Product Description
Paul Vanderbilt called himself an "iconographer" - and his achievements define the term. From 1942 to 1945, he transformed the files of Roy Stryker's Farm Security Administration photographic survey into an innovative historical resource, now treasured for its ability to suggest surprising connections and new directions for study. As archivist and curator for the State Historical Society of Wisconsin, he pioneered intuitive, unorthodox approaches to organizing vast collections of visual materials. In the course of his remarkable career, Vanderbilt revolutionized the way we see and use representations of all kinds - and turned "filing" into an art form. "Between the Landscape and Its Other" is literally a life's work, illustrating and explaining Vanderbilt's most important ideas about visual images. The book features 50 of the famous "pairings" of his landscape photographs from the 1960s with archival photographs from the renowned collection he developed in Madison. In each case, the images appear unrelated. But connections emerge intuitively - according to Vanderbilt, by the same unconscious process that organizes mental images into complex and revealing composites.Vanderbilt's evocative text, along with quotations from James Agee, Robert Frost, Catherine Duncan, Igor Stravinsky, and others, further extends possible meanings and relationships. Throughout the book, Vanderbilt addresses both theoretical and practical details of his work. He describes how he selects and organizes photographs for display. For six of the pairings, he provides extensive analysis of how the images work together to suggest "qualities that can not be photographed directly". He comments on art, photography, landscape, language, psychology, values, and the "illusions of definition". And he explains his own approach to landscape photography, relating his concern for "character, aura, and magic". "Between the Landscape and Its Other" is an elegant summation of Vanderbilt's lifelong convictions: that pursuit is more valuable than achievement, that final truth is never attainable, that art is a viewpoint rather than a medium, and that science is not the only - or the definitive - kind of knowledge.Paul Vanderbilt was an art museum librarian, a consultant in iconography at the Library of Congress, editor of Roy Stryker's Farm Security Administration photographic survey of America, and curator/archivist and field photographer for the State Historical Society of Wisconsin. He died in 1992, while this book was in its final stages of production. ... Read more

Product Description
-A fascinating look at how this top photographer produces meaningful landscape images

-Covers all the different landscape genres from beaches to forests and everything in between

-A follow-up to the hugely successful Photos with Impact Taking and making a photograph that will have more impact than others, one that stands out from the crowd, takes skill and time. With this stunning new guide from world-renowned photographer Tom Mackie, readers will learn how to take the best landscape photographs possible -- photos with impact.

Rather than concentrating on techniques, Mackie breaks down all the different sub-genres of landscape photography and examines the challenges and particular processes involved with each specific environment. From the white sand beaches of Aruba, to the snow-capped peaks of the Alps, each chapter includes Mackie's best images with detailed captions that explain how the image was achieved. ... Read more

Customer Reviews (2)

Average - Good Pictures
I could not find any secrets from this book.Since digital is now the new photgraphy this book is totally film.Even so it was not too helpful.

There are No Secrets
There are no secrets in "Tom Mackie's Landscape Photography Secrets" except those encoded in Mackie's brilliant photographs.But for the photographer willing to take the time to decode them, Mackie's book will speak volumes.

The book is organized into different environments for landscape photography, including urban, rural, coastal, mountain, forest, desert, water and garden landscapes.The reader will find this approach convenient for review before entering one of these environments with his or her camera.

The pictures are spectacular.As I write, I've randomly opened the book to a winter picture of a crystal encrusted tree, set off against an intense blue sky, and framed by the ruins of a church.In front of the ruin and to the right is a lone crystal encrusted weed and set further back from the subject and to the left is a smaller encrusted tree.The ruins, the weed and the smaller tree and several other objects continually lead the eye back to the central subject.

Mackie loves the panoramic view that imitates the way we naturally see.There is a photograph of a snow-covered ridge moving from near left to far right, enclosing a green valley.And there in the left foreground is a highland sheep, like an exclamation point.

Mackie regularly uses filters to improve his pictures.Almost every photograph uses a polarizing filter to intensify colors.Mackie is not above using a coral filter to capture his vision.

