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The book is not cheap, and this gave me pause for some time. I have been buying a lot of books on orchestration and composition lately, some better than others. I finally took the plunge with this one, and it is by far the best I have seen as yet. I am not finished my first read-through just yet, but I am already learning items about layering instrument voices and suchlike that I have not found written as clearly anywhere else.Go for it - you won't be disappointed!
Perfect information. Slieghtly outdated but the foundational info is still very valid. Simple to read and well organized to search what I need. I highly recommend for those who are truly interested in making their midi orchestrations sound like true orchestrations
I already had 15 years using MIDI for orchestration and thought this book would have some useful tips, but it seems like I already knew most of what is in here from other sources and my own experience. This book would be useful for someone just starting out. Other than that, it's just sort of OK. A lot of the material is starting to become outdated, but it's still useful for people who know nothing at all about this craft. Unfortunately the web website for this book and author are not kept up to date, so the examples in the book can not be accessed. I have found a lot more useful info at the VI-Control forum on the internet.
Unfortunately the one star is judging a book by its cover quite literally. The book came damaged from the onset of it arriving today. For an almost 80.00 book, this is super unacceptable. Will give an modernize once I dive deep into the content.
I am an Artist by training, and most of my musical understanding has been self-taught. Inyhoo... I have learned more about melody notation, composition, orchestration, and theory, from these 3 small books than from any other related resource!!!! They are very “User-Friendly” and when used together, become a really amazing reference book!!!
Perfect pocket reference for orchestral instrument scoring, with ranges (typical, extended, options, etc.), transpositions, dynamics, tonality, pedal tones, scoring hints (avoiding weak notes; difficult jumps & trills, etc.) and explanations on each instrument's primary operational principles as they apply to composing & scoring.
Would not be without this concise guide. My copy is annotated with the suggestions and valuable comments of the musicians who play my scores. Definitely makes for a better understanding of instruments whether you do orchestral or concert band works or arrangements. And it fits in my pocket.
This is an perfect small book (and I do mean LITTLE... the book has a wealth of information, but it's tiny, like pocket-sized!) to reference when creating movie scores or other orchestrations. The instruments are grouped together for ease of navigation (e.g., percussion, stringed instruments, horns, reeds, etc.). The book info the ACTUAL range and the SOUNDED range of each instrument, and it has some really uncommon/bizarre instruments listed! It's really nice that the sounded range is included, as instruments vary in timbre and thus play in a various register, so the same note on the same staff can sound different. I use this book frequently when I'm writing different orchestrated sections of movie scores. Use this as a reference book only. It doesn't go much further than that. Quite worth the money!
This is a unbelievable book - IF it suits your purposes. If you already have a heavy textbook on the topic of orchestation (e.g., the Cecil Forsythe book) this book would potentially be redundant. However, used as what it claims to be - a concise, literally pocket-sized desk reference for the working composer or orchestrator - it is easy-to-use and informative. It includes primary info about every instrument, including ranges, transposition, tone color, tricks and unique notation, impossibilities for players, and occasional scoring/arranging tips. For a novice like myself, it's very informative when read cover-to-cover; for an experienced orchestrator, it might still be handy for fast checks. Either way, highly recommended!
I'd give it ten stars! Anyone interested in writing, arranging, composing, orchestrating, or just a curious musician should own a copy of this covers over 150 instruments giving the general/practical range as written and transposed, plus it gives the tonal/dynamic qualities of each register and where they might be used (e.g.each string on stringed instruments, chalumeau/throat/clarino on clarinet). It covers general info about each instrument (construction, unique attachments, general considerations).It covers technical considerations with specific characteristics for each instrument to support you avoid writing something a player would consider stupid (e.g. low B-Bb slide positions on trombone, low C-Db trill on flute). It also has scoring tips for each and within their covers all sorts of articulations/mutes/effects etc, what they sound like, where to use them and how to write them (e.g. velvotone mute/'doit' articulation for trumpet, flutter tonguing on flute, string technics). Also, there is info on harmonics for stringed instruments and pedal tones for trombones, french horns et has an awesome section on percussion instruments. Composers have always looked like idiots to a percussionist because they hadn't the slightest idea how to write for them. You will know how if you use the information in this book (and be admired by the 'battery').In short, if this book sold for $200, it would be worth it. At $100 it would be a bargain. BUT at 6 bucks, why haven't you bought it already??p.s. while a bit confusing a first to search an instrument, however, with about five mins of use you will understand the reasons for the arrangement of material in the book by families (you would not wish a coronet at the front and trumpet at the back of a book). The table of contents explains it. Plus there is an alphabetical listing of instruments with page #'s at the back of the book.
