Color Books - Page 6

Massimo Vitali: Landscape and Figures

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Editorial Review:

Massimo Vitali's large-scale color images apply a topographical clarity and wealth of detail to the rites and rituals of modern leisure. With this volume, he enlarges the scope of his survey and includes beaches and discos from around the world, plus a couple of ski resorts and swimming pools thrown in for good fun. Simultaneously familiar and unfamiliar, his images are of places we've been and people we've played with--but as if seen from outside the body, from an unearthly vantage point. Some combination of Vitali's experience working in film and the 12-to-15-foot platform that he shoots from shifts his still images from documentary realism towards the surreal. Combining the minute detail of view-camera photography with a fascination for the fickle world of appearances, Vitali's aesthetic and subject matter can be compared with the work of the Becher school--but with Vitali, figure and environment cohabit the space of the image, thus lessening the need for a metaphysical reading.

Basics Photography: Post-Production Colour (Basics Photography)

Steve MacLeod

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Editorial Review:

The fifth book in the successful Basics Photography series, Post-Production Colour focuses on the way that images are captured and produced in color photography. An in-depth exploration of post-production and the methods available for producing and manipulating images, both film and digital, this comprehensive book shows photographers at every level how to push their color images from blah to breathtaking. Beautifully illustrated throughout with stunning photographs, Post-Production Colour is a unique guide to creating stunning photographs.

 

* Handy format
* Author is a world-renowned authority on photographic imaging
* Clear, detailed information for photographers at every level

Joan Fontcuberta: Landscapes Without Memory

Geoffrey Batchen

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Customer Reviews:
Total reviews: 1 Average rating: 5.0 of 5

What was that? An undergraduate paper? 5 out of 5 stars.
15 of 17 people found this review helpful.

It is unfathomable to me that someone so entirely untrained in the appreciation or analysis of 20th c. art was allowed to review this book for Publishers Weekly (Copyright © Reed Business Information, a division of Reed Elsevier Inc.) It is little wonder that the reviewer was too ashamed to sign his/her own name. I don't believe that I have ever read a less-reasoned, more personal attack outside of a pro-Bush anti-"liberal media" Op-Ed piece! Is this the type of review Publisher's Weekly is enlisted to provide? A mere venue to allow uninformed writers to vent their personal hostilities towards works they personally find distasteful or simply don't understand?

The first warning sign is that Caspar David Friedrich's "Wanderer in a Sea of Fog [sic]" (I mean, after all, if he was "in" the fog we couldn't see him could we?!) is characterized as a "depiction of a man trying to have a little quiet time in the mountains". Geez! The writer clearly does not understand the importance of the category of the Sublime for German Romantic painters, following from Kant's observations, and the examination of the place of the individual in Nature. Friedrich's "Wanderer" wasn't just hanging out at the KOA campground before he had to go back to the office!

Certainly the appreciation of artwork(s) is/are subjective--not everyone is aesthetically moved by the same works and/or artistic visions, but there *is* such a thing as reasoned critical analysis that doesn't just launch into full blown ad hominem (ad arte) attack! What kind of "Rape of the Masters" belief in the nature of art has to be blindly accepted such that it can be "ruined" by being referenced in another artist's work/vision? Can Friedrich's painting really be "ruined" by Fontcuberta? Is a hole being poked in its "aura"? What a priori judgment determines the truth of the proposition, "Computer Art Bad. Thomas Kincade Good"?

As if that is not enough, it then turns into a "class" argument! Invectives are flung at "Wealthy nerds" (to have "their own Thomas Kincade")! I am a student, living in a garrett on a meager stipend, in the winter the room is drafty and I have no heat. I do not own a car. I ride my bike everywhere I need to go. That said, the last time I checked I could easily afford this Phaidon 55 book, but could never begin to afford (even should I ever want to), the 1,000-30,000 dollar, DNA-infused, mechanically reproduced and lightly-respackled paintings by Monsieur Kincade, "Painter of Light"!

I'll admit that Fontcuberta is far far far from my favorite artist, although I think some of his 80s work like the cryptozoology installations and the false-scientific documentary work was interesting. I have no desire to personally run out and buy this book. But I am completely flabberghasted that this review was found to be acceptable as a review of the book. I grade over 200 undergraduate papers on art a year, and if any of them based their arguments on their personal distaste for the art, they would receive an "F".

Editorial Review:

Joan Fontcuberta tries to put the "real" in Dal''s surrealism. In this first major monograph to be published in the United States by one of Spain's most prominent and innovative artists, Fontcuberta subjects various imaginative landscapes--among them ones by Cezanne, Turner, and Weston in addition to Dal', as well as photographs of his own body--to the manipulation of landscape-rendering software originally designed for the military and scientific communities. The limited visual vocabulary of the programs translates contours (like floppy clocks) into natural elements such as hills, rivers, clouds, and the like. The result, actually, looks far from real. As Fontcuberta says, "In a typically surrealistic caper, introducing the critical-paranoid method in the technological heart of the computer, Dal''s dreams become equally impossible landscapes." And, he might have added, gorgeous black-and-white ones.

