Master macro techniques and capture brilliant up-close photos Macro photography uses specialty lenses and advanced digital cameras to capture stunning up-close images. This book helps you understand the nuances of macro techniques so you can take unique and remarkable close-up digital photos. Equipment recommendations, helpful tips, and coverage of specialized elements that are exclusive to macro photography all aim to make you more savvy and comfortable with macro and close-up techniques. In addition, the easy-to-follow steps and suggested exercises go a long way to make you more familiar with your camera's capabilities so that you can take fantastic photos. Introduces the techniques of macro photography and explores how to capture stunning close-up digital photos Reviews using macro lenses, extension tubes, reversing rings, and other camera equipment and accessories Shares tips for exposure and lighting techniques in the macro format Addresses depth of field, working distance, and framing when shooting Covers where to find subjects to shoot and setting up your macro studio With full-color examples and technique comparisons, this fun and friendly book presents step-by-step guidance for taking your close-up photography skills to the next level.

Billy Wilder's Sunset Boulevard, a classic film noir and also a damning dissection of the Hollywood dream factory, evokes the glamour and ruin of the stars who subsist on that dream. It's also one long in-joke about the movie industry and those who made it great-and who were, in turn, destroyed by it. One of the most critically admired films of the twentieth century, Sunset Boulevard is also famous as silent star Gloria Swanson's comeback picture. Sam Staggs's Close-Up On Sunset Boulevard tells the story of this extravagant work, from the writing, casting and filming to the disastrous previews that made Paramount consider shelving it. It's about the writing team of Billy Wilder and Charles Brackett-sardonically called "the happiest couple in Hollywood"-and their raucous professional relationship. It's about the art direction and the sets, the costumes, the props, the lights and the cameras, and the personalities who used those tools to create a cinematic work of art. Staggs goes behind the scenes to reveal: William Holden, endlessly attacked by his bitter wife and already drinking too much; Nancy Olson, the cheerful ingenue who had never heard of the great Gloria Swanson; the dark genius Erich von Stroheim; the once famous but long-forgotten "Waxworks"; and of course Swanson herself, who-just like Norma Desmond-had once been "the greatest star of them all." But the story of Sunset Boulevard doesn't end with the movie's success and acclaim at its release in 1950. There's much more, and Staggs layers this stylish book with fascinating detail, following the actors and Wilder into their post-Sunset careers and revealing Gloria Swanson's never-ending struggle to free herself from the clutches of Norma Desmond. Close-Up On Sunset Boulevard also chronicles the making of Andrew Lloyd Webber's musical production of Sunset Boulevard and the explosive diva controversies that dogged it. The book ends with a shocking example of Hollywood life imitating Hollywood art. By the last page of this rich narrative, readers will conclude: We are those "wonderful people out there in the dark."

Part animation guide, part Flash manual, The Art of Flash Animation: Creative Cartooning provides a practical primer on classic, hand-drawn 2D screen animation as well as an introduction to using Flash for creating your own cartoons. Section I discusses the terms and techniques of hand-drawn animation, character design, and storyboards, while Section II covers scanning, digitizing your artwork into Flash, and setting up scenes. Topics include how to animate a walk cycle; recording and editing dialogue, sound effects, and music; how to use recyclable symbols to make the animation process more efficient; preparing your work for video or web download.

Learn to take better pictures in this step-by-step, how-to photography guide filled with tips on lighting, equipment, inspiration, and more. Featuring more than 200 of master photographer Art Wolfe's stunning images, The Art of the Photograph helps amateur photographers of all levels break bad habits and shatter common yet incorrect assumptions that hold many photographers back. This is Wolfe’s ultimate master class, in which he shares the most important insights and techniques learned in four decades of award-winning photography. Along with co-author Rob Sheppard, Wolfe challenges us to stop focusing on subjects we feel we should photograph and instead, to “see like a camera sees,” seek out a personal point of view, and construct stunning, meaningful images. You’ll also learn how to: · Reexamine prejudices that define (and limit) what you photograph · See beyond the subject to let light and shadow lead you to the right image · Find inspiration, including the story behind Wolfe's own photographic journey. · Use formal art principles to build more compelling images. · Choose the right camera and lens for the image you see in your mind's eye. · Recognize the 10 deadly sins of composition—and how to avoid them. · …and even get a behind-the-lens look at Wolfe’s equipment and workflow.

