3 comments about Looking at Photographs: A Guide to Technical Terms (Looking At...).

1. I'd missed this book. It was in the library of the museum I worked for previously. Now that I serve as a curator of education in a non-profit gallery with an entire gallery dedicated to photography, a guidebook to photographic processes is essential. The book's beautiful layout and illustrations makes it a delight. Anyone interested in understanding historical or contemporary photography will benefit from this book.



2. Baldwin's slim lexicon is an excellent addition to the library of anyone interested in the history of photography. The 122 headwords are well defined and are amply illustrated with color and monochrome images. The vocabulary covers photographic processes from the early 19th century through the early/middle of the 20th. The lack of terms from the 1940s to the present is the one significant flaw in this book.

   Unlike some dictionaries, one can easily sit down and read this from cover to cover, flipping around for definitions as necessary (terms elsewhere defined are printed in small-caps). Synonymous entries are cross-referenced to the primary entry.

   Coverage of digital photography is minimal, but given the time it was written (1991) this is understandable. Also missing are terms like Kodachrome or Ektachrome (though mentioned in the entry for "Chromogenic Print"). Other terms I had hoped to see included 'Colorama', 'Land', 'Polaroid' (though this is alluded to in the entry for 'Dye Diffusion Print'), Giclees/Iris Prints, Lightjet Prints, Image Transfer, Emulsion Transfer, SX-70 manipulation, and no doubt many others I'm not thinking of right now.

   The typography, layout, and printing of the book is outstanding. Heavy glossy pages do the reproduced images justice. Examples are well chosen and represent a range of photographer's and genres.




3. So you think you know it all? This slim, artfully produced, thorough glossary of terms is beautifully illustrated, has clear descriptions of all those mysterious processes on museum labels, including a few even you might not have known, and is as useful in a collector's library as in a contemporary practitioner's.

5 comments about Diana: Princess of Wales.

1. As a fan of Diana's, I enjoyed seeing a more casual side of Diana. The picutres show a side of the princess that reaffirm how beautiful she was in all settings, not just formal. The pictures however are a little soft in the focus arena.



2. Five months before Princess Diana's death in August, 1997 she sat for what was to be her last photo session with the Peruvian photographer Mario Testino. The results for the most part are quite wonderful. Often shot in natural light, sometimes smiling naturally-- a difficult task for any photographer to capture-- Diana, relaxed and unadorned (she wears no jewelry and is barefoot and seated sometimes on an all-white sofa), seems to be having a very good time and could almost be the exquisitely beautiful woman next door. Having said that, I noticed that in a shot or two she has an unflattering nose. Unlike too many Brits, however, she was blessed with beautiful teeth-- and a smile that would melt concrete.
   
   In an interview with the photographer that accompanies these photos that were shot for a spread in "Vanity Fair" that sold out on the newsstands he reminisces about the day he shot these photographs and the good time that both he and his subject had doing them, commenting on what he calls real laughter, laughter from the inside, that he was able to elicit-- it is obvious in the photographs-- from Diana. In a touching note, he mentions that these photographs became the favorites of Diana's boys.
   
   My two favorites-- at least today as they might change the next time I look at this beautifully printed book by Taschen-- are numbers 33 (Diana is clutching her hands at her ankles) and 54 with 45 (the pensive Diana) as a close third. Other favorites are 42, 43, 9, 10, 36, 10 and 23, where she is most beautiful.
   
   Diana is wearing some of the 79 dresses she auctioned off at Christie's for charity. If you are interested, information about the clothes is included at the back of the book. But this isn't about the clothes. It is about Diana; she is certainly no mannequin here.
   
   Sixty or so photographs, both in black and white and in color, are included in this book; they are reproduced and numbered in the back. Fraydon Carter wrote a foreword; Meredith Etherington-Smith, an introduction.
   
   While these photographs take on a special significance because they are the last formal ones of Princess Diana before her tragic death, had she lived, she would of course have been photographed dozens and dozens of times. I cannot imagine, however, that these by Testino would not have been seen as some of the most beautiful, most compelling and would have held their own with whatever photographs came after them.



