eBooks de Fotografía documental, página 3 de 9

In "Nude Inspiration in a Painters Studio," Erotic Photography invites readers into a captivating visual and conceptual exploration of the human form. The book juxtaposes the intimacy of nude photography with the creative environment of an artists studio, employing an impressionistic style that blurs the boundaries between photographic realism and the abstractness of artistic interpretation. Through a series of striking images, the reader is prompted to contemplate the essence of inspiration itself, examining how the interplay of light, shadow, and the human body evokes emotional responses, transcending mere representation to enter the realm of the sublime. The author, Erotic Photography, is a visionary in the field of visual arts, with a background that spans across photography, painting, and performance art. This multifaceted experience has deeply informed their approach to capturing the nude form, allowing them to fuse the spontaneity of the photographic moment with the calculated aesthetics of classical art. Their work often explores themes of vulnerability, beauty, and the complex relationship between artist and muse, making this book a natural extension of their artistic philosophy. For those interested in the intersection of art and sensuality, "Nude Inspiration in a Painters Studio" is a striking and thought-provoking collection that challenges conventional narratives around nudity. This book is not only an aesthetic pleasure but an invitation to reflect on the deeper connections between art, inspiration, and the human experience.

Proposta do Livro Este livro é uma pequena introdução e acessível ao mundo da fotografia, projetado para proporcionar uma leitura rápida e enriquecedora em apenas 10 páginas. A proposta é oferecer um

No soy uno de los vuestros recoge una parte de la obra del fotógrafo conocido como JEOSM. Detrás de él y de su cámara, hay años captando un instante de muchos delos nombres más importantes de las letras hispanas. Una mirada que guarda la distancia suficiente, que deja a sus personajes expuestos, sin velos, sin proteccion, con toda su humanidad al descubierto. Imagenes con vida propia, retratadas por unos ojos que hablan.Cada uno de estos retratos encierran en si mismos una historia que se completa con textos literarios, en los que descubrimos a esos OTROS que no son el: los que describen con palabras lo que calle el blanco y negro de la camara.Si JEOSM te dispara, dejate atravesar

Considered the southern border of Europe, a territory that the far right describes as a strange and wild land, full of overcrowded cities, empty villages, exotic landscapes, exuberant raw materials, successful footballers and hordes of menacing migrants, the regions of the Sahel and North Africa share and suffer from the pernicious effects of the decline of its traditional patterns of life, ruined by accelerated imposition of modernity, capitalism, communism, xenophobia, and incipient neo-colonialism: from misery to corruption, from unemployment, economic and social inequality, the technological gap, educational underdevelopment, lack of infrastructure, food and health insecurity, foreign interference, the blind ambition of their own leaders, religion extremism, the repeated violation of fundamental rights and the yoke of patriarchy. Also, the scourge of a new form of economy, the corsair or buccaneer economy, based on the smuggling of all kinds of products -arms, drugs, people, food, electrical appliances, fuel, and people- to which little attention is paid but which in reality articulates the entire region, becomes the problems chronic and is the only option for work and subsistence for millions of families.In There is no sacred land for the vanquished, the award-winning Spanish journalist Javier Martin takes a unique and complete journey through the routes of irregular migration, from central Africa to the rescue ships in the Mediterranean and discovers through the testimony of his protagonists -migrants, traffickers, military, aid workers- the establishment of a new social and economic system that, together with the European militarization of borders and the total privatization of wars like Libya, are deteriorating the true spirit of Africa, a continent in the one that migration is an ancestral asset, shapes its culture and sustains its soul.

Gran reportaje sobre las causas y razones de la crisis migratoria que sacude el Mediterráneo y el Sahel, que todo lector espera leer y que los medios de comunicación quisieran publicar, pero carecen de espacio para hacerlo.A traves de las historias de Tarek Adam, un joven migrante al que conocio tras huir de la revolucion Libia en 2011, Destiny, un nigeriano que trato de cruzar a Europa en 2015, y Belo Dida, un joven camerunes con el que compartio navegacion a bordo del barco de rescate Aquarius en 2018 -y que, como los otros, compartia el sueño de ser futbolista-, Javier Martin bucea en el pasado, el presente y el futuro de la region mediterranea en una suerte de Odisea que arranca en el Africa subsahariana, atraviesa los desiertos del Sahel y Argelia, se interna en la guerra de Libia y surca el Mediterraneo, convertido en un gran cementerio sin tumbas en el que se ahogan los sueños de miles de personas anonimas a las que han vencido la pobreza, la tortura, la codicia, el extremismo religioso y la geopolitica europea. Un abigarrado pero armonioso coro en el que se pueden escuchar con fuerza las voces de los propios migrantes, pero tambien de las mafias que comercian con ellos y que se benefician de la economia corsaria que domina y explica la zona, de las victimas del yihadismo y de la guerra en Libia, de analistas independientes y de las ONG que trabajan para frenar una de las mayores tragedias humanitarias de nuestro siglo.

