3 comments about American Cinematographer Manual, Ninth Edition 2 Vol Set.

1. Also known as "The Cinematographers Bible", this thick hand-sized pocket book is an absolute must for anybody who owns or uses a 16mm, Super 16mm, 35mm, Super 35mm or 70mm motion picture camera (movie cameras). IT WILL NOT TEACH YOU CINEMATOGRAPHY! It is a technical manual to be used when shooting on film and has since become the industry standard book that most amateur and professional cinematographers own and use. Motion pictures cameras are also built around the specifications laid down in this book.
   
   Essentially the first 100 pages deal with all the different types of motion picture cameras, their internal mechanisms, technical details and threading paths. Then the book goes on to dealing with motion picture film itself, the various brands that are available, differences between black and white, color and a bit about the development process of each one. Again, technically detailed. There is also very valuable charts on film lengths and running times according to fps. The lens section is very technical covering the different types of lenses and the most important focal length, distance to subject, measuring charts that is really the most widely used part of this book. There is a massive section on filters, exposure and emulsion testing.
   
   The book then deals with lighting and covers the various aspects of lighting types, bulbs, filters and exposure techniques, all highly technical in nature with references to charts and illustrations. The book ends with a coverage of visual special effects that can be done with the motion picture camera and other special techniques that the cinematographer will need to know about.
   
   You will need this book if you are shooting on film, end of story. If you are looking for a manual that teaches cinematography then choose CINEMATOGRAPHY by Kris Malkiewicz instead. As a note, there is a lot of new digital cinematography cameras on the up and coming that work on digital video tape and not film and many new filmmakers may be advised to check out this route as a cheaper and less costly way of shooting their first film.



2. Anybody who plans on working with REAL film should own this, learn it, know portions of it backwards and forwards and use it to their advantage.
   
   It basically answers ANY questions you may have concerning principal filmmaking, and some very help hints when trying to accomplish various optical and special effects in camera.
   
   Get it, or suffer the consequences.



3. As a graduating film student who is working on a thesis film, I have come to rely solely on this manual. It has absolutely every bit of information that any aspiring filmmaker could need. I've come to call it my "Bible" of filmmaking. Check it out! You won't regret it!

No comments about Body, Memory, and Architecture (Yale Paperbound).

5 comments about Driven from Within.

1. This book was great it said almost everything about michael jordan's life through hes highschool year and college year at north carolina. I also think that it was good for people thats young because it shows a lot of pictures of michaeel jordan's shoes and him when hes playin basketball or other thing.
   I think people that like jordan's shoes should read this book because it describes how they made that shoes from and how they get the idea of it plus it shows how michael jordan think about that shoes and some part is very funny because for example hes first shoes "jordan 1's" he says like "im not wearing that shoes, it looks like clown" and when i was reading that part. i just started laughin outta no where because i thought it was pretty funny. It also shows the sketch of the shoes that they made or planning to make and a lot of ideas of drawings. I think a lot of elementary school kids well understand this too.
   This book also has a lot of quotes and i think most of them is so true, like one of hes quotes "its hard, but its fair" it means that he practices alot and its hard but at the end u need to practice to get better.
   When i was reading this book it just showed me how great michael jordan was and it made me admire him. First, i thought he was a normal NBA guy and i didnt think he was that special but now after i read this book, it showed me what he did through high school and how hard it was. one day, i wanna be like michael jordan and be a great basketball prayer like him.
   This book was first book that i really loved to read and i couldnt stop reading this book because it was also so exciting.
   Best part of this book was the what do they picture when they make there jordan shoes because it was randomest thing and i was pretty amazed also, like one of hes shoes, "jordan 13" they imagine about a black tiger that like hunts animal or people at night with green eyes and then on the shoes, theres a green thing for the tigers eyes and all black shining leather part and it was pretty amazing. There my favorite shoes outta all the jordans and i wish i have them, but now its expensive and i cant afford it.



2. Learn about Michael Jordan's life and how his inner drive helped him succeed in basketball, business, and life. You'll be inspired and motivated.



3. The product came in a timely fashion and delivery was not a problem. I was a little disappointed in the quality of the book when it came. The inside was nice but the outside jacket looked as if the book had been used. I don't know if it moved around a lot in shipping but it did not have the newest look.



