5 comments about Digital Nature Photography: The Art and the Science.

1. I attended the Gerlach's seminar 15 to 20 years ago and learned more from them than any other seminar or book. And their newest book is a fantastic continuation of their exceptional teaching skills. Techniques are insightful. Photographs are gorgeous, always improving over the years. Text is clear and concise, EXCEPT: FIRE THE EDITOR. The first few chapters are a mixture of typographical and grammatical errors, the phrasing is disorganized and distracting to the point of being almost unreadable, and they ramble.
   
   Buy the book, but skim very quickly the first few chapters.



2. I just completed a nature/landscape photography class at an area community college. The intructor showed us the book and thought it was good. I certainly agree with him. I found the book to be FANTASTIC and well worth the money. By the way, by purchasing it through Amazon I got it much cheaper that I could have at other major book distributors directly.



3. This book has so much useful information and great tips! I started reading this book last week and I can't put it down. It seems to go into more detail about many subjects than other photography books that i have read.ex. working of camera, metering your camera,tips for better photography, how to keep your lenses clean, all sorts of stuff you should know! Really Great Book! Its to bad that they didn't start writing books years ago! Oh- yea, and the pictures are really great too.



4. It's not an easy task to write a book capable of nurturing the creative spirit, but this wonderful book by John and Barbara Gerlach succeeds in just such an endeavor. My photographs have improved already! This is a book that emphasizes field technique above all other aspects of photography. Get out of the house, into the wild, enjoy life, and take some great pictures. This book will show you how if you don't already know. Strongly recommended for amateur photographers, hobbyists, and semi-pros looking to perfect their technique and maybe learn a little about the world outside the home.



5. Honestly, this is the best photography text book I've read in a long time. It was the recommended book in a nature class this past summer. I agree with the instructor, its explanation of exposure is the best out there. I've recommended it to many people. The authors website is invaluable as well. I tried in the field what I learned and have now changed my technique. The author is succinct in his explanations and shares his personal views and technical data in a clear and meaningful way. Amazon also had the best price and I received it within 2 days.

5 comments about The Polaroid Book: Selections from the Polaroid Collections of Photography (Taschen's 25th Anniversary Special Editions).

1. WOW... words can't even begin to describe how much I love this book! It's about time they released a book like this! And the wrapper of this book is genius! It looks like a gigantic box of Polaroid film... I didn't even want to remove the cover at first... I fondled it for awhile and then I slowly peeled it off and curled up on the couch for an hour or two and looked at all the pretty pictures.
   This book is highly recommended for any Polaroid enthusiast! And if you want to see some great 'roids on the net- check out Polanoid.net!



2. This is a classic which sold out its first printing. BUY THIS NOW! You will have, preserved on your bookshelf the essence of what Edwin Land envisioned over 65 years ago distilled in one BEAUTIFUL volume. How can the Petters Group (who now owns Polaroid) dare to banish such a beautiful art form from humanity? That's right, Polaroid has stopped making instant film and the supply may barely run through the end of this year, and all expire by the end of next year. THIS IS A CRIME AGAINST ART AND HUMANITY!! Buy the book, then go to savepolaroid.com and join us all to save this incredible art form. JUST LOOK AT THE PAGES OF THIS INCREDIBLE VOLUME!!! You will be amazed!



3. I recently purchased this book and must say that this is a beautifully created masterpiece. Give it up to Taschen for yet another exquisite piece of documentation; this time showing the love and art of the polaroid instant medium. This book provides a visual history of art created through the polaroid lens by some of the great photographers. If you love polaroid you will love this book. Simply a must-have for any enthusiast.



