--"Andy Grundberg"~The world is so visually complicated that the word "banal" scarcely is very intelligent to use. All days are similar, no matter what part of this planet we're in. --"William Eggleston"

    Born in 1908, he studied painting before embarking on a career in photography in the 1930s. In 1940 he was captured by the Germans and spent three years in prisoner-of-war camps before escaping to join the Paris underground. With Robert Capa, David Seymour and others, he founded the photographic agency Magnum in 1947. Since then his work has taken him all over the world - from Europe to India, Burma, Pakistan, China, Japan, Indonesia, Bali, Russia, the Middle East, Cuba, Mexico, the United States and Canada. This new collection of work by Cartier-Bresson, created on the occasion of his ninety-fifth birthday, provides the ultimate retrospective look at a lifetime's achievement. It includes the first photographs taken by him, a significant number of which have never been published, rarely seen work from all periods of his life, classic photographs that have become icons of the medium, and a generous selection of drawings, paintings and film stills. The book also features personal souvenirs of Cartier-Bresson's youth, his family and the founding of Magnum. Cartier-Bresson's extraordinary images are shaped by an eye a

    After the Limited Test Ban Treaty between the United States and the Soviet Union in 1963, nuclear testing went underground. It became literally invisible—but more frequent: the United States conducted a further 723 underground tests, the last in 1992. 100 Suns documents the era of visible nuclear testing, the atmospheric era, with one hundred photographs drawn by Michael Light from the archives at Los Alamos National Laboratory and the U.S. National Archives in Maryland. It includes previously classified material from the clandestine Lookout Mountain Air Force Station based in Hollywood, whose film directors, cameramen and still photographers were sworn to secrecy.The title, 100 Suns, refers to the response by J.Robert Oppenheimer to the world’s first nuclear explosion in New Mexico when he quoted a passage from the Bhagavad Gita, the classic Vedic text: “If the radiance of a thousand suns were to burst forth at once in the sky, that would be like the splendor of the Mighty One . . . I am become Death, the destroyer of worlds.” This was Oppenheimer’s attempt to describe the otherwise indescribable. 100 Suns likewise confronts the indescribable by presenting without embellishment the stark evidence of the tests at the moment of detonation. Since the tests were conducted either in Nevada or the Pacific the book is simply divided between the desert and the ocean. Each photograph is presented with the name of the test, its explosive yield in kilotons or megatons, the date and the location. The enormity of the events recorded is contrasted with the understated neutrality of bare data. Interspersed within the sequence of explosions are pictures of the awestruck witnesses. The evidence of these photographs is terrifying in its implication while at same time profoundly disconcerting as a spectacle. The visual grandeur of such imagery is balanced by the chilling facts provided at the end of the book in the detailed captions, a chronology of the development of nuclear weaponry and an extensive bibliography. A dramatic sequel to Michael Light’s Full Moon, 100 Suns forms an unprecedented historical document.

    They perch amid doll furniture, in scenes photographed in glorious color and brilliantly captioned- and their lives will strike you as strangely familiar...Charming, spiky with off-kilter wit (or waxing jobs gone terribly wrong), and somehow larger than life, these chickens win the hearts of all who behold them.

    Scores of rare production sketches and color roughs will be highlighted, as well as a special how to sections in which Linsner gives a sneak peek at the production of one of his dazzling Dawn paintings from start to finish.

    Since the 1980s, Goldin has consistently created photographs that are intimate and compelling: they tell personal stories of relationships, friendships and identity, while chronicling different eras and exposing the passage of time.This book features a significant body of the latest work by Goldin, including photographs from new series such as Still on Earth (1997-2001), 57 Days (2000) and Elements (1995-2003), many of which are previously unpublished. Laid out in diary-like sequences by Goldin herself, the material is both courageously candid and affirmative. The photographs are grouped into themed chapters, between which are interspersed texts, poems and lyrics by prominent writers, including Nick Cave, Catherine Lampert, Cookie Mueller and Richard Price. The Devil's Playground is the first major book to be published on Goldin's work since 1996 and it is by far her most important to date.This monograph brings to light both the sources of Goldin's inspiration and her life as a prominent contemporary artist: she is internationally recognized as one of today's leading photographers. Born in Washington DC, Goldin grew up in Boston where she began taking photographs at the age of 15. She has since lived in New York, Bangkok, Berlin, Tokyo and Paris, amassing an extensive body of work that represents an often disconcertingly seductive photographic portrait of our time.

    His art is also featured in venues as diverse as album covers for the Beastie Boys, Nirvana, and Tool, Newsweek magazine, and the Discovery Channel. This is a limited collector’s edition which contains:• One hardcover copy of Sacred Mirrors• One hardcover copy of Transfigurations• Portfolio of six new paintings suitable for framing• The protective case acts as an altar• Contains over 250 color paintings

    An intimate photographic tour of Edward Gorey's strange and wonderful house.

