Image Books

This Monograph featuring Design Group, is a collection of company's history, bibliography, awards and significant projects spanning over 21-year history. The monograph blends bold color and unique formats to produce a dynamic visual history organized around the company's seven areas of expertise -- retail, entertainment, town centers, mixed use, planning, graphics and hospitality. Great to thumb through and also for in-depth reading.

2001, 256 pp., 400 color. New from Images Publishing Group, Pty. of Australia is the recently published compilation of the works of Development Design Group, Inc. The Images Publishing Group is one of the world's leading architecture and design book publishers and has produced a collection of prestigious monographs. Now in excess of 100 volumes, these monographs are an impressive and world-class series featuring some of the greatest international architects and architecture.

Development Design Group, Inc. is an international architecture, planning and design practice whose work includes award-winning designs for high profile retail and entertainment spaces, world class resorts, hotels, offices, residential designs, and mixed-use destinations like CocoWalk in Miami, Florida; Easton Town Center in Columbus, Ohio; Bur Juman Center, Dubai, UAE; Akmerkez, Istanbul, Turkey. The monograph chronicles the company's history, bibliography, awards and significant projects spanning 21 years. The monograph blends bold color and unique projects to produce a dynamic visual history organized around the company's seven areas of expertise -- retail, entertainment, town centers, mixed use, planning, graphics and hospitality.

The book, "Devices of Wonder: From the World in a Box to Images on a Screen", is the catalog for an exhibition that has just opened. The first two reviews provide perspectives and understanding that are quite different from those offered in the preceding review from Publishers Weekly.

Leah Ollman (LA Times, 11/18/01) comments that, "We want to know the world and have experiences beyond the ordinary. We want to extend our vision beyond its familiar capacity. These are timeless desires, born with the species. They thrive on wonder, ... 'Devices of Wonder' traces those impulses and the technologies designed to act on them during the past 400 years. Full of serious toys, marvelous instruments and art resonant with the theme of discovery, the show [and catalog] track a history of visual thinking, 'from the world in a box to images on a screen,'..."

Speaking of both the exhibition and the catalog, the hard-nosed and insightful reviewer, Christopher Knight (Los Angeles Times, November 19, 2001) remarks that, "The Wunderkabinett is back, their show asserts--bigger, now nearly ubiquitous and considerably more far-reaching than any Baroque prince could ever have dreamed. Today's Wunderkabinett is sitting on your desk at home or in the office, or perhaps it's resting in your briefcase or on your lap." "Looking at wondrous things in a Wunderkabinett becomes the launch pad for the wonders of looking. Sight connects with insight. Mirrors facilitate reflection. Images are themselves ideas. ... Playful and unexpected connections get drawn. ... The show [and the catalog] is filled with these sorts of surprising delights, which can send your mind off in unexpected directions."

...

The book, "Devices of Wonder: From the World in a Box to Images on a Screen", is the catalog for an exhibition that has just opened. The first two reviews provide perspectives and understanding that are quite different from those offered in the preceding review from Publishers Weekly.

Leah Ollman (LA Times, 11/18/01) comments that, "We want to know the world and have experiences beyond the ordinary. We want to extend our vision beyond its familiar capacity. These are timeless desires, born with the species. They thrive on wonder, ... 'Devices of Wonder' traces those impulses and the technologies designed to act on them during the past 400 years. Full of serious toys, marvelous instruments and art resonant with the theme of discovery, the show [and catalog] track a history of visual thinking, 'from the world in a box to images on a screen,'..."

Speaking of both the exhibition and the catalog, the hard-nosed and insightful reviewer, Christopher Knight (Los Angeles Times, November 19, 2001) remarks that, "The Wunderkabinett is back, their show asserts--bigger, now nearly ubiquitous and considerably more far-reaching than any Baroque prince could ever have dreamed. Today's Wunderkabinett is sitting on your desk at home or in the office, or perhaps it's resting in your briefcase or on your lap." "Looking at wondrous things in a Wunderkabinett becomes the launch pad for the wonders of looking. Sight connects with insight. Mirrors facilitate reflection. Images are themselves ideas. ... Playful and unexpected connections get drawn. ... The show [and the catalog] is filled with these sorts of surprising delights, which can send your mind off in unexpected directions." (...)

Lots of tricks and other info that is interesting and useful.