Un impactante ensayo fotográfico sobre la Revolución Sandinista en Nicaragua, que comenzó en la década de los setenta, concebido por uno de los grandes maestros del lente, el fotógrafo Pedro Valtierra.Pedro Valtierra tenia 24 años cuando vino a Nicaragua para componer su cronica grafica de la revolucion, enviado por el diario unomasuno, un periodico entonces novedoso, recien fundado en 1977 por un grupo de periodistas independientes encabezados por Manuel Becerra Acosta [...] Cuando entro con su camara en el paisaje de guerra de Nicaragua, su edad era la misma de muchos de los guerrilleros que peleaban en las trincheras y en las montañas por la utopia de cambiar de raiz un pais atrapado entonces en las garras de una dictadura familiar que duraba ya casi medio siglo. Algunos eran menores que el, entre ellos no pocos adolescentes, pero no eran muchos los que le superaban en edad. Un muchacho con una camara entre miles de muchachos con fusiles, protagonistas de un alzamiento armado que tambien era un alzamiento etico. Del prologo de Sergio Ramirez

A lo largo de las páginas de este libro, su autor nos muestra, además, su enorme empatía y su proximidad humana con unas vidas al borde del abismo. Un "trotafronteras" de mirada experta que se convierte en un testigo incomodo, pero absolutamente necesario, de lo que se practica en la frontera sur española."Este libro es un documento imprescindible. Nadie podra decir despues de leerlo y repasar las imagenes que no sabiamos o no eramos conscientes de lo que hemos hecho durante tantos años a quienes tratan de llegar a un mundo mas prospero, tal como hicimos y haremos los españoles y europeos cuando ha sido y sea necesario. Necesitamos mirarnos en el mismo espejo para no levantar mas muros de sufrimiento como el de Melilla. Y mientras siga sucediendo, necesitamos a Sergi Camara para captarlo con sensibilidad y de manera magistral". [Nicolas Castellano, periodista].

No Cairo [Egito] eu tive a oportunidade de ver inúmeras múmias, mas aqui no Brasil, atualmente só tem uma múmia egípcia a Tothmea. Quando fiquei frente a frente com ela, eu senti novamente uma sensaço de voltar ao passado, imaginando o que aquela pessoa viveu quando ainda era viva. Acho que toda pessoa quando fica diante de uma mumia sente um certo respeito, porque sabe que aquele e ainda o corpo de uma pessoa que viveu a milhares de anos atras. Eu por um momento entrei em um estado de contemplaço, olhava cada detalhe daquela mumia, seu rosto, seus braços, os dedos da sua mo. Outro detalhe muito importante: quem for ao museu vera uma mumia desenfaixada, assim a sensaço sera muito mais impactante do que enxergar uma mumia envolta em faixas. Mais tarde, depois que saimos do museu, eu, minha esposa e amigos comentamos sobre esta viso chocante de ficar diante de uma mumia nua. A falta de um dente, mas ao mesmo tempo ver ainda a dentiço e a pele de uma pessoa que viveu a 2700 anos nos causou espanto. A regio da bacia de Tothmea tambem me marcou, no havia muita "carne" ali. Outra observaço que me chamou a atenço era a baixa estatura desta mulher egipcia.

En Puerto San Julián, provincia de Santa Cruz (República Argentina) se puede visitar el Museo Temático Nao Victoria, réplica en escala real de una de las embarcaciones que componían la flota de Magallanes que anduvo por estas tierras en 1520, y la unica que logro regresar a Sevilla al termino de la circunnavegacion, tres años despues de haber zarpado y con solo 18 sobrevivientes de los 265 que formaron parte de la aventura. Ello fundamenta la declaracion de lugar historico por ley nacional en el año 1943 y ocupa un sitio privilegiado en la historia argentina. El hecho historico es recordado todos los años en el Monumento a la Primera Misa, inaugurado en noviembre de 1980. El lugar que presenta una imperdible vista panoramica de la Bahia de Puerto San Julian, en un sector de concentracion de aves marinas y toninas overas se alza como un simbolo representativo de la ligazon existente en nuestros origenes entre la soberania y la tradicion catolica. Puerto San Julian integra la Red Magallanica fundada en Sevilla el 1º de febrero de 2013.

