3 comments about Weegee's New York: Photographs, 1935-1960.

1. I am a sucker for/fan of those old vintage '30s, '40s, and '50s NYC photos and movies where the men wore hats, ties, and suits and the women dressed up. This book has all of that: a definite must have for the aficionados of the way we used to look, act, and dress, as well as those who love photographic crime story images. This is NYC from Weegee's camera and it is a NYC that, although I am too young to have lived in that era, projects a thousand words with each riveting image. This book sits on my coffee table. I will purchase similar books to lay around my apt. and provide guests with items that guests will have a hard time resisting.



2. With 335 photos, this large size paperback is one of the better books you'll find of Weegee's work. Divided into eighteen photographic chapters (with one image per page) it really is an impressive selection, especially as it covers his output from 1935 to 1960.
   
   The chapter on crime has the largest selection (thirty-one) with the predictable dead and bloodied bodies surrounded by police and public. Weegee claimed he (and several Speed Graphic cameras) covered hundreds of murders for the New York tabloids, he knew that that the only thing that mattered to the 'tabs' were the headlines and photos, the story could fill any space that was left. The other chapters cover ordinary New Yorkers in mostly nighttime settings.
   
   The perfect complement to this book is Miles Barth's 'Weegee's World' (ISBN 0821226495) which admittedly does have many of the same photos but also has three long essays about this unique photographer. I have another book about Weegee, a very poor reproduction of his 1945 title 'Naked City' (ISBN 0306812045) and again most of the photos are in the New York book.
   
   ***FOR AN INSIDE LOOK click 'customer images' under the cover.



3. This book is amazing piece of amercian history. New York history. Frozen moments of ordinary people and their enviroment. Really must have one...

3 comments about One Hundred & One Beautiful Small Towns in Mexico (101 Towns).

1. This is a great book detailing many beautiful small Mexican cities .The pictures and the information provided are first class.



2. This is a beautiful book with some great photography about some of the "unknown" places in Mexico. It goes beyond the Cancun and Cabo San Lucas and transports you to another side of Mexico that few people know. Small, charming villages that still preserve the colonial history and the traditions that make them special and makes you evoke a period in history long gone. The descriptions are short and I will have love it if there was a more detailed map of where these places are located and how to reach them.



3. One Hundred & One Beautiful Small Towns in Mexico
   
   What a fantastic resource for discovering the hidden gems of Mexico. We're planning a trip south, where the dollar will still deliver good value, and are thrilled that we found this book. It's packed with beautiful photographs, informative summaries, a selection of hotel and restaurant recommendations in each location and a regional index to help the reader/traveler organize and plan an itinerary. It covers the places we're all familiar with, but this book also reveals a whole new Mexico that you don't hear much about from the travel websites and agents.
   It's not the sort of book you take with you. It's one you want to have before you plan. Who knew about the turquoise lagoons of Bacalar? Or the "dance of the fliers" in Papantla? If you're looking for an exciting and exotic cultural adventure or just wanting to know more about Mexico, get this book!

5 comments about Wide Angle: National Geographic Greatest Places.

1. The pictures in this book are great. What I dislike, is that since they are at a wide angle, the pictures generally take up a page and a half. I feel like you are missing something when the middle of the picture is in the spine of the book.



2. This book is informative, succinct, well written, eye-opening, full of surprises, and visually attractive at a reasonable price. It is a very worthwhile addition to a home library or as a gift for ages 12 to 112.



3. I bought this for my parents for a house warming gift. It is the typical high quality photography associated with National Geographic. Only weakness is that being so large it seems to not be bound extremely well. Has to be handled carefully. Very good.



4. There are many beautiful pictures in this book.
   Some images are really impressive, have soul and cause emotions.
   But the way the book was made somehow ruins those emotions.
   Some of the best images are "interrupted" by the centerfold. Very poor positioning!
   Because the book is so thick, you are unable to appreciate those pictures.
   This kind of breaks the magic...
   Don't they have a specialist to do this at NG?
   The book should be larger, wider. Some pictures are unecessarily small, sharing half of a page with some uninteresting phrase/text.
   I am still happy I bought it, it's a nice book and I really like many images, but it was poorely executed. Coul be soooo much better!
   For this price, I still recommend it.