This book was a twice eaten meal.The first time I read it I rushed from picture to text and back again.I must confess to being a little disappointed by the text.Then I went back over the pictures slowly, analyzing and comparing them.Each one was a mini-lesson in landscape photography.

Mackie's ghost writer did a competent job of writing but did not provide any illumination for the student landscape photographer.Rather than secrets, the prose contains a number of tips that are common in the literature but still bear repeating.It's no secret that returning to a photographic scene under different time and weather conditions will yield new material that will probably be enhanced by the light of experience or that wet rocks provide more dramatic subjects than dry ones.

I wish that Mackie had given us his own words, taking the time to shape and polish them the same way that he does with his photographs.It's hard work to apply writing techniques to explain your vision, but it's not something that someone else can do well for you.

As an instructional manual, this book is aimed at advanced photographers who are capable of analyzing the photographs and extracting lessons from them.Others readers may just have to sit back and enjoy the glorious landscape photographs. ... Read more

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Customer Reviews (10)

Beutiful book
This is a really beautiful book! Very nice print, beautiful photographs, short biographies of authors and short description of every photo makes it a very nice book for relaxation. Beside that you can learn a lot about landscape photography and be inspired to just get out there and enjoy the photography and landscapes.

The only downside is that when I saw this book I bought the entire series (wildlife, portraits, photojournalism, nudes).

beautiful book
this really is a treasure of a book.looking through the photos, i feel inspired by the beauty of the earth.almost a spiritual experience.

Inspirational Images of the Natural World
This is a gorgeous collection of images from some of the leading landscape photographers in the world today, including some well-known photos by the late Galen Rowell.While no book can ever be a substitute for the actual experience of viewing the original prints, as I learned from a few visits to Galen and Barbara Rowell's gallery in Bishop, California, the reproduction quality here is quite high.And some of these images are simply stunning!One of my personal favorites is an image of desert geysers by Michael Fatali where the sun and moon are both present.What an unusual photograph!It was so refreshing to realize that I had never seen most of these photographs before, despite my frequent perusal of photo books.In keeping with the tradition of landscape photography, most of the work here was done in 4x5 or 8x10 format, though there is also a smattering of medium, panoramic, and 35mm formats.This is definitely not a how-to instructional book, but does serve as an excellent source of inspiration for any budding nature photographer.Sure, there are a few omissions of great landscape photographers today, most notably the large format work of Carr Clifton.Nonetheless, this is an outstanding overview of the best landscape work being done today, a small percentage of which is still in black-and-white.As anyone familiar with this art form already knows, the most important quality of a good nature photographer is an obsessional love of the land itself, a love at least strong enough to compel a person to drag themselves out of bed at the most unspeakable hours to be in a position to catch the first rays of dawn.It is interesting and instructive to read the various stories accompanying the photographs that describe the incredible lengths to which these photographers will go in an effort to capture their finest images. Their sheer persistence, patience, and resolve in trekking untold miles to a predetermined location, often in cold and inclement weather with several pounds of large format gear strapped to their backs, can make a rank amateur like myself feel shamefully lazy.If you think you may have an interest in landscape photography and the images in this book do not inspire you to hit the hiking trail,perhaps you should consider selling your camera on e-bay.

Not only great photographers but great people
I normally do not write reviews but here goes...I find this book very inspiring!Not only to see the works of these wonderful artists, but to gain insight into their craft.This is a great way to see and own these works considering the actual value of their prints.The best aspect of this experience is to see how an artist visualizes their subject which puts you right there with them, which is the best experience for any photographer in training.

I have had the great privilege not only to own some of these works, but to have actually photographed along side Michael Fatali.I have to say that his work goes well beyond what you can see in his images since much of what is recorded in the print was more emotion and spiritual than can be visible in an image.I am a firm believer that art does not stand alone but is always better understood and appreciated within the context of the creator.Therefore getting close to the artist, which a book like this provides, is a great way to help us understand the work in the context of those who created it.If you can get a hold of this book and you love photography or art in general it is a must have!

A Study in photo excellence
This is an incredible collection of photos from today's master photographers.If that isn't enought , Each artist also gives personal insite to their approach . My personal favorites are the photos by Burkett , Cramer and Fatali.

