<?xml version="1.0" encoding="UTF-8"?><rss xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title><![CDATA[subject results for "Composition (Photography)"]]></title><description><![CDATA[subject results for "Composition (Photography)"]]></description><link>https://gateway.bibliocommons.com/v2/libraries/ottawa/rss/search?query=%22Composition%20%28Photography%29%22&amp;searchType=subject&amp;origin=core-catalog-explore&amp;view=grouped</link><generator>RSS for Node</generator><lastBuildDate>Sun, 08 Mar 2026 07:25:21 GMT</lastBuildDate><item><title><![CDATA[The Mindful Photographer]]></title><description><![CDATA["Discover your voice, cultivate mindful awareness, and inspire creative growth with photography. In this book, teacher, author, and photographer David Ulrich offers photographers, smartphone camera users, and other cultural creatives 55 brief and accessible essays on topics related to photography, mindfulness, personal growth, creativity, and fostering personal and social awareness. Whether you're seeking to become a better photographer, enhance your ability to "see" the world around you, realize your full potential, or refine your personal expression, The Mindful Photographer can help you."--Back cover.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1390024</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1390024</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Ulrich, David]]></dc:creator><pubDate>Mon, 31 Jan 2022 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1390024026</comments><format>BK</format><subtitle>Awake in the World With A Camera</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9781681988412/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=C</image_url></item><item><title><![CDATA[The Photographers Eye]]></title><description><![CDATA["Taking a new look at composition, the theme of his best-selling classic The Photographer's Eye, Michael Freeman now explores the visual mechanics of photography in its own native terms. Lushly illustrated with straight-to-the-point diagrams and graphic deconstructions, this book speaks in that intuitive, visual, and instantaneous language in which photographers think and work. Each section is organised into discrete units that articulate a working method for communicating particular ideas and capturing certain subjects. Dive into beautiful images and explore how each compositional element is placed and arranged in relationship to each other. Examine the outtakes from each shoot to understand why one particular image succeeded, compared to those shot before and after. Track the viewer's eye as it moves throughout the photo to see the optical dynamics held within each frame. And most of all, internalise this graphic language so you can instantly recognise amazing and powerful shots as they appear in your own viewfinder."--Publisher.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1201615</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1201615</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Freeman, Michael]]></dc:creator><pubDate>Thu, 31 Jan 2019 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1201615026</comments><format>BK</format><subtitle>A Graphic Guide : Instantly Understand Composition &amp; Design for Better Photos</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9781781577301/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=C</image_url></item><item><title><![CDATA[The Elements of Visual Grammar]]></title><description><![CDATA["A color-illustrated introduction to the basic principles of visual language.... The right images capture attention, pique curiosity, and inspire viewers to stick around long enough to read any accompanying text. Nearly everyone today needs to use or understand images in communications of all kinds, from the most formal professional publication to the most casual social media post, and knowing the basics of visual language is essential for content creators and consumers alike. However, most people aren't taught visual grammar unless they go into art- or design-related fields. The Elements of Visual Grammar explains image use in any media in practical terms for writers, scholars, and other professionals."--Provided by publisher.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1582865</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1582865</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Riechers, Angela]]></dc:creator><pubDate>Wed, 31 Jan 2024 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1582865026</comments><format>BK</format><subtitle>A Designer&apos;s Guide for Writers, Scholars, &amp; Professionals</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780691231228/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=C</image_url></item><item><title><![CDATA[Zen Camera]]></title><description><![CDATA["David Ulrich draws on the principles of Zen practice as well as forty years of teaching photography to offer six profound lessons for developing your self-expression. Doing for photography what The Artist's Way and Drawing on the Right Side of the Brain did for their respective crafts, Zen Camera encourages you to build a visual journaling practice called your Daily Record in which photography can become a path of self-discovery. Beautifully illustrated with 83 photographs, its insights into the nature of seeing, art, and personal growth allow you to create photographs that are beautiful, meaningful, and uniquely your own. You'll ultimately learn to change the way you interact with technology--transforming it into a way to uncover your innate power of attention and mindfulness, to see creatively, and to live authentically."