5. I went from being wowed to feeling blah about this book...it was like a rollercoaster...up and down. Some of the pictures...gorgeous...took my breath away and others left me quickly flipping through to the next page hoping to see something that captured my attention.
   
   It wasn't what I was expecting in the fact that I was hoping that every single page would leave me meditating upon the picture before me, but still in my opinion it is a keeper as a large portion of the pictures are really stunning.
   
   My other disappointment was the fact that when I think of "greatest places", well I don't really feel that that was captured in this collection of photography. Some of the pictures were random and just seemd poorly executed and the entire book didn't seem to mesh well.
   
   The polar region photographs, which end the book, were perhaps the most disappointing which left me closing the book feeling let down.

2 comments about LoveSong: The Erotic Photographs of Arnold Skolnick.

1. A current resident of Massachusetts, Arnold Skolnick first gained notoriety as the graphic designer who created the infamous dove & guitar poster for the 1969 Woodstock rock festival. During this same period, in the early 1970's he crafted an epic body of work showcasing the sexual union of man and woman. Although a few of these photos were exhibited at the Neikrug Gallery in 1973, this work was largely set aside by Skolnick, mostly out of fear (people were still being prosecuted for distributing sexual materials).
   
   But now, in teaming up with Quantuck Lane Press, Skolnick has published this almost forgotten work in a stupendous satin bound book designed for collectors and limited to only 3,000 copies. It features 85 tritone photographs that are breathtakingly beautiful. The human sexual dynamic is featured here in all its tender, beautiful glory. There is a realistic quality to this work that makes it all the more striking. Each duo are entwined in each others form, engaged in what seems to be real, genuine lovemaking. These subjects are not fitness buffs or even professional-looking models, but appear to be real-life lovers. And this makes it all the more exciting.
   
   Skolnick's imagery will almost certainly remind one of sculptor, Rodin's work (as noted by a critic of the Neikrug exhibit) more than anything one would see in a stag film. This book is a magnificent tribute to both its subject matter as well as the artist himself. This is one production that all collectors of fine art photography will want.



2. Any one book is two objects at minimum, maybe more. This first presents itself as a luxurious object, plainly hard-bound and slip-cased in elegant, silky cloth coverings. Dense printing adds drama to each B&W picture, on bright and glarefree paper. The paper's density prevents any picture from being impaired by another visually bleeding through from the back. Design serves the imagery well - a factor you might not appreciate until you've seen a book where layout actually interferes with the content. Just this once, I might have recommended the European affectation of putting the copyright notices at the back. Before you even open it, the physical presence of this book prepares you for its sensual content.
   
   The second aspect, the content, keeps the promise made by the format. I don't know the exact number of photos - probably seventy or eighty - but that hardly matters. Each one is a jewel. Each features one couple, intimately engaged. This is love-making, in all of the common ways for a man and woman to try to become one being. These pictures languished since the 1970s (they were too hot even for Playboy back then), but the imagery carries almost nothing of that time - just its hair styles. Only now did Skolnick feel that an audience could accept this work. Because of that inherent time-travel, the timelessness of figure and conjunction truly stand out.
   
   I recommend this to any couple who values their coupling, and who wants art that celebrates their own experience. This documents the deep beauty of the human animal, as Nature invites these handsome people into the ongoing act of Creation.
   
   -- wiredweird

3 comments about Travel Scrapbooks: Create Albums of Your Trips and Adventuresi'm.

1. It is very informative. Lots of good ideas. I am glad I purchased the book.



2. This book shows some very nice and new ideas in scrapbooking. Here in Holland it is really getting better with scrapbooking. I teach people for over three years now, I was one of the first. And these kind of books make that I can offer my students something new every time!



3. If you've ever been on a day trip, road trip, or full fledged vacation and you are looking for fun and creative ways to preserve those memories, this is the book for you!! Not only will you see great examples of "pages" but you will see how entire albums can be created around them. This book is great for all levels of scrapbookers. The only requirement is travel photos. :-)

3 comments about The Photobook: A History, Vol. 1.

