Monographs & Art Books / B

"The Road I Call Home" is a powerful body of work created by the artist-photographer, Randy Bacon. This significant project has been over six years in the making and has taken more than one year to develop into this meticulously printed hardcover coffee table art book.

This limited 'first edition' hardback book (only 1,500 copies) contains over 100 stunning portraits and stories from the complete corresponding "The Road I Call Home" exhibition, which has been exhibited at numerous museums, galleries and other venues. The stunning, beautiful portraits and heartfelt personal narratives from the homeless create an immersive, emotional experience and inspiring journey. The book also includes beginning and ending text directly from Randy Bacon, which present detailed, fascinating information about "The Road I Call Home". With this art book, you will reflect, cry, delight and be captivated, but more than any of these, you will be deeply inspired and changed by the special people you'll meet.

From majestic glaciers to vast frozen plains as far as the eye can see, ice is just as important to the world's ecosystems as water, air, and trees. And yet its presence and vital role on Earth is increasingly threatened by the effects of global warming and population growth--the inspiration behind French photographer Laurent Baheux's latest endeavor, Ice is Black. Through breathtaking blackand-white images, Baheux captures the world's most beautiful icy landscapes and the fascinating animals that inhabit them. We get close to creatures and landscapes that seem to be taken out of time. Taken in such far-flung lands as Norway, Iceland, and Canada, Baheux's images present polar bears and their cubs, foxes frolicking in snow, and seals navigating icy waters. While the photographs convey evocative beauty, they also act as a call to action to protect these magnificent icy lands and the creatures that rely on them.

The French photographer Laurent Baheux dedicates his new book to the "King of the Animals"--the lion. Breathtaking black-and-white images create a powerful portrait of one of the most majestic and endangered species in the world.
Think of lions and one might think of the powerful member of the "Big Five," with a roar that echoes across the planes, and a merciless pursuit of its prey. One might think of the pack animal, surprisingly playful and affectionate within its pride. Or one might think of the endangered lion--long the target of hunters and trophy collectors.
In this new photo book, Laurent Baheux journeys across Africa to capture the lion in all its intricate facets. The result is a sensitive and intimate photo portrait that shows the big cat in all its nuance: at once powerful, fragile, and tender. Baheux's stunning black-and-white lion photographs show this feline animal with the precision and texture of a studio portrait--its many different movements, postures, behaviors, and expressions captured with startling intimacy.
Playing among the pride, out hunting its prey, or eyeing us directly from the page, Baheux's lion photography is as much a tribute to the lion's character, power, and feeling as it is a haunting reminder that this most impressive of animals is also among the most endangered wildlife on earth.

Many have tried to convey the true spirit of Africa's animals in words, photography, or in music. There may be no challenge greater; Africa's fauna are vast in number and rich in diversity. In this finely crafted collection, French photographer Laurent Baheux uses the medium of black-and-white photography to capture the intricate details of both the wondrous beasts and the magnificent settings in which they dwell. This wide-ranging volume lays particular emphasis on his subjects' individual spirits--revealing all of their vulnerability while losing nothing of their raw vitality. Every photograph is so carefully composed and well lit that the details equal the evocative precision of an Old Masters portrait. Through Baheux's eyes we get close to the creatures that will both inspire and humble us all.

David Bailey burst onto the scene in 1960 with his revolutionary photographs for Vogue. Discarding the rigid rules of a previous generation of portrait and fashion photographers, he channelled the energy of London's newly informal street culture into his work. Funny, brutally honest and ferociously talented, he became as famous as his subjects.

Now in his eighties, he looks back on an outrageously eventful life. Born into an East End family, his dyslexia saw him written off as stupid at school. He hit a low point working as a debt collector until he discovered a passion for photography that would change everything. The working-class boy became an influential artist. Along the way he became friends with Mick Jagger, hung out with the Krays, got into bed with Andy Warhol and made the Queen laugh.

His love-life was never dull. He propelled girlfriend Jean Shrimpton to stardom, while her angry father threatened to shoot him. He married Catherine Deneuve a month after meeting her. Penelope Tree’s mother was unimpressed when he turned up on her doorstep. ‘It could be worse, I could be a Rolling Stone,’ Bailey told her. He went on to marry Marie Helvin and then Catherine Dyer, with whom he has three children.

He is also a film and documentary director, has shot numerous commercials and has never stopped working. A born storyteller, his autobiography is a memorable romp through an extraordinary career.

This SUMO-sized retrospective celebrates one of the world's most influential photographers and the culmination of two years researching his archives. Gathering portraits from the 1950s to the 2010s, we discover some 300 subjects as varied as Nelson Mandela, the Beatles, the Queen, Salvador Dalí, Bill Gates, and Yves Saint Laurent, all printed big and bold, in Bailey's signature style.

Collector's Edition (No. 301-3,000), each numbered and signed by David Bailey, with a bookstand designed by Marc Newson. Each edition comes with a set of four book jackets featuring John Lennon and Paul McCartney, Jean Shrimpton, Mick Jagger, and Andy Warhol.

Also available in four Art Editions with signed prints.
David Bailey, Francis Hodgson, Benedikt Taschen
Limited SUMO Edition. Hardcover, numbered and signed by David Bailey, 19.7 x 27.6 in., 440 pages, with a bookstand designed by Marc Newson. Each edition comes with a set of four book jackets featuring John Lennon and Paul McCartney, Jean Shrimpton, Mick Jagger, and Andy Warhol

"I Hope You Find What You're Looking For" 96 pages, including 55 B/W Duotones Hardbound Essays by Douglas Beasley, Julian Anderson and Gloria Baker Feinstein Poems by Kim Stafford, Oregon's former poet laureate printed at Verona Libri in Veron, Italy published by Yellow Bird Press

Almost Fiction features images from Baldridge's series: Belle Epoque, Dystopia, and The Everywhere Chronicles. Each image is accompanied by a anecdote written by Baldridge. The book is Leather-bound (faux), 11x11 inches, 105 pages, 49 four-color plates.

From the publisher: "The photographer Édouard Baldus, a central figure in the early development of French photography and acknowledged in his day as a pioneer in the still-experimental field, was widely acclaimed both for his aesthetic sensitivity and for his technical prowess. Establishing a new mode of representing architecture and describing the emerging modern landscape with magnificent authority, he enjoyed high patronage in the 1850s and 1860s....This book, the first to chronicle the life and career of this important artist, brings his work once more before the public. The superb quality of the reproductions captures the subtle tones and soft matte surfaces of the original prints, many of which are published here for the first time."

North Dakotan Shane Balkowitsch's first personal camera was not an Instamatic Kodak or a point-and- shoot Nikon, but rather a large format wet plate camera. As a self-taught "image-maker" and one of the fewer than 1,000 wet plate collodion artists practicing around the world, Balkowitsch has fully devoted himself to mastering the obsolete photographic technology since 2012.
Approaching the historically embedded technique from a contemporary perspective, Balkowitsch's process transforms the limitations of the medium-its labor and time sensitive nature-into opportunities for creative explorations. Northern Plains Native Americans: A Modern Wet Plate Perspective presents a selection from Balkowitsch's photographic project which aims to capture 1000 wet plate portraits of Native Americans. His photographs highlight the dignity of his subjects, depicting them not as archetypes, but individuals of contemporary identities and historical legacies.

Roger Ballen is one of the most original image makers of the twenty-first century. Asylum of the Birds showcases his iconic photographs, which were all taken entirely within the confines of a house in a Johannesburg suburb, the location of which remains a tightly guarded secret. The inhabitants of the house, both people and animals, and most notably the ever-present birds, are the cast who perform within a sculptural and decorated theatrical interior that the author creates and orchestrates.

Following on from the critical success of Outland and Shadow Chamber, Roger Ballen's previous books published by Phaidon, Boarding House features a new collection of photographs from this significant photographer.

Roger Ballen is best known for his psychologically powerful and intricately layered images that exist in a space between painting, drawing, installation, and photography. Ballenesque is the first comprehensive retrospective of his work.
Separated into four parts, Ballenesque takes readers on a chronological journey through Ballen's entire oeuvre, including both iconic images and previously unpublished works. Part I explores Ballen's formative artistic influences and his later rediscovery of boyhood through photography, culminating in his first published monograph, Boyhood, in 1979. Part II charts the period between 1980 and 2000, during which time he released his seminal monograph Outland. Part III covers the years 2000-2013, when Ballen achieved global recognition and his work began to veer away from portraiture altogether. Finally, in Part IV, Ballen reflects on his career.
With more than 300 photographs and an introduction by Robert JC Young, this book provides both a new way of seeing Ballen's work for those who already follow his career and a comprehensive introduction for those encountering his striking photographs for the first time.

The seminal work by photographer and artist Roger Ballen, re‐released in an expanded edition with never‐before-seen images from Ballen’s archive.

The culmination of nearly 20 years of work, Outland marked Ballen’s move from documentary photography into the realms of fiction and propelled him into the international spotlight. Disturbing, exciting and impossible to forget, Ballen’s images captured people living on the fringes of South African society. His powerful psychological studies influenced a generation of artists and still resonate today.

First published in 2001, Outland is back in print and expanded to include 50 never‐before‐seen images from Ballen’s archive with illuminating new commentary from the artist himself.

Roger Ballen's new rat-human character: a gothic allegory in immaculately composed photographs
Over the past 35 years, Johannesburg-based American photographer and painter Roger Ballen (born 1950) has developed a distinctively dark and eerie style-characterized by a simple square format and stark black and white-to create images of the South African social landscape and portraits of surreal vignettes.
In his latest volume Ballen expands on his longstanding predilection for unsettling interiors and spooky characters. Roger the Rat follows the life of a creature whose body is human but whose head is that of a rat. Ballen's rat character interacts with mannequins, people and various objects in often cramped and oppressive rooms, in ways that defy explanation but seem at once humorous and sinister. This book gathers the series, made between 2015 and 2020.

The Theatre of Apparitions is an immersive and groundbreaking new monograph by the critically acclaimed art photographer Roger Ballen.
The author of numerous publications, including Asylum of the Birds and Outland, Ballen is best known for his psychologically powerful and masterfully composed images that exist in a space between painting, drawing, installation, and photography. This book is both a departure from his existing oeuvre and the culmination of his unique aesthetic linking image-making and theatrical performance. Separated into seven chapters or "acts," these Ballenesque images take readers on a journey deep into the subconscious.
Initially inspired by the drawings and marks people make on their environment, Ballen started to experiment using different spray paints on glass and then "drawing on" or removing the paint with a sharp object to let natural light through. The resulting images are like prehistoric cave-paintings: the black, dimensionless spaces on the glass are canvases onto which Ballen carves his thoughts and emotions. Fossil-like facial forms and dismembered body parts co-exist uncomfortably with vaporous, ghost-like shadows-these images have the capacity to shock, inspire, amuse, and even elate viewers. Timeless and innovative, earthly and otherworldly, physical and spiritual, his work transcends the traditional concepts of photography.

The World According to Roger Ballen, coauthored with Colin Rhodes, looks at Ballen's career in the wider cultural context beyond photography, including his connections with and interest in art brut. It features photographs selected from across Ballen's career, along with installations created exclusively for an exhibition at the Halle Saint Pierre, Paris, and examples of objects and works from Ballen's own collection of art brut.
Organized thematically, with texts by Colin Rhodes and an introduction and interview with Ballen by Martine Lusardy, the director of the Halle Saint Pierre, The World According to Roger Ballen is both a catalog of the first major exhibition of Ballen's work in France, and an exploration of Ballen's place within and connections to the wider context of modern and contemporary art.

Separated into four parts, Ballenesque takes readers on a visual, chronological journey through Roger Ballen’s entire oeuvre, including both iconic images and previously unpublished photographs. Part I explores his formative artistic influences and his later rediscovery of boyhood through photography, culminating in his first published monograph, Boyhood, in 1979. Part II then charts the period between 1980 and 2000, during which time his deeper search for the elemental self found its way into the ‘Dorps’, or small towns, of South Africa and concluding with the release of his seminal monograph Outland. Part III covers the years 2000–2013, when Ballen achieved global recogition with Shadow Chamber and Boarding House and his work began to veer away from portraiture altogether. Finally, in Part IV, Ballen reflects upon his career in its entirety.

With over 300 photographs and an introduction by eminent academic Robert J. C. Young, this book provides both an entirely new way of seeing Ballen’s work for those who already follow his career and a comprehensive introduction for those encountering his photographs for the first time.

An expanded edition of Ballen’s debut photobook―a charming homage to the spirit of boyhood around the world.
This new and expanded edition of Roger Ballen’s (born 1950) widely acclaimed 1979 debut photobook Boyhood, admired by André Kertesz, Bruce Davidson and Elliott Erwitt, features new and unpublished images taken by the photographer in the 1970s. In photographs and stories, Ballen leads us across the continents of Europe, Asia and North America in search of boyhood: boyhood as it is lived in the Himalayas of Nepal, the islands of Indonesia, the provinces of China, the streets of America. Each stunning black-and-white photograph―culled from 15,000 images shot during Ballen’s four-year quest―depicts the magic of boys revealed in their games, their adventures, their dreams, their mischief.
More of an ode than a documentary work, Ballen’s first book is as powerful and current today as it was 43 years ago―a stunning series of timeless images that transcend social and cultural particularities.

From Robert Capa's 1948 photograph of soldiers on the road to Jerusalem to the 1996 shot of a small child gazing into a blue sky filled with colorful kites, the photographs in Israel: A Photobiography depict a broad spectrum of life in a complicated country. It is telling that the major sections of the book are organized by war--Sinai Campaign, Six-Day War, Yom Kippur War, Lebanon War. Stirring images of soldiers on the front lines, refugees on the move, an off-duty fighter tending the family barbecue with a gun on his hip, and Druze women in the Golan Heights shouting to their relatives across the border in Syria remind readers of the harsh reality behind the headlines. Many photographs capture quieter, more personal moments, such as a Greek Orthodox wedding, a man visiting the Tel Aviv zoo, and a woman soothing her infant outside a kibbutz dining hall. Individually the pictures tell thousands of different--even divisive--stories of the people in and around Israel. When regarded collectively, though, these provocative images form a portrait of a nation struggling to find its place. An essay by Thomas L. Friedman, the New York Times's Jerusalem correspondent, explores the contradictions that are elemental to the country, introduces the photographs, and leads readers to consider the pictures from many different angles.

Micha Bar-Am’s black-and-white photographs of everyday life in Israel depict a vertiginous gamut of scenes, from hijack hostages reunited with their families and tanks cruising war-torn streets to serene vistas of the Sea of Galilee or morning fog in Hula Valley. Essays by several distinguished contributors contextualize Bar-Am’s images.

Throughout Bruno Barbey's travels, one constant remains - his love for and fascination with Morocco, his homeland. He focuses on the yellow ochre/burnt umber tones of the towns and rural areas to create colour-drenched, strongly graphic images rendered dazzling by Morocco's scorching light.

In the early 1960s, internationally acclaimed photographer Bruno Barbey sought to capture with his camera the spirit of Italy. Here, his endearing modern commedia dell'arte of beggars, priests, nuns, carabinieri, prostitutes, and mafiosi— archetypal figures whose exotic charms helped to make the films of Pasolini, Visconti, and Fellini so popular—join with the subtle pen of best-selling novelist and essayist Tahar Ben Jelloun to reveal the essence of Italy in that period. The result is an evocative word-and-picture portrayal of the Italians.

This large-format book contains 90 superbly reproduced black-and-white photographs divided into three sections, or opuses.

Opus 1, "Enigmas, Abstractions and Surprises," centers on a variety of images that are alternatively abstract, experimental, and unexpected. They are drawn from figure studies, landscape, architecture, and a variety of other roots.

Opus 2, "Darkness and Despair," is, in essence, a primal scream caused by the loss of an environmental battle, as politicians changed the laws to permit an illegal mining project.

Opus 3, "Lyricism of the Land," shows the magnificence of the natural world in which we live-including man-made alterations-as a celebration of the glories of our life-supporting planet.

The accompanying CD contains 74 minutes of classical piano music played by Judith Cohen and recorded in Seattle's Benaroya Hall. The music was chosen to mirror and expand upon the emotional content of the imagery in each opus.

Also included is an introduction written by world-renowned composer Gerard Schwarz.

This is the second of Bruce Barnbaum's Tone Poems books. It continues his study of our world-and the visual world he has created-with 91 stunning black-and-white photographs in three more opuses.

As its title implies, Opus 4, "Between Real and Surreal," deals with aspects of our world that border on otherworldly-the weird, the strange, the bizarre.

Opus 5, "Aftermath," is a study of the aftermath-from death to rebirth-of two major chaparral fires that struck Southern California on October 23, 1978, charring 30,000 acres.

Opus 6, "Among the Trees," is part of Bruce's continuing life-long study of trees, without which the earth would be an entirely different place.

Tone Poems: Book 2 is accompanied by a CD of classical piano music, in the continuing collaboration between Bruce and pianist Judith Cohen. Once again, solo and trio music was selected to support each opus by mirroring its emotional content.

Also included is an introduction by photographer, author, critic, and teacher Bill Jay (1940-2009).

