Still photography doesn't have to mean static images, a fact nobody understands better than well-known photographer and Photoshop Hall of Famer Vincent Versace. In this book, Vincent details his cinematic approach to evoke time and its passage in still photographic images, and provides a wealth of practical and artistic guidance for anyone with a serious interest in digital photography. Whether readers are looking to enrich their Photoshop skills, broaden their understanding of conceptual and aesthetic principles, get a handle on lighting and color theory, or simply inject some life into their still digital images, they'll benefit from Vincent's unique approach to the art and craft of digital photography. Offering advice and instruction on everything from creating lighting in Photoshop to setting up printers, taking advantage of color management, capturing movement, and more, this beautifully illustrated guide conveys the unique vision of a singularly successful fine-art photographer.

"Vincent Versace is a Renaissance man who has produced the best how-to book of the year! With its subtitle of A Cinematic Approach to Digital Still Photography with Photoshop Versace introduces a system for creating images that owes as much to the traditional darkroom as the digital one. Don t just read the book; study it. The first chapter isn t called The Tao of Dynamic Workflow for nothing and, like the rest of the book, contains Versace s charm, wit, and wisdom. It s copiously illustrated with detailed step-by-step examples of techniques that when applied to your own work will turn you from zero to hero. The fact that he s a heck of a photographer means the book is stunningly illustrated, but it s also been well designed. It has become a cliché to say that a book could change your life, but this one could." -- Joe Farace, December, 2007 , Shutterbug,  Top Digital Books Of 2007; More & Better Digital Imaging Books

Creating memorable photographs is a process that starts before you edit an image in Photoshop, before you capture the image, even before you pick up the camera. You must first approach the subject with the proper sense of perception, with the ability to visualize the finished print before you commit a scene to pixels, but still be flexible and spontaneous. Master Fine Art photographer Vincent Versace has spent his career learning and teaching the art of perception and how to translate it into stunning images. In Welcome to Oz,  he delves into what it means to approach digital photography cinematically, to use your perception, your camera, and Photoshop to capture the movement of life in a still image.

•  Adapt your workflow to the image so you always know how best to use your tools
•  Turn a seemingly impossible photographic scenario into a successful image
•  Practice image harvesting to combine the best parts of  many captures to create an optimum final result
•  Create black and white prints that have the look, feel and richness of traditional silver prints without ever leaving the RGB color space

Learning how to set up, use, and control lighting is the biggest challenge facing photographers who want to do studio work. With the help of this manual, serious amaeturs, photography students, and pros switching from outdoor to studio work are sure to become lighting masters. Beginning with an inventory of ingredients found in a well-stocked commercial studio, The Lighting Cookbook, presents every essential piece of lighting and shooting equipement, with a full explanation of how, when, and why each is used.

Dozens of lighting recipies from six top pros come next. They reveal step by step how they made their shots, complete with set-up details, lens choices, composition decisions, and lighting diagrams. The foolproof recipies cover a range of studio-work specialities, including glamour, fashion, still life, and portraiture - corporate, children, and pets.

The Lighting Cookbok provides all levels of photographers with everything they need to know about studio lighting to achieve great pictures on a regular basis.

Every picture featured in "Still Life and Special Effects Photography" is accompanied by a description of how the lighting was achieved, while clear illustrations showing each lighting set-up help readers achieve the same effect. The first section is dedicated to shooting conventional still-life subjects (such as food, product shots and natural flora), and the second to the more challenging field of special-effect photography (montage, multiexposure, mirrors and props, constructing simple room sets, etc). Now available new in paperback, this should be an indispensable book for anyone who would like to discover the secrets behind other photographer's successful images.

In Still Moving noted artists, filmmakers, art historians, and film scholars explore the boundary between cinema and photography. The interconnectedness of the two media has emerged as a critical concern for scholars in the field of cinema studies responding to new media technologies, and for those in the field of art history confronting the ubiquity of film, video, and the projected image in contemporary art practice. Engaging still, moving, and ambiguous images from a wide range of geographical spaces and historical moments, the contributors to this volume address issues of indexicality, medium specificity, and hybridity as they examine how cinema and photography have developed and defined themselves through and against one another.

Foregrounding the productive tension between stasis and motion, two terms inherent to cinema and to photography, the contributors trace the shifting contours of the encounter between still and moving images across the realms of narrative and avant-garde film, photography, and installation art. Still Moving suggests that art historians and film scholars must rethink their disciplinary objects and boundaries, and that the question of medium specificity is a necessarily interdisciplinary question. From a variety of perspectives, the contributors take up that challenge, offering new ways to think about what contemporary visual practice is and what it will become.

Contributors: George Baker, Rebecca Baron, Karen Beckman, Raymond Bellour, Zoe Beloff,Timothy Corrigan, Nancy Davenport, Atom Egoyan, Rita Gonzalez, Tom Gunning, Louis Kaplan, Jean Ma, Janet Sarbanes, Juan A. Suárez

Discover what makes an excellent location, how to manage the location and how to handle any problems that might come up. This book provides an in-depth, practical look at location scouting and management. Written with many years of scouting experience in mind, the author has imparted much professional 'savvy' that beginning or experienced scouts or location managers will find invaluable to finding and keeping their next scouting assignment.




Handles both the jobs of the location scout and the location manager
Step-by-step approach gives a realistic view of the process of location scouting and management

Eadweard Muybridge, one of the great pioneer-innovators of the 19th century, is a familiar figure to students of art history, photography, and cinema. Best known for the photographs of horses and other animals in motion that he made in the 1870s and '80s, Muybridge was the first person to use photography to freeze rapid action for analysis and study. He devised a method for photographing episodes of behavior using a series of cameras, producing some of the most famous sequential photographs ever made. These pictures, the first successful photographs of rapidly moving subjects, revolutionized expectations of what photography could reveal about the natural world, and ultimately led to the invention of the motion picture in the mid-1890s. Time Stands Still is the catalogue that accompanies a major exhibition celebrating Muybridge's fascinating work. Though the instantaneous photography movement stands as a crucial event in the progression of photography to motion pictures, this exhibition represents the first major organized treatment of the subject. Opening in spring 2003 at the Iris and B. Gerald Cantor Center for Visual Arts at Stanford University and touring through 2004, it combines an examination of the artist's career in motion photography with a survey of early attempts to photograph moving subjects. Guest curator Phillip Prodger is the primary author of the catalogue, but the book also includes a valuable essay covering cinema's earliest experiments by Tom Gunning, an acknowledged expert on early film from the University of Chicago. The exhibition will display Muybridge's zoopraxiscope and other equipment, drawings, ephemera, and photographs made from the invention of photography in the 1830s to the end of Muybridge's career, which culminated with the publication of his encyclopedic work, Animal Locomotion, in 1887. The photographs and objects are drawn largely from the collection of the Cantor Center and are supplemented with a selection of stop-action photographs from other private and public collections. Among those represented will be the work of Talbot, Rejlander, Maray, Eakins, Edison, the Lumiere Freres, and others.