ART 254: Introduction to Photography

As the visual component of contemporary media has overtaken the verbal, visual reportage has established a unique and extremely significant role in 21st-century culture. Julianne Newton has prepared this comprehensive analysis of the development of the role of visual reportage as a critical player in the evolution of our understanding of ourselves, others, and the world. The Burden of Visual Truth offers a first assessment of the role of visual journalism within the context of the complex, cross-disciplinary pool of literature and ideas required for synthesis. Newton approaches the subject matter from several perspectives, examining the theoretical and ideological bases for visual truth, particularly as conveyed by the news media, and applying relevant research on photojournalism and reality imagery to contemporary newspaper, broadcast, and internet professional practice. She extends visual communication theory by proposing an ecology of the visual for 21st century life and developing a typology of human visual behavior. Scholars in visual studies, media studies, journalism, nonverbal communication, cultural history, and psychology will find this analysis invaluable as a comprehensive base for studying reality imaging and human visual behavior. The volume also is appropriate for journalism and media studies coursework at the undergraduate and graduate levels. With its conclusions about the future of visual reportage, The Burden of Visual Truth also will be compelling reading for journalism and mass communication professionals concerned with improving media credibility and maintaining a significant course for journalism in the 21st century. For all who seek to understand the role of visual media in the formation of their views of the world and of their own identities, this volume is a must-read.

We say the camera doesn't lie, but we also know that pictures distort and deceive. In Picture Perfect, Kiku Adatto brilliantly examines the use and abuse of images today. Ranging from family albums to Facebook, political campaigns to popular movies, images of war to pictures of protest. Adatto reveals how the line between the person and the pose, the real and the fake, news and entertainment is increasingly blurred. New technologies make it easier than ever to capture, manipulate, and spread images. But even in the age of the Internet, we still seek authentic pictures and believe in the camera's promise to document, witness, and interpret our lives.

Modern technology has enabled anyone with a digital camera or cell phone to capture images of newsworthy events as they develop, and news organizations around the world increasingly depend on these amateur images for their coverage of unfolding events. However, with globalization facilitating wider circulation, critics have expressed strong concern over exactitude and objectivity. The first book on this topic, Amateur Images and Global News considers at length the ethical and professional issues that arise with the use of amateur images in the mainstream news mediaOCoas well as their role in producing knowledge and framing meanings of disasters in global and national contexts."

This text examines the use of images in journalistic contexts and the manipulation of these images to accomplish varying objectives. It provides a framework for critical discussion among professionals, educators, students, and concerned consumers of newspapers, magazines, online journals, and other nonfiction media. It also offers a method of assessing the ethics of mass-media photos, which will help visual journalists to embrace new technologies while preserving their credibility. Phototruth or Photofiction? also: *recounts the invention of photography and how it came to be accorded an extraordinary degree of trust; *details how photos were staged, painted, composited and otherwise faked, long before digital technology; *lists contemporary image-altering products and practices; *details many examples of manipulated images in nonfiction media and lists rationales offered in defense of them; *explains how current ethical principles have been derived; *lays groundwork for an ethical protocol by explaining conventions of taking, processing, and publishing journalistic photos; and *offers tests for assessing the appropriateness of altered images in non-fiction media. Each chapter is followed by "Explorations" designed to facilitate classroom discussion and to integrate into those interactions the students' own perceptions and experiences. The book is intended for students and others interested in the manipulation of images.

Images play a key role for scholarly work in many ways? they facilitate communication and support understanding or make research results look more appealing. At the same time powerful image-editing programs have profoundly changed how image manipulations are perceived today. This book explores how scholars from different domains conceive image manipulation. The study is based on research carried out at the Interdisciplinary Laboratory Image Knowledge Gestaltung at Humboldt University Berlin. Informants from the field of biology, computer science, art history and design explain how they differentiate between appropriate and inappropriate image manipulation. Furthermore these experts report on whether guidelines or practical logics shape their work with images.

If you want to learn from the leading lights of today's revolution in documentary filmmaking Maxine Baker has written the guide you need to own. You'll discover the many different and innovative approaches to documentary form and style arising from the use of innovative new technology. A tribute to the mavericks of creativity, inside you will find interviews and advice from groundbreaking documentary makers from the UK, USA and Europe as well as extensive listings of useful worldwide contacts and organisations. Any and every fan of the documentary will experience anew the passion and wonder of the Factual Film. Published review: "This is a must-have insight into modern documentary; the principles that govern it and the conventions it often breaks. It deserves a place on the shelves of film commissioners, film students and documentary consumers as prominent as the place these documentary filmmakers have carved for themselves on our screens." - www.shootingpeople.org

There is no doubt, journalism faces challenging times. Since the turn of the millennium, the financial health of the news industry is failing, mainstream audiences are on the decline, and professional authority, credibility and autonomy are eroding. The outlook is bleak and it's understandable that many are pessimistic. But this book argues that we have to rethink journalism fundamentally. Rather than just focus on the symptoms of the 'crisis of journalism', this collection tries to understand the structural transformation journalism is undergoing. It explores how the news media attempts to combat decreasing levels of trust, how emerging forms of news affect the established journalistic field, and how participatory culture creates new dialogues between journalists and audiences. Crucially, it does not treat these developments as distinct transformations. Instead, it considers how their interrelation accounts for both the tribulations of the news media and the need for contemporary journalism to redefine itself.

You want to look through the lens of your camera and change the world. You want to capture powerful moments in one click that will impact the minds of other people. Photographic images are one of the most popular tools used to advocate for social and environmental awareness. This can be as close to home as drug use, prostitution, or pollution or as far away as famine, war, and the plight of refugees and migrant workers. One well-known example of an activist photographer would be landscape photographer Ansel Adams, who trudged to Washington with stunning images of the American west to advocate protecting these areas. His images and testimony were instrumental in creating the National Park System and garnering specific protection for Yellowstone National Park. More recently Robert Glenn Ketchum's images of Alaska's Arctic National Wildlife Refuge raised awareness of why this area should be protected. Nigel Barker's seal photographs advocates against seal clubbing. What is your cause and how can you use your camera to make the world a better place? This book provides a comprehensive theory of, and history of, photography as activism. It also includes interviews with contemporary photographers. It is a call to action for young photographers to become activists, a primer of sorts, with advice for how to work with NGOs and non-profits, how to work safely in conflict zones and with suggestions for distribution on websites, blogs, and interactive agencies.

"If the promises of online news are to be fulfilled, books like this deserve the widest possible readership" Paul Bradshaw, University of Central England, UK In this exciting and timely book Stuart Allan provides a wide-ranging analysis of online news. He offers important insights into key debates concerning the ways in which journalism is evolving on the internet, devoting particular attention to the factors influencing its development. Using a diverse range of examples, he shows how the forms, practices and epistemologies of online news are gradually becoming conventionalized, and assesses the implications for journalism's future. The rise of online news is examined with regard to the reporting of a series of major news events. Topics include coverage of the Oklahoma City bombing, the Clinton-Lewinsky affair, the September 11 attacks, election campaigns, and the war in Iraq. The emergence of blogging is traced with an eye to its impact on journalism as a profession. The participatory journalism of news sites such as Indymedia, OhmyNews, and Wikinews is explored, as is the citizen journalist reporting of the South Asian tsunami, London bombings and Hurricane Katrina. In each instance, the uses of new technologies - from digital cameras to mobile telephones and beyond - are shown to shape journalistic innovation, often in surprising ways. This book is essential reading for students, researchers and journalists.

As newspapers and broadcast news outlets direct more resources toward online content, print reporters and photojournalists are picking up video cameras and crafting new kinds of stories with their lenses. Creating multimedia video journalism requires more than simply adapting traditional broadcast techniques: it calls for a new way of thinking about how people engage with the news and withnbsp;emerging media technologies. In this guide, Kurt Lancaster teaches students and professional journalists how to shoot better video and tell better stories on the web, providing a strong understanding of cinematic storytelling and documentary production so their videos will stand out from the crowd. Video Journalism for the Web introduces students to all the basic skills and techniques of good video journalism and documentary storytelling, from shots and camera movements to sound and editing--as well as offeringnbsp;tips for developing compelling, character-driven narratives and using social media to launch a successful career as a "backpack journalist." Shooting, editing, and writing exercises throughout the book allow students to put these techniques into practice, and case studies and interviews with top documentary journalists provide real-world perspectives on a career in video journalism. This book gives aspiringnbsp;documentary journalists the tools they need to get out in the field and startnbsp;shooting unforgettable multimedia stories.

Bringing together a wide range of essays from contemporary scholars, this collection marks a growing interest in the suggestive yet problematic relation between the experience of photography, video, and film and the perception of the visual world. As an essential concentration of contemporary thought, this selection provides an excellent introduction for newcomers and a fresh point of view for those already engaged in discussions about photography, art, history, education, culture, and criticism. The featured essays are penned by an assortment of noted thinkers, including Jean Baudrillard, Terry Barrett, Philippe Dubois, Willem Elias, Annette W. Balkema, and Jan Simons.

From Ansel Adams to Carleton Watkins, Diane Arbus to Weegee, Richard Avedon to James VanDerZee, American photographers have recorded their vast, multicultural nation in images that, for more than a hundred years, have come to define the USA. In Photography and the USA, Mick Gidley explores not only the medium of photography and the efforts to capture key events and moments through photographs, but also the many ways in which the medium has played a formative role in American culture. Photography and the USA encompasses the major movements, figures and works that are crucial to understanding American photography, but also pays attention to more obscure aspects of photography's history. Focusing on works that reveal many different facets of America, its landscapes and its people, Gidley explores the ambiguities of American history and culture. We encounter images that range from an anti-lynching demo in 1934 to Dorothea Lange's poster "All races serve the crops in California;" an early photographic view of Niagara Falls against the painstaking detail of Edward Weston's Pepper, No. 30; a fireman's fight in the San Francisco earthquake of 1906 to the Ground Zero images of 2001 by Joel Meyerowitz; an 1890s "Wanted" image to Elliot Erwitt's shot of the Nixon-Kruschchev "Kitchen Debate." Organizing his narrative around the themes of history, technology, the document and the emblem, Mick Gidley not only presents a history of photography, but also reveals the complexities inherent in reading photographs themselves. A concise yet comprehensive overview of photography in the United States, this book is an excellent introduction to the subject for American Studies or visual arts students, or for anyone interested in US history or culture.

