Najnovšie - Fotografia strana 59 z 89

Cestovateľ a fotograf Filip Kulisev, Master QEP, FBIPP, sa za uplynulé desaťročie prepracoval do svetovej špičky vo fotografovaní prírodných scenérií. Jeho najnovšia publikácia Element nadväzuje na úspech knihy Amazing Planet, ktorá vyšla v 14 jazykoch. Prostredníctvom svojich fotografií chce ukázať rozmanitosť a čaro štyroch základných klimatických pásiem Zeme v rôznych obdobiach roka. Viac ako 400 fotografií zo svojich ciest Filip Kulisev zvýraznil geografickými faktami o miestach, ktoré navštívil. Ak ich budete vnímať otvorenými očami a mysľou, uvidíte symfóniu štyroch elementov Zeme. Či už budete stáť pred krvavočerveným, slnečným ohňom spáleným masívom Uluru v Austrálii, ľadovcovými stenami Špicbergov, poslednej pevnej zeme pred severným pólom, alebo sa kochať pestrou paletou farieb indiánskej jesene v americkom štáte Maine. Exkluzívna limitovaná edícia knihy Element v kazete so signovanou fotografiou na hliníkovej platni.

Discover a whole new way of seeing the world while honing your photography skills across composition, exposure, lighting, lenses and observation. Use This Journal if You Want to Take Great Photographs is packed with fun photography prompts and inspiring images by master photographers so you can get creative with your camera. Create your own highly personal photobook by sticking in your pictures with the adhesive corners provided or simply dip in and out when you're stuck for ideas. Whatever your specific interests - street, studio, still life, landscape or portrait photography - you're free to interpret the prompts in any way you want. So pick a page, grab your camera and let your ideas and imagination rule!

First published in 1998 and now available for the first time in a compact, gift-book format, The Plant Kingdoms of Charles Jones is an exquisite visual feast for anyone who draws delight from the bountiful riches of nature. It presents more than 100 photographs of vegetables, fruits and flowers, all taken by the same photographer at around the turn of the 20th century, and all set against neutral, dark or light backgrounds in the style of formal studio 'portraits'. The images have a wider significance in the history of photography and of the still-life in general, as explained in the book's introduction by Robert Flynn Johnson. For a contemporary audience, the photographs' simple and unembellished beauty is the perfect antidote to appetites jaded by processed foods and 21st-century artifice. They communicate and inspire a loving respect for the beauty in nature.

klenoty, ktoré sú živými svedkami našej národnej minulosti. Interiéry chrámov zdobia vzácne umelecké diela, medzi ktorými vynikajú oltáre. Kniha Oltáre a ikonostasy na Slovensku prináša bohatý fotografický materiál a základné informácie o významných slovenských oltároch a ikonostasoch. Je zostavená tak, aby poskytovala prehľad o vývine oltárneho umenia u nás. Knihu obohacujú skrátené anglické texty.

Another country: How the Farm Security Administration introduced America to AmericansAmid the ravages of the Great Depression, the United States Farm Security Administration (FSA) was first founded in 1935 to address the country s rural poverty. Its efforts focused on improving the lives of sharecroppers, tenants, and very poor landowning farmers, with resettlement and collectivization programs, as well as modernized farming methods. In a parallel documentation program, the FSA hired a number of photographers and writers to record the lives of the rural poor and introduce America to Americans. This book records the full reach of the FSA program from 1935 to 1943, honoring its vigor and commitment across subjects, states, and stylistic preferences. The photographs are arranged into four broad regional sections but otherwise allowed to speak for themselves to provide individual impressions as much as they cumulatively build an indelible survey of a nation. Through color and black-and-white images, we meet convicts, cotton workers, kids on the street, and relocated workers on the road. We see subjects victim to the elements of nature and the timeless rituals of human life, as much as to the vagaries of the global economic market. We meet Dorothea Lange s iconic Migrant Mother, weather-beaten and worn, with two children leaning on her shoulders.What unites all of the pictures is a commitment to the individuality and dignity of each subject, as much as to the witness they bear to this particular period of the American past and to universal cycles of growing, playing, eating, aging, ailing, and dying. Through the lenses of such perceptive, sensitive photographers as Dorothea Lange, Jack Delano, Russell Lee, Marion Post Wolcott, Walker Evans, and Ben Shahn, subjects are entrenched in the hardships of their historical lot, caught in the loop of humanity, and yet face the viewer with what is utterly their own: a unique, irreplaceable, often unforgettable presence.About the series: Bibliotheca Universalis Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price!Since we started our work as cultural archaeologists in 1980, the name TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together nearly 100 of our all-time favorite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.Bookworm s delight never bore, always excite!Text in English, French, and German"