4. I gave this book to my little brother who loves both basketball and Michael Jordan and he loved it!! It was full of stories, pictures and inspirational quotes. The best part about it is that it was written by Jordan himself. I would highly recommend this book.



5. This book overall was pretty good, the only pitfall are the pages where they talk about brand Nike. They overembellish the brand/product a bit. Other than this there is some good stuff on the MJ persona in this book. I enjoyed reading some of the stories about him and also his personal views on many things. Good read for any Jordan enthusiast.

5 comments about The Architect's Brother.

1. Wow. That's how I'm going to start this off. My first inkling was to give the book four stars, you know, seem objective to the reader, maybe have a bigger influence. The truth is objectivity has nothing to do with this book. It is full of magic, suprise, wonder: nothing but true subjectivity. That is where its beauty lies, like a receiving a small bit of mail from an unknown sender, each page is a tale for you to tell, as well as ParkeHarrison. By far my favorite photography book, second only to Rocky Schenk, Photographs. Highly Recommended, also beautifully bound and LARGE. Take it from this poor college student, well worth the money.



2. Recently on PBS, I saw a small clip of the collaboration work of the photographer (who is also the subject in the photographs) and his painter wife. The artistic creation of staging and dark room manipulations were something no one produces but these two. Results are reminiscent of a strange dream or turn of the century photography of catastrophic Earth events. I had to find a book of their work. The first books I found were $300. but fortunately found a much better priced one. I not only wanted it for myself and friends, but also to hand it down to one of my grandkids. Thank you Mr/Mrs. ParkHarrison for your unusual vision and I hope to see your future productions.



3. So different, so wonderful, so thought-provoking. This book of photographs is amazing. Each photo tells a story, or many stories, or creates an emotion that's hard to pin down. This is a large bound book, of high quality. I'm astounded at the price. This is truly a book to keep for life. I took it to work, and people lined up to look at it, one co-worker offered to buy it from me for $10 more than I paid for it :) (no way!)



4. This book plays with reality, is beautiful, is provocative (in certain ways), and encourages revisits.



5. The Architect's Brother is a beautiful compilation of photographic art by photographer Robert ParkeHarrison. The photographs are splendidly composed and executed and each is a work of art capable of evoking responses of awe, wonder, joy and sadness.
   The book itself is well composed: the paper and pictures are very high quality and the book is well bound and cloth covered.

5 comments about Adobe Photoshop and the Art of Photography: A Comprehensive Introduction.

1. Photoshop is incredibly feature-rich software, and frequently perceived as overwhelming. Weinrebe breaks it down into easily understandable bits while still providing useful tips for very experienced users.
   
   And the interviews with renowned photographers add a unique element, opening - at least a little a bit - a window on their varying perspectives and workflows.
   
   Well done. This book is a valuable addition to every photographer's reference library.



2. the book is well worth the cost: it is well organized and presents all of the capabilities of Photoshop in a pseudo-textbook fashion that are easily understood. At the end of each of the 12 chapters, the author presents a review: questions that the reader should be able to answer and exercises covering the CS3 capabilities that had been explained in that specific chapter. Also, the author includes interviews with 12 noted creative photographers such as Maggie Taylor and Lois Greenfield.



3. The development of pigments by chemists changed the art of painting in the Renaissance. The development of film sensitivity changed the art of movie making in the 20th century. How will Photoshop and other image processing software change the art of photography?
   
   This book provides instruction in the use of Photoshop, in an unorthodox manner. Most Photoshop books are organized along workflow lines, although a few work their way through each of the Photoshop tools and menus in order. Weinrebe follow his own order, dealing with light and shadow, curves, black and white processing, color tools and so forth before dealing with the tools used when first bringing images into Photoshop. Often a chapter introduces important techniques not related to the main one, as in the author's discussion of the use of the history brush in the chapter on curves. The author recognizes his approach is unusual, and suggests that readers go through the chapters in the order the reader needs.
   
   The chapters include practical exercises that use images provided on an included CD.
   
   The book recognizes the version 4.1 update to Adobe Bridge which is a component of Photoshop CS3, although I expect that the update was made available at too late a date for the author to do much exploration of its potential. (There has been a 4.2 update, but the changes seem to have improved code, without adding tools.) How else can one explain the author's dismissal of the new sharpening facility that allows for input sharpening, which is different from output sharpening?
   