I was somewhat skeptical when I purchased the hard copy. One review said it was small--they might have underestimated: this book is ever, it fits wonderfully in my purse as it is scarcely larger than my EVER: this little book is packed with very useful AND very accurate information.I purchased it because sometimes I compose or arrange for instruments I don't normally do on a regular basis, and I am sometimes unsure. For example, the slide positions on the trombone--just where do those partials begin, and where does the tenor and bass trombone differ. The harp--I have written extensively for this instrument, but it is always amazing to hold up with current or alternate practices that I might not have rings: this book covers the gamut of techniques.IF you are a thoughtful melody professor, I recommend you require this book for your class rather than one of those $100+ books, and fill in the broad scope with your lectures.IF you are a student, go along with what your professor requires, but carry this little book with you at all times.:-)Nessa
Very handy small guidebook. It has info about practical and professional ranges of most instruments, descriptions of the timbre and mood qualities, a bit of information on how the instrument is played, dynamic level capabilities, and unique considerations for the player that must be taken into account. It's a cute size, simple to consult, organized very well.
I have this book in hard copy and I love it. I bought it for Kindle and got a notice that it isn't available for Windows 8. This isn't the first time this happened. Amazon should allow their customers know if a book isn't available for a particular operating system. I basically wasted the cash I spent on this book. I can read it on my phone but not on my laptop. That sucks.
For an experienced Flame artist, i learnt and still learn a lot of things from this book ( haven't finished it yet).A book ill always obtain back to, because it never gets old, and you can learn fresh things from it as your experience grows.
I found this book to be quite a amazing read, but it should looked at as a historical work first. However the amount of text in this book is a lot less than you might expect, probably less than 50% of the book is written material. The remainder consists of unbelievable prints from a lot of artists.I did have fun it, but it should be purchased understanding the odd format, a few essays, all well written. With a lot of prints, not all are photographs. The Wilhelm essay on history of print longevity is especially good.
Although I knew roughly of Graham Nash's involvement in the early days of digital printing I did not know the detail. Having been fooling around with digital printing about as long as Nash, but without his cash or expertise, I found the book fascinating. This book will not tell you how to obtain the best print, but it does tell the story of the people who had the vision and knowledge to begin it all off. A amazing read with some amazing essays by photographers who were involved. I think that it is a worthwhile addition to my photographic library. An eye opener to those who just push the button and a amazing print comes out.
Beautifully place together, with explanations that are straightforward to follow.I learned a lot from the contributors. They give you ideas that are likely to change your approach to making art quickly. Especially in the field of using custom brushes, textures, flipping photos around in unexpected ways to make fresh shapes, layering textures to make detail and realism, and so ch of this is about how to make the impression of a scene, and then focus on the right info to bring it is book has created me a better artist.
This volume is a must read for anyone with a serious interest in printing fine art from digital files. I purchased this book as a used edition and it will never leave my library. It's a very simple read with multiple short essays by the main movers and shakers that revolutionized digital printing. I have an entirely new-found appreciation for digital printing after reading this book. The digital printing community is really in its infancy when compared to the chemical darkroom. The ability digitize photos is nothing new, but the ability to faithfully reproduce those photos with archival quality is still undergoing a genesis. The volume describes the early days of digital printing and how this all came about because the original negatives from Graham Nash's private collection were lost! The story is really captivating as White recounts the recruiting of the original personnel and the decision to take a cheat saw to a very, very expensive printer! The treatise is also filled with some outstanding examples of prints produced by Nash editions. This is not a text on technique or style. It is, in my opinion, a serious necessary treatment of modern art history.
