more books

[Dennis Karnitsky]

Привет,

Книги для тех, кто постепенно вырастает из "Как снимать гламурные
портреты цифровой мыльницей за 100$":

http://www.amazon.com/exec/obidos/tg/listmania/list-browse/-/31FU4AMPS7WBN/qid=1108330396/sr=5-1/ref=sr_5_1/002-9763342-6815214

Michael Johnston - один из самых авторитетных редакторов
фотожурналов в штатах.


P.S.
Коля, пробей плиз эти названия в ослике - у меня сейчас доступ не тот.

С уважением,
Денис Карницкий
mailto:den...@karnitsky.com

[PhotoStudio]

Привет,

вот ссылка на статью еще, в начале самом снимок Барта, очень даже
философская фотография:

Reading photographs
by Hans Durrer

http://www.icce.rug.nl/~soundscapes/VOLUME07/Reading_photographs.html

А вот тут неплохо посмотреть, как их студентов дрючат и какую
литературу рекомендуют:

http://www.aber.ac.uk/modules/current/AH30820.html

.
Following is a summary of this Mosaic issue:
Special Issue: The Photograph

http://umanitoba.ca/publications/mosaic/issues/getissue.php?vol=37&no=4

http://umanitoba.ca/publications/mosaic/issues/_resources/intro_37_4.pdf
.

Ресурсная университетская страничка Photography

http://www.lib.unc.edu/art/photography.html

Selected Journals
Located on the first floor of the Sloane Art Library.

Aperture
Artforum
Art Journal
Art Newspaper
Blind Spot
Camera Work
History of Photography
Image
On Paper
See: a journal of visual culture

E-JOURNALS
Afterimage
Modern Photography

Еще ресурсная страничка:
Photography
http://vos.ucsb.edu/browse.asp?id=2725

(много мертвых ссылок)
.

Еще такая статья:
Lev Manovich
THE PARADOXES OF DIGITAL PHOTOGRAPHY

http://www.manovich.net/TEXT/digital_photo.html


.

Еще вот такой список откопался, имеет смысл отдельные статьи поискать,
это же такие книги, которые обычно статьями в Journals печатаются:

Visual Communication

Barry, A. M. S. (1998). Visual intelligence. Albany: State Univ. of New York Press.

Berger, A. A. (1989). Seeing is believing: An introduction to visual communication. Mountain View, CA: Mayfield Publications.

Bertelsen, L. K., Gade, R., Sandbye, M. (Ed.). (1999). Symbolic imprints: Essays on photography and visual culture. Oakville, CT: Aarhus Univ. Press.

Coleman, A. D. (1998). Depth of field: Essays on photographs, mass media, and lens culture. Albuquerque: Univ. of New Mexico Press.

Cubitt, S. (1994). Videography: Video media as art and culture. New York: St. Martin’s Press.

Elkins, J. (1999). The domain of images. Ithaca, NY: Cornell Univ. Press.

Evans, J., & Hall, S. (Ed.). (1999). Visual culture: The reader. Thousand Oaks, CA: Sage.

Fry, T. (Ed.). RUA/TV? Heidegger and the televisual. Australia: University of Sydney.

Gombrich, E. H. (1999). The uses of images: Studies in the social function of art and visual communication. London: Phaidon.

Hardt, H. (1999). Picturing the past: Media, history and photography. Champaign: Univ. of Illinois Press.

Hilligoss, S. (2001). Visual communication. New York: Longman.

Massironi, M. (2002). The psychology of graphic images. Mahwah, NJ: Lawrence Erlbaum.

McCarthy, A. (2001). Ambient television: Visual culture and public space. Durham, NC: Duke University Press.

Metallinos, N. (1996). Television aesthetics: Perceptual, cognitive and compositional bases. Hillsdale, NJ: Erlbaum.

Pettersson, R. (1989?). Visuals for information: Research & practice. Englewood Cliffs, NJ: Educational Technology Publications.

Racine, N. (2002). Visual communication: Understanding maps, charts, diagrams, and schematics. LearningExpress, LLC.

Rodowick, D. N. (2001). Reading the figural, or philosophy after the new media. Durham, NC: Duke University Press.

