Packed full of useful tips; techniques; and information for both the hobbyist and the professional photographer; this book is an invaluable resource for developing the craft of child photography. Beginning with how to handle children as subjects; it discusses such topics as interacting with children; how to avoid tantrums; letting personality dictate the photo session; and how to capture expressions that parents want. It then explores what good light is; how to find it; how to use it; and how to pose a child in it; as well as exposure; posing; and design fundamentals. Each subject is covered from beginner to advanced level in child photography; so parents and professionals alike will find helpful information. From traditional portraits to lifestyle ones; this book covers all the necessary knowledge for capture stunning images of children.
#1522917 in eBooks 2013-09-17 2013-09-17File Name: B00DWNUUM0
Review
0 of 0 people found the following review helpful. A Fine Overview of the Great Yugoslav Directors Film Work; Marred by Its Driveby Slanders of the SerbsBy Andrew BaldwinI am writing this review as someone who has seen Kusturicarsquo;s main films from ldquo;Do You Remember Dolly Bell?rdquo; through ldquo;Black Cat; White Catrdquo; but not with any of his earlier or later works.This is a critical analysis of Kusturicarsquo;s work as a film director; not a biography. His careers as an actor; musician and his other endeavours are mentioned only as they overlap or influence his work as a director. Bertellinirsquo;s discussion of Kusturicarsquo;s film creations is as complete as anyone could possibly; covering feature films; short films and even obscure documentaries; like the 30-minute ldquo;Seven Days in the Life of a Birdrdquo;; about a Serb who cannot enter or leave his property without trespassing those of his neighbours. Even his student films are described in detail. (We learn that Kusturicarsquo;s first student film in 1972; ldquo;Part of the Truthrdquo;; won first prize at the Amateur Film Festival in Zenica. Kusturica was a success in his career even before it had properly begun!)Much of the background information on the films is quite fascinating. Dinorsquo;s famous mantra in Kusturicarsquo;s first feature film; ldquo;Do You Remember Dolly Bell?rdquo;: ldquo;Every day in every way Irsquo;m getting better and betterrdquo;; was not original; but came from an eminent 19th century French psychologist Eacute;mile Coueacute;. ldquo;When Father Was Away on Businessrdquo;; although produced after ldquo;Dolly Bellrdquo;; was intended by its script-writer to be the first film in an uncompleted tetralogy about the same characters. So the six-year-old Malik in ldquo;When Father Was Away on Businessrdquo; was intended to be the same boy as the 16-year-old Dino in ldquo;Dolly Bellrdquo;. When Kusturica made the quite defensible decision to have Dinorsquo;s father Mustafa die in ldquo;Dolly Bellrdquo;; against the wishes of his scenarist; the original conception was abandoned; although it is hard to see why; since ldquo;When Father Was Away on Businessrdquo; is a sequel; not a prequel.Bertellinirsquo;s knowledge of international cinema is truly impressive; and he notices influences on Kusturicarsquo;s work that make sense when pointed out; i.e. his debt to the great Russian director Tarkovksy; but I at least had never noticed before. Unlike some film critics he doesnrsquo;t take a purely literary approach to films and has a fine appreciation for Kusturicarsquo;s film technique. His discussion of music in Kusturicarsquo;s films is also impressive; and would be very useful to readers knowledgeable about it; unfortunately much of what he said was over my head.Bertellini writes well; but the style may be too academic for some tastes. He is fond of sprinkling his text with Latin phrases that are a challenge even in this age of Google. I am still not sure precisely what he means by (p.140): ldquo;Kusturica does not conceal his aesthetic desire to show Maradona as a Kusturician (and even Balkanist) character ante and post litteramrdquo;. The same is true of his use of words or phrases from modern foreign languages. What does (p.85) ldquo;lector in fabulardquo; mean?The typos and errors of omission are many in the book and less defensible in a short book like this than in a coffee table book like ldquo;The Rise and Fall of American Growthrdquo;. (For example; (p.146): ldquo;Andrićgrad will sit at the mouth