3. Stunning pictures, just a beautiful piece of art that will leave you speechless. Princess Diana was beautiful inside and out, there's nothing left to say.



4. AWFUL! Only a few photos, repeated several times, most were out of focus. Would never have purchased if I could have looked inside. I guess that's why it was wrapped in plastic in a local bookstore.



5. Although you can buy plenty of other books with photos of Diana, Testino photographed her like no one else. She looks casual, relaxed and happy in these photos. Diana does not look at all "glammed" up with excessive makeup and hair styling. The way you would see her at home, inspite of the gowns she wears in these photos. Testino captured a Diana that was probably only seen by family and friends, and in these shots he shared that Diana with the rest of the world.

5 comments about Tom Ford.

1. There is no doubting that Tom Ford is the sexiest man on the planet, there is no doubting the man is one of the most talented designers. But this booklet culminates into one of the greatest publishing works I have ever seen. I was mesmerized by the packaging, intrigued by many of his choices for photographs to use and left saying, I would wear his clothes any old time. He was one of the first designers who brought sex to high fashion. I've been a tough critic many times on many publications but this one is by far the most oustanding and innovative and individual work of publishing that I've ever seen. Of course could we expect any less from Tom Ford, who has done nothing but outstanding projects from the time he left the Texas town he came from? This man is one of the greats of our time. I just hope he continues to succeed. Thanks! And by the way, buy this book, it is well worth every penny and it's a great conversation piece for any dinner party. Put it out on the coffee table and watch the fingers flip through the most glossy and elegant pages of any published work yet.



2. if you enjoy tom ford, then this is the book to get.
   
   it is big.
   it is heavy.
   it is expensive.
   it is well worth it.



3. All of the necessary information about tom fords work with Gucci, simple, chic and grand. Great for people who are in fashion business.



4. I got the TOM FORD book for Christmas and I absolutely love it. If you are a fashionista, like me, you must have it. The pictures are incredible, the interview is fascinating and overall its a great book. Ford is a very savvy businessman and designer. Always thinking ahead of his time. Foremost his character and his trajetory with Gucci inspire anyone to work harder and be a successfull person regarless if you are in the fashion industry or not.



5. Tom Ford is hot, what else is there to say? Who cares about the models, Tom is a reason in himself to have the book.

5 comments about Eternal Sunshine of the Spotless Mind: The Shooting Script (Newmarket Shooting Script Series).

1. "Eternal sunshine of the spotless mind!/Each pray'r accepted, and each wish resign'd... Desires compos'd, affections ever ev'n,/Tears that delight, and sighs that waft to Heav'n." The original Alexander Pope poem suits the movie whose title it inspired, "Eternal Sunshine of the Spotless Mind," a unique, surreal film about memories, love and sorrow.
   
   "Eternal Sunshine of the Spotless Mind" deals with timid, conservative Joel, who bumps into ex-girlfriend Clementine at a store -- and finds she doesn't remember him. He finds a notice in his mail that she has had him erased from her memories, and angrily decides to have the same done. But during the procedure, Joel revisits the good times they had together, and finds that he doesn't want to lose his memories with Clementine.
   
   This movie, by Michel Gondry and Charlie Kaufman, was one of the best of 2004, and one that isn't quickly forgotten. The screenplay is an excellent accompaniment; if there is a line or an image that didn't seem to make sense, it might make more sense here. "Eternal Sunshine" fans will also like the scenes that never made it to the final cut, and one scene got shuffled around.
   
   Additionally, there is an interview at the end with Kaufman. In it, he describes his writing background, his collaborations with Gondry, clashes with Ben Affleck's horrific "Paycheck," memory, and that wonderful "Velveteen Rabbit" scene. Although, it could have used more of Kaufman's thoughts on the final product and the actors.
   
   The stumbling blocks? Don't try reading the screenplay BEFORE seeing the movie, or you will be hopelessly lost. The script cuts wildly from the past, the present, inside and outside the characters' heads. It works wonderfully on the screen, but on paper it's hard to visualize just by the words alone. That, and this richly visual film is only represented by some murky black-and-white photos.
   
