This gorgeous cornerstone volume celebrating the camera and the art of the photograph, created in collaboration with the George Eastman House, spans almost 200 years, from the first faint image ever caught to today's state-of-the-art digital equipment. The informative narrative by Todd Gustavson--including insightful essays by Steve Sasson (inventor of the digital camera) and Alexis Gerard (visionary founder of Future Image Inc.)--traces the camera's development, the lives of its inventors, and the artists behind the lens. Images of more than 350 cameras from the George Eastman House Collection, plus historic photos, ads, and drawings, complement the text.
Today color photography is so ubiquitous that it's hard to believe there was a time when this was not the case. Color Rush explores the developments that led us to this point, looking at the way color photographs circulated and appeared at the time of their making. From magazine pages to gallery walls, from advertisements to photojournalism, Color Rush charts the history of color photography in the United States from the moment it became available as a mass medium to the moment when it no longer seemed an unusual choice for artists. The book begins with the 1907 unveiling of autochrome, the first commercially available color process, and continues up through the 1981 landmark survey show and book, The New Color Photography, which hailed the widespread acceptance of color photography in contemporary art. In the intervening years, color photography captured the popular imagination through its visibility in magazines like Life and Vogue, as well as through its accessibility in the marketplace thanks to companies like Kodak. Often in photo histories, color is presented as having arrived fully formed in the 1970s; this book reveals a deeper story and uncovers connections in both artistic and commercial practices. A comprehensive chronology and examples of significant moments and movements mark the increasing visibility of color photography. Color Rush brings together photographers and artists such as Ansel Adams, Harry Callahan, William Christenberry, William Eggleston, Walker Evans, Nan Goldin, Saul Leiter, Helen Levitt, Philip-Lorca diCorcia, László Moholy-Nagy, Irving Penn, Eliot Porter, Cindy Sherman, Stephen Shore, Laurie Simmons, Edward Steichen, Joel Sternfeld, Edward Weston and many others, and examines them in a fresh context paying particular attention to color photography's translation onto the printed page. In doing so, it traces a new history that more fully accounts for color's pervasive presence today.
6"Read this book if you want to understand me."--Pablo Picasso
Conversations with Picasso offers a remarkable vision of both Picasso and the entire artistic and intellectual milieu of wartime Paris, a vision provided by the gifted photographer and prolific author who spent the early portion of the 1940s photographing Picasso's work. Brassaï carefully and affectionately records each of his meetings and appointments with the great artist, building along the way a work of remarkable depth, intimate perspective, and great importance to anyone who truly wishes to understand Picasso and his world.
n August 1993, when Nirvana was in New York to perform at the legendary Roseland Ballroom, Jesse Frohman photographed them for the London Observer’s Sunday magazine—the last formal photo shoot in which Cobain participated before he committed suicide on April 5th, 1994. Over the course of ninety photographs, Cobain seems an almost feral creature, by turns gentle, playful, defiant, suffering, or absorbed in his music. There’s a diverse range of shots of Cobain with fellow band members Krist Novoselic and Dave Grohl and on his own, posing, performing, and greeting fans. Jon Savage’s original interview, which appeared with Frohman’s photographs in the Observer is also reproduced, giving us Cobain in his own words. The book is a touching tribute to Cobain twenty years after his tragic demise, and following Nirvana’s recent induction in to the Rock and Roll Hall of Fame. 90 illustrations, 25 in color
In the late nineteenth century and early twentieth, hundreds of amateur photographers took part in the photographic survey movement in England. They sought to record the material remains of the English past so that it might be preserved for future generations. In The Camera as Historian, the groundbreaking historical and visual anthropologist Elizabeth Edwards works with an archive of nearly 55,000 photographs taken by 1,000 photographers, mostly unknown until now. She approaches the survey movement and its social and material practices ethnographically. Considering how the amateur photographers understood the value of their project, Edwards links the surveys to concepts of leisure, understandings of the local and the national, and the rise of popular photography. Her examination of how the photographers negotiated between scientific objectivity and aesthetic responses to the past leads her to argue that the survey movement was as concerned with the conditions of its own modernity and the creation of an archive for an anticipated future as it was nostalgic about the imagined past. Including more than 120 vibrant images, The Camera as Historian offers new perspectives on the forces that shaped Victorian and Edwardian Britain, as well as on contemporary debates about cultural identity, nationality, empire, material practices, and art.
For six years (2014-2020) Tel Aviv-based photographer and artist Iris Hassid followed the day to day life of four young Palestinian women, citizens of Israel, who are part of a recent surge of the young generation of Arab female students attending Tel Aviv University.
When two of his oldest friends died unexpectedly, Rick Schatzberg (born 1954) turned to photography to cope with his grief. He spent the next year and a half photographing his remaining group of a dozen men who have been close since early childhood. Now in their 67th year, "The Boys," as they call themselves, grew up together in the 1950s in post-war Long Island, New York.
Bruce Haley spent his formative years on a small ranch in the southwestern portion of California's San Joaquin Valley, in an area between Lemoore and Riverdale known as the Island District. Not the sort of young man who was easily contained indoors (setting a pattern that would last a lifetime), he ran the land, rode horses and dirt bikes across the fields, and grew up. Haley is a Robert Capa Gold Medal winner and celebrated internationally for his war and documentary work that took him to Somalia, Afghanistan, Burma, and elsewhere. For this deeply personal project, he turns his camera homeward, to this agriculture-rich San Joaquin Valley. The resulting images, haunting and melancholy, play out against the larger framework of contentious water politics and land use issues.
We're delighted that Big Heart, Strong Hands will shortly be back in stock. We published the book in late January this year and within eight weeks it was sold out. Unfortunately Covid delayed our reprint but we can now announce that we expect
to be able to begin shipping orders out to customers from December 18th.
For 4,000 years, the Greenlandic sled dog has been the true hero of the Artic today, with global warming melting his world away, his fate is uncertain.
For the past 3 years, photographer Tim Franco based in Seoul, South Korea has been documenting the incredible tales of women and men fleeing the North Korean dictatorship in search of another life. This exclusive project composed of portraits and testimonies of the defectors, as well as landscapes retracing the roads of their exile will be published as a photo book by the Magenta Foundation.
I'm a portrait, travel and documentary photographer based in Denver, Colorado. I travel overseas extensively in pursuit of images that reflect local cultures and people. My most recent project, We Are Santa, was produced a bit closer to home, specifically in photo shoots in eight cities across the United States.
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