With this extraordinary handbook, you, too, can frame the stars and have them hanging on your livingroom walls. Astrophotography for the Amateur provides a complete guide to taking pictures of stars, galaxies, the Moon, the Sun, comets, meteors and eclipses, using equipment and materials readily available to the hobbyist. Based on suggestions from readers of the first edition, the new edition has been completely updated and expanded to include new chapters on computer image processing and CCD imaging; expanded advice on choosing cameras and telescopes; completely updated information about films; a much larger bibliography; and hundreds of new photographs (in color and black and white) demonstrating the latest equipment and techniques. Astrophotography for the Amateur has become the standard handbook for all amateur astronomers. This new edition provides an ideal introduction for beginners and a complete handbook for advanced amateurs. It will also appeal to photography enthusiasts who will discover how to take spectacular images with only modest equipment. Michael A. Covington received his Ph.D. at Yale University. He is the author of several books, including Syntactic Theory in the High Middle Ages (Cambridge, 1984). He is a Senior Member of the IEEE and is the Associate Director of the Artificial Intelligence Center at the University of Georgia.
The relatively new medium of photography has generated, from its inception, intense debate over its merits as an art form. (It was not until late in the twentieth century, for example, that colour photography was accepted in the canon of art historical scholarship.) In Reading Photography, Sri-Kartini Leet brings together over 100 extracts from writings on different themes in the medium to explore the art of photography. Beginning with the historical origins of photography, she charts the changes from daguerrotype and formal portraits to the everyday and the emergence of modernism. By the 1920s well-known surrealist artists were using the photograph to develop experimental techniques. Colour, frequently sidelined in early photography, is considered in its various incarnations of advertising, amateur pictures and its adoption in the 1960s as an expressive media. The concept of the photo as a commodifying practice, blurring the boundaries between the artistic and the prosaic, is discussed. Photography was included in the post-modernist movement to question traditional notions of what constitutes art, and several authors have been selected to illustrate this development.Landscape and the city are juxtaposed to demonstrate how location was used in the representation of political, social and psychological states. The role of the individual in these settings is expressed in a chapter on identity and photography. Preceeded by a discussion of its means of rendering the subject an object, a chapter on anthropological photography demonstrates the unattainable desire to achieve an objective view of the different natures of man. Equally, the nature of photography enables artists to dismember the body and thereby dehumanise it. Feminism and the role of the female photographer are implicated in this chapter. The final section considers the impact of the digital age. Sri-Kartini Leet's judicious selection of articles introduces the reader to a broad and enriching range of art historical comment engendered by the photograph, and makes Reading Photography an indispensable aid to the study of photography.
Together, this two volume set provides the amateur astronomer with all the information they require in order to set up their telescope and embark upon an exciting exploration of the night sky. Complete with trouble-shooting advice, practical tips for observing over 200 interesting celestial objects, and information about the latest products and resouces, Covington's two books will become an essential purchase for every new telescope owner.
The importance of vision and visual arts such as painting, theatre, and sculpture in Marcel Proust's A la recherche du temps perdu has long been affirmed; another significant system of visual representation in the novel is photography. Proust appropriated photography as a practice with its own distinctive characteristics which could inform his writing about the processes of perception and memory. Through close textual analysis of scenes where photography is experienced or observed as a practice, and scenes where photography is written into the body of the text, Aine Larkin offers an invigorating new study that sheds genuinely new light on the presence of photographic motifs in Proust's novel, and the subtlety of Proust's engagement with this modern imaging system in his work.
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