I really wish to like this book, and I desire to grow and learn from studying it, and I HATE to give a poor review like this. But I have to warn any potential buyer for the sake of your MENTAL HEALTH, undisrupted night time sleep, and your FUTURE art career in general! When I first got this book, I was so excited until I see some HORRIBLE, EVIL monsters and womanlike evil spirits from honor movies, oh I first got so shocked, and then I got so angry at the CONCEPT itself!!! I'm not condemning anyone, I appreciate the author to place these things together and support us learn, but WHY, WHY so a lot of horror scenes??? What do we test to communicate here?? Art is communication, and what kind of communication is this one?? And it bothers my sleep and my own imagination (Trust me, it would bother anyone!!)...... that night, some of these scenes are recalled in the midst of the night, until I couldn't go back to sleep anymore, it's just soooooo scary, nasty, and so unhealthy!!! I have to obtain up and intentionally spend sometime comfort myself, test to obtain these scenes out of my mind which is NOT EASY (because I easily memorize all the pictures and they dont always go away specially the scary one) our mind is not a computer that can automatically press "delete" button. I actually have to use "sticky notes" to block all these NASTY STUFFS (quite a lot) until I was like "What am I doing??? Why don't I just return it??" I feel I'm wasting my time. But I guess I really just wish to learn something...it's really sad. I don't think it worth it....skill is method LESS IMPORTANT THAN the meanings/concept/what it test to communicate behind every art piece. It REALLY GRIEVE MY HEART to see sooo a lot of talented, well-trained digital artist, I mean they are so talented!!.... but got involved with intense violence? immoral ?? and promoting all these garbage in all kinds of computer game. It just break my heart...I'm like you don't know who you are, don't you?? You are too amazing to do this!!!!!Why don't we promote peace?, heavenly joy?, righteousness?, healthy ?, healthy marriage?, real love? creating picutures/scenes that support humanity instead of TRAUMATIZE can comfort people, bring them hope, to create them feel they are valuable, loved, and seen. Our pioneers studied art to painted bible stories and concepts using their imagination and brushes, they test their best to promote healthy life and HOPE, and I think we as artist should honor them, and really ask ourself why I do what I do, and what I test to accomplish in the history here.
A amazing book for learning how to use image and image bashing. Not really as much a painting speed book, but more a book on techniques that use photos and brush packs to chop down on all the hand painting you would do otherwise.
This book is perfect. It gives you a well understanding of grading concept, environmental design of a grading room, monitor references, hardware, everything you need to begin grading. It comes with practical stuff, and amazing examples to understand everything on it. This is not an simple task to do, is almost a science and you need a lot of clear concept to become a master. This book explain all you need to begin grading an practicing.
As with some other reviewers, I hoped this book would provide insights. It doesn't, but it's not a total 's still interesting to read about someone's journey on a path related to the one I'm on. I especially liked reading Graham Nash's too short introduction, as he's not someone I would think would be so passionate about prints. In addition, the prints showcased in the book are stunning, and they present what Nash Editions is capable of only suggestion is to move the editorial review to the position under the publisher's description. "Read this before you calibrate . . . " is the first thing I read and looked to in my interpretation that the book provides insights.
Could use more explaining in between steps. Most of these books and videos just have a person talking about what they are doing and NOT HOW they are doing it. Like what opacity to use, what filter or setting on brushes. Its amazing though, add it to your art library!
This book is of interest to digital printers because of its focus on the history of the idea of digital inkjet printing and its development. There are some technical locations that are interesting but all of these can be found elsewhere. I think this story and the book are of as much importance to rock melody as they are to digital printing. If you wish a amazing story by a master read this book. If you are looking for detailed information on digital printing look at H. Johnson's book "Mastering Digital Printing."The gallery of photos is lovely. There are nice inkjet prints from different customers of Nash Editions. These illustrate the accomplished nature of what Nash Editions tackles and what it e third thing I liked about this book it points out what a tremendously talented creative genius Graham Nash is. In spite of this supreme ability he is a genuinely nice man who is concerned about people around him and his family.
Its got quite a few guides in it. I wouldn't say its all comprehensive but it gives you quite a few tools to book will teach you everything, practice each fresh things you run across till you create it your own. This book will support take you to another art level though.
With respect to the nature of this book's content and notice Eric Burrows' review title hit the nail on the bean: "Not how to do it but how it happened". Don't buy this book with the expectation of learning technical tricks for printing. Rather, "Nash Editions; Photography and the Art of Digital Printing" is a retrospective look at the pathfinding inkjet printing work of Mac Holbert and Graham Nash. The book actually consists of several essays by different authors, including Mr. Archival Permanence himself, Henry Wilhelm.I found this book to be a fascinating stroll down the relatively short (to-date) path of fine art inkjet printing. But I also found it strangely inspiring. After spending a couple of hours with this book I felt compelled to devote even more effort to my own printing.