   Besides the instruction on using Photoshop, each chapter concludes with an interview with a famous photographer. Most of these photographers seem to specialize in montage, that is, the creation of pictures by combining images.
   
   My biggest question was what happened to "the Art of Photography" mentioned in the title? Nothing in the material on technique goes further than to describe what controls and sliders create what effects on an image. No advice is presented in how to use Photoshop to create a picture that is more "artful" (whatever that means). The interviews are interesting but they don't include any information on how the artists used Photoshop to make their pictures more artful. I suspect that even Rafael received some instruction from his teachers on how to use the new pigments beyond how to apply them to canvas. Certainly, a few books on Photoshop have covered this terrain. I particularly found Rob Sheppard's "Outdoor Photographer Landscape and Nature Photography with Photoshop CS2" to be useful.
   
   I also have some small complaints about the book. The text always appeared to be one or two pages behind the related illustrations, leading to a lot of page flipping. Some instructional areas seemed to scant the tools being discussed. For example, the chapter on Adobe Bridge mentions how customizable Bridge is, but neglected to provide any details in how to do this.
   
   Still, a photographer looking for an introduction to Photoshop will be able to get started with this book. On the other hand, those looking for a more detailed introduction might want to look at a favorite of mine, "Photoshop Artistry: For Photographers Using Photoshop CS2 and Beyond" by Barry Haynes. It doesn't cover all the changes made to Photoshop in its later versions, but it will provide an understanding of the software that may even include a little bit about injecting the artful into one's images.



4. As a long time film photographer making the move to digital this book was a life saver. The step by step approach took the mystery out of photoshop.
   The language was clear and the examples relevant.



5. Photoshop CS3 is a very "deep" application, and I think that this book can be an excellent resource for virtually any CS3 user (especially those who classify themselves as intermediate users of Photoshop). The author does not assume that you have already read a user manual or other book. He covers in detail many of the tools in detail that are frequently used to color correct, mask and composite images, and do many other common tasks. "Hints" and "Notes" can be found throughout the book in small green boxes, and I found them very helpful. For example, in Chapter 10, the author explains in a Hint box how to apply sharpening settings from one image to a batch of images in Bridge.
   
   Weinrebe supports his lessons with good screen shots throughout the book. Just a small selection of the tools that he covers very well (in a step-by-step fashion) are the Healing Brush, Lens Correction tool, History Brush, the Bridge and Camera Raw (including a suggested Bridge/Camera Raw Workflow), tinting with a color layer, batch renaming, converting to DNG, creating contact sheets, creating panoramas with Photomerge, and actions.
   
   One of the most interesting parts of the book are the artist interviews. These Q&A sessions with such luminaries as John Paul Caponigro, R. Mac Holbert, Pedro Meyer, Graham Nash, Maggie Taylor and Joyce Tenneson generally run from about 4-7 pages and include fantastic imagery and insight about the artists' background, their art, what motivates them, and how they approach and use various technologies. I believe that this series of essays could easily be a very strong coffee table book on their own. They are a really special.
   
   I also like the Chapter Reviews questions and Exercises at the end of each chapter, which can definitely help people to learn more about the Photoshop techniques that were covered in the chapter. Having all the exercise files on a CD in the book is also a nice feature. Also, it really helps that Weinrebe is a professional photographer who has been preparing files for clients for years. His work really shines throughout the book.

1 comments about Iron Maiden.

1. Este es un documeto imperdible para quienes quieran ver la evolución de Maiden a traves de las fotografias de Halfin. El material viene bien exlicado y tambien con anecdotas referentes a cada epoca en que se ha desarrollado las sesiones asi como tambien como se relacionan con las locaciones. Sin duda por su presentación no es para la " Coffe Table" pero si para tu biblioteca de buen rockero.
   
   No photographer in the world took more - or better - shots of Iron Maiden than Ross Halfin. Having worked with the group since their emergence in the late Seventies, he became a part of the roller-coaster ride that saw Maiden conquer the world as the leading lights of the New Wave of British Heavy Metal.
   
   This new deluxe photo documentary features Halfin's photographs from throughout their career, in Euro America and elsewhere, on stage, backstage and wherever else they happened to be. Featuring a foreword by founder member Steve Harris, and Ross's own recollections of his life and times with Iron Maiden.

5 comments about Hells Angels Motorcycle Club.

