Frwd)9788174368782]
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Editorial RM,Jan 2009
NEUBUCH! 310x245x27 mm
One of the most complex and evocative manifestations of popular culture in the twentieth century, flamenco has always interested photographers from the World over. This volume finally provides an exhaustive study of the many ways in which photographers of different periods have approached the universe of flamenco. From the nineteenth-century travelers who sought out the small Gypsy communities of Andalusia in search of exotic locales to the most sophisticated contemporary fashion photographers, the seductive world of flamenco music, dance, and 'deep song' has always attracted the photographic lens. In some cases, the relationship has been accidental; in others, it constitutes a profound exploration of the essential nature of the art. During the Franco regime, a sign reading 'Flamenco music prohibited' Could often be seen in bars and taverns in different parts of Spain. This volume Mathers 170 photographs by more than 70 different photographers from around the world. It includes images by great masters of the genre as well as the eloquent testimonies of occasional travelers. From Laurent to Pierre Bonnard, the history of photography has offered an account of the aesthetic, anthropological, economic, and social evolution of flamenco.
[Schlagwörter: Andalusien; Flamenco; Tanz / Flamenco; Fotograf - Fotografin; Fotografin ( Fotograf ); Dancing; Tanzen ( Tanz ); Tanz - Tanzen]
2323 weitere Einträge gefunden im
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Photographic History of the Civil War. Vicksburg to Appomattox. Fighting for Time. The South Beseiged (sic!). The End of an Era
New York, National Historical Society, 1983, 1984
Format 22,0 x 28,0 cm; 1366 S. mit 2000 sw-Abbildungen; farbig bedruckter, glänzend cellohanierter Schutzumschlag (leicht berieben); mit Gold-(Rücken) und Blind-(Vorderseite)Prägungen versehener Efalin-Deckenband;
Herman Hattaway: Vicksburg and Port Hudson, invincible until grant - Wherever they go, the camera follows - Norman C. Delany: Rebel commerce destroyers take the War around the World - Rowena Reed: The City that fathered secession suffers the War's longest siege - George W. Adams: Hospitals, Medicines, Doctores, and Do-Gooders - Innovation, Invention, and sometimes Art, spill from the Lens - Dee Brown: The dashing dash to "Jine the Cavalry" - Harold D. Langley: The Routine, Boredom, and somtime Adventure of webfoot Reb and Yank - Frank L. Byrne: Simple Names like Johnsons's Island and andersonville come to mean hell - Edwin C. Bearss: The endless, bloody Battles for the State called "Volunteer" - Frank J. Merli: Of Ships and Sea and suffocating the Confederacy - Haas & Peale and their incomparable Record of Siege in South Carolina - Robert K. Krick: Grand and Lee meet at last, and will not part - Richard M. McMurry: "Hell has broke loose in Georgia," and Sherman makes it so - Everard H. Smith: Some of the Faces are new, but the Sound of Battle is the same in the Shenandoah - Ludwell H. Johnson III.: Cotton and Politics and the red River make strange War in Louisiana - Maurice Melton: From the Mississippi to the Golden Gate, the civil War is everywhere - Russell F. Weigley: Years of War, of trial and error, produce at last a fighting Machine in the shape of things to come - Charles R. Haberlein, Jr.: Ships of Iron, and Men to match, Battle on an August morning for mobile - the little-known Vermont Photographer G.H. Houghton went to the War in 1862 for an unforgettable Series - John G. Barrett: "From Atlanta to the Sea" and on through the Carolinas, the indomitable Sherman could not be stopped - Richard J. Sommers: After three Years the Union finally has Lee at Bay, but the quarry goes to ground and Grant can only wait - Emory M. Thomas: Symbol of the Confederacy, the Virginia Metropolis fights to the last - Louis Manarin: When Blood and Bravery and Indomitable will could do no more, the southern Banners were furled - William C. Davis: The War done, there was Peace to wage, and Battles anew with the hatreds remaining, and challenges ahead for a nation reuniting - Abbreviationes - The Contributors - Index