Family Ties by Tina Barney offers an intimate exploration of privilege, capturing the hidden rituals and relationships of the New England upper class through sixty large-format portraits. Barney, herself part of this world, began documenting the everyday lives of her family and friends in the late 1970s. Over the decades, she developed her distinct approach to portraiture, moving from candid observations to staged compositions that evoke the complex dynamics of wealth, family, and tradition.

Her images, often surreal and charged with subtle tension, present a world of picturesque homes and intergenerational summer gatherings, where hidden emotions simmer beneath the surface. These photographs reveal the delicate gestures and microexpressions that disrupt the otherwise serene facades of patrician life. As Barney describes it, she captures the “disruptions” that expose the cracks in this rarified existence.

Family Ties accompanies Barney’s first European retrospective at the Jeu de Paume in Paris, featuring essays by Quentin Bajac, Sarah Meister, and artist James Welling. Their insights offer a deeper understanding of Barney’s method, her interest in family rituals, and her skillful blending of photography with painterly composition and color. This collection, spanning three decades, cements Barney’s place as a master of large-format portraiture, uncovering both the intimacy and the artifice of privilege.

Long-lost images of family and friends from the late 1970s by the acclaimed portraitist and chronicler of domesticity.

Over the course of her 40-year career, acclaimed American photographer Tina Barney has illuminated the inner lives of her subjects, observing the generational repetition of familial traditions and rituals as played out in domestic settings. In the summer of 2020, at the height of Covid and quarantine restrictions, Barney began to sort through her archive, which contained thousands of 35mm negatives taken between 1976 and 1980. Finding these long-forgotten images engendered a rediscovery of some of her most intimate memories as a young artist: “the photographs in this book seem like X-rays of my mind and thoughts through the summers I spent with family and friends on the East Coast and in Sun Valley, Idaho.”

Revisiting her work from decades prior, Barney found herself meditating on who and where she was at the time, as well as why and how she approached specific subjects. What was the impetus to capture these moments? The Beginning encompasses Barney’s nostalgic exploration of her earliest work in the medium, and further reflects a self-examination of this formative period through a critical lens.

The photographs of Tina Barney (born 1945) are in numerous public collections, including the Museum of Modern Art, New York; the Whitney Museum of American Art; Los Angeles County Museum of Art; the Museum of Fine Arts, Boston; and the Nicola Erni Collection, Zug, Switzerland. Barney's work has been the subject of major recent exhibitions at the New Orleans Museum of Art; Frist Center, Nashville; and the Barbican, London.

In good times and bad, our best friends are there for support, therapy, and unconditional love. Especially now -- where would we be without our dogs? Although the so-called modernists of Palm Springs embrace the serenity of life in post-WWII America, the sometimes-harsh realities of contemporary life are impossible to ignore. These mid-twentieth-century reenactors are often transplants, enjoying the Palm Springs lifestyle with their dogs and friends as their chosen family.

It was in 1996 that Kate Barry began her career as a photographer. Her early experiments focused on her family (her mother Jane Birkin and her half-sisters Lou Doillon and Charlotte Gainsbourg) before an abundance of commissions for fashion and magazines solidified her reputation. Disregarding constraints, Kate Barry imposed her gaze and developed more personal projects, such as highlighting the employees of the Rungis international market. However, it is in her landscapes that she best expresses her sensitivity, with stripped-down atmospheres imbued with poetry and subtlety, both melancholic and oppressive.

This book, directed by Sylvain Besson and prefaced by Lola Lafon, accompanies the exhibition paying tribute to her at the Nicéphore Niépce museum. Several personalities reflect on Kate Barry's work and personality for the occasion: writer Salomé Kiner; photographers Dominique Issermann and Sarah Moon; her close ones – Jane Birkin, Lou Doillon, and Charlotte Gainsbourg, as well as her son Roman de Kermadec.

Finally, artists she photographed – Emmanuelle Béart, Monica Bellucci, Carla Bruni, Valeria Bruni-Tedeschi, Marie Darrieussecq, Catherine Deneuve, Reine Graves, Isabelle Huppert, Sophie Marceau, Chiara Mastroianni, Vanessa Paradis, Melvil Poupaud, Natacha Régnier, Laura Smet, Elsa Zylberstein – discuss their relationship with the photographer.

The PhotoBolsillo series is dedicated to publishing monographs on the most notable Spanish, African, and Latin American photographers of the recent past. Each small-format paperback features full-page, full-colour and black-and-white photographs representing the best of the artist's portfolio - each of which is captioned with title and year. Additionally there is a Chronology, plus lists of exhibitions and collections in which the photographer's work has been/is displayed, plus a brief appreciation of the artist by a PhotoBolsillo editor.

Cityscape photographer Gabriele Basilico’s photographs of global cities from Milan to Beirut.

This book gathers the most important series by Italian photographer Gabriele Basilico (1944-2013), one of the best-known urban photographers in the world. Published in conjunction with a retrospective in Rome, this monograph presents contributions by Roberta Valtorta, Marc Augé, Luca Doninelli, Giovanna Calvenzi and Filippo Maggia.

Previously unpublished city scenes from the postwar Italian photographer.

This beautiful photobook collects 131 photographs produced by Italian photographer Gabriele Basilico (1944–2013) over the course of his career, from the late 1980s to the 2000s―most previously unpublished. It focuses on Basilico’s depictions of architectural space.

During the 1948 Palestine war, many Palestinians were displaced from their homes, including the desert-dwelling Bedouin tribes. Despite facing similar hardships, the Bedouin maintained their strong connection to the desert, a core aspect of their cultural identity. However, the number of Bedouin residing in their ancestral lands is dwindling, and their unique heritage is gradually fading away.

"Born of Sand and Sun" offers a unique perspective on the plight of the Bedouin people. Rather than focusing on the immediate impacts of the Israeli-Palestinian conflict, the book serves as a visual metaphor for the gradual disappearance of these resilient desert communities. It depicts fragments of their lives buried beneath the sands of time, symbolizing their eventual assimilation into history.

Over the course of three years, Petra Bašnáková immersed herself in Bedouin communities, seeking to understand their way of life and appreciate the beauty and simplicity of their existence. The book intertwines two narratives: the life journey of the Bedouin people and Bašnáková's personal journey of connection and acceptance within the community. Through her photographs, she captures the essence of Bedouin life and the profound bond they share with the desert landscape.

A cinematic meditation on how physical settings and realities are shaped by fictional and popular narratives.

Spanish photographer Mikel Bastida (born 1982) makes staged photographs inspired by cinema and history. In this latest photobook he constructs a new vision of the United States through cinematic references such as the ghost town in Archer County, Texas, from Bogdanovich’s film adaptation of The Last Picture Show by McMurtry.

The celebrity portraits of Austrian photographer Manfred Baumann (born 1968) capture distinct personalities while also framing them as special―larger than life. Through the lens of his Leica, Baumann has photographed countless celebrities of international renown, among them Sandra Bullock, William Shatner, Jack Black, Natalie Portman, Martin Sheen, Lionel Richie, Olivia Newton John, Bruce Willis, John Malkovich, Juliette Lewis, Angelina Jolie and Evander Holyfield.

Baumann's mostly black-and-white portraits often position the subject outside of the studio and within a scrupulously chosen backdrop―although Baumann calls Vienna and Los Angeles home, he frequently travels to shoot on location. The hardcover survey Face to Face compiles the best of the photographer’s celebrity portraits. Viewed together, they give shape to the storyteller behind the camera and testify to the consistency and richness of his style.

Hippolyte Bayard (1801–1887) is often characterized as an underdog in the early history of photography. From the outset, his contribution to the invention of the medium was eclipsed by others such as Louis-Jacques-Mandé Daguerre (1787–1851) and William Henry Fox Talbot (1800–1877). However, Bayard had an undeniable role in the birth of photography and its subsequent evolution into a form of art. He was a pioneer in artistic style, innovator in terms of practice, and teacher of the next generation of photographers.

Alongside an exploration of Bayard’s decades-long career and lasting impact, this volume presents—for the first time in print—some of the earliest photographs in existence. An album containing nearly 200 images, 145 of those by or attributed to Bayard, is among the Getty Museum’s rarest and most treasured photographic holdings. Few prints have ever been seen in person due to the extreme light sensitivity of Bayard’s experimental processes, making this an essential reference for scholars and enthusiasts of the very beginning of photography.

This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from April 9 to July 7, 2024.

Photographer, collector, diarist, and writer of books Peter Beard has fashioned his life into a work of art; the illustrated diaries he kept from a young age evolved into a serious career as an artist and earned him a central position in the international art world. He was painted by Francis Bacon, painted on by Salvador Dalí, and made diaries with Andy Warhol; he toured with Truman Capote and the Rolling Stones, created books with Jacqueline Onassis and Mick Jagger, all of whom are brought to life, literally and figuratively, in his work. As a fashion photographer, he took Vogue stars like Veruschka to Africa and brought new ones—most notably Iman—back to the U.S. with him.

Pioneering contemporary artist Peter Beard turned his life in New York and on the African continent into a Gesamtkunstwerk; a collage of photography, ecology, and diary writing. The original limited edition may have instantly sold out, but the book is now back to present the artist's unique world, a realm of art, science, and beauty.

Peter Beard lived on land adjoining the farm of Karen Blixen (Isak Dinesen) in Kenya. There he began a special relationship with Karen and with the people and animals of the continent. Here he documents the history and future of African wildlife, focusing on the widespread destruction of the African elephant. Beard will be the subject of an ABC TV special this spring. Illustrated.

n recent years Felice Beato (1832–1909) has come to be recognized as one of the major photographers of the nineteenth century, yet until now there has been no general survey of his singular life and work. Born in Venice, Italy, Beato came of age in the Ottoman capital of Constantinople. As a young apprentice in 1856, he photographed the sites of the Crimean War, thereby launching a long and remarkably adventurous career. Over the next half century he would follow in the wake of the British Empire: Egypt, Palestine, and Syria; India, where he photographed the aftermath of the Indian Mutiny; and China, where he chronicled the Second Opium War. He spent some thirty years in Japan and Burma, where he was among the first commercial photographers at the time that these countries were starting to open to the West.

The text includes an engaging narrative of his life and entrepreneurial career and a thought-provoking essay on Beato and the photography of war. There is a generous selection of his photographs, including panoramas and hand-colored Japanese studies, along with captivating period ephemera, lithographs based on his work, and humorous caricatures of the artist.

The Photographs of Felice Beato and the School of Yokohama (1860-1890)

In this precious and delightful book, Felice Beato and his outstanding photos transport the reader to the world of fascination and mystery of 19th-century Japan.

An extraordinary collection of eighty pictures from the Alinari Archives located in Florence, Italy makes up a never-before-published sequence of images including portraits, landscapes, and rituals providing a rare entry into traditional 19th-century Japan. Felice Beato was one of the first Western photographers to enter Japan when the country first opened its borders (1853); he revealed to the Western world a country preserved in time and never seen before. In 1863 he moved to Yokohama and opened a photography school, the School of Yokohama.

The photos of the book preserve the original photographic prints, manually colored black-and-white prints, that truly embody the spirit of that period. Images feature fascinating portraits of women in kimonos, geishas, samurai warriors, and interiors of Japanese homes and gardens as well as scenes of everyday life including tea ceremonies or the theater. Each photo is accompanied by text providing historical, anthropological, and artistic context.

This is a charming volume which comes with a Japanese-inspired design, with decorative patterns and colors recalling Japanese paper tradition and kimono fashion.

In 1920s and '30s Britain, Cecil Beaton used his camera and his larger-than-life personality to mingle with that flamboyant and rebellious group of artists, writers, socialites and partygoers who became known as the "Bright Young Things."" Famously fictionalized by the likes of Evelyn Waugh (in Vile Bodies), Anthony Powell and Henry Green, these men and women cut a dramatic swathe through the epoch and embodied its roaring spirit.

The definitive book on the legendary photographer's life in New York City, with many never-before-seen images and reminiscences by his closest friends and confidants. From the 1930s, when he helped revolutionize fashion journalism, through the 1960s, when he launched headlong into the Pop art era, London-based photographer Cecil Beaton brought to New York City his own perspective--aristocratic, sexually ambiguous, and theatrical. At the same time, New York offered Beaton innumerable opportunities to reinvent himself and his career. Cecil Beaton: The New York Years features sketches, costumes, set designs, previously unpublished letters, and over 220 photographs and drawings, many in color and never seen before. This volume documents Beaton's most influential relationships with quintessential figures of the New York art scene, including Greta Garbo, his female confidant and muse, and Andy Warhol. Richly illustrated, Cecil Beaton is the definitive portfolio chronicling Beaton's stunning career in fashion, portraiture, and the performing arts.

The first comprehensive, posthumous monograph and retrospective on Bernd and Hilla Becher, best known for their photographs of industrial structures in Europe and North America
For more than five decades, Bernd (1931–2007) and Hilla (1934–2015) Becher collaborated on photographs of industrial architecture in Germany, France, Belgium, Holland, Great Britain, and the United States. This sweeping monograph features the Bechers’ quintessential pictures, which present water towers, gas tanks, blast furnaces, and more as sculptural objects. Beyond the Bechers’ iconic Typologies, the book includes Bernd’s early drawings, Hilla’s independent photographs, and excerpts from their notes, sketchbooks, and journals. The book’s authors offer new insights into the development of the artists’ process, their work’s conceptual underpinnings, the photographers’ relationship to deindustrialization, and the artists’ legacy. An essay by award-winning cultural historian Lucy Sante and an interview with Max Becher, the artists’ son, make this volume an unrivaled look into the Bechers’ art, life, and career.

During their 40-year career, Bernd and Hilla Becher created their own architectural typology as they photographed buildings in a unique style. Basic Forms represents the culmination of their career. Although the subject matter is unglamorous--mine shafts, blast furnaces, cooling towers, water towers, silos, and gas tanks--the Bechers' passion for their work imbues these photographs with beauty and solemnity. The Bechers restricted the conditions of each photograph--taking them early in the morning, on overcast days, so as to eliminate shadow and distribute light evenly. Each image is centered and frontally framed, its parallel lines set on an even plane. There are no human figures, nor are there birds in the sky. The result is a treasury of precisely functional architectural forms, a sublime example of conceptual artistic practices, and a series of "perfect sculptures of a bygone industrial age."

Another volume in the Bechers' lifelong project of documenting the architecture of industrial structures.
Bernd and Hilla Becher's photography can be considered conceptual art, typological study, and topological documentation. Their work can be linked to the Neue Sachlichkeit movement of the 1920s and to such masters of German photography as Karl Blossfeldt, August Sander, and Albert Renger-Patzsch. Their photographs documenting the architecture of industrial structures, taken over the course of forty years, make up the most important body of work to be found in independent objective photography. This volume adds cooling towers to a list of photographic projects that includes book-length studies of water towers, blast furnaces, gas tanks, mineheads, and frame houses.Since the end of the nineteenth century, cooling towers have formed a striking part of electricity and steel works. The first cooling towers were wood-clad structures at coal mines; more recent examples are the steel or concrete constructions seen at nuclear power stations. The simplicity of these forms and their hermetically sealed external skins create an impressive, monumental effect. The Bechers have been photographing cooling towers since the 1960s. This volume contains 236 photographs of cooling towers—in all their different shapes and structural forms—from Belgium, England, France, Germany, Holland, and the United States, and includes a short text by the Bechers.

An encyclopedic collection of all known Becher industrial studies, arranged by building type.
Bernd and Hilla Becher's photography can be considered conceptual art, typological study, and topological documentation. Their work can be linked to the Neue Sachlichkeit movement of the 1920s and to such masters of German photography as Karl Blossfeldt, August Sander, and Albert Renger-Patzsch. Their photographs of industrial structures, taken over the course of forty years, are the most important body of work in independent objective photography. A keynote of their contributions to "industrial archaeology" has been their creation of typologies of different types of buildings; this book, which accompanies a major retrospective exhibition, collects all known Becher studies of industrial building types and presents them as a visual encyclopedia.Each chapter is devoted to a different structure—water towers, coal bunkers, winding towers, breakers (ore, coal, and stone), lime kilns, grain elevators, blast furnaces, steel mills, and factory facades. These are organized according to typologies, most of which are presented as tableaux or suites of about twelve images each. The book contains close to 2000 individual images. The accompanying text by Armin Zweite is an essential art historical consideration of the Bechers' work. This ultimate Becher book stands as a capstone to the Bechers' unique body of work.

For the past twenty-five years, Jean-Christophe Béchet has been sticking his photographs in albums, small blocks of paper bound without cover. These are his "notebook". His shelves contain over a hundred and fifty of them. The images are gathered by theme, by chronology, by association of ideas, by place, by history.... The "Notebooks" collection testifies, volume after volume, of an evolving work. Volume 10.

This black & white photography book is dedicated to the only Cuban capital, Havana. The photos have been taken since 1996. "Habana Song" is a melancholic and twilight sonata that can be tasted while listening to Carlos Puebla's "Hasta Siempre" and the music by Compay Segundo or Rubén Gonzàles. We then realize that a haunting melody is playing in Havana today that accompanies our steps and haunts our personal stories; photos in n.b.

