Cumnardbooks: Oktober 2011

Jumat, 14 Oktober 2011

[K390.Ebook] PDF Download Runelight, by Joanne Harris

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Sales Rank: #1772912 in Books
Published on: 2012
Original language: English
Number of items: 1
Dimensions: 7.80" h x 1.46" w x 5.08" l, .0 pounds
Binding: Paperback

Most helpful customer reviews

6 of 6 people found the following review helpful.
More Norse legends for our time
By Steve Benner
Fans of Joanne Harris's epic "Runemarks" have had a long three-year wait for this sequel, "Runelight". Fortunately, the wait has not been in vain; the sequel is a stupendous follow-on from the earlier book, easily exceling its predecessor in every possible way. Indeed, the book is a veritable tour-de-force, quite as action-packed as the earlier volume but now with a much more balanced and controlled story-line that never feels contrived or contorted, carries plenty of mystery and intrigue, managing to pop up a fair few surprises along the way, usually just at the point where you're convinced you've worked out what's going to happen next. The text has an easy flow to it, provides plenty of humour pitched for all age groups and all in all offers not a single dull moment throughout its entire 570-odd pages. No fan of the earlier volume could possibly be disappointed by 'Runelight' (if you haven't read the earlier book you would be well advised to do so before tackling this one) especially as while coming to a nice, satisfying conclusion, there are nevertheless clear options for more to come in the future.

Let us just hope that Joanne Harris doesn't keep us all waiting quite so long for the next one!

4 of 4 people found the following review helpful.
Well written, but...
By Sid Nuncius
This is the sequel to Runemark and I strongly recommend that you read Runemark first. The story continues (a few years later) the fantasy based around Norse gods and their associated worlds and myths. It is the sort of thing I would expect to like and there were plenty of good things about it but somehow it just didn't quite draw me into its world or grip me with its story.

Joanne Harris writes very well. She has an easy, readable style and creates original characters. I liked the modern-day characterizations like the two dim, thuggish wolf-humans calling each other "dude," and her world is well painted. I find it hard to put my finger on why I didn't really respond to the book. One factor was that the writing, although good, seems a little one-paced. Around page 130, for example, a tremendous event occurs but the tone didn't really change and it didn't seem to excite me any more than the scene-setting before it. I found this throughout the book and ended up being a little unsatisfied by it.

Another problem for me was the sheer complexity of the world's make-up and of the relationships, friendships and enmities among its huge number of characters and peoples (I use the word loosely.) There is a very helpful diagram of the Worlds, a good map and a cast of characters (plus a good synopsis of Runemark for new readers) but even with this I found myself rather lost among who was at war with whom and why.

Plainly others have enjoyed this book enormously and I can see why so please don't let me put you off, but I'm afraid it didn't quite do it for me.

4 of 4 people found the following review helpful.
Book review
By Helena
I ordered this book for my 14 year old son who had read the first book (actually 3 times) and was eagerly awaiting book number 2. Since he got this for Christmas he's been up late at night reading and loves it.

See all 13 customer reviews...

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[F435.Ebook] Fee Download Method Meets Art, First Edition: Arts-Based Research Practice, by Patricia Leavy PhD

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This book presents the first comprehensive introduction to arts-based research (ABR) practices, which scholars in multiple disciplines are fruitfully using to reveal information and represent experiences that traditional methods cannot capture. Each of the six major ABR genres--narrative inquiry, poetry, music, performance, dance, and visual art--is covered in chapters that introduce key concepts and tools and present an exemplary research article by a leading ABR practitioner. Patricia Leavy discusses the kinds of research questions these innovative approaches can address and offers practical guidance for applying them in all phases of a research project, from design and data collection to analysis, interpretation, representation, and evaluation. Chapters include checklists to guide methodological decision making, discussion questions, and recommended print and online resources.