[Schlagwörter: Jewels of the Mississippi - Following the Armies - Raiders of the Seas - The Siege of Charleston - Caring for the Men - The Camera Craft: a Portfolio - War on Horseback - The Sailor's Life - Prison Pens of suffering - The War for Tennessee - Squadron of the South - Partners in Posterity - a Portfolio - Into the Wilderness - The Atlanta Campaign - Back to the Valley - A Campaign that failed - The forgotten War: The West - The modern Army - "Damn the Torpedoes!" - Houghton at the Front: a Portfolio - The great March - Petersburg besieged - Richmond, City and Capital at War - An End et last - The "late unpleasantness"]
Schutzumschlag, Zustand: wie neu, Sprache: Englisch
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The photographic journal including the transactions of the Royal Photographic Society of Great Britain (VOL. LXIII 1923)
London, Harrison & Sons, 1923
Vollständiger Jahrgang 1923 (Heft 1-12 Januar bis Dezember) mit 598 Seiten in englischer Sprache (durch Index erschlossen), zahlreiche Abbildungen, Dunkelblauer Leineneinband der Zeit ca. 16 × 24,5 cm mit goldgeprägtem Deckel- und Rückentitel, Einband geringfügig bestoßen und beschabt, Titelrückseite mit Bibliotheksstempel und Vermerk (keine weiteren Stempel, innen geringfügige Gebrauchsspuren, gutes Exemplar
Kleiner Auszug aus dem Inhalt: Africa, off the track, see Off the track in Africa. / Africa, the fascination of Northern Africa, by C. H. E. West, F.S.I., F.R.G.S. .. 29/ Air photography, see Survey from air photographe, by Colonel H. St. G. I. Winterbotham 170 / Amateur cinematography, by C. E. K. Mees, D.Sc., F.R.P.S. .. 519 / An ideal syllabus, by George Hawkings 546 / Andersson, Hugo, with Dr. The Svedberg, fluorescence photography by means of the new Wratten ultraviolet filter . .. 30 / Annual Exhibition .. 301 / Annual General Meeting 278 / Apparatus and Materials :-' Clarocit," E. L. Hopkins' 191 -- G.E.C. gas-filled projector lamps 238-- Griffin's roll film . 372 -- Ilford roll film 238 -- Iso-Zenith plate, 700 H.D. Ilford, Ltd... .. 95 -- Lenses and field cameras 540 -- Photographie mounts. L. S. Dixon & Co., Ltd., " Flambeaux and Elysium Mounts " .. 55 -- Septon : a one-solution sepia tone 22 -- Sunbeam Tours, Ltd. .. 540 -- The " Ensign-Walrus " Rule 22 / Appleton. W. B., past and present methods of photographie lens making .. .. 8 / Architecture in relation to pictorial photography, by T. H. B. Scott, A.R.I.B.A., F.R.I'.S. 513 / Arts and sciences, the recording angel of the, by Olaf Bloch, F.I.C'.. F.R.P.S. .. 443 / Astrological portraiture, by Alvin Langdon Coburn, F.R.P.S... 50 / Avenell, George, Lyme Regis and its associations .. .. .. .. 395 / Back page of a newspaper, the, by J. G. Marshall .. .. .. 556 / Baines, Sir Frank, C.V.O., C.B.E., the history and repair of the roof of Westminster Hall .. .. 306 / Balance Sheet, 1922 .. .. .. 284 / Bampfylde, Capt. J. \V., A.R.S.M., photomicrography as applied to the iron-carbon alloys .. .. .. 360 / sowie zahlreiche weitere Beiträge
[Schlagwörter: Photographie, Phototechnik, Dunkelkammertechnik, Photoindustrie]
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New York: Rizzoli, 1991.