Innocence on the run: Sebastiao Salgado s focus series on child migrants and refugeesIn every crisis situation, children are the greatest victims. Physically weak, they are often the first to succumb to hunger, disease, and dehydration. Innocent to the workings and failings of the world, they are unable to understand why there is danger, why there are people who want to hurt them, or why they must leave, perhaps quite suddenly, and abandon their schools, their friends, and their home.In this companion series to Exodus, Sebastiao Salgado presents 90 portraits of the youngest exiles, migrants, and refugees. His subjects are from different countries, victims to different crises, but they are all on the move, and all under the age of 15. Through his extensive refugee reportage, what struck Salgado about these boys and girls was not only the implicit innocence in their suffering but also their radiant reserves of energy and enthusiasm, even in the most miserable of circumstances. From roadside refuges in Angola and Burundi to city slums in Brazil and sprawling camps in Lebanon and Iraq, the children remained children: they were quick to laugh as much as to cry, they played soccer, splashed in dirty water, got up to mischief with friends, and were typically ecstatic at the prospect of being photographed.For Salgado, the exuberance presented a curious paradox. How can a smiling child represent circumstances of deprivation and despair? What he noticed, though, was that when he asked the children to line up, and took their portraits one by one, the group giddiness would fade. Face to face with his camera, each child would become much more serious. They would look at him not as part of a noisy crowd, but as an individual. Their poses would become earnest. They looked into the lens with a sudden intensity, as if abruptly taking stock of themselves and their situation. And in the expression of their eyes, or the nervous fidget of small hands, or the way frayed clothes hung off painfully thin frames, Salgado found he had a refugee portfolio that deserved a forum of its own.The photographs do not try to make a statement about their subjects feelings, or to spell out the particulars of their health, educational, and housing deficits. Rather, the collection allows 90 children to look out at the viewer with all the candor of youth and all the uncertainty of their future. Beautiful, proud, pensive, and sad, they stand still before the camera for a moment in their lives, but ask questions that haunt for years to come. Will they remain in exile? Will they always know an enemy? Will they grow up to forgive or seek revenge? Will they grow up at all?Text in English, French, and German"