As one reviewer mentioned earlier , It also has the benefit of comparing the different approaches of the same subject taken by Dykinga and Fatali , One that is a great learning tool within itself since the Fatali photo is also a accident that turned out to be my favorite photo. It shows what is possible using double exposures.

If you are interested in photography and learning by other artist efforts , you will spend a lot of time reading this book. It is money well spent. ... Read more

Product Description

In this wonderful exploration of the American Landscape, 17 distinguished writers and photographers create a vivid, perceptive portrait of our nation's natural beauty. Highlighted by 120 breathtaking images and featuring thoughtful, evocative prose by award-winning authors, Heart of a Nation ranges from Vermont to Alaska, from the Appalachian foothills to the lofty peaks of the Sierra, from the still ponds of our southeastern wetlands to the stormy shores of the Pacific Northwest. It's a magnificent portrait of our majestic land -- and a journey of discovery no reader will ever forget. ... Read more

Customer Reviews (2)

Beyond Inspiration!
What can possibly be better than to curl up with a great book full of breath taking photographs, beautifully written stories about fascinating places and sprinkled liberally with quotes from the likes of John Muir, T.S. Elliot, Henry David Thoreau, Aldo Lepold and Jonathan Swift? But then, it is a National Geographic book and we expect no less from them and are seldom, if ever, dissapointed. This would be a great book even without the magnificent photographs, so just imagine how great it is with them! Buy it - Read it - Love it. If you are a lover of fine books, you won't be dissapointed with this one!

Inspirational
Photography has always been an outlet to certain visionaries in our society. Giving them a way to express to others the way they interpret somewhat ordinary and sometimes not so ordinary sights.This collection of images inspires all those who look at them. And then combining these with words of inspiratin and thought provoking prose makes it a treat to the soul as well as the eyes. ... Read more

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Customer Reviews (4)

best of the best
I have purchased several books on photography in the past few months since starting this hobby, and this is by far the best. Mostly because it focused on the things I'm after, B&W and landscapes, that is about all I want to do. There is not a lot of information on Digital Photography, but unlike some books I have, there were not several chapters on darkroom developing that I'll likely never need. This book seems to focus on the composition and creativity, which was just what I needed. I can't recommend this book enough. Buy it now, you won't be dissappointed.

A little bit of all the important stuff!
I first borrowed this book from the library by title only in an on-line search.What a surprise!The authors have distilled a lot of important ideas and facts into simple sections, with pointers & critiques along the way.A veritible small wealth of information.While a pro might find this all rather second nature, an amateur will definitely find something of value in here, and a beginner will find the whole book very valuable.

Black & White Landscape Photography
This slim volume is a comprehensive guide packed with necessary information on black and white and landscape photography.The introduction to the book states, ". . . when photographing landscapes, you are atthe mercy of these elements--quickly changing weather, changing and unevenillumination, poor contrast or limited tonal range, undesirable yetunchangeable foregrounds or backgrounds, and extraneous objects in thescene which may significantly detract from your composition."Thechallenge of creating a dynamic black and white landscape almost makes aphotographer want to quit before beginning.Yet, with the help of thisbook, obtaining a spectacular black and white landscape seems to be withinthe realm of possibility. I like the book most because there isgreat detail in clear and understandable terms.Along with the text aremore than seventy interpretive examples of black and white landscapephotographs. The first section of the book discusses "TheArtist's Tools."Everything from camera format to film and tripodsare thoroughly addressed, including the benefits or drawbacks of variouschoices, prices and recommended accessories. Section two defines theart of landscape photography.Some questions answered are, "What isart?" "What makes a good landscape photograph?" and"Why black and White?" I found section 3 to be the mostinformative.Visual elements are explained in detail.Among some of theaspects covered are framing, vision, viewpoint, tonality and design. "Field Techniques" are explained in section four.The sometimesconfusing effects of different colored filters on black and white imagesare explained with the help of charts and photographic examples. Acondensed, but comprehensive explanation of the Zone System ends thissection. The quotation, "The darkroom. . . allows you to createan image that exactly matches your artistic conception" introducessection five. This chapter takes us into the darkroom and beyond.Sectionsix explains "Putting it all together," and section seven givesexamples of field exposure, darkroom printing and Zone System fieldexposure records so we can repeat the perfect image every time.A list ofrecommended books for further reading is supplied as is a list of Internetresources. I found this book so helpful and comprehensive, I carry itwith me into the field and find myself referring to it often.A definitefive star addition to your library.

