B&W: Black & White Magazine

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B&W: Black & White Magazine

from: Ross Periodicals Inc




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Availability: Usually ships in 1 to 3 months

List Price: $63.60
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Average Rating:  out of 5 stars
Sales Rank: 576







Binding: Magazine
First Issue Lead Time: 6-10 weeks
Format: Magazine Subscription
Issues Per Year: 8
Label: Ross Periodicals Inc
Magazine Type: Trade magazine
Manufacturer: Ross Periodicals Inc
Number Of Issues: 8
Publisher: Ross Periodicals Inc
Sales Rank: 576
Studio: Ross Periodicals Inc
Subscription Length: 365 days




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Editorial Review:

Product Description:
Black and white photography magazine. Includes developments in photography, an opening shot, information on the market scene, a visual section, the printed page section, special features, photographer spotlights, positive and negative section, exposure section, book reviews, and a closing shot.









Availability: Usually ships in 1 to 3 months


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Customer Reviews
Average Rating:  out of 5 stars

Rating: 2 out of 5 stars - Disappointing
As a practicing photographer and not a collector, I've been very disappointed with B&W on the few occasions it's crossed my desk (I've never had a subscription, so I'm basing this on just the few issues I've seen).

Quality wise, the last issue I received was poorly printed - it contained streaks through the images and rampant misregistration, among other things. The paper is unimpressive as is the printing itself - the line-screen looks quite course. In a full-colour magazine, it would be fine, but for one in which everything is in monochrome, I would expect that they would print stochastically or at a higher resolution etc.

In terms of content, every time I've seen this magazine it has been filled with work which is typically very well-executed technically but un-innovative and un-inspirational, at least to me. Most of it is of the hobbyist/dedicated amateur variety, with few capital-A Artists or professionals. Stereotypical nature and bodyscape-style photos seem to dominate, with few examples of conceptual, thematic or `high art' work, and I've never seen any fashion or photo-journalism either.

We could use more non-technical photography magazines, but B&W caters to an audience obsessed with traditionalism and the imitation of old masters such as Cartier-Bresson and Ansel Adams.

PS: reading body copy set in Futura with tight leading is a real pain.



Rating: 5 out of 5 stars - B&W Best photo Magazine
* This is by far the best photo magazine I have seen in my 40 years of being a photographer.(and I subscribe to half a dozen).
The reproduction is superb, and it offers a variety of genres without getting into the freaky stuff like Aperture sometimes does. I have saved every issue I have received as if a book. ...



Rating: 5 out of 5 stars - nice
This past summer I picked up two issues of this magazine and they sat on my shelf for a few months before I finally got around to reading them. I was impressed. The quality of this magazine is higher than any other photographic magazine I've seen. The image quality, the paper, all top notch. This is a fine arts magazine and doesn't (at least from what I saw) spend time with articles about the technical side of the art. Rather, it focuses on individual artists and shows samples of their work. There are more great photographs in here than in any other photo magazine I've read. I intend on subscribing.



Rating: 5 out of 5 stars - IN PRAISE OF B&W Photography and the Printing Art.
* I was on vacation in Miami last December and picked-up a copy of this magazine-B&W.It is the best photographic magazine I have ever seen or read.It is the best tribute to black and white photography as an art form. The prinitng quality is equally as superb and highly compliments the new technology in printing.It gives new meaning to the words photo finish. Unfortunately the magazine is only avaliable in the United States so I have had to subscribe using my son's address in Miami. It has inspired me to further improve my work as an artist,photographer, who considers black and white photography as the only true art form and dismisses digital \"photography\" as not being photography. Norris Hall,Belmopan, Belize, Central America. ...



Rating: 5 out of 5 stars - My favorite photo magazine
Every issue of this magazine provides a great collection of black and white imagery. I like this magazine in particular for two reasons, the focus is on excellent images, not advertising, reviews, or articles, and what they do choose to print they print very well. The quality of the paper and printing is truly excellent. The subject matter covers most of the traditional photo styles, landscapes, nudes, impromptu slice-of-life pieces, still-life, abstract, etc. Generally every issue contains an interview with a pro and his/her work. There is also a large section of "space for hire" for photographers to submit samples of their work for sale or representation (note: very pricey to submit work, and here's where the image quality fluctuates wildly). I have found this magazine to be an idea-generator and photographic inspiration. I know I'll want to hang on to issues to enjoy for many years.

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Diesel vehicles have nearly a 50-percent market share in Europe, thanks to tax incentives and diesel-friendly legislation across the EU. Diesels are so passé there that you can buy a BMW 730d and no one will think it odd that your luxury car burns oil. Pull up in a diesel 7-Series in America and people would leer at you like you've alighted from an amphibious vehicle reeking of saltwater and dead trout.

But now, thanks to the oft-reported combo of newly-raised CAFE standards, not-so-newly-raised gas prices, and the 50-state diesel engine, GM, Ford, and Chrysler are about to dip more than a hesitant toe into the diesel game. Chrysler offers a diesel in the Grand Cherokee, but soon all three automakers will offer diesels in their best-selling lineups of light trucks -- the Dodge Ram 1500 is expected to offer a 50-state diesel after 2009. Light trucks are being used to lead the charge since those buyers stand to gain the most with the least amount of (perceived) sacrifice.

Diesels currently have 3.2-percent of the American market. Some estimates put them at 15-percent by 2015. That's a huge leap, and diesel still has plenty of hurdles. Diesels will come with a cost premium over gasoline-engined cars. That should be easy enough to conquer -- incentives and some quick cost and longevity calculations should convince people of the benefit. The real hurdle is the nagging issue of perception. The plan will probably be to attack that with a price that makes the proposition unbeatable. Said Chrysler's director of environmental affairs, "If it's priced right, we can sell diesel here. Diesel can give you an immediate poke in fuel economy -- 20 to 40 percent. Not many technologies can deliver that today."