4. This book of images from the "Polaroid Collection of Photography" confirms everything that was wrong with Polaroid Photography. The front and back covers of the book each contain eight Polaroid pictures. They are all so small they are difficult to see. Some of them that are not close-ups are difficult to even identify subject matter-wise. The second major problem with Polaroid photographs was the false colors. It was almost impossible to get a true red and at best reds were orange. That's obvious in this book even though the pictures were no doubt somewhat color corrected in the book printing process.
   Polaroid photography was a useful tool. It was good for testing camera and light set-ups for regular film cameras. It was very useful for making driver's licenses and other forms of ID's since those pictures only had to be postage stamp-sized. I used it to as a Public Relations tool by handing out free Polaroid prints to primitive Indian Tribes in the Amazon and for desert nomads in the Sahara while on assignment for National Geographic. Those individuals were delighted to get a picture to keep since they knew that the photographs I was taking on regular film would probably never be seen by them or would simply eventually end up on the cutting room floor. At least with Polaroid technology the subjects got a snapshot to keep.
   The biggest problem I experienced with the early Polaroid photography was that there was no negative from which to make extra copies or enlargements. The photographer ended up with a picture in only a minute, but if you wished to make an exhibition print then you were basically out of luck. Eventually the genius of Dr. Land might have figured out how to get a negative for every format size, but when digital photography hit the market, Polaroid was instantly antiquated technology. It was not only a better tool for testing lighting set-ups, and for making ID's it replaced the need for a negative completely and it was literally an instantly viewable technology. The digital images could easily be stored and shared. The digital image could be manipulated in as many ways as the human mind could visualize.
   All that said, what saves this book from being a total waste of time is the fact that many of the pictures included in it are unique. There is only one even if the image is only a few inches by a few inches. Many of the world's foremost photographers have work included in the collection. Gabriele Basilico made me smile with the two-page series on pages 306 and 307. The picture on the left hand page is a full frame picture of a chair with a wicker seat. The photo on the opposite page is a very lovely female nude's derriere with impressions on the skin of the wicker chair's seat. Since I usually look at the picture on the right side of a two-page spread first, I was puzzled about the pattern on the skin until I looked at the other picture in the spread. Then I immediately got the visual joke. It was amusing and made be almost laugh out loud.
   Naturally with so many fine photographers contributing there are some wonderful images even if they are hard to see. I'm certain that some of the later, larger Polaroid format films were at least easy to see and produced negatives that could be enlarged. It's just so sad that so many typical leisure users of the Polaroid cameras will have to hang on to their single, dog-eared snapshot because that's all there is. Basically, early Polaroid Photography was a fad. Many artists and photographers such as Andy Warhol jumped on the technique because they could get a generous grant from Polaroid to experiment with the technique and because he recognized a good fad when he saw it.
   Perhaps I'm a little old-fashioned, but I feel no love for the Polaroid Era. It's just another short chapter in the history of photography. Is it art? I'll leave that decision to people who are far smarter than I am. If photography itself is an art form, then some of these images must therefore be art too? But the technology was far from perfect and this book only substantiated that basic design flaw. Polaroid enthusiasts might be better off to wait for this collection to come out in a larger format. If they take a magnifying glass to many of these particular reproductions in hopes of better being able to see what the photograph was about, they will only see a blurry dot pattern. At least with actual Polaroid photos they could be examined close-up and personal with a magnifying glass. And on the larger format Polaroid films they were already working with a usable size. I'd much rather have a collection of the photographs made on the larger format films. Not only are they bigger, but because they were usually taken by more serious photographers using much larger cameras and Polaroid film.
   These pictures will survive because the well-endowed Foundation set up by Dr. Land exists only for that purpose and it's unique collection is probably getting more valuable with each passing year. So many pieces of their collection are one-of-a- kind.



5. On my desk at the moment is a cherished copy of "The Polaroid Book: Selections from the Polaroid Collections of Photography", published by Taschen. This book is a delightful ode to a fantastic art medium that is, unfortunately, fading out.
   
   The immediacy and intimacy of Polaroid photography simply cannot be replicated by digital photography. Sure, you can pick up a digital camera and point and shoot all you like, but you won't have a completed, printed image sliding gracefully out of the camera and developing before your eyes. You will also not get the opportunity to dismember the image during its development and experiment with such delights as transfer printing.
   
