Exposed - The Business of Photography is written specifically for the South African market. Many people are drawn to photography as an art form, but few are prepared for the reality of the industry. Whilst being a creative medium, photography is a multi-billion dollar international industry. It as important for photographers to hone their business skills as their creative skills. This book addresses the business basics that every photographer should know, from copyright to how much to charge, before venturing out as a Professional Photographer.

Jennifer Tucker studies the intersecting trajectories of photography and modern science in late Victorian Britain.

In the late 1990s Bryan Adams became curious about making photographic self-portraits for his album covers, and so chose to pick up the camera himself. That serendipitous decision was the beginning of a successful photographic career, parallel to Adams' impressive achievements as a singer, songwriter and producer. Exposed is a retrospective of Adams' photography and features portraits of friends and colleagues in the entertainment, fashion and art industries, including Morrissey, Ben Kingsley, Amy Winehouse, Michael Jackson, Louise Bourgeois, Lindsay Lohan and Judi Dench. This book, Adams' first comprehensive monograph, exposes not only unknown facets of his subjects but also the depth of Adams' photographic faculty.

From a master of professional photography, a book that explores the exciting possibilities of artificial light. This guide to on- and off-camera flash picks up where Peterson's previous title, Understanding Exposure, left off--helping free photographers from the limitations of auto to get the images they want when natural light isn't enough. For the many amateur photographers afraid to venture past natural lighting, here is the book that will finally help them master artificial light. In his trademark easy-to-understand style, Bryan Peterson explains not only how flash works, but how to go beyond TTL automatic flash exposure to master manual flash, allowing readers to control the quality, shape and direction of light for a perfect exposure, every time.

Recognizing that voyeurism has inspired photographers since the inception of the medium, this text reveals the myriad ways in which artists have probed its fascinations, dangers & cultural significance. Imagery, ranging from the 1870s to the present day, presents a shocking, illuminating & witty perspctive on the iconic & taboo.

The publicity given to the recent attacks on Psychic Photography has been out of all proportion to their scientific value as evidence. When Sir Arthur Conan Doyle returned to Great Britain, after his successful tour in America, the controversy was in full swing. With characteristic promptitude he immediately decided to meet these negative attacks by a positive counter-attack, and this volume is the outcome of that decision. We have used the term Spirit Photography on the title-page as being the popular name by which these phenomena are known. This does not imply that either Sir Arthur or I imagine that everything supernormal must be of spirit origin. There is, undoubtedly, a broad borderland where these photographic effects may be produced from forces contained within ourselves. This merges into those higher phenomena of which many cases are here described. Those desiring fuller information on this subject are referred to Photo graphing the Invisible, by James Coates.

Learn to ask better, more helpful questions of your work so that you can create stronger and more powerful photographs.

Photographers often look at an image—one they’ve either already created or are in the process of making—and ask themselves a simple question: “Is this a good photograph?” It’s an understandable question, but it’s really not very helpful. How are you supposed to answer that? What does “good” even mean? Is it the same for everyone?

What if you were equipped to ask better, more constructive questions of your work so that you could think more intentionally and creatively, and in doing so, bring more specific action and vision to the act of creating photographs? What if asking stronger questions allowed you to establish a more effective approach to your image-making? In The Heart of the Photograph: 100 Questions for Making Stronger, More Expressive Photographs, photographer and author David duChemin helps you learn to ask better questions of your work in order to craft more successful photographs—photographs that express and connect, photographs that are strong and, above all, photographs that are truly yours.

From the big-picture questions—What do I want this image to accomplish?—to the more detail-oriented questions that help you get there—What is the light doing? Where do the lines lead? What can I do about it?—David walks you through his thought process so that you can establish your own. Along the way, he discusses the building blocks from which compelling photographs are made, such as gesture, balance, scale, contrast, perspective, story, memory, symbolism, and much more. The Heart of the Photograph is not a theoretical book. It is a practical and useful book that equips you to think more intentionally as a photographer and empowers you to ask more helpful questions of you and your work, so that you can produce images that are not only better than “good,” but as powerful and authentic as you hope them to be.