For the past twenty-five years, Jean-Christophe Béchet has been sticking his photographs in albums, small blocks of paper bound without cover. These are his "notebook". His shelves contain over a hundred and fifty of them. The images are gathered by theme, by chronology, by association of ideas, by place, by history.... The "Notebooks" collection testifies, volume after volume, of an evolving work. Volume 9

For the past twenty-five years, Jean-Christophe Béchet has been sticking his photographs in albums, small blocks of paper bound without cover. These are his "notebook". His shelves contain over a hundred and fifty of them. The images are gathered by theme, by chronology, by association of ideas, by place, by history.... The "Notebooks" collection testifies, volume after volume, of an evolving work. Volume 8.

Volume number 3 of Jean-Christophe Béchet's Notebooks. Text in French only

Following Broken Line, a prizewinning portrait of the coast of Greenland, Olaf Otto Becker (born in Travemunde, 1959) turns his attention to the interior of the island in his new series, Above Zero. Second only to Antarctica, Greenland has the largest inland ice surfaces in the world. Becker's spectacular portraits of this region are taken during physically strenuous, sometimes life-threatening treks among glacial crevasses and melting ice floes, with a cumbersome large-format camera. His photo studies draw out the overwhelming beauty of this icy landscape, while documenting their present fragility: dust and rust in the air form black, crusty deposits, which, in conjunction with global warming, accelerate the melting of the ice sheets--with what will probably be inevitable, catastrophic results. Becker warns that even in these uninhabited regions, human actions can have fatal consequences.

Olaf Otto Becker, born in 1959, worked for almost four years and covered thousands of miles by boat creating these photographs of the coastline of Greenland. The resulting images, made in the clear light of the midsummer night over long exposures, are worth the effort. Almost shadowless neo-romantic dreamscapes, they are unrealistically beautiful. Becker sometimes waits days for the right image or condition to appear in order to produce a single image--a process that leaves him with only about 25 photographs per year. Though visually diverse, all of the pictures share the contemplative character of their creator. Becker, who was once a painter, doesn't photograph scenery: He builds compositions, using his eye and his patience to develop a work of melancholic beauty, in the powerful iconography of the nineteenth-century landscape. He has exhibited widely in Europe, and his previous monograph was short-listed for the Rencontres D'Arles Book Award.

In his Habitat series, Olaf Otto Becker (born 1959) presents idyllic dreamlike places-paradisical tableaus from the jungles of Malaysia and Indonesia. (Romantic floodplains, tree trunks slung with liana vines, niches for countless life forms-these are the untouched tropical rainforests of legend.) Even the temperate rainforest of Redwood National Parks in California seems reassuringly intact: the mammoth trees are surviving thanks to rigorous conservation measures. By contrast, in the second half of his series Becker shows what happens across the globe when international corporations clear large tracts of land and giant areas of barren, treeless terrain result. Erosion also does its work, and no life can survive in these places. In the final section, Becker presents the artificial "forests" conceived by various international architects to insert greenery into urban space.

For more than ten years, German photographer Olaf Otto Becker (born 1959) has trawled the Arctic and far northern regions with his large-format camera in search of primordial landscapes. Becker's photographs attain the most sublime effects of which photography is capable, recording landscapes unscathed by human habitation, but very much affected by its consequences. Under the Nordic Light contains both new and previously published photographs of Iceland. "When I arrived in Iceland for the first time, I was deeply impressed by the Nordic light," Becker told an interviewer. "The colors were largely subdued with subtle nuances, nearly black and white at first glance, but astonishingly colorful at second glance. These conditions enabled me to work with color like a painter." This volume establishes Becker as the foremost chronicler of these wild landscapes.

Rebel, from Punk to Dior, is one of the most complete anthologies of its kind, containing the best works of Janette Beckman. Known as one of the most famous street photographers, with her feminine and underground touch, Janette has portrayed the all-time greatest exponents of the Hip Hop, Punk and underground scenes.

From the images of rappers who have climbed the world rankings to the most famous fashion campaigns ever, this book summarizes in more than 240 pages and as many original photographs, the spirit of a generation that made history and continues to influence the world of fashion and the international collective imagination. -- Drago

Two talented photographers focus on the Horn of Africa--an "ark" that shelters an astonishing variety of landscapes and human societies. Starting with the Christian Amharas of Lalibela and Axum and the Falashas of Lake Tana, they complete an arc that takes them to the seacoast of Eritrea, Djibouti and Somalia, as far south as Lamu in Kenya, and finally to the remote peoples of the Southeast who still engage in stick fighting, body painting, scarification and the wearing of lip plates. Other handsome peoples they depict include the desert-dwelling Afar, Beja and Rashaida, the Somali nomads of Ogaden and the ecstatic Oromo (formerly Galla) pilgrims of the Bale Mountains. As in Beckwith and Fisher's previous, award-winning books ( Maasai and Nomads of the Niger ), their magnificent color photos (240 of them here) are the glory of this beautifully designed volume. Hancock's ( Ethiopia ) useful if uninspired text covers indigenous societies, cultures, crafts, religions, sacred places, dances, and cycles of life and death.
Copyright 1990 Reed Business Information, Inc.

This seminal volume on the indigenous African Dinka group is a landmark documentation of a vanishing people in war-torn Sudan. World-renowned photographers Angela Fisher and Carol Beckwith have devoted their lives to documenting the rapidly disappearing ceremonies and cultures of the indigenous people of Africa. In breathtakingly poignant images, they present a story that started with their first visit to the Dinka thirty years ago. Living in harmony with their cattle, the Dinka have survived years of war only to find their culture on the brink of vanishing forever. Where the White Nile River reaches Dinka country, it spills over 11,000 square miles of flood plain to form the Sudd, the largest swamp in the world. In the dry season, it provides abundant pasture for cattle, and this is where the Dinka set up their camps. The men dust their bodies and faces with gray ash—protection against flies and lethal malarial mosquitoes, but also considered a mark of beauty. Covered with this ash and up to 7’ 6" tall, the Dinka were referred to as "gentle" or "ghostly" giants by the early explorers. The Dinka call themselves "jieng" and "mony-jang," which means "men of men."

Award-winning photographers Carol Beckwith and Angela Fisher present an unparalleled collection of 250 photographs, drawn from their work over thirty years, revealing an inclusive look at the people and cultures of Africa.

This astounding collection of rare and intimate photographs depicts a lifetime of events and experiences from birth and coming-of-age to marriage and death from every part of Africa. These varied cultural "faces" are expressed in the rolling eyes and flashing teeth of the Wodaabe charm dancers of Niger, the colorful beaded bodices of the Dinka of Sudan, the striking painted faces of the Karo of Ethiopia, and countless people beaded, draped in beautiful cloth, and veiled to honor a special moment in life.

With their unique eye for Africa and its inhabitants, Beckwith and Fisher have created a moving, personal tribute to some of the most beautiful people on Earth.

The seminal volume on body painting and adornment by the world’s preeminent photographers of African culture. Following the international masterpiece Africa Adorned, Carol Beckwith and Angela Fisher have focused on the traditions of body painting spanning the vastly unique cultures of the African continent. In a contemporary world so fascinated with tattoos and piercings, Beckwith and Fisher document the origins of these fashionable adornments as passed down through African tribal culture.Featured are portraits of the richly colored, detailed, and exquisite body paintings of the Surma, Karo, Maasai, Himba, and Hamar peoples, among others. Drawing from expeditions in the field and firsthand experiences with African peoples and cultures over the past thirty years and with more than 250 spectacular photographs, this is the definitive work on the expressiveness and imagination of African cultural painting of the human body.

Olivia Bee (born 1994) is celebrated for her dreamy, evocative portraits and landscapes rich with implied narratives of intimacy, freedom and adventure. Olivia Bee: Kids in Love showcases two bodies of photographic work, including the series Enveloped in a Dream that first brought Bee recognition as a teenager. This first series offers a visual diary of girlhood friendship and the exploration of self, showcasing Bee's unique ability to convey the bittersweet nostalgia of adolescence on the brink of adulthood and new possibilities. The second set of images, Kids in Love, is drawn from recent work and continues Bee's photographic chronicle of her circle of friends and new loves, capturing both the pleasures and terrors of the fleeting passage of romanticized youth. While the work continues to evolve, what remains constant is her seductive use of color and photographic artifact, as well as the immediacy and charge of each image. Bee gives voice to the self-awareness and visual fluency of the millennial generation. Experiences are sharply felt, and easily communicated and shared, generating visual records that render these memories as significant as the moments themselves. Tavi Gevinson, founding editor of the online magazine Rookie and Bee's frequent collaborator and model, writes about the work and about the role of images as social currency in today's image-driven world.

These beautiful portraits of prostitutes in Storyville were made early in the century by a little-known photographer named E. J. Bellocq. One of this country's few closed and legalized red-light districts, Storyville got its name when, in 1896, Alderman Sidney Story attempted to clean up the New Orleans waterfront by restricting prostitution to a circumscribed area. Much to his chagrin, the are came to be called 'Storyville,' and it was so known until the United States Navy closed it for good in 1917, at the time of the country's entry into World War I. Storyville also became famous as the home of New Orleans jazz. Salvaged from a group of glass plates discovered in Bellocq's desk after his death, the portraits constitute the only fragment of his work known to have survived. The present selection was printed especially for this volume by the photographer Lee Friedlander.

The text, edited by John Szarkowski, Director of the Department of Photography at the Museum of Modern Art, is based in part on interviews conducted by Lee Friedlander with persons who were acquainted with Belloccq - a fellow photographer, several musicians, a writer, and a former prostitute who is subject of many of Bellocq's portraits. Sketched in these conversations is the picture of a small, misshapen man - reminiscent of the artist Toulouse-Lautrec - whose craft seems to have absorbed most of his energy and interest and of whom little else is known. His pictures tell us perhaps more about Bellocq than can those who remember him only as an odd character with a camera who kept very much to himself. They reveal an artist of considerable skill and uncultivated but compelling sensibility. 'Seeing his pictures, ' writes Szarkowski, 'we are persuaded that he had knowledge of the nature of other human beings.'

Features stunning aerial photographs of the Deep-water Horizon Gulf oil spill. The full scale of the disaster is revealed in these photographs where the human presence takes the form of tiny toy-like helicopters and ships. Only the billowing smoke from a great fire signals the true destruction caused.

Photographs from the Fringes of the Former Soviet Union. This culmination of a fascinating seven-year photographic journey takes viewers through the countries and enclaves once held in orbit by the immense gravity of Moscow, the nucleus of the Soviet empire. Now each region is on its own in a chaotic political environment, sometimes without diplomatic recognition from neighbors, much less the international community. Abkhazia, an unrecognized country on the Black Sea, was once the natural pearl of the empire, where bellicose generals and productive factory managers came to relax. The spacecraft crash zones between Russia and Kazakhstan reveal a Soviet-inflected version of the entrepreneurial spirit. In Transdniester, a breakaway region of Moldova that survives by functioning as a giant black market for illicit traffic in all manner of goods, from leftover Soviet munitions to bootlegged booze, Bendiksen was expelled on the grounds that he was a "protagonist in an international spy ring." These 62 hauntingly beautiful and often arresting color photographs unsentimentally reveal the often grim circumstances in these half-forgotten regions, uniformly poor and polluted, and often politically unstable. We may not hear much about them today, but we will certainly hear more as the fall of the Iron Curtain continues to reverberate throughout the region.

The year 2008 has witnessed a major shift in the way people across the world live: For the first time in human history more people live in cities than in rural areas. This triumph of the urban, however, does not entirely represent progress, as the number of people living in urban slums--often under abject conditions--will soon exceed one billion. From 2005 to 2007 Magnum photographer Jonas Bendiksen documented life in the slums of four different cities: Nairobi, Kenya; Mumbai, India; Caracas, Venezuela; and Jakarta, Indonesia. His lyrical images capture the diversity of personal histories and outlooks found in these dense neighborhoods that, despite commonly held assumptions, are not simply places of poverty and misery. Of course, slum residents continuously face enormous challenges, such as the lack of health care, sanitation and electricity.

Innovatively designed with 20 double gatefold images that unfold to configure the four walls of each individual's home, The Places We Live tells the story of the denizens within with unusual humanity. Through its inventive design and experiential approach, The Places We Live brings the modern-day Dickensian reality of these individuals into sharp focus. This volume includes an introduction by American author and journalist Philip Gourevitch, editor of The Paris Review and author of Standard Operating Procedure and We Wish to Inform You that Tomorrow We Will Be Killed With Our Families: Stories From Rwanda. An accompanying exhibition will open at the Nobel Peace Center, Oslo in the summer of 2008, and then tour worldwide. A member of Magnum Photos, Jonas Bendiksen, born in Tønsberg, Norway in 1977, has received numerous awards, including the 2003 Infinity Award from the International Center of Photography and first prize in the Pictures of the Year International Awards. His photographs have appeared in National Geographic, Geo, Newsweek and the Sunday Times Magazine, among other publications. His bestselling first book, Satellites: Photographs from the Fringes of the Former Soviet Union, was published in 2006 by Aperture. In 2007, the Paris Review received a National Magazine Award for The Places We Live.

Photographs of contemporary Veles are intertwined with fragments from an archaeological discovery also called ‘the Book of Veles’ ― a cryptic collection of 40 ‘ancient’ wooden boards discovered in Russia in 1919, written in a proto-Slavic language. It was claimed to be a history of the Slavic people and the god Veles himself―the pre-Christian Slavic god of mischief, chaos and deception

Imagined as a sequel to the Old and New Testaments of the Bible by Magnum photographer Jonas Bendiksen, The Last Testament features visual accounts and stories of seven men around the world who claim to be the Second Coming of Jesus Christ. Building on biblical form and structure, chapters dedicated to each Jesus include excerpts of their scriptural testaments, laying out their theology and demands on mankind in their own words.

Through Bendiksen’s personal testimonies and intimate portraits, The Last Testament investigates the boundaries of religious faith, and a world in need of salvation, yearning for a new prophet. Whether escaping an angry mob in the streets with the Jesus of Kitwe, joining a Messianic birthday pilgrimage in Siberia, or witnessing the End of Days with Moses in South Africa, Bendiksen immerses himself among the disciples of each Jesus. He takes at face value that each is the one true Messiah returned to Earth, to forge an account that’s both a work of apocalyptic journalism and of a compelling artistic imagination. A GOST book published by Aperture.

Photographed in Tokyo on three visits over a 15 year period Nothing Eventually records the perplexing extremes that exist in this strange and complex mega city, a place that defies comprehension. The city speaks to the traveller in riddles, nothing is what it seems. Its complexity is baffling and full of contradictions. Village-like suburban streets sit quietly alongside the love hotels, the Pachinko parlours, the boy-girl meet up clubs, the Harajuku girls and the endless neon. Cultural cross-overs are the norm with Japanese tradition blending with the Tokyo Hello Kitty version of US teen Pop Culture. The aged shuffle on while youth push the extremes. The city seems all surface and one is left, on departure, feeling none-the-wiser. This leaves the western traveller feeling that despite the depth of the city’s unique Japanese culture there is an aura of impending doom where the brilliance and glitter of Tokyo’s veneer will inevitably lead to an unhappy ending.

As America huffed its way to the end of the '70s, a change more profound than any one cultural trope's evolutionary death knell was taking place. Perceptively distilled in a new volume of photographs by longtime National Geographic shooter Nathan Benn, Kodachrome Memory: American Pictures 1972–1990 depicts an America of boisterous legend and vibrant regionalism, teetering on the cusp of the coming Information Age's great cultural flattening.

"Dammed" traces the path of the Colorado River, spanning approximately 1,450 miles from its source in Rocky Mountain National Park to its terminus at the Mexico border, navigating through 16 dams and diversions along the way. This project captures the essence of the river, its dams, reservoirs, and the individuals whose lives intersect with its waters. Through environmental photography, the aim is to raise awareness about the growing aridity in the Colorado River basin while also fostering dialogue and education about water resources, not just within the Colorado River watershed, but on a broader scale.

Bergemann chronicled the changing face of postwar Germany in numerous classic portraiture series for Die Zeit and the New York Times Magazine.

In a career spanning more than four decades, Berlin-born photographer Sibylle Bergemann (1941–2010) created an extraordinary oeuvre ranging from fashion and portrait photographs to literary reportage and other series. In the GDR, Bergemann worked both freelance and for various art and culture magazines. After the fall of the Berlin Wall, she cofounded the photographer’s agency Ostkreuz and worked for leading German as well as international magazines such as GEO, Die Zeit, Stern and the New York Times Magazine. This catalog, accompanying the exhibition at Berlinische Galerie, approaches the unique visual universe of one Germany’s most famous photographers on several narrative levels. Including more than 200 photographs from the museum’s own collection as well as from the photographer’s estate, it shows selected images from her early work for the first time.

A retrospective of Phil Bergerson’s career. The first section’s, extensive essay addresses his student days, early teaching and organizing years and his various photographic projects (1967-1989). The second part deals with Bergerson’s pursuit of the human condition found within the American Social landscape. It begins with an historically contextualizing essay, followed by a sequence created from selections from Bergerson’s first two books on America. This is followed by Bergerson’s most recent photographs accompanied by a critical essay.