--]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1135697</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1135697</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Ulrich, David]]></dc:creator><pubDate>Wed, 31 Jan 2018 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1135697026</comments><format>BK</format><subtitle>Creative Awakening With A Daily Practice in Photography</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780399580338/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=C</image_url></item><item><title><![CDATA[The Heart of the Photograph]]></title><description><![CDATA[Photographers often look at an image--one they've either already created or are in the process of making--and ask themselves a simple question: "Is this a good photograph?" How are you supposed to answer that? What does "good" even mean? What if you were equipped to ask better, more specific questions of your work so that you could answer them more directly, and in doing so, bring more specific action and intention to the act of creating photographs? What if asking the right questions allowed you to establish a more helpful and pragmatic approach to your image-making? In The Heart of the Photograph , photographer and author David duChemin helps you learn to ask (and find your own answers to) better questions of your work in order to craft more successful photographs. David walks you through his own questions and process so that you can establish your own. Along the way, there are discussions of the building blocks from which compelling photographs are made, such as gesture, balance, scale, harmony, perspective, story, memory, symbolism, and much more.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1366695</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1366695</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[DuChemin, David]]></dc:creator><pubDate>Fri, 31 Jan 2020 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1366695026</comments><format>BK</format><subtitle>100 Questions for Making Stronger, More Expressive Photographs</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9781681985459/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=c</image_url></item><item><title><![CDATA[Rick Sammon's Creative Visualization]]></title><link>https://ottawa.bibliocommons.com/v2/record/S26C925393</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C925393</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Sammon, Rick]]></dc:creator><pubDate>Sat, 31 Jan 2015 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/925393026</comments><format>BK</format><subtitle>Composition, Exposure, Lighting, Learning, Experimenting, Setting Goals, Motivation and More</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9781138807358/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=C</image_url></item><item><title><![CDATA[The Visual Toolbox]]></title><description><![CDATA["The Visual Toolbox is photographer David duChemin's curriculum for learning not just how to use a camera--but how to make stronger photographs. He has developed 60 lessons, each one a stepping stone to becoming more proficient with the tools of this art, and the means to create deeper visual experiences with your images. David introduces you to the technical side of the craft but quickly moves on to composition, the creative process, and the principles that have always been responsible for making great photographs; he shows you these principles and invites you to play with them, turn them on their heads, and try a different approach to create beautiful, compelling images with your camera."--Publisher's description.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C922439</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C922439</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[DuChemin, David]]></dc:creator><pubDate>Sat, 31 Jan 2015 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/922439026</comments><format>BK</format><subtitle>60 Lessons for Stronger Photographs</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780134085067/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=C</image_url></item><item><title><![CDATA[The Photographer's Vision]]></title><link>https://ottawa.bibliocommons.com/v2/record/S26C750366</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C750366</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Freeman, Michael]]></dc:creator><pubDate>Mon, 31 Jan 2011 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/750366026</comments><format>BK</format><subtitle>Understanding and Appreciating Great Photography</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780240815183/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=C</image_url></item><item><title><![CDATA[Understanding Composition]]></title><link>https://ottawa.bibliocommons.com/v2/record/S26C551188</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C551188</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Mulligan, Steve]]></dc:creator><pubDate>Thu, 31 Jan 2008 