[Source: Detroit News]

 

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Stephen Sondheim's Victorian horror thriller Sweeney Todd: The Demon Barber of Fleet Street is generally considered his greatest work, macabre but darkly humorous with a viscerally powerful score that has found a home both on Broadway and in opera houses. George Hearn (who replaced Len Cariou of the original Broadway cast) plays the title character, a wronged man whose lust for revenge drives him to murder (an 18th-century legend who has been traced to a real-life barber), and Angela Lansbury plays his partner in crime, Mrs. Lovett, who finds a practical business use for Todd's victims. This combination of horror and humor is echoed in Sondheim's score: brooding menace ("The Ballad of Sweeney Todd," "My Friend"), achingly beautiful ballads ("Johanna," "Not While I'm Around"), clever puns ("A Little Priest"), coloratura arias ("Green Finch and Linnet Bird"), and intricate choral and ensemble numbers.

Continuing a fortuitous tradition of capturing the Sondheim legacy on video recordings, this performance was filmed before a live audience in Los Angeles during the 1982 national tour. Almost 20 years later, Hearn returned to the role opposite Patti LuPone in an acclaimed concert production. But Sweeney Todd is an especially compelling experience in this 1982 version, complete with the clever staging tricks (e.g., the barber's chair) and as close to the original cast as we're likely to see. --David Horiuchi

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A guilty, guilty pleasure, perhaps not one a left-wing feminist should be admitting to in public. Female boomers should recall yearly TV reruns of this Rodgers and Hammerstein production, featuring such delights as "Impossible" and "Do I Love You Because You're Beautiful?" It may appear a bit stark to younger viewers, but part of the charm of this 1964 network TV special, a remake of the live 1957 telecast originally built around Julie Andrews, is its utter simplicity. An extremely young Lesley Ann Warren and Stuart Damon (of General Hospital fame) are joined by Ginger Rogers, Walter Pidgeon, and Celeste Holm. Warren is all sweetness and innocence without a hint of saccharine artificiality, while Damon is a clear-eyed romantic. This very handsome love story is a bit of an oddity, but worth owning just for the memorable score. --Rochelle O'Gorman
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John Waters made his bid for PG respectability with this enjoyably trashy comedy about the racial integration of a teen dance show on Baltimore television in the early '60s. Waters, as always, makes a virtue of junk culture and the powerful emotional forces it can represent as kids vie to get on the show. Meanwhile, a parade of former stars (Pia Zadora, Debbie Harry, Sonny Bono) and pseudostars (Divine, Ricki Lake) cross the screen, playing freakish characters absorbed by thoughts of fame. (Waters himself turns up as a weirdo psychiatrist.) This transitional film for Waters is rough going at times and not as interesting or funny as his later features Cry-Baby and Serial Mom, but it's worth a look. --Tom Keogh

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Martina McBride has long been a champion of music as social consciousness, particularly for abused women ("Independence Day") and children. On Waking Up Laughing, her ninth album and the follow-up to Timeless, her platinum-selling album of country classics, she advances the theme while expanding it. While two songs explore the issue of unwed mothers (particularly the exquisite "Love Land," which closes the album), and another, "Beautiful Again," touches on child sexual abuse, her overall repertoire embraces the wholeness of family, and of standing strong together in the face of adversity and defeat. Musically, McBride has always proved to be an elegant thorn--her song selection is often inspired (and here, she co-wrote three tunes, including the skyscraping single "Anyway"), but she has tended to use her huge, ride-the-wave soprano full-tilt, without employing the subtle shadings that would make her even more emotionally resonant. On Waking Up Laughing she seems to have worked on the problem, yet in her second foray as solo producer, she still tends to gild the lily instrumentally--inflating string bridges between choruses, for example, or loading the opening country-pop track, "If I Had Your Name," with a Southern-rock guitar break, a listen-to-me fiddle showcase, a Celtic guitar intro, and a close that brings to mind George Harrison's sitar in play-it-backward mode. That said, she makes fine use of what sounds like a black female choir on the uplifting "For These Times," and wisely keeps the haunting break-up ballad "Tryin' to Find a Reason" (with Keith Urban's harmony vocals and guitar solo) lean and affecting. As McBride works to refine her pastiche of creativity, commerciality, and social awareness, she slyly takes more chances than one might think, all the while rallying old fans and making new ones. --Alanna Nash
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For right-minded buyers of the reissued Muppet Christmas Carol soundtrack, the odds of disappointment are about as remote as Miss Piggy's chances with Kermit. If you loved the movie, you will love the loopy mayhem of the Muppet Brass Buskers ("Good King Wenceslas"), the cartoonish malice of the black-hearted misanthropes Marley & Marley ("Marley & Marley"), and the hope-swollen harmonies of Tiny Tim and Family ("Bless Us All"), Muppeted here to hilariously humble effect. If, on the other hand, your interest in this disc has more to do with its inclusion in the way-narrow Christmas-record-for-kids category--if the spirit of the season doesn't extend, for you, to the magic of the Muppets--you may want to keep browsing, as it's a soundtrack first (overture, instrumentals, and all) and a Christmas CD second. That's not to suggest you're stuck with an un-fun disc should it land on your holiday stack without a prior screening, though. Miles Goodman's score sweeps and inspires, and certain tracks--"One More Sleep 'til Christmas" and "Fozziwig's Party"--are future classics. (Note to the right-minded: After a misstep on the original release, Martina McBride's version of "When Love is Gone" is back.) -Tammy La Gorce
B&W: Black & White Magazine
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