"The history of color photography goes back over one hundred years, but the medium only came of age as an art form in the late 1960s, when it was called ""the new frontiers""."

In addition to basic skills and techniques, this book contains separate chapters on such subjects as people, landscapes, and wildlife.

Veteran photographer and instructor Bryan Peterson is best known for his arresting imagery using bold, graphic color and composition. Here he explores his signature use of color in photography for the first time, showing readers his process for creating striking images that pop off the page. He addresses how to shoot in any type of light, and looks at color families and how they can work together to make compelling images in commercial and art photography. He also helps readers understand exposure, flash, and other stumbling blocks that beginning and experienced photographers encounter when capturing images, showing how to get the most out of any composition. With its down-to-earth voice and casual teaching style, Understanding Color in Photography is a workshop in a book, helping any photographer take their images to the next level.

"Copublished with the Milwaukee Art Museum on the occasion of the exhibition, Color rush: 75 years of color photography in America, on view February 22 to May 19, 2013."--Colophon.

Renowned as America's pre-eminent black-and-white landscape photographer, Ansel Adams began to photograph in color soon after Kodachrome film was invented in the mid 1930s. He made nearly 3,500 color photographs, a small fraction of which were published for the first time in the 1993 edition of ANSEL ADAMS IN COLOR. In this newly revised and expanded edition, 20 unpublished photographs have been added. New digital scanning and printing technologies allow a more faithful representation of Adams's color photography.

The appreciation of Eggleston's work has come a long way since his pioneering 1976 exhibition, William Eggleston's Guide, at New York's Museum of Modern Art. He has been called the 'father of colour photography' and since the 1990s he is widely regarded as the leading and most influential colour photographer of the twentieth century. Ancient and Modern is a collection of photographs chosen from Eggleston's earliest photographs taken in the American South, Africa and England. The photographs depict subjects and objects from everyday life and it is Eggleston's unique ability to find beauty, and striking displays of colour, in ordinary scenes. Mark Holborn, in his illuminating introduction, writes about the dark undercurrent of these mundane scenes as viewed through Eggleston's lens: '[Eggleston's] subjects are, on the surface, the ordinary inhabitants and environs of suburban Memphis and Mississippi - friends, family, barbecues, back yards, a tricycle and the clutter of the mundane. The normality of these subjects is deceptive, for behind the images there is a sense of lurking danger.'

Edited and text by Kevin Moore. Essays by James Crump, Leo Rubinfien.

Capturing the world in color was one of photography’s greatest aspirations from the very beginnings of the medium. When color photography became a reality with the introduction of the Autochrome in 1907, prominent photographers such as Alfred Stieglitz were overjoyed. But they quickly came to reject color photography as too aligned with human sight. It took decades for artists to come to understand the creative potential of color, and only in 1976, when John Szarkowski showed William Eggleston’s photographs at the Museum of Modern Art, did the art world embrace color. By accepting color’s flexibility and emotional transcendence, Szarkowski and Eggleston transformed photography, giving the medium equal artistic stature with painting, but also initiating its demise as an independent art. The catalogue of a major exhibition at the Amon Carter Museum of American Art, which holds one of the premier collections of American photography, Color tells, for the first time, the fascinating story of color’s integration into American fine art photography and how its acceptance revolutionized the practice of art. Tracing the development of color photography from the first color photograph in 1851 to digital photography, John Rohrbach describes photographers’ initial rejection of color, their decades-long debates over what color brings to photography, and how their gradual acceptance of color released photography from its status as a second-tier art form. He shows how this absorption of color instigated wide acceptance of a fundamentally new definition of photography, one that blends photography’s documentary foundations with the creative flexibility of painting. Sylvie Pénichon offers a succinct survey of the technological advances that made color in photography a reality and have since marked its multifaceted development. These texts, illuminated by seventy-five full-page plates and more than eighty illustrations, make this book a groundbreaking contribution to photographic studies.