The secret to taking great “people pictures” is to observe your subjects, connect with them, and use your camera to its best advantage. Here’s how to work with lighting, location, angle, composition, physical characteristics, environment, and countless other variables, including the unique challenges of photographing babies, group activities, and action. Learn to capture facial expressions, tell a story with a series of candids, add interest to large-group shots, and more. Apply these techniques and watch your subjects come to life.

The Great LIFE Photographers is the most comprehensive anthology of LIFE photography ever published, featuring the best work of every staff photographer who worked for the famous magazine, and that of a handful of others who shot for LIFE. It was always the photographers who made LIFE great, and this is the most vivid and exciting portrait of those men and women that has ever been produced. The book offers more than 100 portfolios including those of Alfred Eisenstaedt, Margaret Bourke-White, Carl Mydans, Gordon Parks, W. Eugene Smith, Robert Capa, Ralph Morse, Nina Leen, Harry Benson, Philippe Halsman, and Joe McNally, whose work for LIFE in the aftermath of September 11 was in the finest tradition of the magazine. Each portfolio includes a short biography, offering an intimate look at the people behind the lens. Here are the defining moments of the 20th century, including MacArthur wading ashore by Mydans, Capa's D-Day landing at Omaha Beach and, of course, Eisenstaedt's sailor kissing th

In 1950, Robert Frank left his job as a photographer in NewYork to travel through Europe with his family. That summer hearrived in Valencia, Spain, which was at the time a humble, bleakplace enduring the austere conditions of the postwar period likethe rest of the country. The pictures Frank took of Valencia depictthe daily life of a fishing village. His portrayal is so naturaland clear that further verbal explanation seems superfluous; theysimply reflect, in the photo graphers words, the humanity of themoment. The photographs in this book, many of which have never beenpublished before, allow dignity to override poverty. Robert Frank,a key figure in photographic history, was born in Zurich in 1924and immigrated to the United States in 1947. He is best known forhis seminal book The Americans, first published in 1959, which gaverise to a distinct new form in the photobook, and his experimentalfilm Pull My Daisy (1959). Franks other projects include the booksBlack White and Things (1954) and The Lines of

When Diane Arbus died in 1971 at the age of forty-eight, shewas already a significant influence—even something of alegend—among serious photographers, although only a relativelysmall number of her most important pictures were widely known atthe time. The publication of Diane Arbus: An Aperture Monograph in1972—along with the posthumous retrospective at The Museum ofModern Art—offered the general public its first encounter with thebreadth and power of her achievements. The response wasunprecedented. The monograph of eighty photographs was edited anddesigned by the painter Marvin Israel, Diane Arbus’s friend andcolleague, and by her daughter Doon Arbus. Their goal in making thebook was to remain as faithful as possible to the standards bywhich Diane Arbus judged her own work and to the ways in which shehoped it would be seen. Universally acknowledged as a classic,Diane Arbus: An Aperture Monograph is a timeless masterpiece witheditions in five languages and remains the foundation of herinternat

This book presents photos taken by Roman Signer on a 2005 journey through the Carpathian Mountains, which took him to the Ukraine and Romania. The photos evidence brief stops at the side of the road and present subjects that fall into two distinct categories: home-grown fruits, vegetables and other produce for sale, carefully displayed on stools or small and loving memorials of flowers, crosses and wreaths for deceased family members and friends who were road casualties. The similarity between each composition the landscape format, the colourful centred arrangement, the consistent distance between photographer and subject belies a deeper message: the produce suggests sustenance, growth and while the memorials are signs of tragedy and grief. Karpaten / Carpathians is thus not only a collection of travel photos, but a reflection of the human need to shape events, and a succinct story of life and death both realities along the metaphorical road on which we all travel. Born in 1938 in Appenzell, Switzerl

The photographic act is an event that occurs in real timewith irrevocable consequences.The end result can be modified thoughpost-production,but it is necessarily dependent upon,and influencedby,the image that was recorded in the camera.

Images of the century (TASCHEN's 25th anniversaryspecial edition) The history of photography began some 150 yearsago, but only relatively recently has it been fully recognised as amedium in its own right. Cologne's Museum Ludwig was the firstmuseum of contemporary art to devote a substantial section tointernational photography. The L. Fritz Gruber collection, fromwhich this book is drawn, is one of the most important in Germanyand one of the most representative anywhere in the world,constituting the core of the museum's holdings. This book providesa fascinating insight into the collection's rich diversity; fromconceptual art to abstraction to reportage, all of the majormovements and genres are represented via a vast selection of thecentury's most remarkable photographs. From Ansel Adams to PietZwart, over 850 works are presented in alphabetical order byphotographer, with de*ive texts and photographers'biographical details, providing a comprehensive and indispensableoverview of 20th century photography

Best known for his striking photographs of people on the fringes of South African society, Roger Ballen makes images that are ambiguous and often disturbing, but also shot through with flashes of dark humour. The photographs in Shadow Chamber blur the boundaries between documentary photography and art forms such as painting, theatre and sculpture, challenging the ways in which we perceive the 'reality' of photography. Ballen's images are completely honest, yet also fabricated. The mysterious, cell-like rooms that Ballen photographs are actual places, but they are unsettling and strange, logical but impossible: their walls are covered with scribbled drawings, stains and dangling wires, the floors are strewn with bizarre props and artefacts. Dogs, rabbits and kittens wander into the frame or are stuffed into unlikely containers. The humans and animals in Ballen's photographs appear isolated and lost, yet strangely empowered at the same time. The resulting images are allegories of lived experiences and surre