96 S. Broschiert.
Ein gutes und sauberes Exemplar. - The architecture and interior design of 1920s and 1930s Los Angeles is celebrated in this delightful photographic tour of fabulously detailed residential, commercial, and public buildings. The distinctive Southern California version of the Art Deco style is revealed, from the hilltop Griffith Observatory to the houses designed by Lloyd Wright, among many others. An insightful introduction by respected architectural historian David Gebhard discusses the history of the style as it was adopted in the sunny, rather sleepy region during the early decades of the twentieth century. As a guidebook to extant architecture of the period in Los Angeles, LA. Deco offers the latest look at these historic buildings, through the lens of Carla Breeze, a New York City-based photographer. ISBN 0847814343
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Victoria Van Nostrand Reinhold Company 1978
Designed by Jeny Elliott. A simple instructional book showcasing photographic screen stencil printing with home built cameras. Contents: 1). A brief history of photography. 2). The darkroom and essentials. 3). Introduction to light-sensitive materials. 4). Using photographic paper. 5). A simple pinhole camera. 6). Adding a lens to the pinhole camera. 7). A 360° pinhole camera. 8). Using black and white panchromatic film. 9). Preparing your own photographic emulsion. 10). Introduction to graphic arts film. 11). Basic screen printing. 12). The screen print: from copy to finished product. With index and glossary. Illustrated with 106 photographs and line illustrations. 96 pag. 1st edition Cover illustrated Paperback 21cmx29cm; 1st edition
0442250053 Good condition
[Schlagwörter: photography pinhole camera graphic art film dark room photographic paper box brownie]
Preis: EUR 19,00
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Autographed statement regarding the story of John Minihan's icon phototograph of Samuel Beckett in "Le Petit Cafe".
8°. 18-line statement of John on the front pastedown of a paperback (John Fletcher - "About Beckett: the playwright & the work). Ink on paper - John wrote this on his trip to Vietnam in 2009. Dated "1st December 2009 - Ho Chi Minh City". / Also included: "John Minihan - Beckett fotografieren. 5 pages. Detmold, Literaturbüro, 1996. (Tells the story of how Minihan meets Beckett and how the "Le Petit Cafe"-picture was taken. In german language). Signed by John Minihan//
John had the habit of conserving his thoughts (while travelling) immediately on every paper reachable. Often this lead to him using covers or pastedowns of books. This wonderful autograph is extraordinary because it is the only existing handwritten statement we are aware of - that deals with the development of the story around the Samuel Beckett-photograph John is reknown for. "1st December 2009 - Ho-Chi-Minh-City - Someone recently asked me what did i say to Samuel Beckett to get him to pose for what now became an Icon Picture of the writer; well i did not have to say much - for Sam was very much the Director in the picture that i took; yes i knew where i wanted him; yes i knew what Lens i would use; yes I wanted to place him in Paris - But the eyes (,) the way he (was) gazing into space; that's all him, thats how he wante to be percevered" John Minihan is an Irish photographer, born in Dublin in 1946 and raised in Athy, County Kildare. At the age of 12 he was brought to live in London, and went on to become an apprentice photographer with the Daily Mail. At the age of 15 he won the Evening Standard amateur photography competition. At 21 he became the youngest staff photographer for the Evening Standard. For thirty years he remained in London, returning every year to his hometown of Athy to record the people and their daily lives. The work of Minihan in Athy makes up a large part of his canon. Minihan began taking photos in Athy when he was 16. The photos are an attempt to document the lives of the ordinary people of the town in their day to day business and also in times of joy and sadness, notably during the wake of a woman called Katy Tyrrell. In between documenting Athy on visits home, Minihan continued his career on Fleet Street, which included the iconic snap of the 19-year-old Lady Diana Spencer in the garden of the nursery at which she worked, the morning sun to her back, her legs in silhouette through her skirt. Diana had just been announced as the Prince of Wales's love interest and photographers raced to take her photo, Minihan having the fortune to turn up first. Over the years Minihan developed a close relationship