Fabian Giles
Free sample

 “El mundo se está acabando. El desperdicio no".

Es preocupante saber que hay desperdicio de energía, de papel, de tecnología obsoleta, de talento, de tiempo, de vida, de agua, de alimentos. Esta es la última oportunidad.


Recopilación de imágenes capturadas sin ser manipuladas en computadora,  sin usar efectos especiales.

Tomadas con iPhone en la Ciudad de México,  y Los Ángeles.

Fotolibro digital de auto edición  

100 páginas

“World is finishing. Waste not.”

Is worrying to know that there´s a lot of waste of energy, of paper, of obsolete technology, of talent, of time, of life, of water, of foodThis the last chance.

Digital, color and not manipulated on computer  and not using special effects. Photos taken with iPhone at Mexico City and Los Angeles.

Digital photobook 

100 pages

Read more

About the author

  Mexicano y padre de familia (1971). Diseñador de la Comunicación Gráfica egresado de la UAM Azcapotzalco. Artista audiovisual y del Photoshop por convicción y no por autodenominación.

Autor de fotolitos DESPERDICIO / WASTE y ESCAPARATES / SHOWCASES,  FREE, S.A. 10 AÑOS (2015), Cinética ni Política  (2015), “EL ALMANACO. Radiografía de la estupidez mundial (2014) México al chile 2  (2013) y  México al Chile (Aguilar,  2012). Guionista, locutor e imitador de más de 100 voces, le ha dado voz a personajes famosos y de caricaturas hasta políticos de todos partidos y colores. Ha colaborado con humor político en diversos medios como La Crónica de Hoy, emeequis, Milenio Semanal, en la sección QRR, WRadio, ADN Político y en en el programa Trend In Boga en Efekto Noticias, MVS, chilango.comRevista EscenariosEl Chamuco y Blasting News México.

Creador del @WTFoxChente, la serie de política-ficción RATS WARS, las playeras FREE, S.A., @NosLlevaelDiablo, el “Teatro del Dedazo“, mezcla de teatro guiñol con dedos y dedazos de la política. Director en Chiles Medios y LA MALA: revista, radio y TV, los blogs MACnzaneros  Para los amantes de la Manzana, ARTEson sobre arte y tecnología y UNOS TACOS  que engloba todas sus filias y fobias sobre cultura, música, cine, deportes, tecnología y espectáculos con un poco de humor y sazón.

Con tantos proyectos ya no sigue con la idea de vender mole los domingos.


Read more
1 total

Additional Information

Fabian Giles
Read more
Published on
Jun 21, 2016
Read more
Read more
Read more
Best For
Read more
Read more
Photography / Photojournalism
Photography / Subjects & Themes / Portraits & Selfies
Read more
Content Protection
This content is DRM free.
Read more

Reading information

Smartphones and Tablets

Install the Google Play Books app for Android and iPad/iPhone. It syncs automatically with your account and allows you to read online or offline wherever you are.

Laptops and Computers

You can read books purchased on Google Play using your computer's web browser.

eReaders and other devices

To read on e-ink devices like the Sony eReader or Barnes & Noble Nook, you'll need to download a file and transfer it to your device. Please follow the detailed Help center instructions to transfer the files to supported eReaders.
 When photographing people, you can have a great composition, perfect light, and the right camera settings, but if your subject doesn’t look right—if the pose is off—the shot will not be a keeper. Posing is truly a crucial skill that photographers need to have in order to create great photographs. If you’re looking to improve your ability to pose your subjects—whether they’re men, women, couples, or groups—best-selling author and photographer Lindsay Adler’s The Photographer’s Guide to Posing: Techniques to Flatter Everyone is the perfect resource for you.

In the first half of The Photographer’s Guide to Posing, Lindsay discusses how the camera sees, and thus how camera angle, lens choice, and perspective all affect the appearance of your subject. Lindsay then covers things that ruin a pose—such as placement of the hands, and your subject’s expression and posture. Next, Lindsay dives into “posing essentials,” outlining her approach to start with a “base pose,” then build on that to create endless posing opportunities. She also discusses posing the face—with specific sections dedicated to the chin, jaw, eyes, and forehead—as well as posing hands.

In the second half of the book, Lindsay dedicates entire chapters to posing specific subject matter: women, men, couples, curvy women, families and small groups, and large groups. In each chapter, Lindsay addresses that subject matter’s specific challenges, provides “go-to poses” you can always use, and covers how to train the eye to determine the best pose for your subject(s). Lindsay also teaches you how to analyze a pose so that you can create endless posing opportunities and continuously improve your work.

"A brutally real and unrelentingly raw memoir."--Kirkus (starred review)

War photographer Lynsey Addario’s memoir It’s What I Do is the story of how the relentless pursuit of truth, in virtually every major theater of war in the twenty-first century, has shaped her life. What she does, with clarity, beauty, and candor, is to document, often in their most extreme moments, the complex lives of others. It’s her work, but it’s much more than that: it’s her singular calling.

Lynsey Addario was just finding her way as a young photographer when September 11 changed the world. One of the few photojournalists with experience in Afghanistan, she gets the call to return and cover the American invasion. She makes a decision she would often find herself making—not to stay home, not to lead a quiet or predictable life, but to set out across the world, face the chaos of crisis, and make a name for herself.

Addario finds a way to travel with a purpose. She photographs the Afghan people before and after the Taliban reign, the civilian casualties and misunderstood insurgents of the Iraq War, as well as the burned villages and countless dead in Darfur. She exposes a culture of violence against women in the Congo and tells the riveting story of her headline-making kidnapping by pro-Qaddafi forces in the Libyan civil war.

Addario takes bravery for granted but she is not fearless. She uses her fear and it creates empathy; it is that feeling, that empathy, that is essential to her work. We see this clearly on display as she interviews rape victims in the Congo, or photographs a fallen soldier with whom she had been embedded in Iraq, or documents the tragic lives of starving Somali children. Lynsey takes us there and we begin to understand how getting to the hard truth trumps fear.

As a woman photojournalist determined to be taken as seriously as her male peers, Addario fights her way into a boys’ club of a profession. Rather than choose between her personal life and her career, Addario learns to strike a necessary balance. In the man who will become her husband, she finds at last a real love to complement her work, not take away from it, and as a new mother, she gains an all the more intensely personal understanding of the fragility of life.

Watching uprisings unfold and people fight to the death for their freedom, Addario understands she is documenting not only news but also the fate of society. It’s What I Do is more than just a snapshot of life on the front lines; it is witness to the human cost of war.

©2019 GoogleSite Terms of ServicePrivacyDevelopersArtistsAbout Google|Location: United StatesLanguage: English (United States)
By purchasing this item, you are transacting with Google Payments and agreeing to the Google Payments Terms of Service and Privacy Notice.