PULITZER PRIZE FINALIST ONE OF THE NEW YORK TIMES BOOK REVIEW'S 10 BEST BOOKS OF THE YEAR WINNER OF THE KIRKUS PRIZE From the Pulitzer Prize-winning journalist and bestselling author of Backlash, comes In the Darkroom, an astonishing confrontation with the enigma of her father and the larger riddle of identity consuming our age. “In the summer of 2004 I set out to investigate someone I scarcely knew, my father. The project began with a grievance, the grievance of a daughter whose parent had absconded from her life. I was in pursuit of a scofflaw, an artful dodger who had skipped out on so many things—obligation, affection, culpability, contrition. I was preparing an indictment, amassing discovery for a trial. But somewhere along the line, the prosecutor became a witness.” So begins Susan Faludi’s extraordinary inquiry into the meaning of identity in the modern world and in her own haunted family saga. When the feminist writer learned that her 76-year-old father—long estranged and living in Hungary—had undergone sex reassignment surgery, that investigation would turn personal and urgent. How was this new parent who identified as “a complete woman now” connected to the silent, explosive, and ultimately violent father she had known, the photographer who’d built his career on the alteration of images? Faludi chases that mystery into the recesses of her suburban childhood and her father’s many previous incarnations: American dad, Alpine mountaineer, swashbuckling adventurer in the Amazon outback, Jewish fugitive in Holocaust Budapest. When the author travels to Hungary to reunite with her father, she drops into a labyrinth of dark histories and dangerous politics in a country hell-bent on repressing its past and constructing a fanciful—and virulent—nationhood. The search for identity that has transfixed our century was proving as treacherous for nations as for individuals. Faludi’s struggle to come to grips with her father’s metamorphosis take
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This is the classic guide for analog photography enthusiasts interested in high-quality darkroom work. The fourth edition from darkroom master Steve Anchell is packed with techniques for silver-based processing. In addition to "recipes" for darkroom experiments, this book contains invaluable information on developers, push-processing, reversal processing, enlarged negatives, pyro formulas, printing, and toning prints. The Darkroom Cookbook also offers advice about where to get darkroom equipment, how to set up a darkroom, safe darkroom working spaces, and more. Key features of this revised edition include: Over 200 step-by-step or do-it-yourself formulas Tips for mastering the "ingredients" of analog photography processing, namely the chemicals used to develop, fix, stop and tone Special technique contributions and stunning black and white imagery by professionals such as Bruce Barnbaum, Tim Rudman, John Sexton, and more.
Anne Marsh's treatise on the art of photography traces its theoretical underpinning from the early debates between the rationalists and the fantasists, through psychoanalytical interpretations, to the theatre of desire. She investigates the role of photography in ghostly performances', the masking of desire' and high camp aesthetics' - through to performance art' and the role of the photographer as a gender terrorist' - as in the work of Del LaGrace Volcano. The study concludes with notable examples of postmodern photography as they have occurred in the Australian context. This ground-breaking work by a leading Monash University academic will interest all students of photography and followers of recent trends in art and art theory.
Describes the discoveries of x-rays, penicillin, pullsars, and the connection between electricity and magnetism
THE DARKROOM contains the script for Duras' 1977 radically experimental film Le camion (The Truck), as well as four manifesto-like propositions in which Duras protests that most movies "beat the imagination to death" because they "are the same every time they are played." She also accuses the gatekeepers of traditional cinema of treating intelligence as if it were a "class phenomenon" and distinguishes her own approach: a cinema based on ideas and sensory experience. In the dialogue with Michelle Porte at the end of the book, Duras further describes her filmmaking style, discussing everything from her biography to her critique of Marxism. Much of the film consists of the sounds and images of a truck rumbling through an industrial landscape dotted with dilapidated, immigrant shantytowns. Periodically, the images of the truck are interrupted by cutaways of Duras and Gérard Depardieu sitting in Duras' living room, reading from a script that includes a dialogue between a staunchly communist truck driver and an anonymous, ethnically-unidentifiable woman who stands in as an alter-ego for Duras and at the same time is a substitute for "everyone." Neither of the characters are ever shown on-screen. Via an afterimage effect, the juxtaposed voice-over text and cutaways help the film's audience members project their own images of the truck driver and hitchhiker onto the screen. The truck driver quickly decides the hitchhiker is "a reactionary" suffering from some kind of "mental disturbance." Using the "mad," uneducated woman (who, is, nevertheless, interested in everything from the position of the earth in the universe to politics to such august personalities as Proust, Corneille, and Marx), Duras criticizes the invasion of Prague by the Soviets in 1968 and its support by the French Communist Party. Between the images of the truck, juxtaposed voice-overs, and cutaways to Duras and Depardieu, the art of film becomes the art of opening audience members to the possibility of en
The Dark Room tells the stories of three ordinary Germans: Helmut, a young photographer in Berlin in the 1930s who uses his craft to express his patriotic fervour; Lore, a twelve-year-old girl who in 1945 guides her young siblings across a devastated Germany after her Nazi parents are seized by the Allies; and, fifty years later, Micha, a young teacher obsessed with what his loving grandfather did in the war, struggling to deal with the past of his family and his country.