1. This volume, along with its companion volume, offer little in the way of useful or intelligent commentary (it is otherwise recycled pabulum wasted on a body of books that, for the most part, were treated to celebrity status by Roth). Instead, we're treated to an obscure and incomprehensibly limited canon which is sold as if it were created in a vaccuum with only the purest of intellectual and aesthetic intentions and aspirations (please look at Parr's actual photographs before buying this book--you can get a better appreciation of his specific photographic style). The reality--both of these volumes (and the books contained therein) seem to have been selected primarily for their price in the rare book world (Roth is guilty of basing his selection process on the market as well, but at least he's tranparently a rare book dealer). This wouldn't bother me so much except that there are glaring omissions from both Parr/badger volumes (Misrach's Bravo 20, anything from John Pfahl, anything from Helmut Newton, Frank Horvat, Andres Serrano, Jan Dibbets, Ken Schles, James Van Der Zee, Jerry Uelsmann, Richard Prince, etc...) It is also troubling because up until perhaps even a year ago the rare photobook market was dominated by a handful of collectors (whose ability to judge photography, as far as I can tell, is somewhat suspect). The general proposed intent of the project is noble (cataloging the important photobooks of the world), but I don't think that these authors are qualified in any way to be the critics of what photobooks have actually been important (can we get Irving Penn, William Klein, Araki,and a panel of actual legends to make some selections?). And so, we are treated to a very strange mixture of blue chip photobooks, some of which are obviously important, and some of which are just expensive cult favorites with the collectors. Buyer beware--most of the books within have catapulted even higher in value almost exclusively based off of the premise that they were included in these books. There are plenty of photobooks worth collecting (perhaps even more worthy than most of the books included herein) and there are lots of little-known volumes from the greats (also not treated here) worth pursuing and, more importantly, viewing and enjoying. Photobooks were being produced before this list was assembled and will continue to be created long after these forgettable volumes are replaced with more academic and more interesting attempts. These books are not a terrible point of departure for the neophyte collector but be advised that these books repeatedly confuse monetary and artistic merit without apparently being aware of their own confusion. If you are interested in serious collecting, I'd advise either finding a copy of Roth (if you are interested in collecting a canon of well-established books that are unlikely to shift in value significantly) or, more simply and elegantly, spend some time at your local library learning who Mapplethorpe, Lartgiue, Saudek and rest really are (you can find the names on the internet fairly simply and looking through the actual books beats reading these surveys any day). It's free and you'll be able to craft your own tastes before you begin the process of investing in your won photobook collection.



2. This is a marvelous volume that can be enjoyed by book and photography lovers alike. As an object in its own right it exhibits a level of refinement in conception and execution that has become rare in our age of mass-produced books. Of course, there are many specialist photobook publishers but they seem to focus exclusively on print quality to increase the perceived value of their publications, whilst neglecting the vital contribution of design in a book's overall appearance (and desirability). In the Phaidon-volume, the exquisitely judged rhythm of layout and typography complement the vivid reproductions of vintage photobook material into a very exciting whole.
   
   To be sure, the care spent on the production of this book is not gratuitous. To the contrary, it is a statement that reinforces the basic conceptual tenets held by Badger and Parr. From the introductory pages we learn that not every and any book that has been conceived around a collection of photographs merits to be included in the class of "photobooks". A photobook - as Badger and Parr understand it - is more than just the sum of its parts: pictures, words, design, and choice of subject all contribute to something which transcends the meaning of a photographic portfolio. This is all illuminating and one could certainly say that the "Photobook" is an instructive example of this synergy between various elements.
   
   However, I wished that the editorial team would have left it at that. I think Badger and Parr are moving onto much more controversial ground when they hold forth that the emblematic photobook is a kind of dramatic event, "comparable with a piece of sculpture, a play or a film" in which the individual photographs lose their own character as things in themselves. Apart from being theoretically doubtful, I believe this criterion is simply too stringent and many vintage photobooks featured in this survey do not comply with it. For example, many of the early books were photo albums in the true sense of the word: bound collections of original prints glued onto white pages. Similarly, it is difficult to see in some of the modernist books - such as Erhardt "Das Watt" or Mendelsohn's "Amerika" - anything more than an expertly produced photographic portfolio. In each of these examples there is coherence, but it does not derive from some kind of dramatic or narrative logic. It can simply be a unity of style which holds a photobook together. Positioning the photobook "between the novel and film", therefore, raises more questions than it provides us with answers. It doesn't really help to make sense of "a ragged and sprawling subject, with more than its fair share of anomalies".
   