Michelle Perkins' DIGITAL CAMERA TRICKS AND SPECIAL EFFECTS 101 tells how to use basic image-editing software to create polished results. From using a strobe light to create stop-action images to warping and blending digital images, Perkins' focus is on shooting and image editing techniques which require no single program or camera type to achieve.

I have attended several of Mr. Giorgianni's tutorials on color management in recent years and have found him to be an outstanding instructor. His book brings into focus the complex issues in color management and explains them all with unparalled insight. I'm sure that this was a very difficult book to write and produce. The authors and the publisher deserve the thanks of the digital imaging community.

I am the author of eight books, and my latest one is on digital imaging. In a word, I find Digital Color Management astounding - both in scope and in clarity. The writing is superb and the material is beautifully illustrated. I believe this book clearly reaffirms Kodak researchers as a prescient within the imaging industry. My only criticism is that this book was not available while I conducted my latest research. If you are involved in any aspect of contemporary imaging technology, not having this book places you at a distinct disadvantage. Thank goodness not too many books like this come along - it is enough to give any author pause, if not despair, as to what a technical book should be.

On va en ligne, pour faire des photos, des graphiques, et des copies. Car l'ordinateur donne aux artistes les couleurs toujours voulues. Les images se copient fidelement, de l'ecran a l'imprimeuse. Les couleurs se montrent le mieux, surtout si le noir est le quatrieme encre d'impression et si les points sont elliptiques, sur les plaques, les papiers et les colorants de la haute qualite. Reussir a dessiner a l'aide de l'ordinateur, ca se voit par les exemples dans tout le livre. Quant a moi, ce sont tres bien faits les coups de brosse crayeux dans le portrait de la jeune fille, et les tetes et les terrains sculptes au style de l'ile de Paques.

DIGITAL COLOUR IN GRAPHIC DESIGN works when drawing, painting, photoediting, and 3-D print the way you want. Because scanners and monitors work colors differently than desktop printers and offset presses, mapping can pass colors correctly along calibrated color handlers. Color management and matching systems can bring about accurately printed screen images. The 16.7 million digital palette prints best from 21-inch non-interlaced monitors onto dye sublimation desktop printers and calibrated offset presses working with black as a fourth process ink for better shadow density and overall contrast, with elliptical instead of round dots, and with quality colorants, paper and plates. Ken Pender gives striking examples, such as chalk brush icicles to his ice maiden portrait of his daughter, impasto sweeping brushstrokes to a cloned Photo CD image, and Easter Island type carving and sculpting to a polyhedron head and terrain. So the author is interesting to read along with Veruschka Gotz's COLOR AND TYPE FOR THE SCREEN, Steven Heller and Daniel Drennan's THE DIGITAL DESIGNER, Michael Leary et al.'s WEB DESIGNER'S GUIDE TO TYPOGRAPHY, and Michael J. Sullivan's MAKE YOUR SCANNER A GREAT DESIGN AND PRODUCTION TOOL.

Scrapbooking has become such a popular hobby and a wonderful way to preserve memories. Our best friends surprised us over Christmas by giving us a scrapbook detailing the exploits of my son in his first year of high school football. They know what they are doing but for us novices there are wonderful books like Digital Delights for Scrapbooking. This book provides many wonderful tips on getting the most out of your digital camera to produce stunning pictures for your scrapbooks. Many of the tips are so easy yet work wonders.

For instance to reduce glare and enhance color in your digital pictures you can place polarized sun glasses over your camera's lens to make a huge difference in glare reduction. The book also provides tips on producing perfect 8 X 10 pictures with your camera's resolution setting. Take advantage of your picture software and photo printer by using some of the various print modes like Black & White, antique, and sepia tone printing. Further enhance your pictures by creative use of specialty papers like transparency film, embossed paper, cardstock, pre-printed papers, and even cork.

Whether you are an active scrapbooker or not, you'll find many practical and fun ways to use your camera to produce brilliant and clever prints. A great buy and a valuable resource!

Reviewed by Tim Janson

This is a great book! I am very new to using my digital camera and sometimes I find the manual EXTREMELY overwhelming. It was nice to look at this book and understand what some functions are on my camera as well as how to use them. I can't wait to see her next book!

Unfortunatly I arrived at Virginia Commonwealth University's graphic design program after Phil Meggs had passed away. His legacy still lives on. Rob Carter on the other hand has been my professor. He is a great man who pushes his students into experimenting and becoming comfortable with their own styles of design. He is by no means a "stuffy" guy. I have some of their books and I don't have one problem with them at all.