   Don't get me wrong, digital photography definitely has its merits and its vast possibilities - I'm a fanatic and practitioner myself. However, there is no other photographic medium that can possibly compare with the inimitable Polaroid - and it is sad to see it slowly diminish and disappear from the shelves.
   
   The Polaroid Book is, in my opinion, a most fitting tribute to the Polaroid technology. Edited by Steve Crist, and with an introductory essay by Barbara Hitchcock (Director of The Polaroid Collections and written in September 2004), the book includes 254 images and a brief overview of some of the more significant cameras sold by the company.
   
   One of the downsides of this book, like all great photographic books, is that you are left feeling somewhat let down by the fact that it is not the original works that you are looking at. The temptation to pick the image up off the page, feel it and hold it is, in my case, quite overwhelming. It is difficult not to have your browsing completely arrested by images like Joyce Tennyson's "Suzanne in Chair", Danilo Sartoni's "Landscape", Rien Bazen's almost Rothko-esque "(Blue Chair)", Bill Burke's "Family, Kermit, W. Va." - in fact there are too many to list here, but you get the point.
   
   The book also contains images by Andy Warhol, Robert Mapplethorpe, Ansel Adams, Harry Callahan, Paul Caponigro,David Hockney and Helmut Newton, to name but a few. Of particular interest to the book's Australian audience is "Sisters 1" by Mark Power, an image made in 1970. Is it because that photo was not taken by Bill Henson that the book has not attracted the ire of that country's wowser's?
   
   All in all, a great reason to turn off the TV, get comfortable, and immerse yourself in the pleasures of a disappearing art medium. Maybe, hopefully, books like The Polaroid Book will trigger our collective consciences into doing what needs to be done to make this medium the giant it once was. After all, compared to the opportunities available to digital photographers, the Polaroid is quite limiting. However, isn't it limitation that is the mother of creativity? This book argues a convincing "YES". Thankfully, it has been reprinted by Taschen and is currently available at a very reasonable price. Do yourself a favour and add it to your collection today.

3 comments about Richard Avedon: Photographs 1946-2004.

1. this is by far one of the greatest photographers of all time.
   this book is also one of the most inspirational books i own or have read.
   the pages are some of the finest paper and the images all look like no others.
   the text is written so well and executed perfectly.
   
   a must for any photographer in any aspect at all.



2. According to photographer Anthony Snowdon, a viewer, when looking at a picture, should not be able to tell who the photographer was. That may be true about his own photographs; he was wrong, however, when it comes to the work of Richard Avedon. Many of his photographs are instantly recognizable as uniquely his or the shots of someone imitating him. Mr. Avedon gave the world the portrait where the subject, often powerful and famous-- although that is not the case in his series "In The American West" when he shot unknowns-- is photographed looking straight into the camera without flattering lighting or camera angles before a white background. These models rarely smile although Janis Joplin and Willem de Kooning are two exceptions.
   
   This latest collection of approximately 200 of Avedon's photographs is the catalogue that accompanies a traveling exhibit of the master photographer, which began at Denmark's Louisiana Museum of Modern Art and will close in San Francisco's Museum of Modern Art. It must have been a difficult assignment to select the images that are reproduced (so beautifully) here. Many of Avedon's most famous photographs are included although there were some that I had never seen before and some I missed seeing. (For example, I would have included the magnificent shot of Tina Turner that usually fills a museum wall when it is exhibited.) The one color photograph by Avedon here is the famous or infamous, depending on your point of view, of Nastssja Kinski and the Serpent (1981). Several fashion shots are included. My favorites are the two of the model Dovima-- with the elephants in 1955 and in front of the pyramids in Eqypt in 1951.
   
   The photograph of Peter Orlovsky and Allen Ginsberg, naked and embracing, that was-- I believe-- the cover for an issue of "Evergreen" magazine in 1963 made the cut, as did Andy Warhol and members of the Factory (1969). Some of my favorites, although I cannot always say why, are the shot of Bob Dylan taken in 1963 where he looks to be about 13, (I think it is the tilt of his head that intrigues me) W. H. Auden standing in the snow in New York in 1960 and The Generals of the Daughters of the American Revolution. Photography doesn't get better than that shot.
   