Humanity on the move: Sebastiao Salgado s searing reportage of exiles, migrants, and refugeesIt has been almost a generation since Sebastiao Salgado first published Exodus but the story it tells, of fraught human movement around the globe, has changed little in 16 years. The push and pull factors may shift, the nexus of conflict relocates from Rwanda to Syria, but the people who leave their homes tell the same tale: deprivation, hardship, and glimmers of hope, plotted along a journey of great psychological, as well as physical, toil.Salgado spent six years with migrant peoples, visiting more than 35 countries to document displacement on the road, in camps, and in overcrowded city slums where new arrivals often end up. His reportage includes Latin Americans entering the United States, Jews leaving the former Soviet Union, Kosovars fleeing into Albania, the Hutu refugees of Rwanda, as well as the first boat people of Arabs and sub-Saharan Africans trying to reach Europe across the Mediterranean sea. His images feature those who know where they are going and those who are simply in flight, relieved to be alive and uninjured enough to run. The faces he meets present dignity and compassion in the most bitter of circumstances, but also the many ravaged marks of violence, hatred, and greed.With his particular eye for detail and motion, Salgado captures the heart-stopping moments of migratory movement, as much as the mass flux. There are laden trucks, crowded boats, and camps stretched out to a clouded horizon, and then there is the small, bandaged leg; the fingerprint on a page; the interview with a border guard; the bundle and baby clutched to a mother s breast. Insisting on the scale of the migrant phenomenon, Salgado also asserts, with characteristic humanism, the personal story within the overwhelming numbers. Against the indistinct faces of televised footage or the crowds caught beneath a newspaper headline, what we find here are portraits of individual identities, even in the abyss of a lost land, home, and, often, loved ones.At the same time, Salgado also declares the commonality of the migrant situation as a shared, global experience. He summons his viewers not simply as spectators of the refugee and exile suffering, but as actors in the social and political shifts of global information, urbanization, environmental damage, and vast discrepancies in wealth, which all contribute to the migratory phenomenon. As the boats bobbing up on the Greek and Italian coastline brought migration home to Europe like no mass movement since the Second World War, Exodus cries out not only for our heightened awareness but also for responsibility and engagement. In face of the scarred bodies, the hundreds of bare feet on hot tarmac, our imperative is not to look on in compassion, but in Salgado s own words, to temper our political, economic, and environmental behaviors in a new regimen of coexistence. "

Rene Staud's bestselling must-have for car fans and collectors alike now available in a smaller format. Features legends of automotive history, priceless one-offs and the most popular classic cars.

An award-winning photojournalist returns to his home country to capture in images the spirit of Irish life in the centenary of Easter 1916. One hundred years after Ireland's 1916 Rising, the revolt that ultimately lead to independence, who are the Irish and what has become of the republic they made? Photographer Seamus Murphy, exile and escapee, digs deep to discover the forces and mysteries that drive - and have often beguiled - the country since its birth. From the streets of Dublin, and the suburbs of towns and cities adapting to new multicultural life, to the older habitats of Ireland's wilder western shores, Seamus Murphy endeavours to capture the spirit of contemporary Ireland in this witty, closely observed and beautiful photographic book.

Říkalo se, že každý Angličan je ostrov. Tak nějak sám za sebe. Přinejmenším na přelomu 60. a 70. let to neplatilo, stejně jako ve většině zemí euroamerické civilizace. Také mladá generace konzervativní Anglie se zapojila do vlny hippies, multikulturalismu, protestům proti tradičním hodnotám establishmentu a válkám, které ani po té druhé světové v mnoha koutech světa neskončily. Právě v té době přijel do ostrovního království československý student architektury Milan Pitlach a fotil. Stovky, možná tisíce černobílých snímků, zachycujících realitu kolem něj. Nejen tu poetickou v třetí, stejnojmenné, části jeho nejnovější fotografické publikace, v níž dominuje atmosféra tehdejších velkých hudebních festivalů evokujících sto let staré motto francouzských revolucionářů – volnost, rovnost, bratrství. Důležitější než tahle třešnička na dortu je ale možná první oddíl Pitlachovy fotoknihy, nazvaný Ulice. V něm totiž se vší syrovostí zachytil prostředí, z něhož velká část květinových dětí pocházela. Bezútěšnost čtvrtí a zákoutí, kam turisté nechodí, vybydlené bloky domů nebo jen oprýskané zdi s nápisy typu Ježíš byl bezdomovec… Bez lidí, s lidmi – těžko říct, které z nich jsou sugestivnější tíživou bezradností bytí. Oba tyto světy pak spojuje druhý oddíl s víceznačným názvem Tráva, byť fotografie v něm jsou jednoznačné. Rámec knihy tvoří první a poslední dvě fotografie, paradoxně z téhož roku. Na 160 stranách mezi nimi je zachycen dokument slavné doby ve slavném Albionu. Dokument, který leccos připomene i těm, kteří tehdy a tam nebyli.

