William Neill - Böcker

Urban Planning and Cultural Identity reviews the intense spatiality of conflict over identity construction in three cities where culture and place identity are not just post-modernist playthings but touch on the raw sensibilities of who people define themselves to be. Berlin as the reborn German capital has put 'coming to terms with' the Holocaust and the memory of the GDR full square at the centre of urban planning. Detroit raises questions about the impotence and complicity of planners in the face of the most extreme metropolitan spatial apartheid in the United States and where African-American identity now seems set on a separatist course. In Belfast, in the clash of Irish nationalist and Ulster unionist traditions, place can take on intense emotional meanings in relation to which planners as 'mediators of space' can seem ill equipped.The book, drawing on extensive interview sources in the case study cities, poses a question of broad relevance. Can planners fashion a role in using environmental concerns such as Local Agenda 21 as a vehicle of building a sense of common citizenship in which cultural difference can embed itself?

Urban Planning and Cultural Identity reviews the intense spatiality of conflict over identity construction in three cities where culture and place identity are not just post-modernist playthings but touch on the raw sensibilities of who people define themselves to be. Berlin as the reborn German capital has put 'coming to terms with' the Holocaust and the memory of the GDR full square at the centre of urban planning. Detroit raises questions about the impotence and complicity of planners in the face of the most extreme metropolitan spatial apartheid in the United States and where African-American identity now seems set on a separatist course. In Belfast, in the clash of Irish nationalist and Ulster unionist traditions, place can take on intense emotional meanings in relation to which planners as 'mediators of space' can seem ill equipped.The book, drawing on extensive interview sources in the case study cities, poses a question of broad relevance. Can planners fashion a role in using environmental concerns such as Local Agenda 21 as a vehicle of building a sense of common citizenship in which cultural difference can embed itself?

Relaunching Titanic critically considers the invocation of Titanic heritage in Belfast in contributing to a new ‘post-conflict’ understanding of the city. The authors address how the memory of Titanic is being and should be represented in the place of its origin, from where it was launched into the collective consciousness and unconscious of western civilization. Relaunching Titanic examines the issues in the context of international debates on the tension between place marketing of cities and other alternative portrayals of memory and meaning in places. Key questions include the extent to which the goals of economic development are congruous with the ‘contemplative city’ and especially the need for mature and creative reflection in the ‘post-conflict’ city, whether development interests have taken precedence over the need for a deeper appreciation of a more nuanced Titanic legacy in the city of Belfast, and what Belfast shares with other places in considering the sacred and profane in memory construction. While Relaunching Titanic focuses on the conflicted history of Belfast and the Titanic, it will have lessons for planners and scholars of city branding, tourism, and urban re-imaging.

Relaunching Titanic critically considers the invocation of Titanic heritage in Belfast in contributing to a new ‘post-conflict’ understanding of the city. The authors address how the memory of Titanic is being and should be represented in the place of its origin, from where it was launched into the collective consciousness and unconscious of western civilization. Relaunching Titanic examines the issues in the context of international debates on the tension between place marketing of cities and other alternative portrayals of memory and meaning in places. Key questions include the extent to which the goals of economic development are congruous with the ‘contemplative city’ and especially the need for mature and creative reflection in the ‘post-conflict’ city, whether development interests have taken precedence over the need for a deeper appreciation of a more nuanced Titanic legacy in the city of Belfast, and what Belfast shares with other places in considering the sacred and profane in memory construction. While Relaunching Titanic focuses on the conflicted history of Belfast and the Titanic, it will have lessons for planners and scholars of city branding, tourism, and urban re-imaging.

See the images and read the stories behind the creative process of one of America's most respected landscape photographers, William Neill.For more than two decades, William Neill has been offering his thoughts and insights about photography and the beauty of nature in essays that cover the techniques, business, and spirit of his photographic life. Curated and collected here for the first time, these essays are both pragmatic and profound, offering readers an intimate look behind the scenes at Neill's creative process behind individual photographs as well as a discussion of the larger and more foundational topics that are key to his philosophy and approach to work.Drawing from the tradition of behind-the-scenes books like Ansel Adams' Examples: The Making of 40 Photographs and Galen Rowell's Mountain Light: In Search of the Dynamic Landscape, Light on the Landscape covers in detail the core photographic fundamentals such as light, composition, camera angle, and exposure choices, but it also deftly considers those subjects that are less frequently examined: portfolio development, marketing, printmaking, nature stewardship, inspiration, preparation, self-improvement, and more. The result is a profound and wide-ranging exploration of that magical convergence of light, land, and camera.Filled with beautiful and inspiring photographs, Light on the Landscape is also full of the kind of wisdom that only comes from a deeply thoughtful photographer who has spent a lifetime communicating with a camera. Incorporating the lessons within the book, you too can learn to achieve not only technically excellent and beautiful images, but photographs that truly rise above your best and reveal your deeply personal and creative perspective--your vision, your voice.

Learn to edit, organize, and present your best work and become a better photographer in the process! Once a photographer has learned the fundamental techniques of photography the basics of exposure, composition, and focus their work often improves over the course of a few months or years. The world is full of wonders to photograph, and photographers can be pulled in many directions, excitedly chasing the light and the moment. This approach can certainly yield wonderful photographs, but over time the photographer s progress often begins to slow, and eventually, it can stop altogether. The reason for this is simple: creativity begins with image-making, but true progress comes with learning to edit and organize your work in ways that reflect your unique style and perspective, ways that offer you insight into how you can improve your work moving forward. In short, the key to becoming the best photographer you can be is to create an ongoing portfolio (or multiple portfolios) of your work. Based on an eight-week course taught by renowned photographer and author William Neill, The Photographer s Portfolio Development Workshop provides the tools and skills you need in order to create a methodology that allows you to create a tightly edited portfolio of work, no matter your end goal: a box of prints, a book, an online presentation or website, or even a gallery exhibit. A portfolio is simply a collection of photographs with a consistent theme and consistent quality. In developing such a body of work, you will learn what your specific passions are, find focus for your work, and begin the iterative process of creating better and better photographs over time. By constantly working within a feedback loop where you carefully assess and edit your images, note and learn from mistakes, then go out and create more photographs you ll develop a portfolio that is constantly gaining in strength, quality, and impact. It s no surprise that you ll also become a much better photographer.