   It is perhaps more useful to investigate how Badger and Parr have tried to organise their material within the confines of this volume (and the next). They seem to have relied on three different lines of thought. The first is chronological (it's a history after all). The survey starts with the very first publications, early on in the history of photography and will end with a section on "The Photobook and Modern Life". In this sense, the book can be studied as a remarkably lively and varied panorama of how photographers have engaged with their craft over the last 150 years.
   
   The second organising principle is geographical: some of the individual chapters focus on a distinct area of cultural production (the US, Europe and Japan; the next volume features a chapter on "The Worldwide Photobook"). Finally, there is "intention" as a structuring element. Photobooks have been produced to serve a variety of purposes: to tell a story, to tell a non-story (stream-of-consciousness-like books), to non-tell a story (to deconstruct), to document, to persuade, etc. Indeed, a valuable photobook can even limit itself to simply showing. Most of the chapters in the two volumes put some kind of "intention" at the center of the discussion.
   
   I think Badger and Parr's conception of their own book is to a certain extent at odds with their conceptual emphasis on the dramatic nature of photobooks. If there is drama in "The Photobook", it is mediated by the words that accompany the various chapters, not by the visuals. In other words: it is a conceptual not a photographic narrative that unfolds. As regards the visuals, curiously enough the daring use of white space and drop shadows around the book and page reproductions really make them stand out as preciously unique. Leafing through the book is akin to walking between carefully presented museum exhibits. In this sense, "The Photobook" clearly `shows' and, therefore pulls us away from the dramatic sweep of history.
   
   Despite these theoretical misgivings there is not a shade of doubt in my mind that this book deserves five stars. It is a fabulous book and I look forward with keen anticipation to the second and final volume.



3. This book (and the next volume) will surely become the standard reference for anyone wanting to know about photobooks and in creating a new word for photographs in a book perhaps this will create a new publishing genre too. The author's rightly point out that photography is a printed-page medium and the four hundred and fifty titles examined, with just over two hundred in this first book, probably represent the best (or most interesting) titles ever published.
   
   The nine chapters give a lucid in depth review of photobooks to the 1970s with Anna Atkins 1843 'Photographs of British Algae' taking the first photobook prize. I particularly enjoyed chapter six, Medium and Message: the photobook as propaganda, basically dealing with Soviet books in the Thirties and the examples shown are quite extraordinary in their use of images and design. Reproducing the pages from these books would easily make a separate title. The other fascinating chapter was nine, dealing with postwar Japanese books, again the reproduced jackets and spreads show amazing creativity and vision, not only in the choice of photos but also in the use of printing and binding techniques.
   
   Stunning though this book is I thought there was one particular weakness, in so many of the books there are not enough pages shown. Many of them have two pages, for instance 'An American Exodus' by Lange and Taylor, there are fifteen spreads so it is possible to follow the flow of images or Avery Brodovitch's 'Ballet' with eighteen spreads to capture the feel of the subject. Most of the titles though are two or three to a spread allowing mostly a cover plus four or six pages from inside the book but annoyingly there is easily room for more pages had there been a slight adjustment to the book detail text that accompanies each photobook. The excess white space really should have been put to better use. Despite this the paper and printing of the book is first class, the images are reproduced in a fine screen as cut-outs with a drop shadow and run of varnish to really make them sparkle.
   
   Parr and Badger have almost created a unique book but Andrew Roth's Book of 101 Books, The: Seminal Photographic Books of the Twentieth Century published in 2001 must be regarded as the first attempt to capture the essence of photobooks and in both titles the editorial concept is the same, reproduce the covers and pages rather than show individual photographs. As a designer this makes both books come alive for me but I prefer 'The Photobook' for its exhilarating coverage in both words and images.
   
   ***FOR AN INSIDE LOOK click 'customer images' under the cover.

No comments about The World From My Front Porch.

5 comments about Adobe Camera Raw for Digital Photographers Only (For Only).