   Avedon always said that he just photographed the surface and that the viewer only gets whatever the photographer sees in a brief moment of time. He contended also that the photograph usually tells you more about the photographer than the subject. On the other hand, the writer Albert Camus said that we are all responsible for our faces after the age of forty. Some of these portraits cry out with Camus' message. I would nominate the image of Truman Capote (1974). The word "dissipated" comes to mind immediately. Contrast the Capote photograph with, say, those of the Dalai Lama and Salman Rushdie, from whom a sense of peace emanates. It is poetic justice that the artist Francis Bacon's own face takes on the grotesque shape of many of the faces in his paintings. The Duke and Duchess of Windsor (1957), looking into Avedon's lens, would make you believe that the rest of the Royals were right about them, that they were dreadful people.
   
   Accompanying this great photography collection are essays by several writers and art and photography critics assessing Mr. Avedon's contribution to 20th century photography including Helle Crenzien, Geoff Dyer, Judith Thurman, Michael Juul Holm, Rune Gade, Jeffrey Fraenkel and Christoph Ribbat. If you do not read all the essays, do not miss Geoff Dyer's discussion on what has become Avedon's signature, the portraits where the models are in front of a stark white background where the people who posed for him, if not known to the public before they sat for him, were famous thereafter. The people included in In the American West series-- drifters, waitresses, coal miners, truckers-- are every bit as engaging as those of the rich and famous and are now just as immortal.



3. ..in the beginning, I think this is the best collection of Richard Avedon's artwork, but it's not. I would say this book is just a collection of kind of collection of photos for Identity card, over 60%. Be honest, I have over 80 photo books from different photographers, but obviously this is not my favor.

5 comments about Cinematography: Image Making for Cinematographers, Directors, and Videographers.

1. It's a good book. I wasnt impressed by the way the author writes, but it seems to cover the basics. Too much technical stuff for what I was expecting: more analysis of existing movies, but I guess that's up to you after you read the book.



2. This book answered all the questions I had on the subject that no other resource could. Great book for any aspiring filmmaker novice or semi-pro.



3. The book has a lot of useful information in it. Unfortunately, it could have used a copy editor and someone to verify all of the information in it. There are A LOT of typographical errors. I spent a great deal of my time verifying what was written in the book in other texts after I discovered several errors. Depth of field/depth of focus, come on, please proofread. The book also makes explanations more convoluted and unclear than necessary. Again, I referred to Malkiewicz (the edition with David Mullen-a very good example of someone who writes clearly and intelligently about cinematography), The Filmmakers Handbook and notes from my introductory cinematography class to untangle what Brown was tangling.
   
   The book is not up to Focal's high standards. Please hire an editor for the next edition and actually incorporate the corrections to the text that readers submit. Conceptually, the book is disorganized. Please consider an outline for the next edition.



4. Blain Brown's book is very comprehensive towards the technical and theoretical aspects of the bare bones of cinematography. I found the chapters to cover film and HD quite well and the five C's of cinematography are well illustrated too. I know for a fact that many cinematography professors in film schools from all around the country do require this reading in their curriculum. So, If you're a beginning student in filmmaking or cinematography you will find more than what you need here, but yet still stay in track and not get lost. Moreover, if you've been shooting for a while and know most of what goes inside the camera department, you're still going to benefit a lot from this reading, it really puts you in perspective. I personally and professionally recommended this book highly.. So, two thumbs way up!!



5. There are so many shortcomings with this book--where to begin? The text throughout is in serious need of an editor. The author jumps from one thought to another then returns to the first later in the chapter. The information in the book is presented as authoritative and yet some of it is downright wrong. Many of the images are pixelated, small, or ambiguous. There are several instances of page / image / figure references that are incorrectly linked. Occasionally, new terms appear in the book which are never explained--the reader is just supposed to "know" them. Overall it feels like someone who is about 80% competent as a cinematographer decided to write this book, but they had no idea how to organize their thoughts in a cohesive manner.
   
