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Because schools can change only as fast as the instructional practices of teachers change, Allington and Cunningham devote a chapter to advice for supporting the professional development of teachers. The authors believe that systems need to allocate greater amounts of their resources toward professional development, as well as offer administrative and collegial support in order for teachers to remain life long learners who continually develop new areas of expertise. As our changing society affects schools, it affects families too. Most children now come from single parent families or families where both parents work. Because the authors believe that schools cannot be fully effective without parent support and involvement, ideas for improving parent outreach programs are described. Innovative ways to improve communication between schools and families, involve parents in school decision making processes, and create family literacy programs and interagency family support services that help break cycles of illiteracy and poverty are provided. A chapter is set aside for offering additional ideas for developing the literacy skills of special populations of children, such as those with learning disabilities and those who speak English as a second language. In another chapter, a tour is given through a hypothetical school that reflects some of the basic themes in the book. Readers are then prompted to take a tour through their own school and look for examples of effective practices they would like to see more of, as well as ineffective practices they would like to see decreased. The final chapter of the book offers some relief to the reader, who may at this point be overwhelmed with the scope and scale of school restructuring that needs to be done. Allington and Cunningham caution, though, that there are no quick fixes in education, and that successful reform efforts are done gradually with the long view in mind. Restructuring often begins with a small group of people, or even with one person at a school. Is that person you? Do you believe that all children can learn to read and write, and would you like to help them do so? If you think so, this book could be an invaluable resource that gets you thinking about large-scale changes by starting small. Read it and pass it along to someone in your school, as someone in my school passed it along to me. Who knows what might happen next?
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This book contains 208 duotone plates, 50 black and white images, and 13 color plates. All of the color plates looked a little peculiar. Something is off in the reproduction of them. It almost looked like an error in the color registration by the printer.
Ms. Cunningham's best efforts were generally of people in her family, or those she had great respect or affection for. When her connection to the person was modest, often the results were too. Generally, the more elaborate the composition, the better the result except when shadows were involved. For that reason, her outdoor portraits in full sun turned out best.
My favorite images in this book (as reproduced here) include:
My Father at Sixty, 1906; Mother and Child, Germany, 1909-1910; My Mother Peeling Apples, about 1910; The Dream, 1910; Roi Partridge, 1915; My Father, about 1918; Dane Coolidge, about 1921; Roger Sturtevant, about 1922; Sherwood Anderson, Writer 2, about 1923; Gertrude Gerrish, 1924; Henry Cowell, 1926; Portrait of Portia Hume, about 1930; Frances Dee, 1932; The Pareeckh Sisters from India, early 1930s; Robert Irwin, 1933; Alfred Stieglitz, 1934; Herbert Hoover 2, 1935; My Father at Ninety, 1936; Shen Yao, 1938; Edward Weston at Point Lobos 2, 1945; Woman in Sorrow, 1964; Brassai, 1973; Ansel Adams, Photographer 2, 1975; Morris Graves in His Leek Garden, 1972; Dr. Maria Kolisch, 1973; and Roi Patridge and Horse's Skull, 1975.
After you examine this book, I suggest that you think about what you want to learn and feel from a portrait. Do you want to know how the person liked to portray him or herself? Do you want to see a pawn within the photographer's style? Do you want to understand the person's personality? Then, go back and look at these images and think about what Ms. Cunningham has captured in each case.
As Mr. Lorenz says in his essay, even before a negative is retouched, "lighting manipulates and obfuscates reality," the "environmental context of the photograph modulates its connective power," and the "theatrics of makeup and costume alter fact and validate illusions." Where do you see these effects?
If you are like me, you will find the double exposure work interesting . . . capturing a sense of the fourth dimension of time. Many of the works will remind you of Marcel Duchamp's work, with which Ms. Cunningham was quite familiar.
Capture reality past the poser's projection . . . and add truth!
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