The Paradox of Photography analyzes the discourse on photography by four of the most important modern French poets and theorists (Baudelaire, Breton, Barthes and Valéry). It stresses in particular the importance of this visual language for the development of both new forms of narrative and original critical studies on issues of representation in art. It also reflects upon the integration of photography within the domain of technical modernity while emphasizing its aesthetic identity stemming from the Western tradition of figurative painting.

Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new scholarly understanding of the art form for the 21st century. Re-examines the history of art photography through four major photographic movements and with case studies of representative images Employs a top-down, theory to case approach, as well as a bottom-up, case to theory approach Advances a new theory regarding the nature of photography that is grounded in technology but doesn't place it in opposition to painting Includes commentaries by two leading philosophers of photography, Diarmuid Costello and Cynthia A. Freeland

Images play a key role for scholarly work in many ways? they facilitate communication and support understanding or make research results look more appealing. At the same time powerful image-editing programs have profoundly changed how image manipulations are perceived today. This book explores how scholars from different domains conceive image manipulation. The study is based on research carried out at the Interdisciplinary Laboratory Image Knowledge Gestaltung at Humboldt University Berlin. Informants from the field of biology, computer science, art history and design explain how they differentiate between appropriate and inappropriate image manipulation. Furthermore these experts report on whether guidelines or practical logics shape their work with images.

In an era before affordable travel, National Geographic not only served as the first glimpse of countless other worlds for its readers, but it helped them confront sweeping historical change. There was a time when its cover, with the unmistakable yellow frame, seemed to be on every coffee table, in every waiting room. In American Iconographic, Stephanie L. Hawkins traces National Geographic's rise to cultural prominence, from its first publication of nude photographs in 1896 to the 1950s, when the magazine's trademark visual and textual motifs found their way into cartoon caricature, popular novels, and film trading on the "romance" of the magazine's distinctive visual fare. National Geographic transformed local color into global culture through its production and circulation of readily identifiable cultural icons. The adventurer-photographer, the exotic woman of color, and the intrepid explorer were part of the magazine's "institutional aesthetic," a visual and textual repertoire that drew upon popular nineteenth-century literary and cultural traditions. This aesthetic encouraged readers to identify themselves as members not only in an elite society but, paradoxically, as both Americans and global citizens. More than a window on the world, National Geographic presented a window on American cultural attitudes and drew forth a variety of complex responses to social and historical changes brought about by immigration, the Great Depression, and world war. Drawing on the National Geographic Society's archive of readers' letters and its founders' correspondence, Hawkins reveals how the magazine's participation in the "culture industry" was not so straightforward as scholars have assumed. Letters from the magazine's earliest readers offer an important intervention in this narrative of passive spectatorship, revealing how readers resisted and revised National Geographic's authority. Its photographs and articles celebrated American self-reliance and imperialist expansion abroad, but its readers were highly aware of these representational strategies, and alert to inconsistencies between the magazine's editorial vision and its photographs and text. Hawkins also illustrates how the magazine actually encouraged readers to question Western values and identify with those beyond the nation's borders. Chapters devoted to the magazine's practice of photographing its photographers on assignment and to its genre of husband-wife adventurers reveal a more enlightened National Geographic invested in a cosmopolitan vision of a global human family. A fascinating narrative of how a cultural institution can influence and embody public attitudes, this book is the definitive account of an iconic magazine's unique place in the American imagination.

Photography can seem to capture reality and the eye like no other medium, commanding belief and wielding the power of proof. In some cases, a photograph itself is attributed the force of the real. How can a piece of chemically discolored paper have such potency? How does the meaning of a photograph become fixed? In The Disciplinary Frame, John Tagg claims that, to answer these questions, we must look at the ways in which all that frames photographyOCothe discourse that surrounds it and the institutions that circulate itOCodetermines what counts as truth. The meaning and power of photographs, Tagg asserts, are discursive effects of the regimens that produce them as official record, documentary image, historical evidence, or art. Teasing out the historical processes involved, he examines a series of revealing case studies from nineteenth-century European and American photographs to Depression-era works by Walker Evans, Dorothea Lange, and Margaret Bourke-White to the conceptualist photography of John Baldessari. Central to this transformative work are questions of cultural strategy, the growth of the state, and broad issues of power and representation: how the discipline of the frame holds both photographic image and viewer in place, without erasing the possibility for evading, and even resisting, capture. Photographs, Tagg ultimately finds, are at once too big and too small for the frames in which they are enclosedOCoalways saying more than is wanted and less than is desired.

Photography has transformed the way we picture ourselves. Although photographs seem to "prove" our existence at a given point in time, they also demonstrate the impossibility of framing our multiple and fragmented selves. As Linda Haverty Rugg convincingly shows, photography's double take on self-image mirrors the concerns of autobiographers, who see the self as simultaneously divided (in observing/being) and unified by the autobiographical act. Rugg tracks photography's impact on the formation of self-image through the study of four literary autobiographers concerned with the transformative power of photography. Obsessed with self-image, Mark Twain and August Strindberg both attempted (unsuccessfully) to integrate photographs into their autobiographies. While Twain encouraged photographers, he was wary of fakery and kept a fierce watch on the distribution of his photographic image. Strindberg, believing that photographs had occult power, preferred to photograph himself. Because of their experiences under National Socialism, Walter Benjamin and Christa Wolf feared the dangerously objectifying power of photographs and omitted them from their autobiographical writings. Yet Benjamin used them in his photographic conception of history, which had its testing ground in his often-ignored Berliner Kindheit um 1900. And Christa Wolf's narrator in Patterns of Childhood attempts to reclaim her childhood from the Nazis by reconstructing mental images of lost family photographs. Confronted with multiple and conflicting images of themselves, all four of these writers are torn between the knowledge that texts, photographs, and indeed selves are haunted by undecidability and the desire for the returned glance of a single self.

Over the pastnbsp;twenty-five years, photography has moved to centre-stage in the study of visual culture and has established itself in numerous disciplines. This trend has brought with it a diversification in approaches to the study of the photographic image. Photography: Theoretical Snapshots offers exciting perspectives on photography theory today from some of the world's leading critics and theorists. It introduces new means of looking at photographs, with topics including: a community-based understanding of Spencer Tunick's controversial installations the tactile and auditory dimensions of photographic viewing snapshot photography the use of photography in human rights discourse. Photography: Theoretical Snapshots also addresses the question of photography history, revisiting the work of some of the most influential theorists such as Roland Barthes, Walter Benjamin, and the October group, re-evaluating the neglected genre of the carte-de-visite photograph, and addressing photography's wider role within the ideologies of modernity. The collection opens with an introduction by the editors, analyzing the trajectory of photography studies and theory over the past three decades and the ways in which the discipline has been constituted. Ranging from the most personal to the most dehumanized uses of photography, from the nineteenth century to the present day, from Latin America to Northern Europe, Photography: Theoretical Snapshots will be ofnbsp;value to all those interested in photography, visual culture, and cultural history.

The greatly revised and expanded edition of The Elements of Photography is a new kind of textbook for a new generation of photographers. Moving far beyond the usual technical manual, Angela Faris Belt dives deep into merging technique and vision, allowing you to master craft while adding meaning to your images. Here you'll really learn to see photographically, expand your creative and conceptual use of apertures and shutter speeds, and choose the right media to create the look and feel you want. The 2ndEdition Includes: A new introductory chapter with thorough explanations and training exercises in metering and exposure Advice throughout the text to help you expand your personal research Extended exploration of how photography's technical attributes affect visual outcomes and the meaning of your images Image discussions that provide additional perspective about the chapter concepts This book provides a wealth of information and guidance to help all photographers improve skills, learn new techniques, and expand ways of seeing. Excellent practical exercises allow you to use the knowledge you'll gain to build a solid portfolio. More than 300 stunning, full-color images including portfolios from over 40 prestigious artists provide visual inspiration and a gorgeous collection of artwork to add to any photography enthusiast's bookshelf. Whether you do fine art or commercial, documentary or editorial, or just enjoy making pictures for yourself, The Elements of Photography will take your images to the next level. ;/LI> Image discussions that provide additional perspective about the chapter concepts This book provides a wealth of information and guidance to help all photographers improve skills, learn new techniques, and expand ways of seeing. Excellent practical exercises allow you to use the knowledge you'll gain to build a solid portfolio. More than 300 stunning, full-color images including portfolios from over 40 prestigious artists provide visual inspiration and a gorgeous collection of artwork to add to any photography enthusiast's bookshelf. Whether you do fine art or commercial, documentary or editorial, or just enjoy making pictures for yourself, The Elements of Photography will take your images to the next level.

Digital photography is sweeping the country, and it's easy to see why. You can take pictures of anything, do it quickly, see instantly what you got (or didn't get), save only the stuff you like, and share your pictures as prints, on the Web, as a slideshow, or even on things like mugs and mousepads. A digital camera and the appropriate software let you Take wide-angle or closeup shots, indoors or out Know immediately whether you got what you wanted Delete shots you don't like and retake them Improve your images on your computer Combine images into a montage Customize your pictures by adding special visual effects Digital photography is fun, but whether you're an old hand at taking digital pictures or still picking out your first camera, there are plenty of times when you know what you want to do and just want to figure out how to do it, right now. That's exactly what Digital Photography Just the Steps For Dummies helps you do. It's designed so you can quickly find the task you want to perform and follow step-by-step instructions to get the job done, right now. Loaded with full-color photos to show you what you can do, Digital Photography Just the Steps For Dummies helps you Choose the camera, lenses, and flash equipment that are best for the type of photography you want to do Compose good pictures regardless of your subject Scan and digitize existing photos so you can enhance or repair them Change the size or format of an image Adjust color, brightness, contrast, sharpness, and other attributes of a digital image Repair tears, creases, or scratches in a scanned photo, remove red-eye, and restore a faded image Use layers to alter an image, add text, or change the background Photograph items you want to sell online to show them at their best Sort and organize photos on your computer Print picture albums, make photo T-shirts, create a slideshow, or burn a video CD When you're looking for a clear set of instructions so you can get results right away, you want a Just the Steps For Dummies book. With Digital Photography Just the Steps For Dummies, you'll find everything quickly comes into focus!