A guide to lighting and exposure with digital photography covers such topics as with with aperture and depth of field, selecting shutter speed, shooting in available and artificial light, and using ISO and noise.

The Practice Of Crime Scene Investigation covers numerous aspects of crime scenes investigation, including the latest in education and training, quality systems accreditation, quality assurance, and the application of specialist scientific disciplines to crime. Written by authors specifically chosen for their expertise in this specialized field, the book includes discussion on fingerprinting, dealing with trauma victims, photofit technology, the role of the pathologist and ballistic expert, clandestine laboratories, and explosives. This comprehensive book is a valuable reference for everyone interested in forensic science and the broader application of the justice system.

What is the relationship between a cinematic grid of color and that most visceral of negative affects, disgust? How might anxiety be a matter of an interrupted horizontal line, or grief a figure of blazing light? Offering a bold corrective to the emphasis on embodiment and experience in recent affect theory, Eugenie Brinkema develops a novel mode of criticism that locates the forms of particular affects within the specific details of cinematic and textual construction. Through close readings of works by Roland Barthes, Hollis Frampton, Sigmund Freud, Peter Greenaway, Michael Haneke, Alfred Hitchcock, Søren Kierkegaard, and David Lynch, Brinkema shows that deep attention to form, structure, and aesthetics enables a fundamental rethinking of the study of sensation. In the process, she delves into concepts as diverse as putrescence in French gastronomy, the role of the tear in philosophies of emotion, Nietzschean joy as a wild aesthetic of repetition, and the psychoanalytic theory of embarrassment. Above all, this provocative work is a call to harness the vitality of the affective turn for a renewed exploration of the possibilities of cinematic form.

A HISTORY OF THE MOST CONTROVERSIAL MOTION PICTURE EVER MADE A hundred years have passed since the masterpiece of David Wark Griffith, The Birth of a Nation, first appeared on the screens of America, in the winter of 1915. It demonstrated that the cinema, no less than literature and no less than the stage, could become a topic of serious critical, esthetic, intellectual, political, social, and technical discussion. In this way it brought the motion picture into a position of commanding influence in the social life of the American nation. The denunciation continues, and the storm over the film serves as a barometer of the global conflict, involving forces and issues set in motion by, but no means limited to, race. From the beginning it touched off several emotionally and politically explosive, interrelated, parallel controversies—controversy over Griffith; controversy over the film; controversy over the subject-matter and its treatment; controversy over the controversy. As Griffith’s official biographer Seymour Sterns main purpose of his book was to assemble, as extensively as possible, the rapidly vanishing record of what happened. You’ll find Stern’s writing on the subject as controversial as the film itself.

The Cinema and Its Shadow argues that race has defined the cinematic apparatus since the earliest motion pictures, especially at times of technological transition. In particular, this work explores how racial difference became central to the resolving of cinematic problems: the stationary camera, narrative form, realism, the synchronization of image and sound, and, perhaps most fundamentally, the immaterial image—the cinema’s “shadow,” which figures both the material reality of the screen image and its racist past. Discussing early “race subjects,” Alice Maurice demonstrates that these films influenced cinematic narrative in lasting ways by helping to determine the relation between stillness and motion, spectacle and narrative drive. The book examines how motion picture technology related to race, embodiment, and authenticity at specific junctures in cinema’s development, including the advent of narratives, feature films, and sound. In close readings of such films as The Cheat, Shadows, and Hallelujah!, Maurice reveals how the rhetoric of race repeatedly embodies film technology, endowing it with a powerful mix of authenticity and magic. In this way, the racialized subject became the perfect medium for showing off, shoring up, and reintroducing the cinematic apparatus at various points in the history of American film. Moving beyond analyzing race in purely thematic or ideological terms, Maurice traces how it shaped the formal and technological means of the cinema.