Encounters With the Dani

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In her most recent body of work, acclaimed photographer Susan Meiselas pieces together verbal and visual traces of encounters with the Dani--an indigenous people of the West Papuan highlands--from the nearly six decades since their "discovery" by the West. In this subjective, fragmentary history, Meiselas draws from the experiences of missionaries, colonists, anthropologists and modern-day ecotourists, all of whom have come to the Dani's Baliem Valley and transformed the conditions under which they live. The ambiguous relations between power and representation--whether in the form of Dutch colonial patrol notes from the 1930s, the sensationalized media accounts of the survivors of a downed U.S. army plane in "Shangri-La" from the 1940s or a tourist's snapshots from the 1990s--become visible in Meiselas's book, through both the contradictions and unexpected continuities of the gathered materials.

Lil' Buckaroos: A Tribute to the Young Cowboy in All of Us

David R. Stoecklein

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Editorial Review:

This new book provides a light-hearted glimpse into the lives of young cowboys and cowgirls. David R. Stoecklein's photographs of kids caught somewhere between innocence and bravado will charm readers. The book is an ideal gift for those who remember growing up on a ranch or wish they had. David has expanded his popular Lil' Buckaroos calendar and collected his best photographs in this tribute to the young cowboy.

Creative Techniques for Color Photography

Bobbi Lane

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Editorial Review:

Photographers learn to maximize color skills to create images that match their own unique visions with this practical and comprehensive guide to creative color photography. The science behind color-what it is, how we see it, and how it changes-is explored in depth. Presented are the scientific principles behind light; the technical aspects of film and processing; and information about how weather affects results, how to use filters and photographic gels to maximize color saturations, and how to correct unwanted color casts. An artistic study of color is also included, with commentary on the properties of color and shade, the psychological effects of color, the tenets of color harmony, and the uses of advancing and receding colors. Also discussed are alternative processes such as using daylight film in tungsten lighting (and vice versa), using extreme close-up to capture details, and using color infrared film to capture invisible light.

Practical Color Management: Eddie Tapp on Digital Photography (Eddie Tapp on Digital Photogra)

Eddie Tapp, Rick Lucas

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Total reviews: 10 Average rating: 4.0 of 5

Editorial Review:

The second book in this acclaimed series from noted photographer and digital imaging expert Eddie Tapp delves into color management, a topic that has needlessly become a mystery to experienced digital photographers, whether they're avid amateurs, serious students, or working professionals. With his easygoing yet authoritative style, Eddie sheds light on this topic and supplies an understanding of color management that readers apply to their own work.

Clear and concise, this highly visual book explains how color management is a part of the overall photographic workflow. Eddie demonstrates the three stages of color managed workflow, from choosing a color space, to calibrating your devices, to applying appropriate profiles, and shows you exactly what you need to know and why you need to know it. Color management scientist Rick Lucas contributes a chapter on the hard-core technical aspects. Other books on color management are much too long, involved and intimidating. This absorbing book sets the right tone and supplies you with key answers quickly.

Our Eddie Tapp on Digital Photography book series brings you the focused knowledge you need on specific areas of digital photography. Acknowledged as one of the premier trainers of digital imaging in the world, Eddie brings his teaching experience to bear on issues that other books gloss over or bury under general coverage. Now, you don't have to buy a doorstop-sized book to get the key information you need on color management, efficient workflow, or a variety of other specific digital imaging topics.

Eddie Tapp on Digital Photography also covers workflow setup; advanced and professional production techniques; controlling digital color and tone; creative enhancement techniques; and more. This series is a perfect complement to O'Reilly's general list on Photoshop and digital photography, and offers you focused books that cover technical issues at prices that are affordable and solutions that are quickly accessible. We're thrilled that Eddie Tapp has finally agreed to publish books -- and with O'Reilly.

Basics Photography: Capturing Colour (Basics Photography (Numbered))

Phil Malpas

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Customer Reviews:
Total reviews: 2 Average rating: 4.5 of 5

A step-by-step guide accessible to beginners yet packed with tips 5 out of 5 stars.
1 of 1 people found this review helpful.

Given the proper equipment, a little training, and a modicum of talent, anyone can produce photographs of gallery or museum quality. Professional freelance photographer Phil Malpas presents Capturing Colour, an in-depth guide covering both film and digital photography. Illustrated with high-quality, full-color photographs throughout, the better to show examples of specific techniques and processes, Capturing Colour discusses color theory, filtration and filter systems, the option of deliberately choosing to limit one's color palette, processing and printing choices, and much more. A step-by-step guide accessible to beginners yet packed with tips, tricks, and techniques that even seasoned veterans are sure to find useful. Enthusiastically recommended for amateur, student, and professional photographers alike.

Editorial Review:

To create great photographs, the photographer must understand color. Basics Photography: Capturing Colour guides beginning photographers through the basics of color theory and explains how humans perceive color, the color of light, how to use filtration and white balance, how to use color to generate dynamic images, and how to successfully translate captured color into the photographic print. Fully illustrated with clear and concise diagrams and inspiring photographs, this is an ideal book for photographers at every level who want to master color in order to create their own exciting images.

