3 comments about Art of Claudio Aboy Vol 1.

1. Una muestra del maravilloso estilo de este gran artista que comienza a darnos los frutos de su trabajo, esta primera coleccion nos deja ver el perfecto dominio que Aboy tiene de la figura femenina; desde dibujos de personajes famosos como Vampirella, mujeres de las cavernas, guerreras, ciencia ficcion o simplemente desnudos que solo podrian describirse como soberbios y de gran calidad (su dominio del lapiz es sencillamente magnifico); artistas como este son los que convierten el cuerpo de la mujer en todo un arte y el erotismo se revela como una disciplina llena de elegancia y grandeza.



2. First off, the cover of this book is probably the best piece of art in the book IMO, for the simple reason that it's the only piece besides the back cover that is in color. The rest of the book is black and white, even when it looks as if some of the art inside could have been painted in color. Some of the pieces featured in this book are little more than photo mish-mashes to make a scene, and some of those didn't really turn out well. If you really need an art fix, pick this up, but I think there are far better art books out there.



3. SQP continues to bring the latest stars in fantasy and erotic art to fans all over the world, the latest being the subject of their newest release, Claudio Aboy. This is the very first collection of Aboy's erotic art. Born in Argentina, Aboy got his start as a cartoonist but his eye for detail and beautiful women soon drove him into the field of fantasy art. Today, he works primarily as a freelance artist for publishers all over the world.
   
   This book presents a diverse collection of his women, from futuristic, gun-toting butt-kickers to prehistoric warrior queens, with lingerie and bondage illustrations stirred in for good measure. In "Midnight Snack" we wee a buxom blonde in a torn, full body fishnet suit, chained to a wooden pole while a goblin-like creature delights in her helplessness...not to mention the wonderful view!
   
   "Shoulder Mounted Mayhem" presents a topless hottie in camouflage thong and baseball cap with a rocket launcher resting on her shoulder and ready to do some series damage. "Bound to Please" is one of several bondage-themed illustrations in the book. This one features a woman in thigh-high leather boots and corset, bound tightly with cords and chains. "Invitation" is a fantastically photo-realistic rendering of Pam Anderson who is shown in lace bra and panties with one breast exposed.
   
   Aboy also has several illustrations of everyone's favorite female blood-sucker Vampirella in the book. One called "Throne of Blood" finds the dark-haired vamp resting on a throne carved with demon heads. Another titled "Exposed" features a topless Vampirella dressed only in her trademark bat thong.
   
   SQP has once again found a new star for fans of erotic fantasy and pin-up art to savor. This is a marvelous first collection from Aboy!
   
   Reviewed by Tim Janson

4 comments about Dirty Little Drawings: The Queer Men's Erotic Art Workshop.

1. When purchasing the book, I was not aware of the background of the process of how the artwork was created for a show. Turning the pages of the book is like walking through a gallery. A small portable gallery of Male Erotic Art.



2. Aficionados of male figurative art come in many shapes and sizes; Dirty Littly Drawings will appeal to all of them. For those tired of the same old insipid, slick, hackneyed photo spreads in the stroke mags, Dirty Little Drawings is a welcome departure: this little book will kick-start your libido like a juiced-up set of jumper cables. Even the looser, sketchier, more abstract pieces radiate an intense sexuality, the boldness of their lines and headiness of their colours imbuing the images with more sensuality than most photography can muster. Whether your fascination is for fine art in general, super-charged erotic imagery, or something to "hang over the sofa," this book has something for you.
   
   One of the greatest assets of this collection is its enormous variety of subject matter, styles, and media. In its 320 pages, Dirty Little Drawings houses a stable of 291 images, created by 72 artists, ranging from delicate, slender, coming-of-age youths to improbably muscled and impossibly endowed muscle gods to down-and-dirty leather daddies and their slaves. Dirty Little Drawings also pulls no punches in the action its images depict, with vivid representations of just about every scene imaginable (the only acts missing are those of the yellow- and brown-stripe variety). Providing a point of context, some of the drawings even depict the models in situ, giving the viewer a privileged glimpse into both the Queer Men's Erotic Art Workshop's clandestine, underground lair and the process itself.
   