Sturken, M., & Cartwright, L. (2001). Practices of looking: An introduction to visual culture. New York: Oxford Univ. Press.

Van Leeuwen, T., & Jewitt, C. (Eds.). (2001). The handbook of visual analysis. Thousand Oaks, CA: Sage.

Walker, J. W., & Chaplin, S. (1997). Visual culture: An introduction. New York: St. Martin's Press.

Williams, M., & Davids, K. (Eds.). (1998). Visual culture reader. New York: Routledge.

Willows, D. M., & Houghton, H. A. (1987). The psychology of illustration. New York: Springer?Verlag.




DK> Книги для тех, кто постепенно вырастает из "Как снимать гламурные
DK> портреты цифровой мыльницей за 100$":

DK>
DK> http://www.amazon.com/exec/obidos/tg/listmania/list-browse/-/31FU4AMPS7WBN/qid=1108330396/sr=5-1/ref=sr_5_1/002-9763342-6815214

DK> Michael Johnston - один из самых авторитетных редакторов
DK> фотожурналов в штатах.


DK> P.S.
DK> Коля, пробей плиз эти названия в ослике - у меня сейчас доступ не тот.

Еще такой список рекомендательный:

Armstrong, Carol. Scenes in a Library: Reading the Photograph in the Book, 1843-1875. Cambridge: MIT Press. 1998. Taking her cue from Roland Barthes's Camera Lucida, Armstrong meticulously deconstructs the relationships between science and art in 19th century England as exemplified in books using photographs to explore the "natural philosophy" of the time. The chapters on Fox Talbot and Francis Frith are particularly helpful.

Barthes, Roland. Camera Lucida. New York: Farrar, Straus and Giroux. 1981. An important, short, even exquisite meditation on the subject, the controversial and sometimes infuriating last book by a key philosopher of the late 20th century.

Clarke, Graham. The Photograph. Oxford: Oxford University Press. 1997

Coleman, A.D. Depth of Field: Essays on Photography, Mass Media, and Lens Culture. Albuquerque: University of New Mexico Press. 1988. Coleman's classic essay "Lentil Soup: A Meditation on Lens Culture" is an unusual variation on the standard story of photographic history.

Davis, Keith. An American Century of Photography: From Dry-Point to Digital: The Hallmark Collection. New York: Abrams: 1999. This revised edition of a serious and comprehensive study is an important history.

Green, Jonathan. American Photography: A Critical History 1945 to the Present. New York: Abrams. 1984

Jenkins, William. New Topographics: Photographs of a Man-Altered Landscape. Rochester: International Museum of Photography at the George Eastman House. 1975.

Newhall, Beaumont. The History of Photography. New York: The Museum of Modern Art, 1964. A compact source for information on the complicated and competing paths that led to the invention of photography and how it came to America, as well as modernist trends.

Sontag, Susan. On Photography. New York: Farrar, Straus and Giroux. 1977. It remains difficult to bring up any issue concerning the field without Sontag having already at least touched upon it in what remains one of the most important books about photography.

Szarkowski, John. Mirrors and Windows. New York: The Museum of Modern Art. 1978. His discussion of how the concerns of photography shifted from those of Stieglitz and Weston to photographers such as Robert Adams and Joel Meyerwitz lays out an axis within a plastic medium that accommodates both public representation and private exploration. He takes photojournalism, and by extension documentary photography, to task for its "hubris," pointing out that the personal visions of individual photographers can shed more light on events and trends in the world than can sweeping magazine assignments. I take this as also saying that, for contemporary times, the Sierra Club might sometimes be better served by the rigorously centered windows of Robert Adams and Lewis Baltz, for instance, than the grand mirror of an Ansel Adams.

Wells, Liz, ed. Photography: A Critical Introduction. New York: Routledge. 1997. A handy textbook on the history and practice of critical theory and photography, especially useful in addition to and contrast with the Newhall book.

White, Jon E. Manchip. Egypt and the Holy Land in Historic Photographs: 77 Views by Francis Frith. New York: Dover. 1980. This extensively captioned, large-format paperback is a handsome and inexpensive collection of Frith's photographs.

