Growing up, what Sanford Tweedie knew about East Germany was basically . . . nothing. West Germans were our friends; East Germans, the enemy. In 2000, somewhat better informed, Tweedie took advantage of a Fulbright Scholarship to move his family to the eastern German town of Erfurt for the academic year. Far from home and the familiar, with temporary status and a tenuous grasp of the language, he and his wife were curious to see how they would function shorn of all the rules that governed their daily lives--housing, food acquisition, transportation, and even basic communication. As soon as their taxi delivered them to their grim tan and concrete Soviet-vintage apartment building, they knew their education had begun. Learning about life in the former East Germany, amid the feverish embrace of Western culture and the tenacious legacy of a totalitarian past, Tweedie comes to understand the deeper cultural assumptions through which Americans view the larger world. Part travelogue, part history, part cultural critique, all thoroughly engrossing, the story of his yearlong experience is one of dislocation and accommodation, making a German town his own and now ours.

In this new adventure with Tess and Max, internationally bestselling author Amy Ephron takes readers to London at Christmastime, where a new fantastical journey awaits. It's Christmas break and Tess and Max are in London, staying at the posh Sanborn House with their Aunt Evie. As they wait for their parents to arrive, there is an unusual snowstorm that makes the city seem as if it's caught in a snow globe. Perfect weather for an adventure in Hyde Park. But when Max, Tess, and Aunt Evie leave to search for a cab, they find a horse and carriage and driver curiously waiting for them at the curb. And that's just the beginning... Soon Tess is charmed by a mysterious boy named Colin who lives at the hotel all year round--on the 8th floor. But Max is sure the elevator only had 7 floors the day before. And how come everyone at the hotel seems to ignore Colin? Things seem to get stranger and stranger. There's a 1920s costume party in Colin's parents' apartment. A marble that seems to be more than it appears. And a shadow that passes mysteriously by Tess and Max's hotel window. Tess wants to figure out what's going on, but finds only more questions: Is it just a coincidence that Colin's last name is Sanborn, the same as the hotel? Why does the cat's-eye marble look eerily similar to the crystal at the top of their hotel room key? And, most importantly, what happened in that hotel one Christmas long, long ago? In this mysterious story sprinkled with holiday enchantment, Amy Ephron transports readers into the magic of London at wintertime, where it's just possible that what seems imaginary is real, and your wishes might come true. Praise for The Other Side of the Wall: "Tess especially follows in that lineage of strong, intelligent female characters – a sort of Lucy Pevensie/Hermione Granger hybrid who is a leader, who believes in magic." —Teen Vogue "Another time-bending mystery . . . nicely paced, starting slow and accelerating to breakneck speed by the end. This story is both charming and vaguely creepy." —School Library Journal “Ephron renders this magical world with such assertive beauty that readers of all ages, who are fortunate enough to believe in the power of magic, will enjoy immersing themselves in the roller-coaster fun of these stories, and come to trust, even if for a short time, that in this ‘alternate universe’ it is possible for us to come together and ‘touch the sky.’” —Jewish Journal "A very entertaining middle-grade read [that] will captivate and entice you to read more....This is a good old classic family adventure that you will want to both read and own." —Mr. Ripley's Enchanted Books

"There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy."— Hamlet After William Shakespeare's Horatio sees the ghost of Hamlet's father, and scarcely believes his own eyes, Hamlet tells him that there is more to reality than he can know or imagine, including ghosts. Hamlet's statement suggests that the walls of the material world, which we perceive with our senses and analyze with our intellects, have doors that open into the More beyond them. Philosopher Peter Kreeft explains in this book that the More includes "The Absolute Good, Platonic Forms, God, gods, angels, spirits, ghosts, souls, Brahman, Rta (the Hindu ontological basis for cosmological karma), Nirvana, Tao, 'the will of Heaven', The Meaning of It All, Something that deserves a capital letter." With razor-sharp reasoning and irrepressible joy, Kreeft helps us to find the doors in the walls of the world. Drawing on history, physical science, psychology, religion, philosophy, literature, and art, he invites us to welcome what lies on the other side so that we can begin living the life of Heaven in the here and now.

Book II of the Heaven, Hell, & Humanity Trilogy As angels descend from the High Heavens and the demonic armies of Hell rise from the depths, Humanity balances on the precipice of extinction. The war of immortals has returned.

