Her bold subject matter and photographic approach have established her preeminence in the world of the visual arts. Her gift for rendering strange those things we consider most familiar, and uncovering the familiar within the exotic, enlarges our understanding of ourselves. Diane Arbus Revelations affords the first opportunity to explore the origins, scope, and aspirations of what is a wholly original force in photography. Arbus’s frank treatment of her subjects and her faith in the intrinsic power of the medium have produced a body of work that is often shocking in its purity, in its steadfast celebration of things as they are. Presenting many of her lesser-known or previously unpublished photographs in the context of the iconic images reveals a subtle yet persistent view of the world. The book reproduces two hundred full-page duotones of Diane Arbus photographs spanning her entire career, many of them never before seen. It also includes an essay, “The Question of Belief,” by Sandra S. Phillips, senior curator of photography at the San Francisco Museum of Modern Art, and “In the Darkroom,” a discussion of Arbus’s printing techniques by Neil Selkirk, the only person authorized to print her photographs since her death. A 104-page Chronology by Elisabeth Sussman, guest curator of the San Francisco Museum of Modern Art show, and Doon Arbus, the artist’s eldest daughter, illustrated by more than three- hundred additional images and composed mainly of previously unpublished excerpts from the artist’s letters, notebooks, and other writings, amounts to a kind of autobiography. An Afterword by Doon Arbus precedes biographical entries on the photographer’s friends and colleagues by Jeff L. Rosenheim, associate curator of photographs at The Metropolitan Museum of Art. These texts help illuminate the meaning of Diane Arbus’s controversial and astonishing vision.

    --"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.

    By 1973 she was the magazine's chief photographer. Since 1983 Annie Leibovitz has worked closely with Vanity Fair, who will be producing a special music issue to coincide with the book.Her subjects include Ray Charles, Bob Dylan, Aretha Franklin, Al Green, Bruce Springsteen, Bryan Adams, Dolly Parton, Marvin Gaye, Chuck Berry and even Philip Glass. She has created a body of new work for the book, covering the landscape of American music - the juke joints of the Delta, Graceland, B. B. King at his hometown of Indianola in Mississippi and the Carter family in Virginia.The book is a tribute to a great culture in its widest form by the photographer who has understood more than anybody the power of the iconic image.

    Yet in 1979, the Amon Carter Museum of Fort Worth, Texas, daringly commissioned him to do just that.The resulting 1985 exhibition and book, In the American West, was a milestone in American photography and Avedon's most important body of work. His unflinching portraits of oilfield and slaughterhouse workers, miners, waitresses, drifters, mental patients, teenagers, and others captured the unknown and often-ignored people who work at hard, uncelebrated jobs. Making no apologies for shattering stereotypes of the West and Westerners, Avedon said, "I'm looking for a new definition of a photographic portrait. I'm looking for people who are surprising—heartbreaking—or beautiful in a terrifying way. Beauty that might scare you to death until you acknowledge it as part of yourself."Photographer Laura Wilson worked with Avedon during the six years he was making In the American West. In Avedon at Work, she presents a unique photographic record of his creation of this masterwork—the first time a major photographer has been documented in great depth over an extended period of time. She combines images she made during the photographic sessions with entries from her journal to show Avedon's working methods, his choice of subjects, his creative process, and even his experiments and failures. Also included are a number of Avedon's finished portraits, as well as his own comments and letters from some of the subjects.Avedon at Work adds a new dimension to our understanding of one of the twentieth century's most significant series of portraits. For everyone interested in the creative process it confirms that, in Laura Wilson's words, "much as all these photographs may appear to be moments that just occurred, they are finally, in varying degrees, works of the imagination."

    His astonishing large-scale color 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 handsome catalogue of the first 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 sixty-four color plates.

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

    Rachael Hale's signature style catches the eye of everyone who comes across it. Featuring 101 color photographs of Chihuahuas, Great Danes, and everything in between, 101 SALIVATIONS presents dogs in all sorts of wonderful poses that bring out their most endearing characteristics. Rachael's secret to capturing a dog's soul is to focus on his eyes-whether they are wide and shining, or heavy-lidded, in the throes of slumber. Within this book we can see the soul of our own best buddies staring back at us. The book is peppered with humorous and touching quotations from well-known authors such as A.A. Milne and Fran Lebowitz.