   "Eternal Sunshine of the Spotless Mind" is a wonderful script, which spawned a wonderful film. And for fans of that film, this is an excellent accompaniment and resource.



2. This is a truly beautiful movie. I seriously think it is one of Jim Carey's best films. The cinematography is provocative and intelligent. The acting is flawless. And the plot is a well devised mesh of fantastical conception and blatant realism mixed with subtle humor. It should have one an award. It was certaintly better than Million Dollar Baby.



3. This was a movie I didn't expect to like. I hadn't heard that much about it and wasn't all that enthusiastic about seeing another Jim Carey movie. Boy, was I pleasantly surprised.
   
   First of all, this movie is truly original. That's rare these days. It revolves around the premise that you can erase someone from your memories. In this case, the "someone" to be erased is Kate Winslet's character of Clementine. She is wacky and artsy, and plays against Carey's straightlaced character Joel perfectly. I had just seen an interview with Winslet before this movie and was amazed at her accurate American accent. Very well done.
   
   And Carey is brilliant. His toned down, not over the top portrayal of Joel was delightful and wonderful. This is the first time I actually thought of Carey as a very good actor. Both Carey and Winslet deserve an Oscar for this film.
   
   In addition, the film is beautifully shot as well. This could have been a very goofy movie, with a premise that was hard to actually get into and believe, but this film worked perfectly on all accounts: writing, cinematography, acting. I would recommend this film to anyone that wants to see a thoroughly enjoyable, funny, sweet, interesting, wonderful film that is unlike any you've seen before.
   
   From the author of The Difference Now, A New Dish, and At the Coffee Shop. (www.thedifferencenow.com).



4. this is a brilliant affecting screenplay..like much of kaufman's work it combines inventivness and originality with the creation of well drawn poignant complex characters trying to make sense of and live as best they can in this world we live in. amidst all the craziness and surreal aspects of his work there's a real humanism that shines through...i once read in an interview charlie did that he consider's himself primarily a book person not a film person..i loved that...the world needs more screenwriters who look at themselves as primarily book people particularly when they can team up with such visual artists as michel gondry or spike jonz..no wonder these collaboratons produce such great films..these artists perfectley complement each other..nonetheless this screenplay stands on it's own as a work of art..



5. A Hollywood film script book from Academy Award-nominated screenwriter Charlie Kaufman (whose previous credits include "Being John Malkovich" and "Adaptation"), for the very highly acclaimed film "Eternal Sunshine Of The Spotless Mind", this provides the reader with a 165-page shooting script in book form and will prove to be a welcome addition to the growing library of Hollywood film scripts and "must" reading for aspiring film students. Enhanced with a Q&A with Kaufman, black/white movie stills with commentary, and complete cast and crew credits, Eternal Sunshine Of The Spotless Mind will also prove of great interest to the legions of Jim Carrey fans who enjoyed his performance as Joel, a young man who wants to have the painful memories of his girlfriend Clementine (played by Kate Winslet) erased from his mind.

5 comments about Photoshop 7 Down and Dirty Tricks (Down & Dirty Tricks).

1. All the tutorials in this book are old and available on the web. The only good thing is that it covers a lot photoshop shortcuts for both MAC and Win users.



2. This is an excellent book for an advertiser or graphic designer. There are TONS of text effects and tricks that would be vital to creating ad copy or web graphics. As a photographer, I found very little that was relevant to my line of work. So it's a great book for a lot of people, just not for photographers.



3. Again, another Photoshop 7 book by Scott Kelby, my favorite expert. Like all his other books, this one is informational and easy to follow. It has effects that are ones you will use when making photoshop art as well as information to improve ordinary photographs. Photoshop is such an amazing program that keeps surprising me with effects I have not discovered. This book is another that teaches us some things that the program includes. I recomend this book to anyone who loves Photoshop and wants to learn more about it.



4. This book teaches you how to do "FUN AND ZANY WACKY PHOTOSHOP TRICKS." There's a couple good ones. But anyone who is paying 800 dollars for a piece of software isn't going to buy a book to learn how to make cool watery text. Well, maybe they are.
   