1. Photographer Andrew Shaylor was given unique access to the Hells Angels Motorcycle Club and sought to provide an excellent representation of the group: available in paper for the first time is a set of images captured at their important events, worldwide. The Hells Angels Club is a huge part of California culture in addition to being worldwide, so this color-photo-packed representation is a top pick for any California general-interest lending library strong in California alternative culture.
   
   Diane C. Donovan
   California Bookwatch



2. Since I own the hardcover of this book, I knew what to expect. I was not disappointed like some others were. I really really liked the new photos that are in this version of the book. I love the images and the insight into the bigger world of the HAMC, that it is a worldwide organization and that, like anything imported from anywhere, there is a local spin put on it by each culture. Here in the states we think everything is about us. American Idol is not an American show, we've just put our spin on it. I think the publishers (an English company) wanted to get the book to cross the pond by making the title so broad. They should have called it, "Riding With The Hells Angels in Wankerland" or something like that. Any other ideas? It's still a great visual glimpse into a world I missed out on growing up.



3. A very interresting book, or I better say whitness of who aree these persons (ie all different), and what's their kind of life as Hells Angels, as the author took his time to know some of them, and be known by them.
   
   The photographs are stunning and very important to help the reader understanding what this club is and is not.
   
   Buy it, put it on a wishlist, but find a way to have it ! It's not the kind of book you read only once: You'll be back in it from times to time...
   
   Laurent



4. If you want to look at pictures of bikers, and their families, many just like olan mills portrait style, then buy this book. Not much narrative. Forward by Sonny.



5. This book is not what you think! Great photo's, great stories, but come on, not a SINGLE photo or info on the original and FAR better known US based Hells Angels. The entire book cover to cover is ONLY UK BASED ANGELS!. No disrespect to them and if you are from the UK, the book is great. But to those in the US who want to see pictures of the legends and hear about the dozens of stories of the original Angels, this book is a major letdown. NOTHING on the cover of the book nor in the book description mention the fact the book is 100% UK based Hells Angels. That, in my opinion was done on purpose because they know the book will not sell anywhere near as well. I assure you, when the vast majority of people WORLDWIDE hear the name "Hells Angels", they are thinking of the original California and the Legendary New York City chapters and the dozens of stories that go with them, NOT London, Wolverhampton, etc (Again, no disrespect). Great photo's, great text, but overall dissapointed.

1 comments about Exhibiting Photography: A Practical Guide to Choosing a Space, Displaying Your Work, and Everything in Between.

1. Here's a book aimed at serious photographers. In case you might have made a mistake and thought this book would show you how to display a photograph on your living room wall, it is instead for folks who want to display their photographs in a public venue.
   
   After a general introduction to the subject, the book discusses finding an exhibition space, including a few that might not come readily to mind; planning and research for the exhibition; publicity; preparation for installation; and the actual hanging of the work.
   
   The book is about the logistics of exhibiting and not much about the art, although Read makes suggestions relating to both the preparatory phases and the actual installation that will help in a more artful presentation. My first thought, as I opened the book, was that this was just common sense. However, I've lived long enough to have made a lot of mistakes and as I read along I kept encountering advice that I wished I had had before making some of those mistakes. For example, Read tells you that when it comes to the actual hanging, lay out the installation on the walls completely with pencil, ruler and level before you drive a nail. If I had done that on a particular occasion, I probably wouldn't have ended up taking down a bunch of pictures because my last frame was butted up against a corner. Emphasizing the importance of backwards scheduling in detail might have prevented the pile of advance brochures that arrived the day before the event. It's this kind of nitty-gritty detail that can keep one out of trouble. And of course the advice that, if you cut yourself on the glass for a frame, you should walk away from the framing area immediately to avoid bleeding on the work is a good reminder.
   
   Throughout the book there are a number of case studies written by guest authors. Although the authors might have felt they were telling a story of success, many impressed me with what could go wrong.
   
   There were a few points that I thought the author scanted. She made it seem as if it might be easy to get exhibition space. But venues are not quick to allow photographers without a demonstrated market to use their space. Nor do artists want to exhibit just for the sake of hanging stuff on a wall somewhere. There are economic aspects, aside from the costs, of the show, that govern exhibiting. Before blithely deciding "Let's put on a show!" one would do well to read a book like "Taking the Leap: Building a Career as a Visual Artist" by Kay Lang, where she describes in much greater detail the hard work of getting a place to exhibit.
   