To fully understand photography, it is essential to study both the theoretical and the technical. In an accessible yet complex way, Rebekah Modrak and Bill Anthes explore photographic theory, history and technique to bring photographic education up-to-date with contemporary photographic practice. Reframing Photography is a broad and inclusive rethinking of photography that will inspire students to think about the medium across time periods, across traditional themes, and through varied materials. Intended for both beginners and advanced students, and for art and non-art majors, and practicing artists, Reframing Photography compellingly represents four concerns common to all photographic practice: vision light/shadow reproductive processes editing/ presentation/ evaluation. Each part includes an extensive and thoughtful essay, providing a broad cultural context for each topic, alongside discussion of photographic examples. Essays introduce the work of artists who use a diverse range of subject matter and a variety of processes (straight photography, social documentary, digital, mixed media, conceptual work, etc.), examine artists' conceptual and technical choices, describe cultural implications and artistic influences, and analyze how these concerns interrelate. Following each essay, each part continues with a "how-to" section that describes a fascinating range of related photographic equipment, materials and methods through concise explanations and clear diagrams. Key Features: case studies featuring profiles of contemporary and historical artists glossary definitions of critical and technical vocabulary to aid learning 'how to' sections provide students with illustrated, step by step guides to different photographic methods, alongside related theory fully up-to-date, with both high and low tech suggestions for activities online resources at: www.routledge.com/textbooks/reframingphotography will update information on equipment and provide further activities, information and links to related sites lavishly illustrated, with over 750 images, including artists' work and examples of photographic processes.  

With crystal clarity, this book conveys the most current principles in digital image processing, providing both the background theory and the practical applications to various industries, such as digital cinema, video compression, and streaming media.

All successful imaging systems employ some form of color management for previewing, controlling and adjusting color throughout the image-production process. Today's increasingly complex systems pose challenging problems: they must support numerous devices and media having disparate color properties, and they also must provide for the interchange of images among dissimilar systems. In this book, the authors address and solve these problems using innovative methods of representing color in the digital domain. The second edition of this popular book explains the capabilities and limitations of existing color management systems and provides comprehensive practical solutions for communicating color within and among imaging systems, from the simplest to the most complex. Beginning with the fundamentals of color and human color perception, the book progresses to in-depth analyses of the nature of color images, digital color encoding, color management systems and digital color interchange. Fully revised and updated, this second edition of Digital Color Management features new and expanded coverage including: electronic displays and electronic imaging systems; scene-based and appearance-based color encoding methods; color management for digital cinema; a Unified Paradigm--a comprehensive, integrated color-managed environment for the color-imaging industry; four new chapters, two new appendices, and more than 80 new figures. This book is an essential resource for engineers, programmers and imaging professionals designing and engineering color-imaging systems and for others simply looking to increase their understanding of the field. Scientists, researchers, advanced undergraduates and graduate students involved in imaging technology also will find this book of significant interest and usefulness. Reviews for the first edition: 'The absence of unnecessary jargon, the impeccable writing style, the material depth leads only to one conclusion: If you buy one digital color book this year, buy this one.' W. David Schwaderer, Digital Camera Magazine 'It [Digital Color Management] fulfils the need among engineers and scientists for a comprehensive understanding of color management, imaging, media, viewing conditions, appearance and communication.' Arthur S. Diamond, Imaging News

In this book the authors identify the basic concepts and recent advances in the acquisition, perception, coding and rendering of color. The fundamental aspects related to the science of colorimetry in relation to physiology (the human visual system) are addressed, as are constancy and color appearance. It also addresses the more technical aspects related to sensors and the color management screen. Particular attention is paid to the notion of color rendering in computer graphics. Beyond color, the authors also look at coding, compression, protection and quality of color images and videos. Individual chapters focus on the LMS specification, color constancy, color appearance models, rendering in synthetic image generation, image sensor technologies, image compression, and quality and secure color imaging. Ideal for researchers, engineers, Master's and PhD students, Digital Color: Acquisition, Perception, Encoding and Rendering offers a state of the art on all the scientific and technical issues raised by the different stages of the digital color process - acquisition, analysis and processing. Contents 1. Colorimetry and Physiology - The LMS Specification, Françoise Viénot and Jean Le Rohellec. 2. Color Constancy, Jean-Christophe Burie, Majed Chambah and Sylvie Treuillet. 3. Color Appearance Models, Christine Fernandez-Maloigne and Alain Trémeau. 4. Rendering and Computer Graphics, Bernard Péroche, Samuel Delepoulle and Christophe Renaud. 5. Image Sensor Technology, François Berry and Omar Ait Aider. 6. From the Sensor to Color Images, Olivier Losson and Eric Dinet. 7. Color and Image Compression, Abdelhakim Saadane, Mohamed-Chaker Larabi and Christophe Charrier. 8. Protection of Color Images, William Puech, Alain Trémeau and Philippe Carré. 9. Quality Assessment Approaches, Mohamed-Chaker Larabi, Abdelhakim Saadane and Christophe Charrier.

Currently with no other book on digital SLR photography, photo enthusiasts have had to rely on books that concentrate only on aspects of the technology that are peripherally related to picture-taking. This book uniquely concentrates on creative techniques for the digital SLR photographer. Photography with Digital SLR and "SLR-like" cameras isn't exactly like conventional film SLR photography; nor is it exactly like digital photography with non-SLR cameras. DSLRs have special advantages, special features, and special problems that need to be addressed and embraced. In addition, users of these cameras tend to expect more from their photography and crave the kind of information that will let them wring every ounce of creativity out of their equipment. Anyone who has a Windows PC or Macintosh and a digital SLR camera will find advanced techniques in this book. Readers will cover various aspects of DSLRs including: why DSLRs work best for creative posing for group and individual portraits, using DSLRs to capture close-up scenes on the desktop using the digital camera's special capabilities, how to get great travel photos with a DSLR, and how to archive them when far from a computer.

With the exponential increase in computing power and broad proliferation of digital cameras, super-resolution imaging is poised to become the next "killer app." The growing interest in this technology has manifested itself in an explosion of literature on the subject. Super-Resolution Imaging consolidates key recent research contributions from eminent scholars and practitioners in this area and serves as a starting point for exploration into the state of the art in the field. It describes the latest in both theoretical and practical aspects of direct relevance to academia and industry, providing a base of understanding for future progress. Features downloadable tools to supplement material found in the book Recent advances in camera sensor technology have led to an increasingly larger number of pixels being crammed into ever-smaller spaces. This has resulted in an overall decline in the visual quality of recorded content, necessitating improvement of images through the use of post-processing. Providing a snapshot of the cutting edge in super-resolution imaging, this book focuses on methods and techniques to improve images and video beyond the capabilities of the sensors that acquired them. It covers: History and future directions of super-resolution imaging Locally adaptive processing methods versus globally optimal methods Modern techniques for motion estimation How to integrate robustness Bayesian statistical approaches Learning-based methods Applications in remote sensing and medicine Practical implementations and commercial products based on super-resolution The book concludes by concentrating on multidisciplinary applications of super-resolution for a variety of fields. It covers a wide range of super-resolution imaging implementation techniques, including variational, feature-based, multi-channel, learning-based, locally adaptive, and nonparametric methods. This versatile book can be used as the basis for short courses for engineers and scientists, or as part of graduate-level courses in image processing.

Photography can seem to capture reality and the eye like no other medium, commanding belief and wielding the power of proof. In some cases, a photograph itself is attributed the force of the real. How can a piece of chemically discolored paper have such potency? How does the meaning of a photograph become fixed? In The Disciplinary Frame, John Tagg claims that, to answer these questions, we must look at the ways in which all that frames photographyOCothe discourse that surrounds it and the institutions that circulate itOCodetermines what counts as truth. The meaning and power of photographs, Tagg asserts, are discursive effects of the regimens that produce them as official record, documentary image, historical evidence, or art. Teasing out the historical processes involved, he examines a series of revealing case studies from nineteenth-century European and American photographs to Depression-era works by Walker Evans, Dorothea Lange, and Margaret Bourke-White to the conceptualist photography of John Baldessari. Central to this transformative work are questions of cultural strategy, the growth of the state, and broad issues of power and representation: how the discipline of the frame holds both photographic image and viewer in place, without erasing the possibility for evading, and even resisting, capture. Photographs, Tagg ultimately finds, are at once too big and too small for the frames in which they are enclosedOCoalways saying more than is wanted and less than is desired.

With today's digital technology, the image is no longer a stable representation of the world, but a programmable view of a database that is updated in real time. It no longer functions as a political and iconic representation, but plays a vital role in synchronic data-to-data relationships. It is not only part of a programme, but it contains its own 'operating code': it is a programme in itself.Softimageaims to account for that new reality, taking readers on a journey that gradually undoes our unthinking reliance on the apparent solidity of the photographic image and building in its place an original and timely theorization of the digital image in all its complexity, one that promises to spark debate within the evolving fields of image studies and software studies."

In What Photography Is, James Elkins examines the strange and alluring power of photography in the same provocative and evocative manner as he explored oil painting in his best-selling What Painting Is. In the course of an extended imaginary dialogue with Roland Barthes's Camera Lucida, Elkins argues that photography is also about meaninglessness--its apparently endless capacity to show us things that we do not want or need to see--and also about pain, because extremely powerful images can sear permanently into our consciousness. Extensively illustrated with a surprising range of images, the book demonstrates that what makes photography uniquely powerful is its ability to express the difficulty--physical, psychological, emotional, and aesthetic--of the act of seeing.

Basic Critical Theory for Photographers generates discussion, thought and practical assignments around key debates in photography. Ashley la Grange avoids the trap of an elitist and purely academic approach to critical theory, taking a dual theoretical and practical approach when considering the issues. Key critical theory texts (such as Sontag's 'On Photography' and Barthes' 'Camera Lucida') are clarified and shortened. La Grange avoids editorilising, letting the arguments develop as the writers had intended; it is the assignments which call into question each writer's approach and promote debate. This is the ideal book if you want to understand key debates in photography and have a ready-made structure within which to discuss and explore these fascinating issues. It is accessible to students, from high school to university level, but will also be of interest to the general reader and to those photographers whose training and work is concerned with the practical aspects of photography. Also includes invaluable glossary of terms and a substantial index that incorporates the classic texts, helping you to navigate your way through these un-indexed works. The book also contains useful information on photo-mechanical processes, explaining how a photograph can appear very differently, and as a result be interpreted in a range of ways, in a variety of books.

