This special limited edition comes in a real cloth covered binding contained in a board slipcase. The book front cover features an amazing 3-D lenticular fish image, and the book contains a limited edition print signed by the author. Each copy is numbered and the limited edition is restricted to 500 copies.
This book traces the visual history of surfing from its first description by Captain Cook in 1778 to today's global phenomenon. It examines the evolution of surfing both on and off the water, as a sport, a lifestyle, a philosophy. 500 images detail surf's crossover from the originary shores of Hawaii to fashion, film, music, and even car design.
This book rediscovers the first color "photographic" images of Germany and with them a period of turn-of-the-century peace and prosperity. The images, dated from between 1889 and 1911, derive from the private collection of Marc Walter. This collection of almost 800 pictures transports us along the Rhine to the historic cities of Bonn and Cologne.
Presenting mathematical models that arise in photographic science, this book contains 17 chapters, each dealing with one area of photographic science, and a final chapter containing exercises. It includes general background information, mathematical models, mathematical results and open problems.
Provides guidance combining journalistic writing ability with video practice. This book presents information on skills such as: identifying and researching stories; interviewing; producing scripts and pitching ideas; advice on how to use a small video camera; how to think visually about the impact of the footage framing shots; and more.
In mid-20th-century Britain, an archaeological vision of the British landscape reassured and enchanted a number of writers, artists, photographers, and film-makers. From John Piper and Eric Ravilious to photographs of bomb damage, this book delves into these evocative interpretations and looks at how they affected the way the landscape was seen.
In her feminist inquiry into aesthetics and the sublime, the author reinterprets the work of the American photographer Francesca Woodman. She argues that Woodman's photographs of decrepit architecture allegorically depict the dissolution of the frame, a dissolution Derrida links to theories of the sublime in Kant's "Critique of Judgment".