Sarah Gardner - Böcker

Vintage-looking, dream-like textures can open up a whole new world in your photography. However, there is much, much more to working with textures than simply merging them with an image via Photoshop. In this gorgeous new guide from texture guru Sarah Gardner, you'll learn everything there is to know about how to maximize the potential of these exciting tools. In addition to hundreds of beautiful example images, this book is also packed with practical advice on what makes a good texture, and how and when to use them. How an image is initially captured and processed has a significant impact on the effect a texture will have, so you'll also learn what to consider when composing and shooting (rather than simply relying on post-processing) and how to use lighting and background considerations effectively for later work with textures. Workshop notes and a supplemental website will help you put Sarah's techniques into practice immediately. Beautiful enough to sit on your coffee table yet practical enough to store near your computer, this book will show you everything you need to know to get that coveted vintage-feel in your images, whether you're a casual family snapper or a seasoned professional.

Much of American popular culture depicts the 1930s South either as home to a population that was intellectually, morally, and physically stunted, or as a romantic, sentimentalized haven untouched by the nation's financial troubles. Though these images stand as polar opposites, each casts the South as an exceptional region that stood separate from American norms. Reassessing the 1930s South brings together historians, art critics, and literary scholars to provide a new social and cultural history of the Great Depression South that moves beyond common stereotypes of the region.Essays by Steven Knepper, Anthony J. Stanonis, and Bryan A. Giemza delve into the literary culture of the 1930s South and the multiple ways authors such as Sterling Brown, Tennessee Williams, and E. P. O'Donnell represented the region to outsiders. Lisa Dorrill and Robert W. Haynes explore connections between artists and the South in essays on New Deal murals and southern dramatists on Broadway. Rejecting traditional views of southern resistance to modernization, Douglas E. Thompson and Ted Atkinson survey the cultural impacts of technological advancement and industrialization. Emily Senefeld, Scott L. Matthews, Rebecca Sharpless, and Melissa Walker compare public representations of the South in the 1930s to the circumstances of everyday life. Finally, Ella Howard, Nicholas Roland, and Robert Hunt Ferguson examine the ways southern governments and activists shaped racial perceptions and realities in Georgia, Texas, and Tennessee.Reassessing the 1930s South provides an interpretation that focuses on the region's embrace of technological innovation, promotion of government-sponsored programs of modernization, rejection of the plantation legend of the late nineteenth century, and experimentation with unionism and interracialism. Taken collectively, these essays provide a better understanding of the region's identity, both real and perceived, as well as how southerners grappled with modernity during a decade of uncertainty and economic hardship.

The American South received increased attention from national commentators during the interwar era. Beginning in the 1920s, the proliferation of daily book columns and Sunday book supplements in newspapers reflected a growing audience of educated readers and its demand for books and book reviews. This period of intensified scrutiny coincided with a boom in the publishing industry, which, in turn, encouraged newspapers to pay greater attention to the world of books. Reviewing the South shows how northern critics were as much involved in the Southern Literary Renaissance as Southern authors and critics. Southern writing, Gardner argues, served as a litmus to gauge Southern exceptionalism. For critics and their readers, nothing less than the region's ability to contribute to the vibrancy and growth of the nation was at stake.

Vintage-looking, dream-like textures can open up a whole new world in your photography. However, there is much, much more to working with textures than simply merging them with an image via Photoshop. In this gorgeous new guide from texture guru Sarah Gardner, you'll learn everything there is to know about how to maximize the potential of these exciting tools. In addition to hundreds of beautiful example images, this book is also packed with practical advice on what makes a good texture, and how and when to use them. How an image is initially captured and processed has a significant impact on the effect a texture will have, so you'll also learn what to consider when composing and shooting (rather than simply relying on post-processing) and how to use lighting and background considerations effectively for later work with textures. Workshop notes and a supplemental website will help you put Sarah's techniques into practice immediately. Beautiful enough to sit on your coffee table yet practical enough to store near your computer, this book will show you everything you need to know to get that coveted vintage-feel in your images, whether you're a casual family snapper or a seasoned professional.

The American South received increased attention from national commentators during the interwar era. Beginning in the 1920s, the proliferation of daily book columns and Sunday book supplements in newspapers reflected a growing audience of educated readers and its demand for books and book reviews. This period of intensified scrutiny coincided with a boom in the publishing industry, which, in turn, encouraged newspapers to pay greater attention to the world of books. Reviewing the South shows how northern critics were as much involved in the Southern Literary Renaissance as Southern authors and critics. Southern writing, Gardner argues, served as a litmus to gauge Southern exceptionalism. For critics and their readers, nothing less than the region's ability to contribute to the vibrancy and growth of the nation was at stake.