While laid out ok and written in simple to understand language this book is very basic. It should be called an introduction to printing for l the editing and printing tips/advice are beginner level at best, not a lot deeper info beyond what’s explained in the software or printer if you’re a true beginner to photography or printing then I’d give it 4 stars.
The photographic print is the end effect of the photographic process. After the photo capture, editing and processing, today you have two options. You can view on a digital output device or you can handle and look at a fine art print. There is nothing like a attractive print!Mr. Nickelson's book is full of info and techniques for producing a work of art. Unfortunately I found the book to be method too technical for the average a lot of 'how to' books it is best to actually follow along as you are reading; however, that is really not possible when talking about prints. You have to obtain your hands dirty.If you really wish to produce fine art quality prints and have the right equipment (printers) this may be the book for you. Anyhow, this should be a reference book in any photographer's library.
My experience is that the largest complaint that most folks have about printing is that the photo on their monitor does not look like the print that emerges from their printer. If that’s one’s problem, a fifteen or twenty page booklet could probably provide a solution. It would tell you to calibrate your monitor, adjust your image, soft proof it and adjust it further if important and then print it using the right profile. It would also tell you that backlit monitor photos will never look like reflective prints so obtain used to it.Every author on printing, including Jim Nickelson, adds extra material, like telling one how to create adjustments to one’s photo using Lightroom and/or Photo. Depending on one’s experience with post-processing software this may or not prove helpful. They also usually discuss selection of printing paper, describing the various features of various papers. Nickelson adds a brief discussion of framing and the fine art print market, although anyone deeply interested in either of these topics would do well to read books dedicated just to those subjects.When it comes to paper, I’ve found that no discussion of paper can support you choose papers like actually printing on various papers. You can buy the dozens packs available from most manufactures and print and compare a favorite image. I confess to having attended a weekend program where I printed two of my favorite photos on more than a dozen types of paper to support me understand what papers would work best for e author writes clearly about what is primarily a technical topic. When he writes about post processing tools, he doesn’t cover the entire range but explains those that he uses with a particular twist. You won’t learn to use Lightroom or Image from this book, but you may pick up a fresh slant on particular e author has an interesting approach to post processing suggesting a two step way of post processing your photos and then doing print interpretation for artistic intent to further post process. He does however acknowledge that these steps can be combined, which is what I’ve always of the things I found tedious was the author’s frequent reminders that a lot of of the procedures and flows were subjective and could be varied.If your screen and your photos don’t match and it’s not just due to the inherent difference between backlit and reflectively lit images, and you are unhappy with that, this will be a useful book to you. There’s nothing particularly fresh here, but there is amazing tried and real te: The publisher provided me with a review copy of this book at no charge.
I found this well worth the money, although be advised that the discussion of the actual printing process doesn’t begin until page 105 of this 220 page book. For a amazing print, it is understandably essential to begin with a amazing photo, so any author of a book about printing has a dilemma – how far back in the capture and editing process do you go? You could go all the method back to f stops and shutter speeds, since camera craftsmanship is essential to obtain a image that will effect in a amazing print. Thankfully, the author didn’t go that far back in the process. Instead, the first 105 pages cover editing techniques in Lightroom and Image as well as optimizing your workflow, as well as some amazing hints about of the key elements of knowledge I took away from the book was the result of optimizing your PPI for Epson vs Canon printers, and why it makes sense to adjust it yourself as opposed to letting the printer do it. There is also some amazing discussion on black and white ings I would have liked to have seen would contain a more expanded discussion on the topic of clogged print heads which are like the “heartbreak of psoriasis” for those of us who print our own photos. And in the fairly lengthy discussion about using different techniques to emphasize or de-emphasize elements of an image, no mention is created of Lightroom/Camera Raw’s “de-haze” filter which is a unbelievable and subtle (if used sparingly) method to draw attention to the key portions of an a nutshell, it’s a worthwhile read. I skimmed the first 105 pages and still picked up some interesting stuff, and then when I got into the printing part of the book it was like shifting into high gear.
