Photography in Focus is a comprehensive photography textbook dealing with basic camera functions, lighting, film development, and printmaking for black and white and color photography.
The Basic Darkroom Book has been the master reference work for both professional and amateur photographers for more than twenty years. Completely revised to include the new films and photo papers, the latest technology and processing methods, and important advances in print preservation, this extensive guide tells you everything you need to know to produce professional-quality photographs in your personal darkroom. Clearly written in step-by-step fashion and filled with troubleshooting tips only an expert can provide, Tom Grimm's book helps you get the finished picture you want. In his classic Basic Book of Photography, he showed how to creatively capture images on film. In The Basic Darkroom Book, he gives you the knowledge to not only print it but make it into a work of art.
Nonfiction. Photography. Art. UNDERSTORY: LUMEN PRINTS OF FLORIDA FLORA is a stirring effort to capture the beauty and habitat changes in central Florida's Pine Flatwoods environment, which was once the largest ecosystem in Florida. Unlike traditional photographers, Burchfield works in conjunction with nature, producing camera-less one-of-a-kind photographic images in the wilderness, using natural processes that date back to the origins of photography. Working on a large scale, Burchfield was able to make images of whole trees and a 10' x 30' mural of a whole Pine Flatwoods ecosystem. The result is an amazing collection of images--from the representational to abstractions of color, shape, and form--which encapsulate the essence of the plants and echo the cycle of life.
When Donald Justice wrote in “On a Picture by Burchfield” that “art keeps long hours,” he might have been describing his own life. Although he early on struggled to find a balance between his life and art, the latter became a way of experiencing his life more deeply. He found meaning in human experience by applying traditional religious language to his artistic vocation. Central to his work was the translation of the language of devotion to a learned American vernacular. Art not only provided him with a wealth of intrinsically worthwhile experiences but also granted rich and nuanced ways of experiencing, understanding, and being in the world. For Donald Justice—recipient of some of poetry’s highest laurels, including the Pulitzer Prize, the Bollingen Prize, and the Lannan Literary Award for Poetry—art was a way of life. Because Jerry Harp was Justice’s student, his personal knowledge of his subject—combined with his deep understanding of Justice’s oeuvre—works to remarkable advantage in For Us, What Music? Harp reads with keen intelligence, placing each poem within the precise historical moment it was written and locating it in the context of the literary tradition within which Justice worked. Throughout the text runs the narrative of Justice’s life, tying together the poems and informing Harp’s interpretation of them. For Us, What Music? grants readers a remarkable understanding of one of America’s greatest poets.
In seventeen well-wrought tales, you see people across Texas and around the world. There's an East Texas artist confronting a wild tiger in a Southeast Asian jungle, a child in Port Arthur trying to understand death, a young unlikely pirate saving a woman from slavery in Madagascar, an American soldier in Vietnam struggling with his wife's infidelity, a young couple's courtship as they canoe the Brazos River, a woman in Amarillo breaking away from an abusive husband, a comical gold prospector in Venezuela dealing with bandits, and other vivid characters you will remember long after you close the book.
The stereotypical hillbilly figure in popular culture provokes a range of responses, from bemused affection for Ma and Pa Kettle to outright fear of the mountain men in Deliverance. In Hillbillyland, J. W. Williamson investigates why hillbilly images are so pervasive in our culture and what purposes they serve. He has mined more than 800 movies, from early nickelodeon one-reelers to contemporary films such as Thelma and Louise and Raising Arizona, for representations of hillbillies in their recurring roles as symbolic 'cultural others.' Williamson's hillbillies live not only in the hills of the South but anywhere on the rough edge of society. And they are not just men; women can be hillbillies, too. According to Williamson, mainstream America responds to hillbillies because they embody our fears and hopes and a romantic vision of the past. They are clowns, children, free spirits, or wild people through whom we live vicariously while being reassured about our own standing in society.
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