Scott Kelby, author of the top-selling digital photography book of all time, is back with an entirely new book in his popular series that picks up right where part 4 left off. It’s more of that “Ah ha—so that’s how they do it,” straight-to-the-point, skip-the-technojargon stuff you can really use today that made part 1 so successful. In parts 1 through 4 of this series, the most popular chapter in the book has always been the last chapter: “Photo Recipes to Help You Get ‘The Shot’.” In each of those chapters, Scott shows a final image and then describes how to get that type of shot. Here, in part 5, he gives you what you’ve been waiting for: an entire book of nothing but those amazing photo recipes. But, he took it up a big notch by adding a behind-the-scenes photo for every single recipe. Now you can see exactly how it was done, so you can get that exact same look every time. In these extra pages, each spread allows you to dig in a little deeper and really unlock the power of these recipes. Scott breaks each spread into four segments: (1) he explains exactly what you’re seeing behind the scenes, (2) he lists all of his camera settings, and lens and lighting info—it’s all there, (3) he gives you his thought process, so you learn exactly why he does it this way, and (4) he shares all the post-processing in Lightroom or Photoshop that goes on after the shoot (this is something other books leave out). Plus, the whole book is packed with tips and insights you won’t find anywhere else. This isn’t a book of theory, full of confusing jargon and detailed concepts. This is a book on which button to push, which settings to use, and exactly how and when to use them. With around 100 of the most popular photographic “tricks of the trade,” the entire book is designed to get you shooting like a pro starting today. You’re gonna love it.

Skilful lighting involves a subtle blend of systematic mechanics and a sensitive visual imagination. It requires anticipation, perceptiveness, patience and know-how. But learning through practice alone can take a great deal of time. This book is a distillation of many years' experience, with advice and guidance that will bring successful results right from the start. Whether you are a student studying lighting techniques in the television, video and film media, or a professional lighting for the camera, this book will be an invaluable aid. Other members of the production team, including camera crews, designers and directors, will also find the information here interesting and useful. The book concentrates primarily on the fundamental principles of lighting in studios, on location and display, as well as single-camera, small unit production, improvised and economy lighting, and working with limited facilities. Emphasis is also placed on the safety aspects of working with lighting equipment. Lighting for Television and Film reflects the author's considerable experience of lighting techniques in BBC studios, his teaching and consultancy work. Gerald Millerson's analytical writings spring from a lifetime's personal experience in the medium, and from his teaching and engineering background. During his career with the BBC, he was primarily associated with studio operations in the Television Service. His lecturing background included courses in TV production at a number of American universities. His other books for Focal Press are Television Production, TV Scenic Design, Video Production Handbook and, in the Media Manuals series, Effective TV Production, Lighting for Video and Video Camera Techniques.

Arthur L. Guptill's classic Rendering in Pen and Ink has long been regarded as the most comprehensive book ever published on the subject of ink drawing. This is a book designed to delight and instruct anyone who draws with pen and ink, from the professional artist to the amateur and hobbyist. It is of particular interest to architects, interior designers, landscape architects, industrial designers, illustrators, and renderers. Contents include a review of materials and tools of rendering; handling the pen and building tones; value studies; kinds of outline and their uses; drawing objects in light and shade; handling groups of objects; basic principles of composition; using photographs, study of the work of well-known artists; on-the-spot sketching; representing trees and other landscape features; drawing architectural details; methods of architectural rendering; examination of outstanding examples of architectural rendering; solving perspective and other rendering problems; handling interiors and their accessories; and finally, special methods of working with pen including its use in combination with other media. The book is profusely illustrated with over 300 drawings that include the work of famous illustrators and renderers of architectural subjects such as Rockwell Kent, Charles Dana Gibson, James Montgomery Flagg, Willy Pogany, Reginald Birch, Harry Clarke, Edward Penfield, Joseph Clement Coll, F.L. Griggs, Samuel V. Chamberlain, Louis C. Rosenberg, John Floyd Yewell, Chester B. Price, Robert Lockwood, Ernest C. Peixotto, Harry C. Wilkinson, Bertram Grosvenor Goodhue, and Birch Burdette Long. Best of all, Arthur Guptill enriches the text with drawings of his own.