Photography is a lie. Just think about it: photographers create two-dimensional images that sometimes even lack color and then expect everyone who views the image to believe that this is how the subject and scene appeared in front of the lens, in real life. What is truly amazing is that people fall for the visual trickery readily, almost as if they want to be deceived. It gets better: people still believe that one can photograph only what is really there. In this book, Irakly Shanidze reveals the smoke and mirrors that the best photographers use to surprise, entertain, and inspire viewers. He explains that the individual features of photographer’s perception and technical limitations of his equipment make him do things that may eventually make a picture look very different from how a viewer would see the same scene with a naked eye and can lead to a ruined picture. Conversely, photographers who understand these phenomena can use the aforementioned “constraints” to deliberately adjust the level of truthfulness in their pictures. In each beautifully illustrated chapter, Shanidze discloses the photographic tools that enterprising photographers can use to create visual deception (e.g., to create a sense of dimension, create day-for-night effects, establish mood, simulate candid photographs, and generally suspend disbelief—without the time-consuming post-processing!). In doing so, he describes the image objectives (in other words, defines the image concepts) and introduces the tools needed to achieve them—whether a lens of a certain focal length, a light of a specific wattage, or a given shutter speed. He also deconstructs some of his favorite images to show readers how he was able to create a chiseled deception of his own. Armed with this book, photographers will learn to truly take the reins in their photographic pursuits and deliver supercharged, iconic, storytelling images.

The book covers types of deceivers, tools of deceptions, deceptions tactics, indicators of decievers and deception, and how to invstigate a deception and make a deception backfire on the deciever.

Providing a comprehensive interdisciplinary assessment, and with a particular focus on expressions of tension and anxiety about modernity, this collection examines visual culture in nineteenth-century Europe as it attempted to redefine itself in the face of social change and new technologies. Contributing scholars from the fields of history, art, literature and the history of science investigate the role of visual representation and the dominance of the image by looking at changing ideas expressed in representations of science, technology, politics, and culture in advertising, art, periodicals, and novels. They investigate how, during the period, new emphasis was placed on the visual with emerging forms of mass communication?photography, lithography, newspapers, advertising, and cinema?while older forms as varied as poetry, the novel, painting, interior decoration, and architecture became transformed. The volume includes investigations into new innovations and scientific development such as the steam engine, transportation and engineering, the microscope, "spirit photography," and the orrery, as well as how this new technology is reproduced in illustrated periodicals. The essays also look at more traditional forms of creative expression to show that the same concerns and anxieties about science, technology and the changing perceptions of the natural world can be seen in the art of Armand Guillaumin, Auguste Rodin, Gustave Caillebotte, and Camille Pissarro, in colonial nineteenth-century novels, in design manuals, in museums, and in the decorations of domestic interior spaces. Visions of the Industrial Age, 1830-1914 offers a thorough exploration of both the nature of modernity, and the nature of the visual.

This seminal text for photography students identifies key debates in photographic theory, stimulates discussion and evaluation of the critical use of photographic images and ways of seeing. This new edition retains the thematic structure and text features of its predecessors but also expands coverage on photojournalism, digital imaging techniques, race and colonialism. The content is updated with additional international and contemporary examples and images throughout and the inclusion of colour photos. Features of this new edition include: *Key concepts and short biographies of major thinkers *Updated international and contemporary case studies and examples *A full glossary of terms, a comprehensive bibliography *Resource information, including guides to public archives and useful websites

A motion picture is an incredibly effective medium for delivering drama, specifically in the evocation of emotion. This art is highly complicated, requiring contributions from nearly all the other arts and countless technical skills. Appearing at the end of the 19th century, this new art form became one of the most famous and influential media of the 20th century and after. 'Motion Picture Directing' is a helpful piece by American screenwriter Peter Milne to reduce the complexity of this art by making several things easy to understand. The author writes wonderfully about the developments, the abilities, characteristics, and essential qualities after spending nearly ten years in the motion picture industry as a critic and writer. He gives valuable insights into the various methods and techniques that were used during that time in the field. It proves helpful to budding directors and the skilled ones as an introduction to the history of directing.