Sales Rank: #4939304 in Books
Published on: 2008-07-29
Original language: English
Number of items: 1
Dimensions: .90" h x 6.10" w x 9.00" l, 1.16 pounds
Binding: Hardcover
286 pages

Review
"This excellent, comprehensive work will be wonderful for classes and is also a good resource for researchers who want to explore different artistic approaches and their relationship to qualitative research. I plan to use it for both of these purposes. I highly recommend this book."--Carolyn S. Ellis, PhD, Department of Communication, University of South Florida

"The topic of this book is timely. Arts-based qualitative methods have grown and evolved rapidly over the last decade, and this book gives a very good overview of the most popular approaches. Most arts-based researchers have expertise in only one area and tend to write in that domain. An overview such as this one, with the added examples at the end of each chapter, is a useful contribution to the field."--Lynn Butler-Kisber, EdD, Director, Centre for Educational Leadership, McGill University, Canada

"Leavy effectively lays out the range of practices and potentialities for social scientists who are interested in adding arts-based approaches to their qualitative research practices. The book provides valuable jumping-off points for using innovative methods in the domains of narrative, poetry, music, performance, dance and movement, and visual arts. Instructors of qualitative methods courses across the social sciences would do well to add this resource to their libraries and course readings as a way of introducing senior undergraduate or entry-level graduate students to the invigorating possibilities made available when 'method meets art.' I would recommend the text for survey courses in qualitative methods and specialized courses in alternative or specifically arts-based approaches to research."--Monica Prendergast, PhD, Graduate School of Arts and Social Sciences, Division of Creative Arts and Learning, Lesley University

"This book seamlessly addresses fundamental questions about arts-based methods. It explores what arts-based methods are; their epistemological and theoretical foundations; the types of research questions for which they are suitable; how they are used to collect, analyze, interpret, and represent qualitative data; and how they can be evaluated. Leavy's engaging prose and examples convey the utility and beauty of arts-based methodologies."--Carol A. Bailey, PhD, Department of Sociology, Virginia Tech

"Leavy's wonderful book provides a substantive and outstanding introduction to arts-based approaches in qualitative inquiry. Chapters on each of the major art forms include an elegant overview of the modality; key text, journal, and online references for additional information; and representative contributions by some of the leading writers in qualitative research. Method Meets Art makes a significant and, most important, pragmatic contribution to the emerging literature in arts-based inquiry. This volume is not just for artists: Leavy provides all social researchers and students an excellent resource for exploring the aesthetic paradigm and an evocative genre of qualitative research."--Johnny Saldaña, MFA, School of Theatre and Film, Arizona State University

"An excellent introductory text for arts-based research (ABR). After nearly 90 years of debate about ABR and 35 years of controversy about its cousin, arts-based educational research (ABER), it is time for the arts as research to reside in the research methods classroom and in research proper....Leavy adeptly relates the most basic techniques in ABR—giving them away to students and researchers alike. In addition, she exceeds the introduction of techniques by presenting excellent examples of ABR research by experienced ABR methodologists. These elucidate ABR methods by showing students and beginning researchers what those methods 'look like' when done well....Leavy's book is generally superb....I greatly appreciate Leavy's adept handling of this introduction to ABR, showing that it is legitimate, useful, and authentic among research methodologies. I have taught research methods in behavioral science for over 15 years and will use Leavy's book alongside a traditional research methods text, next time around. It is an excellent resource for students, for beginning researchers, and for academicians in the arts, literature, and social and behavioral sciences."--PsycCRITIQUES (PsycCRITIQUES 2008-08-01)

"Her book is equally relevant to experienced researchers looking to synthesize their artistic and research interests, and students seeking to develop an understanding of innovative research practice. Of particular help for students is Leavy's succinct account of the positivist and qualitative research paradigms, which she uses to contextualize arts-based research, and the 'Checklist of Considerations' and 'Discussion Questions and Activities' that feature in each chapter which ensure that the material, while academically challenging, is accessible to inexperienced researchers. Students and researchers alike will no doubt benefit from the extensive lists of suggested books, websites, and journals that accompany each chapter, and by creating individual chapters for narrative analysis, poetry, music, performance, dance and movement, and visual art, and by including within each chapter an exemplar of relevant published research, Leavy enables her readers to gain a sense of how a particular art form might suit their research needs and skills-set, while simultaneously validating each methodology and providing guidance over how specific research practice might be emulated."--Qualitative Research (Qualitative Research 2008-08-01)