To fully understand photography, it is essential to study both the theoretical and the technical. In an accessible yet complex way, Rebekah Modrak and Bill Anthes explore photographic theory, history and technique to bring photographic education up-to-date with contemporary photographic practice. Reframing Photography is a broad and inclusive rethinking of photography that will inspire students to think about the medium across time periods, across traditional themes, and through varied materials. Intended for both beginners and advanced students, and for art and non-art majors, and practicing artists, Reframing Photography compellingly represents four concerns common to all photographic practice: vision light/shadow reproductive processes editing/ presentation/ evaluation. Each part includes an extensive and thoughtful essay, providing a broad cultural context for each topic, alongside discussion of photographic examples. Essays introduce the work of artists who use a diverse range of subject matter and a variety of processes (straight photography, social documentary, digital, mixed media, conceptual work, etc.), examine artists' conceptual and technical choices, describe cultural implications and artistic influences, and analyze how these concerns interrelate. Following each essay, each part continues with a "how-to" section that describes a fascinating range of related photographic equipment, materials and methods through concise explanations and clear diagrams. Key Features: case studies featuring profiles of contemporary and historical artists glossary definitions of critical and technical vocabulary to aid learning 'how to' sections provide students with illustrated, step by step guides to different photographic methods, alongside related theory fully up-to-date, with both high and low tech suggestions for activities online resources at: www.routledge.com/textbooks/reframingphotography will update information on equipment and provide further activities, information and links to related sites lavishly illustrated, with over 750 images, including artists' work and examples of photographic processes.  

The Paradox of Photography analyzes the discourse on photography by four of the most important modern French poets and theorists (Baudelaire, Breton, Barthes and Valéry). It stresses in particular the importance of this visual language for the development of both new forms of narrative and original critical studies on issues of representation in art. It also reflects upon the integration of photography within the domain of technical modernity while emphasizing its aesthetic identity stemming from the Western tradition of figurative painting.

Who isn't seduced by the idea of an affinity between aging and aesthetics? Yet, when does aging truly begin? What attributes does the aesthetic embrace? Looking into startling photographic art of the past three decades, this book is prompted by such questions and turns them into a meditation on how aesthetics mediates our relation to time. The photographic approach of the corporeal is at the center of the book. Within a phenomenological framework, Cristofovici brings into focus the physical and the psychic body to read aging as a process of change and becoming over time. Her understanding of aging sees beyond difference into larger patterns of perceptions that we share. Offering valuable insights into aging as a process of subject construction, this book will be of interest to students and scholars of visual culture, photography, art history, age studies, and theories of knowledge. This cross-disciplinary study that puts theory to the test of life's and art's paradoxes in an evocative style will also appeal to a wider readership interested in how photography and aging illuminate each other.

Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new scholarly understanding of the art form for the 21st century. Re-examines the history of art photography through four major photographic movements and with case studies of representative images Employs a top-down, theory to case approach, as well as a bottom-up, case to theory approach Advances a new theory regarding the nature of photography that is grounded in technology but doesn't place it in opposition to painting Includes commentaries by two leading philosophers of photography, Diarmuid Costello and Cynthia A. Freeland

Twenty years after cultivating a new orientation for aesthetics via the concept of non-photography, François Laruelle returns, having further developed his notion of a non-standard aesthetics. Published for the first time in a bilingual edition, Photo-Fiction, a Non-Standard Aesthetics expounds on Laruelle's current explorations into a photographic thinking as an alternative to the worn-out notions of aesthetics based on an assumed domination of philosophy over art. He proposes a new philosophical photo-fictional apparatus, or philo-fiction, that strives for a discursive mimesis of the photographic apparatus and the flash of the Real entailed in its process of image making. "A bit like if an artisan, to use a Socratic example, instead of making a camera based off of diagrams found in manuals, on the contrary had as his or her project the designing of a completely new apparatus of philo-fiction, thus capable of producing not simply photos, but photo-fictions." One must enter into a space for seeing the vectorial and the imaginary number. Laruelle's philo-fictions become not art installations, but "theoretical installations" calling for the consideration of the possibility of a non-standard aesthetics being of an equal or superior power to art and philosophy, an aesthetics in-the-last-instance that is itself an inventive and creative act of the most contemporary kind.

Behind each shot there lies an idea or purpose. When setting up a shot, the camera operator can employ a range of visual techniques that will clearly communicate the idea to an audience. Composition is the bedrock of the operator's craft, yet is seldom taught in training courses in the belief that it is an intuitive, personal skill. Peter Ward shows how composition can be learned, to enhance the quality of your work. Based on the author's own practical experience, the book deals with the methods available for resolving practical production questions such as: Does the shot composition accurately reflect the idea that initiated the shot? Will the content and method of presenting the subject accurately convey the idea? Major innovations in television and film production since the previous edition have affected the styles of composition, such as wide-screen and the use of mini DV cameras. These new technologies and their implications for picture composition are addressed in this new edition. A new colour plate section is also being included to update the section on colour. If you are a practising camera operator, trainee camera operator, student or lecturer on a television or film production course, or simply a video enthusiast wishing to progress to a more professional standard you will find this book essential in enhancing the quality of your work.

Graphic Design, Referenced is a visual and informational guide to the most commonly referenced terms, historical moments, landmark projects, and influential practitioners in the field of graphic design. With more than 2,000 design projects illustrating more than 400 entries, it provides an intense overview of the varied elements that make up the graphic design profession through a unique set of chapters: "principles" defines the very basic foundation of what constitutes graphic design to establish the language, terms, and concepts that govern what we do and how we do it, covering layout, typography, and printing terms; "knowledge" explores the most influential sources through which we learn about graphic design from the educational institutions we attend to the magazines and books we read; "representatives" gathers the designers who over the years have proven the most prominent or have steered the course of graphic design in one way or another; and "practice" highlights some of the most iconic work produced that not only serve as examples of best practices, but also illustrate its potential lasting legacy. Graphic Design, Referenced serves as a comprehensive source of information and inspiration by documenting and chronicling the scope of contemporary graphic design, stemming from the middle of the twentieth century to today.

The design bar is at an all-time high for those brave enough to participate in the industry. Today's designers must be clear on all the steps necessary to create work that stands out in an increasingly competitive marketplace. Unfortunately, most design books only focus on type, color, and layout issues. The Design Matters series takes a more in-depth approach, allowing designers to learn not only how to create work that is aesthetically appealing, but also strategy-driven and smart. This compilation features the best of the Design Matters series, indispensable guides to design, in one handy volume. Design Matters focuses on developing, creating and implementing brochure designs, logo designs, packaging, and portfolios. The compendium includes all the essential information needed to execute strong designs in concert with beautiful and well-crafted examples, so that designers can successfully hit the mark every time.

For anyone trying to communicate in a new language, one has to first gain a complete understanding of its fundamentals; the ABC's of that language--definitions, functions, and usage. The Language of Graphic Design provides graphic design students and practitioners with an in-depth understanding of the fundamental elements and principles of their language--graphic design--what they are, why they are important, and how to use them effectively. Organized by the building blocks of the graphic design language, this reference includes work by some of the most successful and renowned practitioners from around the world and how they have applied these fundamental principles to their work. By examining both student and professional work, this comprehensive handbook is a more meaningful, memorable, and inspiring reference tool for novice design students, as well as young designers starting their careers.   To understand visual communications one has to first understand by seeing. To develop this discipline or visual sense is similar to learning a new language with its own unique alphabet, lexicon (vocabulary), and syntax (sentence structure). This book provides clear, concise information that will enhance visual literacy, while using dynamic, memorable visual references to inspire and reinforce the skill of seeing.  

For researchers in all disciplines, this book offers a practical, hands-on course in communicating scientific findings and concepts through visual graphics Any scientist or engineer who communicates research results will immediately recognize this practical handbook as an indispensable tool. The guide sets out clear strategies and offers abundant examples to assist researchers--even those with no previous design training--with creating effective visual graphics for use in multiple contexts, including journal submissions, grant proposals, conference posters, or presentations. Visual communicator Felice Frankel and systems biologist Angela DePace, along with experts in various fields, demonstrate how small changes can vastly improve the success of a graphic image. They dissect individual graphics, show why some work while others don't, and suggest specific improvements. The book includes analyses of graphics that have appeared in such journals as Science, Nature, Annual Reviews, Cell, PNAS, and the New England Journal of Medicine, as well as an insightful personal conversation with designer Stefan Sagmeister and narratives by prominent researchers and animators.

Images play a key role for scholarly work in many ways? they facilitate communication and support understanding or make research results look more appealing. At the same time powerful image-editing programs have profoundly changed how image manipulations are perceived today. This book explores how scholars from different domains conceive image manipulation. The study is based on research carried out at the Interdisciplinary Laboratory Image Knowledge Gestaltung at Humboldt University Berlin. Informants from the field of biology, computer science, art history and design explain how they differentiate between appropriate and inappropriate image manipulation. Furthermore these experts report on whether guidelines or practical logics shape their work with images.

Never before has a single instrument served in the creation of art the way that digital technology does, from photographic image making, to animation, to traditional painting. Digital technology will become essential to creating and understanding art in the 21st century. "Going Digital: The Practice and Vision of Digital Artists," takes the unique approach of combining a how-to guide with critical and theoretical discussion. Readers have the chance to see how a select group of artists each working in their own distinct styles approach a common compositional challenge. Each artist will be given a set of identical images and will create an original work of art, documenting each step that leads to the finished piece and providing discussion of how their work is enhanced by digital technology. Featuring rich imagery and instructional text that guide the reader through each step, each artist's presentation will also be placed within the context of art history or theory to stimulate thought and discussion of the challenges of digital art making. "Going Digital: The Practice and Vision of Digital Artists" provides readers with both the hands-on how-to and the practical knowledge necessary to create, discuss, and present art using digital technology.

During the past few years, portfolio management and self-promotion have taken on a far greater role within a graphic designer's business model. The degree to which they can increase their earned revenue through exceptionally defined, marketing-oriented promotions and portfolio management is paramount. These individuals and agencies now identify their product as cultural tourism and stress the role of their work as economic generators. This book defines the core elements of self-promotion and portfolio creation and provides the insights graphic designers need to showcase their work in unique and creative ways. Case studies demonstrate the different techniques designers use to create successful portfolios for different audiences and measure the results of those efforts. The book also details how often portfolios should be updated and distributed and determine workable budgets to produce a great portfolio.

Photography as an art has become complex terrain upon which anxieties about public space have been played out. Yet the photographic threat is not limited to the image alone. A range of social, technological, and political issues converge in these rising anxieties and affect the practice, circulation, and consumption of contemporary public photography today. The culture of photography in public space collects essays and photographs that offer a new response to these restrictions and to the anxieties that give rise to them.