Tras veinte años de presencia internacional en Afganistán, el país ha vuelto a caer en el olvido. Este libro, que se publica ahora en su segunda edición diez años después, es extraordinariamente valioso, ya que sus imagenes y sus textos siguen dando voz a las mujeres afganas. Una obra que refleja la realidad de las mujeres en un pais en el que viven continuas y flagrantes violaciones de los derechos humanos, acompañadas de una impunidad generalizada y un peso enorme de la tradicion, que ahorcan la vida de las mujeres. Fotografias y textos que invitan a reflexionar para seguir luchando por el respeto de los derechos humanos en todo el mundo. El silencio y la indiferencia nos hacen complices y estimulan a los agresores a Continuar tratando a las mujeres como sombras furtivas sin derechos. La falta de empatia y solidaridad con las victimas es tan condenable como la agresion.Este libro esta dedicado a todas las personas que luchan por acabar con unos niveles de impunidad y violencia contra las mujeres afganas unicos en el mundo.

"Mozambique in Memorian" es un viaje al corazón del sida en dicho país africano. Es el homenaje a todas las personas que aparecen en este libro, a todas las historias que se encuentran detrás de cada imagen. Muchas de estas personas ya no estan para contarnos sus progresos, sus esperanzas de vida de un futuro incierto. Algunos cambiaron sus comodas vidas de ciudad europea para caminar junto a ellos.

Monstruos de papel se interroga sobre el modo en que, entre 1870 y 1915, la fotografía se incorporó a la medicina argentina a través de las revistas especializadas para producir conocimiento y consenso cientifico. Analiza como, a lo largo de este periodo, se conformo un canon visual para las ciencias medicas, se incluyo el medio fotografico en las practicas cientificas experimentales, y se extendio su uso para sostener teorias y practicas de control social; en particular, aquellas vinculadas a la salud mental y a comportamientos considerados patologicos, como la delincuencia y los ataques de histeria pero tambien el ejercicio de la disidencia sexogenerica.La de Maria Claudia Pantoja es una investigacion original e interdisciplinaria que pone en dialogo fecundo los estudios sobre cultura visual e impresa, los estudios de genero y la historia social de la ciencia y la tecnologia.

Moedas e mais moedas, antigas, estrangeiras, réis, reais e muito mais, são mais de 350 imagens.

In "Miss America; Pen and Camera Sketches of the American Girl," Alexander Black presents a vivid exploration of American femininity through the dual lenses of literature and photography. The book not only captures the essence of the American girl but also immerses the reader in the late 19th-century societal context, where the idealized notions of beauty and womanhood were rapidly evolving. Blacks narrative style is characterized by an engaging blend of poignant prose and compelling visual imagery, reflecting both the personal experiences of American girls and the broader cultural landscape of the time. Alexander Black, an esteemed figure in early 20th-century American literature and photography, was acutely aware of the transformations occurring in society. Having experienced these changes firsthand, Black sought to document the American girls identity, which was influenced heavily by factors such as industrialization, social reform, and the burgeoning feminist movements. His unique position as both an author and a photographer allows him to provide a multifaceted depiction of his subjects, intertwining their appearances with their stories. This book comes highly recommended for readers interested in the intersection of gender studies, American history, and visual culture. It serves not only as a historical document but also as a rich narrative that invites introspection about the societal roles of women, both then and now.

Este libro de retratos femeninos poetizados tiene como objetivo conducirte en un viaje a través de una serie de países del mundo, guiado por sus anfitrionas. Ellas te muestran la singularidad de cada una de sus vidas y la universalidad de los problemas comunes a traves de su expresion, sus rasgos, su ropa y, sobre todo, su mirada. Si ves sus ojos, ves su alma. Los paises presentados aqui podrian ser seleccionados al azar o podrian representar una pequeña muestra de muchos otros que comparten caracteristicas como: diversidad cultural; desafios economicos y sociales; historias de colonizacion e influencia extranjera; retos politicos: conflictos internos, regimenes autoritarios o cambios politicos significativos; religiones y etnias diversas; desigualdad. Cada integrante en este fotolibro busca que te detengas unos segundos y empatices con su historia contada a traves de sus ojos. En cada retrato, experimentaras el yin y el yang: mujeres captadas por la mirada de un hombre. Todas ellas han accedido a ser retratadas mostrandose tal como son: mujeres mundanas, mujeres cotidianas, mujeres bellas que te haran sentir un mosaico de emociones.

