Boston, Academic Press, 1989, 1989
Gr. in-8°, 334 p., illustrated, clothbound, jacket. First edition of this very useful history with appendix ?Glossary of optical terms? and a ?Lens names Index?.Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage. Artikel-Nr.: 15097.
Elsevier Science & Technology Nov 1989, 1989
231x155x30 mm. Buch. Neuware - Contents: Introduction. Meniscus Landscape Lenses; Portrait Lenses; Early Double Objectives; Optical Glass; The First Anastigmats; The Triplet Lens and Its Modifications; Meniscus Anastigmats; Telephoto Lenses; Reversed Telephoto Lenses; Varifocal and Zoom Lenses; Catadioptric (Mirror) Systems; Lens Attachments; Brief Biographies. Appendix: A Glossary of Optical Terms. Index. In this book, author Kingslake traces the historical development of the various types of lenses from Daguerre's invention of photography in 1839 through lenses commonly used today. Provides valuable information to anyone interested in the evolution of lens design. Englisch. Neu. Artikel-Nr.: 9780124086401.
Jersey Photographic Museum, Jersey, Channel Islands, 1996
Hard Cover. 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. Fine. Artikel-Nr.: 011939.
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. . Artikel-Nr.: 21105.
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 José 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 Revolución 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. Sprache: Englisch Gewicht in Gramm: 1600. Wie neu. Artikel-Nr.: 11944.
London, Glasgow & Edinburgh, William Mackenzie, [1858-1860]., 1860
Royal folio (740 x 530 mm). 20 albumen prints (485 x 390 mm, or the reverse), 7 of these signed and dated 1858 in the negative, mounted on card with printed captions. 20th-century green half morocco bound to style. All edges gilt. First edition of Frith's mammoth masterpiece, now hailed as "one of the most renowned nineteenth-century photobooks" (The Photobook). Of the artist's various publications it is unquestionably the finest, constituting "the largest book with the biggest unenlarged prints ever published" (Gernsheim). The enormous negatives (measuring 16 x 20 inches) were developed on site in the soaring temperatures of the desert, and the large panels of glass had to be transported through the desert by camels. As the prints were made directly from the negatives, they are unmatched both for their detail and their finely toned gradation. This landmark travel publication also served as a showcase for the relatively new technology of photography, demonstrating its ability to capture far-off foreign lands for a domestic audience: thereafter, the camera became an essential part of every explorer's equipment. - Of all the photographs Frith produced, the 20 presented here include a panorama of Jerusalem and 19 views of Egypt, accompanied by descriptions composed by the mother and son duo, Sophia and Reginald Stuart Poole. The publication brought the Middle East, ancient and modern, to an eager Victorian audience, and Frith's images helped shape perceptions of the area for decades to come. "The large-view prints in the book have justly become famous [.] as much for their technical as for their artistic achievement, demonstrating photography's astonishing capacity to render the form and texture of the actual" (The Photobook). Indeed, the work may be considered "the epitome of Victorian grandiosity. Few publications in the history of the medium are its equal in either presentation or ambition [.] Frith's views of the Pyramids, in particular, are groundbreaking and became the works for which he is now best known" (Foster et al.). - One plate lightly faded, another showing shallow creasing. Occasional waterstaining to backing paper (not affecting images), but remarkably clean altogether. A short repaired tear in the foremargin of some leaves, marginal repairs to a few guards or text leaves. Usually, only single plates appear at auction, but one complete copy commanded £337,250 at Bonhams in 2012, while another (showing scattered spotting, in a restored binding) fetched £289,250 at Sotheby's the following year. - Provenance: From the library of Alexander (Alistair) Vane-Tempest-Stewart, 9th Marquess of Londonderry (1937-2012). The Photobook I, 28. Foster/Heiting/Stuhlman, Imagining Paradise, p. 62f. Gernsheim, Incunabula of British Photographic Literature, 1839-1875, p. 31 no. 130 (illus.). Goldschmidt/Naef, The Truthful Lens, p. 200 no. 62. Haworth-Booth, The Golden Age of British Photography, 1839-1900, p. 90f. (illus.). Artikel-Nr.: 38463.
New York, National Historical Society, 1983, 1984, 1984
140. 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 Sprache: eng. wie neu. Artikel-Nr.: P0269.
National Portrait Gallery, London, 2004
Ppbck, card covers. 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 Size: 19,5 x 25 cm. 1st edition. Artikel-Nr.: 5357.