"Occasionally there arises an event or a moment that one knows immediately will forever mark a place in the history of artistic endeavor. Robert Bergman's portraits represent such a moment. In all its burnished majesty his gallery refuses us unearned solace ad one by one by one each photograph unveils us, asserting a beauty, a kind of rapture, that is as close as can be to a master template of the singularity, the community, the unextinguishable sacredness of the human race." —Toni Morrison, in her introduction to A Kind of Rapture

A Kind of Rapture brings together a selection of 51 color photos from Robert Bergman's two-year travels by car through the Rust Belt (Chicago, Detroit, Cleveland, Pittsburgh, Gary) and the East Coast, taking color pictures of everyday people who moved him profoundly. In fall 2009 and spring 2010, Robert Bergman had his first two solo exhibitions at the National Gallery of Art, Washington, D.C. and PS1 MOMA.

With just a handheld 35 mm camera and natural lighting, Robert Bergman explores his subjects with an evident determination to record a connection, even at the expense of surroundings, which Bergman tends to carefully forfeit as a compositional element. The series documented in this catalogue, produced for Bergman's exhibition at P.S.1 Contemporary Art Center, charts the evolving character of Americans at the turn of the millennium. Of this series, Toni Morrison has written: "Occasionally there arises an event or a moment that one knows immediately will forever mark a place in the history of artistic endeavor. Robert Bergman's portraits represent such a moment, such an event. In all its burnished majesty his gallery refuses us unearned solace and one by one by one each photograph unveils us, asserting a beauty, a kind of rapture, that is as close as can be to a master template of the singularity, the community, the unextinguishable sacredness of the human race."

Louis Carlos Bernal: Monografía is a landmark survey that provides a profound exploration of one of the most significant American photographers of the twentieth century. Known for his intimate portrayals of barrio communities in the Southwest United States, Bernal’s work from the late 1970s and 1980s evokes a deep connection to Catholicism, Indigenous beliefs, and popular practices tied to the land. His photography became a powerful tool for affirming the dignity and visibility of individuals and communities often marginalized and unseen.

Working in both black and white and color, Bernal’s images capture the interiors of homes and the people who inhabit them, surrounded by personal objects—family portraits, religious icons, small shrines adorned with flowers, and tokens of contemporary popular culture. These spaces are imbued with personal, cultural, and spiritual significance, and Bernal’s photographs transform everyday life (la vida cotidiana) into a vision of grace and resilience.

In this first major scholarly account, historian Elizabeth Ferrer presents a definitive exploration of Bernal’s life and work. Louis Carlos Bernal: Monografía is essential reading for anyone interested in the power of photography to reflect cultural identity and everyday beauty. It solidifies Bernal’s place as a pivotal artist in American photography.

Hailed by Ansel Adams as "the greatest photographer of the nude," Ruth Bernhard is an icon in the photographic world. As told by Ruth in countless conversations with close friend and biographer Margaretta Mitchell, this thoughtful, illustrated memoir is a true tribute to the legendary artist. Reminiscent of a personal scrapbook, the engaging text is adorned with an abundance of fascinating memorabilia and nostalgic snapshots. Woven throughout is correspondence between Ruth and her mentor Edward Weston, as well as interviews with friends, colleagues, students, and her long-time printer. Also included is a special section entitled "Workshop," which surveys Ruth's acclaimed teaching methods. Coinciding with an exhibition in honor of Ruth's 95th birthday, Ruth Bernhard: Between Life and Art is a beautiful celebration of an extraordinary woman.

For over half a century, acclaimed photographer Ruth Bernhard has worked to "simplify, isolate, and give emphasis to form with greatest clarity" in her radiant photographs of the female nude. Now, with Chronicle Books' timely reissue of her best-selling volume, The Eternal Body, Bernhard's most evocative images are once again available in a superb collection, complete with an insightfill text, that pays tribute to a living legend. Hauntingly sensual yet classically reserved, the book's ethereal duotone photographs appear to be illuminated from within so that even the simplest lines of the human form -- a draped torso, a curved neck, an angled limb -- take on a complexity not often seen in work of this kind. A master artist whose technical prowess places her among the ranks of the greatest photographers of our time, Ruth Bernhard has created a masterpiece of expression and sensitivity in The Eternal Body.

Most of the photographs in ‘The English’ were taken during 1975, although he photographed for two and a half years in total. Predominantly turning his camera on the people, rather than the landscapes, he photographed old and young of all classes; at home, at work, at leisure and the result is a sensitive portrayal of the nation or as Berry says “a personal exploration of English life.”

In his foreword to the book, Berry writes “thought I was born and grew up in the North of England, I was in the odd situation of being English and knowing very little about England, having spent much of my life abroad.” After a year documenting he concludes “England has changed less in the 15 years away than I thought – or at any rate what I photographed had changed less than I had expected. Also, England is the easiest country in the world in which to take photographs – in the way people react or rather do not react in the photographers’ presence.”

Most of the photographs were taken on Leica cameras with 28mm, 35mm and 50mm lenses on Ilford film (HP4 an HP5).

Over a span of 15 years, acclaimed Magnum photographer Ian Berry embarked on a global journey to capture the intricate connection between landscape, life, and water. This newly curated book presents a curated selection of images resulting from his odyssey, collectively narrating the narrative of humanity's intricate dance with water―a relationship that now stands at a critical juncture as climate change underscores the delicate balance between water and life. The photographs within these pages reveal the paradox of our engagement with water―from its role in ancient religious rites and community building to its exploitation and the dire consequences of both scarcity and abundance. They portray scenes such as Hindus performing rituals in the Ganges, shellfish harvesters along the coast of Spain, polluted seas encircling oil installations in Baku, Azerbaijan, and fishermen in Greenland navigating through melting ice. From landscapes rendered desolate by drought in South Africa to villages transformed into islands by floods in Bangladesh, Berry's lens captures the myriad ways in which water shapes our existence. This book is not a political manifesto nor an exhaustive compendium of humanity's interaction with water, but rather a poignant collection of stories that illuminate how water influences our lives and what lies ahead for our shared future.

This is a collection of work by photographer Ian Berry which reflects his concern with everyday life and the human condition, and segregation in South Africa. Berry has continued visiting and working in each of the different communities throughout the political and social conflict created by apartheid.

This book also contains three essays which provide a chronology of his time spent in the country.

How to capture the City That Never Sleeps in chilling moments of serenity? Award winning photographer Jean-Michel Berts does just that in this epic visual showpiece of to the world greatest city. At dawn, the streets of New York resonate with a life of its own: muted, subdued, and mysterious. That s precisely the moment in which Berts has elected to capture it.

On January 9, 1974, Joseph Beuys (1921–86), together with Klaus Staeck and Gerhard Steidl, traveled for the first time to America. This trip was a carefully planned performance that took place in airplanes, taxis, hotels, universities and galleries, and was comprehensively documented in photographs and video. The tour began with a lecture at New York’s New School, visited by artists including Claes Oldenburg, Lil Picard and Al Hansen; the next stop was Chicago, the site of more controversial lectures and an unexpected performance reenacting the death of John Dillinger; then Minneapolis, with more conferences and discussions.

Upon returning to Germany, the hundreds of photographs and many hours of videotape were assembled, but it was only in October 1985, shortly before his death, that Beuys finalized the sequence for the book. Originally published in 1987, this new Steidl edition has been wholly reconceived by Klaus Staeck and Gerhard Steidl.

Mincéirs are a traditionally nomadic ethnic minority indigenous to Ireland, referred to by the Irish Government and the settled population as Irish Travellers. The Mincéir is a true name of the Irish travelling community in their own language which is called Cant or Gammon. Although the Irish Travellers speak English, the lingo they use amongst each other at times is Cant/Gammon. The name Traveller was put upon them because of their nomadic identity.

Back in the 5th century the term these groups of people were called Whitesmiths because of their association and skills as tin-smithing. Over the years the Irish Travellers have been called Tinkers, Knackers and Gyspy by some of the settled population which the Irish Travellers have found very offensive and racial. Any settled person who is not racist would use the term Irish Traveller or Travellers which is politically correct. Unfortunately many of the Irish Travellers are subjected to the continuous use of these offensive labels.

For the past 15 years, Dawoud Bey has been making striking, large-scale color portraits of students at high schools across the United States. Depicting teenagers from a wide economic, social and ethnic spectrum--and intensely attentive to their poses and gestures--he has created a highly diverse group portrait of a generation that intentionally challenges teenage stereotypes. Bey spends two to three weeks in each school, taking formal portraits of individual students, each made in a classroom during one 45-minute period. At the start of the sitting, each subject writes a brief autobiographical statement. By turns poignant, funny or harrowing, these revealing words are an integral part of the project, and the subject's statement accompanies each photograph in the book. Together, the words and images in "Class Pictures" offer unusually respectful and perceptive portraits that establish Dawoud Bey as one of the best portraitists at work today.

Recipient of a 2017 MacArthur Foundation "genius grant," Dawoud Bey has created a body of photography that masterfully portrays the contemporary American experience on its own terms and in all of its diversity.

Dawoud Bey: Seeing Deeply offers a forty-year retrospective of the celebrated photographer's work, from his early street photography in Harlem to his current images of Harlem gentrification. Photographs from all of Bey's major projects are presented in chronological sequence, allowing viewers to see how the collective body of portraits and recent landscapes create an unparalleled historical representation of various communities in the United States. Leading curators and critics-Sarah Lewis, Deborah Willis, David Travis, Hilton Als, Jacqueline Terrassa, Rebecca Walker, Maurice Berger, and Leigh Raiford-introduce each series of images.

Revealing Bey as the natural heir of such renowned photographers as Roy DeCarava, Walker Evans, Gordon Parks, and James Van Der Zee, Dawoud Bey: Seeing Deeply demonstrates how one man's search for community can produce a stunning portrait of our common humanity.

Dawoud Bey (b. 1953) is an American photographer best known for his large-scale portraits of underrepresented subjects and for his commitment to fostering dialogue about contemporary social and political topics. Bey has also found inspiration in the past, and in two recent series, presented together here for the first time, he addresses African American history explicitly, with renderings both lyrical and immediate. In 2012 Bey created The Birmingham Project, a series of paired portraits memorializing the six children who were victims of the Ku Klux Klan's bombing of Birmingham, Alabama's 16th Street Baptist Church, a site of mass civil rights meetings, and the violent aftermath. Night Coming Tenderly, Black is a group of large-scale black-and-white landscapes made in 2017 in Ohio that reimagine sites where the Underground Railroad once operated. The book is introduced by an essay exploring the series' place within Bey's wider body of work, as well as their relationships to the past, the present, and each other. Additional essays investigate the works' evocations of race, history, time, and place, addressing the particularities of and resonances between two series of photographs that powerfully reimagine the past into the present.

From 1988 to 1991 Dawoud Bey made a series of portraits of African Americans in the streets of various American cities. Using a large format tripod mounted camera and a unique positive/negative Polaroid film that created both an instant print and a reusable negative, he asked a cross section of the populations of these communities to pose for him, creating a space of self presentation and performance in the streets of the urban environment. As part of every encounter, Bey gave each person a small black-and-white Polaroid print for themselves as a way of reciprocating and returning something to the people who had allowed him to make their portrait. Defying racial stereotypes, the resulting portraits reveal the Black subjects in all of their psychologically rich complexity, presenting themselves openly and intimately to the camera, the viewer, and the world.

Give My Regards To Elizabeth is a record of the German photographer Peter Bialobrzeski's time in England in the early 1990s, when having finished his studies at the Folkwang School, Essen he was awarded a one year DAAD stipend at London College of Communication.
Whilst Germany was experiencing a booming, optimistic post-unification economy, the UK was then a country and an economy still in recession, with growing unemployment and declining optimism. Thatcherite capitalism had left its deep marks on people and places. For Bialobrzeski the UK also seemed to still be a class-ridden society, something that he had not previously experienced in Germany.
Influenced by the British colour photography of the 1980s, the book and the photographs present a fascinating historical document. In some images one can already see the ideas and visual concepts that would, twenty books and numerous exhibitions later, result in Bialobrzeski establishing his reputation as one of today's leading European photographers.
Peter put together the images he shot in the form of two handbound book dummies and now, 27 years later, the work is published as an almost facsimile version of his original layout. Peter Bialobrzeski's work has been exhibited in Europe, the United States, Asia, Africa and Australia.
He is the recipient of numerous awards, including the prestigious World Press Photo Award (2003 and 2010). In 2012 he received the Dr. Erich Salomon Award from the German Society of Photographers. Peter currently teaches at the HBK in Bremen, Germany.

Northern Ireland will have to leave the European Union due to UK's Brexit although a majority of its citizens voted to remain. There is a serious concern that Brexit will threaten the Peace Agreement of 1998 that ended the armed conflict between Protestant Unionists and Catholic Nationalists who live in homogeneous neighbourhoods that are divided by walls still today. Photographer Toby Binder has been documenting the daily life of teenagers in British working-class communities for more than a decade. After the Brexit referendum he focused his work on Belfast in Northern Ireland.
The images of the book Wee Muckers - Youth of Belfast were photographed in six different neighbourhoods of Belfast. On both sides of the "Peace-Walls". Each neighbourhood will be presented in one separate chapter showing the daily life of local youngsters. Problems they struggle with are similar - no matter which side they live on. And whatever the effects of Brexit will be, it's very likely that they will strike especially young people from both communities.

German photographer Ilse Bing (1899-1998) has secured her place as one of the major photographers of the 20th century. Her pioneering images during the inter-war era reveal a modern vision influenced by the impact of both the Bauhaus and Surrealism. Alongside her personal work she produced images in the fields of photojournalism, architectural photography, advertising and fashion, and her work was published in the major magazines of the period and exhibited in France and Germany. She moved from Frankfurt to Paris in 1931 but when the city was taken by the Germans during World War II she and her husband, who were both Jews, were expelled and interned in the South of France. They emigrated to New York in 1941 and she lived there until her death in 1998. Since the 1970s when she first exhibited at MOMA, New York, there has been a burgeoning interest in her work and, more generally, in European photography of the 1920s and 1930s. As one of the key creative forces of the period, Bing becam

Published in conjunction with a traveling exhibition which opened at the New Orleans Museum of Art on May 25, 1984 and closed at the International Center of Photography in New York on February 23, 1986.

While Frankfurt-born Ilse Bing's 1931 Self-Portrait with Leica is an icon of modern photography, her exquisite black-and-white compositions, created mostly during her years in exile in Paris and New York, have not received nearly the attention they deserve. This first-ever monograph of the photographer (1899-1998) dubbed the "Queen of the Leica" is cause for celebration on two counts: Those with an interest in Bing's work now have an authoritative source to consult; and students of the form now have proof that Bing ranks alongside Brassaï, Man Ray, and Henri Cartier-Bresson in the pantheon of 20th-century avant-garde photography. This book, based largely on unpublished material from Bing's personal archive, combines biography with an in-depth study of her work in its historical context, creating a portrait of the artist as revealing as it is overdue.

Bulfinch has published yet another excellent monograph, this one on Swiss photographer Bischof, who has received less attention than such fellow Magnum photographers as Henri Cartier-Bresson and Robert Capa. Bischof's images were influenced by the major photo-movements of his time: the formal concepts of Das Neues Sehen (New Vision), the surrealism of Man Ray, and the documentary tradition of photojournalism. From the 1940s through the early 1950s, he covered World War II, the bombing of Hiroshima, and the Korean War for Life , Paris-Match , and other publications; his most famous series, "Famine in India," appeared in Life in 1951. This first major compilation of Bischof's work is nicely complemented by the text, a joint effort by son Marco and Swiss art historian Magnaguagno that vividly integrates biography and history. It belongs in all photography collections.
-- Kathy J. Anderson, Onondaga Cty.

Award-winning photographer Matt Black traveled over 100,000 miles to chronicle the reality of today's unseen and forgotten America.

When Magnum photographer Matt Black began exploring his hometown in California's rural Central Valley-dubbed "the other California," where one-third of the population lives in poverty-he knew what his next project had to be. Black was inspired to create a vivid portrait of an unknown America, to photograph some of the poorest communities across the US. Traveling across forty-six states and Puerto Rico, Black visited designated "poverty areas," places with a poverty rate above 20 percent, and found that poverty areas are so numerous that they're never more than a two-hour's drive apart, woven through the fabric of the country but cut off from "the land of opportunity." American Geography is a visual record of this five-year, 100,000-mile road trip, which chronicles the vulnerable conditions faced by America's poor.

This compelling compilation of black-and-white photographs is accompanied by Black's own travelogue-a collection of observations, overheard conversations in cafe´s and public transportation, diner menus, bus timetables, historical facts, and snippets from daily news reports. A future classic of photography, this monograph is supported by an international touring exhibition and is a must-have for anyone with an interest in witnessing the reality of an America that's been excluded from the American Dream.

The companion volume to Matt Black's critically acclaimed American Geography presents a deeper view of his six-year odyssey documenting poverty in the United States.