   In terms of artistic styles, DLD contains a wide range: Max Ernst-ish pen-and-ink caricatures, Old Master-style charcoal and pencil studies, delicate French Academie/Prud'hon-like compositions, Fauvist crayon abstractions, Expressionist/Egon Schiele-inspired watercolours, and photorealistic coloured pencil pieces. Some funky images decorated with metallic ink scrawls even call to mind Keith Haring's work. Although very few of the pieces could be considered masterworks (limited primarily by their requisite small size), the general level of craftsmanship is high, and many of the artists are clearly at the top of their game here.
   
   The majority of the pieces are done on coloured armatures, from delicately hued pastel papers to Bristol board laden with op art-intense acrylics, but the black-and-white images are no less striking. Tai Lin, the artist whose work graces the cover, achieves an incredibly striking, luminescent effect with an extremely limited chromatic palette of pastels on black paper, while Enrico Gomez creates works of sublime sensuality and ethereal vagueness using lines of graphite and charcoal smudges nibbled away by kneaded eraser on cream-coloured Strathmore paper. Other artists, such as Chuck Nitzberg, achieve an extraordinary effect by combing the two methods, working for the most part monochromatically, with a few accents of colour - bright orange cock heads, blazing-red nipples, etc. - to highlight the points of interest. Although oil paint as a medium is absent (canvas loaded with oil paint being too heavy for the exhibition's hanging requirements), some of the pastel images do attain a painterly quality in their play and blending of colour and looseness of strokes.
   
   My only complaints would be that Tai Lin's hauntingly arresting portrait, which graces the cover, is not reproduced anywhere within the book - on the cover, it's obscured by the title and list of artists' names. It also would have been nice if the artists' names were reprinted in list form inside the book as well, along with contact information for purchasing and commissioning purposes - one can only get a complete listing of the artists by combing through the index pages in the back. Also, the lack of page numbers or artist names beneath the full-size images makes it difficult to find one's favourite pieces. While it is arguably preferable to have the reproductions cover the entire page as they do here, thereby increasing their immediacy, it does make it difficult to identify the pieces (an index at the back of the book reprints each as a thumbnail in the order it appears in the book, along with the artist's name, but since the pages are not numbered, the viewer can only approximate where in the book each piece appears based on its order in the index). Finally, while Dirty Little Drawings was clearly created with exceptionally high production values, with a heavy, rock-solid cover and thick, glossy paper stock, the slight sheen on the pages makes it a little difficult to get a clear view of the artwork - one has to tilt the book just so to minimize the glare.
   
   Despite these minor flaws, though, Dirty Little Drawings is an incredibly eye- (and zipper-) opening treasure trove of newcomers to and icons in the gay erotic art scene that perfectly captures the phenomenon that is the Queer Men's Erotic Art Workshop. In purely sensual terms, the book has a satisfying heft to it, the relatively small size makes it feel personal, private, even covetable, the cover and pages have a sumptuous texture (almost naughty, like satin sheets), and the quality of construction and artwork contained therein make it feel like it's worth a good deal more than Amazon is currently charging for it. It makes a great gift...just make sure you get an extra copy to keep for yourself!
   
   (Note: To keep this review short, I have appended it in the Comments section with detailed information about the physical aspects of the book, as well as a brief history of the Queer Men's Erotic Art Workshop and background information on the exhibit from which the book's images were drawn - hope it's of use!)



3. Don't let the compact dimensions of this erotic art book fool you. Inside, each individual page is filled with a stunning slice of erotic imagery. The whole concept of this book is wonderful and exciting in itself...when you look at this art, you can just imagine the atmosphere in the studio where real men posed in these explicit positions, surrounded by a group of artists who splashed across a page their own interpretations of the fantasies frozen before them.