with many writers and his photographs of Samuel Beckett show a particular affinity between the two men. Minihans photos of Beckett are some of his best known, one in particular is described as one of the greatest photos of the twentieth century. William S. Burroughs once referred to Minihan as "a painless photographer". Minihan is perhaps best known for his photographs of Samuel Beckett. Minihan first expressed a desire to photograph Beckett in 1969, following Becketts winning of the Nobel Prize for literature, having noticed that all the available photos of Beckett were of a poor quality; 'We were running a story but discovered there were only two very vague images of Beckett taken many years before. It was like he didn't exist - that was the moment I decided I wanted to meet this man and take his photograph.' Minihan first encountered Beckett in London in 1980, while Beckett was working on a production of one of his own plays, Endgame. Minihan met Beckett in the Hyde Park hotel and showed him some of his photos of Athy to break the ice. The two met on a number of occasions over the next few years, but it was not until 1985 that they met in Paris. They arranged to meet in the restaurant of the Hotel PLM, a regular haunt of Beckett. At ten to five, with the light fading, Minihan took the photo that would go on to be called by some as the photograph of the twentieth century. John Calder credited Minihan with capturing, 'the introspective, infinitely sad gaze of a man looking into the abyss of the world's woes'. Among his numerous photographic publications are Photographs: Samuel Beckett (1995); Shadows from the Pale, Portrait of an Irish Town (1996); and An Unweaving of Rainbows, Images of Irish Writers, 1996. He is currently a freelance photographer specialising in 'the arts'. His book of photographs of Samuel Beckett was published in 1995. His photographs of Athy have been exhibited throughout the world. He was given the freedom of Athy in 1990. Minihan currently lives and works in West Cork. Minihan's many exhibitions in museums and galleries around the world include the Museum of Modern Art, Rio de Janeiro, 1984; Centre Georges Pompidou, Paris 1986; the National Portrait Gallery, London 1987/8 and the October Gallery, London 1990 as well as the Guinness Hop Store, Dublin 1991. (Wikipedia)
[Schlagwörter: Autograph, History of Photography, Photographs, Photography, Rare Books, Samuel Beckett]
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Göttingen: Steidl Verlag, 2007.
288 S. Mit zahlr. auch farb. Abb. Originalleinen mit Schutzumschlag.
Tadellos. Ohne Gebrauchsspuren. - Inhalt: Preface, Anthony Bannon -- Portrait of a Library, Sheila J. Foster and Rachel Stuhlman -- Before Photography: Photosophia, Sheila J. Foster -- Playbooks, Grant B. Romer -- Daguerre in the library, Grant B. Romer -- The Daguerreotype Translated, Rachel Stuhlman -- Southworth & Hawes and the Business ofDaguerreotypy, Sheila J. Foster -- The Paper Multiple: Talbot's Invention and Early Photographic Books, Larry J. Schaaf -- Reports on the Exhibition of the Works of Industry of All Nations, Saskia Asser -- Reverie and Description: Maxime Du Camp, Francis Frith, and the Exploration of the Middle East, Julian Cox -- An Early History of the Medium: Blanquart-Evrard, Steven F.Joseph -- Bucolic Landscape, Romantic Ruins, and Travelers' Memento, Sheila J. Foster and Rachel Stuhlman -- Specimens: Under the Lens, Sheila J. Foster -- The Stereoscopic Illusion, Sheila J. Foster -- India: The Jewel in the Crown, Lindsey S. Stewart -- Travel and Exploration, Rachel Stuhlman -- Far East, Denise B. Bethel -- Images of the Illustrious, Portraits of Celebi, Sheila J. Foster -- Literary Observations, Rachel Stuhlman -- Cataloging, Enumerating, and Possessing, Rachel Stuhlman -- Going by the Book, Mark Osterman -- Paper Sample Books, Mark Osterman -- Nineteenth-Century Photographic Journals, Mark Osterman -- Early Photojournalism, Rachel Stuhlman -- Documentation of War, Rachel Stuhlman -- Emerson's Vision, Ellen Handy -- The International Movement of Art Photography, Steven F.Joseph -- Alfred Stieglitz's Key Type Set: Camera Notes, Camera Work, and 291, Sheila J. Foster -- Alvin Langdon Coburn, Pamela G. Roberts -- George Eastman House Publications, Rachel Stuhlman -- Letters and Manuscript Collections -- George Eastman House Notable Alumni -- George Eastman House Collections -- George Eastman House Leadership, 1948-2007 -- Selected Photographers and Their Holdings at George Eastman House. ISBN 9783865214621
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Göttingen: Steidl Verlag, 2007.