A spanyol kultúra szerelmese, "az optimizmus fotográfusa", Spanyolország társadalmi, politikai és kulturális életének fényképésze több mint ötven éven át. Gyenes - kameráival, objektívjeivel és képzelő­erejével felvértezve - kétségkívül a 20. század második felének egyik legjelentősebb művésze. Francótól I. János Károlyig, Alba hercegnőjétől Sara Montielig, Teresa Berganzától Plácido Domingóig, Sophia Lorentől Cary Grantig - hogy csak néhányat említsünk - senki nem kerülte el intelligens figyelmét. Magyar, aki Spanyolországban telepedett le, 20. századi élet és életmű. Juan Gyenes Reményi Madridban hunyt el 1995. május 18-án. Nagyon sokan meglepődtek a halálhírén, hogy egy ilyen életerős és mentálisan friss ember eltávozhatott. A spanyol királyi pár és Barcelona grófnője táviratban fejezték ki részvétüket. Másnap Gyenes a San Isidro temetőben kapott sírhelyet. Családjának kérése az volt, hogy sírján szimbólumként megjelenjen az egyetlen elem, amely minden fényképén látható: az aláírása. Juan Gyenes e kiváló és teljes életrajza Fernando Olmeda tollából alaposan és részletesen dokumentálja ezt az egyedülálló életet, tele eseményekkel, miközben a fényképészetnek nyújtott érdemei alapján a megérdemelt helyére emeli az egyetemes érvényű művészt.

Faces, places, and punk: The Alice Springs portfolioWhen her husband who happened to be world-famous photographer Helmut Newton fell sick with flu on the eve of a pressing deadline in 1970 it was up to his wife, June, to photograph an advertisement for Gitanes cigarettes. After the barest instruction in lighting and camerawork, June clicked the shutter on a smoking model and ignited her own career behind the lens.Using the pseudonym Alice Springs, June Newton began as a commercial photographer, shooting advertisements for French and international fashion magazines, before exploring portraiture and celebrity via the highlife in Hollywood and lowlife of the L.A. punk scene during the 1980s. She became Helmut s artistic director, collaborating on exhibitions and books as well as developing her own characteristically intense, revealing photography.Coinciding with a major retrospective at the Helmut Newton Foundation which was shown at the Maison Europeenne de la Photographie, this TASCHEN collection celebrates Alice Springs s work with a focus on the glamour and seedy excitement of 1980s Melrose in Los Angeles, as well as some of her most compelling self-portraits and studies of Helmut. Throughout, we celebrate Springs s sensitivity to subjects in composition and her particular skill at capturing the charisma animating a figure or face.Text in English, French, and German"

This book draws upon the Magnum archive to present a celebration of the great photographers who have captured those most fugitive of moments in cycling: the personalities, emotions and human endurance. It is grouped into thematic chapters, with works by a range of photographers, showing carefully picture-edited images with discursive captions. Each chapter also features one 'story' of an iconic moment, event or scene captured by a single photographer. They explore themes such as the Tour de France, track racing in the velodrome, winter training and the revelry of the fans and crowds, with images by a variety of iconic photographers, including Henri Cartier-Bresson, Robert Capa, Guy Le Querrec and Harry Gruyaert.

