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Author: Peter Buse Publisher: University of Chicago Press ISBN: 022617638X Category : Art Languages : en Pages : 323
Book Description
What makes Polaroid photography stand out? Since its invention by Edwin Land in 1947, how has it crept into our common culture in the ways we witness today? Writing in the context of the two bankruptcies of Polaroid Corporation and the decline and obsolescence of its film, Peter Buse argues that Polaroid photography is distinguished by its process. The fact that, as the "New York Times" put it, the camera does the rest, encouraged distinctive practices by the camera s users, including its most famous use: as a party camera. Polaroid was often dismissed as a toy, but this book takes its status as a toy seriously, considering the way it opened up photographic play while simultaneously lowering its own cultural value. Drawing on unprecedented access to the archives of the Polaroid Corporation, Buse paints Polaroid as an intimate form, where the photographer, photograph, and photographed are in close proximity in time and space. This has profound implications for the photographic practices Polaroid cameras permit and encourage, such as the sexual Polaroid, evidence of which the author pulls from literature, film, and pop culture, or Polaroid as a form of play, a fun technology, an ice breaker that can make things happen. Buse also tells the story of Polaroid s response as a company to developments in digital imaging and its ultimately doomed hard-copy wager in the face of them. Pushing further, he explores the continuities and discontinuities between Polaroid and digital snapshot practices, reflecting on what Polaroid can tell us about digital photography today. "
Author: Peter Buse Publisher: University of Chicago Press ISBN: 022617638X Category : Art Languages : en Pages : 323
Book Description
What makes Polaroid photography stand out? Since its invention by Edwin Land in 1947, how has it crept into our common culture in the ways we witness today? Writing in the context of the two bankruptcies of Polaroid Corporation and the decline and obsolescence of its film, Peter Buse argues that Polaroid photography is distinguished by its process. The fact that, as the "New York Times" put it, the camera does the rest, encouraged distinctive practices by the camera s users, including its most famous use: as a party camera. Polaroid was often dismissed as a toy, but this book takes its status as a toy seriously, considering the way it opened up photographic play while simultaneously lowering its own cultural value. Drawing on unprecedented access to the archives of the Polaroid Corporation, Buse paints Polaroid as an intimate form, where the photographer, photograph, and photographed are in close proximity in time and space. This has profound implications for the photographic practices Polaroid cameras permit and encourage, such as the sexual Polaroid, evidence of which the author pulls from literature, film, and pop culture, or Polaroid as a form of play, a fun technology, an ice breaker that can make things happen. Buse also tells the story of Polaroid s response as a company to developments in digital imaging and its ultimately doomed hard-copy wager in the face of them. Pushing further, he explores the continuities and discontinuities between Polaroid and digital snapshot practices, reflecting on what Polaroid can tell us about digital photography today. "
Author: Peter Buse Publisher: University of Chicago Press ISBN: 022631216X Category : History Languages : en Pages : 323
Book Description
In a world where nearly everyone has a cellphone camera capable of zapping countless instant photos, it can be a challenge to remember just how special and transformative Polaroid photography was in its day. And yet, there’s still something magical for those of us who recall waiting for a Polaroid picture to develop. Writing in the context of two Polaroid Corporation bankruptcies, not to mention the obsolescence of its film, Peter Buse argues that Polaroid was, and is, distinguished by its process—by the fact that, as the New York Times put it in 1947, “the camera does the rest.” Polaroid was often dismissed as a toy, but Buse takes it seriously, showing how it encouraged photographic play as well as new forms of artistic practice. Drawing on unprecedented access to the archives of the Polaroid Corporation, Buse reveals Polaroid as photography at its most intimate, where the photographer, photograph, and subject sit in close proximity in both time and space—making Polaroid not only the perfect party camera but also the tool for frankly salacious pictures taking. Along the way, Buse tells the story of the Polaroid Corporation and its ultimately doomed hard-copy wager against the rising tide of digital imaging technology. He explores the continuities and the differences between Polaroid and digital, reflecting on what Polaroid can tell us about how we snap photos today. Richly illustrated, The Camera Does the Rest will delight historians, art critics, analog fanatics, photographers, and all those who miss the thrill of waiting to see what develops.
Author: Kelli Anderson Publisher: ISBN: 9780997175905 Category : Languages : en Pages :
Book Description
This is a working camera that pops up from the pages of a book..The book concisely explains--and actively demonstrates--how a structure as humble as a folded piece of paper can tap into the intrinsic properties of light to produce a photograph.The book includes:- a piece of paper folded into a working 4x5" camera- a lightproof bag- 5 sheets of photo-paper "film"- development instructions (from complete DIY to "outsource it")- a foil-stamped cover- a satisfying demonstration of the connection between design & science / structures & functions
Author: David Duchemin Publisher: Rocky Nook, Inc. ISBN: 1681985470 Category : Photography Languages : en Pages : 286
Book Description
Learn to ask better, more helpful questions of your work so that you can create stronger and more powerful photographs.
Photographers often look at an image—one they’ve either already created or are in the process of making—and ask themselves a simple question: “Is this a good photograph?” It’s an understandable question, but it’s really not very helpful. How are you supposed to answer that? What does “good” even mean? Is it the same for everyone?