Excellent for learning how to compose or critique photos
I highly recommend this book to anybody interested in learning more about composing or critiquing photographs. ... Read more

Product Description
The photographers of the Clinton County project--there were nearly twenty of them--did not work quickly; they studied the lay of the land, met people, drove the streets and alleys of every community, and knocked on several hundred doors. More than two years, countless miles, and several thousand images later, the result is A Place Called Home.

One of the most ambitious photographic projects ever compiled in Ohio, it arose as idea in the minds of two local women--Joann Chamberlin and Leilani Popp--who saw it as a fund-raising vehicle for their Clinton County Foundation. Its execution fell to the localOrange Frazer Press, whose urban art and coffeetablebooks had put it within the orbit of some of the best photographers in the country. And so it began,the diverse group ranging from Thomas Witte (journeyman Sports Illustrated shooter) and Dan Patterson (one of the country's foremost military aviation photographers), to Thomas Schiff (who brought in his 360-degree panoramic camera) and Ty Greenlees (the lead photographer who brought his own airplane for aerial shots).

It was the photographic equivalent of bringing the Special Forces into Clinton County to chase down insurgent photographs. Naturalist and landscape specialist Ron Levi mapped most of the county, studying its agrarian vistas through four seasons to learn where the light fell most advantageously. Bob Flischel, the noted portrait photographer, came in from Cincinnati for lengthy sessions involving a sound stage of lights (as well as the patience of his subjects). The photographers juggled whimsical weather and the vagaries of people, machinery, and livestock. They scheduled and re-scheduled.

The foundation, in a farsighted moment of its own, gave the photographers--most of whom did not know the county--a virtual carte blanche to discover the essential imagery of the place we call home. Their work to locate our universal imagery has become a picture of life in one particular Midwestern place, held firmly by two centuries of agrarian small town traditions even as it moves itself into a less-traditional future. Picture by picture, these photographers demonstrate how we live and work and play, and they do this in such a compelling fashion that their narrative picture leads others to wish they lived here, as well. ... Read more

Product Description
Nicolas Faure has been photographing the Swiss landscape since the 1990s, concentrating in particular on the amalgam of traditional and modern scenery that he finds along its highways, where technology, architecture and a certain concept of nature merge. The motorways, which now criss-cross the country, at once divide it into parts and also constitute a whole new territory in themselves. Faure cruises its apparently natural but fundamentally man-made surroundings, eliciting views that characterize a new Switzerland. These ìnatural surroundings,î built amidst concrete, inaccessible to visitors and almost invisible to motorists, are, as he sees it, the epitome of paradox. ... Read more

Product Description
How do we read a book as an object in a network, in a post-book, post-reading, meta-data environment? Seven Controlled Vocabularies models a generic book, a kind of field guide to the arts, wherein distinctions between various aesthetic disciplines are relaxed or dissolved and where avant-garde notions of difficulty are replaced with more relaxing and ambient formats such as yoga, disco, and meditation. Each of the book's seven sections is devoted to a particular art form--film, photography, painting, the novel, architecture, music, and theory--and includes both text and found photographs as it explores the idea of what it means to be a book in an era when reading is disappearing into a diverse array of cultural products, media formats, and aesthetic practices. Seven Controlled Vocabularies will be available in a variety of print and electronic book delivery systems and formats. ... Read more

Customer Reviews (1)

anonymou blerbs
A FEW ANONYMOUS BLURBS

These recipes for literary ingestion compute and activate our era's feelings. They autofill the blankest of architectural perfumes, landscapes, cigarettes in airports, and photos of my labels. Tan Lin reads my Wal-Mart in an utterly, compellingly boring way. He cures my indigestion. He photographs my hallucinations like a book with an obituary inside it.


