This essential guide draws on in-depth interviews with established photographers from the fields of fashion, art, portraiture, documentary photography, and advertising as well as comments from picture editors, curators, agency directors, and publishers who reveal what they look for when choosing an image. The book first focuses on photographers’ working practices. What made the photographer start taking pictures? How did he or she develop a signature style? What is the process involved in going from concept to shoot? How important is postproduction? Then the book turns to selection. How does a picture editor decide which photographer to commission for the next fashion spread? What kind of photograph is worthy of being hung in a gallery? What advice would an art book publisher give a budding photographer? Whether it is the question of what to look for in an image, views on cropping, or the pros and cons of color versus black and white, the shapers of taste give acute and useful accounts of their methods. This updated edition includes five new interviews: Pascal Dangin, who pioneered a revolutionary digital scanning technique; Fabrice Dall’Anese, a celebrated French portrait photographer for Vanity Fair, GQ, Elle, and others; Jörg Colberg, creator of the photography blog, Conscientious; Jehad Nga, a self-taught photographer whose focus has recently shifted from photojournalism to fine art photography; and Tim Barber, who launched tinyvices.com in 2005, an online gallery and image archive.

Talking dogs pitching ethnic food. Heart-tugging appeals for contributions. Recruitment calls for enlistment in the military. Tub-thumpers excoriating American society with over-the-top rhetoric. At every turn, Americans are exhorted to spend money, join organizations, rally to causes, or express outrage. Image Makers is a comprehensive analysis of modern advocacy-from commercials to public service ads to government propaganda-and its roots in advertising and public relations. Robert Jackall and Janice M. Hirota explore the fashioning of the apparatus of advocacy through the stories of two organizations, the Committee on Public Information, which sold the Great War to the American public, and the Advertising Council, which since the Second World War has been the main coordinator of public service advertising. They then turn to the career of William Bernbach, the adman's adman, who reinvented advertising and grappled creatively with the profound skepticism of a propaganda-weary midcentury public. Jackall and Hirota argue that the tools-in-trade and habits of mind of "image makers" have now migrated into every corner of modern society. Advocacy is now a vocation for many, and American society abounds as well with "technicians in moral outrage," including street-smart impresarios, feminist preachers, and bombastic talk-radio hosts. The apparatus and ethos of advocacy give rise to endlessly shifting patterns of conflicting representations and claims, and in their midst Image Makers offers a clear and spirited understanding of advocacy in contemporary society and the quandaries it generates.

In 1948, Moss Kendrix, a former New Deal public relations officer, founded a highly successful, Washington, D.C.-based public relations firm, the flagship client of which was the Coca-Cola Company. As the first black pitchman for Coca-Cola, Kendrix found his way into the rarefied world of white corporate America. His personal phone book also included the names of countless black celebrities, such as bandleader Duke Ellington, singer-actress Pearl Bailey, and boxer Joe Louis, with whom he had built relationships in the course of developing marketing campaigns for his numerous federal and corporate clients. Kendrix, along with Ebony publisher John H. Johnson and Life photographer Gordon Parks, recognized that, in the image-saturated world of postwar America, media in all its forms held greater significance for defining American citizenship than ever before. For these imagemakers, the visual representation of African Americans as good citizens was good business. In Represented, Brenna Wynn Greer explores how black entrepreneurs produced magazines, photographs, and advertising that forged a close association between blackness and Americanness. In particular, they popularized conceptions of African Americans as enthusiastic consumers, a status essential to postwar citizenship claims. But their media creations were complicated: subject to marketplace dictates, they often relied on gender, class, and family stereotypes. Demand for such representations came not only from corporate and government clients to fuel mass consumerism and attract support for national efforts, such as the fight against fascism, but also from African Americans who sought depictions of blackness to counter racist ideas that undermined their rights and their national belonging as citizens. The story of how black capitalists made the market work for racial progress on their way to making money reminds us that the path to civil rights involved commercial endeavors as well as social and political activism.

