By tracing the history of manipulated photography from the earliest days of the medium to the release of Photoshop 1.0 in 1990, Mia Fineman offers a corrective to the dominant narrative of photography’s development, in which champions of photographic “purity,” such as Paul Strand, Edward Weston, and Henri Cartier-Bresson, get all the glory, while devotees of manipulation, including Henry Peach Robinson, Edward Steichen, and John Heartfield, are treated as conspicuous anomalies. Among the techniques discussed on these pages—abundantly illustrated with works from an international array of public and private collections—are multiple exposure, combination printing, photomontage, composite portraiture, over-painting, hand coloring, and retouching. The resulting images are as diverse in style and motivation as they are in technique. Taking her argument beyond fine art into the realms of politics, journalism, fashion, entertainment, and advertising, Fineman demonstrates that the old adage “the camera does not lie” is one of photography’s great fictions.
Having spent decades immersed in photography, encountering Daido Moriyama’s work is always a jolt to the senses—but Quartet, the new Getty Publication release edited by Mark Holborn, takes that jolt to another level. This isn’t just a photobook; it’s a journey into the formative pulse of one of the most influential photographers of the 20th century.
Janet Delaney has always been drawn to the ways work shapes people’s lives, families, and communities. In her latest book, she turns her lens closer to home, retracing a week she spent in 1980 with her father, a beauty salesman on the verge of retirement. What began as a daughter’s curiosity became a vivid portrait of long days on the road, endless conversations, and the quiet determination behind a lifetime of providing for others.
Through humor, candor, and empathy, Delaney’s photographs reveal not just the hustle of a salesman, but also the love that fueled it. To learn more about this project and her reflections on it, we asked her a few questions.
Blood Bonds: Reconciliation in Post-Genocide Rwanda is a new photobook by photographer Jan Banning and journalist Dick Wittenberg, with an essay on forgiveness by philosopher Marjan Slob. It addresses the genocide in Rwanda, the reconciliation programs that followed, and presents 18 joint portraits of survivors and perpetrators.
I first encountered a few of Coreen Simpson’s images without realizing it was her work, and receiving Coreen Simpson: A Monograph was a revelation. This book, the second volume in Aperture’s Vision & Justice series, offers an in-depth look at the career of a photographer and jewelry designer whose work spans over five decades. The monograph itself is beautifully produced, with a tactile, leather-like hardcover that makes holding it feel like handling an art object.
To commemorate the legacy of one of fashion photography’s most influential figures, the Rodney Smith Estate is pleased to announce several international exhibitions, both the first retrospectives in their countries, and a new book.
We’re excited to announce the release of Critical Photojournalism: Contemporary Ethics & Practices, a groundbreaking new book by Judy Walgren and Tara Pixley that reimagines how visual journalism can—and should—be practiced today.
TBW Books is pleased to announce Blood Green, a new artist book by Curran Hatleberg, conceived as a coda to the artist’s acclaimed 2022 monograph, River’s Dream. Blood Green offers an alternate vision—less an outtake than a parallel dream, a shadow of the original, expanding on the darker themes of contemporary American life.
Daido Moriyama (b. 1938) spent his groundbreaking and illustrious career
photographing the streets of Tokyo, exploring the city’s gritty underbelly with his handheld film
camera. His black-and-white photographs—which feature subjects from train passengers to a
car on fire to aerial views of postwar Tokyo—reveal Moriyama’s dramatic documentary style as
he plays with light and shadow. Moriyama’s prolific work is marked by his sharp eye for
subjects, use of heavy contrast, and tilted images.
Between 1979 and 1989 the American photographer, David Katzenstein used a series
of Kodak Duaflex cameras, the first of which he purchased at a yard sale in 1975.
Brownie (Hirmer; September 19, 2025, $55) represents the culmination of ten years
experimenting with color photography and using the limitations of the camera as a
way to expand his creative boundaries.