Philadelphia, published under the Auspices of the University of Pennsylvania, plates printed by the Photo-Gravure Company, 1887., 1887
Large folio. Half morocco, retaining the original cloth covers and gilt cover label. 11 (instead of 21) plates. Author's Edition. Landmark collection of Muybridge's revolutionary "instantaneous photography", a self-developed technique that allowed for high-precision series of high shutter speed stop-motion photographs. He began his work with photographing horses, but in time it would also include athletes, birds, lions, and even camels. Muybridge first photographed a horse with all 4 hooves off the ground in 1872, after Leland Stanford (later the Governor of California) hired Muybridge to determine whether a horse leaves the ground completely when running, a hotly debated issue at the time. (Stanford believed they did, and Muybridge won Stanford a $25,000 bet.) By 1885, Muybridge had accumulated over 20,000 photographic negatives, or 781 sequential series of photo-plates, shot from multiple cameras at carefully planned locations and angles, each of which showed a human and/or animal engaged in a continuous motion. This required Muybridge to develop cameras for faster shutter closure. In cases where a human or animal moved any great distance, photographing the movement required a team of photographers, rather than a single photographer. Muybridge and H. Allen, a physiology professor at the University of Pennsylvania, published 37 eleven-volume sets which contained a collotype of every one of the 781 photographic series. This "Author's Edition" consists of a selection of the most important collotypes contained in the full work; the present set includes all the plates to show animals: No. 565. Horse trotting. - 616. Horse and rider, trotting more rapidly. - 626. A third horse and rider, running, including several frames with all 4 hooves off the ground. - 647. A horse jumping a hurdle at high speed, with a bareback jockey. - 659. Mule jumping and kicking with his hind limbs. - 710. Race hound at high speed, including frames with all 4 feet off the ground. - 721. Lion circling along the wall of a small enclosure. - 739. Camel walking. - 755. Bird flying, including swoops down. - 3. Runner. - 152. Runner jumping a hurdle. - The combined illustrated area of any given plate varies, but is typically about 21 x 30 cms. Muybridge had focused his early photographic work on San Francisco and Yosemite, but had later been sent by the Federal Government to photograph Alaska for the High Sierra Survey. (The latter project was in 1868, shortly after the territory was purchased. He was later sent on a second trip to Alaska to photograph the Tlingit tribe and the Modoc War.) During his time as a photographer, Muybridge owned a racetrack. Late in life, he invented the zoopraxiscope, a primitive forerunner of the motion picture camera. Analyses made possible by the technique later had a wide range of implications for sports, podiatry, physical therapy, vertebrate paleontology, and other fields. - Pastedowns and spine renewed, otherwise an excellent, clean copy in the original boards. Grolier, Truthful Lens, 123. Parr/Badger, The Photobook I, 52. Artikel-Nr.: 32455.
New York: Rizzoli, 1991
Broschiert. 96 S. 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 Sprache: Deutsch Gewicht in Gramm: 550. Sehr gut. Artikel-Nr.: 917926.
Göttingen: Steidl Verlag, 2007
288 S. Mit zahlr. auch farb. Abb. 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 Sprache: Englisch Gewicht in Gramm: 2136 Originalleinen mit Schutzumschlag. Sehr gut. Artikel-Nr.: 967273.
London S. Low Marston Low and Searle, 1873
First edition. Large folio (64 x 52 cm. approx), half-title, title in red and black, dedication leaf, 141 mounted albumen photographs (116 mounted in the text and 25 mounted as inserted plates, including one double-page plate), mounted on guards throughout, original brown morocco gilt by Leighton Son and Hodge with gilt pictorial vignette by G. Littlejohn to upper cover, neatly rebacked preserving spine, light fading to photographs, a very good copy of one of the most remarkable books on the Arctic. "Not only a major monument of photography but also of nineteenth century book making" (Books on Ice). A notorious Arctic rarity, only 350 copies printed. This voyage aboard the Panther in the summer of 1869 was one of seven trips to Labrador and Greenland that Bradford sponsored or participated in during the 1860's, all early examples of what might be called "eco-art tourism". Artist William Bradford was not the principal photographer for this book. His assistants, John L. Dunmore and George Critcherson took most of the photographs whilst Bradford Bradford sketched the same scenes. Of the photographs, Martin Parr writes: " they also contributed to, indeed largely invented, that staple of arctic expedition photography, the tiny ship struggling through towering sheets of ice - the classic, but nevertheless compelling cliché of man against the elements" (The Photobook: A history, 2004). William Bradford (1823-1892), a painter of the Hudson River School, is known for his paintings of ships and Arctic seascapes. In 1869, having secured the sponsorship of a wealthy patron in Le Grand Lockwood (to whose memory the book is dedicated, he having passed away in 1872), Bradford chartered the steamship The Panther, and set off for Greenland, to set the frozen north to pen and paper. The aim was to venture as far as ice would permit, deep into Melville Bay in Greenland, primarily to make sketches and also to explore the region. He hired for the expedition