4. The book DIRTY LITTLE DRAWINGS is an artwork in itself. Measuring about 6 1/2" by 6 1/2" it not only contains some superb art but it also serves as a catalogue for a project from a unique event that began in December 2000. Harvey Redding hired an adventuresome model and posed for a group of fourteen artists, each of whom sketched and drew from the model's input 'to expand the boundaries of academic nude figure drawing,' - 'full out, rock hard, unapologetic, sexual posing: nothing held back, nothing sacred.' The result was a collection of gay erotic art that became an exhibition of art works identically sized and priced. The exhibition and sale was so successful that there have been subsequent shows creating a collectors' dream and a new New York art scene.
   
   This book may be small in size, but the artworks are vigorous, erotically charged and visually stunning. They range from simple head portraits to S and M influenced scenes, sex acts, and coupling and solitary pleasures. The variety of art types ranges form the hastily sketched pencil or crayon outline to fastidiously detailed drawings. The quality of the works may vary in degree of craftsmanship, but this selection of richly colorful works has one thing in common: the works are full of sensual energy.
   
   The book and the concept are the work of Harvey Redding, Robert W. Richards, and Rob Hugh Rosen, the three directors of the Queer Men's Erotic Art Workshop in New York. The book is produced with finesse by Bruno Gmunder Verlag Gmbh. This is a fine art collection that started out to be a reaction to academic art. It is a superb little book! Grady Harp, December 07

4 comments about How to Identify Prints, Second Edition.

1. This book is found in the printrooms of most galleries and print collectors as it is a precise and concisely written text which explains the complex processes of printmaking. It clarifies the sometimes baffling differences between printing families and the creative techniques involved in making a print such as the subtle visual difference between an etching and an engraving. The book is illustrated throughout to assist the reader to identify printing techniques, characteristics and attribution marks used in Old Master prints through to those made in contemporary times. This reference text would appeal to anyone fascinated by prints and provides a new vocabulary for those who want to know more about the interesting visual variations possible in the world of the print.



2. I almost said "for the beginning print lover," but even the pros might want occasional reminders about obscure processes.
   
   This book displays an incredible number of processes and variations. Even within etching, there is standard intaglio process, relief etching, intaglio so deep it's amost relief, spit-biting or open-biting - well, a very long list. This gives an exacting look at the marks specific to each process, and gives good diagnostic descriptions. A special strength in this book is the differential diagnoses, the questions to ask that help distinguish two very similar kinds of marks. Every point made in the text is illustrated real samples, and that makes for a heck of a lot of illustrations.
   
   I have almost no quibbles with this text. There are just a few minor points that Gascoigne could have brought out more clearly. First is that Japanese woodcuts are under-represented. It's a rich tradition with a number of distinguishing features: gradations of ink hand-placed on a block, occasional use of mica for luster, and occasional use of un-inked "blind" impressions to impress texture into the paper. Second is a mark that I think is unique to drypoint: the line is often asymmetric, crisp on one side and blurred on the other, capturing the asymmetry of the drypoint burr. The split drypoint line is more famous but, in my experience, less common. I've seen it only in the most aggressively worked drypoints, such as some by Picasso. Third is a feature of some dust-ground aquatints: that the white marks can sometimes form a connected mesh around the black dots, where a spirit ground always has a black ocean dotted with white islands. I know these are minor points, and I hope you see how few there are.
   
   I'm a process nut. It's not the only way I enjoy prints, and not the way everyone enjoys them. For me, though, it really adds something to know how the maker's hand created each mark that I see. This isn't strictly a process book, and only accidentally a book of process history. It's a book about how a print looks, and seeing even more in the finest part of its looks. In the end, that's really the best reason to love a print.
   
   //wiredweird
   
   PS: A little while ago, I was given a very nice color print. It was done in mezzotint style, using burnishers to work from dark to light. Instead of a rocker-made ground, though, it had an aquatint ground. Color came from inking au poupee, dabbed on the plate. The giver was quite surprised that I read its story so precisely. Read this book, and you'll know just what I saw.