"[...] A heartfelt cry against terrible injustice and daily tragedy: how the everlasting physical injuries that severed their bodies affect these wounded people". An ongoing project of the most current photojournalism, like the infinite aftereffects caused by antipersonnel mines. Gervasio Sanchez has been working with victims of this scourge since September 1995, a job that has been running through most of his professional life. The devastation the mines cause is lifelong. The eleven victims in this project were selected randomly in African countries such as Angola and Mozambique; in Asian countries like Cambodia, Afghanistan, and Iraq; El Salvador, Nicaragua, and Colombia in Latin America; and European countries such as Bosnia-Herzegovina. "Gervasio knows we need the wounded voices if we hope to write the complete history. And to do so, it is vital to advocate, faced with the hate that mines, the courage that observes." Irene Vallejo (Foreword)

Featured in this third collection of Milans images are 99 striking examples of his intuitive and distinguished portrait photography, taken between 2010 and 2020. Milan commenced work in 2010 on what was to evolve into his vast London Trilogy: 100 Faces of London, Outsiders in London, Are You One Too? and Londoners at Home: The Way We Live Now. Though these projects alone offered Milan over 200 opportunities to capture the human face, his portrait work has also encompassed a variety of individual sitters, family groups, as well as a number of remarkable portraits taken for the sadly abandoned project, Artists in London.For many of these portraits, Milan chose what is arguably old-fashioned, studio portraiture. This is an art form rarely practised nowadays, but Milan believes it creates portraits that are as much the creation of the sitter as they are of the photographer. His leisurely, studio-based technique engendered a closeness between sitter and photographer that seems almost tangible in many of the portraits. Echoing a remark of the great Irving Penn, Milan observed that a photographer working in this way cannot but help fall in love a little with each of the sitters he observes through the lens. Often, in Milans characteristic portraiture, the focus of the image is the sitters eyes - it may be trite to observe that the eyes are the windows of the soul but there can be little doubt that it is mostly through the eyes that we humans connect.The Photographer, Milan Svanderlik, is a veteran observer of the extraordinary diversity and beauty of nature, people and life in general. Milan Svanderlik Photography: Portraits comprising photographs taken from 2010 to 2020, is the third of three volumes illustrating his work. Over the years, Milans highly original and well-regarded photographs have been exhibited in a number of art galleries, both here in London and over the pond, in New York.

This volume illustrates the scope of Milans approach to landscape, ranging from an eye for the tiniest details of plants, buildings or topography, to an exceptional perspicacity in capturing the great expanse of Natures finest canvasses. His landscape work has accordingly drawn him to the magical intensity of an English forest, to the stark, otherworldly beauty of the Canaries most striking volcanic vistas, to the lush richness of Scottish Highland scenery. Scotland also offered opportunities for recording the splendour of coastal waters in unusual repose, with northern light revealing exquisite maritime hues.In some images, Milan captures the more conventional beauty of charming scenery: in his four images of Croham Hurst Woods (1976) long, night-time exposures give an English woodland landscape an almost magical charm. By contrast, we see the grandeur the almost barren, volcanic terrain of the Canaries, where the eye feasts not on sumptuous vegetation but on the remarkable form and colour of once superheated rocks, sometimes focussing on native plant life as it struggles to take hold amongst lunar landscapes.In the light of mankinds enterprise to manage, manipulate, exploit and ultimately destroy most of the planets richest natural environments, Milan has striven, in this compendium of some of his most striking nature photography, to capture the resplendent harmony of the natural world, celebrating all that yet remains unspoiled by the destructive attentions of humankind.The Photographer, Milan Svanderlik, is a veteran observer of the extraordinary diversity and beauty of nature, people and life in general. Milan Svanderlik Photography: Landscapes, comprising photographs taken from 1976 to 2019, is the second of three volumes illustrating his work. Over the years, Milans highly original and well-regarded photographs have been exhibited in a number of art galleries, both here in London and over the pond, in New York.

Miguel de Unamuno y la fotografía contiene más de 800 ilustraciones en color, buena parte de ellas inéditas, que reproducen la casi totalidad del archivo visual de Unamuno conservado en su Casa Museo.

Caro leitor! A intenção a ser retratada virá com muitas histórias e na maioria delas, o imaginário e fantasia vão dar um tempero a mais para ilustrar a satisfação de contemplar a dádiva de ter conviv