288 S. mit zahlr. auch farb. Abb. 4°, Originalleinen mit farb. ill. Schutzumschlag. Neuwertiges Exemplar.
Inhalt: Preface, Anthony Bannon -- Portrait of a Library, Sheila J. Foster and Rachel Stuhlman -- Before Photography: Photosophia, Sheila J. Foster -- Playbooks, Grant B. Romer -- Daguerre in the library, Grant B. Romer -- The Daguerreotype Translated, Rachel Stuhlman -- Southworth & Hawes and the Business of Daguerreotypy, Sheila J. Foster -- The Paper Multiple: Talbot's Invention and Early Photographic Books, Larry J. Schaaf -- Reports on the Exhibition of the Works of Industry of All Nations, Saskia Asser -- Reverie and Description: Maxime Du Camp, Francis Frith, and the Exploration of the Middle East, Julian Cox -- An Early History of the Medium: Blanquart-Evrard, Steven F.Joseph -- Bucolic Landscape, Romantic Ruins, and Travelers' Memento, Sheila J. Foster and Rachel Stuhlman -- Specimens: Under the Lens, Sheila J. Foster -- The Stereoscopic Illusion, Sheila J. Foster -- India: The Jewel in the Crown, Lindsey S. Stewart -- Travel and Exploration, Rachel Stuhlman -- Far East, Denise B. Bethel -- Images of the Illustrious, Portraits of Celebi, Sheila J. Foster -- Literary Observations, Rachel Stuhlman -- Cataloging, Enumerating, and Possessing, Rachel Stuhlman -- Going by the Book, Mark Osterman -- Paper Sample Books, Mark Osterman -- Nineteenth-Century Photographic Journals, Mark Osterman -- Early Photojournalism, Rachel Stuhlman -- Documentation of War, Rachel Stuhlman -- Emerson's Vision, Ellen Handy -- The International Movement of Art Photography, Steven F.Joseph -- Alfred Stieglitz's Key Type Set: Camera Notes, Camera Work, and 291, Sheila J. Foster -- Alvin Langdon Coburn, Pamela G. Roberts -- George Eastman House Publications, Rachel Stuhlman -- Letters and Manuscript Collections -- George Eastman House Notable Alumni -- George Eastman House Collections -- George Eastman House Leadership, 1948-2007 -- Selected Photographers and Their Holdings at George Eastman House. Bei Bestellungen gegen offene Rechnung bitte Telefonnummer angeben. Danke!
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Fond. Scuola Nazionale de Cinema, 2001.
300 S. mit sehr zahlr. Abb. Broschiert.
Sehr gutes Ex. - Glancing into the "Abyme" Foreword by Lino Micciche Rome in Cinema between Reality and Fiction Introduction by Elisabetta Bruscolini ESSAYS The Gaze and the Ruins: Notes for a Roman Film Itinerary by Marco Bertozzi Rome - City of Cinema between Symbol and Reality by Maria Grazia Tolomeo Dreams in the Streets: Images and Imaginings of Rome in Film by Bruno Di Marino The Image of the Image of the City or a Glance factiously constructed by Massimo Casavola INTERVIEWS WITH STILL PHOTOGRAPHERS by Laura Di Bianco, Maria Orsini and Viridiana Rotondi Francesco AlessiBruno BruniOsvaldo Civirani A Frenchman in Rome. Interview with Paul Ronald by Antonio Maraldi INTERVIEWS WTTH DIRECTORS OF PHOTOGRAPFTY by Laura Di Bianco, Maria Orsini and Viridiana Rotondi Giuseppe LanciGiuseppe RotunnoLuciano Tovoli INTERVIEWS WITH ART DIRECTORS by Juan Francisco Del Valle Goribar and Giusy Gulino Lorenzo Baraldi Andrea CrisantiLuciano Ricceri ROME IN FILM: THE IMAGES The photographs Captions APPENDIX General index of feature films shot in Rome by Bruno Di Marino with the collaboration of Lara Nicoli Film biographies of the stili photographers in the exhibit by Laura Di Bianco, Maria Orsini and Viridiana Rotondi Select bibliography relating to stili photography by Laura Di Bianco, Maria Orsini and Viridiana Rotondi. - The selection of photographs in this book maps out a threefold route. On the one hand, it observes the history of the film in Italy. On the other, it revisits the city's places, also seen through the eye of the still photographer. Thus there are three main protagonists: film, the city and the photographer who captured its atmosphere with skill highlighting its role in some of the most beautiful scenes of our cinema. The urban backdrop, already utilized at the time of the silent films experimenting with the new art to create moving postcards, later became part of the cinematographic tale in a reciprocal game of aesthetic cross-referencing. Film no longer reproduced the city but rather re-invented it, revolutionizing its order, tracing impossible routes, making the city truer than true and at the same time false, or rather, always authentic and always false, whether shot from reality or reproduced with great skill in the studio. Rome, city of film, a place loved and detested by so many directors who so often reconstructed it on the set to work in greater tranquility. A place all too emblematic with structures