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/551188026</comments><format>BK</format><subtitle>The Complete Photographer&apos;s Guide</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9781861085344/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=C</image_url></item><item><title><![CDATA[IPhone Photography for Everybody]]></title><description><![CDATA["Use your iPhone camera to create artistic photographs of all of the sights and people you hold dear. Too often, we put off taking photographs. Perhaps we wait to acquire the right equipment, to travel to the right place, or for our children to be in the right mood. We are never satisfied with where we are in the moment; we are always looking to the past or the future and forget to take the time and effort to document the now. In this book, award-winning photographer Michael Fagans shares a wide range of some of his favorite iPhone images, provides fascinating insights into the photographs, and gives you the push you need to get out there with your iPhone camera and capture all of the sights you can. You'll find all the inspiration you need to make creative, stand-out images in your home town, document your travels, and create a visual history that tells the story of your family, all while refining your personal vision and artistry."--]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1223931</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1223931</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Fagans, Michael]]></dc:creator><pubDate>Fri, 31 Jan 2020 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1223931026</comments><format>BK</format><subtitle>Artistic Techniques</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9781682034323/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=C</image_url></item><item><title><![CDATA[Taking Better Photos for Mobile Devices]]></title><description><![CDATA[Neuroscientists study how people view images and recommend tips for photographers.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1437183</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1437183</guid><category><![CDATA[VIDEO_ONLINE]]></category><category><![CDATA[eng]]></category><pubDate>Fri, 31 Jan 2014 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1437183026</comments><format>VIDEO_ONLINE</format><subtitle></subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=881398413&amp;upc=</image_url></item><item><title><![CDATA[Beliefs and Culture]]></title><description><![CDATA[What is the meaning and scope of images today? Bombarded by thousands of images every day, what do we really see? In a constantly changing world, socially and politically engaged creators are searching for new ways to capture our attention. Filmmaker Helen Doyle has chosen the work of several artists and photographers who provoke us into looking deeper at the outside world and at ourselves.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1436949</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1436949</guid><category><![CDATA[VIDEO_ONLINE]]></category><category><![CDATA[eng]]></category><pubDate>Fri, 31 Jan 2014 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1436949026</comments><format>VIDEO_ONLINE</format><subtitle></subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=881398206&amp;upc=</image_url></item><item><title><![CDATA[Photography as Meditation]]></title><description><![CDATA["Hoffmann explores an approach to artistic photography, based on Japanese Zen philosophy. Meditation and photography have much in common: both are based in the present moment, both require complete focus, and both are most successful when the mind is free from distracting thoughts. Hoffmann shows how meditation can lead to the source of inspiration ... The goal of this book is to develop your photographic expression. It provides enrichment for photographers who believe that only technical mastery produces great images and shows how important it is to engage with your own awareness to act creatively"--Publisher's description.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C853320</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C853320</guid><category><![CDATA[EBOOK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Hoffmann, Torsten Andreas]]></dc:creator><pubDate>Fri, 31 Jan 2014 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/853320026</comments><format>EBOOK</format><subtitle>Tap Into the Source of your Creativity</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9781492016212/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=1201eBook-Matt</image_url></item><item><title><![CDATA[Photographing Intimacy]]></title><description><![CDATA[When Jacques Henri Lartigue began taking pictures in 1901 it was for the sheer enjoyment of recording his family's daily life. Lartigue's albums were featured at the MoMA in 1963, inspiring a new movement in photography called diarism. By the 1980s the genre had become even more intimate as the diarists added increasingly radical levels of introspection to their work. This program studies photos by Nobuyoshi Araki, Nan Golden, Antoine d'Agata, John Coplans, and others as it analyzes how these artists played with concepts of performance and privacy, concealment and display. The video focuses on "Sentimental Journey" and "Winter Journey," which chronicle the life and death of Araki's wife; "The Ballad of Sexual Dependency," in which Golden blurs the line between real intimacy and posed; and d'Agata's "Personal Diary of the 21st Century," a cutting-edge photo fresco of "extreme experience.