    In Through the Lens, 250 spectacular images--some famous, others rarely seen--are gathered in one lavish volume.Through the Lens is divided into geographical regions with a special section devoted to space exploration. Each geographical section features an outstanding array of photographs that exemplifies the area's unique people, wildlife, archaeology, culture, architecture, and environment, accompanied by brief but informative captions. From Barry Bishop's heroic Mount Everest climb in the 1950s to the glorious wildlife of Asia and Africa, from ancient Maya culture to the Afghan woman found 17 years after her piercing green eyes captivated the world, these are some of the finest and most important photographs ever taken.Featuring master photographers from the late 1800s to today, including Frans Lanting, David Doubilet, David Alan Harvey, Jodi Cobb, William Albert Allard, Nick Nichols, and Annie Griffiths Belt, Through the Lens is an extraordinary photographic celebration of some of the greatest the world has to offer.

    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.

    This volume shows Aarons influential photographs of the international elite in their exclusive playgrounds during the jet-set decades of the 1950s, 60s and 70s.

    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.

    Eugene Smith was commissioned to spend three weeks in Pittsburgh and produce one hundred photographs for noted journalist and author Stefan Lorant's book commemorating the city's bicentennial. Smith stayed a year, compiling nearly sixteen thousand photographs for what would be the most ambitious photographic essay of his life. But only a fragment of the work was ever seen, despite Smith's lifelong conviction that it was his greatest set of photographs. Now, in an astonishing, first-time assemblage, edited by Sam Stephenson, of the group of core pictures that Smith asserted were the "synthesis of the whole," we see a portrayal not just of Pittsburgh but also of America at mid-century by a master photojournalist. In his accompanying essay, Alan Trachtenberg provides a critical reading of Smith's photographs, assessing Smith's attempt to document visually an American city in the context of the time period.

    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.

    Some of the waterfalls can be seen from your car, others can be reached by a short hike on an established trail, still others require a difficult bushwhack hike through the wilderness to reach - all of this detailed and rated in the guidebook. 74 new waterfalls in this updated edition...

    Grunge, the bastard child of 60s garage and 70s punk, revived the original, gritty spirit of rock and roll: rebellion ain't pretty, but it sure is fun. Featuring ninety-two photographs-eighty of them never-before-published-spanning sixteen years, Touch Me I'm Sick, Peterson's third monograph, documents the raw power of live performances by the soon-to-be-famous artists and their dedicated fans. Yet Peterson's photographs don't rely on the cult of celebrity to tell this compelling tale of angst, anxiety, and acoustics. Rather, they capture the cathartic ritual between musician and fan played out in seedy clubs reeking of sweat and stale beer. Bored, alienated youth with nothing better to do than bash their instruments and mosh their bodies in a barrage of sound, song, and furious energy are captured through Peterson's signature style of wide-angle intimacy, swirling lights, and strange sense of grace. Peterson creates timeless, artistic imagery out of this swiftly passing frenzy, and shatters the godhead of the rock star, revealing the band and audience as co-conspirators in rock's latest, greatest revival. Featuring photographs of Nirvana, Pearl Jam, Soundgarden, Sleater-Kinney, Mudhoney, Sonic Youth, L7, Hole, and Black Flag, among others, as well as excerpts from Your Flesh, Flipside, Melody Maker, B-Sides, Swellsville, and Chemical Imbalance, Touch Me I'm Sick is the perfect mix of art and journalism for music purists and connoisseurs. "And you know what? I think other photographers secretly want to be like Charles and Charles secretly wants to be like other photographers. And it's a hard call-would you rather have that street cred, punk rock hipness, and respect from all the cool bands, or industry suave that gets major magazine editors and record exec dorks to fly you all over the world for photo shoots and pay you outrageous amounts of money?"-Jennie Boddy, Your Flesh #25

    Simon photographed these innocents at sites of particular significance to their illegitimate conviction: the scene of the crime, misidentification, arrest, or alibi. Simon’s portraits are accompanied by a commentary by Neufeld and Scheck.