A radical change has occurred in the world of contemporary fashion illustration. No longer is fashion the reserve of the elite: concept drawings have become consumer-focused, with imagery from popular culture, music videos, advertising, animation, and magazines. Imagemakers presents the cream of contemporary illustration for fashion, profiling over 50 of the most exceptional emerging fashion illustrators from all over the world. An inspiring global overview of the current fashion scene and an essential sourcebook for students, illustrators, fashion designers, and style aficionados.

For professionals and beginners alike: a behind-the- scenes look at how photographers of world stature approach their work, and what it is that makes them succeed. This essential guide draws on in-depth interviews with established photographers from the fields of fashion, art, portraiture, documentary photography, and advertising as well as comments from picture editors, curators, agency directors, and publishers who reveal what they look for when choosing an image. The book first focuses on photographers’ working practices. What made the photographer start taking pictures? How did he or she develop a signature style? What is the process involved in going from concept to shoot? How important is postproduction? Then the book turns to selection. How does a picture editor decide which photographer to commission for the next fashion spread? What kind of photograph is worthy of being hung in a gallery? What advice would an art book publisher give a budding photographer? Whether it is the question of what to look for in an image, views on cropping, or the pros and cons of color versus black and white, the shapers of taste give acute and useful accounts of their methods. This updated edition includes five new interviews: Pascal Dangin, who pioneered a revolutionary digital scanning technique; Fabrice Dall’Anese, a celebrated French portrait photographer for Vanity Fair, GQ, Elle, and others; Jörg Colberg, creator of the photography blog, Conscientious; Jehad Nga, a self-taught photographer whose focus has recently shifted from photojournalism to fine art photography; and Tim Barber, who launched tinyvices.com in 2005, an online gallery and image archive.

Providing insight into an image-making process that became extinct at the end of the nineteenth-century, this book shows that, far from being trivial, hunter-gatherer rock art was embedded in religion. It explores the complex social relations of those who made rock art and why they made it.

Talking dogs pitching ethnic food. Heart-tugging appeals for contributions. Recruitment calls for enlistment in the military. Tub-thumpers excoriating American society with over-the-top rhetoric. At every turn, Americans are exhorted to spend money, join organizations, rally to causes, or express outrage. Image Makers is a comprehensive analysis of modern advocacy-from commercials to public service ads to government propaganda-and its roots in advertising and public relations. Robert Jackall and Janice M. Hirota explore the fashioning of the apparatus of advocacy through the stories of two organizations, the Committee on Public Information, which sold the Great War to the American public, and the Advertising Council, which since the Second World War has been the main coordinator of public service advertising. They then turn to the career of William Bernbach, the adman's adman, who reinvented advertising and grappled creatively with the profound skepticism of a propaganda-weary midcentury public. Jackall and Hirota argue that the tools-in-trade and habits of mind of "image makers" have now migrated into every corner of modern society. Advocacy is now a vocation for many, and American society abounds as well with "technicians in moral outrage," including street-smart impresarios, feminist preachers, and bombastic talk-radio hosts. The apparatus and ethos of advocacy give rise to endlessly shifting patterns of conflicting representations and claims, and in their midst Image Makers offers a clear and spirited understanding of advocacy in contemporary society and the quandaries it generates.

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Following on the success of Motion Blur, Motion Blur 2 offers a new selection of studios and films from the leading digital film company onedotzero. Through screen grabs, storyboards and interviews, the book features the groundbreaking work of 30 international filmmakers exploring motion graphics, broadcast design, digital film effects and animation. Arrestingly packaged for a design audience, the book includes a DVD.

What exactly is image making? Who are the image makers? In his analysis of the image making process, Brendan Bruce (one of Margaret Thatcher's former image advisers) unravels the mystery that has surrounded this subject for decades. Tracing image making back to its historical roots, Bruce shows that it is by no means a modern phenomenon: the powerful have been employing image makers since Tudor England. This century has witnessed the development of sophisticated techniques for shaping the public images of the famous (and would-be famous) in politics and business. Bruce explains the debt the contemporary image experts owe to the Hollywood studios who raised hype to an art form, perfected scandal management and used the makeover system to turn truck drivers and waitresses into legends.