Providing a wide-ranging account of the narrative properties of photographs, Greg Battye focuses on the storytelling power of a single image, rather than the sequence. Drawing on ideas from painting, drawing, film, video, and multimedia, he applies contemporary research and theories drawn from cognitive science and psychology to the analysis of photographs. Using genuine forensic photographs of crime scenes and accidents, the book mines human drama and historical and sociological authenticity to argue for the centrality of the perception and representation of time in photographic narrativity.

While earlier theorists held up "experience" as the defining character of installation art, few people have had the opportunity to walk through celebrated installation pieces from the past. Instead, installation art of the past is known through archival photographs that limit, define, and frame the experience of the viewer. Monica E. McTighe argues that the rise of photographic-based theories of perception and experience, coupled with the inherent closeness of installation art to the field of photography, had a profound impact on the very nature of installation art, leading to a flood of photography- and film-based installations. With its close readings of specific works, Framed Spaces will appeal to art historians and theorists across a broad spectrum of the visual arts.

Vintage-looking, dream-like textures can open up a whole new world in your photography. However, there is much, much more to working with textures than simply merging them with an image via Photoshop. In this gorgeous new guide from texture guru Sarah Gardner, you'll learn everything there is to know about how to maximize the potential of these exciting tools. In addition to hundreds of beautiful example images, this book is also packed with practical advice on what makes a good texture, and how and when to use them. How an image is initially captured and processed has a significant impact on the effect a texture will have, so you'll also learn what to consider when composing and shooting (rather than simply relying on post-processing) and how to use lighting and background considerations effectively for later work with textures. Workshop notes and a supplemental website will help you put Sarah's techniques into practice immediately. Beautiful enough to sit on your coffee table yet practical enough to store near your computer, this book will show you everything you need to know to get that coveted vintage-feel in your images, whether you're a casual family snapper or a seasoned professional.

Manuel Vason's collaborations include some of the most iconic images of performance in the UK and internationally. His practice shapes a unique hybrid art form and generates new vocabularies. Double Exposures is Vason's new collaborative venture with some of the most visually arresting artists working with performance in the UK. Ten years after his groundbreaking book Exposures, Vason has produced another extraordinary body of work, which sets out new ways of bridging performance and photography.

Walter Benjamin's 1931 essay "A Short History of Photography" is a landmark in the understanding and criticism of the medium, offering surprising new takes on such photographic pioneers as David Octavius Hill and Nicéphore Niépce and their aesthetic and technical achievements.             On Photography presents a new translation of that essay along with a number of other writings by Benjamin, some of them presented in English for the first time. Translator and editor Esther Leslie sets Benjamin's work in context with prefaces to each piece and contributes a substantial introduction that considers Benjamin's engagement with photography in all its forms, including early commercial studio photography, the uses of photography in science, and much more. 

Photography: History and Theory introduces students to both the history of photography and critical theory. From its inception in the nineteenth century, photography has instigated a series of theoretical debates. In this new text, Jae Emerling therefore argues that the most insightful way to approach the histories of photography is to address simultaneously the key events of photographic history alongside the theoretical discourse that accompanied them. While the nineteenth century is discussed, the central focus of the text is on modern and contemporary photographic theory. Particular attention is paid to key thinkers, such as Baudelaire, Barthes and Sontag. In addition, the centrality of photography to contemporary art practice is addressed through the theoretical work of Allan Sekula, John Tagg, Rosalind Krauss, and Vilém Flusser. The text also includes readings of many canonical photographers and exhibitions including: Atget, Brassai, August Sander, Walker Evans, The Family of Man, Diane Arbus, Lee Friedlander, Cindy Sherman, Bernd and Hilla Becher, Sebastaio Salgado, Jeff Wall, and others. In addition, Emerling provides close readings of key passages from some major theoretical texts. These glosses come between the chapters and serve as a conceptual line that connects them. Glosses include: Roland Barthes, "The Rhetoric of the Image" (1964) Susan Sontag, Regarding the Pain of Others (2002) Michel Foucault on the archive (1969) Walter Benjamin, "Little History of Photography" (1931) Vilém Flusser, Towards a Philosophy of Photography (1983) A substantial glossary of critical terms and names, as well as an extensive bibliography, make this the ideal book for courses on the history and theory of photography.

"Pictures in a minute!" In the 1950s, '60s, and '70s, Polaroid was the hottest technology company on Earth. They were an innovation machine that cranked out one irresistible product after another. It was even the company after which Steve Jobs is said to have modeled Apple, and the comparison is true. Jobs's hero, Edwin Land, Polaroid's visionary founder, turned his 1937 garage startup into a billion-dollar pop-culture phenomenon. Instant: The Story of Polaroid, a richly illustrated, behind-the-scenes look at the company, tells the tale of Land's extraordinary and beloved invention. From the introduction of Polaroid's first instant camera in 1948 to its meteoric rise and dramatic collapse into bankruptcy in the 2000s, Instant is both a cautionary tale about tech companies that lose their edge and a remarkable story of American ingenuity. Written in a breezy, accessible tone by New York magazine senior editor Chris Bonanos, this first book-length history of Polaroid also features colorful illustrations from Polaroid's history, including the company's iconic branding and marketing efforts.

"This compelling book chronicles the most influential ideas that have shaped photography from the invention of the daguerreotype in the early 19th century up to the digital revolution and beyond. Entertaining and intelligent, it provides a fascinating resource to dip into. Arranged in a broadly chronological order to show the development of photography, the ideas that comprise the book include innovative concepts, cultural and social incidents, technologies, and movements. Each idea is presented through lively text and arresting visuals, and explores when the idea first evolved and its subsequent impact on photography."-

*Searchable CD ROM containing the entire book (including images) *Over 450 color images, plus never before published images provided by the George Eastman House collection, as well as images from Ansel Adams, Howard Schatz, and Jerry Uelsmann to name just a few The role and value of the picture cannot be matched for accuracy or impact. This comprehensive treatise, featuring the history and historical processes of photography, contemporary applications, and the new and evolving digital technologies, will provide the most accurate technical synopsis of the current, as well as early worlds of photography ever compiled. This Encyclopedia, produced by a team of world renown practicing experts, shares in highly detailed descriptions, the core concepts and facts relative to anything photographic. This Fourth edition of the Focal Encyclopedia serves as the definitive reference for students and practitioners of photography worldwide, expanding on the award winning 3rd edition. In addition to Michael Peres (Editor in Chief), the editors are: Franziska Frey (Digital Photography), J. Tomas Lopez (Contemporary Issues), David Malin (Photography in Science), Mark Osterman (Process Historian), Grant Romer (History and the Evolution of Photography), Nancy M. Stuart (Major Themes and Photographers of the 20th Century), and Scott Williams (Photographic Materials and Process Essentials)

From Ansel Adams to Carleton Watkins, Diane Arbus to Weegee, Richard Avedon to James VanDerZee, American photographers have recorded their vast, multicultural nation in images that, for more than a hundred years, have come to define the USA. In Photography and the USA, Mick Gidley explores not only the medium of photography and the efforts to capture key events and moments through photographs, but also the many ways in which the medium has played a formative role in American culture. Photography and the USA encompasses the major movements, figures and works that are crucial to understanding American photography, but also pays attention to more obscure aspects of photography's history. Focusing on works that reveal many different facets of America, its landscapes and its people, Gidley explores the ambiguities of American history and culture. We encounter images that range from an anti-lynching demo in 1934 to Dorothea Lange's poster "All races serve the crops in California;" an early photographic view of Niagara Falls against the painstaking detail of Edward Weston's Pepper, No. 30; a fireman's fight in the San Francisco earthquake of 1906 to the Ground Zero images of 2001 by Joel Meyerowitz; an 1890s "Wanted" image to Elliot Erwitt's shot of the Nixon-Kruschchev "Kitchen Debate." Organizing his narrative around the themes of history, technology, the document and the emblem, Mick Gidley not only presents a history of photography, but also reveals the complexities inherent in reading photographs themselves. A concise yet comprehensive overview of photography in the United States, this book is an excellent introduction to the subject for American Studies or visual arts students, or for anyone interested in US history or culture.

Supports the national curriculum standards Culture; Time, Continuity, and Change; Production, Distribution, and Consumption; and Science, Technology, and Society as outlined by the National Council for the Social Studies.

The American daguerreotype as something completely new: a mechanical invention that produced an image, a hybrid of fine art and science and technology... It was, as Sarah Kate Gillespie shows in this generously illustrated history, something wholly and remarkably new: a product of science and innovative technology that resulted in a visual object. It was a hybrid, with roots in both fine art and science, and it interacted in reciprocally formative ways with fine art, science, and technology.

Bringing together a wide range of essays from contemporary scholars, this collection marks a growing interest in the suggestive yet problematic relation between the experience of photography, video, and film and the perception of the visual world. As an essential concentration of contemporary thought, this selection provides an excellent introduction for newcomers and a fresh point of view for those already engaged in discussions about photography, art, history, education, culture, and criticism. The featured essays are penned by an assortment of noted thinkers, including Jean Baudrillard, Terry Barrett, Philippe Dubois, Willem Elias, Annette W. Balkema, and Jan Simons.

During the 1930s, the world of photography was unsettled, exciting, and boisterous. John Raeburn's A Staggering Revolution recreates the energy of the era by surveying photography's rich variety of innovation, exploring the aesthetic and cultural achievements of its leading figures, and mapping the paths their pictures blazed public's imagination. While other studies of thirties photography have concentrated on the documentary work of the Farm Security Administration (FSA), no previous book has considered it alongside so many of the decade's other important photographic projects. A Staggering Revolution includes individual chapters on Edward Steichen's celebrity portraiture; Berenice Abbott's Changing New York project; the Photo League's ethnography of Harlem; and Edward Weston's western landscapes, made under the auspices of the first Guggenheim Fellowship awarded to a photographer. It also examines Margaret Bourke-White's industrial and documentary pictures, the collective undertakings by California's Group f.64, and the fashion magazine specialists, as well as the activities of the FSA and the Photo League.

"A collection of essays investigating photography's role in the evolution of media and communication in the nineteenth century."