that are so unique and recognizable that they risk the "postcard effect," forcing directors of photography to hide its beauty and characteristics, to dull the tones of its colors, to attenuate its all-too-fantastic atmospheres. The city's real squares and streets which we still cross today, stopped in a time different from ours, its periphery, still chaotic and tinged with sadness, its monuments which bear witness to the timeless continuity of urbanity, details highlighted by the lens and the extraordinary presence of so many faces and moments of our cinema animate the image and make it unique. Rome is seen as a set, exploding from the still photo in the photographer's attempt to mediate between fiction and reality, which exalts the city much more than the film itself. This is seen clearly in the images exhibited here. More than words or any critical essay, these images render justice to the still photographer's work revealing to a careful observer how the photo distances itself from film and achieves its own autonomy, rather than functioning merely as a banal reproduction of what the director of photography has lit, the director has decided and the actors have performed. Some photographs are true works of art, since the photographer imbues them with his own special sensibility in reproducing the atmosphere of a particular film, the spirit of a frame, the secret soul of a view. The scenic "reality" depicted by the photographer is the fruit of creativity in harmony with the director's and cameraman's work and at the same time graces the photograph with a unique personal touch. This collection of photographs pays homage to the capital. But it should also be interpreted as recognition of one of the most undervalued and thankless jobs in film, one which has always played a fundamental role in promoting and publicizing films well before their release in the cinemas. It is a job which today makes it possible to illustrate books and magazines, even in the absence of the film stock, at times discovering lost films, scenes never included or the presence of actors whose roles were either partially or totally cut in the final phase of editing. The figure of the still photographer came into being during the 1930s. During the preceding decades it had not been recognized as a specific profession and even subsequently, the still photographer also worked off the set. At the beginning of the 20th century and until the 30s, the role of the still photographer remained anonymous - overlapping, and mingling with, that of the camera operator, who was very often also the director. Some great photographers in those early years of the burgeoning art moved behind the camera. Others - who have mostly remained unknown - took their photos on the set providing producers with material to publicize their films. Before the promotional folders consisting of brochures, posters and photo-envelopes came into use, they glued photos to cardboard. From the first decade of the twentieth century, these were exhibited in the showcases of the first makeshift cinemas to attract the public. Portraits of the actors in costume, printed in postcard format, were distributed world-wide. After initial publication in prestigious photographic reviews, still photographs documented the progress of the film and provided updates for film buffs in specialized magazines founded during the second decade of the century. The photos were all posed and shot with long exposure times using unwieldy equipment and large-size plates. This produced somewhat unnatural results, a kind of pictorial still life with actors in stiff poses, their movements crystallized at the moment of the shutter's click. Printing was particularly painstaking and studied, using albuminate or silver chloride - and at times platinum - gel, and contributed a precious aspect to these photos. Some two decades later, the photographers took on a better defined role in the film industry and began to shoot two distinct and well-defined kinds of image on the set. The "off set" photos were taken during breaks in shooting and may be considered the absolutely authentic work of the photographer. The set photos reproduced scenes of the film chosen by the director and camera operator. To a certain extent, the latter photos may also be considered individual works since they are the result of the photographer's mediation which often did not fully respect the framing but chose cuts, lights, distances and positions, thus adding his own touch of originality. (Einleitung) ISBN 8831776320
[Schlagwörter: Rom, Cinema, Filmgeschichte, Fotoband, Kino]
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