"I found the book interesting and one I believe will be useful for those wanting to embark on using a different approach to research....The 'discussion questions and activities' included in each of the chapters will promote thought and help students clarify their hopes and expectations of their chosen research method. Likewise the 'suggested annotated reading' and 'web sites and journals' at the end of each chapter signpost the student to where they might further explore their research options....For those practising counselling and psychotherapy, whether engaged in therapy and/or research and not familiar with using alternative methods of enabling people to capture experience I believe this book could offer fresh insights to support and further their endeavours."--Counselling and Psychotherapy Research (Counselling and Psychotherapy Research 2008-08-01)

"A breath of fresh air....The contribution of this book to the field of research method is invaluable not only because it is an oppositional effort to resist such a tendency of 'Déjà vu all over again,' but because there have not been any introductory books on arts-based research that we could recommend to graduate students who are interested in arts-based research....Leavy successfully establishes the legitimacy of arts-based research in social science research and succinctly explains how pivotal arts-based research is to the future of academic research. Leavy invites the reader to imagine a world of arts-based research alongside her, keeping the tone of a novel narrator rather than that of an epic narrator, encouraging the reader to an open dialogue rather than being conclusive and closed. In order to serve as an introductory book, Leavy offers readers reader-friendly, step-by-step description of six different genres of arts-based research: narrative inquiry, poetry, music, performance, dance, and visual art."--International Journal of Education and the Arts (International Journal of Education and the Arts 2008-08-01)

"Maybe [the] strange divide between art and science in research and especially qualitative research will begin to erode away as more readers find Patricia Leavy's new 2009 tome, Method Meets Art: Arts-Based Research Practice, and begin to realize that researchers conducting narrative, poetic, musical, performative, dance, and visual forms of inquiry employ rigorous methods of data collection, analysis, interpretation, and representation too. Consumers of Leavy's book should also find a comfortable introduction to these arts-based approaches and hopefully an invitation to try some of these methodological modes in research of their own. In her well-written and engaging work, Leavy carefully introduces the world of arts-based research by walking us through the paradigmatic contexts that have helped to shape this approach to inquiry as well as to establish the conflicting perspectives that hinder many to see these methods as being research at all. She also recounts the struggles with monolithic standards of quality in qualitative research and calls for a dialogue to continue regarding the aesthetics and pragmatics of research. By engaging in such conversation Leavy suggests we all could benefit from challenging our own comfort zones and begin to see that we can all learn from our colleagues regardless of the method being utilized....In reading Leavy's book I can now see that all forms of research can inform, perform, reform, and transform what we think we know about the world around as well as ourselves as researchers and readers."--Weekly Qualitative Report (Weekly Qualitative Report 2008-08-01)

About the Author
Patricia Leavy, PhD, is an independent scholar, formerly Associate Professor and Chairperson of the Sociology and Criminology Department and Founding Director of the Gender Studies Program at Stonehill College. She is the author or coauthor of numerous books on research methods, arts-based research, and transdisciplinary research. She is also a novelist and the editor of three book series. Dr. Leavy was named the New England Sociologist of the Year by the New England Sociological Association. She lectures and presents workshops, and is frequently cited in the media for her expertise in gender and popular culture. Her website is www.patricialeavy.com.

Most helpful customer reviews

3 of 3 people found the following review helpful.
Performance
By Maureen C. McHugh
I am interested in the performative turn, and this is an excellent introduction. I have read other worksbyP.Leavyand she is a great writer on emergent methods and qualiatative research. I can really appreciate the intersection ofsocial science and art that she explains in this text.

0 of 0 people found the following review helpful.
Thanks
By Joan Crane
Thank you very much. I cetainly will look forward to doing more business with you in the near future. Joan

14 of 15 people found the following review helpful.
Best book on art-based research, hands down
By A. Morris
Many people seem to like McNiff's book on what he calls art based research Art-Based Research: Shaun McNiff. I have read that book and found it full of errors. The author of that book must have never done any art based research. I cannot find any of his so-called research in any scholarly or peer reviewed journal anywhere. What's up with that?

This book finally explains what art-based research actually is and clearly. If you are looking for one book on this subject, skip McNiff and buy this one. You will not be disappointed.

See all 3 customer reviews...