What if you were equipped to ask better, more constructive questions of your work so that you could think more intentionally and creatively, and in doing so, bring more specific action and vision to the act of creating photographs? What if asking stronger questions allowed you to establish a more effective approach to your image-making? In The Heart of the Photograph: 100 Questions for Making Stronger, More Expressive Photographs, photographer and author David duChemin helps you learn to ask better questions of your work in order to craft more successful photographs—photographs that express and connect, photographs that are strong and, above all, photographs that are truly yours.
From the big-picture questions—What do I want this image to accomplish?—to the more detail-oriented questions that help you get there—What is the light doing? Where do the lines lead? What can I do about it?—David walks you through his thought process so that you can establish your own. Along the way, he discusses the building blocks from which compelling photographs are made, such as gesture, balance, scale, contrast, perspective, story, memory, symbolism, and much more. The Heart of the Photograph is not a theoretical book. It is a practical and useful book that equips you to think more intentionally as a photographer and empowers you to ask more helpful questions of you and your work, so that you can produce images that are not only better than “good,” but as powerful and authentic as you hope them to be.
TABLE OF CONTENTS Better Questions
PART ONE: A GOOD PHOTOGRAPH? Is It Good? The Audience's Good The Photographer's Good
PART TWO: BETTER THAN GOOD Better Subjects
PART THREE: BETTER EXPRESSION Exploration and Expression What Is the Light Doing? What Does Colour Contribute? What Role Do the Lines and Shapes Play? What's Your Point of View? What Is the Quality of the Moment? Where Is the Story? Where Is the Contrast? What About Balance and Tension? What Is the Energy? How Can I Use Space and Scale? Can I Go Deeper? What About the Frame? Do the Elements Repeat? Harmony Can I Exclude More? Where Does the Eye Go? How Does It Feel? Where's the Mystery? Remember When? Can I Use Symbols? Am I Being Too Literal?
PART FOUR: BETTER PHOTOGRAPHS The Heart of the Photograph Index
Author: David duChemin Publisher: Rocky Nook, Inc. ISBN: 1681982048 Category : Photography Languages : en Pages : 246
Book Description
As both an art form and a universal language, the photograph has an extraordinary ability to connect and communicate with others. But with over one trillion photos taken each year, why do so few of them truly connect? Why do so few of them grab our emotions or our imaginations? It is not because the images lack focus or proper exposure; with advances in technology, the camera does that so well these days. Photographer David duChemin believes the majority of our images fall short because they lack soul. And without soul, the images have no ability to resonate with others. They simply cannot connect with the viewer, or even—if we’re being truthful—with ourselves. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Avenir Next'} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Avenir Next'; min-height: 16.0px}
In The Soul of the Camera: The Photographer’s Place in Picture-Making, David explores what it means to make better photographs. Illustrated with a collection of beautiful black-and-white images, the book’s essays address topics such as craft, mastery, vision, audience, discipline, story, and authenticity. The Soul of the Camera is a personal and deeply pragmatic book that quietly yet forcefully challenges the idea that our cameras, lenses, and settings are anything more than dumb and mute tools. It is the photographer, not the camera, that can and must learn to make better photographs—photographs that convey our vision, connect with others, and, at their core, contain our humanity. The Soul of the Camera helps us do that.
Author: Stacy Pearsall Publisher: Rowman & Littlefield ISBN: 0762789921 Category : Photography Languages : en Pages : 225
Book Description
Shooter is a visual portrait of war--the perseverance, heroism, and survival--narrated through stunning photographs and powerful essays from a female combat photographer.
Author: Rachel Plotnick Publisher: MIT Press ISBN: 0262347512 Category : Technology & Engineering Languages : en Pages : 422
Book Description
Push a button and turn on the television; tap a button and get a ride; click a button and “like” something. The touch of a finger can set an appliance, a car, or a system in motion, even if the user doesn't understand the underlying mechanisms or algorithms. How did buttons become so ubiquitous? Why do people love them, loathe them, and fear them? In Power Button, Rachel Plotnick traces the origins of today's push-button society by examining how buttons have been made, distributed, used, rejected, and refashioned throughout history. Focusing on the period between 1880 and 1925, when “technologies of the hand” proliferated (including typewriters, telegraphs, and fingerprinting), Plotnick describes the ways that button pushing became a means for digital command, which promised effortless, discreet, and fool-proof control. Emphasizing the doubly digital nature of button pushing—as an act of the finger and a binary activity (on/off, up/down)—Plotnick suggests that the tenets of precomputational digital command anticipate contemporary ideas of computer users. Plotnick discusses the uses of early push buttons to call servants, and the growing tensions between those who work with their hands and those who command with their fingers; automation as “automagic,” enabling command at a distance; instant gratification, and the victory of light over darkness; and early twentieth-century imaginings of a future push-button culture. Push buttons, Plotnick tells us, have demonstrated remarkable staying power, despite efforts to cast button pushers as lazy, privileged, and even dangerous.
Author: Roland Barthes Publisher: Macmillan ISBN: 0374521344 Category : Philosophy Languages : en Pages : 134
Book Description
"Examining the themes of presence and absence, the relationship between photography and theatre, history and death, these 'reflections on photography' begin as an investigation into the nature of photographs. Then, as Barthes contemplates a photograph of his mother as a child, the book becomes an exposition of his own mind."--Alibris.
Author: Peter Buse
Author: Peter Buse
Author: Peter Buse
Author: Kelli Anderson
Author: David Duchemin
Author: David duChemin
Author: 
Author: Stacy Pearsall
Author: Emma Davies
Author: Rachel Plotnick
Author: Roland Barthes