Tan Lin proposes a radical idea for reading: not reading. Words constitute the most fleeting engagements in our recycled textual ecology. Language is fluid and can be poured. Skim, dip, drop-in, tune out, click away. Today, they've come together between a book's covers; tomorrow they'll be a Facebook meme.


Tan Lin returns us to the most traditional idea for reading. Words, so transitory today, are fundamental elements that constitute Orphic engagements, singular among the many technologies make up the shape of our rich semiotic landscape. You get the sense that Lin's words are meant to last forever. By setting up a textual ecology - archiving and rejuvenating language -- Lin makes us aware of something that is beyond both the material and ephemeral nature of words. Language is solid and palpable. Plunge the depths, close read, dwell, savor, project. Today these figments of eternity have come together between the covers of this book; tomorrow they'll be canonical.


Begin with an anecdote: We took a train to the opening of an exhibition at the Fogg Museum.The show displayed the activities of Bas Jan Ader, whose work--might include singing, filmmaking, writing, etc.But the exhibition had the most unlikely of titles, a title that to me was so strange as to be inexplicable: Extreme Connoisseurship. The exhibition intended to demonstrate work of artists who did not specialize in any so-called "medium." I did not want to bother the curator with my queries.So I cornered one of the directors of the museum.I told him that the title and the argument it reflected appeared to me to be thoroughly settled a couple of generations ago. Towering over me and looking miffed, he said, "Some of us are just more conservative than others."


Seven Controlled Vocabularies is an experience--not an argument--of the marvelous fluidity of categories.It demonstrates that any media is a quality of experience, not the definition of physical criteria.In its methodology, it might be compared to Warhol's A, A novel, which also demonstrates it own arguments--in that case about language--rather than declaring them.


Tan Lin's Seven Controlled Vocabularies is a brilliant manifesto for conceptual, ambient writing, for non-reading. Part theory, part picture-poem, part airport novel, Seven Controlled Vocabularies ceaselessly surprises us by demonstrating that language, as wallpaper, reaches into an intensely profound and engaging way of experiencing text... "poems to be looked at vs. poems to be read." Seven Controlled Vocabularies is a significant contribution to today's discourse about readership and thinkership, where the poem is "camouflaged into the feelings that the room is having, like drapes..." Use this book as a guide to non-reading reading. "Here is your Moist Towelette."


[blurb for Tan Lin]
* A mammoth composition, Tan Lin's Seven Controlled Vocabularies is a vane existing--where udders are not a road or dictionary but airport (or at least terminal).
* The saddle of a novel, where so many have stood, is no longer an objective cup.
* A musical wound is practiced, poems feed process.
* Painting (a toward action) is also part of its science, and he is a theory yelling author.
* Here Lin controls the chain to expand the film, a vaccine against harming willows.
* Unbecoming delays appear in atoms of photos; hallucination opera lisps.
* Landscape struggles so that "blandness has no boundaries"; empty plates at the book's outset comment on our hunger, a terrible volley (hand) that particularly records us.
* Running its length we are gradually filled, sating our need to see, then read, and think.
* To remain erases us.
* To peer connections is surveying the engineer and engineered.
* Readers who fear false endings will find no relief; instead, honest thoughts, psychological heads.
* Since so ideal a fortune in the assignment of memory presses the debate, a gear (drama), aggregate machinery, places us not at rest.
* When he is jazz (song landing), balance goes to speak and proteins laugh.
* Lin's writing is nodding, shades wiping so informal an element.
* A mill obtains testament.


Tan Lin's work finds us bobbing in a Great Pacific Garbage Patch of language, bits of which can be pasted together to make a raft of a design that Otto Neurath could never have predicted. It's a snapshot of how we read in 2009: terminally distracted yet managing to find, here and there, meaningful connections.


Is 7 Controlled Vocabularies like a performative manual? or an outline of flourishing conjecture? habitable (peripatetic)? I would say it "reminds me of Oulipo", but instead of Oulipo proposing performativity or some gesture, the text is enacting itself slowly, in a soft paradigm; the text becoming pink noise _with itself_. I wonder if this is via the object (book)--via its heterogeneity, architectural liminality, ambient outsourcing, dissemination--or the [potential] site in which it traverses, being-mobile, and the contingencies of the site (lighting, room temperature, humidity, decor, etc). Is a playback discrete?