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Kamis, 13 Oktober 2011

[M692.Ebook] PDF Ebook The Design Aglow Posing Guide for Wedding Photography: 100 Modern Ideas for Photographing Engagements, Brides, Wedding Couples, and Wedding

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Refresh your toolbox with modern poses your clients will love

Whether you’re shooting your first wedding or are a seasoned professional, the formal portrait session can be one of the toughest parts of photographing a wedding. Faced with tight timelines, unpredictable lighting, and clients eager for stylish, flattering portraits, it’s critical to come prepared with a toolbox of fresh, modern poses. Happily, Design Aglow’s 100 ideas for posing engaged couples, brides, brides and grooms, and bridal parties will help you approach each session brimming with confidence and creative ideas.

Design Aglow’s style-savvy approach has resonated with photographers (and their clients) everywhere. This curated collection reflects their modern sensibility, with poses from industry superstars such as KT Merry, bobbi+mike, Elizabeth Messina, Jessica Lorren, Milou + Olin, Paul Johnson, Lisa Lefkowitz, Anna Kuperberg, and more. You’ll also get tips on directing your subjects, easy follow-up shots for each setup, and behind-the-scenes lighting information.

Both eye candy and practical reference tool, The Design Aglow Posing Guide for Wedding Photography will inspire novices and experts alike to “wake up” their style and take beautiful portraits today’s brides and grooms will love.

Sales Rank: #250532 in Books
Published on: 2013-12-17
Released on: 2013-12-17
Original language: English
Number of items: 1
Dimensions: 8.99" h x .59" w x 7.49" l, 1.45 pounds
Binding: Paperback
224 pages

Most helpful customer reviews

6 of 6 people found the following review helpful.
Great Reference Book!
By C.W
Great reference for both portrait and wedding photographers. Lots of different ideas and composition. Great for not just solo or duo shots but also group shots. Love having the settings and reasoning behind each idea. Well designed, clean and informative with great quality photographers and photographs. A great book for beginner and advanced photographers alike!

3 of 3 people found the following review helpful.
So Many Fresh Ideas
By a l l a n
Great book, gives an abundance of advice on posing and transitioning between multiple poses seamlessly! I highly recommend it to photographers in the wedding business.

3 of 3 people found the following review helpful.
Great resource
By MR ADAM COOPER
Some very good tips here. I bought the Kindle edition and the descriptions are clear and the hints provide more information about ambient light conditions etc.

See all 51 customer reviews...

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Selasa, 11 Oktober 2011

[A694.Ebook] Ebook Agatha Christie, tome 8 : Les Années 1945-1949, by Agatha Christie, Jean-Jacques Schléret

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Sales Rank: #16432235 in Books
Published on: 1995-02-08
Original language: French
Dimensions: 1.50" h x 4.92" w x 7.48" l,
Binding: Mass Market Paperback

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Jumat, 07 Oktober 2011

[I826.Ebook] Ebook Free Protocols: Handbook for the Female Slave, by Robert J. Rubel

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This book is a guide prepared for a slave to enable her to express her love for her Master through her actions. In this case, her actions include ways of standing, sitting and speaking (ways of being) as well as ways of preparing things to please her Master in a consensual "Master/slave" relationship. The book covers formal Leather protocols as well as a range of personal rituals, such as formal dinner service. As much as anthing else, this is a book of etiquette and service within the Leather-BDSM culture.

Sales Rank: #271543 in Books
Brand: Brand: The Nazca Plains Corporation
Published on: 2007
Original language: English
Dimensions: 6.00" h x 1.00" w x 9.00" l, .55 pounds
Binding: Paperback
160 pages

Features

Used Book in Good Condition

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8 of 9 people found the following review helpful.
Its thoroughness is its strength - and its weakness
By Aletheia Knights
"Protocols: Handbook for the Female Slave" is exactly what the title says - a protocol manual. Specifically, it is Dr. Robert Rubel's protocol manual, detailing what he expects of his own slave. Although Rubel has written an Introduction and inserted numerous paragraphs of commentary into the main text to elaborate upon certain topics for the reader's benefit, it's important to remember that this book was written essentially for an audience of one. "There are as many ways of approaching an M/s relationship as there are people practicing these activities," Rubel writes. Would-be Masters who read this book may pick up a few good ideas, but they won't find any shortcuts here around the hard work of defining for themselves what the M/s relationship means and what sort of behavior they require in a slave. Likewise, it would be silly for an aspiring slave to read this book, take it to heart, and conclude she knows everything she needs to know to enter service - unless she's planning to petition Dr. Rubel.