From the basics of choosing the right camera to complex imagemanipulation techniques, John Freeman's Photography is the compteteguide for all. aspiring photographers. Featuring atmost 120 diverse subjects - from still Life,action and architecture to digital, capture, beauty retouchingandHDR Incl.uding the tatest digital, deveLopments atong sidetraditionat firm Over 750 cotour and btack and white professional photographs

This book is Karl Lagerfeld and Carine Roitfeld'sreinterpretation of Chanel's iconic little black jacket. Lagerfeldhas redesigned the jacket, transforming it into a modern, adaptablegarment to be worn by both sexes of all ages. The Little BlackJacket contains Lagerfeld's photographs of celebrities wearing thejacket with individual flair - sometimes classic, sometimesirreverent, but always Chanel - and each styled by Carine Roitfeld.A range of accomplished actors, musicians, designers, models,writers and directors gets the little black jacket treatment,including Claudia Schiffer, Uma Thurman, Kanye West, Tilda Swinton,Baptiste Giabiconi, Yoko Ono and Sarah Jessica Parker. This bookshows the astounding versatility of Chanel's vision in Lagerfeld'shands, and ensures the little black jacket's future as a timelessclassic.

It's simple question,but there's no simple answer-indeed,each of the 280 photographs in this wonderful book offers its own,unique answer,distilling subject,setting,and cerative skill into a single arresting moment that cap-tures the viewer's imagination.And though we may find this elusive quality hard to define,we recognze is imme-diately and instinctively. William Albert Allard,one of the essayists in the book,writes,A fine portrait has the potential to tell something about the spirit of the subject that can be sensed by someone half a world and a different language away.something universal and simple:This is another person in our world and I'd like you to meet him or her. Culled from National Geographic's extraordinary archive,this collection spans more than a century and explores every cornetr of the globe and every aspect of the portraitist's art.The pictures here represent both the special visions of some of the world's finest photographers and the universal appeal of our shared humanity in all i

Whether they are of Abu Dhabi, California, Egypt or Emilia, all of the images he produces are lit with a constant physical light and elements that this photographer seems to always have with him the way he does with his camera bag, and through which all he wants to do is observe the world. I find such an aesthetic to be more that of a painter than a photographer somehow. Better yet, that of a post-documentary or neo-pictorialist photographer, who experiences and conceives his work to be the exprssive gesture of an artist for whom the subject is above all the opportunity for a tremendous but constant variation in his view of the world.

‘The Bitter Years’ was the title of a seminal exhibition held in 1962 at The Museum of Modern Art, New York, curated by Edward Steichen, and 2012 marks its 50th anniversary. The show featured 209 images by photographers who worked under the aegis of the US Farm Security Administration (FSA) in 1935–41 as part of Roosevelt’s New Deal. The Great Depression of the 1930s defined a generation in modern American history and was still a vivid memory in 1962. The FSA, set up to combat rural poverty, included an ambitious photography project that launched many photographic careers, most notably those of Walker Evans and Dorothea Lange. The exhibition featured their work as well as that of ten other FSA photographers, including Ben Shahn, Carl Mydans and Arthur Rothstein. Their images are among the most remarkable in documentary photography – testimonies of a people in crisis, hit by the full force of economic turmoil and the effects of drought and dust storms. The Bitter Years celebrates some of the m

The Great LIFE Photographers is the mostcomprehensive anthology of LIFE photography ever published,featuring the best work of every staff photographer who worked forthe famous magazine, and that of a handful of others who shot forLIFE. It was always the photographers who made LIFE great, and thisis the most vivid and exciting portrait of those men and women thathas ever been produced. The book offers more than 100 portfolios including those ofAlfred Eisenstaedt, Margaret Bourke-White, Carl Mydans, GordonParks, W. Eugene Smith, Robert Capa, Ralph Morse, Nina Leen, HarryBenson, Philippe Halsman, and Joe McNally, whose work for LIFE inthe aftermath of September 11 was in the finest tradition of themagazine. Each portfolio includes a short biography, offering anintimate look at the people behind the lens. Here are the defining moments of the 20th century, includingMacArthur wading ashore by Mydans, Capa's D-Day landing at OmahaBeach and, of course, Eisenstaedt's sailor kissing the nurse. Here

Although Wegman's artistic output includes photography and video work that doesn't feature canines, by the mid-Seventies, he wryly notes, I had become the guy with the dog. The dog was Man Ray, a weimaraner with a movie star's instinct for the spotlight. Using a 1978 20x24 Polaroid camera, Wegman captured his beloved dog on film; for more than 20 years now, Wegman has continued to experiment with the camera, immortalizing his next weimaraner, Fay Ray, and a long line of her progeny. Though the collection contains a few portraits of people, next to the expressive and enigmatic canine tableaux, Wegman's human compositions are pale and unengaging-less human, in fact, than the dog photographs. In Rouge (1982), one of the last portraits of Man Ray, the ailing dog's eyes shine with wisdom and melancholy. In contrast, 1982's Eau II, a portrait of a glammed-up woman with a bloody nose and a Chanel bottle, seems cold and dated (or in the vein of a knock-off Cindy Sherman). It is when Wegman, refraining from indulging