   True, there are good bits of info in the book. But these nuggets are scattered randomly here an there and their appearance amid pages of incorrect or incomplete information casts a shadow of doubt over the entire work.
   
   If you know nothing about cinematography, you'll probably learn a thing or two from this book. Otherwise it is almost a complete waste of time. So much of it is vague, misleading or false. Do NOT buy this book expecting a definitive, well-written authority on cinematography. Not worth the money. An embarrassment to whoever pieced the book together.

5 comments about Hot Chicks with Douchebags.

1. So this guy has people send him pictures on the internets, makes snarky comments about the people in said pictures. You can look at the pics and read his comments for free in the internets. So he decides to make a coffee table collection and sells the stuff you can get for free, and you people buy it? Gee, I wonder who the douchebags really are?



2. I totally disagree with the One Star comment. The fact you can get much of the material for free on his site (and goes the commenter's point, why spend money on the book) is irrelevant. I love the site and even if the book contained nothing but material already there, i'd still buy it to support the author.
   
   however the book is chock full of stuff not on the site. There's a great narrative throughout which shows his walk through searching for his inner douche. His insights are dead on and face it, pretty much every guy on earth has found himself scratching his head in amazement at this phenomenon.
   
   The book catagories each douche and offers brilliant and biting insight in the process. The pictures of the Hotts are superb and showing them on the glossy paper is a great touch. I can't think of a better Coffee Table book to have - so I guess that makes me a douche according to some of the commenters. Well, if that makes me one, I'm proud of it.



3. Buy it, for the children. Before, in the words of Neville Chamberlain, we have "grease in our time".
   
   Do it for the children.
   
   And one-star guy can felate a mailbox.



4. I try to spread the gospel of www.hotchickswithdouchebags.com (the author's website) as much as possible. The book is hilarious, but also seeks to educate the reader on a disturbing trend in America and the world. Namely the transformation of men into douchebags in their quest to obtain the hotties. At only around $12 on Amazon it makes a great coffee book and conversation piece, plus its highly entertaining.



5. I have to admit that when I heard this book was coming out, I had my doubts about the quality. I was a big fan of the site, but honestly, what could the author add to the pictures that were already available online?
   This volume, however, was a very pleasant surprise, and let me assure you that yes, it is well worth buying, even (or especially?) if you are a fan of the site.
   
   The author weaves a funny yet quite insightful and intelligent narrative throughout this text, and while there is plenty of humor, there are a number of astute sociological observations that give it added depth. Make no mistake, this is not a scholarly work, but the elegant and polished prose with which the author presents an admittedly low-brow subject is refreshing. And hey, he mentions Lacan!
   
   The pictures are, of course, the main draw here, and they do not disappoint. The wide variety of subjects is as hilarious as it is depressing, and is very well organized and presented. Definitely a worthy read!

5 comments about Magic Lantern Guides: Nikon D300 (Magic Lantern Guides).

1. The Nikon D300 is a complicated piece of machinery, with at least 100 top-level options for how it will work, with many sub-options. All these choices mean that one can tailor the way the camera operates precisely to one's needs. It also means that getting exactly what's best for you requires a lot of research. This "Magic Lantern Guide" is designed to ease the process, but if you really want to get the D300 to fit your style of shooting, it still won't be easy.
   
   The book starts with a general discussion and a quick start guide and then goes into detail on the various functions. There is a menu by menu review of each of the options, with the author's recommendation for each setting. The book finishes up with chapters on resolution, flash, lenses and processing.
   
   This book is for the person who wants to understand all the technical aspects of using the D300. For example, almost every book I've read on the D300 tells you how to use long exposure noise reduction, and points out that the noise reduction process take as long as the exposure. But this is the first book that told me that the noise reduction process will terminate after 109 minutes, even if the exposure is longer. I never expect to take a 110 minute exposure, but I'm certain there is someone out there for whom this information will prove useful.
   