By the way, this book is a good one!

The Digital Designer is a quality publication , plus it covers enough ground to be useful in all of the classes we teach, so students going through the program will probably keep it and use it in several classes.

Your text is written in a friendly, accessible tone, and is a relief from some of the stuffy "Design is the Center of the Universe" books out there. As an example stuffy books are anything by Stephen Heller, Phil Meggs, or Rob Carter.

Their books are really good, of course, but frankly too focused on defining design as an official profession. Their books to me always seem like they are stiffly trying to define design as a formal, codified, yet creative event.

You seem to have achieved that friendly informative tone with ease. Kudos to you on your well resolved text. Frankly, this book is more useful to our program than any Rob Carter book, because of its accessibility.

"Coleman's discussion of the impact of technology on traditional photography serves as a brilliant . . . record of how new electronic tools have permeated our lives. . . . [Coleman's] ideas and concepts . . . are immensely valuable and insightful, with hints of what our future may hold. Coleman's critical eye makes [The Digital Evolution] required reading for today's media-savvy or information-obsessed artist." -- Daniel Carter, Design Editor, Wired, July 1999

"Nazraeli also publishes critical prose, . . . clearly anchored by the accomplished writings of A. D. Coleman and Bill Jay. . . . [Coleman's] latest book, The Digital Evolution, examines with a forthright lucidity how computerization and electronics have affected the photographic arts. Coleman's writing . . . is informative and unpretentious -- a rare combination in art criticism of any kind." -- Eric Lorberer, Rain Taxi: Review of Books, Winter 1998/99

If you want to start with and understand digital image processing from its basic, this is the right book. Without too much maths it gets you to the point of what can be done, and how it can be done. It helped me to achieve a basic understanding from the zero level.

This older book is an excellent gentle introduction to digital image processing for those who have not yet had calculus, or for those who want to understand the basics before taking on the more daunting task of reading and understanding something like Gonzales & Woods, which is the standard graduate image processing text. The book begins with the basics of the various color spaces and how images are perceived by the human vision system. From that point, the chapters are grouped into the types of image transformations. Formulas are explained either graphically or with very simple mathematical notation. Before and after pictures are provided for each transformation. In chapter five, the author goes into some introductory computer vision and object recognition techniques. The handling of morphological processing is exceptional. The chapter on image compression does a good basic job of getting its ideas across to the reader. However, only the most basic compression techniques are explained in detail such as truncation and Huffman coding. JPEG and motion compression are just verbally described, due to the introductory nature of this text. More recent compression methods such as those involving wavelets are omitted. Part four of the book, "Image Operation Studies", is effective at hammering home what was discussed in the first three parts of the book. In part four, the author describes the algorithmic implementation of 39 of the image transformations described in the book, with the resulting images. This makes for an excellent summary and review for the student. The software on the book's companion disk has long ago become obsolete, but the ideas presented in the book are clear and great for any beginner in the field.

This book bridges gaps, period.

If you need to work with this standard, at very least skim this book. What it doesn't cover in detail, it provides an excellent overview of. It is a great "jumping off" point; so much so, that the language explanation alone is just shy of enough to write your own PACS software applications for the talented developer. Prior to reading this book, I did have previous experience working with DICOM, HL7 and PACS; however, after reading the book I realized how little I knew and truly understood and my shingle says "PACS Administrator".

This book is excellent for those responsible for the technical workflow of any medical imaging system or PACS. It provides a thorough history of the development of the standard and its application over time. While it aptly covers items of clinical concern like image quality, manipulation, and availability, it additionally provides a comprehensive breakdown of the "language" of DICOM. At first, many of those without backgrounds in binary/hexadecimal and software coding may find this language discussion overwhelming, but it is an invaluable read if you stick with it (just rely on your math and logic skills and don't fret the details). Finally, it addresses all current topics in the field (like teleradiology and image mobility), and provides some great real world examples and anecdotes.

For those that are more clinically oriented, there are probably more appropriately written materials, but I would still consider 1/2 of this book as required reading.

Steve
PACS Admin for Large Ortho Practice

This is a really good book, answers lots of my questions! It may be somewhat technical for a clinical person like me, but so is the subject anyway. But this is the first source of DICOM information I found, it is well-written, complete, addresses very practical problems, and I would recommend it to anyone.