   The book is decent.



5. I bought this book a year ago. I did manage to successfully complete certain tasks but in my opinion, he uses too many shortcuts. Obviously this book wouldn't be for a beginner. His sense of humor is dry and wasn't needed. This book would have been slightly better if a CD were included as well as a place to download the images he used so that we may practice on them.

2 comments about The Photobook: A History - Volume 2.

1. As I wrote in my review of the first edition, both will surely become the standard reference about photobooks. This second one is mostly concerned with contemporary photography and the coverage is really impressive which raises an important point: both books regard their subject as a lively and energetic creative medium and not a dry academic one reflecting an elitist point-of-view.
   
   Just over two hundred photobooks are considered in nine chapters and like book one each has a technical caption (publisher, size, pages, date etc) and an excellent analysis of the photos and the book. The coverage, as I mentioned is very comprehensive. There is a chapter devoted to books that are not commercially available (The Company Photobook) and the twenty-five covered include a high school yearbook, or chapter six: Looking at Photographs, where the theme is the picture editor as author with twenty-two books. Controversy is not avoided either, chapter eight looks at the work of the New Topographic photographers with their stark takes on blast furnaces, prisons and other potential visual failures of society.
   
   This second book is the same design, with excellent printing and paper, as the first (and to my mind) has the same fault in that there are not enough spreads shown from all the books looked at despite plenty of white space on each page. This does seem an odd editorial oversight when the purpose of the book is to show pages from books full of photographs. The first book had a few examples of many pages from a particular book but I could only find one in this book: a 1957 Norfolk and Western brochure where seventeen pages are shown (out of eighteen) using Winston Link's wonderful train photos
   
   Look through the 656 pages of these two books and you'll soon realise that Badger and Parr have achieved a remarkably lively study. Surely the photobook gold standard.
   
   ***FOR AN INSIDE LOOK click 'customer images' under the cover.



2. Just where Volume 1 left off, Volume 2 takes off. Very thorough and well organized, be reminded this is not an all inclusive book of books. You may agree with some of the entries and you may also disagree, but, most important, you'll end up learning on new possible entries for your library as well as discarding considered ones.
   
   All in all an exquisite reference book. Enjoy...T

5 comments about New York Noir: Crime Photos from the Daily News Archive.

1. I got this for my sister-in-law and was afraid it might be too graphic for her (she's a bit squeamish about blood). It's not nearly as explicit as I feared. Unfortunately, it's not as interesting as I'd hoped, either. Lots of pictures of rather anonymous people in very sharp clothing. I think she'll like it, but if you're already fairly used to postmortem or morgue photos, you won't be very impressed.



2. This is a collection of black and white photographs mostly taken during the Prohibition and Depression eras for the tabloid "The Daily News". Most of what could be said about this book is already here in the reviews listed, nevertheless, it is worth repeating that "New York Noir" is an important addition to any collection of books on photography, and essential for anyone with an interest in the history of photojournalism. It would also be useful for anyone with an interest in social history; particularly of big city life during the American 1930s, 40s & 50s.
   
   Most of the photos here are of crime scenes, and a few suicides thrown in. Crime scenes are mysteries; we all sense there is a story there. But the real mystery in this book is who were the guys who took these photographs? Whoever they were, they had no idea they were setting down an arena for further developments in creativity - in film, in fiction and in graphic design. This was working class photography and these guys were simply on the job, trying to outdo each other in the quest for a better shot in time for the next issue, sparing little thought over notions of higher-order art. Except perhaps for Arthur Fellig (aka Weegee), who was apparently more astute when it came to ensuring acknowledgement for his work, most of the guys who worked for the newspapers were largely unheralded. They are now just names, long dead and forgotten. Many of the shots reproduced in this book are only credited with a surname, or are simply credited as "Daily News" photos - nobody can work out now who took the shot.
   