Of related interest are books about the scientific, social, and artistic constructs that we use to decode vision as our most common method of apprehending reality. Vision and Visuality (edited by Hal Foster, and published by Bay Press in Seattle for the Dia Art Foundation in New York, 1988) is a much-admired collection of essays about these issues. The discussion by Jonathan Crary in "Modernizing Vision" about the shifting away in the 19th century from the model of the camera obscura as an objective instrument is instructive example. For a detailed examination of the intersections of mathematics, optics and the visual arts, The Science of Art by Martin Kemp (New Haven: Yale University Press. 1990) is a compendiously illustrated treatise. Barbara Novak's Nature and Culture: American Landscape Painting, 1825-1875 (New York: Oxford University Press. 1995) is a requisite analysis of how 19th-century scientific, political and economic views are represented in art.


.

V

[Nikolay]

Dennis Karnitsky пишет:

> P.S.
> Коля, пробей плиз эти названия в ослике - у меня сейчас доступ не тот.
>
>

не, с осликом ничего не получится потому как он не поддерживает прокси

да и при инстале корпоративный антивирус сказал что программа установила на
машине троян websearch.a за что этот файл был отправлен админам в
карантин :)

--
С уважением,
Николай Лапушко
Служба маркетинга СООО "Мобильные ТелеСистемы"
Республика Беларусь

e-mail: ni...@mts.by
icq: 133593272

[Nikolay]

http://www.museumofnewmexico.org/mfa/ideaphotographic/index.html

/Idea Photographic: After Modernism/ is a contemporary view of history
from the photography collections at the Museum of Fne Arts in Santa Fe,
the Princeton University Art Museum, and the San Francisco Museum of
Modern Art.

[PhotoStudio]

Привет,

просто жуткие воспоминания Николай во мне вызывает... На том самом
месте, где сейчас Тень Выготского пребывает, я переводил маэстро
куратора Стива заангажированной фотографической общественности.

Выглядело это примерно так: дядька показывает на диапроекторе
картинку, говорит три слова. Далее...

...Из них я понимаю только каждое втрое. Затем говорю примерно минут
пять, дополняя процесс неубедительными жестикуляциями и универсальным
глубокомысленным "Э-э-э..." Затем процесс повторяется...

Бутра просто помирал со смеху, но говорил, что мой "перевод-изложение"
был иногда точнее по мысли, чем дядькин начальный посыл.

Что было здорово -- господин Curator of Photography привозил с собой
оригиналы; удалось ручками подержаться за Виткина в том числе (печать
тисненая у него такая еще маленькая пижонская была, как в старых
ателье, но более изящная).

V

Introduction Steve Yates

...Idea Photographic: After Modernism traces various facets of historical
modernism into the current changing milieu...

http://www.museumofnewmexico.org/mfa/ideaphotographic/essays_intro.html

.

IDEA Photographic: After Modernism
Steve Yates

...Critics who were first to recognize aspects of the modern idea were
also the ones to distinguish change from past forms of art. Sadakichi
Hartmann, who also wrote under the name of Sidney Allan, noted a shift
of intent in the work of Alvin Langdon Coburn in 1904. Reviewing the
artist▓s soft-focused platinum prints, Hartmann wrote about ⌠the
significance of form and structure■ by the artist through the
photographic process. The change ⌠represents a firm foundation of
artistic perception, in which the accessory motives of lighting,
tones, and texture┘may surely be developed.■ 1 The distinction was a
subtle one for the moment in history. The shift in vision by the
artist to ideas within the medium became a standard for modern
photography throughout the twentieth century.


http://www.museumofnewmexico.org/mfa/ideaphotographic/essays_yates.html

.

N> http://www.museumofnewmexico.org/mfa/ideaphotographic/index.html

N> /Idea Photographic: After Modernism/ is a contemporary view of history
N> from the photography collections at the Museum of Fne Arts in Santa Fe,
N> the Princeton University Art Museum, and the San Francisco Museum of
N> Modern Art.

[Nikolay]

Nikolay пишет:

http://www.britishpressphoto.org
http://www.americanphotojournalist.com