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1432706</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1432706</guid><category><![CDATA[VIDEO_ONLINE]]></category><category><![CDATA[eng]]></category><pubDate>Thu, 31 Jan 2013 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1432706026</comments><format>VIDEO_ONLINE</format><subtitle></subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=100053595&amp;upc=</image_url></item><item><title><![CDATA[Found Images]]></title><description><![CDATA[To create "Pictures from the Street" Joachim Schmid sifted through torn photos that had been thrown away, then patched them together to produce entirely new images, thus bringing the practices of "found art" to photography. By contrast, in "From an Ethnographic Museum" Hannah Höch made montages by combining museum-quality prints with snapshots - still a form of found photography, but with much more altering and reinterpretation of the materials. This program explores various types of found photography, from styles that celebrate discarded photos to those that use Internet graphics as raw material for new work. Among other pieces, the video discusses Linder Sterling's "Pretty Girls" (1977), Robert Heinecken's "Are You Rea" (1968), and Wallace Berman's "Verifax" (1964), along with the groundbreaking book Evidence, published in 1977 by Larry Sultan and Mike Mandel.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1432705</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1432705</guid><category><![CDATA[VIDEO_ONLINE]]></category><category><![CDATA[eng]]></category><pubDate>Thu, 31 Jan 2013 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1432705026</comments><format>VIDEO_ONLINE</format><subtitle></subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=100053594&amp;upc=</image_url></item><item><title><![CDATA[Conceptual Photography]]></title><description><![CDATA[Walk in the street trying not to blink. Each time you blink, snap a photograph These instructions by Vito Acconci, the basis of his series "Blink," characterize the methods and philosophies of the Conceptualist Photography movement that began in the 1960s. Aided by his low-tech amateur camera, Acconci meant to deconstruct the notion of artistic subjectivity while suggesting that the open shutter replaces his closed eyes. Using works by Acconci and others, this program explores the Conceptualist photographers, who used both humor and technical skill to make statements about the nature of art and perception. The video discusses Robert Smithson's ironic "Monuments of Passaic"; "Self Portrait as a Fountain," Bruce Nauman's homage to Duchamps; Joseph Kosuth's installations that played with the relationship between reality and photos of reality; and works by Mel Bochner, Ed Rusha, John Baldessari, Ugo Mulas, and Ai Weiwei.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1432709</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1432709</guid><category><![CDATA[VIDEO_ONLINE]]></category><category><![CDATA[eng]]></category><pubDate>Thu, 31 Jan 2013 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1432709026</comments><format>VIDEO_ONLINE</format><subtitle></subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=100053598&amp;upc=</image_url></item><item><title><![CDATA[Surrealist Photography]]></title><description><![CDATA[Nothing proves the truth of Surrealism like photography, wrote Salvador Dali in 1925. Using works by Dali, Man Ray, Dora Maar, and others, this program illustrates the philosophies of Surrealist photographers as well as the techniques they used to express a particular artistic vision. The video explains how the camera was wielded as a tool for revealing an inherent connection between real and surreal; and for revealing that, when captured on film, inanimate objects can take on an eerie life of their own while conversely, living things may be rendered as inanimate props. Covers André Breton, Marcel Marien, André Kertész, Manuel Alvarez Bravo, Jindrich Styrský, Miroslav Hák, Brassaï, Claude Calhoun, René Magritte, and Henri Cartier-Bresson, focusing on "Dress Hung Out to Dry," "Statue of Marshal Ney in the Fog," and Man Ray's work with Lee Miller.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1432698</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1432698</guid><category><![CDATA[VIDEO_ONLINE]]></category><category><![CDATA[eng]]></category><pubDate>Thu, 31 Jan 2013 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1432698026</comments><format>VIDEO_ONLINE</format><subtitle></subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=100053587&amp;upc=</image_url></item><item><title><![CDATA[Press Usage]]></title><description><![CDATA[The alliance of photography with the popular press led to an era of creativity in the medium in the 1930s, with eye-catching layouts replacing the traditional rectangular photo format. But before long press photography took on a potent life of its own. The men and women behind the camera became special witnesses to current events and through newspaper reporting were able to pass their visions on to the wider world. Dorothea Lange's "Migrant Mother" made an impact as soon as it was published, as did Walker Evans' evocative series on Alabama sharecroppers and images by Weegee, Robert Capa, and Brassai. This program profiles these and other 20th-century photojournalists, with a special look at Henri Cartier-Bresson's "The People of Moscow," Josef Koudelka's photos of the invasion of Czechoslovakia, and Richard Avedon's portraits for Rolling Stone.