TABLE OF CONTENTS
Better Questions

PART ONE: A GOOD PHOTOGRAPH?
Is It Good?
The Audience's Good
The Photographer's Good

PART TWO: BETTER THAN GOOD
Better Subjects

PART THREE: BETTER EXPRESSION
Exploration and Expression
What Is the Light Doing?
What Does Colour Contribute?
What Role Do the Lines and Shapes Play?
What's Your Point of View?
What Is the Quality of the Moment?
Where Is the Story?
Where Is the Contrast?
What About Balance and Tension?
What Is the Energy?
How Can I Use Space and Scale?
Can I Go Deeper?
What About the Frame?
Do the Elements Repeat?
Harmony
Can I Exclude More?
Where Does the Eye Go?
How Does It Feel?
Where's the Mystery?
Remember When?
Can I Use Symbols?
Am I Being Too Literal?

PART FOUR: BETTER PHOTOGRAPHS
The Heart of the Photograph
Index

Photography has been the business and the passion of LIFE since the original weekly magazine's inception in 1936, and it continues to be the business and passion of LIFE Books and LIFE.com in the new millennium. But photography has surely changed during these many decades. The rigs and gear of old have given way-first slowly, then all at once-to sleek miracle machines that process pixels and have made the darkroom obsolete. The casual photog puts eye to lens, sets everything on auto and captures a photograph that is . . . perfectly fine. One of LIFE's master shooters-in fact, the final in the long line of distinguished LIFE staff photographers-was Joe McNally, and he has always believed that with a little preparation and care, with a dash of enthusiasm and daring added to the equation, anyone can make a better photo-anyone can turn a "keeper" into a treasure. This was true in days of yore, and it's true in the digital age. Your marvelous new camera, fresh from its box, can indeed perform splendid feats. Joe explains in this book how to take best advantage of what it was designed to do, and also when it is wise to outthink your camera or push your camera-to go for the gold, to create that indelible family memory that you will have blown up as large as the technology will allow, and that will hang on the wall forevermore. As the storied LIFE photographer and photo editor John Loengard points out in his eloquent foreword to this volume, there are cameras and there are cameras, and they've always been able to do tricks. And then there is photography. Other guides may give you the one, two, three of producing a reasonably well exposed shot, but Joe McNally and the editors of LIFE can give you that, and then can show you how to make a picture. In a detailed, friendly, conversational, anecdotal, sometimes rollicking way, that's what they do in these pages. Prepare to click.

Within a few years of the introduction of photography into the United States in 1839, slaveholders had already begun commissioning photographic portraits of their slaves. Ex-slaves-turned-abolitionists such as Frederick Douglass had come to see how sitting for a portrait could help them project humanity and dignity amidst northern racism. In the first decade of the medium, enslaved people had begun entering southern daguerreotype studios of their own volition, posing for cameras, and leaving with visual treasures they could keep in their pockets. And, as the Civil War raged, Union soldiers would orchestrate pictures with fugitive slaves that envisioned racial hierarchy as slavery fell. In these ways and others, from the earliest days of the medium to the first moments of emancipation, photography powerfully influenced how bondage and freedom were documented, imagined, and contested. By 1865, it would be difficult for many Americans to look back upon slavery and its fall without thinking of a photograph. Exposing Slavery explores how photography altered and was, in turn, shaped by conflicts over human bondage. Drawing on an original source base that includes hundreds of unpublished and little-studied photographs of slaves, ex-slaves, free African Americans, and abolitionists, as well as written archival materials, it puts visual culture at the center of understanding the experience of late slavery. It assesses how photography helped southerners to defend slavery, enslaved people to shape their social ties, abolitionists to strengthen their movement, and soldiers to pictorially enact interracial society during the Civil War. With diverse goals, these peoples transformed photography from a scientific curiosity into a political tool over only a few decades. This creative first book sheds new light on conflicts over late American slavery, while also revealing a key moment in the relationship between modern visual culture and racialized forms of power and resistance.

Shows how to take glamour photographs, discusses cameras, lighting, makeup, hairstyling, wardrobe, settings, and poses, and includes practical advice on advertising, the client-photographer relationship, and setting up a studio