   I never expect to print directly from a card, but I wondered why the DPOF (Digital Print Order Format) menu on my D300 was always grayed out. Stafford explained that it was because DPOF requires JPEG images, and I only shoot in the RAW/NEF format.
   
   Stafford not only explains what each menu does and why, but gives his own reasoned recommendations. By the way, he generally recommends not using functions that can be controlled later in post processing, reasoning that one should not turn over blind control of an image to the machinery.
   
   The book is small enough to fit into a gadget bag, but thick enough that one might not want the extra burden. To help photographers anxious to lighten the load, the book includes a quick reference card that can be slipped into a wallet, although it obviously doesn't cover everything in the book.
   
   The book is not without faults. There are occasional typos, although none that would mislead. The photographs are all in black and white, and many of them have absolutely no relation to the topic to which they are attached, but rather seemed to be included because this is a book about photography.
   
   The book inevitably invites comparison to the excellent "David Busch's Nikon D300 Guide to Digital SLR Photography" by David D. Busch. That book includes photography instruction, with subjects like the times when long exposures might be appropriate and an excellent discussion of the use of the histogram to control exposure. It is aimed at the photographer who wants to learn how to use his or her D300. Many of the options are not covered in detail of Busch's book. Stafford's book doesn't tell you anything about taking pictures. It presumes you know how to take pictures and just want to know how to set up your D300 to the nth degree. I don't see the books as competitors. Decide what you want to learn, and then choose (or buy both if you are as compulsive as me.)



2. This book contrasts with the D300 Digital Field Guide. The Field Guide is full of lessons about basic photography for the uninitiated (who probably should not have purchased a sophisticated camera like the D300 in the first place). But for everyone else this book is full of details that cover basic operation and then go beyond to in depth explanation of features and functions. The book assumes that you know the basics of photography and then shows you how to make the best use of your marvelously versatile D300. It even explains the "zen" of the Nikon Creative Lighting System by which Nikon has otherwise managed to confuse many a photographer! No it isn't written like story book or a travelogue. It is a no-nonsense, easilly understood operating guide that covers all the bases and more. Buy it!



3. I found this book very easy to understand and explain the complicated workings of this camera. I'd recommend the Magic Lantern Guides for any of the products they have books for. This is my 2nd Magic Lantern book. The first one was for the Nikon D2H. Well worth the price.



4. Provided just what I was looking for - information for the beginner, but also info for the experienced dSLR (Nikon) user. Technical info available for those who need it. Not a book for beginners who need basic photography advice in addition to the nuts & bolts of the D300.



5. Alas, this book reads like a hurried update of the D200 guide. In fact, there is at least one typo in the book that describes the "D200" instead of the D300 -- and not as a comparison.
   
   The book also falls short in de-mystifying camera-specific D300 topics like long exposures. For example, I wanted to take some night shots and could not find any complete description of how to use the Bulb setting. I ended up going back to the Nikon D300 manual.
   
   The book contains some useful photography tips, otherwise I would have rated it even lower.
   
   Had I bought it from Amazon, I would have returned this book.

5 comments about Creative Nature and Outdoor Photography.

1. I own a few Shaw, ( Nature Photography field guide) Mammoser,(The Photographer's guide to the Colorado Rockies)and (Digital Photography for Dummies) by David Busch who also has written specific guides for cameras. The three make up a complete library . Tharps book is like attending an advanced photo workshop, Concepts rather then specifics are taught . She really explains for example Light, how to use it .Chapter 10 on self evaluation is worth the price of the read. My only regret is not having a digital specific section.,



2. The best, quick study, complete book on taking pictures in the outdoors, that I have seen to date.



3. This is the most AMAZING book you can ever get about photography.
   
   After I started reading this book, my mind changed about photography.
   
   I can surely say that this is the best book I have read about photography.
   
   You NEED this book if you are really into photography.
   
   [...]



4. Packed full of easy-to-understand, useful information. Certainly a help to anyone in taking better pictures. Bonus - the excellent pictures make it a great coffee-table book.