Is reading production? is it viable?

(i feel like freud, asking, 'isn't this self-evident?')

Danielle Aubert, Sarah Gambito, Kieran Daly, Dan Visel, Kristen Gallagher, Chris Funkhouser, Robert Fitterman, Charles Bernstein, Kenneth Goldsmith, Josiah McElheny, Warren Liu contributed to these reviews. ... Read more

Product Description
The noted American landscape photographer Yuan Li explains in this text how he prepares to photograph a scene. Using examples of his work, he discusses light, colour and composition as well as atmosphere, movement and the use of special lenses in relation to perspective. ... Read more

Customer Reviews (3)

Basic and informative
Lots of example on taking a good landscape photo and do and don't.

Good book for intermediate level photographers
Beautiful photographs.Good format.Describes how the photographer sees, thinks, and responds to produce vivid, well composed photos.Could benefit from more technical information:shutter speed, aperture, area selectedfor metering.Author relies heavily on multiple filter usage andexclusively on Fuji Velvia, thus a fairly narrow style is presented.Agood book for intermediate photographers learning the process ofcomposition.

Excellent value
An excellent book on landscape photography. The layout of the book is very different from other books on the subjects, and you'll either love it or hate it. I love it. The seeing-thinking-acting concept behind each pictureis great. All of the pictures are excellent quality, and they're all veryinspiring. ... Read more

Customer Reviews (3)

Amazing photographs. Amazing quality.
I spend so much time in book stores looking through photography books that it is rare these days for a book to grab my attention. One flip through this book, and I had to stop for a moment, sit down, and study closely each one of these photos.

The quality of these prints reproduced from large 4 x 5 inch negatives is unbelievable. It is like the first time you saw HD television after watching regular TV all your life.

Cornish's images are moody, often capturing the warm glow of sunrises and late afternoons. Besides each photo, Cornish explains the thought process and planning that was involved. At the end of the book there is a thumbnail of each photograph along the with the film, camera, lens, filter, shutter speed, and aperature used to shoot the photo.

If you are tired of the same old photography books showing the same places you have seen a hundred times over, then this book will knock your socks off.

An excellent book on a way of 'seeing' the landscape
Joe Cornish has a growing reputation. Joe has been illustrating books and photographing the UK landscape for the National Trust of England and Wales for many years. After building his reputation in this way, he now focuses on landscape photography.
This collection of images gives the technical information that many photographers crave about each image. But more than that, it is a lesson in 'seeing'and can inspire you to gain confidence to develop your own way of seeing and to follow your own vision.
This is not a 'how to' book, but one that will inspire you because the way Joe has developed his own way of seeing and expressing that with the camera is so distinctive. I disagree entirely with the earlier review that gives this book only 3 stars. A photograph may be technically correct in its exposure and its time of day. But it is only as good in the eye of the beholder to the degree that it reflects your own taste. If it is not to the taste of the earlier reviewer, that view is to be entirely respected. But don't let that put you off looking at this book and making up your own mind. Joe really is just as artistic and able as William Neill, Jack Dykinga and any other of the top landscape photographers.

Nice Pictures, but Not Great
This is a collection of Cornish's color landscape photographs taken around the world, mostly with a 4 by 5-inch view camera.Each picture is accompanied by a description of the circumstances under which the picture was taken.There is also a smaller picture taken of the same subject or at the same time that is contrasted with the larger photograph.

The photographer is clearly concerned with light in the landscape.Many pictures show the red glow of "magic hours" or reflections of water, or cloudy skies.Cornish's photographs are lovely, but there is nothing outstanding about them.Once upon a time this book might have been at the cutting edge.But we now live in a world where first-class landscapes are offered to us in every automobile advertisement so that to capture our eye, an image must be exceptional.

Nor is there any common theme among the landscapes that might lead you to look at them because you have an interest in the subject matter.I would have felt proud to have taken any of these pictures.However, I wouldn't expect many people to lay out good money for such a book when there are so many other outstanding works by world class photographers, unless they already owned everything by Ansel Adams or Galen Rowell or Art Wolfe.

