Libros de fotografía, página 18 de 629

Manual De Fotografía Francisco Rosés Martínez; Geoffrey G. Attridge; Ralph Eric Jacobson; Sidney F. Ray Este libro es una obra fundamental para fotógrafos profesionales y técnicos de laboratorio, asi como estudiantes o aficionades que deseen adquirir una mayor habilidad tecnica. Esta nueva edicion actualizada incluye: tecnicas digitales, con un enfasis especial en los medios electronicos e hibridos; una explicacion mas extensa de las mediciones, especificaciones y tratamiento del color. Los temas expuestos en el Manual van desde la optica y caracteristicas de las camaras, hasta el procesado y manipulacion de la fotografia en color y la imagen digital.

Un libro pensado para el visitante que viaja con afán de conocer. Se inicia con una descripción de las características más destacadas del medio natural gallego, seguida de la relación pormenorizada de los espacios naturales seleccionados agrupados dentro de seis grandes sectores en que se puede dividir la totalidad del terrirorio gallego. La informacion va acompañada de los imprescindibles mapas, graficos y fotografias relacionadas.MOURIÑO LOURIDO, JORGE

Luciano Matus presenta a través de fotografías en blanco y negro y color, bocetos , dibujos, planos de edificios y facsímiles de las notas de trabajo, la singular experiencia artística llevada a cabo por el artista mexicano Luciano Matus a traves de sus intervenciones en edificios y lugares publicos de Antigua (Guatemala), Cartagena de Indias (Colombia), Lima y Cuzco (Peru) y Misiones (Paraguay). Reconocimiento del espacio II es hasta ahora su proyecto mas ambicioso: intervenir sobre aquellos edificios y espacios publicos, historicos y modernos, restaurados o no, ligados de una u otra manera al programa de restauraciones de la Agencia Española de Cooperacion Internacional (AECI) en varias ciudades de Hispanoamerica. Con el fin de subrayar la dimension continental de Reconocimiento del espacio II Matus invito a criticos y curadores de los paises en los que realizo intervenciones para observar y analizar su obra para posteriormente reunir esta documentacion visual y escrita en un libro. Debroise acompaño a Matus durante todo su recorrido, como cronista de los encuentros, y ha sido el coordinador de la edicion.

Jean-Marc Bustamante représente la France à la 50e Biennale de Venise en 2003. Un livre consacré à l'ensemble de son travail paraît à cette occasion aux Éditions Gallimard. Celui-ci s'ouvre en 1978 par une série de paysages photographiques intitulés « Tableaux » - zones périurbaines, chantiers de construction, sites en cours d'aménagement - dont Bustamante tirera pour une part les motifs et les matériaux de son œuvre à venir, élargie toujours plus au-delà du champ de la photographie. La sculpture, le dessin, l'architecture, entre autres médiums, seront ainsi explorés. Les auteurs de cet ouvrage s'attachent à analyser en détail les ramifications de cette production artistique aussi complexe que variée, caractérisée cependant par le souvenir omniprésent du modèle photographique et par un fréquent souci du rapport à la tradition picturale moderne. On verra également comment l'œuvre de Bustamante s'inscrit en regard de celle de certains de ses prédécesseurs (les minimalistes, par exemple) ou contemporains, et comment elle puise à un fonds tout personnel d'images trouvées qui valent pour lui comme autant de sources et ressources.

In 1930 a disaffected young photographer in New York pointed his camera at two workers shoving a huge sign reading DAMAGED into a truck. With that image, Walker Evans gave birth to the quirky, edgy genre of street photography. Yes, this is the same Walker Evans famous for eye-level photographs of Alabama sharecroppers, rural churches and roadside signs. The special appeal of Walker Evans is that—in addition to nearly 200 classic photographs—it offers new images and fresh assessments of his work, based on diaries, letters, field notes and unpublished negatives acquired a decade ago by the Metropolitan Museum of Art in New York. The engagingly written essays by four specialists all bump up against the contradictory impulses of this meticulous, aloof yet curiously passionate artist. A self-described "gray man," he hated color photography. Yet the photographs from his final years--he died in 1975--include strikingly offbeat Polaroids of the glum or startled faces of friends and acquaintances. Four decades earlier, too inhibited to confront strangers directly, he hid a camera in his coat to capture the slack faces of subway riders. Despite the unadorned power of his images of people, Evans had a deeper connection to vernacular architecture and roadside signs. He photographed these everyday subjects straight on, at eye level, deliberately opting for the most deadpan approach. Yet the images are imbued with Evans' unique sensitivity to subtle visual rhythms. Influenced by Surrealism, he freely cropped photographs to shift the viewer's perspective. Despite his ardent scrutiny of the American scene in the 1930s, Evans stood apart from politics and disdained both sentimentality and social criticism. His omnivorous appetite for the culture of his time was tempered by the sober documentary influence of nineteenth century photographers Eugène Atget and Matthew Brady. For all its shrewd commentary, this beautifully produced book discusses Evans' life only insofar as it illuminates the story of the photographs. More detailed accounts are available in biographies by James R. Mellow and Belinda Rathbone

La barrancada del 29 d octubre de 2024 marcarà tota una generació de valencians, de la mateixa manera que la riuada del Túria de 1957, la pantanada de Tous de 1982 o la DANA del Baix Segura de 2019 n

La Tarjeta postal a Tarragona, 100 anys d'història (1897-1996), ofereix una visió sobre el món de les postals comentades, ara, a més, obtenim un catàleg exhaustiu que recull el conjunt de les postal

Over 200 beautifully-reproduced images from what is generally known as the "golden age of the poster." Between 1896 and 1900, the Chaix Press published monthly sets of four plates illustrating a choice of the best posters of the period. While supposedly unbiased, Jules Cheret, the editor, often ended up being featured. If not him, than certainly some French artist was chosen. Today, with the benefit of hindsight, we have made a new selection and the results are strikingly different. Including images leading up to WWI, a large selection of Italian, German, and Swiss posters are included in this volume. We have tried to pick out what is representative, but also readily accessible. Intended to be illustrative rather than definitive, the essential point is that the work of Cheret, Bradley, Hohlwein or Hohenstein is being represented by their best creations. For the others, we have brought together a collection which, country by country, gives us an idea of the creators and the fashions of the time. This collection is above all a picture book (or 'coffee table' book as some may call it). A few written notes appear, but only as a guide to the reader--one is simply allowed to enjoy the posters. And what glorious posters they are.