5. Wonderful pics and descriptive text make this a great reminder of why we all wanted to do this in the first place and how to achieve the results we all aspire to.

No comments about Hubble: Imaging Space and Time.

5 comments about In Vogue: The Illustrated History of the World's Most Famous Fashion Magazine.

1. I liked the information and photos about the early Vogue, and wish there was more of it. I was not so interested in the later stuff, as it seemed overly self-important. Instead of presenting fashion, the current Vogue seems to commision special clothes for its photo shoots. What's the point if you can't buy that? Plus the photos don't even show what the clothes look like. I have better books on fashion, but this really was about the history of the magazine, and as such it succeeds. I just don't happen to like the magazine as it never shows anything I'd want to wear.



2. What attracts you to Vogue? Chances are that element is represented someplace within the pages of In Vogue.
   
   To me, the photographs are the main appeal of Vogue. Since its founding on December 17, 1892, Vogue has attempted to capture current and future fashion through its images. The magazine has been blessed by talented work done by most of the world's best fashion photographers since then who brought us the most interesting society women, celebrities, cultural icons, and, of course, fashion models. I was pleasantly surprised to see that the book contained at least a few works by each of the greatest photographers to appear in Vogue. Most of the images were known to me, but a number were new. My main disappointment was that the photographers I like the most didn't have more photographs in the book. But the book is very bulky and heavy as it is.
   
   To my interest in the photographs came many essays about why the photographers were selected and what the editors asked them to accomplish. The interaction of the art directors and the photographers was particularly noteworthy in regard to covers.
   
   I have also spent many years as a management consultant in the magazine industry. I was pleasantly surprised to find that there's a pretty complete overview of the management thinking and decisions that led to Vogue becoming so successful.
   
   But the most interesting surprise came in the extended views into the editorial philosophies and working styles of the magazine's editors. Creating a fashion magazine is very demanding, and Vogue has been fortunate in its editors both for their energy and their vision for the reader.
   
   If neither business nor editing interest you, you'll still find lots of marvelous images to help you trace the development of fashion and style in the United States over the last 100 plus years.
   
   Here are a few of my favorite photographs in the book:
   
   Helen Lee Worthing by Baron Adolphe de Meyer, September 1, 1920 (p. 61)
   
   White by Edward Steichen, January 1, 1936 (p. 67)
   
   Mademoiselle Koopman by George Hoyningen-Huene, September 15, 1933 (p. 69)
   
   Mary Taylor by Cecil Beaton, May 15, 1935 (p. 73)
   
   Lisa Fonssagrives by Horst P. Horst, August 1, 1938 (p. 76)
   
   Decor by Horst P. Horst, March 15, 1938 (p. 77)
   
   Corset by Horst P. Horst, September 15, 1939 (p. 78)
   
   Coco Chanel by Horst P. Horst, February 15, 1954 (p. 79)
   
   Cover by Horst P. Horst, September 15, 1940 (p. 89)
   
   Loretta Young by John Rawlings (p. 111)
   
   Twelve Beauties by Irving Penn, 1947 (pp. 116-117)
   
   Cover by Horst P. Horst, May 15, 1941 (p. 131)
   
   Cafe Society by Cecil Beaton, 1948 (pp. 136-137)
   
   Concentration Camp by Lee Miller, June 1945 (p. 143)
   
   Jean Pachett by Irving Penn, February 15, 1949 (p. 144)
   
   Atelier of Pablo Picasso, November 1, 1956 (pp. 156-157)
   
   Twiggy by Richard Avedon, July 1967 cover (p. 172)
   
   Marisa Berenson by Berry Berenson, 1969 (p. 179)
   
   Marisa Berenson by Irving Penn, April 1970 (pp. 186-187)
   
   Lauren Hutton by Richard Avedon, January 1, 1969 (pp. 198-199)
   
   Celebrity covers, 1965-1971 (p. 202)
   
   Cheryl Tiegs and Rene Russo by Helmut Newton, 1974 (p. 215)
   
