Getting The Picture

Young people with communication difficulties often struggle in social situations, as without adequate inference, narrative and sequencing skills, correctly interpreting and responding to other people can be a real challenge. This fully photocopiable resource has been designed to improve these skills in the way this population can often learn best – visually. This book is brimming with thought-provoking illustrations of different people in different places, all of which are accompanied by a series of questions designed to encourage prediction and inference skills. Participants are asked to consider everything from who the person in the picture is, what they might be doing, and where they might be going, to how they may be feeling and why. Questions can either be completed individually or brainstormed as a group, and there are three types of illustration to work with – single person, picture sequence, or large scenes containing several interactions. The final section teaches important sequencing skills by providing muddled picture narratives that need to be ordered. This book will be a valuable tool for speech and language therapists/pathologists, occupational therapists, special educators, parents and anybody else looking to help young people with communication difficulties to understand and connect with the world around them.

How do photojournalists get the pictures that bring us the action from the world's most dangerous places? How do picture editors decide which photos to scrap and which to feature on the front page? Find out in Get the Picture, a personal history of fifty years of photojournalism by one of the top journalists of the twentieth century. John G. Morris brought us many of the images that defined our era, from photos of the London air raids and the D-Day landing during World War II to the assassination of Robert Kennedy. He tells us the inside stories behind dozens of famous pictures like these, which are reproduced in this book, and provides intimate and revealing portraits of the men and women who shot them, including Robert Capa, Henri Cartier-Bresson, and W. Eugene Smith. A firm believer in the power of images to educate and persuade, Morris nevertheless warns of the tremendous threats posed to photojournalists today by increasingly chaotic wars and the growing commercialism in publishing, the siren song of money that leads editors to seek pictures that sell copies rather than those that can change the way we see the world.

Resource added for the Photography program 312031.

The first volume to answer definitively and for the first time the question: what is a news picture and how does it work?

Powerful and often controversial, news pictures promise to make the world at once immediate and knowable. Yet while many great writers and thinkers have evaluated photographs of atrocity and crisis, few have sought to set these images in a broader context by defining the rich and diverse history of news pictures in their many forms. For the first time, this volume defines what counts as a news picture, how pictures are selected and distributed, where they are seen and how we critique and value them. Presenting the best new thinking on this fascinating topic, this book considers the news picture over time, from the dawn of the illustrated press in the nineteenth century, through photojournalism’s heyday and the rise of broadcast news and newsreels in the twentieth century and into today’s digital platforms. It examines the many kinds of images: sport, fashion, society, celebrity, war, catastrophe and exoticism; and many mediums, including photography, painting, wood engraving, film and video. Packed with the best research and full colour-illustrations throughout, this book will appeal to students and readers interested in how news and history are key sources of our rich visual culture.

This book takes a probing look at how Spanish poets of the twentieth century read objects of visual art, write poems that utilize the discursive strategy known as ekphrasis, and how, in turn, they are read by those texts. As a result of their reading practices, the artistic works "read" by the poets are inscribed in the poets' own texts, and in a variety of ways. This analysis sheds light on the poets' own distinctive stance toward many primary issues, such as textuality, representation, language, power, ideology, literature, and art.

'Do you remember that first time we met? It was in the old studio in Brunson Road. How much did we miss, love, by not being together?'In the early 1960s, Maureen Griffiths, married with children, accompanies a friend to a modelling shoot, never intending to be in front of the camera herself. But after meeting photographer Martin Morris, Maureen is transformed - and Martin quickly falls for her. It is forty years later. Shortly after Maureen's death, Martin moves into Pilgrim House, a retirement home, in part because Maureen's husband, George, is also a resident there. Through the letters he continues to write to Maureen, Martin reveals a lifetime of tireless devotion to his one true love. He is also determined to figure out why she stayed with her difficult, demanding husband. So with the aid of some of the colourful residents of Pilgrim House, Martin delves into the secrets of Maureen's family and becomes increasingly entwined in the complicated life that Maureen built to shield herself.Told through letters, emails, and other missives, Getting The Picture is an irresistible, funny and deeply moving novel of family secrets, regrets, and abiding love, with all the author's sly wit and powers of observation on full displayThis novel is Dean Street Press's entry for the 2015 Man Booker Prize.Praise for Getting The Picture'Getting The Picture astutely probes the quotidian eeriness of that other planet that is old age and a life recollected. Marvelous.' William Gibson'The best novels seduce the reader, so allow the wonderful chorus of voices in Sarah Salway's Getting The Picture to do just that. Let them whisper secrets, plans and mysteries; of the past, of the present. Let their possible futures come into focus for a celebratory final picture. This novel is uplifting, sinister and beautiful.' Tiffany Murray'One of the smartest, wittiest writers of present times, and I recommend anything by her. Getting The Picture is just great. I couldn't get through a page without smiling or laughing aloud... there is one photography session where an old man and woman meet with a camera between them that is riveting; Salway adds layers to it in the retelling, so that the poignancy of the event overtakes the humor. I can't stop thinking about the state of mind of the 79 year old woman who lowers her shirt for the camera. All these old people still want to be seen, and to reveal themselves. Salway is a wonder at detail - small moments from all her books are permanently embedded in my mind. Don't know how she does it, but it's marvelous.' Alice Elliott Dark'Sarah Salway is an astonishingly smart writer. Her fiction is always beautifully structured, touching and clever. She manages the trick of creating characters you care about in stories you admire. I can't wait to see what she does next.' Neil Gaiman

Getting the best possible photo is not a game of chance - there are proven methods and innovative approaches that the professional photographer uses to succeed. From Freeman's decades of reportage experience, he has developed proven methods for going beyond where tourists stop, and delivering the photographs that make the cover. Get the Photos Others Can't uses five 'nodes' or guiding principles, in various combinations, to elucidate each particular method of access: Right Place, Right Time - train yourself in the art of anticipation Hearts & Minds - understand the importance of people skills Immersion - involve yourself fully in your subject Deep Learning - research and reflect Left Field - take an unexpected direction to find a new angle. With examples from Freeman's own archive of images, as well as from iconic photographers including Weegee, Cindy Sherman, Guy Bourdin, W. Eugene Smith and Garry Winogrand, the secrets shared in this book will let you find your own modus operandi for overcoming the obstacles between you and the shot, so you can bring home your own world-class images.