During his six-year journey across the United States creating the project that became American Geography, Matt Black collected objects in the locations he visited. Each location is designated as an area of "concentrated poverty"―a US Census definition for places with poverty rates of 20% or higher. Over time, the objects he found and collected began to take on symbolic significance.

As Black crisscrossed the United States, his collection grew into the thousands: plastic spoons and forks, lottery tickets, liquor bottles, lighters, and matchbooks. Some items were important, like job applications, medical paperwork, driver’s licenses; some were lost personal effects, like family photographs, bracelets, eyeglasses, notes, and letters. And there was the detritus of labor: work gloves, broken tools and supplies, wire, bolts, padlocks, and bent nails.

This new monograph, presented as a companion volume to Black’s seminal photobook, American Geography, presents photographs of these objects, assemblages, and collages, as well as previously unpublished images from American Geography, and the voices of those who are cut off from the "American Dream."

These humble, discarded objects form a portrait of America assembled from its roadways and sidewalks, an archaeology of dispossession. For those who follow Black’s photographic work and his unflinching critique of inequality in the United States, this book is an essential volume.

The Dutch saying "a Jan Steen household" originated in the seventeenth century and has come to refer to a home in disarray, full of rowdy children and boisterous family gatherings. The paintings of Steen, along with those of other Dutch and Flemish genre painters, are the direct inspiration behind the layered domestic scenes of Julie Blackmon's photographic work. Raised as the oldest of nine children, and the mother of three herself, Blackmon takes an approach to her work that is at once autobiographical and fictional. According to Anne Wilkes Tucker of The Museum of Fine Arts Houston, Blackmon has "taken a subject that is ripe for cliché--mother photographing children--and through the subtle, digital manipulations, the use of color and highly graphic images, she's given it humor and edge and taken the subject somewhere fresh."

Julie Blackmon has transfixed the contemporary art world with images of her children, nieces, nephews and friends (and their children). Following the success of the bestselling volume Domestic Variations (2009), Homegrown shows how Blackmon's style has evolved, as she continues to capture the tensions between the harmony and disarray of everyday domestic life. Though her photographs continue to be undeniably contemporary, references to classic painting and portraiture can be detected: the influence of seventeenth-century Dutch painter Jan Steen mixes with more contemporary figures, such as Balthus, Edward Gorey, Tim Burton and Federico Fellini. Included in this new volume are 45 works made from 2009-2014, along with an introduction by renowned poet Billy Collins and an interview by the actress Reese Witherspoon.

A photographic fever dream of America’s Midwest, from the author of Homegrown and Domestic Vacations.

For her third monograph, Midwest Materials, Julie Blackmon has created a new body of work that sparkles with the wit, dark humor and irony for which the photographer has gained such renown. Finding insight and inspiration in the seeming monotony of her “generic American hometown” of Springfield, Missouri, Blackmon constructs a captivating, fictitious world that is both playful and menacing. “I think of myself as a visual artist working in the medium of photography,” Blackmon notes, “and my assignment is to chart the fever dreams of American life.” Midwest Materials follows Domestic Vacations (Radius Books, 2008) and Homegrown (Radius Books, 2014).

Documentary travel photography reflecting on the human condition.

Swedish photographer and filmmaker Stefan Bladh (born 1967) presents work from his travels between 2002 and 2018. Informed by Bladh’s background in storytelling, this documentary photo work raises existential questions and examines the relationship between the inner and outer worlds of his subjects.

Published to mark the centenary of Joseph Conrad's "Heart of Darkness" this large format book of black and white photographs of contemporary Congo combines haunting images by Marcus Bleasdale with an essay by Jon Swain of London's Sunday Times. Each photograph is accompanied by a quote from the classic novel and extended captions detail life today in the former Belgian colony. This book is based on Marcus Bleasdale's travels throughout Congo between 2000 and 2002. 82 tri-tone photographs. 290mm wide x 245mm deep.

'The continuing human tragedy of Congo is not a statistic. It is a continuing human tragedy. It is fourteen hundred and fifty tragedies every day. It is countless more than that if you includ the orphaned, the bereaved, the widowed, and all the riples of truncated lives that spread from a single death. It is you and me and our children and our parent, if we had the bad luck to be born into the world this book portrays. But Congo has one secret that is hard to pass on if you haven't learned it at first hand. Look carefully and you will find it in these pages: a gaiety of spirit and a love of life that, even in the worst of times, leave the pampered Westerner moved and humbled beyond words." Excerpt from the foreword.

By the mid-1950s, Erwin Blumenfeld's fame had spread throughout the USA and Europe to make him the world's most highly paid photographer. This study discusses the life and work of this extraordinary man. Highly inventive, he developed his own idiosyncratic language, using solarization and negative printing, double and multiple exposures and a host of hybrid techniques. The work also brings together a retrospective selection of Blumenfeld's diverse achievements including drawings, collages and photographs of all genres.

German-born photographer Erwin Blumenfeld began his career within Dada circles in 1930s Berlin and Paris. Later, he was able to garner success as a famed fashion photographer by working for US magazines as Vogue and Harper's Bazaar and pioneered forms of modern advertising in his prints for cosmetics. Blumenfeld's disdain for mainstream conformity was uncompromising and infused his work with an experimental energy. With daring in-camera optical effects and precise control of lighting and processing, he was a technical genius, never leaving any detail to chance. Working mainly in color, his innovative style and legacy continue to shape contemporary photography to this day.

Erwin Blumenfeld was one of the most sought-after and best-paid fashion photographers of his time, shooting for Vogue, Harper's Bazaar, Cosmopolitan and Life. Influenced by the surrealists and the artistic avant-gardes, he challenged the genre's conventions in his early fashion photographs with fascinating originality and perfection. Although Blumenfeld left to posterity a considerable oeuvre of color photographs, so far only his magazine spreads were really known. For this volume, the original slides were recovered from Blumenfeld's extensive archive and digitally reconstructed. His compositions can thus be seen for the first time in their original form and colorfulness.

The remarkable life and career of pioneering photographer Erwin Blumenfeld has been well documented. A pre-war visit to New York established his reputation, once he returned in 1941 he rapidly became one of the best known and most creative fashion photographers anywhere in the world, creating iconic images using ground breaking techniques and stretching the boundaries of the medium in a way that no other photographer had done before. The story of Blemenfeld the artist in the 1920s and '30s is less well known. Paintings and drawings have survived from his earliest years in Berlin and then in Amsterdam and Paris he experimented both with photography, photomontage and collage. He embraced Dada-ism and in many ways was a true Surrealist both in composition and technique. His images we often controversial as he confronted the profound social upheaval which took place in the aftermath of the First World War. And in Paris in 1940 the outbreak of war again saw him and his family forced to flee, eventually arriving in New York where he continued to innovate and experiment, both in still photography and film.

A photographic encyclopedia of Western female hairstyles across the ages.

In The Hunt, London-based French photographer Céline Bodin (born 1990) creates a concise survey of female hairstyles across various periods in time, within the framework of Western culture. The series reflects upon the pictorial qualities of hair: studying its materiality and its ability to convey identity, while also recalling the Victorian “hair medallion”―a small, decorative keepsake made from an ornate curl of a loved one's hair, a pre-photographic memento that draws connections between portraiture, identity and memory.

The figures appear as ornate statues, each characterized by the aesthetic associations and revisited stereotypes of their hairstyle. The anonymity of the images presented in The Hunt activates the mind's associative aptitude, drawing upon one's own fantasies and projections of sensuality, innocence, order, freedom, frivolity and social rank. Echoing classical art, these images refer to a mystical icon rather than presenting a portrait of an individual.

Kingdom of Sand and Cement by Peter Bogaczewicz explores the challenges Saudi Arabia faces today as it rapidly transforms from a conservative and tribal desert culture to an influential world power. In less than a century the Saudis have experienced profound change as they transitioned from living in traditional mud buildings to commencing work on the world's tallest skyscraper. Examining this legacy through large-format color photographs, Peter Bogaczewicz documents a country of sharp contrasts where visual traces of an old reticent society can be seen in the midst of a burgeoning modern culture reflecting the ambitious agenda of the new King and his charismatic son and successor, the Crown Prince, a decisive risk-taker whose bold policies have received a warm welcome by some, yet have alienated others.

In Martin Bogren’s Lowlands we are presented with a story narrated by images that resides between the documentary, the dreamy, and the personal. For several years, Bogren returned to his childhood village in Skåne. This beautiful book is a personal depiction of his memories and of the people still living in the village. Bogren’s black-and-white photographs create a feeling of stepping into another world where time stands still.

Martin Bogren’s compact collection of black and white photographs, captures the joy and playfulness surrounding a group of Indians first visit to the Indian Ocean after they travelled more than 1000 miles by bus from the province of Rajasthan, India.

Youngsters meet up on the village outskirts, racing their tractorcars, burning tyremarks into the warm summer asphalt. The smell of rubber, oil and souped-up engines fills the air when the engines speed. The cars form into a circle as the boys take turns in the middle. It is a game – showing their skills – showing off to the girls. Strength is measured and proved – as if in a strange ritual mating dance.

The car of choice is known as an EPA tractor, a Swedish term for an older car converted for use as an agricultural machine. These became common in the 1930s and were previously called ‘car-tractors’. During the 1950s EPAs had almost died out as new tractors had come down in price and become more available. The EPAs were almost forgotten until youths discovered that the EPA law offered them a way to drive, even as 15 year-olds – and so during the 1960s and 1970s they became increasingly popular in rural areas. Tough rules are in force to restrict the gearing on the cars and their speed is supposed to be limited to 30 km per hour. There is also no suspension on the rear wheels, making them extremely uncomfortable to drive at high speed. However, the boys are skilled with cars and very creative when it comes to finding ways to bypass these legal and physical restrictions that limit the power and speed of the engines. The solutions they come up are numerous and are closely guarded secrets.

he San Francisco Bay's salt ponds: A poweful photo story of nature's ability to regenerate and renew Salt of the Earth is a striking monograph, which skillfully captures humanity’s impact on the environment. From ground-level perspectives to aerial shots, Barbara Boissevain’s unique compositions of industrial salt ponds, accentuate the surreal qualities of landscapes altered by human activity. The artist’s intention extends beyond crafting captivating visuals; her work seeks to raise awareness of pressing environmental concerns and inspire engagement in conservation- related activism. Boissevain’s photographs of otherworldly landscapes compel us to reflect on the delicate balance between creation and devastation. Her powerful imagery challenges viewers to reassess their role in shaping Earth’s future, ultimately urging us to confront the consequences of our actions and actively participate in preserving the environment for generations to come.

Liu Bolin first became invisible in 2006. When the artist village in Beijing where he worked as a sculp­tor’s assistant was demolished, he decided to protest. He camouflaged himself in the ruins with acrylic paints and photographed the finished product, marking the first of his Hiding in the City series. Since then, he has “disap­peared” in many different places around the world—from politically fraught areas in China to grocery stores, toy stores, and more. His work protests specific political acts of the Chinese government and offers commentary on consumer culture. This comprehensive book showcases Bolin’s most striking photographs and sculptures and explores the techniques he uses to create his unforgettable art. Bolin has also helped other people disappear, including the members of Bon Jovi for the band’s recent album cover, as well as the fashion designers Jean Paul Gaultier, Missoni, Valentino, and more, and a selection of these photographs is featured throughout the book.

Liu Bolin is a chameleon. He covers himself with acrylic paints, blending in seamlessly with the landscape surrounding him and photographs the finished product. In his body of work called "Hiding in the City," he has disappeared in many different kinds of places around the world--from politically fraught areas in China to grocery stores, toy stores and more. Hiding becomes a strategy of visibility, a fight against censorship waged by a man who came of age in the China of the nineties, under the shadows of the Cultural Revolution. His work protests specific political acts and offers commentary on our consumer culture. Through his unforgettable art, Liu Bolin highlights what is present, without creating any original forms or artifacts, but all the same powerfully revealing reality to the onlooker. This deluxe edition, packaged in a red Balacron clam-shell box, contains a signed print & an additional booklet. Limited Print.

Published in conjunction with the exhibition "Liu Bolin Lost in Art" at Eli Klein Fine Art, in March 2012. This hardcover book contains gorgeously reproduced images of Liu Bolin's most highly recognizable series. The book includes an essay by Michelle Marie Roy, curator of photography at Fotografiska Museum, Sweden, as well as texts from the artist about each of his four series of photographs in both English and Chinese.

From street scenes to portraits, landscapes to architectural studies, this fascinating collection of photographs allows us to glimpse a time and way of life now past: Ottoman Syria, Palestine, and Egypt in the latter half of the nineteenth century. P. Felix Bonfils was the first French photographer, and one of the first European photographers, to settle in the Near East, establishing a studio in Beirut in 1867. He is credited with introducing the genre of Near Eastern photographic portraiture, and the selection published here, taken by Felix, his wife Lydie, and his son Adrien, includes remarkable portraits of Bedouin, Ottoman officials, Shiite Muslims, and village peasants, as well as examples of the clothing worn by different sections of society. While many of these and other pictures were posed and made use of models, and while some have been criticized for pandering to the taste for the exotic prevalent in Europe at the time, the Bonfils collection is nevertheless an invaluable social record, containing many sensitive ethnographic portraits and objective and unobtrusive field-shots.

The Bonfils landscapes, panoramic views, and architectural studies of Near Eastern cities and monuments are also important historical records of places and buildings that have deteriorated, disappeared, or been reconstructed since the images were made. Many of these photographs are masterpieces of geometric composition, carefully framed and occasionally making use of models to suggest scale, while the exposure time of others allowed the movement of objects and water to be captured. Several photographs also capture the contrast between the traditional and the modern, a Nile bark juxtaposed with Cairo’s Qasr al-Nil drawbridge in British Egypt being one example.

The fifty-nine black-and-white and color images presented here have been compiled from original Maison Bonfils albumen-print photographs and photochromes in the archival collections of the University of Pennsylvania Museum of Archaeology and Anthropology in Philadelphia. Whether seen as historical documents, works of art, commercial products, or all three combined, one thing is certain: they capture the monuments, landscapes, and people of the Eastern Mediterranean at the end of an era, a society about to be changed forever by Western technology, culture, and colonial rule.

The Museum Publishers large notebook provides the ultimate solution to note taking, providing vast amounts of writing space. The Notebook origins go back in time to the famous notebooks used by painters, writers and intellectuals. Like Ernest Hemingway who said 'I belong to this notebook and this pencil'. The very important notebook of Charles Darwin with scientific discoveries and general thoughts. Beatrix Potter who kept notebooks on various topics including cut-outs and sketches. The images of Ludwig van Beethoven show him with notebook in hand. And not to forget the famous notebooks of Leonardo Da Vinci.

Book cover for Robert Sobieszek "Remembrances of the Near East: The photographs of Bonfils, 1867-1907" (International Museum of Photography at George Eastman House, 1980)

In Le Mal D'Afrique, renowned photojournalist, Guillaume Bonn, treats viewers to an unprecedented and extraordinarily diverse glimpse into present day Africa, while also sharing the personal context of being born and raised there and how this history informs his remarkable photographs. Bonn's pictures explore Africa's painful history and his family's role in it. He grapples as well with the many challenges Africa faces in the future, in holding onto its traditions, in maintaining its natural beauty and in grappling with urban sprawl. These threats to the Africa Guillaume Bonn has come to know so well are here captured and reproduced for the first time.

Malagasy photographer Guillaume Bonn (born 1970) has recorded social and political events in Congo, Rwanda, Tanzania and Somalia. Bonn’s photographs in Mosquito Coast present Africa’s vibrant culture in the midst of modern skyscrapers, highways and purported technical improvements.

When American photojournalist Nancy Borowick’s (born 1985) parents Howie and Laurel were diagnosed with stage-four cancer and underwent simultaneous treatment, she did the only thing she knew how to do: she documented it. By turning the camera on her family’s life during this most intimate time, Borowick learned a great deal about herself, family and relationships in general. Borowick's father died in 2013, and her mother followed 364 days later. The lessons she garnered from Howie and Laurel were plentiful: always call when the airplane lands, never pass on blueberry pie, and most importantly, family is love and love is family.

A follow-up to her successful 2015 book The Meadow, this project focuses on Boston-based photographer Barbara Bosworth's (born 1953) images of the moon, sun and sky. Made over the past several years with an 8x10 camera, the star images are hour-long exposures with the camera mounted on a clock drive so that the stars are rendered as dots instead of streaks. The sun and moon images are made with a telescope attached to Bosworth's camera.

Speaking of her inspiration for these series, Bosworth writes: "Every clear night of the summer my father would go out for a walk to look at the night sky. Many nights I would join him. We knew the North Star, and the Big Bear, but the rest became our own. At times we stood still for an hour or more to watch for shooting stars. We had no agenda. It was all about amazement at a sky full of stars. With this sense of wonder, I began making photographs of the Heavens. In these days of the Hubble Telescope and its spectacular imagery from deep space, I wanted a reminder of the mystery of our own night sky."

The book also includes facsimile editions of three artist's books that Bosworth has made as a nod to Galileo's 17th-century publications in which he first observed the skies through a telescope.