   [...]The conditions under which these guys were working forged a new creative genre, now commonly known as `NOIR'. It was an oppressive era, politically and socially, equipment was still heavy and unwieldy, they had to contend with light (additional lighting was used where it was deemed necessary to illuminate, not for artistic effect) and weather variables and while access to crime scenes were not yet barred to newspaper folks, access was sometimes restricted for other reasons. Check "The Trigger's Squeezed" and "Empire State Suicide"; both demonstrate how restricted access forced the photographers to use unusual camera angles, resulting in distant shots with long lines and deep, extended shadows which, together with the subject matter concerned, creates a sense of oppressiveness, of callous unconcern, of cold doom, and of finality (this can be keenly sensed in "Killer's End"); these are what are now regarded as the essential ingredients of good, classic noir film and associated imagery.
   
   What makes a photograph (and for that matter, any piece of good art) a `classic' is that it alludes to a story, or it at least contains something that will intrigue viewers through the ages. While much of the information for the shots in this book, including the names of the persons involved could be traced (the corresponding synopses are listed at the back), there remain unanswered questions. How was it that the two ladies could tolerate each other's presence at the grave of their man in "A Bigamist Mourned"? What was it that a pretty doll such as Anna Downey saw in John Collins, a hardened killer? ("Until Death Do Us Part"). Why did the gangsters have such flippant attitudes? Check the aspect of Louis Capone on his way to Sing Sing in "En Route To The Chair".
   
   There are other questions for which answers could have been provided in the book somewhere, after some further research. It would have been helpful to know the process and exactly why some of the photos were "touched-up" to ensure they were fit for publication. And who were some of these photographers? And what was the system for acknowledgement and payment? Something could have been said about the cops; perhaps some reasoning for their attitudes and conduct with the public. [...]
   
   Regardless of all of this, the book is very exciting. The images reflect the developments in technology, particularly with the flash; first the bar flash, then the bulb, and then finally the `flash gun'. The sharper and clearer shots, including those taken under brilliant light are perhaps the most striking, and what are most easily recognized as `noir' imagery. All together, these are shots of a period in history which will never return. The assemblage of ephemera of that age; the hats, the shoes and clothing styles, the hair styles, the cars, the buildings and everything else can never be reproduced. And there is something very sexy about it all.
   
   For a further exploration in this photography genre, I strongly recommend "City of Shadows: Sydney Police Photographs 1912-1948"; with shots of folks who were colder, cheaper and meaner, and where things seem even more surreal. To see how such newspaper shots influenced photography in a creative sense, see if you can find "Retail Fictions: The Commercial Photography of Ralph Bartholomew Jr." - still around in some `seconds' bookshops.



3. Warning: don't expect this book to be easy on the eyes, it is far from that. This is not for children, weak stomaches, or people with heart conditions. The shock is enough to make your heart race when viewing some of these photos. Yet you find yourself staring, sometimes maybe wondering what the photographer was thinking as he took these shots. The book is well done, but you have to be interested in true crime to, if you will, appreciate this collection of photos. It also helps if you appreciate life, then these photos will really have an effect on you, but it also shows you that society really did not change that much since these photos were taken. NOT a good coffee table book, though.



4. The "Daily News" debuted in New York City in 1919. It was to be a newspaper for the common man, which meant not especially literate and frequently immigrant. Its currency was images, the more sensational the better. Nothing sold like sex, murder, and mayhem, graphically illustrated. By 1925, the "Daily News" was the best-selling newspaper in the nation. By 1930, twenty-three per cent of its pages were devoted to crime.

   "New York Noir" is a selection of about 125 images from the "Daily News" archives, taken from the 1920s through the 1950s. Some are sad, some comical, some grotesque. They're an interesting comment on American urban culture of the time. Many of these photos would spark outrage if any newspaper were to print them today. Their lurid content earned the "Daily News" pointed criticism from many a moralist at the time. But that never hurt business. The style of the photographs had an immistakable influence on cinema and popular culture which continues to this day. The technical limitations that produced starkly flashed foregrounds and pitch-black backgrounds are instantly recognizable in Hollywood films, just as the corruption displayed in the photographs was reflected in popular entertainment. The demeanor of gangsters and thugs -often posed for the photographers- became iconic. Tabloid photojournalists may have wanted only to get the shot that no one else could, but they produced some incredible -and incredibly influential- photographs that have only become more fascinating with time.