3. Back in print and updated in a new paperback edition is Bambar Gascoigne's classic How To Identify Prints, first published in 1986 and enjoying ongoing acclaim as an essential resource for any involved in identifying prints, whether they be woodcuts, lithos, or etchings. Some ninety techniques - manual and mechanical alike - are described to round out an accompanying history of prints. A lasting, classic work essential to any art library and many a general library reference collection.



4. Now in an updated and expanded second edition, How To Identify Prints: A Complete Guide To Manual And Mechanical Processes From Woodcut To Inkjet is a superb reference and self-teaching tool for discerning between manual prints, process prints, and screenprints/non-prints, whether the print in question is monochrome or color, and whether it is relief, intaglio, or planographic. 272 illustrations, 40 of which are in color, highlight the meticulous attention to detail in this excellent manual, which also covers essential aspects of printing history and the craft of printmaking. This new addition is revised with insights concerning how increasingly sophisticated yet inexpensive cheap printing processes such as quality inkjet and laser prints affect the process of identifying and evaluating printed images. A "must-read" for anyone collecting authentic prints or pursuing a career involving the identification of prints.

5 comments about Perceiving the Arts: An Introduction to the Humanities (8th Edition).

1. I ordered this book based on the ISBN # from the university. What I received was same title of book - WRONG ISBN - Creates a lot of problems. I would have not taken the book at any price if it had not been the correct edition. Accelerated course does not allow time to return and get correct book.



2. I had to purchase this book for my Arts & Humanities requirement at WGU. I have enjoyed the user friendliness of the book. I have a greater knowledge of Art History, but next to nothing about composers etc, I have found this book to be a wonderful introduction into the world of the Arts, and look forward to finding ways to utilize what I've learned in the classroom!



3. I managed to have this book added as an alternate after fighting for years to avoid teaching another text, Humanities Through the Arts. That text had a very bad habit of talking in circles and I spent more time trying to explain the book than I did teaching the course. Our students normally have little to no exposure to the Arts and are easily discouraged. Not only is this little book half the price of the other but it is very straight forward in its approach. If you want a book that offers lots of chapters for testing purposes this isn't it. If you do a lot of group work and use projects and your own examples to teach, this text nails down the basics..



4. I have taught a course on the Humanities using this book, and found it mostly spot on in its specific contents. How to present all of the Humanities using one paperback? But - with just a few exceptions - this presents a good first look and useful rules of thumb in approaching the various disciplines. In areas that are underserved, such as Landscape Art, it actually fills a void. I recommend it and will use it again.



5. I used this book for my introduction to fine arts class and thought it was very good. Easy to understand and follow, and gave good information straight out without haveing to search for defintions or other stuff.

5 comments about The Art of Warhammer 40,000 (Warhammer 40,000 Novels).

1. I have been interested in the world of Warhammer 40,000 since the mid 90's. There is a band called Bolt Thrower which uses Warhammer in their songs and covers. From them I became interested in the world of WarHammer 40,000 I also use to buy White Dwarf magazine just for the artwork inside. I don't play the tabletop games but I have played the computer games. This book is amazing. It has rich artwork on every page. It covers all the major races in the Warhammer 40,000 universe. I gave it four stars because like some other people stated it does focus more on the Space Marines and Imperial Guard. I believe the Necrons only have a few pages of artwork. I would like to assume there is not that much artwork on Necrons, Tyranids, Tau, Orks and Eldar. they should cover these races as much as the Space Marines and Imperial Guard. They are just as diverse and amazing. I recommend this book to fans of Warhammer 40,000. It's a great book and it's a lot cheaper from Amazon. One more thing.... when reading this book you should play some Bolt Thrower music. It makes it more entertaining.