In a career that spanned more than fifty years, photographer Edouard Boubat (1923-1999) captured the magic of fleeting moments with tenderness and warmth. A contemporary of Robert Doisneau and one of the most influential French photographers of the 20th century, Boubat made elegant, poetic pictures, beginning with images of everyday life in his native city of Paris and moving on to striking pictures taken on his travels to Kenya, India, Spain, Portugal, Brazil and China. His photographs were the subject of a major exhibition at the Centre Georges Pompidou in 1976, the same year he published the first major book on his work. Now, five years after his death, this luxurious volume presents the entire range of Boubat's work in 300 beautiful tritone reproductions. All of his most famous photographs are here - including those of his muse, Lella - along with texts on the artist by writers Michel Tournier, Jacques Prevert and Marguerite Duras, and Boubat's own writings and notebook excerpts. Developed in close collaboration with Boubat's son, Bernard, this authoritative collection is the only existing monograph on this enduringly popular, but until now strangely unsung, photographer.

In a career that spanned more than 50 years, photographer Édouard Boubat (1923-1999) captured the magic of fleeting moments with tenderness and warmth. A contemporary of Robert Doisneau and one of the most influential French photographers of the 20th century, Boubat made elegant, poetic images, beginning with intimate views of everyday life in his native city of Paris and moving on to striking pictures taken on his travels in Kenya, India, Spain, Portugal, Brazil, and China. His photographs were the subject of a major exhibition at the Centre Georges Pompidou in 1976, the same year he published the first major book on his work.

A photographer who sought to create enduring images of the fleeting beauty which he saw in everyday life. Boubat believed goodness was quite as real and common as evil, and quite as valid a subject for the artist.
He took an almost mystical view of photography, keeping faith in that moment of grace when an unseen hand would bring the camera and subject together in the perfect encounter. "All my photographs, he said, are about meetings and coups de foudre - love at first sight." It was no use, he insisted, trying to arrange or calculate such moments; the photographer had to be ready at all times, as an archer must have his bow tense before releasing the arrow. Only in that way could he hope to catch the split second that illuminated a life, or an image that symbolised an age.
Some of Boubat's pictures achieved almost mythic status. These included a little girl among shrivelled leaves, an old woman seemingly turned to stone on a park bench and two little girls with arms around one another in a Paris street.

A searing, diaristic portrayal of a city and society in revolution by Magnum nominee Myriam Boulos.

In her debut monograph, Myriam Boulos casts an unflinching eye on the revolution that began in Lebanon in 2019 with protests against government corruption and austerity—culminating with the aftermath of the devastating Beirut port explosion of August 2020. She portrays her friends and family with startling energy and intimacy, in states of pleasure and protest. Boulos renders the body in public space as a powerful motif, both visceral and vulnerable in the face of state neglect and violence. Of her approach to photography, Boulos states: “It’s more of a need than a choice. I obsess about things and I don’t know how to deal with these obsessions in any other way but photography.” Featuring a contextual essay by noted writer Mona Eltahawy, What’s Ours showcases Boulos’s strident and urgent vision.

With the eye of a painter Guy Bourdin created images containing fascinating stories, compositions and colours. Using fashion photography as his medium, Bourdin explored the provocative and the sublime with a relentless perfectionism and sharp humour. Famed for his suggestive narratives and surreal aesthetics, Bourdin radically broke conventions of commercial photography and in the process captured the imagination of a generation. The late 1970s, recognised as the high note of his career, is the focal point of this new edition, which combines in one book the two volumes of the original 2006 publication. The first part of A Message for You shows the legendary, nearly forgotten images and rarely seen variants of a single model, Nicolle Meyer. She appeared in over thirty of Bourdin's famous campaigns for Charles Jourdan and in iconic French Vogue editorials. The second part of the book explores Bourdin's pictorial landscape, a collage of images that maps his artistic vision. The texts, Polaroids, poems, sketches and contact sheets unfold through Nicolle Meyer's memories and capture moments of Bourdin's work in progress.

Protégé of Man Ray, principal photographer of Vogue France, inspiration for the fashion world’s favorite photographers, and immortalized in the collections of museums around the world, Guy Bourdin irrevocably changed the face of modern photography. Guy Bourdin: Image Maker is an exploration of the photographer’s iconic imagery, featuring archival material yet unpublished, including original, never-before-seen Vogue layouts, hand-clipped and annotated layouts, Polaroids, and paintings.

Intriguing, revolutionary and undoubtedly one of the most influential fashion photographers of the twentieth century, Guy Bourdin was a groundbreaking image-maker, whose work has achieved a cultlike following. His striking use of color, suggestive narratives and surrealist aesthetics established a visual language entirely his own. Though best known for his color images, Bourdin launched his career in black and white in the early 1950s. Untouched explores this largely unseen work and gives insight into the early development of his photographic eye. The carefully constructed images, initially conceived as an exhibition series, reveal his artistic motivation years before he began working on assignments for French Vogue and Photo Femina. In both concept and composition, these photographs display his fascination with striking graphic layouts and narrative cinematic portraiture. Capturing people he encountered on the streets of Paris, Bourdin trained his eye to transcend the realism of the medium, developing a unique perspective through unconventional manipulations of the picture plane.

An inspiring biography of one of the most successful photojournalists of the 20th century, this life of Margaret Bourke-White (1904-1971) is exactly the type of book teachers and parents of adolescent girls are looking for. It would be a mistake to treat this as a book for girls only, however, when so many great men--Bourke-White's father, her second husband, several darkroom technicians, and even General Jimmy Doolittle, commander of the 12th Air Force in World War II--figure prominently in it as mentors, teachers, colleagues, and friends. Author Susan Goldman Rubin gracefully deals with sensitive material such as the photographer's shame at discovering that her father was Jewish. And she does a remarkable job of choosing appropriate pictures. As the chief photographer for Life magazine, Bourke-White shot many hugely important but often harsh subjects. Rubin deftly edits these images so that famous photos like the haunting Living Dead of Buchenwald, April, 1945 are here, but not such profoundly disturbing ones as Bourke-White's shot of bony corpses stacked for burning. The author underscores the photographer's extraordinary self-confidence as a young woman of huge ambitions and--beginning with Bourke-White's initial flirtation with the soft-focus style of Edward Steichen--delineates the growing power and clarity of her mature documentary style. Bourke-White's life-long interest in science--she kept jars of multilegged fauna on her office bookshelves at Life--is fascinating, and the stories of her wartime adventures--in marooned life rafts, low-flying reconnaissance planes, and torpedoed ships--are frighteningly vivid.

America’s first female war correspondent, Margaret Bourke-White was also something of a media star, with the portrait of her decked out in flying gear, camera in hand, about to set off on a bombing raid, being a favorite pin-up among U.S. forces. Focusing on the work Bourke-White made in the 1930s and 40s in Czechoslovakia, Germany, Italy, the Soviet Union and the U.K., Moments in History presents 150 classic photographs alongside revelatory extracts from letters and publications in periodicals. Bourke-White traveled to the USSR when the first Five-Year Plan was being implemented; she documented the German invasion of the Soviet Union in 1941, and the Allied bombing of Germany. In the summer of 1945 she was commissioned by Life to make a photographic record of the destroyed German cities. She was present at the liberation of the Buchenwald concentration camp and the Leipzig-Thekla forced labor camp. She recorded the partition of India and the Korean War, and one of her most famous pictures of this period is “Gandhi,” which shows the subject at his spinning wheel. Also included in the catalogue are some of the word–picture sequences Bourke-White did for Fortune and Life, as well as extracts from her correspondence with personalities from the worlds of politics and culture, such as Winston Churchill and Georgia O’Keeffe. Bourke-White wanted to be the “eyes of the age,” and her pictures testify to (as she put it) her “unquenchable desire to be present when history is being made.” Margaret Bourke-White (1904–1971) was born Margaret White in the Bronx, New York, and grew up in Middlesex, New Jersey. According to her brother Roger, “Her interest in photography began as a … hobby, supported by her father’s enthusiasm for cameras.” Bourke-White first came to national attention with her photographs of the Otis Steel Company mill, which led to her working at Life, where she was staff photographer from 1936–1940. She died in Stamford, Connecticut, aged 67, in 1971.

Margaret Bourke-White (1904-1971) was one of the leading photojournalists of her time, a mainstay of the Luce empire whose signature work for Fortune celebrated the machine age and whose later work for Life featured the human face and a "progressive" humanitarian sensibility. Many of her photo essays are classics; indeed those on the Louisville Flood and its victims, on the liberation of the Nazi death camps, and on the poverty of India and Pakistan are now part of the iconography of the twentieth century.

In this brief collection of her earliest work, two art historians present the "unknown" Bourke-White, the young amateur aged eighteen to twenty-six. Her first photographs, created in 1921 under the tutelage of Columbia University's Clarence H. White, were impeccably designed soft-edged still lifes, "painterly" images characteristic of the period but not of the artist. Bourke-White took this technique to college – to the University of Michigan and to Cornell – and there made traditional portraits of campus buildings and, almost by accident, her first "industrial" photograph, a Duchamp-like study of loudspeakers. After graduation she moved to Cleveland, where, trembling with fear and aesthetic excitement, she photographed the interior of the Otis Steel Mill, the trestles of the High Level Bridge, and the new Terminal Tower. It was these thrilling Cleveland photographs, made in 1928–30, that won her an audience with Luce, who sent her on to Fortune . . . and to fame.

The eighty photographs reproduced here have seldom been seen outside the archives of Cornell's Herbert F. Johnson Museum of Art and the University of Syracuse Library. They will fascinate anyone interested in the life and work of Margaret Bourke-White and the early history of American photojournalism.

Photographed in Zimbabwe and Kenya in late 2020, The Day May Break is the first part of a global series by acclaimed photographer Nick Brandt, portraying people and animals that have been impacted by environmental degradation and destruction. The people in these photographs were all affected by climate change, displaced by cyclones and years-long droughts. Photographed at five sanctuaries, the animals were rescues that can never be rewilded. As a result, it was safe for human strangers to be close to them, photographed so close to them, within the same frame. The fog on location is the unifying visual motif, conveying the sense of an ever-increasing limbo, a once-recognizable world now fading from view. However, despite their respective losses, these people and animals have survived, and therein lies possibility and hope.

A new collection of images by celebrated photographer Nick Brandt, whose epic, disturbingly beautiful panoramas address the escalating destruction of the natural world at the hands of man. Moving into color photography for the first time, this monograph of new work from photographer Nick Brandt is both a technical tour de force of contemporary image making and an ambitiously scaled project that uses constructed sets of a scale typically seen in major film productions. Each image is a combination of two photographs taken weeks apart, almost all from the exact same camera position. The starting point of each composition is always the animal photographed in its native savannah landscape. Brandt then designs and builds sets in the precise location of the original photograph depicting the human developments, such as gas stations, highway and bridge construction sites, and bus stations, that are invading the East African landscape. A second sequence is then photographed with the completed set, populated by a large cast of people drawn from local communities and beyond. The final images are powerful composites of the two source photographs, which presents the wild animals and the people as equal victims of the environmental-both now aliens in their once-natural, once-native habitat. Including an introductory essay by Nick Brandt and a descriptive behind-the- scenes section, this new book is a must-have publication for all fans of Brandt's work.

Through his widely acclaimed work, English photographer Nick Brandt (1964) addresses pressing environmental issues, consistently highlighting mankind’s impact upon the natural world. His work is truly a fusion of artistry and activism, and he is best known for capturing the majestic landscapes of Africa as well as intimate portraits of its wildlife. Sink / Rise is the third chapter of The Day May Break, an ongoing global series portraying ecological degradation and destruction. This chapter adopts a slightly different approach than its predecessors: taking humans, rather than animals or landscapes, as his subjects. Sink / Rise focuses on South Pacific Islanders impacted by rising oceans from climate change. The people in these photos, photographed underwater in the ocean off the coast of the Fijian islands, are local representatives of the many people whose homes, land and livelihoods will be lost in the coming decades as the water rises. In Brandt’s images, the Islanders sit down at tables, stand on chairs and embrace―all the while, their pinched expressions reveal the desperation of their asphyxiating condition.

“These are cautionary tales of tenuous survival, and while the pictures themselves are fascinating because of how strange it is to think of the animals and people calmly sharing personal space, it should not be happening and it feels both magical and ominous, hopeful and unsettling.” –Shana Nys Dambrot, L.A. Weekly.

Some of Nick Brandt’s subjects are humans, some are animals, but they all are creatures of equal and obvious personhood. The overwhelming sense in the photographer’s ongoing global series The Day May Break is that they are figuring out how to live in a new world. Each has arrived at the shoot at Senda Verde wildlife sanctuary in Bolivia through their own cascade of tragedy. Both extreme droughts and floods have destroyed people’s homes and livelihoods.

Some of Nick Brandt’s subjects are humans, some are animals, but they all are creatures of equal and obvious personhood. The overwhelming sense in the photographer’s ongoing global series The Day May Break is that they are figuring out how to live in a new world. Each has arrived at the shoot at Senda Verde wildlife sanctuary in Bolivia through their own cascade of misfortune. Both extreme droughts and floods have destroyed people’s homes and livelihoods.

Nick Brandt (born 1964) studied film and painting at St Martin’s College in London. He turned to photography in 2001 with his trilogy On This Earth, A Shadow Falls and Across the Ravaged Land. His more recent books are Inherit the Dust (2016), This Empty World (2019) and The Day May Break (2021). He lives in Southern California.

Bill Brandt was the preeminent British photographer of the twentieth century, a founding father of photography's modernist tradition whose half-century-long career defies neat categorization. This publication presents the photographer's entire oeuvre, with special emphasis on his investigation of English life in the 1930s and his innovative late nudes. The Museum of Modern Art has been exhibiting and collecting Brandt's photographs since the late 1940s, and has recently more than doubled its collection of vintage prints of his work, which forms the core of this selection. An essay by Sarah Hermanson Meister, Curator in the Department of Photography at MoMA, sets the artist's life and work in the context of twentieth-century photographic history. With rich duotone illustrations that highlight the special characteristics of Brandt's prints, this volume is an invaluable resource to students and scholars alike. Lee Ann Daffner, the Museum's Andrew W. Mellon Foundation Conservator of Photographs, contributes an illustrated glossary of Brandt's retouching techniques, enhancing the appreciation of Brandt's printing processes. The book also includes a generously illustrated appendix of Brandt's published photo-stories during the Second World War.

Bill Brandt, one of the most prolific 20th-century photographers, is beautifully represented by this volume, which contains nearly 400 of his black-and-white photographs. Author Bill Jay has divided this book into eight sections: A European Apprentice, Observing the English, Courting the Surreal, Journeys North, The Dark City (Brandt made haunting pictures of wartime London during the blackouts), A Return to Poetry, Portraying the Artist, and the Perfection of Form.

Matthew Brandt creates his work using physical elements from the depicted subject. Inspired by landscape photography of the American West and alternative photograph processes developed during photography's infancy in the mid-nineteenth century, the artist revives traditional photographic techniques through various production processes. Whether soaking prints in water from the depicted lake, printing on paper made from the subject tree or even using a pigment created from the subject, Brandt blurs the line between the photograph and the photographed. For his series Lakes and Reservoirs, Brandt photographs lakes and reservoirs in the western United States, and then submerges each resulting C-Print in water collected from the subject of the photograph. Prints are soaked for days or weeks or even months, and this process impacts the layers of color that comprise the image. Brandt removes the print once it reaches its desired look, which can range from mostly representational to completely abstract. The Lakes and Reservoirs series considers the current condition not only of our lakes and reservoirs, but also of traditional color photography.

In A Shadow Falls, which features fifty-eight recent images in stunning, oversized tritone plates, Nick Brandt continues his ambitious and ongoing photographic project to memorialize the vanishing natural grandeur of East Africa. Brandt’s wide-screen panoramas of animals and landscapes capture an epic vision of Africa that has not been seen before. His iconic portraits of its majestic animals are filled with an empathy usually reserved for human subjects.

Across the Ravaged Land is the third and final volume in Nick Brandt’s trilogy of books documenting the disappearing animals of eastern Africa. The book offers a darker vision of this world, still filled with a stunning beauty but now tragically tainted and fast disappearing at the hands of man.

This is an incredible book with a lot attention to details. The reproductions are very good and the big format of the book is a success. The images are captivating. A perfect gift!

Three years after the completion of his trilogy, On This Earth, A Shadow Falls Across the Ravaged Land, Nick Brandt returned to East Africa to photograph the escalating changes to the continent's natural world and its animals. In a series of epic panoramas, Brandt recorded the impact of man in places where animals used to roam, but no longer do. In each location, Brandt erected a life-size panel of one of his portrait photographs-showing groups of elephants, rhinos, giraffes, lions, cheetahs and zebras-placing the displaced animals on sites of explosive urban development, new factories, wastelands and quarries. The contemporary figures within the photographs seem oblivious to the presence of the panels and the animals represented in them, who are now no more than ghosts in the landscape. Inherit the Dust includes this new body of panoramic photographs along with original portraits of the animals used in the panoramas, the unique emotional animal portraiture for which Brandt is recognized. There are also two essays by the artist: a text about the crisis facing the conservation of the natural world in East Africa, and behind-the-scenes descriptions of Brandt's elaborate production process, with accompanying documentary photographs.