   Luc Sante introduces "New York Noir" with an essay about the history of tabloid journalism. Editor William Hannigan follows with a history of the "Daily News" and its influence on Film Noir. Both of these essays are very readable and worthwhile. The photographs are mostly one-to-a-page and quite sharp. They are all captioned. There is a section of "Synopses" in the back of the book, which provides further information about the stories behind each photograph, when available. I really appreciate this section, which is conveniently organized by page number. Some of the photos really leave the reader hanging, wondering who those people are and how things turned out. You can find out by turning to the back of the book.

   I recommend "New York Noir" to photography and film noir buffs. Some of these evocative photographs are not for the squeamish, but they have made , and continue to make, quite an impression.




5. If you are a fan of photography, this book is definately for you. NEW YORK NOIR is chock full of amazing photographs that were the staple of the "New York Daily News." In this book, you get to see some of the poignant images that help define the term noir, and its connection to the silver screen industry, not to mention its effects on tabloid journalism. Many of these same black and white photogrpahs were often used as references to assist in making modern day motion pictures, helping to give a look into the past. From the days of "Three-Gun" Turner to the electrocution of Ruth Snyder, this book captures New York's horrid crime life in a candid, in-your-face style. There is nothing but unhidden truth in each and every photograph. NEW YORK NOIR is a well designed book loaded with powerful images and somewhat detailed descriptions. It is fascinating, riveting, and gives you a decent look at the roots of photojournalism. You can't help but be intrigued by the gritty, graphic photos that once graced the pages of a daily newspaper. It is one amazingly good book.

No comments about What the World Eats.

4 comments about Yesterday: The Beatles Once Upon a Time.

1. If you are a Beatles keenie and would enjoy seeing previously unpublished photos of the boys, this book is for you. It's a unique, bittersweet collection showing the joy and innocence which characterized the group's very early days together. A wonderful bonus is Astrid's introduction which provides information about these early days that was news even to this life-long Beatles fanatic!



2. My wife loved it and it made an a great addition to her Beatles collection.



3. To correct the previous review it should be noted that Astrid Kirchherr did NOT take the photograph which appears on the cover of Meet The Beatles. The photograph, which also appears as the cover of the band's second British release "With The Beatles" was taken by Robert Freeman. Astrid did however take some of the classic photos of the band as young, leather clad rockers in Hamburg. Those photos are not only classically artistic in their own right they are often considered to be the basic blueprint for much future rock and roll photography. Ultimately, Astrid Kirchherr did play a significant part in the early evolution of the Beatles. Like the previous reviewer I have not yet read the book so I do not feel qualified to rate it any higher than average at this time. However, as an avid Beatles fan I feel confident that any first hand account of their early days related by someone so close to the group during that early formative period should be interesting and informative reading.



4. have not read book but Astrid was their female babe friend in Hamburg. She was dating Klause Voorman, Artist on "Revolver" and Manfred Mann Bass player. Astrid and Stu Sutcliffe were in love with each other. Stu was the real 5th Beatle, friend of John and incompetent bass player for the Beatles before he died. Astrid took several famous pictures of the Beatles in Germany. She created A. the Beatles Haircut and B. the stylistic photo of the Beatles in half light and half dark as used on Meet the Beatles album cover and the British "With the Beatles" album cover. I will buy the book and read her perspective since she has a strong and unique postion in the early Beatles legacy.
   
   Kevin Johnson
   Houston, Texas

2 comments about Roadside Relics: America's Abandoned Automobiles.

1. Bought this as a gift for husband, and he absolutely loved it! He looks through it all the time, even wants me to order more books about abandoned or wrecked cars. He is a car enthusiast to the fullest, and I recommend this book.



2. Beautiful images of burnt out, rusted, and
   dead classic cars, trucks and vehicle parts,
   dressed in weeds, grass and mud...lovely.
   Not so much in your neighborhood, but they
   make fabulous images in their abandoned settings.