I must confess that this book was not what I expected.The publisher, Amphoto Books, usually puts out "how-to" books, and I expected something like Galen Rowell's "Mountain Light" that would deal with using light to create better pictures while at the same time presenting a great portfolio.I am certain most serious landscape photographers would be highly interested in a new book on this subject.But the only way you are going to learn anything from this book is by analyzing each picture yourself at great length, and extracting some photographic principle from your analysis.To be fair, technical information is provided on each picture and the accompanying discussions occasionally present a few of the considerations in using light in landscapes, like the effect of long exposures and the special results of early morning and late day light.Unfortunately I don't find this information very educational for either the beginner or the more experienced photographer.For the beginner, I would recommend either John Shaw's "Nature Photography Field Guide" or his "Landscape Photography" (the former was recently printed and reflects the changes in technology of the last few years, but does not have quite as much detail about landscapes).The more experienced photographer will be more interested in "Fine Art Nature Photography: Advanced Techniques and the Creative Process" by Tony Sweet.Sweet's book also uses single pictures on a page with discussion, but the photos are extraordinary and the discussion instructive. ... Read more

Product Description
Focusing on the techniques needed specifically for the use of infrared to shoot landscapes, this book walks the reader through everything form finding the best locations to how to select the best equipment. More than 50 compelling images are analyzed and used to illustrate tips and techniques. ... Read more

Customer Reviews (6)

Eyecatching landscapes
Good book on the almost lost art of infrared film photography.Infrared films from vaious manufacturers are summarized, explaining any differences between them.The author then walks through images and how the time of day, shadows, highlights and contrast, to name a few, influenced the outcome.This book was truly a learning experience with a wealth of helpful tips on one of the more popular aspects of the art.

No redeeming qualities
Infrared photography is ripe for somebody to come along and codify it. It's a very confusing subject for a number of reasons. For one,the various infrared films have different sensitivities to infrared. For another, there are no commercially produced infrared meters. Between the two, almost all infrared texts give vague advice on exposure, development, film speed rating, and every other aspect of photography. Very few people are willing to give prescriptive advice.
That said some people produce beautiful images with huge tonal scales and refined highlights, so it must be doable and it keeps aspiring IR photographers searching for a master to reveal the techniques and simplify the form. Todd Damiano is not one of these people.
Every shot in this book has blown highlights and blocked shadows. They look like they were printed on an unmodified inkjet. They are flat and lifeless and the text is fairly generic and not at all specified to the subject. In fact the images are so bad, I went and looked at other images to make sure I wasn't wrong about the possibilities of IR.
Not only would I not buy anything else by this author, I wouldn't by anything else from this press. You can find much better information and examples on the Web.

a little disappointing
I was a little disappointed in both the images and text. The author/photographer could have done more with the landscapes he had to work with.

Nice pictures, but...
There seems to be little content here. Some nice images, but I didn't learn any how-to from the techniques. This is another guide to lucky dice-rolls with infrared.

A must have photograghy resource. Brilliantly done!
Damiano has done an exceptional job in completely focusing in on the photography techniques at hand.Formal and complete descriptions make this a wonderful experience for any photographer. ... Read more

Product Description
In Seeing Landscapes, Charlie Waite passes on to readers the expertise he has built up over twenty years as a professional landscape photographer. Information on the creative aspects of each photograph combine with practical tips and technical details to make this book an invaluable addition to the library of all keen photographers. This inspiring work is an intriguing insight into the work and approach of a master photographer. ... Read more

Product Description
Telluride:Landscapes and Dreams is a collection of photographic stories told about one of the most spectacular regions in the United States.This stunning medley of black-and-white images capture a place and awe and mythe in all seasons, in historic and present-day time frames, in the faces of people who enhance this region and in the dreams scattered among its skies. ... Read more

Customer Reviews (1)