In the late 1970s, the George Eastman House approached a group of photographers to ask for their favorite recipes and food-related photographs to go with them, in pursuit of publishing a cookbook. Playing off George Eastman’s own famous recipe for lemon meringue pie, as well as former director Beaumont Newhall’s love of food, the cookbook grew from the idea that photographers’ talent in the darkroom must also translate into special skills in the kitchen. The recipes do not disappoint, with Robert Adams’s Big Sugar Cookies, Ansel Adams’s Poached Eggs in Beer, Richard Avedon’s Royal Pot Roast, Imogen Cunningham’s Borscht, William Eggleston’s Cheese Grits Casserole, Stephen Shore’s Key Lime Pie Supreme, and Ed Ruscha’s Cactus Omelet, to name a few. The book was never published, and the materials have remained in George Eastman House’s collection ever since. Now, forty years later, this extensive and distinctive archive of untouched recipes and photographs are published in The Photographer’s Cookbook for the first time. The book provides a time capsule of contemporary photographers of the 1970s?many before they made a name for themselves?as well as a fascinating look at how they depicted food, family, and home, taking readers behind the camera and into the hearts, and stomachs of some of photography’s most important practitioners.

This critically engaging anthology explores the ways in which photographers from across the globe are viewing the complicated dynamics of family life. The book is divided into two parts: 'Our Own Families' and 'Other People's Families'. Each section includes an essay, analysing the complex attachments between brothers and sisters, parents and children, step-families and in-laws, outcasts and adoptees. Around forty international photographers are interviewed and present their individual pictures, albums and archives, many never previously published in book form. Whether Birte Kaufman's award-winning images of Irish travellers, Magnum member Trent Parke's darkly amusing shots of his family in suburban Australia, Nadia Sablin's elegy to her elderly aunts living in rural Russia, or Elina Brotherus' devastating records of failed IVF, this book takes readers on powerful journeys and enables them to reflect on how they photograph their own families.

Toiletpaper is an artists' magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari and born out of a shared passion for images. The magazine contains no text. Each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialisation of the artists' mental outbursts. Since the first issue, in June 2010, Toiletpaper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.

Na historických snímcích jsou v publikaci zachyceny tři turistické cíle a to Suchý vrch, Severomoravská chata a Lázek. Mezi těmito chatami a rozhlednou jsou zachyceny obce poblíž bývalé zemské hranice. Prostřednictvím historických snímků na české straně navštívíme Červenou vodu, Šanov, Křížovou horu, Bílou Vodu, Moravský Karlov, Mlýnický Dvůr, Čenkovice, Valteřice, Výprachtice, Horní a Dolní Heřmanice, Cotkytli a Strážnou. Na moravské straně se zastavíme u Svaté Trojice, v Podlesí, Písařově, Bukovicích, Štítech, Herolticích, Březné, u hotelu Hýbl, v Crhově, Drozdovské Pile a naše putování ukončíme v Hoštejně.

Publikácia na veľmi aktuálnu tému, ktorú sme vydali v spolupráci s VŠVU, vychádza opäť pri príležitosti 25. výročia založenia Vydavateľstva SLOVART. Oficiálne fotografie Slovenského štátu sú pomerne neznámou veličinou v dejinách slovenskej fotografie. Publikácia Bohunky Koklesovej s fotografickými reportážami z archívu Slovenskej tlačovej kancelárie predstavuje výber 450 fotografií. Autorka sa sústredila na sformulovanie vzťahu medzi fotografiou a históriou, definuje pojem oficiálna fotografia, tlač, propaganda, cenzúra, interpretuje jednotlivé fotografické reportáže. Mnohé historické udalosti tak zobrazuje v inom, novom svetle.

The stories told with graphics and infographics are now being visualized through photography. Fotoviz shows how these powerful images are depicting correlations, making the invisible visible, and revealing more detail than classic photojournalism. Images are omnipresent in our digital age, but they're worth a closer look. Many of them can tell us stories in new and surprising ways. Fotoviz reveals how infographics and data visualization are currently impacting photography and points to innovative possibilities for the future. Today, data is being visualized through photographic techniques such as long and multiple exposures. Insightful information is being communicated by making a single image out of several different shots or using a 3D perspective. The work featured in Fotoviz, to cite only a few compelling examples, makes invisible Wi-Fi fields visible, allows airport flight activity from a full day to appear as if it were happening at once, and illustrates the average selfietaking behavior of an entire city.