This book critically examines images in the borderlands of the art world, investigating relations between visual art and vernacular visual culture within different images communities from the 1870s to the present day. It concentrates on the mechanisms of such processes and their implications for the understanding of art and art-historical narratives. Merging perspectives from art history and visual culture studies with media studies, it fills a gap in the field of visual studies through its use of a diversity of images as prime sources. Where textual statements are scarce the book maps visual statements instead, demonstrating the potential of image studies. Consequently, it will be of great relevance to those interested in art and visual culture in modernity, as well as discourses of the notion of art and art history writing.

Successful travel photographers have to wear more hats than perhaps any other photographic genre. In a single travel photo essay they are at times architectural photographers, food photographers, music photographers, car photographers – the list encompassing every possible type of photography. The Travel Photo Essay teaches the reader the necessary techniques to create cohesive professional travel stories, using images that go far beyond "I was here" photographs. From the establishing shots to the equipment list, this book discusses the techniques and concepts necessary to create professional looking images in various genres, including portrait photography, landscape photography, wildlife photography, food photography, documentary photography, sports photography and more. Covering issues such as lighting, writing, workflow and the travel photography market, award-winning photographer and writer Mark Edward Harris explains how to marry photos with words, telling a cohesive story through a series of photographs.

Since its annexation to the British Crown, Ireland has never ceased in forming the subject of an ardent national debate in Great Britain which resulted in the demonisation of the Celtic race as subaltern and backward. In its effort to forge a national identity, the British Empire adopted several collective identities on the basis of the racial and cultural findings of the 1850s which gave a new impetus to the systematic view of England as a typically Anglo-Saxon culture, staunchly opposed to the alleged Celtic backwardness and the rebellious spirit of the Irish. In view of the rising anti-Irish wave of sentiment in the British imperialist imagination, Irish nationalism was manifest through a series of uprisings, the majority of which sought to link the country to its ancient Celtic heritage. The Celticist movements of Young Ireland and the Irish Revival revealed the need of Irish Nationalists to acquire a new, collective identity, which proved to be a strenuous task, given the complex historical and ethnic background of the Irish. This book investigates the extent to which Irish identity is affected by the racist and nationalist discourses of the nineteenth century which emerged to either defend or oppose the image of Ireland as a cultural construct. The travelogues explored here include some of the most fundamental representations of Ireland by prominent Irish and British travel writers, whose impressions of the island might be linked to the utopian and dystopian dimensions of the country.

In Images of China in Polish and Serbian Travel Writings (1720-1949), Tomasz Ewertowski examines how Polish and Serbian travelers from the 18th to the mid-20th century described China, showing various factors which influenced their representations of the Middle Kingdom.

"Paper Pools is the most recent major group of works by David Hockney, demonstrating his fascination with new techniques in the service of his passionate pursuit of creative representation. In 1976, Hockney had become obsessed with the technique of coloured etching, which he had been taught by the French print-maker Aldo Crommelynck and which resulted in the Blue Guitar series, among other inventive works. Now Hockney has applied himself with infectious enthusiasm to the making of Paper Pools, in which painting and paper-making are totally fused." --preface.