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1432704</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1432704</guid><category><![CDATA[VIDEO_ONLINE]]></category><category><![CDATA[eng]]></category><pubDate>Thu, 31 Jan 2013 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1432704026</comments><format>VIDEO_ONLINE</format><subtitle></subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=100053593&amp;upc=</image_url></item><item><title><![CDATA[After Photography? Photo]]></title><description><![CDATA[Does the decline of the darkroom mean the end of "real" photography? This program profiles contemporary artists who use a variety of methods to create photographs, from the analog-only lomographers to those who employ the computer as a camera. Adaptation of traditional techniques is seen in works by Frederic Lebain, who prefers an old Instamatic; Vera Lutter, who built a room-sized camera obscura; and in Christian Marclay's homage to 19th-century cyanotypes. The video also examines the many ways in which photographers have embraced digital technology, such as Heather Dewey-Haborg's "photo sculptures" based on DNA; Joan Fontcuberta's "Googlegrams," mosaics of thousands of images culled from the Internet; and Oleg Dou's eerie portraits of children who look more online-avatar than human. Also covers Andreas Gursky, Beata Gutschow, Loretta Lux, Thomas Friedman, Thomas Ruff, and Jules Spinatsch.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1432708</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1432708</guid><category><![CDATA[VIDEO_ONLINE]]></category><category><![CDATA[eng]]></category><pubDate>Thu, 31 Jan 2013 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1432708026</comments><format>VIDEO_ONLINE</format><subtitle></subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=100053597&amp;upc=</image_url></item><item><title><![CDATA[Shedding Light on Lenses]]></title><description><![CDATA[Without lenses, vast areas of human knowledge, from astronomy to microbiology, would never have developed - not to mention photography and the movies! This video uses compelling animation sequences and other visuals to explain how convex and concave lenses produce images in a wide variety of situations. After a concise overview of refraction, the program illustrates how magnifying glasses work and how projectors cast images onto cinema screens. It then looks, quite literally, into a tuna fish's eye as a basis for showing how vision works. After further explaining how light travels through concave lenses, the film discusses how corrective eyewear helps people who have vision defects. Viewers are also given a chance to consider aspects of slow motion, fast motion, and stop motion imagery, as well as the mathematics of lenses and image formation.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1436294</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1436294</guid><category><![CDATA[VIDEO_ONLINE]]></category><category><![CDATA[eng]]></category><pubDate>Thu, 31 Jan 2013 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1436294026</comments><format>VIDEO_ONLINE</format><subtitle></subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=100055427&amp;upc=</image_url></item><item><title><![CDATA[The Inventors]]></title><description><![CDATA[I am at the dawning of a new world," wrote Nicéphore Niépce in 1827 after he used a camera obscura to fix the scene outside his window onto a metal plate, thus creating the world's first surviving photograph. "View from the Window at Le Gras" far surpassed earlier attempts to capture images using methods that only managed to reproduce outlines and shadows. This program traces the early history of photography, from Renaissance dabblings with the camera obscura up to the 19th century, when the calotype overtook the daguerreotype as the photographic medium of choice. Explaining both the technical processes of the first cameras and their capabilities, the video shows how inventors including Niépce, Thomas Wedgwood, Henry Fox Talbot, Hippolyte Bayard, and Louis Daguerre pushed the boundaries of composition, lighting, and portraiture with each new advance in photography.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1432707</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1432707</guid><category><![CDATA[VIDEO_ONLINE]]></category><category><![CDATA[eng]]></category><pubDate>Thu, 31 Jan 2013 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1432707026</comments><format>VIDEO_ONLINE</format><subtitle></subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=100053596&amp;upc=</image_url></item><item><title><![CDATA[Pictorialism]]></title><description><![CDATA[Fifty years after it was invented, photography once again sought to rival painting. The Pictorialist photographers at the turn of the 20th century reproduced the subjectivity and timeless themes of earlier visual arts by experimenting with soft focus, special lenses, printing effects, and by drawing, engraving, or painting directly onto prints. Providing an overview of the movement and its influences, this program studies the works and the methods of the Pictorialist photographers, including Robert Demachy, Alvin Langdon Coburn, Frank Eugene, Edward Steichen, and Alfred Stieglitz. Focusing on "Rodin - The Thinker," "The Pond - Moonlight," "The Letter," "The Onion Field," "The Bridge - Ipswich," "The Steerage," and "The Seven Last Words," the video also covers Guido Rey, George Davidson, F. Holland Day, Heinrich Kuhn, and Paul Haviland.