I originally became acquainted with Hoffmann through his book "Photography as Meditation" and thoroughly enjoyed his insights into developing a vision for my photography. This book continues his perspective on black and white images. I love his development of a perspective approach and the method he advocates for the special power of black and white.
After listening to the author speak on NPR, I instantly purchased this book to review. I'm a social worker that work with adolescents, young kids and families as I frequently reference this. I think this should be a go to to support parents search a amazing balance at home and work on healthy habits.
Every modern parent should read this book - those who think their children have too much screentime, those who are afraid they are not getting enough. Anya Kamenetz has done the legwork, backing all of her ideas with solid research and a well-balanced, nuanced approach. Her writing is warm, sometimes funny, and accessible for all. She provides practical, concrete tip for ways in which we can manage the screen time of not just our children, but ourselves. You will search a lot of valuable ideas in this book - I can't recommend it enough.
The author does a amazing job addressing the positive aspects of screens in our society and reminding parents to chill and become involved in screen usage. As a parent who began my journey under the American Pediatrics recommendation of no screens before the age of 2 and then no more than 1 hour for preschoolers, I search her approach of worrying less about screens and more about how the children engage with them very interesting. As the book went on, it became more and more reporting on different ways in which technology (divorce, unique needs, schools...) is amazing and how it's being used for the positive and, for me, she lost contact with that which I have influence over/is applicable in my day to day. While the concept is universal, the examples are almost exclusively for parents of young children. There's very small for parents of tweens and teens outside of that "worry less about screens and more about how the children use them, ask questions, test to understand" mode and there is a direct, positive correlation between a conversation about and the (lack of) use of by teens. I will be rethinking my (failing) time based approach, but ultimately feel the content was too shallow to support in the day to day of navigating the private device challenges for parents of middle school and high schoolers. That said, if I had younger children, I think what she has to say is compelling and she does have some amazing tip early in the book. My takeaway from her writing is that we, as parents, need to rewrite our fears to embrace the amazing things technology brings to our lives ...to obtain involved, ask questions of our kids, and encourage balance, but obtain away from trying to control so much.
Well written. Insights on "Meaning" in photography, going beyond snapping shots, beyond the technical, beyond classification ["There's a shot of the Grand Canyon"] to sensing and feeling and expressing oneself, approaching in some cases a meditative state. All this is good, though I got a lot more from Bruce Barnbaum's earlier work "The Art of Photography."
When I first started shooting in the 1970s, I used black and white movie and did most of the developing myself. I have always loved black and white photography and was really looking forward to reading The Art of Black and White Photography. However, it appears that the book is primarily meant to "facilitate both amateurs and specialists as they transition from og to digital...[while helping] you become familiar with digital photography and focus again on the photo in the digital age". I stopped using og (film) over 10 years ago. I don't know anyone that has used movie in the past five years, so I found it puzzling that the author place so much emphasis on og photography. In fact, I found it very frustrating at times. For example, he does a unbelievable job of explaining color filters and then concludes by saying "color filters just described lose their effect, lead to flat images, and are therefore useless in digital photography." To his credit, he does then explain what you need to do with digital photography in lieu of the color e author states that "this book will stimulate you to yze photos in-depth and will motivate you to search your own photographic style". Unfortunately, for me this didn't happen. I will admit that this is a very private opinion, but there wasn't anything in the book that created me go "wow". Furthermore, while the images were okay, I didn't search them amazing or inspiring.Having said this, I think the book would be a unbelievable resource for someone who is still shooting movie and is looking at transitioning into digital. In Section 3 of the book the author does a amazing job in discussing and demonstrating the Rules of Composition, including pictorial composition, the golden ration and elementary construction, triangular composition and so forth. I found that Section 4 of the book does a amazing job providing an overall introduction to the Digital Darkroom (Photo) including the steps to convert your digital images from color to black and white, simulating og filter effects, brightening dark locations while increasing midtone contrast, adding grain, dodging, burning and retouching the photo. He also spends a chapter explaining how to partially manipulate a image using the Lasso Tool in summary, I think the book would be useful for those individuals that are transitioning from movie to digital and have small too no knowledge about digital photography and Photo.Disclosure: A copy of this book was provided to me as part of the O'Reilly's Blogger Review Program on the understanding that I would read it and provide an honest review.