Literary critics have traditionally suggested that the invention of photography led to the rise of the realist novel, which is believed to imitate the detail and accuracy of the photographic image. Instead, says Stuart Burrows, photography's influence on American fiction had less to do with any formal similarity between the two media than with the capacity of photography to render American identity and history homogeneous and reproducible. The camera, according to Burrows, provoked a representational crisis, one broadly modernist in character. Since the photograph is not only a copy of its subject but a physical product of it, the camera can be seen as actually challenging mimetic or realistic theories of representation, which depend on a recognizable gap between original and reproduction. Burrows argues for the centrality of photography to a set of writers commonly thought of as hostile to the camera-including Nathaniel Hawthorne, Henry James, William Faulkner, and Zora Neale Hurston. The photographic metaphors and allusions to the medium that appear throughout these writers' work demonstrate the ways in which one representational form actually influences another--by changing how artists conceive of identity, history, and art itself. A Familiar Strangeness thus challenges the notion of an absolute break between nineteenth-century realism and twentieth-century modernism, a break that typically centers precisely on the two movements' supposedly differing relation to the camera. Just as modernist fiction interrupts and questions the link between visuality and knowledge, so American realist fiction can be understood as making the world less knowable precisely by making it more visible.

Signs of the Times traces the career of Jim Crow signs--simplified in cultural memory to the "colored/white" labels that demarcated the public spaces of the American South--from their intellectual and political origins in the second half of the nineteenth century through their dismantling by civil rights activists in the 1960s and '70s. In this beautifully written, meticulously researched book, Elizabeth Abel assembles a variegated archive of segregation signs and photographs that translated a set of regional practices into a national conversation about race. Abel also brilliantly investigates the semiotic system through which segregation worked to reveal how the signs functioned in particular spaces and contexts that shifted the grounds of race from the somatic to the social sphere.

Pictures of animals are now ubiquitous, but the ability to capture animals on film was a significant challenge in the early era of photography. In Developing Animals, Matthew Brower takes us back to the time when Americans started taking pictures of the animal kingdom, at the beginning of the twentieth century, the moment when photography became a mass medium and wildlife photography an increasingly popular genre. Developing Animals compellingly investigates the way photography changed our perception of animals. Brower analyzes how photographers created new ideas about animals as they moved from taking pictures of taxidermic specimens in so-called natural settings to the emergence of practices such as camera hunting, which made it possible to capture images of creatures in the wild. By combining approaches in visual cultural studies and the history of photography, Developing Animals goes further to argue that photography has been essential not only to the understanding of wildlife but also to the conceptual separation of humans and animals.

Seeing America explores the camera work of five women who directed their visions toward influencing social policy and cultural theory. Taken together, they visually articulated the essential ideas occupying the American consciousness in the years between the world wars. Melissa McEuen examines the work of Doris Ulmann, who made portraits of celebrated artists in urban areas and lesser-known craftspeople in rural places; Dorothea Lange, who magnified human dignity in the midst of poverty and unemployment; Marion Post Wolcott, a steadfast believer in collective strength as the antidote to social ills and the best defense against future challenges; Margaret Bourke-White, who applied avant-garde advertising techniques in her exploration of the human condition; and Berenice Abbott, a devoted observer of the continuous motion and chaotic energy that characterized the modern cityscape. Combining feminist biography with analysis of visual texts, McEuen considers the various prisms though which each woman saw and revealed America. Their documentary photographs were the result of personal visions that had been formed by experiences and emotions as well as by careful calculations and technological processes. These photographers captured the astounding variety of occupations, values, and leisure activities that shaped the nation, and their photographs illuminate the intricate workings of American culture in the 1920s and 1930s.

Documentary photography aims to capture the material reality of life. In Rhetorical Exposures, Christopher Carter demonstrates how the creation and display of documentary photographs--often now called "imagetexts"--both invite analysis and raise persistent questions about the political and social causes for the bleak scenes of poverty and distress captured on film.   Carter's carefully reasoned monograph examines both formal qualities of composition and the historical contexts of the production and display of documentary photographs. In Rhetorical Exposures, Carter explores Jacob Riis's heartrending photos of Manhattan's poor in late nineteenth-century New York, Walker Evans's iconic images of tenant farmers in west Alabama, Ted Streshinsky's images of 1960s social movements, Camilo José Vergara's photographic landscapes of urban dereliction in the 1970s, and Chandra McCormick's portraits of New Orleans's Ninth Ward scarred by Hurricane Katrina.   While not ascribing specifically political or Marxist intentions to the photographers discussed, Carter frames his arguments in a class-based dialectic that addresses material want as an ineluctable result of social inequality. Carter argues that social documentary photography has the powerful capacity to disrupt complacent habits of viewing and to prompt viewers to confront injustice. Though photography may induce socially disruptive experiences, it remains vulnerable to the same power dynamics it subverts. Therefore, Carter offers a "rhetoric of exposure" that outlines how such social documentary images can be treated as highly tensioned rhetorical objects. His framework enables the analysis of photographs as heterogeneous records of the interaction of social classes and expressions of specific built environments. Rhetorical Exposures also discusses how photographs interact with oral and print media and relate to creations as diverse as public memorials, murals, and graphic novels.   As the creation and dissemination of new media continues to evolve in an environment of increasing anxiety about growing financial inequality, Rhetorical Exposures offers a very apt and timely discussion of the ways social documentary photography is created, employed, and understood.

In the twentieth century's first decades, U.S. workers waged an epic struggle to achieve security through unions; simultaneously Americans came to interpret current events through newspaper photographs. Eyes on Labor brings these two revolutions together, revealing how news photography brought workers into the nation's mainstream. Carol Quirke focuses on images ignored by scholars but seen by millions of Americans in the news of the day. Part visual analysis, part labor and cultural history, Quirke analyzes over one hundred photographs: stereographs of the Uprising of 1877, tabloid photos of the 1919 strike wave, photo-essays in the nationally popular LIFE Magazine, and even photos taken by a union camera club. Quirke anchors her interpretations in a lively historical narrative that takes readers from Washington D.C. hearings, to small towns in Indiana and Pennsylvania, to local union halls and to New York City boardrooms. Illuminating why unions, employers, and news publishers vied to represent workers with the camera's eye, Eyes on Labor explores how Americans understood the complex and contradictory portrait of labor they produced.

In any decade the work of only a very few artists offers a template for understanding the culture and ideas of their time. Photographer Diane Arbus is one of these rare artists, and in this book Frederick Gross returns ArbusOCOs work to the moment in which it was produced and first viewed to reveal its broader significance for analyzing and mapping the culture of the 1960s. While providing a unique view of the social, literary, and artistic context within which Arbus worked, he also, perhaps for the first time anywhere, measures the true breadth and complexity of her achievement. Gross considers Arbus less in terms of her often mythologized biographyOCoa OC Sylvia Plath with a cameraOCOOCobut rather looks at how her work resonates with significant photographic portraiture, art, social currents, theoretical positions, and literature of her times, from Robert Frank and Richard Avedon to Andy Warhol and Truman Capote. He shows how her incandescent photographs seem to literalize old notions of photography as trapping a layer of the subjectOCOs soul within the frame of a picture. For Arbus, OC auguriesOCOOCoas in OC Auguries of Innocence, OCO her 1963 photographic spread in HarperOCOs Bazaar OCoconveyed the idea that whoever was present in her photograph could attain legendary status. By shifting critical attention from the myths of ArbusOCOs biography to the mythmaking of her art, this book gives us a new, informed appreciation of one of the twentieth centuryOCOs most important photographers and a better understanding of the world in which she worked

The early history of photography in America coincided with the Euro-American settlement of the West. This thoughtful book argues that the rich history of western photography cannot be understood by focusing solely on the handful of well-known photographers whose work has come to define the era. Art historian Rachel Sailor points out that most photographers in the West were engaged in producing images for their local communities. These pictures didn t just entertain the settlers but gave them a way to understand their new home. Photographs could help the settlers adjust to their new circumstances by recording the development of a place revealing domestication, alteration, and improvement. The book explores the cultural complexity of regional landscape photography, western places, and local sociopolitical concerns. Photographic imagery, like western paintings from the same era, enabled Euro-Americans to see the new landscape through their own cultural lenses, shaping the idea of the frontier for the people who lived there."

Ansel Adams is one of America's most popular and enduring photographers. His well-known photographs of America's national parks, especially Yosemite and others in the West, are remarkable for their timeless celebration of the unblemished American landscape. Adams was an astute master of photographic technique who utilized perfectly the capabilities of his chosen medium to portray the untold beauty of the natural world. His photographs are an eloquent statement of an artist seeking order and truth and a permanent record of America's wild beauty achieved by a man whose own nature was as immutable as the Earth he loved. In the American Artist series, you'll read about more masters of the art world who not only depicted American life and landscape through beautiful works but also broadened our perspectives by employing the tools of their trade with the highest levels of creativity and insight. Experience firsthand these artists' vision and influence through the seventy or more spectacular, full-color reproductions of their work. Each title in this series includes color photos throughout, and back matter including: an index and further reading lists for books and internet resources. Educational Videos are offered in the back through the use of QR codes, that, when scanned, takes the student to an online video showing a video relating to the book topic. This gives the readers additional content to supplement the text.

“The first thing I did with my very first camera was climb Mt. Fuji. Climbing Mt. Fuji is a lesson in determination and moderation. It would be fair to ask if I took the moderation part to heart. But it certainly was a lesson in respecting your camera. If I was going to live with this thing, I was going to have to think about what that meant. There were not going to be any pictures without it." —Annie Leibovitz Annie Leibovitz describes how her pictures were made, starting with Richard Nixon's resignation, a story she covered with Hunter S. Thompson, and ending with Barack Obama's campaign. In between are a Rolling Stones Tour, John Lennon and Yoko Ono, Demi Moore, Whoopi Goldberg, The Blues Brothers, Arnold Schwarzenegger, Keith Haring, Mikhail Baryshnikov, Patti Smith, George W. Bush, William S. Burroughs, Kate Moss and Queen Elizabeth. The most celebrated photographer of our time discusses portraiture, reportage, fashion photography, lighting, and digital cameras.

Best known for his contribution to the development of the motion picture, Eadweard Muybridge (1830-1904) was a pioneering photographer during his lifetime. Alongside his remarkable photographic achievements, his personal life was riddled with melodrama--including a near-fatal stagecoach accident and a betrayal by his wife that ended with Muybridge being tried for the murder of her lover. Marta Braun's revealing biography traces the sensational events of Muybridge's life and his personal reinventions as artist, photographer, researcher, and showman. In the 1870s, Muybridge's photography skills were enlisted by Leland Stanford, a racehorse breeder who later founded Stanford University, to prove the "unsupported motion controversy"--the theory that during a horse's stride, there was a moment when all four of its legs left the ground. The resulting collection of motion studies, as Braun explains, inspired Muybridge to take photography beyond landscapes to the realm of science. He went on to invent the zoopraxiscope, which captures movement too quick for the human eye to record. Most importantly, simulating motion through a series of stills, his pioneering use of sequence photography served as a forerunner to the introduction of cinematography in the 1890s. This illuminating study examines a man whose influence has resounded through generations. In Eadweard Muybridge, Braun firmly establishes Muybridge's central contributions to the history of art, science, photography, and motion pictures.

