This book shows a series of portraits found in the trash bin of the "Gulu Real Art Studio," the oldest photographic studio in Gulu, Northern Uganda. The studio only has a machine that makes four ID images at a time, a number that most clients cannot afford, so the photographer takes single analog pictures, punches out the head with a special device, and discards the rest. In these faceless prints, one's focus shifts to the subject's individual posture and clothing, forming a typological portrayal of a community. Martina Bacigalupo also interviewed clients of Gulu, and their stories, many deeply moving, describe the political, economic, and social conditions common to contemporary East Africa.
Focusing on the presence of the photographer’s gaze as an integral part of constructing meaningful images, Roswell Angier combines theory and practice, to provide you with the technical advice and inspiration you need to develop your skills in portrait photography.Fully updated to take into account advances in creative work and photographic technology, this second edition also includes stunning new visuals and a discussion on the role of social media in the practice of portraiture.Each chapter includes a practical assignment, designed to help you explore various kinds of portrait photography and produce a range of different styles for your creative portfolio.
In Listening to Images Tina M. Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos—which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders—a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.
This innovative text recounts the history of photography through a series of thematically structured chapters. Designed and written for students studying photography and its history, each chapter approaches its subject by introducing a range of international, contemporary photographers and then contextualizing their work in historical terms. The book offers students an accessible route to gain an understanding of the key genres, theories and debates that are fundamental to the study of this rich and complex medium. Individual chapters cover major topics, including: · Description and Abstraction · Truth and Fiction · The Body · Landscape · War · Politics of Representation · Form · Appropriation · Museums · The Archive · The Cinematic · Fashion Photography Boxed focus studies throughout the text offer short interviews, curatorial statements and reflections by photographers, critics and leading scholars that link photography's history with its practice. Short chapter summaries, research questions and further reading lists help to reinforce learning and promote discussion. Whether coming to the subject from an applied photography or art history background, students will benefit from this book's engaging, example-led approach to the subject, gaining a sophisticated understanding of international photography in historical terms.
Listening After Nature examines the constructions and erasures that haunt field recording practice and discourse. Analyzing archival and contemporary soundworks through a combination of post-colonial, ecological and sound studies scholarship, Mark Peter Wright recodes the Field; troubles conceptions of Nature; expands site-specificity; and unearths hidden technocultures. What exists beyond the signal? How is agency performed and negotiated between humans and nonhumans? What exactly is a field recording and what are its pedagogical potentials? These questions are operated by a methodology of listening that incorporates the spaces of audition, as well as Wright's own practice-based reflections. In doing so, Listening After Nature posits a range of novel interventions. One example is the “Noisy-Nonself,” a conceptual figuration with which to comprehend the presence of reticent recordists. “Contact Zones and Elsewhere Fields” offers another unique contribution by reimagining the relationship between the field and studio. In the final chapter, Wright explores the microphone by tracing its critical and creative connections to natural resource extraction and contemporary practice. Listening After Nature auditions water and waste, infrastructures and animals, technologies and recordists, data and stars. It grapples with the thresholds of sensory perception and anchors itself to the question: what am I not hearing? In doing so, it challenges Western universalisms that code the field whilst offering vibrant practice-based possibilities.
Campt explores the affective resonances of two archives of Black European photographs for those pictured, their families, and the community. Image Matters looks at photograph collections of four Black German families taken between 1900 and the end of World War II and a set of portraits of Afro-Caribbean migrants to Britain taken at a photographic studio in Birmingham between 1948 and 1960.
The real world is full of cameras; the virtual world is full of images. Where does all this photographic activity leave the artist-photographer? Post-Photography tries to answer that question by investigating the exciting new language of photographic image-making that is emerging in the digital age of anything-is-possible and everything-has-been-done-before. Found imagery has become increasingly important in post-photographic practice, with the internet serving as a laboratory for a major kind of image-making experimentation. But artists also continue to create entirely original works using avant-garde techniques drawn from both the digital and analogue eras. This book is split into six sections – Something Borrowed, Something New, Layers of Reality, Eye-Spy, Material Visions, Post-Photojournalism and All the World Is Staged – which cover the key strategies adopted by 53 of the most exciting and innovative artist-photographers of the 21st century, drawn from all over the world.