What makes "Protocols" a valuable addition to the M/s literature has much less to do with its specific content than with its structure, its format, its simple existence. It's 150 pages of object lesson: there are plenty of books out there that talk about the concept of protocol, but here we see that concept made manifest. The purpose is not to tell the reader what his or her own system of protocols should be, but to give the reader a deep understanding of their meaning and purpose. Outside of those basic principles of etiquette which are more or less universal in the BDSM community, slave protocols are by their nature inherently idiosyncratic: it is the slave's duty to serve her Master according to his specific desires, not to be amorphously and generically pleasing. As with any other intimate interpersonal relationship, the concrete examples of others are at the same time brilliantly illuminating and nearly irrelevant.

The greatest virtue of "Protocols" is Rubel's seamless weaving together of theory and practice, allowing the abstract and the concrete to enhance each other from within. We appreciate the importance of protocols all the more when provided with examples of how they enhance the day-to-day existence of the author and his slave, and long lists of behavioral requirements that might otherwise seem dull and irrelevant suddenly seem quite special when we turn our attention to their purpose.

Masters looking to define or clarify their own system of protocol may well find this manual to be a valuable source of inspiration. Although it's probably too idiosyncratic to serve as a specific pattern or outline, its thoroughness will invite readers to consider their preferences in areas they might otherwise not have considered. Readers may well choose to borrow, or adapt to their own purposes, many of Rubel's protocols in the areas of communication and general behavior. Novice Masters and/or slaves interested in becoming involved with the larger BDSM community will find Rubel's chapter on "Social Issues" especially worthy of consideration as they prepare to present themselves to others in the context of their relationship, although they should be sure to familiarize themselves with the basics of general BDSM etiquette first. Although Rubel's commentary seems to be intended mostly for other Masters, this book should prove interesting and valuable reading to the novice would-be slave as well, helping her think clearly through the fantasies to understand what the calling to a life of consensual slavery really entails.

There's so much that's valuable in this book, but at times the thoroughness and detail that make it such an excellent object lesson make it painfully tedious to actually read. I couldn't help thinking it might have been more beneficial had Rubel trimmed down his own manual and published it either along with some other protocol manuals reflecting different approaches to M/s, or as part of a larger work dealing more with the practical realities of the M/s lifestyle. Rubel has a fancy-dining fetish, and one long chapter, comprising nearly a third of the book's content, details the elaborate dinners he likes to have in his home several times a week, dinners the author admits are "so stylized, I have prepared a handout that serves as a Guide to Guests." That's all perfectly well and good for him, but readers who don't share his fetish may find it hard to keep a straight face. This is a man who, without any sense of irony, uses the term "informal meal" to refer to a dinner at which the dessert fork and/or spoon are included in the place setting, everyone stays seated during the toast, and the slave brings two plates to the table at a time in her ungloved hands (in contrast to a "formal meal," at which the dessert fork and/or spoon would be brought in on the dessert plate, guests stand for the toast, and the slave wears gloves to bring out one plate at a time). Rubel has instructions, not only for his slave but for his guests, about the correct way to lay one's napkin in one's lap and the proper side from which to get into or out of one's chair. My point is not to ridicule Rubel's fetish - I've long been intrigued myself by the thought of attending a formal (if much less "stylized") M/s dinner - but to point out that there's a little too much in this book that's just a little TOO idiosyncratic.