    "Black, A Celebration of a Culture," presents the vibrant panorama of 20th-century black culture in America and around the world in more than 500 photographs from the turn of the last century to the present day. Each photograph, hand-picked by Deborah Willis, America's leading historian of African-American photography, celebrates the world of music, art, fashion, sports, family, worship or play. From Saturday night parties to Sunday morning worship, Jessie Owens to Barry Bonds, Ella Fitzgerald to Halle Berry, "Black: A Celebration of a Culture" is joyous and inspiring.

    This gift hardback edition of Lonely Planet's bestselling pictorial, 'One Planet', inspires the reader to explore their passion for travel.

    From June 21st to September 21st, Jim spent each day capturing the spirit of the Northern Minnesota wilderness through his camera. At the end of each day, Jim edited the day's shoot and picked the best shot to represent that day's adventure. The resulting book literally teems with life. It is filled with the colour and action of a pristine natural world during its most energetic season of the year. It features all of Brandenburg's favourite subjects: wildlife and wildflowers, water and wide-open skies. As always, Jim brings the photojournalist's instinct for the critical moment to each photo. His is a style quite unlike any other nature or wildlife photographer. study in human perspective and vision. For, in addition to being a world-class photographer, Jim Brandenburg is a philosopher/poet. As any reader of his work knows, Jim's influences are broad: Native American mythology, classical Japanese culture and Zen Buddhism. Most of all, though, Jim has lived his life as a dedicated student of the natural world - of earth and sky, of water and wind, of plants and creatures. It is in the cyclical rhythms of the natural world that Jim discovers serenity and the meaning of life, and these lessons are conveyed through the images and words married together in this book.

    Offers a guide to capturing everday moments using an amateur camera, including tips on do's and don'ts, phtographic techniques, special effects, and candid photographs.

    Department of the Interior, Stanford Research Institute and a hundred other corporations, American government agencies, and educational, medical and technical institutions. They were looking for photographs that were made and used as transparent documents and purely objective instruments--as evidence, in short. Selecting 50 of the best, they printed these images with the care you would expect to find in a high-quality art photography book, publishing them in a simple, limited-edition volume titled Evidence. The concept for the book was clear: select photographs intended to be used as objective evidence and show that it is never that simple. Now an undisputed classic in the photo world, considered a seminal harbinger of conceptual photography, Evidence is nearly impossible to find. This new edition is being published in recognition of the project's continued relevance, and will contain a facsimile copy of the original book plus a newly commissioned scholarly essay by Sandra Phillips of the San Francisco Museum of Modern Art. Additionally, this edition will include a new spread of images and a group of black-and-white illustrations selected by the artists from an archive of photographs that were not included in the original book.

    Includes a copy of the book and a silver-gelatin photograph, signed and numbered by the artist, in a cloth clamshell box.

    The people have largely abandoned log cabins and country stores and now shun overalls in favor of tee shirts that blaze advertising logos.Over a period of twenty-five years Adams has traveled back to his home state of Kentucky with his cameras to document the lives of people there and to enrich and challenge outside perceptions of Appalachia.His previous books--Appalachian Portraits (1993) and Appalachian Legacy (1998), both published by University Press of Mississippi--established the grace, intelligence, and wit with which Adams depicts life, as well as the candor and straightforward honesty he evokes from his trusting subjects.Adams photographed many of these faces several times during his career. Appalachian Lives depicts how time and the outside world have affected the people dear to him. The boys of Appalachian Portraits now have become the young men of Appalachian Lives. Old homesteads have changed hands. The elderly in earlier photographs have died, yet their features glow in the faces of descendants.In her introduction Vicki Goldberg says, "Adams looks at a difficult subject with an artist's eye. At their best, the complicated and ambiguous pictures in this book are an uncommon blend of humanity, reportage, and art, an Appalachia most of us thought we knew seen through eyes that tell us that maybe we didn't know it so well after all."Just as his photographs portray the richness and complexity of Appalachians, Adams's accompanying text explains how he attains the level of trust that allows him to continue photographing these people. He tells why the region continues to fascinate him. His reflections give context to the images and a sense of the lives lived outside of the photographic frame. His honesty about his interaction with his subjects, their sometimes wary reactions to him, and his personal history in the region infuse the photographs with an intimacy that only an Appalachian insider such as Adams could achieve.

