If you are a photographer who sees the beauty in abandoned buildings; crumbling facades; and preserving a fading history; and who also has a love of urban exploration; you have stumbled on a must-have for your photographic library. Urban and Rural Decay Photography offers expert tips and techniques for capturing breathtaking photographs of your favorite decay scenes; whether in urban or rural settings.?Author J. Dennis Thomas guides you through the history of decay photography; shows you what equipment you will need; and discusses digital; film and HDR capture and composition. The book addresses which artistic considerations work best for the kinds of shots that capture a moment and convey a story.? He also provides you with important safety advice and matters of the law when entering and working with decaying structures.Chock full of inspiring images that will ignite your creativity and your passion for decay photography; Urban and Rural Decay Photography is just the book you need to get you out and discovering your newest urban or rural exploration adventure.
#2946335 in eBooks 2013-06-28 2013-06-28File Name: B00DJ4XVUA
Review
5 of 5 people found the following review helpful. black remains king even in the color thriving worldBy Mikio MiyakiWhat do we see in the color of black? In the first place; is black a color or the absence of color? How did our ancestors consider the black color? Was seeing blackness a sensation to them? The color black usually symbolizes evil; sin; wretchedness; death; war; and famine. At the same time; black materials appeals to us as beautiful; chic; elegant; smart; luxurious; vital; robust; and potent. John Harvey says black funeral procession began with the Romans; while penitential black was later and Christian. Sin came to be black through Christianityrsquo;s growing equation of sin with death. Black could also be good; even curative. Some may feel secured in the dark blacken space. Our history might be originated from a dark cave somewhere in Africa. Anthropologically we were all black once; and were black for much longer than we have been any other color. ldquo;The Story of Blackrdquo; gives us a detailed explanation to our various queries about the color of black.John Harvey elucidates hue and tone of the past time by investigating paintings; literatures; fashions. Abundant usage of black puzzles me whenever I see paintings of the seventeenth century. He explains the different nuance of the black color in Rubens; Caravaggio; and Rembrandt. Describing etching; mezzotint; and intaglio technique; he tries to realize how artists were facing with the color of black. A tonal index; a pendulum between dark and light; changes in slow cycles of about a hundred years. He says clear tonal trend is fully discernible in the seventeenth century. Shakespeare stands at just that point in history when attitudes to Africa were tipping towards greater degradation. Shakespeare dramatizes the derogatory prejudices he and his time had about Africans. Visual tone may reflect anxiety and frustration of a society. He points English word melancholy originates from black choler. It continued to be smart in black through the general brightness of the eighteenth century. The description of some ladies had their teeth lacquered black for beauty in the court of Catherine the Great in Russia caught my eyes; as dying teeth black being most popular custom for married women in Japan until Meiji era.The nineteenth century is called as the Age of Black. New black turn began from Britain with the Industrial Revolution. Preference for black in the nineteenth century was neither because they worked with black materials; nor because black was smart; but in fact because black was regularly worn by their Christian denomination. John Harvey asserts menrsquo;s habitual wearing of modest but assertive; serious; Christian; all-black clothes did serve to reinforce a severe male authoritarianism in the world; in marriages and in the home. Centuryrsquo;s festive blacks were in part an oblique reflection of a familiarity with death. Widespread fashions for wearing black; together with an extravagant culture of death; have arisen not when nations suffered defeat; but when they were at high point of international power. The love; death; and honor theme swelled in the nineteenth century. Black fashions and the cult of death have accompanied extremes of wealth and power. The stance; and the black; he explains; have in part to do with piety but also often with pride; and often with power together with a sense of the price to be paid for living in what was then called the great age of Europe.Color thrives in our world; but still black is king; with its ambiguous inflections. We live in a polychrome world of more colors than the human race has seen before; nonetheless; the color in greatest use is black. Black has become the signature color of smartness and style. John Harvey writes blacks that women have worn in the twentieth century are indices of independence; of importance; of emergence from the shadows cast by men. Within a single culture; a different color may predominate in different arts. Black and white are simply interchangeable; various entities may choose now one and now the other side. Their uses and meanings may overlap; but their associations cluster around opposing centers.0 of 0 people found the following review helpful. Five StarsBy John J. PotterGREAT