Rubel identifies with the Leather subculture within the BDSM community, and he notes outright that his book is written from a Leather perspective and may not "resonate" with those readers to whom he refers, somewhat condescendingly, as "Non-Leather." There's a reason Rubel is respected and his books widely read among 24/7 lifestylers of all kinds; much of what he has to say both acknowledges and transcends differences. His "Master/Slave Relations: Handbook of Theory and Practice," though not without its own flaws, is so far the best book of its kind and deserves a place in every M/s household. In "Protocols," however, being the highly personal document that it is, Rubel's Leather identity is much more pronounced, much more inseparable from what he has to say. That's not to say that non-Leatherfolk won't benefit from reading it, but they should be aware that it's written from a *very* definite Leather perspective. Rubel claims that the Leather subculture is spiritual and holistically sensual in a way that non-Leather BDSM generally isn't, though to me personally it seems rather like a sort of elaborate game, at least the way Rubel goes about it. (By my way of thinking, a person is either free or not, either owned or not, and a free person isn't owned, and an owned person isn't free - yet Rubel speaks of having a Mistress as well as a slave, and of his slave having her own submissive. I guess this sort of thing works for them, but it's totally unthinkable to me.)

Rubel's relationship with his slave definitely tends toward the employer/employee model of M/s. Although he speaks of his love for his slave, and hers for him, what he describes comes across more as an amicable partnership than a passionate union of souls. That's fine - it certainly clears up some of the boundary issues that more romantically inclined M/s couples tend to struggle with - but it does make some aspects of this book less useful for those whose relationships are differently structured. (Take the subject of discreet protocols to be used out in vanilla public. As Rubel's "personal assistant," his slave can call him "Sir" without coming across as weird. As my Master's lawfully wedded wife, I can't.) I agree with Rubel that "the slave is NOT Master's 'girlfriend' . . . a person with the same rights and responsibilities as her partner; the slave is property and has only those rights given her by her Master." My problem in this area is not so much that what's in the book doesn't apply to me as that so many of the things that are important to me aren't in the book. Rubel discusses the protocols that relate to his slave in her capacities as his "valet, butler, chef, secretary, hostess, entertainer, research assistant, nurse, healer, maid, kinky play partner and sex partner extraordinaire," but there's nothing here that sheds any light on the question of how to integrate M/s protocols with my role as sweetheart, wife, and best friend. There's nothing wrong with this, per se - Rubel is writing, as he should, according to what he lives and believes - but it will make this book more appealing and useful to some prospective readers than to others.

There's one definite flaw I couldn't help noticing in this book, and it would be almost too minor to mention if it didn't speak indirectly to the author's credibility. Throughout the book, Rubel repeatedly emphasizes the importance he places on correct English and precise diction, with special attention to the connotations of words. Poor grammar and vocabulary, he writes, "[jar] the senses (like discordant music)." Later, he states, "I am sensitive to regional speech patterns my slave uses and have required that the slave eliminate them." (For example, she's not allowed to say "I'd like for you to help me"; she has to say "I'd like you to help me.") In Chapter 3, Rubel tells us that he and his slave "explore and discuss" over dinner "differences between such words as: decry/descry, pore/pour, and tortuous/torturous." Imagine my amusement, then, ten pages later, when Rubel informs us that "statements [that imply that the slave acted of her own will] are contrary to the core tenants of a Master/slave relationship." (Apparently they hadn't made it as far as "tenant/tenet" just yet.) In the same paragraph, Rubel speaks of "an accidental mishap." (As opposed to a deliberate mishap, I suppose.) In fact, the whole book is full of just such subtle errors: errors in spelling, grammar, punctuation, agreement. There are some passages in which Rubel shifts inappropriately between second and third person ("Make sure the boots are clean: I do not want you to polish in any dirt. The slave will use saddle soap to clean the boots"). Perhaps most unforgivably as concerns shoddy editing, Rubel at one point refers the reader to Appendix C, when what he's talking about is really in Appendix D.

"Protocols" is a book that does contain much of value, but readers are more likely to find it generally inspiring than particularly useful. Those with a particular interest in formal high protocol in Leather settings will find it invaluable, but those whose approach to the M/s dynamic tends to be more casual will find it little more than an intriguing, intimate curiosity.

0 of 0 people found the following review helpful.
Very well done
By BornofAshes
This book is a very good book for anyone who is looking into a higher protocol lifestyle. I have used this book thoroughly and I have loaned this book to others who have used it just as much. The book is excellent, full of great information, and a quick and easy read. There are some areas that are very much geared towards those of a "higher class", but I can't hold that against the author. This is his handbook for those in service to him. This book sends you in the right direction of how to put together your own handbook.