In these five profiles, four of which originally appeared in the New Yorker, the author evokes the life and work of seven gifted artists. Among those presented, often through lively conversations, are Jean Hélion, Mark Rothko, R.B. Kitaj, and Dennis Creffield. Chief among those portrayed however is Henri Cartier-Bresson (1908-2004), the great French photographer and photojournalist who, famed for dodging contact with the press, is here sketched in rare and fond detail. Of all these artists, only two still live: what emerges from this book is a picture, often bizarre, often hilarious, of a bygone bohemian world. 

In an era before affordable travel, National Geographic not only served as the first glimpse of countless other worlds for its readers, but it helped them confront sweeping historical change. There was a time when its cover, with the unmistakable yellow frame, seemed to be on every coffee table, in every waiting room. In American Iconographic, Stephanie L. Hawkins traces National Geographic's rise to cultural prominence, from its first publication of nude photographs in 1896 to the 1950s, when the magazine's trademark visual and textual motifs found their way into cartoon caricature, popular novels, and film trading on the "romance" of the magazine's distinctive visual fare. National Geographic transformed local color into global culture through its production and circulation of readily identifiable cultural icons. The adventurer-photographer, the exotic woman of color, and the intrepid explorer were part of the magazine's "institutional aesthetic," a visual and textual repertoire that drew upon popular nineteenth-century literary and cultural traditions. This aesthetic encouraged readers to identify themselves as members not only in an elite society but, paradoxically, as both Americans and global citizens. More than a window on the world, National Geographic presented a window on American cultural attitudes and drew forth a variety of complex responses to social and historical changes brought about by immigration, the Great Depression, and world war. Drawing on the National Geographic Society's archive of readers' letters and its founders' correspondence, Hawkins reveals how the magazine's participation in the "culture industry" was not so straightforward as scholars have assumed. Letters from the magazine's earliest readers offer an important intervention in this narrative of passive spectatorship, revealing how readers resisted and revised National Geographic's authority. Its photographs and articles celebrated American self-reliance and imperialist expansion abroad, but its readers were highly aware of these representational strategies, and alert to inconsistencies between the magazine's editorial vision and its photographs and text. Hawkins also illustrates how the magazine actually encouraged readers to question Western values and identify with those beyond the nation's borders. Chapters devoted to the magazine's practice of photographing its photographers on assignment and to its genre of husband-wife adventurers reveal a more enlightened National Geographic invested in a cosmopolitan vision of a global human family. A fascinating narrative of how a cultural institution can influence and embody public attitudes, this book is the definitive account of an iconic magazine's unique place in the American imagination.

Charles Cushman (1896-1972) photographed a disappearing world in living color. Cushman's midcentury America--a place normally seen only through a scrim of gray--reveals itself as a place as vivid and real as the view through our window.The Day in Its Color introduces readers to Cushman's extraordinary work, a recently unearthed archive of photographs that is the largest known body of early color photographs by a single photographer, 14,500 in all, most shot on vivid, color-saturated Kodachrome stock. From 1938-1969, Cushman--a sometime businessman and amateur photographer with an uncanny eye for everyday detail--travelled constantly, shooting everything he encountered as he ventured from New York to New Orleans, Chicago to San Francisco, and everywhere in between. His photos include portraits, ethnographic studies, agricultural and industrial landscapes, movie sets and media events, children playing, laborers working, and thousands of street scenes, all precisely documented in time and place. The result is a chronicle of an era almost never seen, or even envisioned, in color.This well-preserved collection is all the more remarkable for having gone undiscovered for decades. What makes the photos most valuable, however, is the wide range of subjects, landscapes, and moods it captures--snapshots of a lost America as yet untouched by a homogenizing overlay of interstate highways, urban renewal, chain stores, and suburban development--a world of hand-painted signs, state fairs, ramshackle shops, small town living and bustling urban scenes. The book also reveals the fascinating and startling life story of the man who stood, unseen, on the other side of the lens, surely one of America's most impressive amateur photographers and outsider artists.With over 150 gorgeous color prints, The Day in Its Color gives us one of the most evocative visual histories of mid-20th century America that we have.

California on the Breadlines is the compelling account of how Dorothea Lange, the Great Depression's most famous photographer, and Paul Taylor, her labor economist husband, forged a relationship that was private--they both divorced spouses to be together--collaborative, and richly productive. Lange and Taylor poured their considerable energies into the decade-long project of documenting the plight of California's dispossessed, which in 1939 culminated in the publication of their landmark book, American Exodus: A Record of Human Erosion. Jan Goggans blends biography, literature, and history to retrace the paths that brought Lange and Taylor together. She shows how American Exodus set forth a new way of understanding those in crisis during the economic disaster in California and ultimately informed the way we think about the Great Depression itself.

In the mid 50s, Swiss-born New Yorker Robert Frank embarked on a ten-thousand-mile road trip across post-war America, capturing thousands of photographs of all levels of a rapidly changing society. The resultant photo-book, The Americans, represents a seminal moment in both photography and in AmericaOCOs emerging understanding of itself. To mark the bookOCOs fiftieth anniversary, Jonathan Day revisits this pivotal work and contributes a thoughtful and revealing critical commentary. Though the importance of The Americans has been widely acknowledged, it still retains much of its mystery. This comprehensive analysis places it thoroughly in the context of contemporary photography, literature, painting, music and advertising.

Mary O'Connor and Katherine Tweedie tell the story of a dedicated artist in difficult circumstances whose working life spanned a Victorian upbringing in Hamilton, Ontario, and the witnessing of the first Soviet Five-Year Plan. The authors use feminist and historical questions as well as close readings of the photographs to relate Watkins' work to questions of gender, modernity, and visual culture. Watkins' modernism, which involved experimentation and a radical focus on form, transgressed boundaries of conventional, high-art subject matter. Her focus was daily life and her photographs, whether an exploration of the objects in her New York kitchen or the public and industrial spaces of Glasgow, Paris, Cologne, Moscow, and Leningrad in the 1930s, strike a balance between abstraction and an evocation of the everyday, offering a unique gendered perspective on modernism and modernity.

The fascinating life of a cultural and political icon.

In this richly illustrated book, Robert Macieski examines Lewis W. Hine's art and advocacy on behalf of child laborers as part of the National Child Labor Committee (NCLC) between 1909 and 1917. A "social photographer" -- as he called himself -- Hine created images that documented children at work throughout New England, making the case for their exploitation in the North as he had for rural working children in the South. Hine staged his images, highlighting particular types of labor in specific places: the "newsies" in Connecticut cities; sardine canners in Eastport, Maine; cranberry pickers in Cape Cod bogs; industrial homeworkers in Boston and Providence; and cotton textile workers throughout the region. His association with the NCLC connected him to a network of local and national reformers, social workers, and child welfare professionals, a broad coalition he supported in their fight to end this unethical labor practice. Macieski also chronicles Hine's efforts to mount major exhibitions that would help move public opinion against child labor. In Picturing Class, Macieski explores the historical context of Hine's photographs and the social worlds of his subjects. He offers a detailed analysis of many of the images, unearthing the stories behind the creation of these photographs and the lives of their subjects. In telling the story of these photographs, their creation, and their reception, Macieski demonstrates how Hine worked to advance an unvarnished picture of a rapidly changing region and the young workers at the center of this important shift.

Jacob Riis (1849-1914) was born in Denmark and emigrated to America at the age of 21. After several years of poverty, he found work as a police reporter, which took him into the worst of New York's ghettos and tenements. Appalled by the conditions he found there, he began to use the primitive new flash technology to photograph the dark places that had never before been so graphically exposed. The resulting book, How the Other Half Lives, brought to life an entire reform movement. Riis was a staunch ally in the young Theodore Roosevelt's battle to reform the New York police, breaking the brutal system of corruption and graft that had prevented the possibility of any real change in poor neighborhoods. Riis's activism involved him in such vital current controversies as hostility toward immigration, the growing gulf between rich and poor, the relative importance of heredity and environment, the need for adequate public schools, conflicts between social reform and personal freedom, and police brutality. But at the same time, his life raises some thought-provoking moral questions, because his compassion was flawed by an underlying prejudice; his writings are marred by a clear underlying conviction of the superiority of white Protestants, and he speaks with condescension and occasional scorn of other races and religions. He remained an active reformer all his life, founding a settlement house, writing several more books, most notably The Children of the Poor, and maintaining a taxing schedule of lecture tours. This biography includes a picture essay of Riis' photographs as well as, 35 black-and-white illustrations, a chronology, further reading, and an index.Oxford Portraits are informative and insightful biographies of people whose lives shaped their times and continue to influence ours. Based on the most recent scholarship, they draw heavily on primary sources, including writings by and about their subjects. Each book is illustrated with a wealth of photographs, documents, memorabilia, framing the personality and achievements of its subject against the backdrop of history.

From Snapshots to Social Media describes the history and future of domestic photography as mediated by technological change. Domestic photography refers to the culture of ordinary people capturing, sharing and using photographs, and is in a particular state of flux today as photos go digital. The book argues that this digital era is the third major chapter in the 170 year history of the area; following the portrait and Kodak eras of the past.   History shows that despite huge changes in photographic technology and the way it has been sold, people continue to use photographs to improve memory, support communication and reinforce identity. The future will involve a shift in the balance of these core activities and a replacement of the family album with various multimedia archives for individuals, families and communities. This raises a number of issues that should be taken into account when designing new technologies and business services in this area, including: the ownership and privacy of content, multimedia standards, home ICT infrastructure, and younger and older users of images.   The book is a must for designers and engineers of imaging technology and social media who want a better understanding of the history of domestic photography in order to shape its future. It will also be of value to students and researchers in science and technology studies and visual culture, as a fascinating case study of the evolving use of photographs and photographic technology in Western society.