2. This isn't a bad book to have if you like the Warhammer 40K universe. I gave this book Three stars only because it's artwork was more towards the Space Marines and Imperial Guard. Don't get me wrong I like the Space Marines and The Guard but I think I would have enjoyed a bit more work about the other species.Plus some of the artwork I have seen often in my local GAMESWORKSHOP and other hobby shops and also the book maybe a few years old but still it's a good buy! I have just started collecting Warhammer 40K books and novels and this book is a nice start! I hope more books like this pop up soon! I'd love to see art books of every chapter and race in the Warhammer 40K universe!!!



3. The first book, "Art of Warhammer" was certainly excellent, covering the more fantasy-based of the two miniatures games. In "The Art of Warhammer 40,000" (hereafter, 40,000) we find even more impressive and, indeed, frightening art that will render this book a classic for fantasy art fans for years to come.
   
   While I am unfamiliar with the 40,000 universe, and the game and other products upon which it is based, simply by pagins through the book one gets an idea of the world of 40,000 - a time of war and upheval, of madness and chaos, in which humans, zombies, goblins and others wage war in a futuristic universe of space travel and laserguns, a world on the very edge of barbarism, decay, and revolution. These are anxious images, offering a frightening vision of a pre- (or is it post-?) apocalyptic civilization. This work puts the "Art of Warhammer" safely in its shadow in terms of quality and brilliance.
   
   Additional treats are a two-page spread featuring the color schemes of the different factions and units in the 40,000 universe (I found this particularly interesting), as well as a section on the different chevrons used. One drawback to the book is the lack of flavor text for the illustrations - whereas the Warhammer book included accompanying text that explained the images on the Warhammer universe's own terms, this book's accompanying blurbs are mostly explanatory and, unfortunately, add little to the actual viewing experience. This is a small quibble, however, and does not ultimately wreck the book in any way.
   
   Highly recommended for the fantasy art afficianado.



4. If you're a Warhammer 40k fan this book is a must. This book includes great 40k art in rich deep color with several two page layout pictures. This is the highest quality Black Library book I've seen and for $30 it's a steal. The art is mainly of Space Marines but there are sections for Orks, Imperium, Tyrinaids, Eldar ect. The art covers from the very first Rouge Trader publication to the recent Codex's and many great Black Library novel covers. They labeled each piece of art with the creators name and where it came from.



5. Owning a lot of the Black Library's art books already (pretty much everything except the horus heresy collection), I think that makes my opinion here somewhat valid. Being a writer too (don't expect too much proof reading here though), that makes me appreciate the work that has been done here.
   
   This is without doubt the best collection that the Black Library has put out. The quality is astonishing. The paper quality, excellent. Exceptionaly well bound, and just an altogether great collection. This book makes the ownership of adrian smith's art book (though this is still worth grabbing - brilliantly done), the dave gallagher art book, the inquisitor sketchbook, and inquis exterminatus a waste. I say this because much of it is duplicated and in better quality in this book.
   
   That said, there are plenty of new pieces in this. For the price, I don't think you will be able to do better. I own many art books, and this is the best put together by far. I imagine that the Warhammer book coming in June might trump this (as it should ahve more diversity with the array of fantasy species covered (skaven, skinks, etc.), but for 40k, this is excellent.
   
   I should mention that I also own some anime art books (trigun, kingdom hearts, etc) as well as some games art-books (monster hunter mainly) and this blows them out of the water. I'm still looking for some art from confrontation, but this book really is impressive. Until I find something better for value and presentation, which I don't think will be soon, I think I will remain more than satisfied with this one.

5 comments about Creating Fantasy Polymer Clay Characters: Step-by-Step Trolls, Wizards, Dragons, Knights, Skeletons, Santa, and More!.

1. This is a fantastic & inspirational instructional book.
   Great photos & fun ideas & creatures to make.



2. Recently I gave my grandson this book for his birthday. Here are his comments "I'd say both rate around four stars out of five, or an 8 (scale of 1 - 10)"
   Somewhat terse, but then what do you expect from a 15 year old boy? I had seen the book, lent to me by a friend, and when I heard that my grandson was interested in clay figures I thought this would be an ideal book as there were lots of weird characters that would appeal to someone of his age. Don't get me wrong, this is a book for adults mainly, not just for kids, but I thought he would be inspired by the creatures within.