* Color theory, plus how to use color
* More than 200 stunning full-color photos
* Clear, concise diagrams

No Title Here

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In 1981, Jeff Mermelstein began taking trips to Asbury Park, New Jersey, where he gravitated toward the abundant supply of bizarre characters populating this town made famous by Bruce Springsteen. Drawn to the seedy atmosphere and entranced by the taffy-rich colors, Mermelstein was mesmerized by the sights: a pink lady at a baby parade, a startled bag lady dressed in red, a cat-show judge named Mr. Friend. Things kept getting stranger for Mermelstein, whose first magazine assignment was to photograph animal actors, including the legendary four-pawed performers Morris the Cat, Lassie, Benji, the Merrill Lynch bull, the Exxon tiger, and Zippy, a performing chimp. "I still feel the excitement of hugging Zippy," Mermelstein has noted, "and watching and photographing him in his bus as he entertained at a Bar Mitzvah on Long Island." Inspired by these encounters with the odd and unusual, Mermelstein began to vigorously prowl the streets of New York City during the mid-'80s with some Kodachrome and a flash, snapping up scenes of vivid color, glitz, and plastic artifice. Attracted to the surreal, Mermelstein continued to document outlandish scenes, whether on magazine assignments or on adventures of his own devising - to dog shows, promotional events, and grand openings of malls across this colorful, far-too-colorful-for-words land. No Title Here catalogues the results of the past twenty years Mermelstein has spent photographing the wacky, the quirky, the off, and the oddly lyrical he has encountered across America.

Cindy Sherman: Centerfolds

Andy Grundberg, Peter Schjeldahl, Roberta Smith, Lisa Phillips

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Total reviews: 3 Average rating: 4.0 of 5

Later Regular Edition More Informative & Better Suited To Photos Than Earlier Limited Edition 4 out of 5 stars.
5 of 5 people found this review helpful.

Caveat emptor: Two books dated 2003 have the title "Cindy Sherman Centerfolds." Both contain 12 landscape-orientation self-portraits of the photographer made up and dressed up as adolescent girls that were originally shot in 1981. But the books' designs and contents are different.

The first one was produced as a limited edition of 1850 which was apparently recalled. It has an incorrect ISBN of 0970909039*, is 29.5cm wide and 15cm high, has a light blue cloth cover, is 44 pages in length, was designed by "Honest, NYC," and was printed in Iceland. The photos are presented full-bleed on the right-hand pages, with blank pages facing them. An essay by Lisa Phillips in a rather large font is interspersed among the photographs. The captions (untitled #92, #87, #85, #88, #86, #89, #95, #93, #94, #90, #96, and #91a) are at the end. The dust jacket features orangish Untitled #93 with Sherman as a "blond with red rimmed eyes and matted hair tucked under rumpled black sheets" (per the essay).

The later regular edition (ISBN 0970909020) is 22cm wide by 25cm high, has a black cloth cover, is 50 pages in length, was designed by "Stella Bugbee, Giampietro + Smith," and was printed in Germany. In this book the Phillips essay is found in normal-size font on pages 5-7. The twelve photographs (untitled #92, #87, #91, #85, #88, #95, #89, #86, #93, #94, #90, and #96) follow on two-page spreads with white around them. Pages 32-47 have 1981-1982 essays by Peter Schjeldahl, Roberta Smith, and Andy Grundberg. The dust jacket has a detail of bluish Untitled #92 with Sherman in a tartan skirt and white blouse.

Which is better? If you are a book collector, you'll want the wide-format limited edition due to its rarity and "artistic" presentation. But those interested in Sherman's art are better served by the regular edition for several reasons. For one, it has more text than the limited edition. For another, the presence of the book's gutter in each photo in the regular edition gives a more "centerfold-like" feeling (although I suppose fold-out photos would have been even more effective). Finally, when I compared the photos in the two editions, the ones in the limited edition were slightly cropped, the worst example being Untitled #86 on page 17 in which you cannot see Sherman's eyes at the far right.

If you're unsure which edition a bookseller has for sale, use the "Contact This Seller" feature in the "Used & New" section of Amazon.com!

* That ISBN belongs to "Laurie Simmons Photographs 1978/79."

Editorial Review:

Described by one critic as "embarrassingly intimate," Cindy Sherman's Centerfolds, a series of twelve 2 x 4 foot images shot in 1981 for an Artforum commission, take the horizontal centerfold as their physical and conceptual framework. Though the images were never run in the magazine--the editor was concerned that they would be misunderstood--they remain some of the most affecting of Sherman's constructed pictures. In them, Sherman's vaguely adolescent female characters fill up the frame with an ambiguous, uncomfortably close presence, their plaid kilts, wet t-shirts, matted hair, disheveled nightgowns, and pretty gingham dresses keeping them in your face but unavailable, emotionally suggestive but ambivalently distanced. This handsome, compact volume, the first to include all twelve of the Centerfold images, is run through with an informative, involved text by Lisa Phillips, Head Curator of the New Museum and a long-time supporter of Sherman's work.