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1432702</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1432702</guid><category><![CDATA[VIDEO_ONLINE]]></category><category><![CDATA[eng]]></category><pubDate>Thu, 31 Jan 2013 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1432702026</comments><format>VIDEO_ONLINE</format><subtitle></subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=100053591&amp;upc=</image_url></item><item><title><![CDATA[The New German Objectivity]]></title><description><![CDATA[In 1968, Bernd and Hilla Becher set out to photograph industrial buildings such as water towers, silos, and blast furnaces. Their goal was to return photography to the documentary nature of its origins and free it of "Expressionist meanderings," as German artists of the New Objectivity movement had done with other visual arts. The Dusseldorf school - the Bechers and their students - was to radically impact photography with its strict, dispassionate portrayals and predilection for straight lines. This program tells the story of the Dusseldorf school of photography, a legacy of Germany's New Objectivity, and its evolution since 1968. Covers Candida Höfer, Petra Wünderlich, Thomas Struth, Thomas Ruff, and Andréas Gursky, focusing on the Bechers' industrial typologies, "Collegium Helveticum," Wünderlich's religious buildings, "Art Institute of Chicago II," Ruff's "Portraits," and "jpegs.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1432701</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1432701</guid><category><![CDATA[VIDEO_ONLINE]]></category><category><![CDATA[eng]]></category><pubDate>Thu, 31 Jan 2013 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1432701026</comments><format>VIDEO_ONLINE</format><subtitle></subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=100053590&amp;upc=</image_url></item><item><title><![CDATA[Staged Photography]]></title><description><![CDATA[At some point during the early 20th century staged photography fell out of fashion, but in the 1960s it made a spectacular comeback, enriched by the external influences of popular culture. This program explains how staged photography has been used to deconstruct the idea of literal photographic realism. Also explored are the ways in which this art form trounces the notion of a camera's objectivity, as in Cindy Sherman's parodies of B-movie portrayals of imperiled women, and Jeff Wall's elaborate reinterpreting of classic paintings to make statements about modern life. The video also covers Mac Adams, Duane Michals, Eugene Meatyard, Bernard Faucon, David Levinthal, Thomas Demand, and Hiroshi Sugimoto, and discusses "Chance Meeting," "Hiding Behind the Eyes," "Things are Queer," "Mystery Series," "The Destroyed Room," "The Vampires' Picnic," and "The Flying Child.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1432700</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1432700</guid><category><![CDATA[VIDEO_ONLINE]]></category><category><![CDATA[eng]]></category><pubDate>Thu, 31 Jan 2013 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1432700026</comments><format>VIDEO_ONLINE</format><subtitle></subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=100053589&amp;upc=</image_url></item><item><title><![CDATA[New Vision]]></title><description><![CDATA[Here Comes the New Photographer!, by Walter Graeff, was published in conjunction with Stuttgart's influential 1929 "Film und Foto exhibition" and became the handbook for a new breed of artists evolving out of the Constructivist and Bauhaus schools. New Vision photography was based on the idea that modern, urban people see the world in a different way, both figuratively and literally, and was steeped in industrial motifs. This program examines the photographs, photograms, photomontages, and collages created according to precepts set forth in Here Comes the New Photographer! The video covers László Moholy-Nagy, Umbo, El Lissitzky, Alexander Rodchenko, Germaine Krull, Raoul Hausmann, and others, focusing on "The City at Night," "Xanti Schawinsky on a Bauhaus Balcony," "The Uncanny Street," "Girl with a Leica," and "Metropolis.]]></description><link>https://ottawa.bibliocommons.com/v2/record/S26C1432703</link><guid isPermaLink="true">https://ottawa.bibliocommons.com/v2/record/S26C1432703</guid><category><![CDATA[VIDEO_ONLINE]]></category><category><![CDATA[eng]]></category><pubDate>Thu, 31 Jan 2013 00:00:00 GMT</pubDate><comments>https://ottawa.bibliocommons.com/item/comment/1432703026</comments><format>VIDEO_ONLINE</format><subtitle>Experimental Photography of the 1920s</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=/MC.GIF&amp;client=ottap&amp;type=xw12&amp;oclc=100053592&amp;upc=</image_url></item></channel></rss>