    Declared unfit for human habitation, the Zones of Exclusion includes the towns of Pripyat (established in the 1970s to house workers) and Chernobyl. In May 2001, Robert Polidori photographed what was left behind in the this dead zone. His richly detailed images move from the burned-out control room of Reactor 4, where technicians staged the experiment that caused the disaster, to the unfinished apartment complexes, ransacked schools and abandoned nurseries that remain as evidence of those who once called Pripyat home. Nearby, trucks and tanks used in the cleanup efforts rest in an auto graveyard, some covered in lead shrouds and others robbed of parts. Houseboats and barges rust in the contaminated waters of the Pripyat River. Foliage grows over the sidewalks and hides the modest homes of Chernobyl. In his large-scale photographs, Polidori captures the faded colors and desolate atmosphere of these two towns, producing haunting documents that present the reader with a rare view of not just a disastrous event, but a place and the people who lived there.

    Photographing his subjects over the years, de Waal has compiled a unique family album of our closest animal relatives. To capture the social life of primates, and their natural communication, requires intimate knowledge, which is abundantly present here, in the work of one of the world's foremost primatologists. Culled from the thousands of images de Waal has taken, these photographs capture social interaction in bonobos, chimpanzees, capuchin monkeys, baboons, and macaques showing the subtle gestures, expressions, and movements that elude most nature photographers or casual observers.De Waal supplies extended captions discussing each photograph, offering descriptions that range from personal observations and impressions to professional interpretation. The result is a view of our primate family that is both intensely moving and personal, also richly evocative of all that science can tell us of primate society. In his introduction, de Waal elaborates on his work, his mission in this volume, and the particular challenges of animal action photography.

    Love, Paris, and Flowers but London was black, white, and gray, the elegance, the style, all present in front of always changing fog. Then I met a man from Wales talking about the Miners and I had read "How Green Was My Valley." This became my only try to make a 'Story'." --"Robert Frank" This magnificent new edition of "London/Wales," which features never-before-seen photographs, juxtaposes Frank's images of the elegant world of London money with the grimy working-class world of postwar Wales--bankers opposite coal miners. It brings together two distinct bodies of work, and reveals a significant documentary precedent for "The Americans." In also offers an important view of Frank's development, demonstrating an early interest in social commentary, in the narrative potential of photographic sequencing, and innovative use of the expressionistic qualities of the medium.

    Their instructions were simple: look beyond the daily news headlines, dig beneath the breaking stories, and capture what life is like on an ordinary day for the men and women of the United States Armed Forces around the world.For 24 consecutive hours, this prize-winning team of civilian and military photographers -- working with the cooperation and support of the Department of Defense -- chronicled daily life in the Army, Navy, Air Force, Marine Corps, and Coast Guard.The resulting book of photographs documents the lives of elite units and freshly minted recruits; of cadets, generals, fire-fighters, medics, and MPs; of soldiers at desolate outposts and on strategic bases. It illustrates life in the cockpit of a fighter, on a Trident submarine, in an underground missile silo, and at computer terminals in a war room. It shows personnel patrolling borders, jungles, mountains, and harbors; training for special operations; and fighting terrorism.It is a timeless portrait -- in indelible images and eloquent words -- of the men and women who wear the uniforms of the American military. They are your sons, daughters, spouses, neighbors, and friends.Together these photographs provide an inspiring visual reminder of the routine and heroic operations, the sacrifices and dedication, that are necessary to defend America's freedoms 24 hours a day, 365 days a year.

    His trenchant writings on photography and photographers have been collected for this volume from a broad range of magazines, including "Aperture," "Artforum" and "The Nation." In "Between the Eyes: Essays on Photography and Politics," Strauss tackles subjects as diverse as "Photography and Propaganda," the imagery of dreams, Sebastiao Salgado's epic social documents and the deeply personal photographic revelations of Francesca Woodman. The timely issue of photographic legitimacy is addressed in the essay "Photography and Belief," and in "The Highest Degree of Illusion," Strauss discusses the media frenzy surrounding the events of September 11. As our world is shaped more and more by images and their slipperiness, what he calls a media "pandemonium" in its root meaning of "the place of all howling demons," we need a mind and voice like Levi Strauss' to bring clarity to our vision.

    In this book, Patterson turns his camera towards the garden in his own backyard. Hear the whisper of wind through a canopy of trees. Inhale the sweet fragrances of ferns and grasses. Observe the vibrant colors of delphiniums, forget-me-nots, poppies, bachelor buttons and cornflowers. Trace the texture of white snowflakes against brown grasses.On early spring mornings, the daffodils dance and the young fronds of hay-scented ferns push their way up to the light. Summer brings lupins as far as the eye can see and robust hostas advancing on Virginia bluebells. Autumn's gold leaves give way to frost-gilded petals, and winter's first snowfall intensifies the red of high-bush cranberries. The expectant earth stirs again in spring as energy kindles and the garden is reborn.In Patterson's garden, rain is as important as sunshine, colors blend seamlessly with fragrances, and everything that lives and grows also dies, the cycle of life keeps rolling.

    This book features dozens of fascinating archival photographs contrasted with specially commissioned, full-color images of the same scene today. Each work is a visual lesson in the historic changes of one of our greatest urban landscapes.

    Buckminster's world, which includes both his vaunted talents in the local pool halls and his sure knowledge of the seemingly endless number of fascinating objects from his vast supply, are inspiration for Purcell's carefully crafted meditation on collecting and entropy, and the signals both send to those of us willing to pay attention. 34 duotone footnote photographs.