"I had the good fortune to grow up in a wonderful area of Jerusalem, surrounded by a diverse range of people: Rabbi Meizel, the communist Sala Marcel, my widowed Aunt Hannah, and the intellectual Yaacovson. As far as I'm concerned, the opinion of such people is just as authoritative for making social and economic decisions as the opinion of an expert using a model." Part memoir, part crash-course in economic theory, this deeply engaging book by one of the world's foremost economists looks at economic ideas through a personal lens. Together with an introduction to some of the central concepts in modern economic thought, Ariel Rubinstein offers some powerful and entertaining reflections on his childhood, family and career. In doing so, he challenges many of the central tenets of game theory, and sheds light on the role economics can play in society at large. Economic Fables is as thought-provoking for seasoned economists as it is enlightening for newcomers to the field.
Bursting with beautiful, exclusive illustrations, Harry Potter: Coloring Wizardry is a must-have coloring book for fans of the magical film series. Escape to one of the most beloved series of all time! Harry Potter: Coloring Wizardry takes fans on a film-by-film journey through the wizarding world with over 80 illustrations of beloved scenes for fans of all ages to color—from Harry’s first-ever Quidditch match in Harry Potter and the Sorcerer’s Stone to the battle of Hogwarts in Harry Potter and the Deathly Hallows - Part 2. With compelling and intricate designs perfect for hours of relaxation and creativity, Harry Potter: Coloring Wizardry is the perfect opportunity to celebrate every fan’s love for the Harry Potter films.
Solid waste management affects every person in the world. By 2050, the world is expected to increase waste generation by 70 percent, from 2.01 billion tonnes of waste in 2016 to 3.40 billion tonnes of waste annually. Individuals and governments make decisions about consumption and waste management that affect the daily health, productivity, and cleanliness of communities. Poorly managed waste is contaminating the world’s oceans, clogging drains and causing flooding, transmitting diseases, increasing respiratory problems, harming animals that consume waste unknowingly, and affecting economic development. Unmanaged and improperly managed waste from decades of economic growth requires urgent action at all levels of society. What a Waste 2.0: A Global Snapshot of Solid Waste Management to 2050 aggregates extensive solid aste data at the national and urban levels. It estimates and projects waste generation to 2030 and 2050. Beyond the core data metrics from waste generation to disposal, the report provides information on waste management costs, revenues, and tariffs; special wastes; regulations; public communication; administrative and operational models; and the informal sector. Solid waste management accounts for approximately 20 percent of municipal budgets in low-income countries and 10 percent of municipal budgets in middle-income countries, on average. Waste management is often under the jurisdiction of local authorities facing competing priorities and limited resources and capacities in planning, contract management, and operational monitoring. These factors make sustainable waste management a complicated proposition; most low- and middle-income countries, and their respective cities, are struggling to address these challenges. Waste management data are critical to creating policy and planning for local contexts. Understanding how much waste is generated—especially with rapid urbanization and population growth—as well as the types of waste generated helps local governments to select appropriate management methods and plan for future demand. It allows governments to design a system with a suitable number of vehicles, establish efficient routes, set targets for diversion of waste, track progress, and adapt as consumption patterns change. With accurate data, governments can realistically allocate resources, assess relevant technologies, and consider strategic partners for service provision, such as the private sector or nongovernmental organizations. What a Waste 2.0: A Global Snapshot of Solid Waste Management to 2050 provides the most up-to-date information available to empower citizens and governments around the world to effectively address the pressing global crisis of waste. Additional information is available at http://www.worldbank.org/what-a-waste.