1. If like me, you have ever tried taking an adult education class at a local community college to expose yourself to a new topic, you might understand my experience with this book. The author has all the dynamism of a bottle of cold molasses. He is like the ham radio operator who somehow has landed a job teaching Introduction to Broadcasting in the local community college. He may have the passion and the knowledge, but it certainly doesn't come through. This book drags on and on without imparting the information. His style treads the borderline of being pontification. One must endure a full 100 pages of this 350 page book before getting to the meat of the subject and THEN, the author does not provide the images to work along with that first exercise. In fact, for the entire book, he has provided a total of 8 images to download and work with the text.
   
   Especially if you are an aficionado of the writing/teaching style of someone like Deke McClelland, you really need to save your money and look for another book on camera raw. I admit, i got no further with this book than page 125, and i'd sell it on Ebay if only i wouldn't feel guilty for ripping someone off by doing so. I'll donate it to the public library.



2. Without a doubt this has been the greatest photography book that I have ever read; and I have an extensive library of other titles.



3. The subject of Adobe Camera Raw is covered well. There are some typos when talking about the controls in the Basic tab. In ACR version 4.* the Shadows adjustment has been renamed to Blacks. The author makes a point of discussing the change but then proceeds to call the control by it's old name, Shadows instead of Blacks.



4. Rob Sheppard has become one of the most prolific and well-received in the now crowded field of digital imaging authors and educators. Every writer has a style, and Rob's is simple and direct, avoiding hype and always seeking to communicate in the clearest possible manner regardless of the complexity of the topic.
   
   Really learning Adobe Camera Raw is not a simple task. There are many books on the subject varying in style from ponderous and mind-numbingly detailed, to once-over-lightly treatises that are mostly pictures and little substance. This book strikes a fine balance with accurate, colloquial, understandable discussion of the often highly technical details supported by ample illustrations and images to provide a visually appealing lesson that will tend to stick in your personal data bank. If you have no other books on Camera Raw, this would be an excellent one to start with, even if you are a "visual learning" person.
   
   This edition has numerous positive attributes. Its clear, concise, easy-to-read language cuts to the heart of complex issues, keeping them as non-technical as possible. Rob also avoids absolutes, suggesting that his opinion, as informed as it is, may not be the right answer for the reader. He points out there are often several different ways to accomplish a certain goal, and one method may suit an individual photographer better than another. One minor shortcoming is that the description of a task and its paired illustration sometimes wind up on different pages; this doesn't lessen the overall value, but it does make it a little harder to assimilate.
   
   One fine point worth noting is the discussion of sharpening during the Raw conversion. Anyone familiar with Bruce Fraser, PixelGenius, and PhotoKit Sharpener will want to study this section very carefully, for the "new" Camera Raw has incorporated some new sharpening features from this highly regarded plug-in that could make a real difference in achieving your highest quality output.
   
   Conclusion. Highly recommended. If Rob Sheppard writes it, it's bound to be good, and it is. Adobe Camera Raw is a fundamental cornerstone for the highest quality digital image processing for many top photographers, and this book, if studied carefully, will unlock most of Camera Raw's secrets. If you apply what you learn, you'll be able to take your photography to an entirely new level.



5. This book is one of the reasons I have started shooting in RAW format. Another reason? Photoshop Elements and the free Camera RAW plug-in from Adobe.
   
   All in all, the text appears to cover pretty much everything you would really need to know about Camera RAW and how to use it to show your photos at their best.
   
   At times the illustrations don't clearly show the subtle changes that result from applying some of the optional settings, but that probably is more a function of the limitations of photo print reproduction in an affordable book.

5 comments about Subway Art.

1. I grew up on the south side of Chicago during the 80s and had many friends who were "taggers" and got up every chance they got. They had spray-cans, hollowed-out deodorant sticks somehow replaced with ink, fat markers, Griffin, and who knows what else. Though I myself wasnt a graffiti artist or writer or tagger, this book is a great ride down memory lane for those of us who grew up on the streets. For those of us of a certain age, this book, "Subway Art", along with movies like Breakin' I AND II, Beat Street, original hip-hop and old school house music were all of a specific time and place. This book will make you want to break out the Pumas with the fat laces, bring out the tile and start back-spinnin', but it is also one of the the earliest, most definitive and detailed books on graffiti ever.