   I felt that the author could have been more concise in her writing. That might have led to a book twenty to forty percent shorter. I disagreed with a few of her conclusions. For example she suggests that in pricing a work, overhead should not be included. That's might be a model for a low price, but it is also the road to bankruptcy.
   
   If you are a photographer who wants to exhibit and you have no experience exhibiting, reading this book may save you a lot of anguish.

4 comments about The Complete Guide to Night & Lowlight Photography (A Lark Photography Book).

1. I really, truly wanted to love this book. I wanted to recommend it to my students, and I wanted it to finally be a useful Night Photography textbook. Unfortunately, it falls tremendously short of its potential on so many levels. As someone who has photographed at night for over 20 years, and taught Night Photography classes and workshops for 10 years, I feel qualified to make this judgment. The first and most obvious shortcoming is in the lack of inspiring, or even good Night Photographs. Most of the examples included are not only NOT night or low light images, but they are simply illustrations for the page, and not particularly good or interesting photographs. What a way to lose your audience in the first chapter.
   
   To be fair, there is plenty of useful technical information, but it is generally not very well organized. (The first thing covered in the text is purple fringing and chromatic aberration!) Unfortunately, much of the information presented, while well researched and generally correct, is not really specific to the topic of the book.
   
   Probably the greatest flaw of this book is that it does not embrace Night Photography for what it is. The author seems to have no grasp whatsoever of what it is that makes Night Photography special. In a nutshell, Night Photography is about the accumulation of time and light in an image- be it film or digital, and the way that the camera can record time in ways that the eye cannot see at night. Rather than show readers how to take advantage of the magic possible with long exposures and dramatic mixed lighting sources found at night, Freeman instructs the reader how to overcome these "challenges". Night photography is unpredictable and to a certain extent uncontrollable, and rather than embrace these things that make it unique, Freeman does everything he can to help his reader eliminate any and all risks. Night photography that "stays inside the lines" is boring. It is only by breaking the rules that Night Photographers create really exciting images, and there isn't more than a couple in this entire book. Imagine a 225 page book on Night Photography that devotes exactly THREE PARAGRAPHS to photographing by moonlight, and has zero examples of photographs taken by moonlight! There is also no chapter on light painting, which is another large omission.
   
   There are at least a dozen books on the market supposedly about Night and low light photography, and they pretty much all focus on the "Low Light" part of the equation-Christmas lights, neon signs, fireworks, theatre or sporting events at night. This is not Night Photography, but simply how to extend daytime shooting methods into low light situations. Michael Freeman's disappointing book is just another one added to the pile. To date, Andrew Sanderson's "Night Photography" is the best text published on the subject, but it is almost entirely a black and white film book, and therefore of limited use in today's digital world. I'm sure that many people will find something useful in Freeman's book, and some will disagree with my assessment. In the end, it simply does not inspire the reader to go out and photograph at night, either with the text or especially the illustrations. It is certainly not for the novice.
   
   The resource section in the back of the book lists only Freeman's other books, and none of the other published materials on Night and Low Light photography. His list of websites does not include links to any Night Photography sites or resources, most particularly www.thenocturnes.com, which is the undisputed champion of Night Photography online resources. He also offers no resources for classes or workshops on the subject, of which there are several, both in the US and abroad. There is a strong sense of community and sharing amongst Night Photographers, supported by both online and real world resources like The Nocturnes, local meet ups, and Flickr. Freeman is clearly not in touch with this community, which to me explains to a large degree why this book fails to hit the mark. As I said earlier in the review, there is a lot of useful technical information in this book, but it has no heart or soul.
   
   Jill Waterman's new book, "Night and Low Light Photography, Professional Techniques from Experts for Artistic and Commercial Success" is due out in August of 2008, and should prove to be much better than anything released on the topic to date. (disclaimer: I am a minor contributor to Jill's book, with no financial interest) Night and Low-Light Photography: Professional Techniques from Experts for Artistic and Commercial Success



2. Great book for night and lowlight digital photography. Well set up and delivered. Highly recommended!



3. It's good for Michael Freeman that I decided a while ago that I would not hold it against a book if the content did not match the title. Otherwise this book would have to be called "The Complete Guide to Wide Apertures, Slow Shutter Speeds, and High ISO's".
   