As a researcher who studies youth and technology, parents often ask for recommendations and guidance about navigating kids' use of tech, phones, and social media. Most books are ungrounded fear-mongering. This book is not. Anya has done a phenomenal job bringing together research from various disciplines alongside the experiences and challenges parents face in order to offer a grounded approach to for parents struggling to navigate technology with their children. This is a practical and accessible book, designed to support parents stay calm and approach their children's tech use in a responsible and respectful manner. I commend Anya for her clear-headed ysis that can reassure parents and tutorial them towards an approach that will benefit them and their children.
This is my first book by this author so I am interested in what he says. He begins, of course, by discussing camera choice and the use of filters. I love, though, his first chapter after the basics which is entitled “overcoming clichéd photos”. How could you not rip into that chapter 1st thing :-)I like this author the cliché chapter, he tells us to ask ourselves whether something we are going to photograph is really worth it, whether it expresses our feelings and shows in “authentic instant“ in the world. Amazing point because I don’t often enough think of that given that with digital you can snap hundreds of pics at no cost. At the end of that section, he gave some amazing examples of shooting clichéd scenes with just enough difference to create them fresh again. For example, there’s a amazing shot of the Fresh York skyline: women doing yoga with the Fresh York skyline behind his discussion on road photography he discusses creating a Hitch atmosphere :-) In that same part of the book he also covers architectural photography and landscape photography in black-and-white. Interesting that with his landscape photography he tries to demonstrate the death of the nature-for example, silhouettes of dead trees. Certainly seems relevant in today’s world. He discusses one image of the interior of a mall which is all horizontal and vertical lines-and then in the middle of it, on an escalator is a small girl. The girl, of course, gives the image life — the author says he waited a very long time at that viewpoint for just the right human to wander into the scene.He also covers, in that section, doing abstracts, portraits, surreal black-and-white photography, and even mystical photography. The author covers so a lot of varieties of images to consider taking in black-and-white that the thought of doing it becomes an adventure in itself. The book presents us with more options than are usually given in the average photography book, especially on black and e author continues to surprise me by providing several chapters on composition. Most books whose main topic is not composition include a little piece on composition but nothing so comprehensive as in this book. For example, he discusses condensing compositions (less is more) so that you pare it down to the critical elements in the freezer. He also covers the golden ratio, axial symmetry, and the fact that a triangular com- position is more dynamic than others. Toward the end of the composition section, he talks about the pictorial guides, or how to tutorial the viewer’s eye through your photo. In an aside he mentions that Edward Weston, master of road photography, hid his camera behind his coat and shot through a buttonhole! Especially enjoyed his piece on circular composition, not something I read about very a greater degree than a lot of others photography writers, Hoffmann takes on subjects often not covered; for example, toward the end there is a chapter on “interesting irritations”! Coming across an unusual subject like that makes a book that much more fun to read. Hoffmann’s final section is on processing the pics once you take them. I especially like his piece on using the lasso tool which I hadn’t seen given such attention before.I highly recommend this book. It is not only quite comprehensive in what the author tells us about black-and-white photography, it’s also entertaining! Where else would you search a chapter on interesting irritations :-)
Now I have to admit up front that I like black and white photography for its ability to strip an photo down to its bare bones. The question of course is will this book support you produce better images? Over all I think it probably will. The book is divided into four sections; tools and fundamentals; photographic genres and concepts; rules of composition and the digital darkroom. I'll deal with each of these sections separately in this e tools and fundamentals section is slim and retreads some well worn ground. It covers the basics of choosing a camera, shooting in RAW mode and using (or not using) filters. It doesn't cover anything fresh but summarises the basics more or less clearly. Some technical discussions, such as the description of how a polarising filter works, could do with clarifying or the use of a diagram but overall the section is e photographic genres and concepts section is probably the one that you will dip in and out of rather than read through. It is divided into sections largely covering various genres of photography such as road photography and portraiture. Some of these styles will appeal and some won't, for example I can't stand fuzzy mystical photos so I simply skipped that chapter. The chapter that is most worth reading is the first one on avoiding cliched pictures. However this chapter does have one huge issue; one of the photos cliches used is that of the Fresh York skyline with the Globe Trade Centre which some will search rather tasteless and does create you wonder just how updated this second edition e third section which covers composition is by itself worth the price of the book. Now that you can snap away without having to worry about the cost of development and the availability of easy post processing there seems to be a move to firing off as a lot of snaps as possible and hoping to obtain something amazing out of it. The composition section is more about seeing and composing the picture before you press the shutter which I search much more satisfying. All the basics of the golden ratio, recurring elements, balance and reduction are all well covered. For me this was the true meat of the book and the section I enjoyed the e final section on the digital darkroom is one where I have some issues. It seems almost obligatory to have a section on image in a digital photography book but I must admit I usually search them a waste of space. Image is so complex that it needs a book or two to itself to use it properly, and that's ignoring the fact that not everyone uses photo. That being said this is one of the least worst digital darkroom sections I've read in a photography book. Rather than skimming all of photo's functions the author selects a few pertinent tasks such as black and white conversion, filter effects and retouching and works through each e Art of Black and White photography has it's high points and low points but overall I consider it a useful book even if just for the perfect section on picture composition which is where, for me, the true art of photography lies. For all its flaws the book has earned a put on my bookshelf.