0 of 0 people found the following review helpful.
Very well written and tells/shows examples through his own life with his slave
By Jenn Hue
This book is very well written I like how he uses his slave relations and DADDY has me taking notes so I can learn it good and also so I can do further research in and on certain areas. I look forward to owning and reading your other books

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Kamis, 06 Oktober 2011

[D266.Ebook] Ebook Download Platinum and Palladium Printing, by Dick Arentz

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Platinum and palladium printing is one of the easiest of the non-silver processes to learn but it also offers a number of variations, which the photographer can closely control. Platinum printing encompasses three basic phases which are somewhat under the control the photographer: sensitometry, chemistry and mechanics.

This unique book is the only thoroughly comprehensive work on platinum and palladium printing. This exciting method of print-making is explained with an emphasis on technical control not only to manage the cost of materials but also to teach the reader to optimize the variations possible with this process.

Photographers interested in learning or improving upon this process will find this book an indispensable resource and reference guide.

Sales Rank: #1540306 in Books
Published on: 1999-10-25
Original language: English
Number of items: 1
Dimensions: 11.25" h x 9.00" w x .50" l,
Binding: Paperback
184 pages

Review
"If you are seriously interested in the process or have tried it but want to improve, this is the book for you."
Amateur Photographer

From the Author
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From the Back Cover
Dick Arentz is a fine-art photographer with more than 75 one-person exhibits of his work throughout the United States and Europe. He is well known as the authority on platinum and palladium printing and has given numerous workshops and seminars on the subject continuously for the past 25 years. His work is included in most major museums and corporate collections, including The New York and San Francisco Museums of Modern Art, The International Center of Photography, The George Eastman House and The Center for creative Photography.

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42 of 42 people found the following review helpful.
An Excellent Intro into Platinum Printing
By Julie G.
This book covers platinum and palladium printing in a very logical, thorough manner. If you have never done Pt/Pd, you will get all the introduction necessary to buy a kit and get started. If you have done some, you can move on fairly quickly to the more advanced topics in the book, and get more out of your printing sessions.
The printing method in this book is not for everyone. The methodology in the book is fairly numerically based, and if you like to work by instinct and intuition, this may not be the right approach for you. However, the discussions of available papers, chemical use and hazzards, and other resources listed in the book are worth the price of admission alone, not to mention the exquisite photographs reproduced in duotone.
The photographs are quite inspirational; Arentz is clearly a master image-maker from the printing perspective, as well as having an eye for composition and subject.
There are other books on platinum printing out there (most notably by Weese and Sullivan) but this book is the one resource I keep going back to again and again.

22 of 23 people found the following review helpful.
Seems overwhelming, just start with the basic process and get thrilling results!
By Robert MacKimmie
Platinum/Palladium printing has "Wizard of Oz-like" mystique and a sense of mysterious alchemy beyond most photographic processes, but don't fret, it's not that difficult to get started. After my personal hands-on introduction (thank you, William Laven), Dick Arentz provides both the simple path to getting started, and then details comprehensive areas of specialty which he makes pretty helpful sense of. If you are already familiar with Platinum/Palladium, there is enough which has been pioneered in the recent several decades to allow a refresher for old photography hounds. For those starting out, just get the basic kit, read through the core sections of the book several times, then follow the three (3) pages of Chapter 6 - "The First Print". Once you have produced a few Palladium prints, cruise Chapter 7 - "Calibration" which provides a nice mental snack. Then move on to Chapter 8 - "The Platinum and Palladium Print", where having gotten past the panic of getting started, you can actually work out your basic functional understanding of the process. Like when that adult helped you launch on your first bike ride, suddenly you will be moving on your own and starting to get in the groove of the process.

For the silver old-timers, the sensitometry chapter and discussion of Pyro developers will really come into play as you confront the issues of "do I have to choose between making negatives for Platinum or silver ..." Pyro can play equally well in both environments, and was very liberating when I realized that I had a rich path of negative making without conflicts ahead of me. Pyro is an opportunity to evolve once again during this lifetime.