3. A cute book for anyone who likes to dabble in the fantasy world of polyamer clay.



4. The characters in this book are somewhat goofy, however, the author provides excellent basics on armature building for creatures like horses and dragons. If you are looking for a lighter side to the fantasy world and would like to sculpt some fun creatures, this book is perfect. I think that kids will really love how achievable the sculptures in this book are for them.



5. Superb from start to finish. If you have any interest in sculpting fantastic creatures in polymer clay this is the best place to start bar none-- and it will take you far. I've done most of the projects in the book and am now very comfortable creating my own critters from scratch. The photos are fantastic with just the right amount of detail (no shots taken from halfway across the room!), the text is very clear (and funny!), and the book is simply a lot of fun overall. Can't recommend it highly enough for anyone interested in the subject.

4 comments about Glazes from Natural Sources: A Working Handbook For Potters.

1. I am a self taught potter who is still very much a student when it comes to the craft. I have read a great many books on the subject and this one is very well done. It is packed with solid and useful information. It is a great technical book on any form of glaze testing, it only focuses on natural sources.
   
   I gave it 4 of 5 stars for a few reasons.
   
   It was a little difficult to understand in places and I wanted more examples. It does a good job of spelling things out for the reader, but it could have gone further I think.
   
   Also, I wish the examples were in metric units, (ml instead of pints) because I find those easier to understand, but that could just be me.
   
   I wanted many more photos of line blend tests! I'd have loved to see what kinds of things to expect and what the outcome is likely to be. Some rocks and common blends are bound to be fairly typical. I wanted to see pictures of those. Some more insight on what to blend with what when testing would have been good as well. Do I mix my rock with clay or whiting? I know I can try it and see, but some expert suggestions are always nice.
   
   Some of the more complex blending patterns seemed to be a bit silly, like the author was showing off somewhat and I found them difficult to understand.
   
   I have always mixed my glazes dry, but the author suggests it is better do mix them wet, having each material suspended in water to start with. I had many questions about this method that were not addressed in the book, but many that were. It was informative enough to prompt me to try it.
   
   Over all, this is a great book on the subject and a great book for anyone interested in glaze development. It doesn't have much needless text, which is nice. Short and too the point.



2. This book has lots and lots of excellent information as well as handy hints. If you want to start using found materials in your glazes, buy this book.



3. First the cons: this book is beautifully printed, but the editing could definitely use some work. It has several typographic errors that should have been caught. The writing is also occasionally stilted, and it could be a little more organized.
   
   That said, this is an excellent book, especially for potters and students who are interested in using local materials in their glazes but don't really know where to begin. It is thorough, and provides not only the basics (ie., how to do line-blends), but also information on calculating a material's specific gravity, Seger/unity formulas, building your own ball mill, and more.
   
   A recommended read for potters and students wanting to know more about glazes.



4. First of all, I'd better point out that I am one of the author's sons. But as such, I know that this book was never written as a big commercial venture but as an attempt to record the wealth of information that my father had accrued through years of practical work in the studio.
   When Glazes From Natural Sources was first published in 1987, it was rightly considered a classic textbook by leading potters and colleges alike on the science and practical techniques of producing one's own glazes.
   Before his death in 1998, the author had been working on a new edition of the book, updated with a fresh design and packed with many new colour illustrations, for leading craft publishers Adam & Charles Black.
   The revised second edition was published in early 2006 in the UK. An exciting development is that glaze guru Nigel Wood has written an extensive introduction to glaze-making as an additional chapter for this new edition.

5 comments about Pictures Showing What Happens on Each Page of Thomas Pynchon's Novel Gravity's Rainbow.

