This essay is trying to analysis and critique the book, according to determined measures. This book has great and new information about contemporary Photography theories. Authors in every section focused on the special subject. Book includes seven main sections and the great attached text. It would be clear, by review forms and contents of all sections, this book as well as pay attention to recent discussions in Photography theory. Refersto too much credible references are very reliable. Almost of sections are very useful for teaching courses of Photography theory in University. Translate this book to Persian language is reliable. Every section of book isn`t depended to another, Thus every sections can be as a book. At last the book is more Description the theories thanto be Critique of Ideas.

In addition to the camera, other accessories such as retractors and mirrors are necessary for intraoral Photography. They enable directly inaccessible subjects, to be viewed and photographed easily. Gaining adequate view, by suitable retractors and mirrors, is the most important step, requiring skill and patient cooperation to achieve successful results. Composition, visualization of the final photograph and a carefully controlled clinical technique must be practiced in order to produce rapid, precise and reproducible clinical photographs. There are many procedures to be followed and precautions to be taken in order to obtain good quality, reproducible dental photographs. Failures can be avoided by following a distinct procedure. This article focuses on clinical equipments such as retractors, mirrors and intraoral Photography.  

Object Photography in dentistry including dental instruments, models, teeth and gross specimens has some special features and needs special consideration. These objects are usualy very small, highly usually reflective and often with very bright surfaces. They need special lighting and other accessories for acceptable results. On the other hand, in laboratories and dental clinics we haven't enough time for taking photographs. The purpose of this article is to introduce the principles of object Photography in dentistry.

In Kant and the Problem of Metaphysics (KPM), Heidegger shows how the initial image-making power of the imagination is pictorial in the pure image of time. He further clarifies the recognized link between the syntheses and the time-visualizing power of images which is pictorial formative power, which can visualize time. The three syntheses of imagination are replaced with the modes of existence of Dasein. Three kinds of photographs resemble the images produced when the transcendental imagination functions as Dasein. We can address the ways to visualize time by considering Dasein with a photographic preoccupation through 1. A possible look in the form of presentation (a photograph shows an immediate look of a house or person as intuitable this-here); 2. An immediate look of the thing, house, or deceased person, as well as a copy or its reproduction as a death mask; and, 3. The manner of contemplation of a likeness is an immediate look of a being present in the form of representation.

"Bakhtin begins by noting that human activity is inextricably related to the use of language, thenature and forms of this use being just as diverse as are the areas of human activity. Bakhtin's point is that each sphere in which language is used develops its own relatively stable utterance types, which he terms them speech Genres. Bakhtin distinguishes between primary and secondary speech Genres; the latter includes novels, poetry, drama, scientific treatises, etc. In the process of their formation, they absorb and digest various primary Genres. According to Bakhtin it is impossible to speak or write outside of such Genres. We acquire them in the process ofacquiring our native language, mastering them before we master the elements of grammar. The forms of language and the typical forms of utterances-speech Genres-enter our experience and our consciousness together. The speaker's evaluative attitude towards his subject determines his lexical, grammatical, and compositional choices. This expressiveness is not a property of the linguistic units themselves but is imparted to them by the person using them through the use of a particular speech genre. Bakhtin stresses that one of the essential characteristics of the utterance is its addressivity, or its quality of being directed to someone."

Genres are the best method to evaluate literary texts. This classification is a principle for the continuation of literary studies due to breadth of literature. The present study tried to examine the importance of different Genres and the evolution of the concepts of epic in novels. Epic, which is the story of heroism and the civilization, is defined based on the subject, its features and functions and it was addressed in a variety of thematic categories; by examining the similarities and differences of epic with other Genres of literature (myths, fables, romances, novels), it was concluded that this genre didn’t belong to special group or special period, and classification of literature cannot limit a genre which can have the characteristics of other literary texts.

Today, Photography in Iran is one of the most popular forms of visual art with a large audience. On the other hand, popularity of Photography among the younger generation as a pure form of art with an interconnection with everyday realities is on the increase. The art of Photography, which was exclusive to the court in the first three decades of Nasseri rule, became a popular form after Constitutional Revolution. With the advent of the Islamic Revolution and the shut down of the mass media (newspapers and television) as a result of general strike, Photography as a means of news dissemination assumed greater significance. At the beginning of the imposed war, Photography, which went beyond the conventional news application among artists with strong belief in this art as a media, became very popular and they founded a special school in war Photography. Creative Photography is a form of Photography which is associated with an artist's sentiments, aesthetic principles, and his subjective and emotional perception and is far from a merely objective record of subjects. A photographer may manipulate the tone, composition, and type of the sensitive material to better express his thoughts in creative Photography and employ special perspectives, allegory and irony in his work. He may even use collage or multiple negative exposures. This type of Photography puts aesthetic aspects in contrast with applied branches in Photography.      

The purpose of present article is to introduce the basic constituents of the story blueprint, and principles governing them. By the story blueprint I intend the reader's inference about some relatively short sequences of narrative events. The local rules operative on these sequences help the reader discriminate story characters' goal-directed actions from unintentional events and states, before mentally modeling an overall structure of interlinked larger sequences within a storyworld. Action, event, and state are among the concepts inextricably connected with the notion of story and reiterated through the history of narrative analysis. The concepts at issue, and with them the nature and scope of narrative itself, have been further illuminated by recent insights offered mainly by linguists, philosophers, and cognitive scientists. Most of these developments occurred long before the establishment of cognitive sciences, and even before the heyday of structuralist narratology. But despite their availability at the time, they have been brought within the compass of classical theories of narrative since only a couple of decades ago. Narrative theorists argue that to tell and comprehend stories is to operate within a system of rules in which events are preferentially viewed as structural sequences of intentionally-oriented actions. In recent works on the semantics of verbs, however, language theorists have made finer-grained classifications of expressible events, with actions as a mere subcategory. This article is thus meant to explore some of the implications of verb semantics for narrative theory, especially as concerns typology of narratives under various Genres.