A young boy, thin and ill, feeds his small brother in a ritualized act of desperation, half-stifling him. The boy will be treated, his father will get a job, and the family will be moved from their shack in the slums of Rio de Janeiro to a suburban house, courtesy of the American viewers of Gordon Parks's photographs in Life magazine. It all turned
Darkroom: A Memoir in Black and White is an arresting and moving personal story about childhood, race, and identity in the American South, rendered in stunning illustrations by the author, Lila Quintero Weaver. In 1961, when Lila was five, she and her family emigrated from Buenos Aires, Argentina, to Marion, Alabama, in the heart of Alabama’s Black Belt. As educated, middle-class Latino immigrants in a region that was defined by segregation, the Quinteros occupied a privileged vantage from which to view the racially charged culture they inhabited. Weaver and her family were firsthand witnesses to key moments in the civil rights movement. But Darkroom is her personal story as well: chronicling what it was like being a Latina girl in the Jim Crow South, struggling to understand both a foreign country and the horrors of our nation’s race relations. Weaver, who was neither black nor white, observed very early on the inequalities in the American culture, with its blonde and blue-eyed feminine ideal. Throughout her life, Lila has struggled to find her place in this society and fought against the discrimination around her.
Horror story in the 'After Dark' series for older primary school children. Annie's dad told her that his camera could capture people's souls. After he dies Annie has to choose whether to develop his films.
Shows how to set up a darkroom, demonstrates developing and printing techniques, and suggests advanced special effects
Although there has been a huge move towards digital cameras and mobile phones with cameras because of their obvious convenience, there is no doubt that prints produced in the darkroom still yield the best photographic quality.There is still a large contingent of photographers who prefer to develop and print their own images and it is for this reason that this book has been written.The book is based on over 20 years experience as a professional darkroom printer for black and white and colour hand printing. It is written and published by me and is not available anywhere else.The book contains no fluff or padding - just hard information. It tells you why things go wrong, how to avoid the problem in the future and how to cure the fault.It consists of a mass of reference information collected over this time and is designed to provide instant information in the darkroom whenever answers are required quickly. It is a book written by a darkroom professional for darkroom enthusiasts. Here is one of the many topics in the book that you may find useful: If filter adjustments are made that result in all three filters being used, an element of neutral density is formed which reduces the amount of light reaching the paper. This does nothing to change the colour of the light. It just increases the exposure time unnecessarily. It is recommended that neutral density be removed to keep exposure time to a minimum. Colour head is set to: 70 Y 50 M 10C Remove. 10 Y 10 M 10C Result. 60 Y 40 M 0C Use this result for your new filter settings to reduce exposure timeContents• Extensive fault finding charts for colour and black and white prints, negatives and slides• Fault finding charts on Ilfochrome classic prints • Comprehensive dilution tables• Push and pull development data for black and white and colour negatives and sides • Push and pull development tables• Exposure compensation tables • Colour cast correction charts • Multigrade Filter settings for most enlarger colour
A new translation of an acclaimed Dutch thriller finds tobacconist Henri Osewoudt visited by a man named Dorbeck during the German occupation of Holland and given a series of increasingly dangerous assignments designed to help British agents to eliminate traitors, tasks that challenge him morally and eventually put his own loyalty on trial.
Offers complete guidelines for establishing a darkroom to process film, make contact prints and enlargements, and finish and mount prints, with tips on the latest technology, equipment, and techniques, including electronic imaging. Original.
The Dark Room tells three stories: that of Helmut a young photographer in the 1930s; Lore a 12-year-old girl at the end of the war; and Micha, a young school teacher, half a century later. Between them, the reader traces the legacy of the Nazi period on the lives of ordinary Germans.
Presents alphabetical entries on the photographic processes used before the rise of digital photography and technology, with a description, dates of duration, inventor's name, synonyms, and representative images for each entry.