2. Wow, this book just took me back to my days in the Bronx and the 2 line.
   All the greats are in this one..Doing those T and B's and hitting the yards, and dodging the DT's Now those were the great days of the BRONX.
   Long live
   MIKE170..TAV 1..ALE..AJAX..SUPER SEX..BLADE..COMET..FUZZ..POPEYE..
   MIKE 170....



3. I started doing graff back in the late 90's; I was 14 at the time and to be honest with you; like all great writers we were all toy's at one time but has time went by and we got better with our skills, we all have read this book at one time or another. On with the book review.
   This book is just simply AMAZING...you have old school pieces from the Godfather of Graffiti: SEEN, BLADE (which he has painted 5,000 trains during the golden age of the MTA in NYC; since I saw the graffiti scene on the trains at the tender age of six and seven in NYC, I was simply amazed at that age on how people could sneak in at night and do this with spray-paint but I digress), LADY PINK, and the list goes on. If your just starting out in graffit, this is a great book on to connect letters, bubble letter's, block's, and some old school color schemes, though I would not call it the Bible of Graffiti, it is pretty darn close to it. Check it out.



4. Subway Art. What can I say? This, Style Wars, Beat Street, Break Dance... they all had their influence on me (& a whole generation) back in the day.
   
   Hip Hop isn't what it used to be, though. Most of what we hear these days is mixed up with R'n'B, commercialised, repackaged and shipped for your dissatisfaction. If you ask me... when it comes to Hip Hop, stick with the old school.
   
   I was brought up in Melbourne, Australia, and did quite a bit of graffiti there during the 1980s. Melbourne had plenty of weird & wonderful characters who were into graff back then. The vast majority have gone their separate ways. But there's always the rare psycho who's still bombing (I'm not referring to the younger generation - but to old school dudes who are still around). There's also those who got into graphic art and made a career for themselves out of graff.
   
   I recommend checking out some of the original Vaughn Bode cartoons for yourself through a simple Google search.
   
   Additional to this, I recommend Getting Up: Subway Graffitti in New York" by Craig Castleman. It has some pictures of trains and so on, but it is more for the reader. A copy was stolen from a local library near me - go figure.
   
   And if you're ever in NYC... Check out the Hall of Fame. It's located on the corner of 106th Street and Park Avenue.



5. This classic book, along with "Broken Windows: Graffiti NYC" is all you need to know about NYC graff. Anyone up needs both of these books. Knowledge is king!

2 comments about The Most Beautiful Villages of Ireland.

1. Perfect! Just what I had in mind and the person I gave it to liked it a lot! Great pictures!



2. This is a fantastic coffee table book. The photographer has captured so much color in each photograph, you almost expect some sort of visual explosion -- how can such a dynamically variegated palette be contained in a single picture?! The whitewashed cottages, the blue-green sea, the dun colored old castle walls... even the street signs are beautiful. I myself am half of Irish descent, and half of Italian descent. Although I must confess that in culinary terms, my Italian forebears had considerably more "on the ball" than my Irish ancestors, this book makes me appreciate some of the beauties that Ireland itself has to offer. It makes me determined to visit it at some point.

   The book is divided into four parts. Each traditional ancient Irish kingdom has its own section -- Ulster, Leinster, Connacht, and Munster. Each section is also followed by a brief photographic essay, dealing with such topics as "Ancient Ireland," "Bar and Shop Fronts," and "Painted Villages." At the end, there is a useful map, a travellers guide complete with phone numbers and addresses of Inns and hostels, and a very handy little bibliography.

   I would just like to also recommend, for anyone with an interest in Irish history, "The Atlas of Irish History" by Sean Duffy. It is out of print, but you should ask your local librarian if he or she can find it, using OCLC or inter-library loan. If, like me, you have Irish blood in you, you will be familiar with the feeling of being quite alienated from the broader sweep of European history prior to the settlement of America. I once looked in the index of an encyclopedia, and actually found more entries on Native Americans, who of course are considered to be a marginalized people, than I could find on the Irish. This book, and the atlas I recommended, can help remedy that situation, and "The Most Beautiful Villages of Ireland" can beautify any home. Two thunbs up -- check this one out.