The eighteenth century is rightly spoken of as the Golden Age of furniture-making; with some of the worlds most impressive and exquisite furniture having been produced during this time. This lovely little book contains a detailed treatise on the eighteenth century furniture styles from Baroque to Rococo. A wonderful book full of detailed photographs and intricate descriptions; this text will be of great value to those with an interest in historical furniture and is not to be missed by the discerning collector. The chapters of this book include: France; Italy; Spain; Germany and Sweden; The Netherlands; Britain; and America (Colonial Period). Many antique texts such as this are increasingly rare and costly; and it is with this in mind that we are proudly republishing this text here complete with a new introduction on the history of furniture.
#1188831 in eBooks 2016-12-21 2016-12-21File Name: B01LXMU6HY
Review
6 of 7 people found the following review helpful. TrivialBy Conrad J. ObregonWith so many DSLRrsquo;s. mirrorless cameras and mobile phones featuring the ability to record videos. creating moving pictures tempts many photographers.Eduardo Angelrsquo;s little book starts by explaining the similarities and differences between still and motion photography. He talks about the organization of a film crew. framing. camera movement. lighting and sound. There is a brief look at resolution and recorders. and then Angel discusses interviews. post production. color theory and even distribution.Perhaps it is because Irsquo;ve read so much about creating motion pictures. but most of what Angel says seems superficial and of little practical value when it comes to actually capturing video. For example. in the chapter on sound. he tells the reader that sound. including music. is important. and that one can license music for onersquo;s videos. There is little mention of how to design or select appropriate music for your motion picture.Given the title it seems that this book might be ideal for the still photographer making an early foray into video. Such a photographer will be looking for more than just general comments or principles. The photographer will be interested in technique to capture that early video. He or she will be quite disappointed.At the other end of the scale the discussion of distribution talks about entering film festivals. but nothing about posting onersquo;s work to YouTube or Vimeo. Most beginning motion picture creators will be a long way from film festivals.Even when Angel gets more specific he is too general. He tells the videographer to use a fluid head on a tripod. but never gives a detailed explanation of how such a head works. or how to use it more effectively than. say. a ball-head.The book is illustrated with lots of photographs. Unfortunately most of the photographs. like those of the author sitting in a chair. do little to give any more insight than is already provided by the text.The one lesson that you may take away is that shooting motion pictures requires a crew of people. That can only discourage lone-wolf videographers.Just capturing a video clip is different from taking a still photograph. Putting clips together to make something other people will enjoy watching is a far more complex task. This book may teach you a few buzzwords. but it wonrsquo;t make it any easier to take a video clip or assemble several into something worthwhile.Note: The publisher provided me with a review copy of this book at no charge.2 of 2 people found the following review helpful. Can help you make the not-so-simple transition from still photography to moving picturesBy Si DunnMostly I have worked with still photography and have some background in news photography and photography instruction. But I also have been involved in a few video and movie projects. So I find Eduardo Angels book helpful and instructive as I prepare to gear up for more video and movie work soon. His book is about much more than learning how to use the Z-Axis. remembering the difference between subjective and objective shots. and not breaking "the fourth wall" (unless the script calls for it).As a still photographer. you nearly always must work to keep your camera as still as possible. In filmmaking. the opposite is true. Angel emphasizes. "The medium is defined by motion--the action within the frame. but also of the frame itself. It is difficult to find a contemporary Hollywood film that does not use a lot of camera movement. Because of this. most people expect to see movement when they watch anything on a screen...."As a new filmmaker. you will deal with many issues that likely have never come up while you have been doing still photography. For example. Angel emphasizes that it will be much harder than you think to get good-quality lighting and sound for your movie or documentary project. especially while shooting it yourself--and he gives some essential and helpful tips. For many projects. you may need at least a small production team to help you get the job done. You will need to manage that team. feed them. pay them--and understand who is supposed to do what. You will need story boards. scouted locations. preproduction meetings and production meetings. among other things. If you plan to shoot interviews for a documentary or other project. you will need to know some basic on-camera interview techniques outlined in Angels book. And if your project calls for travel. pay close attention to Angels good tips for packing and lugging gear and getting there with the right cables. cords. and voltage adapters.As a still photographer. you may not prepared for--nor equipped for--the amount of computing power and digital storage space that efficient filmmaking can require. And you may be surprised at how much time that can be consumed just getting your work into storage and then edited. And the editing software may range from free to thousands of dollars. Angel points out.As the subtitle indicates. this is a "fundamental principles" book intended to help still photographers make the not-so-simple transition from still photography to moving pictures. So it doesnt go into great depth about any particular topic. But it does raise and cover a wide range of topics that may affect you. whether you want to be a one-person documentary shooter or (eventually) the director of photography on a movie or TV project. It is a useful and informative starting point. But expect it to be just one of several books you likely will need as you gain knowledge. focus. experience and ambition as a filmmaker.My thanks to Rocky Nook Inc.. for providing an advance reading copy.1 of 1 people found the following review helpful. so its useful to us still photogs/sometimes do a video folksBy Gloria Z. NaglerEduardo Angel. the author. was a still photog who transitioned to film -- and won an Emmy. so he knows whereof he speaks! Dont know whether Ill ever produce a film. but much of what Angel discusses is applicable to informal videos. so its useful to us still photogs/sometimes do a video folks.He says that we can transform a typical bedroom into a film set with few accessories. so we need not be intimidating. Tells us how. too. I enjoyed reading about filmmaking language: e.g.. a "banjo" is a spreader used to stabilize a tripod. A "bazooka" is a pedestal for mounting a camera. And Moe is the name for anyone on the set whos actual name you cant recall:)The author emphasizes that the three critical aspects of making a movie our lighting. camera movement. and composition. Somehow. being only a still photographer at this point. I wouldve overlooked composition as being important.He says there are two kinds of angles. generally from which to shoot: objective and subjective. He describes the objective and goal as that which puts the observer on the outside of whats happening. "safely removed it from the action." Makes the observer a fly on the wall. and gives the observer. perhaps. information about the story that the participants do not yet have. Seems to me that still photography can employ the same strategy.What I find surprisingly helpful about the book is that. indeed. many of the principles. strategies. and hints that the author gives us are applicable to our still photography as well as to any filmmaking we might do.I still dont know whether I would ever be a filmmaker. but I will attempt a short. informal video using this book. and I learned quite a bit about photography in general. His writing is quite readable and he covers just about everything you would want.