the photographers John L. Dunmore and George Critcherson from Boston, who had traveled with Bradford before, and the noted Arctic explorer Dr. Isaac Hayes also joined the party. The three month summer trip was a great success; Bradford produced a large number of sketches and Dunmore and Critcherson took hundreds of photographs (Bradford is now believed to have taken a number of the photographs himself). The remarkable photographs, made under extremely harsh freezing conditions, are a tribute to the skill and fortitude of the photographers. Once back in his studio, Bradford used the sketches and photographs to create many fine, finished paintings. In 1871 and 1872 Bradford exhibited the paintings and sketches in England to great acclaim, and attracted the patronage of Queen Victoria. This prompted Bradford to plan publication of an album of photographs, and when Queen Victoria and other members of the royal family added their names as subscribers (at a cost of 25 guineas apiece), the "album" was transformed into a lavish publication, with a text combining sober scientific observation with romantic hyperbole. Three hundred copies were proposed (some sources say 350), although it is thought that significantly fewer were actually published. The publisher, Marston, had already some experience with photographic books: he had just published the Valley of the Grisly, also by a painter, Bierstadt, with photos by Watkins. "The most beautiful photographic book on the Arctic region" (Coron, BnF). Books on Ice 10.11; Gernsheim Incunabula of British Photography 570; Grolier, Truthful Lens 24; A. Coron, Des Livres rares depuis l'invention de l'imprimerie, exhibition BnF 1998, #67 ("luxueux ouvrage [.] mise en pages eblouissante [.] spectaculaire reliure [.] monument de l'edition photographique"). Artikel-Nr.: 90711.
Van Nostrand Reinhold Company, Victoria, 1978
Paperback. 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 360º 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. Size: 21cmx29cm. 1st edition. Good condition. Artikel-Nr.: 029408.
Abrams Books Nov 2010, 2010
316x295x30 mm. Buch. Neuware - 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. 333 pp. Englisch. Neu. Artikel-Nr.: 9780810984332.
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. Sprache: Deutsch Gewicht in Gramm: 1600. Wie neu. Artikel-Nr.: 11037.
Seigensha Art Publishing, Japan, 2004. First edition, first printing. With signature and drawing by Tomoko Sawada! Hardcover (as issued). 110 x 155 mm (5 3/4 x 6 3/4 inch). 400 black and white plates. Biographical note and exhibition history. Language: japanese and english. Condition: Outside like new; lightly trace of use. Inside new, mint, unread; only opened once for signature. Fantastic and important artist and photography book. Scarce first printing! Fantastic condition! With vintage signature and drawing by the artist! Collector`s copy! "Contemporary portraiture can communicate various attitudes towards identity, status, individualism, time, place, culture and other connected ideas of the self. For artists, it can be used as a platform for discussion or as an enlightening tool for personal discovery. The work of Tomoko Sawada explores many of these sometimes contradictory ideas through self-created characters, the use of costume and staged photography allows Sawada to evoke the essence of "real" people within a controlled environment. Sawada`s series OMIAI, ID400 and School Days are fitting examples of her ability as both a photographer, and to some degree, performance artist. Reincarnating herself as numerous different schoolgirls or multiples of potential wives, Sawada explores Japanese stereotypes with humorous and delightful effect. By turning the lens on herself, Sawada explores the finer details of portraiture utilizing costume, facial expression and differing environments for the perfect photograph - the accessible photo-booth, studio, or working environment. Her work has a sense of familiarity, comforting but also unsettling in its realism and closeness. Sawada enlists the assistance of studio photographers to document her work. This separation from the "artist`s hand" further places Sawada in the realm of performer rather than photographer. Her art is connected to her surroundings, her costume, hair and make-up; all of the rudimentary and mundane objects that are usually taken for granted. Once formulated, her photographs act as an exploration of social badges, the malleability of the self and our position and role in contemporary society. The experimentation and repetitive nature of her photography further highlights Sawada`s skill in costume and theatrical prowess. The digital manipulation of her work feels real and her characters, believable. All of these elements culminate in a photographic document of Japanese society and the individuals that encapsulate it. This highly skilled photographer`s body of work continues to grow. She has exhibited in major national and international galleries and group exhibitions where many public and private collectors have purchased her work. She is also the winner of many notable photography awards and grants."***************Seigensha Art Publishing, Japan, 2004. Japanische Erstausgabe. Originalausgabe. Mit Signatur und Zeichnung von Tomoko Sawada! Hardcover (wie erschienen). 110 x 155 mm. 400 schwarz-weiß Fotos. Text: japanisch und englisch. Großartiges und wichtiges Künstler- und Fotografiebuch! Seltener Erstdruck! Fantastischer Zustand! Mit Vintage-Signatur und Zeichnung der Künstlerin! Sammler-Exemplar! ja Gewicht in Gramm: 1600. Wie neu. Artikel-Nr.: 19251.