This new edition of The Photographic Image in Digital Culture explores the condition of photography after some 20 years of remediation and transformation by digital technology. Through ten especially commissioned essays, by some of the leading scholars in the field of contemporary photography studies, a range of key topics are discussed including: the meaning of software in the production of photograph; the nature of networked photographs; the screen as the site of photographic display; the simulation of photography in the videogame; photography, ubiquitous computing and technologies of ambient intelligence; developments in vernacular photography and social media; the photograph and the digital archive; the curation and exhibition of the networked photograph; the dominance of the image bank in commercial and advertising photography; the complexities of citizen photojournalism. A recurring theme addressed throughout is the nature of 'photography after photography' and the paradoxical nature of the medium in the 21st century; a time when the traditional technology of photography has become defunct while there is more 'photography' than ever. This is an ideal book for students studying photography and digital media.

The go-to guide to social media skills, now in an updated and revised Third Edition The Social Media Bible is comprehensive 700-plus page social media resource that will teach corporate, small business, and non-profit marketers strategies for using social media to reach their desired audiences with power messages and efficiency. This newly revised 3rd edition addresses technology updates to the iPad, apps, Foursquare, and other geotargeted networks. New case studies and company profiles provide practical examples of how businesses have successfully implemented these strategies, using the newest social media marketing tools. Updates and changes to Google's search engine algorithms More information on plug-ins, widgets, apps, and integration Updates on Twitter and Yammer and new information on Google+ The latest in mobile marketing Master the latest social media tools and deliver powerful messaging in the most effective way possible with The Social Media Bible.

This volume synthesizes and advances existing knowledge of consumer response to visuals. Representing an interdisciplinary perspective, contributors include scholars from the disciplines of communication, psychology, and marketing. The book begins with an overview section intended to situate the reader in the discourse. The overview describes the state of knowledge in both academic research and actual practice, and provides concrete sources for scholars to pursue. Written in a non-technical language, this volume is divided into four sections: Image and Response - illustrates the difficulty encountered even in investigating the basic influences, processes, and effects of "mere exposure" to imagery. Image and Word - presents instances in which the line between words and pictures is blurred, such as the corporate logo which is often pictorial in nature but communicates on an abstract level usually attributed to words. Image and the Ad - contributes to our appreciation for the exquisite variations among advertising texts and the resultant variability in response, not only to different ads but among different viewers of the same ad. Image and Object - carries the inquiry of visual response over the bridge toward object interaction. Having traveled a path that has gone from the precise working of the brain in processing visual stimuli all the way to the history of classical architecture, readers of this volume will have a new respect for the complexity of human visual response and the research that is trying to explain it. It will be of interest to those involved in consumer behavior, consumer psychology, advertising, marketing, and visual communication.

This handbook provides a comprehensive overview of the pragmatics of social media, i.e. of digitally mediated and Internet-based platforms which are interactively used to share and edit self- and other-generated textual and audio-visual messages. Its five parts offer state-of-the-art reviews and critical evaluations in the light of on-going developments: Part I The Nature of Social Media sets up the conceptual groundwork as it explores key concept such as social media, participation, privacy/publicness. Part II Social Media Platforms focuses on the pragmatics of single platforms such as YouTube, Facebook. Part III Social Media and Discourse covers the micro-and macro-level organization of social media discourse, while Part IV Social Media and Identity reveals the multifarious ways in which users collectively (re- )construct aspects of their identities. Part V Social Media and Functions/Speech Acts surveys pragmatic studies on speech act functions such as disagreeing, complimenting, requesting. Each contribution provides a state-of-the-art review together with a critical evaluation of the existing research.

The emergence of New Media has stimulated debate about the power of the visual to dethrone the cultural prominence of textuality and print. Some scholars celebrate the proliferation of digital images, arguing that it suggests a return to a pictorial age when knowledge was communicated through images as well as through words. Others argue that the inherent conflict between texts and images creates a battleground between the feminized, seductive power of images and the masculine rationality of the printed word. Eloquent Images suggests that these debates misunderstand the dynamic interplay that has always existed between word and image. Arguing that the complex relationship between text and image in New Media does not represent a radical rupture from the past, the book examines rhetorical and cultural uses of word and image both historically and currently. It shows that complex, interpenetrating relationships between verbal and visual communication systems were already evident in hieroglyphic writing and in ancient rhetoric and persist in the work of classical rhetoricians, in cultural studies of technology, even in the binary code distinctions of digital environments. The essays blend theory, critique, and design practice to explore the often contradictory relations of word and image. All of them call for theoretically grounded approaches to hypermedia design.

In an age of overwhelming Internet competition and rampant takeovers, marketers face the very real challenge of understanding how to engage customers online. Leland Harden and Bob Heyman, online marketing pioneers and authors of the popular book Net Results, team up again to teach marketers how to use search engine optimization, affiliate marketing, and all of the Web 2.0 tools they need to compete in the digital marketplace. Filled with up-to-date information on the best venues for online marketing, as well as explanations of social networking, virtual worlds, widgets, wikis, and emerging media, Digital Engagement shows marketers how to: stop burning money on web advertising campaigns that don't deliver * tweak websites to improve conversions and traffic flow * master proven strategies for consumer-generated media to generate buzz and improve brand recognition Featuring case studies from companies like Toyota and Tommy Hilfiger as well as lists of key vendorsfor online marketing software, this is the only book that offers a truly comprehensive guide to all of the new online marketing tools.

How digital visual effects in film can be used to support storytelling: a guide for scriptwriters and students. Computer-generated effects are often blamed for bad Hollywood movies. Yet when a critic complains that "technology swamps storytelling" (in a review of Van Helsing, calling it "an example of everything that is wrong with Hollywood computer-generated effects movies"), it says more about the weakness of the story than the strength of the technology. In Digital Storytelling, Shilo McClean shows how digital visual effects can be a tool of storytelling in film, adding narrative power as do sound, color, and "experimental" camera angles--other innovative film technologies that were once criticized for being distractions from the story. It is time, she says, to rethink the function of digital visual effects. Effects artists say--contrary to the critics--that effects always derive from story. Digital effects are a part of production, not post-production; they are becoming part of the story development process. Digital Storytelling is grounded in filmmaking, the scriptwriting process in particular. McClean considers crucial questions about digital visual effects--whether they undermine classical storytelling structure, if they always call attention to themselves, whether their use is limited to certain genres--and looks at contemporary films (including a chapter-long analysis of Steven Spielberg's use of computer-generated effects) and contemporary film theory to find the answers. McClean argues that to consider digital visual effects as simply contributing the "wow" factor underestimates them. They are, she writes, the legitimate inheritors of film storycraft.

We say the camera doesn't lie, but we also know that pictures distort and deceive. In Picture Perfect, Kiku Adatto brilliantly examines the use and abuse of images today. Ranging from family albums to Facebook, political campaigns to popular movies, images of war to pictures of protest. Adatto reveals how the line between the person and the pose, the real and the fake, news and entertainment is increasingly blurred. New technologies make it easier than ever to capture, manipulate, and spread images. But even in the age of the Internet, we still seek authentic pictures and believe in the camera's promise to document, witness, and interpret our lives.

A thorough analysis of contemporary digital media practices, showing how people increasingly not only consume but also produce and even design media. With many new forms of digital media-including such popular social media as Facebook, Twitter, and Flickr--the people formerly known as the audience no longer only consume but also produce and even design media. Jonas Löwgren and Bo Reimer term this phenomenon collaborative media, and in this book they investigate the qualities and characteristics of these forms of media in terms of what they enable people to do. They do so through an interdisciplinary research approach that combines the social sciences and humanities traditions of empirical and theoretical work with practice-based, design-oriented interventions. Löwgren and Reimer offer analysis and a series of illuminating case studies--examples of projects in collaborative media that range from small multidisciplinary research experiments to commercial projects used by millions of people. Löwgren and Reimer discuss the case studies at three levels of analysis: society and the role of collaborative media in societal change; institutions and the relationship of collaborative media with established media structures; and tribes, the nurturing of small communities within a large technical infrastructure. They conclude by advocating an interventionist turn within social analysis and media design.

Invaluable advice on analyzing and measuring the effects of social media Do you wish you could sit down with an expert to figure out whether or not your social media initiatives are working? With Social Media Metrics Secrets, you can! Expert John Lovett taps into his years of training and experience to reveal tips, tricks, and advice on how to analyze and measure the effects of social media and gauge the success of your initiatives. He uses mini case studies to demonstrate how to manage social operations with process and technology by applying key performance indicators, and assessing the business value of social media. Highlights how social media can impact all aspects of your business and transform the way you quantify successful interactions with customers Shares innovative techniques for managing the massive volume of social analytics data by putting data to work in ways that contribute to your organizational goals Details techniques for adopting a Social Analytics Framework for understanding evolving consumer behavior necessary to compete in a socially networked future Written in a conversational tone, Social Media Metrics Secrets goes behind the scenes to present you with unbeatable advice and unparalleled insight into social media metrics.

Social media allows you to scale up a core librarian practice--connecting your community to information and learning--across geographic boundaries, 24/7. Addressing "curation" as the term is used colloquially, this issue of Library Technology Reports draws from 17 in-depth interviews to show how libraries are using social media to collect, organize, share, and interpret--in short, how to tell a digital story to a specific audience. Additionally the authors use data, collected through an online survey that encompassed all library types, to offer a snapshot of this important "collecting-connecting-curating-contributing" practice. Also included is an annotated directory covering 66 tools for social media curation, organized by category with links to the websites.

How to master the digital media marketplace, blog for your business, podcast for profit, and more.   Rarely does a communication revolution result in a marketplace transformation. The New Media Revolution is one of those extraordinary events.   If you want to market better, sell more, and boost your influence in today's rapidly changing online marketplace, this is your textbook.   -What the New Media Revolution is and how you can profit from it as it transforms the face of advertising and marketing forever -How to trigger powerful, word-of-mouth BUZZ with innovative New Media campaigns -Why your business blog (not mass marketing) must be at the center of your marketing strategy using New Media tools -Discover where your target audience is hanging out and captivate their attention with your persuasive message -Six key tools you must have when launching your own successful New Media Marketing Strategy -Online persuasion strategies that draw hundreds and thousands of highly qualified fans to your business, non-profit organization, or political campaign   "Just four days after following your advice, both CNN Money and The Wall Street Journal called me for an interview on the same day! Traffic to my website has since exploded, and I have so much business that I'm constantly referring clients to other consultants around the world!"--Debra Gould, The Staging Diva, President, Six Elements Inc., Canada