Snapshot is the real story of how to profile anyone so you can treat people right the first time.

An examination of the contradictions within a form of expression that is both public and private, specific and abstract, conventional and countercultural. Snapshots capture everyday occasions. Taken by amateur photographers with simple point-and-shoot cameras, snapshots often commemorate something that is private and personal; yet they also reflect widely held cultural conventions. The poses may be formulaic, but a photograph of loved ones can evoke a deep affective response. In Snapshot Photography, Catherine Zuromskis examines the development of a form of visual expression that is both public and private. Scholars of art and culture tend to discount snapshot photography; it is too ubiquitous, too unremarkable, too personal. Zuromskis argues for its significance. Snapshot photographers, she contends, are not so much creating spontaneous records of their lives as they are participating in a prescriptive cultural ritual. A snapshot is not only a record of interpersonal intimacy but also a means of linking private symbols of domestic harmony to public ideas of social conformity. Through a series of case studies, Zuromskis explores the social life of snapshot photography in the United States in the latter half of the twentieth century. She examines the treatment of snapshot photography in the 2002 film One Hour Photo and in the television crime drama Law and Order: Special Victims Unit; the growing interest of collectors and museum curators in “vintage” snapshots; and the “snapshot aesthetic” of Andy Warhol and Nan Goldin. She finds that Warhol’s photographs of the Factory community and Goldin’s intense and intimate photographs of friends and family use the conventions of the snapshot to celebrate an alternate version of “family values.” In today’s digital age, snapshot photography has become even more ubiquitous and ephemeral—and, significantly, more public. But buried within snapshot photography’s mythic construction, Zuromskis argues, is a site of democratic possibility.

Each story within Snapshots places the characters in situations where their past behaviors will be changed in a moment that is like a snapshot picture: freezing in time who they are in a moment but facing new challenges that will alter that snapshot and create a new reality. Eudora Welty’s quote “A good snapshot keeps a moment from going away” is a theme that permeates all of the stories in Eliot Parker’s collection of short stories, Snapshots. These stories are set in West Virginia, Ohio, and Kentucky. In the plots of the stories, the makeup of the characters is more interesting and important than the circumstances that the characters find themselves trying to manage. Each protagonist finds themselves in a complicated set of personal and professional relationships. By their nature, relationships are complicated. The protagonists in these stories are shaped by their backgrounds, life experiences, and expectations of other people. Conflicts arise for these protagonists when decisions and choices made by others alter the expectations and circumstances expected by the protagonists. In each of these stories, the lives, values, and beliefs held by the characters are deconstructed and each of them face a new reality brought on by an experience or situation that forces them to reexamine who they are and who they need to become. Each of these characters occupy a variety of professional spaces: cops, a rich, successful couple, convicted criminals, and others grieving the loss of a loved one and grieving the absence of love.

One kiss will change Marti's summer . . . forever. Marti Marti just wants a normal life. After dealing with her irresponsible rock-legend father and absentee mother, she only wants some peace . . . and fun. And that includes a summer at an exclusive arts camp. Adam For Adam, a normal life is not possible—not when he is the lead guitarist in a rock band with his brothers. So he's thrilled to finally have an opportunity to disguise himself and live like a normal teenager at summer camp. And when Adam meets Marti, sparks fly. Between romantic bonfires and stolen kisses, they are inseparable. Then Marti discovers who Adam truly is, and her world is turned upside down. Ever since her father nearly ruined her life, she vowed never to fall for a rocker. But when tragedy strikes, Marti is forced to look within. And she discovers that maybe falling in love with a rock star is not so crazy after all.

An increasing complexity of models used to predict real-world systems leads to the need for algorithms to replace complex models with far simpler ones, while preserving the accuracy of the predictions. This two-volume handbook covers methods as well as applications. This second volume focuses on applications in engineering, biomedical engineering, computational physics and computer science.

'Snapshot Chronicles' is a visual exploration of the creative outpouring made possible by the camera.

excerpt from 'Little Paul' I have to be careful climbing this time. I have been up on the pump tower lots of times before but never with a heavy rope tied around my waist. The rope is gently tugging at my middle as I continue to climb. I don't wipe the sweat from my face because my hands will get slippery. The water pump tower has a pipe railing about chest-high that runs all the way around following the little walkway on the top. I wrap the rope around the pipe rail and start working out the slack. This is really hard to do because the rope is heavy, especially now that it is almost off the ground. There is a small hill about two thirds of the way to the barn. The rope is still on the ground there. I am trying to pull it up until I am sure that all of it is off of the hill. That will be my landing spot. The rope is tied tight, with a good knot that I learned at 4-H. I look at the long, gray, curving rope stretching the one hundred or more yards from me to the barn. I am really pleased with my work. The view from here is beautiful. Looking over the barn, I can see my house, then the big front pasture and then the main road. It all looks so small from up here. Climbing once more up the pump tower, the snatch block pulley that I found tied to a beam in the barn is now hanging from my belt, which is wrapped around my neck, just like a big necklace. I am very excited as I reach the platform. It only takes a second to remove the belt and snatch block from my neck. I carefully unbuckle my belt and thread it back through my pant loops. Now I open the snatch block and then clamp it over the rope and snap it closed again. It's time.

The story of a young Mexican boy living in a colonia (trash dump community) who takes the first steps toward realizing his dream of getting an education.

"Collection of pictures gathered by the authors during a two-year search in which they canvassed neighborhoods and knocked on people's doors, asking to see people's dusty albums and yellowing scrapbooks."--From jacket flap