   That's because rather than concentrating on the usual stuff like metering on the sky at dusk or setting up flash units, Freeman assumes that the reader understands exposure and most post-processing and instead concentrates on what can be done to mitigate the consequences of wide apertures, slow shutter speeds and high ISO's.
   
   After a general introduction dealing with the nature of sensors, noise and similar topics, he divides the book into two sections that at first appear idiosyncratic: hand held and locked down. Primarily he does this because he says the ways of correcting for the problems created using the two different methods are due to exposure setup. Hand held requires wide apertures and high ISOs while tripod shooting uses long exposures and these require different corrective measures in post processing. Each section first indicates methods of mitigation (steadying techniques, tripod management) and then discusses post processing, which is the meat of the book. For example, in discussing hand held shots, he points out that camera movement is a source of blur and that software tools can be used to correct for this. Freeman also has an extensive discussion of high dynamic range processing that is similar to his recent book on this topic, although the use of HDR for handheld photography is a subject not often encountered.
   
   I hesitate to describe a text as aimed at advanced photographers since the definition of an advanced photographer depends on the individual doing the defining, but I can certainly say that this is not a book for novices. Most of the post-processing techniques offered require a thorough knowledge of image processing software, the devotion of time to handcraft an image, and occasionally the use of software above and beyond Photoshop. Moreover, to apply Freeman's suggestions, I had to sit with the book in hand and follow his procedures step by step on my own images. But the techniques Freeman offered were certainly worth the investment of my time to study, and hopefully, to apply in a low light situation.
   
   (Freeman appeared to be using an older version of Adobe Camera Raw in some of his examples that did not include the new input sharpening facility which works in tandem with ACR's noise reduction and I wondered if there were some advantages in processing low-light images with the newer software. Hopefully he'll answer that in another book.)
   
   The more skilled one becomes as a photographer, the harder it is to find useful advice that one has never encountered. For many skilled photographers, this book may prove useful.



4. Not what I expected. I thought that there would be much more emphasis and discussion on how to TAKE acceptable photos in a low light environment. This book says. in esssence, to take repeated photos with the camera set at low ISO, wide apperture and slow shutter and then fix the botched result back home using well described photo software programs. I take many photos at night with limited success and thought that it might be worth 20 bucks to improve my average - it wasn't. If photo image manipulation had been my goal, this book provides a good detailed explanation of several programs and I would have rated it four stars.

5 comments about Himalayan Quest: Ed Viesturs on the 8,000-Meter Giants.

1. Ed Viesturs is one of the world's leading mountaineers. His adventures have taken him to the worlds 14 tallest peaks. Along the way, he has captured the spirit of these places with his camera. Ed's pictures really make you feel like you're experiencing the high himalaya for yourself. The pictures he takes not only expresses the natural beauty of these places, but it reveals the soul these places posess as well. Cultural and social identity is not overlooked in Mr. Viesturs work. This is truly a collection that anyone can enjoy, not just the climbing community. I highly recommend it!



2. This is a gorgeously produced book, and the photos are phenomenal. That said, it was not as detailed as I hoped for it to be. The official Amazon writeup describes this as "replete with detailed maps" -- there are small drawings of a few routes to the top, but they go no more in-depth than pointing out each base camp. Each individual summit mentioned gets three or four paragraphs of copy at most (sometimes less), and this copy is more likely to focus on how Viesturs got the specific photographs shown than on anything else. Discussion of specific challenges on each climb, landmarks on the way, etc., is extremely minimal.
   
   Don't get me wrong -- if outdoor photography is your passion, this is a treasure trove, and the book is beautifully done on its own merits. But I don't think those merits are accurately summed up in the Amazon review, and as such, potential buyers may be misled into believing that this is a more detailed climbing book than it is.



3. this is more of a picture, small coffee table book that a reading book. it is very informative and interesting. it really puts you in the himalayas



4. I've read a few moutaineering books, and this is one of the best. Ed is a consummate mountaineer and an engaging storyteller. He discusses all the aspects of his climbing. Although I admire and congratulate Ed on completing his project, I was very sorry that the book had to end! May Ed always find new heights to achieve.



5. This is National Geographic qualityreporting with fantastic photos and brief summaries of each climb -- a marvelous gift for anyone interested in mountain climbing.