Photography Reborn: Image Making In The Digital Era (Abrams Studio) Download Free (EPUB, PDF)
Not long ago photographers considered digital pictures apostasy-but now film is increasingly being replaced as a great alternative medium for professionals, artists, and everyday snapshooters. Photography Reborn is the first comprehensive survey of this exciting new medium of visual expression-it is an essential reference for anyone who wants to understand this revolution.In this important companion to a new art form, author Jonathan Lipkin chronicles the rise of digital technology and explores its impact as well as the limits of its possibilities. Every kind of digital image from MRI scans to fine art is highlighted here, from an obscure scientific application, through its adaptation by pioneer computer artists, to its acceptance by the mainstream of the art world. This seminal text-coupled with fascinating images and examples by contemporary artists Andreas Gursky, Thomas Ruff, Pedro Meyer, Nancy Burson, and Loretta Lux-is uniquely appropriate for anyone interested in visual communications, photography, and culture.
Series: Abrams Studio
Paperback: 128 pages
Publisher: Harry N. Abrams; 58365th edition (November 1, 2005)
Language: English
ISBN-10: 0810992442
ISBN-13: 978-0810992443
Product Dimensions: 7.9 x 0.6 x 10 inches
Shipping Weight: 1.2 pounds
Average Customer Review: 4.3 out of 5 stars See all reviews (6 customer reviews)
Best Sellers Rank: #1,019,879 in Books (See Top 100 in Books) #133 in Books > Computers & Technology > Graphics & Design > Computer Modelling > Imaging Systems #339 in Books > Arts & Photography > Photography & Video > Criticism & Essays #414 in Books > Arts & Photography > Other Media > Digital
The one thing you can say about digital photography is that it is certainly changing fast. And in this book Mr. Lipkin shows what a series of what you might call photographer/artists have done using digital images and computer manipulation of those images.In many cases, you might view these images as closer to paintings than photographs. In other cases, the images are of things that we cannot see ourselves, MRI images from inside the skull of a living person, mountains on the surface of Venus. Other images are from somewhere in the mind of the producer. These might be composite pictures of several people, these might be images that start with a photograph but which now are so distorted and colors so changed that their origin is difficult to see.This is not a book of techniques, it is a book of results, of ideas from the minds of people who are carrying digital photography into new areas.
It is truly amazing the rate at which technology moves! Four years ago, the author thought that film photography was here to stay for a long while because digital cameras were expensive, not so good, and anyway, people would need fancy computers and printers to make accessible photos. Now easy internet business is routinely conducted with digital images. But, as Lipkin points out, in PHOTOGRAPHY REBORN, it is not only that digital photography takes the place of film. It does, but it also is a genuine new medium. This book tells how and why digital images can outmanipulate experience and reality, be a new aesthetic medium and be more subversive than film photographs in which Trotsky's image was removed from Stalin's. In fact, the book tells not only how digital photography works, but also is a great guide to what it promises to do in the future.
PHOTOGRAPHY REBORN: IMAGE MAKING INTHE DIGITAL ERA is a fascinating little book that now after five years since its publication seems more of a bit of art history than an informative source. Jonathan Lipkin waxes enthusiastic about this 'new art form' in this book and by now Lipkin can be listed as one of the early exponents of digital photography. He explains with numerous examples that manner in which an image can be altered in the computer to go beyond where conventional photography can go. And among the many images reproduced well here are works by early art photographers who pioneered this medium - artists such as Nancy Burson, Andreas Gursky, Loretta Lux, Pedro Meyer and others. It is a very solid reference point for the introduction of digital manipulation of photographs.Now, with digital manipulation of photographic images so popular in both advertising, films, and fine art, this book seems a bit wide-eyed and it is for that reason that the book remains important for collectors today. With photographic images that are not manipulated becoming more rare it is healthy to return to the early stages of this manner of creating a 'new art'. For this reason alone, in addition to the fact that this little book is a very interesting read for beginners, this manual and monograph belongs in the art libraries of all who respect the historical aspects of art movements. Grady Harp, December 10
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