In 2001, Nick Brandt embarked on an ambitious photographic project, a trilogy of books memorializing the vanishing natural grandeur of East Africa. Focusing on some of the world’s last great populations of large mammals—elephants, giraffes, lions, gorillas, and their kin—he created two of the new century’s most influential photographic books: On This Earth (2005) and A Shadow Falls (2009). His iconic portraits of these majestic animals express an empathy usually reserved for human subjects. The magisterial On This Earth, A Shadow Falls collects the most memorable images from Brandt’s first two books, along with their accompanying essays. A testament to the bookmaker’s craft, it is the first volume on Brandt’s work to capture the superb quality of his remarkable, large-format prints, which are notable for their velvety blacks and tonal subtleties. At 15 x 13 inches it is substantially larger than his previous books, and it comes in a handsome cloth binding with a tipped-in plate on the front.

Nick Brandt depicts the animals of East Africa with an intimacy and artistry unmatched by other photographers who choose wildlife as their subject. He creates these majestic sepia and blue-tone photos contrasting moments of quintessential stillness with bursts of dramatic action by engaging with these creatures on an exceptionally intimate level, without the customary use of a telephoto lens. Evocative of classical art, from dignified portraits to sweeping natural tableaux, Brandt's images artfully and simply capture animals in their natural states of being. With a foreword by Alice Sebold and an introduction by Jane Goodall, On This Earth is a gorgeous portfolio of some of the last wild animals and a heartfelt elegy to a vanishing world.

A rare discovery of more than 150 previously unpublished photographs in black and white and in color, from a legendary photographer. Despite strong personal and professional ties in the U.S.--Henry Miller, Harper's Bazaar's Carmel Snow, and Edward Steichen, who featured Brassai's work in many MoMA exhibitions--Brassai remained reticent about travel to the U.S. until 1957 when Holiday magazine offered generous compensation (and artistic freedom) to photograph New York and Louisiana. From the first symbolic image of this voyage--the Statue of Liberty appearing over the ship's prow--Brassai came under the spell of America and his photographs innately captured his new perspective. In New York, he was captivated by the graphic skyscrapers and the rhythmic to-ing and fro-ing of the crowds. Unlike his static photographs of Paris--posing prostitutes, embracing lovers, sleeping street people--here he captured sequences of movement--children playing, fashionable women parading by, or the effects of light filtering through the urban architecture. In Louisiana, he continued to photograph more languorous sequences, but here he reveled in color--the copper skin of sunbathers, the pastel tones of prom dresses, the vibrant neon of amusement park attractions. The New Orleans music halls, nightlife, women, and exotic vegetation recall scenes from 1930s Paris. This exuberant study of 1950s America offers the reader unprecedented access to Brassai's work, including previously unpublished color photography.

This volume contains some pictures from all or at least most of Brassai's books including LES SCULPTURES DE PICASSO, GRAFFITI, PICASSO & CO., HENRY MILLER: GRANDEUR NATURE and THE ARTISTS OF MY LIFE.

"Brassaï is a living eye," wrote Henry Miller of the Hungarian–born artist who adopted Paris after World War I and became one of its most celebrated photographers. Originally a painter before he moved on to writing, sculpture, cinema and, most famously, photography, Brassaï (1899-1984) was a member of Paris’s cultural elite, counting Miller, Picasso, Sartre, Camus, and Cocteau, among his friends. Camera in hand, he scoured the streets and bars of Paris, unabashedly capturing the city’s inhabitants in their natural habitats. Prostitutes, hoodlums, and other ‘marginal’ characters were the most famous heroes of Brassaï’s moody, gritty photographs taken often by night. Including an extensive selection of Brassaï’s finest photographs and an essay describing his life and work, this book explores the world of Brassaï in thematic chapters: Minotaure magazine, Paris at Night, Secret Paris, Day Visions, Artists of My Life, and Graffiti and Transmutations.

Arriving in Paris in 1924, Brassaï rapidly became a shrewd observer of nocturnal Parisian life. He sensed that photography was the tool that would allow him to document his vision of a dying society.

Fascinated by the night, which he found disconcerting, enigmatic, and suggestive, Brassaï photographed its every aspect, from police to prostitutes to the homeless to socialites, all in a dreamlike and mysterious manner. In sixty-four images, Brassaï succeeded in remarkably capturing this unique ambience. This book, meticulously assembled by Brassaï himself, signifies the birth of the artist.

Brassaï, originally from Hungary, traveled to Paris in 1924, where he began to associate with the avant-garde artist community, in particular with Picasso and the Parisian surrealist circles. He quickly established himself as one of the most original photographers of his generation.

In the late 1950s and throughout the 1960s, Kwame Brathwaite used his photography to popularize the political slogan “Black Is Beautiful.” This monograph―the first ever dedicated to Brathwaite's remarkable career―tells the story of a key, but under-recognized, figure of the second Harlem Renaissance. Inspired by the writings of activist and black nationalist Marcus Garvey, Brathwaite, along with his older brother, Elombe Brath, founded the African Jazz Arts Society and Studios (AJASS) and the Grandassa Models (1962). AJASS was a collective of artists, playwrights, designers, and dancers; Grandassa Models was a modeling agency for black women, founded to challenge white beauty standards. From stunning studio portraits of the Grandassa Models to behind-the-scenes images of Harlem's artistic community, including Max Roach, Abbey Lincoln, and Miles Davis, this book offers a long-overdue exploration of Brathwaite's life and work

Ever since their creation in nineteenth-century France, Adolphe Braun's photographic images have been uniformly praised for their beauty. Braun was a trained textile designer who initially used the nascent technology of photography to document the French landscape and architecture, traditional regional costume, animal breeds and husbandry, and the events and legacies of the Franco-Prussian war. Braun's opulent bouquets of flowers are at once lush, delicate, and richly tonal; his landscapes are breathtaking and immediate; his animal studies arresting; his war photos dramatic and unrelenting. He created thousands of visual souvenirs of pristine alpine sites and would ultimately become one of the first to reproduce works of art photographically for a mass audience. Although the creation of "fine art" was not his intention, Braun produced work that was (and still is) synonymous with superb technical and artistic resolution, as he sought to identify popular uses for the process of photography. Through Braun's provocative work, Image and Enterprise explores the origins of contemporary visual communication--from the evolution of photography to the means of dissemination to the public. The introductory essays give an overview of Braun's photographic enterprise, his use of new technology, and the political and economic climate in which his business flourished. Other essays examine discrete aspects of Braun's work in the context of contemporary social, economic, and cultural history. Published to accompany an exhibition at the Rhode Island School of Design and the Cleveland Museum of Art.

The Museum Publishers large notebook provides the ultimate solution to note taking, providing vast amounts of writing space. The Notebook origins go back in time to the famous notebooks used by painters, writers and intellectuals. Like Ernest Hemingway who said 'I belong to this notebook and this pencil'. The very important notebook of Charles Darwin with scientific discoveries and general thoughts. Beatrix Potter who kept notebooks on various topics including cut-outs and sketches. The images of Ludwig van Beethoven show him with notebook in hand. And not to forget the famous notebooks of Leonardo Da Vinci.

Taking pictures of coworkers on the job results in compelling photographs, especially when those people include the likes of Meryl Streep, Robert Duvall, Julianne Moore, Olivia Wilde, and Matt Damon, among others. Unique photos from his earlier work were first shared in Pictures: Jeff Bridges (powerHouse Books, 2003). Now, drawing on his most recent film work, Jeff Bridges: Pictures Volume 2 expands on Bridges' intimate vision of Hollywood behind-the-scenes. Included within are rare looks at the famed actors, top directors, talented costumers and makeup artists, skilled and creative set and art decoration, and the rest of the passionate crews involved in such memorable movies as True Grit, Crazy Heart, The Giver, TRON: Legacy, and Hell or High Water. Together, these pictures provide glimpses of the art, craft, and sleight of hand behind the magic of motion pictures. Jeff Bridges: Pictures Volume 2 also celebrates Bridges' mastery of the special effects made possible with the distinctive Widelux panoramic camera.
Bridges' proceeds from Jeff Bridges: Pictures Volume Two will be donated to the Motion Picture & Television Fund, a nonprofit organization that offers charitable care and support to film-industry workers.

For more than twenty years, on dozens of film sets, Bridges has perfected his own photography, shooting between takes and behind-the-scenes with a Widelux F8 camera. This fascinating, surprisingly candid body of work began as a personal project, as he recorded the arduous, emotionally intense, evanescent work of the film shoot in books that were privately printed and given as gifts to cast and crew. These are not traditional “Hollywood” pictures, but rather—despite the costumes and lighting, the crowds of extras, the stardom of the subjects—pictures of friends at work. Taken together, the pictures act as Bridges’ personal and professional diary, with actors, directors, and crew appearing as coworkers, all equal participants in the job at hand.

With a foreword by Peter Bogdanovich and Jeff Bridges’ hand-written commentary and captions throughout, Pictures promises to be a rare and exciting publishing event, offering a vision of Hollywood that is both intimately human and formally beautiful.

Jeff Bridges’ proceeds from Pictures will be donated to the Motion Picture & Television Fund, a non-profit organization that offers charitable care and support to film-industry workers.

"I exclusively met women in this small, quiet town. Most of them lived alone with their children. Some of them had experienced the death of their partner due to accident or suicide, or domestic violence. This endured violence would sometimes manifest in tense bodies, the twisting of trees, as many emotional states as passing seasons. The ambiguity of situations, the ambivalence of feelings, tenderness, and also, gradually, voluptuousness, crept into, and between beings." –Nolwenn Brod

At 17 Mike Brodie hopped his first train close to his home in Pensacola, FL thinking he would visit a friend in Mobile, AL. Instead the train went in the opposite direction to Jacksonville, FL. Days later, Brodie rode the same train home, arriving back where he started. Nonetheless, it sparked something and Brodie began to wander across the U.S. by any means that were free - walking, hitchhiking and train hopping. Shortly after, Brodie found a Polaroid camera stuffed behind a carseat. With no training in photography and coke-bottle glasses, the instant camera was an opening for Brodie to document his experiences. As a way of staying in touch with his transient community,Brodie shared his pictures on various websites gaining the moniker The Polaroid Kidd [sic]. When the Polaroid film he used was discontinued, Brodie switched to 35mm film and a sturdy 1980s camera. Brodie spent years crisscrossing the U.S. amassing a collection, now appreciated as one of the most impressive archives of American travel photography. When asked about his approach to travel and photography Brodie has said: sometimes I take a train the wrong way or...whatever happens a photo will come out of it, so it doesn't really matter where I end up.

The images in Tones of Dirt and Bone were made between 2004 and 2006, with a Polaroid camera and Time Zero film. Brodie used the characteristics and limitations inherent to this type of camera and film to his advantage. The portraits he made are further enhanced by the peculiar color palette of the film. Due to the restriction of manual focus and expensive film, that came only ten sheets to a box, each image feels deliberate and precious.

Mike Brodie’s decade-long journey across the fringes of America is a raw and intimate chronicle of transient life, filled with poignant stories of the people he met along the way. His first monograph, A Period of Juvenile Prosperity, published over a decade ago, captured the wild and rebellious spirit of his fellow rail-riders and drifters, chasing freedom with abandon. As Danny Lyon noted in Aperture, “Brodie leapt into the life of picture-making as if he was the first to do it.” This was followed by Tones of Dirt and Bone, a collection of earlier SX-70 Polaroid images Brodie took when his photography first led him to hopping freights, earning him the nickname “The Polaroid Kidd.” After this, Brodie seemed to vanish from the art world as mysteriously as he had appeared, stepping away to pursue a different path. “I was divorcing myself from all that,” he reflects. “I was growing up. I was pursuing this other life.”

While A Period of Juvenile Prosperity evoked a cinematic dream, Brodie’s latest work, Failing, is a stark awakening—a brutally honest photographic diary of a decade shaped by love, heartbreak, loss, and grief. It documents the darker side of the American dream, capturing the chaotic realities of addiction, death, and life on society’s margins. Brodie’s camera remains a witness to the fleeting beauty found in forgotten places—whether in desolate open country or in the lives of hitchhikers and kindred wanderers, united by the unspoken bond of the road. Though often steeped in darkness, Failing resonates with moments of grace, as Brodie’s lens continues to find strange and transient beauty in the shadows of the American landscape.

Often considered the father of 20th century art direction, Alexey Brodovitch and his contributions to Harper's Bazaar for more than 20 years remain the reference point for generations of photographers and art directors. With an infallible eye, he promoted photographers such as Blumenfeld, Cartier-Bresson, Avedon, and Man Ray. This book is a unique homage to an exceptional talent. Gabriel Bauret regularly organizes photography exhibitions in Europe such as one on Alexey Brodovitch in Paris in 1998. He published Approaches of Photography (Nathan, 1992) and Color Photography (Assouline, 2001), and has written for Zoom magazine.

Alexey Brodovitch (1898-1971) is a legend among graphic designers. A Russian who fled the Bolshevik Revolution to settle eventually in Paris and then New York, Brodovitch was one of the pioneers of graphic design in the twentieth century.

Brodovitch was Art Director of Harper's Bazaar for over two decades (1934-58); he designed and produced several exquisite and highly collectable books with collaborators such as Richard Avedon and André Kertész; he was a talented photographer himself; and, through an informal class called the Design Lab in New York, he trained a younger generation of photographers and designers who went on to become famous artists and art directors in their own right.

In a very short space of time, Geert Broertjes lost the most important women in his life. His aunt, grandmother and mother passed away. He shared his grief with his girlfriend, who became a recurring theme in this series. But even this relationship ended, a couple of months after his mother passed. Broertjes photographed the process instinctively. It was only afterwards that he noticed the coherence of his work. It became a poetic story about love, loss and grief. The beautiful photographs, all shot analogue in raw black and white, reveal the dark feelings he experienced during this intense period in his life.

A Decade-Spanning Tribute to the Unifying Art of Dance Across Four Continents.

Building on the success of Les Danseurs (2015), Matthew Brookes’ new project, Expression of Freedom, delves once again into the enchanting world of dance. Over the past decade, Brookes has traveled across four continents to capture dancers in their unique geographic and cultural settings—ranging from Paris and Milan to London, South Africa, New York, Brazil, and Los Angeles.

This collection celebrates the diversity and inclusivity inherent in dance, featuring a broad spectrum of dancers from various backgrounds and ages. From world-renowned professionals to street performers, the dancers featured include Marie-Agnes Gillot, Aurelie Dupont, Roberto Bolle, Friedemann Vogel, Hugo Marchand, Germain Louvet, Guillaume Diop, Leroy Mokgatle, Matthew Ball, and Megan Lecrone. They represent some of the most prestigious dance companies globally, including the Paris Opera Ballet, the Royal Ballet in London, La Scala Ballet in Milan, Stuttgart Ballet, and the NYC Ballet Company.

Known for his natural and simplistic style, Matthew Brookes has established himself as a prominent photographer with a keen interest in the human form in motion. His editorial work has graced major publications such as Vanity Fair, Vogue, L'Uomo Vogue, and GQ. In addition to his portraits of models and celebrities, Brookes’ fascination with dance and athletics continues to drive his artistic exploration.

An exhilarating homage to the surf and van culture of the California coast, from the author of Les Danseurs.

The second monograph by New York– and Paris-based photographer Matthew Brookes, Into the Wild is a vibrant celebration of surf life. For this project, Brookes followed a group of young surfers from Venice Beach on their adventures up and down the coast. The result is a story of van culture along the California coast―a story of youth choosing to follow their dreams, living out of vans, existing for surf and travel and freedom, and always chasing the best waves. The documentary-style photographs are typical of Brookes’ work, with ethereal shots punctuating more naturalistic photos. The book includes interviews with the surfers done by Zack Raffin from the major surf magazine Stab Magazine. Raffin is a young surfer himself and grew up surrounded by van culture, positioning him as an insider voice as much as a journalist.

Matthew Brookes is a photographer known for his editorial projects and his natural and simplistic style. Born in England and raised in South Africa, Brookes’ photographs have been featured in major magazines such as GQ Style, Vogue and L'Uomo Vogue. In addition to his work with models and celebrities, Brookes is fascinated by the dynamism of the human form in motion and enjoys photographing athletes and dancers. In 2015 Brookes published his first monograph with Damiani, Les Danseurs, a portrait of the ballet dancers of the Paris Opera.

Like many who grew up during the spread of sprawl--with its predictable landscape of housing developments, shopping malls, interstate highways, and big-box construction--acclaimed photographer Jeff Brouws is drawn to places that still embody the vernacular past as well as to those that starkly portray the soulless, franchised American landscape. What began as cultural geography of Main Streets became a visual critique of the myth of upward mobility that created this car-centered, paved-over universe. Some images look outward to the edges of suburbia where sprawl is encroaching upon nature. Others turn inward, documenting the devastated inner cities. All the stunning color photographs reflect the complex beauty and desolation of visual life in our time.