Personal and Passionate, Telluride Prose and Photography
Eileen Benjamin's "Telluride: Landscapes and Dreams" is a rare achievement: a coffee table book of black-and-white photography that is built to last. Benjamin, who, as her friend and fellow photographer Jay Dusard ("The North American Cowboy"), writes in an introduction, "deserves her position in the top rank of black-and-white nature photographers," has lived for many years above Telluride, which is quite an "above," since the town sits at almost 9,000 feet in the San Juan Mountains, in southwestern Colorado. She knows the terrain and the people, and those of us who pay attention to her book will begin to know it, and them, too. "The scenery is so spectacular, of course," Benjamin said, in an interview. "But what I wanted to do with this book was to introduce the people who live here, who are every bit as spectacular as the place wherein they live. In the end, after we've hiked so many trails and skied so many runs, it is the people, so unique and involved, that keep us all in Telluride." The photographs, shot with a 4X5 field camera, are as outstanding as they are outrageous. The expected shots of soaring mountain ranges and beaver ponds and aspen groves play their customary roles in winning form. But included, too, are unexpected portraits of various Telluride citizens, people who, according to Benjamin's wonderful and enlightening vignettes at the end of the book, have made and are making a difference in a town and a region under constant pressure to change, to grow, to build, to BOOM. My own favorite picture, though, is titled "Still Life 2000." It is a typical "still life" formation of several different, yet related items, all gathered around and stacked upon a computer. It is typical only in type, in being representative of the category. It is untypical, and entirely so, for the rest of the book's collection; a very pleasant surprise. Benjamin formed her own publishing company for this venture. She has another book, with Telluride poet Rosemerry Wahtola Trommer, called "if you listen," yet wanted to publish this one herself so that, as she told me, "I could control the finished product." "It is already into its second printing," Benjamin said, in mid-December. "I learned so much by taking it through the entire process, and I plan to do more." Among the "more" being planned, is a book about the Schmid Ranch (a photo of which can be seen in "Telluride: Landscapes and Dreams"), located on Wilson Mesa near Telluride, and another, which Benjamin describes as being "a total departure." "It will be called `The Fabric of A Woman,' she said. "Rosemerry (Wahtola Trommer) and I are already working on it. It will be all still life, all linen and fabric, beginning with the birthing sheet and running, like a quilt, all through all the fabrics, the material that make up a woman's life - combined with Rosemerry's poetry." Telluride, Benjamin's home and workplace, and poetry are made for each other. In the volume under review here, Janet Steinberg, a Telluride writer who now lives near Santa Fe, has provided the verse. I found Steinberg's contributions moving, fully capable of standing alone; the slight poems are every bit as grand as the enormous scenery which surrounds them. Benjamin's publishing company, Montoya Publishing, got its name from her husband Norm's horse, dead now. A horse, Benjamin said, "that took such good care of Norm and all of us, a wonderful horse. By naming the company after him, it just made the whole enterprise that much more personal, added that much more passion to it." "Personal" and "passionate" are words that well describe "Telluride: Landscapes and Dreams." Benjamin hung from open helicopter doorways, snowshoed deep into high backcountry, waited patiently for shadows to fall just so... "That is why I work in black and white," she said. "Snow is the most difficult thing to capture photographically, to make it white and yet give it texture without turning it gray. There is composition, lighting, and the magic of obtaining a good print. I work in black and white, too, because I love the idea of the darkroom, of being in control of my work's destiny, of working without the help of color. It is a much more challenging medium, and justifiably more expressive, filled with drama." And this book is filled with excellent results. I know Telluride. I know it well enough to know that Benjamin knows Telluride, too, and is, with this book, offering everyone else the opportunity to get acquainted with what Steinberg calls "a magical place." Those who do read the book, who do get acquainted with Telluride, and with Eileen Benjamin's work, will find themselves involved in special relationships, relationships that, like the book itself, will be built to last. - Mike Ritchey ... Read more

Product Description
A Variety of Landscape Photos, ... Read more

Product Description
More than 110 beautiful Irish landscape photos from various counties (2 per page). Photos include the Rock of Cashel, Cliffs of Moher, Glendalough, Johnstown castle, Slea Head, Clonmacnoise, Bunratty, Glencar waterfall,Slieve League cliffs, Ducketts Grove castle, Carrauntoohil mountain, Mangerton mountain, Croagh Patrick,Dysert o Dea and many more ... Read more