of the Drina River; the setting of Andrićrsquo;s most famous the novel [should be ldquo;famous novelrdquo;]; lsquo;The Bridge on the Drinarsquo;rdquo;.)Kusturica is a very political director and this creates a problem for how a book intended for cinephiles should deal with the often controversial political views that he expresses. Given he is a film scholar; not a historian; Bertellini probably should have confined himself to referencing where critics had praised or; more frequently; savaged Kusturica for; say; his nostalgic view of Yugoslavia in Underground. Instead; without providing any historical background to speak of; Bertellini engages in drive-by slanders of the Serbs: Yugoslavia was designed to serve the interests of Serbs; the Bosnian Civil War was initiated and directed by the Miloscaron;ević regime in Belgrade; the 1995 massacre at Srebrenica was an act of genocide. In my view; these positions are all wrong; they are certainly contentious and should not have been introduced in such an off-hand way as if they reflected some kind of informed consensus.Bertellini asks (p.81)with reference to Kusturicarsquo;s film Underground: ldquo;And why; in his selection of archival clips; did he not also include along with those that reveal the pro-German parades in Zagreb and Maribor; those showing the destruction of Vukovar or the triumphal sendoff that Belgrade gave the military tanks leaving for Slovenia and Croatia in the summer of 1991?rdquo; One might respond that since the breakup of Yugoslavia started with Slovenia and Croatiarsquo;s unilateral declarations of independence and the initial hostilities were by Slovenian forces against border posts with neighboring Yugoslav republics; this would be a defensible choice. Note that an uninformed reader would assume from reading this that troops sent from Belgrade; the capital both of Serbia and of Yugoslavia; were involved in the Ten Dayrsquo;s War for Slovenian independence. In fact; the only Yugoslav Peoplersquo;s Army (YPA) forces; since this is what we are talking about; not Serbian forces; involved in the conflict were either already stationed in Slovenia or sent from bases in Croatia. The forces sent from Belgrade towards Slovenia never arrived before the conflict ended.Regarding the opening of ldquo;Undergroundrdquo; at Cannes; Bertellini asks: ldquo;why at Cannes was he accompanied and photographed with not only the minister of culture Nada Popović-Periscaron;ić but also with Milorad VuÄelić; a majority whip in the Serbian Parliament and; most ominously; the director of the [sic] Radio Television of Serbia [should be ldquo;Radio-Television Serbia]; which for years broadcast nationalist propaganda for the Miloscaron;ević regime?rdquo; President Clinton was guilty of a war crime in ordering the launching of three Tomahawk cruise missiles to take out the RTS Tower on April 23; 1999; killing 16 people and seriously injuring another 23. This was the first time in world history that journalists and the people behind them; technicians and make-up artists; were designated military targets. Bertellinirsquo;s censure of Kusturica for being seen at Cannes with the director of RTS comes off to anyone familiar with the NATO aggression on the Federal Republic of Yugoslavia as the justification of an American atrocity.Until ldquo;Undergroundrdquo;; Kusturicarsquo;s Serbo-Croatian films were made in the Peoplersquo;s Republic of Yugoslavia; while his work on films was organized from Sarajevo for the Republic of Bosnia and Herzegovina; his collaborators included a Slovenian director of photography; Croatian set designer; Bosnian and Serb writers. Bertellini seems to attribute the decline in Kusturicarsquo;s later work mostly to Kusturica himself; but it is clear from the information he himself provides that the breakup of Yugoslavia complicated Kusturicarsquo;s task considerably. Collaboration with colleagues living in other republics became more difficult and political disagreements terminated what had been very successful artistic collaborations. Bertellini writes that in addition to a dispute over the authorship of the musical score for ldquo;Undergroundrdquo;; Kusturica ended his collaboration with the very talented Bosnian musician Goran Bregović because he thought Bregović believed in Islamisation. Oddly; Bertellini has nothing further to say about this and his only reference for this part of the book is to an interview with Kusturica in Italian