I'm a dad with two kids. My wife and I are amazing parents. We have amazing mates who know their items around parenting and we feel like we're generally on point (disclaimer: Anya is one of these parent friends)So when I bought her book, I didn't read en I read a small bit, just maybe a quarter of it, and I can say that after just that much we started to see a fundamental positive shifts in our family dynamic. The focus on _how_ to use screens is forward thinking and practical. We place some of her suggested systems into play and (after maybe one tantrum) everyone seemed to adjust to a new, more balanced, sustainable reality.We had started to see screens dominate and _separate_ our family. I won't say we're perfect, but since reading The Art of Screen Time, we see a LOT less tantrum behavior, and we see more interaction with our family, more helpfulness and cooperation, and frankly more fun for everyone when screens are being used.I would recommend this book to any parent of any child. This is needed reading, especially if you're the kind of parent that wants to support your children flourish in our screen-rich world.
As a parent of two boys who love their screens, I had to buy this book. It is a terrific resource for parents, teachers, babysitters, and guardians. It has lots of scientific info but it is written in an accessible way. Highly recommend!
As a fan of black and white photography, I've read a couple of books that explain the "how" of this segment of shooting pictures. This one is terribly disappointing. It opens by telling readers to not take images that are clichés, and as you go through and look at the images in the book, by the author, you see a lot of clichés. There are sections talking about shooting portraits, road photography, landscapes, etc, but all they do is present his images and explain how he shot them; there is no broader explanation of shooting black and white, as opposed to color. The section on composition looks like it's cribbed from another book, with specious things like the golden ratio, and is really quite useless; at least it's not specific to black and white e text is bland and boring - which could be in part because of the translation - and after reading about a quarter of the book, I skimmed the rest, looking at the photos, and reading some of the descriptions. This is overall beautiful useless for those who wish to know more about shooting black and white pictures.
Grounded in research and clear-eyed about the globe we live in, this is an indispensable tutorial for parents to navigate the a lot of distractions and temptations facing kids today. Unlike the a lot of doom-and-gloom authors writing about screen time, Anya Kamenetz acknowledges that it's not all bad. Also, it's not just about limits. The research and stories in this book provide a framework for parents to create our own decisions based on what we see event with our kids and the needs of our families.
A voice of reason and balance in a sea of panic, guilt and misinformation. After taking counsel from Anya and her practical wisdom, I was able to set consistent screen useage policies for my toddler, and drop the panic I felt that I might be “ruining” my child every time she fell down a Peppa Pig hole. Our rules are that she can watch her shows when Mom or Dad is cooking food, or when we travel or when she is sick. Easy and simple to enforce. I talk to her about her shows and connect over the concepts and feelings depicted therein. What a relief!
I have been in the process of self-teaching digital painting for some time now. I found this series of books on Amazon, and became so excited! The material inside is very helpful and contains subjects like: backgrounds, skin textures, etc ... Definitely worth it!
If you know a bit but really wanna step your android game up, this is the book for you! Detailed instructions from begin to finish, and not just hints and pointers like some of the other books iv'e purchased. It really goes into amazing detail about things like how to create brushes, what kind of brush you'll need for each effect, what your brush settings should be, what the settings do, and even gives you access to free online resources (like some of the brushes used in the book). And thats just a little part of whats in here. Everything i was hoping would be in here, is, and even some items i wouldn't have thought of but will definitely come in handy.