   Cybill Shepherd by Helmut Newton, 1973 cover, (p. 216)
   
   Kim Basinger by Irving Penn, September 1978 (p. 217)
   
   Beverly Johnson by Albert Watson, October 1977 (pp. 218-219)
   
   Charlotte Rampling by Helmut Newton, 1974 (p. 221)
   
   Eveningwear by Arthur Elgort, 1978 (p. 222-223)
   
   Lisa Taylor by Arthur Elgort, October 1976 (pp. 228-229)
   
   The Right Moment by Arthur Elgort (p. 230)
   
   Lisa Taylor by Helmut Newton, May 1975 (p. 233)
   
   Winnie by Helmut Newton, 1976 (p. 234)
   
   Daryl Hannah by Helmut Newton, 1984 (p. 235)
   
   Bathhouse by Deborah Turbeville, May 1975 (pp. 236-237)
   
   Satin and Leather by Peter Lindbergh, September 1991 (pp. 252-253)
   
   Color and Opulence by Peter Lindbergh, October 1997 (pp. 254-255)
   
   Tribute by Annie Leibovitz, November 1999 Cover (pp. 272-273)
   
   Linda Evangelista by Steven Meisel, September 2001 (p. 274)
   
   Shape by Annie Leibovitz and Patrick Demarchelier, April 2002 (p. 278)
   
   Lisa Cant by Irving Penn, September 2005 (p. 283)
   
   Cindy Crawford by Helmut Newton, December 1991 (p. 287)
   
   Haute Couture by Irving Penn, December 1995 (p. 292-293)
   
   Epic Proportions by Irving Penn, April 2004 (p. 297)
   
   Swimsuits by Mario Testino, May 2000 (pp. 298-299)
   
   Portrait of a Lady by Steven Meisel, March 1995 (p. 307)
   
   Mad About You by Steven Meisel, October 2003 (p. 313)
   
   Naomi Campbell by Herb Ritts, May 1996 (pp. 314-315)
   
   Barbarian Chic by Arthur Elgort (p. 325)
   
   Near Bora Bora by Patrick Demarchelier, December 2004 (p. 330)
   
   Golden Girl by Annie Leibovitz, April 2006 (pp. 345-346)
   
   Condoleeza Rice by Annie Leibovitz, December 2001 (pp. 358-359)
   
   Kate Moss by Irving Penn, September 1996 (pp. 368-369)
   
   Hillary Clinton by Annie Leibovitz, December 1998 (p. 372)
   
   Nicole Kidman by various photographers, September 2003 (pp. 378-379)
   
   Models and Supermodels by Steven Meisel, September 2004 (pp. 380-381)
   
   Ben Stiller and Stella Tennant by Annie Leibovitz, October 2001 (pp. 388-389)
   
   Mario Testino, April 2006 (pp. 392-393)
   
   Take a close look!



3. Thanks so much the book was perfect for my daughter's christmas present - just what she asked for and hoped it would be.



4. I ORDERED IN VOGUE FOR MY DAUGHTER AND SHE JUST LOVES THIS BOOK IT IS A GREAT BOOK FOR WOMEN AND MEN INTERESTED IN THE HISTORY OF VOGUE AND FASHION. VERY ENJOYABLE SHE SAID.



5. Great book ... a lot of text and outstanding pictures. Now laying in the on board a superfast ferry between Scotland and Ireland - in the business class. Ladies love it.

1 comments about Silent Exodus: Portraits of Iraqi Refugees in Exile.

1. I received this book today and sat down and read through it. Don't be mistaken, it is not long and it is almost completely pictures. "A picture is worth a thousand words." Never more true has it been than when I sat down with this book. My wife started to read this and had to stop due to the graphic nature of some of the pictures. In addition, almost all of the written text in the book is directly quoted from people who were interviewed. There truly isn't a way to explain what is being said through any other words.
   
   Ultimately this book will do many things, be that infuriate you, inspire you, or simply make you want to cry. Recommend reading this book and deciding for yourself.