1. I'm totally blown away by this book, after seeing these drawings at the Walker I had to own it. Check out his website to see all the drawings on line.



2. I just saw the Zak Smith exhibit at the Walker Art Center in Minn. where I had gone to see the "Picasso in America". But this Gravity's Rainbow page-by-page is, by far, the reason to go to the Walker right now. Mindboggling. Buy the book and picture each page lined up like a grid covering an entire wall. The Pynchon book is quite challenging to read so try to imagine Zak Smith capturing the concept of each and every page with a drawing or picture. Number 404 looks like an inch thick melted white plastic mess--does anyone know what happened in the book on this page? I noticed that one of the "tags" for this product is "genius." Believe it.



3. If you live anywhere near Minneapolis get yourself over to the Walker Art Center, where every single one of Zak Smith's drawings/paintings/sculptures (yes, some are three dimensional) for this project are displayed on one wall. (All are in the permanent collection of the Walker.) How do I know it's all 750+ artworks? Because I counted. 45 columns by 17 rows. You could spend hours staring at them and not exhaust this monumental project. I'm not sure how long they'll remain on display so don't put it off.



4. Zak Smith a genious, and this book the best.
   if you like concept ilustration, you'll love it...
   
   and the prize it's great!



5. I am at a loss for words.
   
   It's one of the most beautiful things i've seen in years.

5 comments about Rolando Gomez's Glamour Photography: Professional Techniques and Images.

1. Rolando produces in classic style. He delivers as I have come to expect him to! He is very easy to understand and very informational. I recommend his books and seminars as they have help me produce some fantastic images!
   
   His books and workshops have been very educational and inspiring! I can't wait for the DVD which is supposed to come out soon. Way to go Rolando!



2. I got this book and was kind of shocked to see so much exposed skin on this book. None mentioned anywhere on the review page so here it is. It is a good book but just too much skin all over the place!



3. Bought this book a few months ago and had a hard time putting it down. Its easy to understand with some great tips. I have taken a lot from the book and hope that anyone getting into glamour photography would consider purchasing this book for ideas and inspiration.



4. I'm a fan of Rolando Gomez' website www.glamour1.com (formerly garage glamour) and of the articles on it written by him. However I was disappointed when I purchased this book together with his previous 'Garage Glamour' book at the same time from Amazon, sight unseen. I would recommend against purchasing both books as he has repeated alot of the same information in both which I found very disappointing as I was hoping he could have come up with new material. For this reason I definitely wouldn't purchase any future books from this author as he would probably rehash the same stuff again. The photos in these books weren't particularly great or inspiring either.
   
   Also if you are a fan of his website you will probably have seen a lot of this information before. Having said all that, there is some useful information and I particularly liked the info on white balance and gels. There's nothing too in depth, but would be a good read for a beginner in glamour photography. Because I've enjoyed his free articles I didn't mind having spent money on his book - but if I had my time again I just wouldn't have bought both!



5. This book makes a great follow up to Rolando's first book.
   
   More lighting setups and tips, more working with gels and specific white balance issues, and of course, more beautiful models.
   
   Far from a boring how to manual, Rolando explains in easy to understand terms how he gets the beautiful results that are shown on many pages of this book.
   
   A very worthwhile addition to my bookshelf, it is a great reference for many ideas.

1 comments about L.A.Bondage: Dave Naz Photographs.

1. Dave Naz is sticking to a formula that works - and it's paying off for him. Like his previous books (Fresh, Legs, Panties, and Lust Circus), L. A. Bondage is populated with attractive, glamorous young ladies who are willing to strut and pose in in accord with his fetish-flavored vision. Beauty plays as big a role here as does the bondage element. Even when his subjects are tied-up and hoisted into trees, they seem light and effervescent, even delighted with their predicament. His distressed damsels are absolutely dreamy to behold - and that's very likely what Naz intended.
   
   Once again, Goliath hits a home run on production quality. This 10x7" volume is 157 pages of exquisite photography matched equally by it's flawless production.