Just played Guns of Glory on a phone application via mistplay reviews. Played this one with amazing interest as on the mobile you got the impression of controlling your characters on the ground level, helping catch pick pockets etc etc. Like all mobile ads this was misleading. Don't obtain me wrong the android game itself was addictive and you can spend hours playing (If you play via mistplay you can earn a fair few Amazon vouchers), but yeah false advertising? Really? Unfortunately this is a huge pitfall a lot of android games like these fall into. For example you can expect a nice create your kitchen safe android game but instead you obtain something quite various (garden scapes see add for application and play game)
Love it. Comprehensive, insightful, packed full of historical information, case studies and first hand interviews with ground breakers that place transmedia in perspective. It's not evangelical and throughout the book the author considers the extent to which various digital media can truly converge - video games, feature films, television, advertising, social media. I've bought it as a bonus for colleagues in the traditional media business transitioning to transmedia/multiplatform.
Has anyone ever decoded the notice on page 306? I believe it has something to do with the cover page having 26 locations and those red dots, but I cannot figure it out.Anyone else?
Awesome book and amazing contents, but I have to say the quality is utter garbage, and consistent first time ordering this book, I opened it and the first 20 pages fell right out. They weren't even glued in, you could see on the spine. I figured it was just an error, so I ordered another e second one was damaged in transit so it could not be delivered. Again, accidents happen. Ordered another one...The THIRD time, after waiting 20 days, the same thing happens as the first one. The pages are not even attached.
The techniques will definitely support a beginner, but the artwork presented in the book is hardly "Master" level quality. Besides, most of the techniques can be found in a cursory google search.
I am taking this fall a digital art class at LACC community college after taking photography. While it looks like there is no needed book I got this for the class. I got a used copy that looks practically new. The condition was perfect. The book looks really well done and really interesting. I honestly have only looked through it but it looks good. I hope this would be helpful for the class I'm sure I'll learn something from this book it looks good!
Same issue as everyone else. Book construction is terrible. All the pages fall out almost immediately. Can't comment on the content because I sent it back same day I received it.
The construction of the book is just fine. The content really isn’t suited to a book. If you wish to digitally paint portraits for example, obtain a book on anatomy like Loomis figure drawing for all its worth, and take an online class for $20 with Udemy and obtain critique as well. Environment concepts is a whole other discipline. These anecdotal teaching examples might even be discouraging ultimately for beginners. Probably not enough meat here to be of value to even an intermediate digital painter.
This is a amazing book. I teach communication technologies at the post-secondary level (4-year university) and this is a really well-written, comprehensive book. I can use examples from it when I talk to my students. It also helps me better understand the culture shift that we are living through due to technology changes.
Frank Rose is a amazing reporter, which means, he's a storyteller. (I've been reading his items for years in WIRED). This orientation shows on every page of this book about the method media are morphing in the age of digital platforms and audience participation. But Rose goes well beyond the fascinating hero studies and on-site reportage for which he is known by using these particularities as emblems of our fresh age. There is a theory of media that emerges from the info of his storytelling, but he doesn't cram it down your throat like so a lot of academicians and special-pleaders. I especially appreciate Rose's respect for the past, even as he hurls us towards the future, from mass culture merchants to the esoteric frontiers of cutting-edge science. It's a amazing read.
A lot of business books are so poorly written, you want you could just jam a thumb-drive into them and download information into your brain without having to actually ingest the pages. Happily, The Art of Immersion is that rare business book you don't wish to place down, a riveting read for anyone whose business is impacted by how audiences are changing--which is to say, anyone reading e author, Frank Rose, a Wired editor, is a terrific storyteller who imbues in the reader his own fascination with how "after centuries of linear storytelling, a fresh form of narrative is emerging by which stories are told through a lot of media at once." He follows this up with a lot of interesting examples.
It is a very interesting book, where the author explores the various paths of creating stories in the fresh media environment. I found very enlightning the description on how the "participatory" audience co- creates the story using the planned non-linearity and fragments, therfore ending with one story playing differently on various media platforms. Highly recommended.