Italian photographer Giacomo Brunelli defines his work as animal-focused street photography. Critic Alison Nordström writes: "These pictures are timeless and uncanny, powerful in their ordinariness, and emotionally much bigger than their simple subjects."

The images are framed around the silhouettes of people and animals. Though many London landmarks feature including Tower Bridge, Trafalgar Square, St. Paul’s Cathedral and the statue of Winston Churchill depicted alongside Big Ben, they are presented in a surprising and very particular way.

The work was first exhibited at The Photographers Gallery in 2014.

This series was commissioned by the Deichtorhallen and was shown for the first time at the Hamburg Triennial of Photography in 2015. It is currently on a tour to several European cities.

In this collection, you will see children from Ms. Bubley's viewpoint and perspective. This is a beautiful collection from an award-wining photojournalist. Award-winning photojournalist Esther Bubley is recognized for both her artistic composition and her superb story telling ability. Bubley's career in documentary photography and photojournalism was launched in 1942 when Roy Stryker hired her to work in his dark room at the Office of War Information (OWI), where his famed Farm Security Administration (FSA) photographic project had recently been transferred. In 1944, Bubley followed Stryker to Standard Oil (New Jersey)(SONJ) where he was charged with compiling a photographic library. Bubley was a freelancer for Standard Oil for the rest of the 1940s and 1950s. She simultaneously developed a thriving career separate from Stryker, working for a variety of clients -- including Life, the Ladies' Home Journal, the Children's Bureau, Pepsi-Cola International, Pan American World Airways, and UNICEF -- who sent her on assignments throughout the continental United States and around the world.

In 1943, Roy Stryker, the head of the Department of Defense's Office of War Information sent Esther Bubley on a series of bus trips throughout the Midwest and South. Her assignment? To document the role that the nation's bus lines played not only in mobilizing troops and war workers, but also in providing transportation between cities for individuals who could not do so under wartime rationing.

Bubley would go on to contribute 40 photo essays to Life, and in her first major assignment, her skill at capturing the wide range of human experience is already on display.

This book features over 140 photographs by Bubley arranged into three chapters.

This monograph is dedicated to the career of Esther Bubley, one of America's leading photojournalists. Bubley's mentor was Roy Stryker, for whom she worked at the Office of War Information in Washington, D.C., and at Standard Oil in New York City. Under Stryker, Bubley learned to document the spectacle of modern industry and the lives of ordinary people in a fast-changing world. From the early 1940s to the late 1960s, she also freelanced for national magazines, producing 40 photo-essays for Life, a dozen more for the Ladies' Home Journal's famous series, How America Lives and numerous projects for non-profit organizations and major corporations alike. At a time when career options for women were limited, Bubley rose to the top of an overwhelmingly male-dominated field. The 5,000-word essay by photo historian Bonnie Yochelson explains the working life of a photojournalist during the pre-television era when picture magazines dominated the national media. In collaboration with Yochelson, Tracy Schmid, archivist of the Bubley estate, and Jean Bubley, executor of the estate, contribute original research and interviews with Esther's colleagues and contemporaries, highlighting her achievements and accomplishments. The book includes 75 of her finest images as well as magazine layouts, which illustrate how Bubley's photographs were originally seen by millions of Americans. While Bubley's talent was well recognized at the time--her work was shown in three Museum of Modern Art exhibitions--she was not a celebrity and did little to promote herself. Having received far less attention than she deserves, this book aims to introduce a selection of her best work to a wider audience.

Bonnie Yochelson is a photographic historian and freelance curator. In 2001, she co-curated Esther Bubley: American Photo-Journalist, at the UBS/PaineWebber Art Gallery in collaboration with the Bubley archive and estate. She is the author of Berenice Abbott: Changing New York, The Complete WPA Project (1997) and is co-author of Rediscovering Jacob Riis (2005).

Providing a unique view of American life during the Great Depression and Second World War, each Fields of Vision volume includes an introduction to the life of a Farm Security Administration (FSA) and Office of War Information (OWI) photographer with 50 evocative images selected from their work in the Library of Congress's collection. Transporting the viewer to American homes, farms, and streets of the 1930s and 1940s, they offer a glimpse of a new narrative and intimate style that defined America.

Esther Bubley was born in Wisconsin in 1921 to Russian Jewish immigrants. Hired as a darkroom assistant at the OWI in 1942, she soon became a field photographer, recording US wartime life from a greyhound bus. After the war Bubley worked for Life, Ladies' Home Journal, Look, McCall's and Harper's Bazaar, reporting from Europe, Central and South America, North Africa, Australia and the Philippines. She died in 1998.

What do you feel when you are on the front line, surrounded by guerrillas and exposed to fire? The senses are alert, peaks of adrenaline and moments of quiet (before the storm) are followed in a swing of thrilling emotions. When you are on the front line, where fighters fight for something that has become more important than their own lives, you only know that you are risking everything because of the importance of being there and of communicating to the world what is happening. In a day at the front, in the war, bonds are formed, friendships, coincidences: but the rhythm of the days often burns everything that has been built. Because there, at the front, you are exposed to the fate of the moment, in the grasp of events that none of those around you can control. At the mercy of history.

The young Jasper Johns stands atop a small ladder to smooth one of the gridlines on his silver "Numbers" painting of 1964. He is wearing an oddly coordinated padded silver jumpsuit, mindless of the camera that captures him mid-gesture. Photographed the same year, Roy Lichtenstein strides thoughtfully across his studio floor while his two young sons read from dozens of comic books spread out all over the rug. In 1967, Diane Arbus leans against a tabletop at The Museum of Modern Art, New York, nonchalant in a chic white minidress and matching thigh-high boots, while her camera hangs heavily around her neck. This deluxe collection of intimate, highly compelling color and black-and-white photographs includes portraits of many of the most important and pioneering artists of the postwar period in American art. The series, which includes studies of Henri Cartier-Bresson, Lee Bontecou, Louise Bourgeois, John Chamberlain, Willem de Kooning, Helen Frankenthaler, Philip Guston, Ellsworth Kelly, Louise Nevelson, Barnett Newman, Isamu Noguchi, Claes Oldenburg, Robert Rauschenberg, Mark Rothko and many others, was, in fact, initially inspired by the work of Cartier-Bresson, from whom Budnik learned to adopt an attitude of anonymity with respect to his subjects, working--as noted photo historian James Enyeart writes in his catalogue essay--"at the periphery of their attentiveness to his camera." Features outstanding essays by Enyeart and Irving Sandler, America's premier chronicler of postwar American art, as well as a reprint of a little-known essay by the influential British art critic and curator David Sylvester, which was originally published alongside Budnik's photographs in 1964.

Wynn Bullock was one of the most significant photographers of the mid-twentieth century. A close friend of influential West Coast artists Ansel Adams and Edward Weston and a contemporary of Minor White and Frederick Sommer, Bullock created work marked by a distinct interest in experimentation, abstraction, and philosophical exploration. Bullock's photography received early recognition in 1941, when the Los Angeles County Museum of Art staged his first solo exhibition. His mature work appeared in one-man shows at the Bibliothèque nationale de France, Paris; the Royal Photographic Society, London; the Metropolitan Museum of Art, New York; and the Art Institute of Chicago, among other prestigious venues. Bullock's pictures Let There Be Light and Child in Forest have become icons in the history of photography, following their prominent inclusion in Edward Steichen's landmark 1955 exhibition at the Museum of Modern Art, The Family of Man.

In images of haunting beauty Wynn Bullock explores the ineffability of time and space, the mystery beneath the static surface of reality, and the contradictory and compelling nature of existence itself. Now available in paperback, The Enchanted Landscape, a definitive retrospective monograph of his photographs, confirms Bullock as one of this century's preeminent photographers and celebrates the incandescent brilliance of a true American sage.

The most famous outdoor photographer captures and celebrates the oceans in all their beauty and majesty.

The oceans are the lifeblood of our planet, a source of wonder, beauty, and inspiration. In this breathtaking photo book, Chris Burkard, world-renowned outdoor photographer and explorer, takes us on a journey across the seven seas.

From the rugged shores of the North Atlantic to the tranquil waters of the tropics, Burkard's lens captures the stunning diversity and ever-changing beauty of the world's oceans. With each turn of the page, readers are transported to a different corner of the globe, immersing themselves in natural splendor.

But The Oceans is more than just a collection of stunning photographs. It's a call to action, a reminder of the urgent need to protect and preserve our fragile blue planet. Through his art, Burkard encourages us to see the oceans not just as a resource to be exploited, but as a source of wonder and inspiration that deserves our respect and stewardship. Dive into The Oceans and experience the awe-inspiring beauty of the world's deep blue waters.

Bill Burke's seminal book originally published by Nexus Press in 1987. In the early 1980's Burke traveled to Thailand and Viet Nam, as well as Cambodia where he documented the aftermath of the Khmer Rouge regime. The book will be produced using the original plates, and will feature the same layout and scale as the first edition.

There are few creatures as gorgeous and elusive as the black leopard. In Africa, these magnificent cats are so rare as to be the stuff of legend. Will Burrard-Lucas's love for leopards began during his childhood in Tanzania and propelled him into a career as a wildlife photographer. In his quest to create intimate portraits of animals, he developed innovative technology, including a remotely controlled camera buggy and a high quality camera trap system for photographing nocturnal creatures. Then, one day in 2018, he heard about sightings of a young African black leopard in Kenya and with the help of people from the local community, he succeeded in capturing a series of high-quality photographs of the elusive cat. In this compelling and visually stunning book, Burrard-Lucas tells his story of creativity, entrepreneurship, and passion for wild animals, alongside awe-inspiring images of lions, elephants, and the black leopard itself.

Last year marked the fiftieth anniversary of the inauguration of Brazil’s capital Brasilia. Designed by architects Lúcio Costa and Oscar Niemeyer, it has since become one of the most famous and widely studied urban planning projects. Niemeyer’s cathedral, Catedral Metropolitana Nossa Senhora Aparecida; his building for the national parliament, the Congresso Nacional; and the city’s 707-foot television tower have become icons of twentieth-century architecture. The entire city, marked by its cross-shaped layout and vast open spaces, was named a UNESO World Heritage site in 1987.

René Burri, an internationally celebrated Swiss-born photographer and member of the legendary Magnum agency, visited the city for the first time on a long journey around South America in 1958, when most of Brasilia was a vast building site. He returned many times over more than thirty years, documenting the growth and development of this urban utopia. Besides documenting the buildings in various stages of completion, Burri took portraits of Niemeyer and his workers and photographed Brasilia’s street scenes and people: workers with their tools, machinery and building materials, pedestrians on the newly finished streets and squares, and aerial views from the air of the city’s first slums abutting brand-new blocks of residential buildings. His images capture the strong sense of a new era and a vibrant atmosphere of hard work and strain; they reflect the huge dimensions of the landscape and the great scale of this project and its ambition to design and build a new capital—and fill it with life.

Complete with an essay by eminent architect and scholar of architectural history Arthur Rüegg, René Burri. Brasilia marks the city’s fiftieth anniversary and allows readers to look at an extraordinary city through the eyes of an exceptional photographer.

The largely unpublished colour photographs of the world's greatest living humanist photographer. Born in Switzerland in 1933, René Burri first picked up a Leica during his military service. One of the remarkable things about Burri?s career, was that from the mid-1950s he worked with both black and white and color. Often, Hans-Michael Koetzle writes in his essay that accompanies Burri?s new book, Impossible Reminiscences, photographers are great at one or the other, or move on from black and white to color and seldom look back professionally. '[Burri] did the one without abandoning the other,' Koetzle writes. Impossible Reminiscences features more than 170 of Burri?s lesser-known color images, drawn and edited by Burri from his archive over the course of eight years, and accompanied by his personal reminiscences.
By Photo District News

"Rene Burri Photographs" is the culmination of several years of scholarly research by Hans-Michael Koetzle into Burri's important contribution to reportage photography. The book begins with an introduction that describes the history, politics and artistic influences that have coloured Burri's work. Each of the 22 chapters that follow it is accompanied by a brief essay that gives an overview of the images in that particular section, the time period and political climate. Each page is also accompanied by extended captions explaining the images.

Edward Burtynsky (b. 1955) is one of a generation of photographers who seek to portray the visible outcomes of a globalized economy and humankind's impact on environments around the world. He has achieved global recognition with his large-scale photographs and project-based monographs, such as Quarries, Oil, and Water, all of which have resulted in popular touring exhibitions and, in the case of Water, a feature-length documentary film entitled Watermark. However, while Burtynsky's global standing is without question, no comprehensive retrospective of his career to date exists.
Edited and curated by William A. Ewing, Edward Burtynsky: Essential Elements provides an overview of Burtynsky's work across four decades, including 140 photographs of both iconic and previously unpublished images. It conceives of Burtynsky's oeuvre as five free-flowing sections that provide a sense of both his visual language and his exploration of the dilemmas at the heart of our globalized world. Each of the five sections is interleaved with a selection of texts from previous publications and articles on Burtynsky that work in concert with the photographs to provide a complete understanding of Burtynsky's view of the world.

Over a period of 25 years, the internationally renowned Canadian photographer Edward Burtynsky has been an explorer of unfamiliar places where human activity has reshaped the surface of the land. His astonishing large-scale colour photographs of the landscapes of mining, quarrying, railcutting, recycling, oil refining and shipbreaking uncover a stark, almost sublime beauty in the residue of industrial "progress". The implicit social and environmental upheavals that underlie these images make them powerful emblems of our times. This catalogue of a major retrospective of Burtynsky's work features essays by Lori Pauli, Kenneth Baker and Mark Haworth-Booth, as well as a wide-ranging interview with the artist by Michael Torosian. The book includes 64 colour plates.

Quarries constitute one of the most important subjects in celebrated artist Edward Burtynsky's photographic oeuvre. His images of the Vermont quarries, both active and abandoned, are particularly striking as works of art but also allude to the storied history of the northern New England marble and granite industry. This volume will feature Burtynsky's photographs of these quarries, some reproduced for the first time, within a geological and historical context that includes the impact of Italian stoneworkers upon the communities of Rutland and Barre.

Over a twenty-five year career exploring the landscape as transformed by industry, the celebrated Canadian photographer Edward Burtynsky has accumulated a body of work on large scale quarries around the world. Including Canada, Italy, China, Spain, Portugal, India and America these thought provoking studies of sites that are created as we dig into the earth for material in order to build our cities, urge us to consider how we as viewers are simultaneously attracted yet repulsed by these landscapes - somewhere a building is created while a landscape is destroyed.

An unsettling seven-year chronicle of severe resource depletion across Africa.

In Edward Burtynsky’s recent photographs, produced across the African continent, the patterns and scars of human-altered landscapes initially appear to form an abstract painterly language; they reference the sublime and often surreal qualities of human mark-making. While chronicling the major themes of terraforming and extraction, urbanization and deforestation, African Studies conveys the unsettling reality of sweeping resource depletion on both a human and industrial scale.

From natural landscapes to artisanal mining and mechanized extraction, several distinct chapters culminate with China in Africa: a series depicting the economic inroads being made by China, including the interiors of gigantic newly built manufacturing plants. This project brings together the work of seven years, the latest installment in Burtynsky’s ongoing oeuvre.

There is no life without water. Burtynsky's new and highly anticipated book Water tells us the story of where water comes from, how we use it, distribute and waste it. Often using a bird's-eye perspective, the photographer shows us its remote sources, remarkable ancient step-wells and mass bathing rituals, the transformation of desert into cities with waterfronts on each doorstep, the compromised landscapes of the American Southwest.

The quality level for the color reproductions is really good and if you like the work of Edward Burtynsky you shouldn't be disappointed.

George Byrne Studio is thrilled to announce Post Truth, a monograph of work developed by the Australian artist while exploring his new home, the urban landscape of Los Angeles, releasing late October, 2020.

Post Truth documents Byrne's explorations and examination of his new surroundings. He celebrates and memorializes the low-slung structures that originated in response to SoCal's automobile culture, the city's distinctive light, iconic flora and bleached facades. Images evolve from raw, photo-real street observations to dreamy compositions of pastel color.

Internationally recognized for his large-scale photographs depicting textures, surfaces and landscapes as abstract assemblage, Byrne finds unconventional photogencism in the undistinguished structures, or junk space of the City of Angels.

Oluremi C. Onabanjo spotlights a single photograph by Ming Smith, celebrating her synesthetic range and acuity of vision.

“I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids, and I might even be said to possess a mind. I am invisible, simply because people refuse to see me.” These opening lines to Ralph Ellison’s epochal 1952 novel Invisible Man served as the inspiration for a photographic series that Ming Smith made from 1988 through 1991. One particularly poignant image from this series, rendered in monochrome, is a moody street scene. A sole figure occupies the center of the picture plane―head stooped, hands in pockets, striding down a snow-covered street.

Illuminating the figure from behind, a line of street lights exposes the outer edges of legs and feet, while the torso and head encased in a bulky winter coat seem to blend into the shadow of a looming building. Invisible Man, Somewhere, Everywhere (1991) typifies Smith’s long-term engagement with the tensions that animate the African American experience. This latest volume in MoMA’s One on One series invites readers to perceive the subtle yet significant contributions of this Black woman photographer to the history of the medium.