I use 8x10 for my serious work, and with standard films and papers going the way of the buffalo, I now understand what I need to do to use this remarkable process without being on a completely dead-end path.

There are several major advantages to gaining an ability to print Platinum/Palladium:

1. They can't discontinue the product! When you put a small number of drops of specific chemistry in a little cup, evenly coat the paper, expose it to UV light, slip the print into developer for two minutes, clear in three baths for 5 minutes each and then wash - it's like discoving fire as a tool. Pretty basic stuff, but very thrilling!

2. No fixer fumes.

3. You can work with the lights on.

4. You don't need a completely tweaked out darkroom in order to work - a simple space can be transformed into a miracle production facility.

5. It's fun.

6. The prints are beautiful. It will take time to figure it out, gain a vocabulary with the materials and get solid with your workflow, but Dick's book will hold your hand as you take the path towards a new, fruitful printing adventure.

Enthusiasm may inspire you to purchase other books, but this one can get you started successfully, and at the same time, it will provide plenty of sustenance as you grow. Or if you are already knowledgeable, there's plenty to chew on. If you are too advanced and find anything to be critical about in this book, write your own and share it with us!

If it still seems overwhelming to get started, find some fellow photo adventurer so that you can try it out together. Pulling prints on hand coated paper which are archivally stable, have long scale and beautiful physical presence, well, it could make an old dog thrilled about photography again, or simply inspire a newbee with a very remarkable way to make stunning prints. There are challenges, and there are plenty of mysteries, but if you have large format negatives hanging around, or you are boo-hoo-hooing that conventional photography is dying, being replaced by digital, this book will help dry those tears. Get going and happy printing!

11 of 11 people found the following review helpful.
A fantastic source of knowledge
By David R. Munson
I think the previous review of this book pretty much summed things up rather well. I bought this book with minimal to no knowledge of the platinum and palladium printing processes. After having read the book several times now (not because it's hard to understand, but because it's so well done), I feel I've gained a very good handle on the basics of the process, and the information provided is given in such a way as to give you both the kind of knowledge needed to start making your first prints as well as the kind of knowledge needed to refine and grow into the process. I tend to be a very analytical thinkier, and the way the book is organized appeals to my thought patterns. If you're more of a romantic (as opposed to classical) thinker, though, the large amounts of numbers-based technical info may seem a little discouraging. Even if you are, though, I must highly recommend this book, as I think it must be the single most comprehensive and well-produced book on the subject.

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Selasa, 04 Oktober 2011

[T960.Ebook] Get Free Ebook Statistical Methods for Food Science: Introductory Procedures for the Food Practitioner

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Published on: 1609
Binding: Paperback

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"Introduction to Mineralogy" is a modern, introductory mineralogy book that provides detailed descriptions of over 100 minerals. It discusses classical crystallography, chemical bonding, controls on mineral structure, mineral stability, and crystal growth, providing readers with a solid foundation to help them better understand the nature and occurrence of minerals. Included with the book is a companion CD by Daniel J Schulze, "An Atlas of Minerals in Thin Section". It contains images of minerals as seen in thin section using a polarizing microscope, listed both by structure and composition and alphabetically. Each mineral page includes the mineral name, chemical formula, two to four images, and explanatory text. All images can be enlarged to near-screen size.

Sales Rank: #3788330 in Books
Published on: 2004-02-12
Original language: English
Number of items: 1
Dimensions: 8.70" h x 1.20" w x 11.30" l, 3.65 pounds
Binding: Hardcover
464 pages

About the Author
William D. Nesse is Chair and Professor of Geology at the Department of Earth Sciences, at University of Northern Colorado. Daniel J. Schulze is Associate Professor of Geology at University of Toronto.

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6 of 8 people found the following review helpful.
Half way decent Min book
By Cheryl Schmillen
I will be short and to the point. I just took mineralogy this fall, and this book was pretty good. It's not a sit down and read type of textbook, however. It comes in handy during optical mineralogy with microscopes, and for learning terms. The information for each mineral is well documented with optical, chemical, physical, symmetry, and locations where they're found. One thing I would have liked was color pictures and even thin section images, but there are other books for that. Overall, it's very helpful for anyone he needs a good guide or is just starting in mineralogy.

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