    They include: Jessica Craig-Martin, Chester Higgins, Nikki Lee, Catherine Opie, Lorna Simpson, Vanessa Beecroft, Simon Johan, Carrie Mae Weems, Nancy Burson, Garry Winogrand, Pedro Meyer, Robert Misrach, Lewis Hine, Lee Friedlander, John Baldessari, Ansel Adams, Man Ray, F. Holland Day and Thomas Eakins.

    Over a period of five years, he travelled the country by road recording his unique experience on film and video. Featuring images from every state, Spirit of America is a definitive photographic record of the iconic American landscape, and a sensitive insight into the lesser-known heart of the continent. In some of the most remarkable images ever captured, Lik chronicles his journey, and through his work pays tribute to the most powerful force on earth--Mother Nature.

    With this long awaited sequel, EDGE OF THE EARTH, CORNER OF THE SKY, Wolfe artistically pushes his craft to present his emotional vision of the Earth’s beauty.Photographed on seven continents, nine years in the making, this stylish and significant collectible is about our interconnectedness with the Earth expressed through Wolfe’s artistic use of light and perspective.Divided into five geographic regions: Desert, Ocean, Mountain, Forest and Polar, the book features a 3500-word essay by author Art Davidson to accompany each section. Davidson’s text brings the human connection to each austere, haunting image.For art collectors, photographers, environmentalists, world travelers, or those who experience the world through books, the scope and design of EDGE OF THE EARTH, CORNER OF THE SKY transcends all other landscape books and represents the pinnacle of Art Wolfe’s 50 published books and his thirty-year career.Remarkable for its artistic vision, ethereal presentation and powerful yet understated environmental message, EDGE OF THE EARTH, CORNER OF THE SKY captures the sheer wonderment of nature in a stunning and dramatic presentation.

    This new collection of stunning wildlife photographs represents the best images taken by top nature photographers around the world that have been submitted to the 2003 Wildlife Photographer of the Year competition. Featuring more than 100 unforgettable pictures, covering natural subjects from plants to endangered animals and underwater life to landscapes, that display the beauty of the natural world. Selected from more than 19,000 entries, representing at least 60 countries, these images will comprise the winning and commended pictures from the world's largest and most prestigious wildlife photography competition. Behind-the-scenes information for each picture is given in a short caption, which includes photographic details. The full collection of photographs will be available in June 2003.

    He went back day after day, standing on sidewalks, knocking on doors, asking permission to photograph a face, a child, a room, a family. Through his skill, his extraordinary vision, and his deep respect for his subjects, Davidson's portrait of the people of East 100th Street is a powerful statement of the dignity and humanity that is in all people. Long out of print, this volume is a reissue of the classic book of photographs originally published in 1970 and recently included in "The Book of 101 Books." This reprint includes over 20 new images not included in the original edition.

    Long a region of farmers, burley tobacco, cattle, copious gardens, durable traditions, and hard-working families, it has become a region of retirees, developers, young urban escapees, and new highways. Aware of the transformation, Tim Barnwell set out to document the lives of the people in the land he grew up in. His sensitive portraits, landscapes, and farm scenes, and his penetrating oral histories give us an entrée into a life characterized by straightforward joys, hardships, isolation, and independence. It is a way of life we will not see again.

    One of four daughters born to a Hungarian-Jewish father and a mother of Spanish and Mexican Indian descent, in the Mexico City suburb of Coyoacn, Kahlo did not originally plan to become an artist. During her convalescence from a bus accident in her late teens, Kahlo began to paint with oils. Her pictures, mostly self-portraits and still-lifes, were deliberately naive, filled with the bright colors and flattened forms of the Mexican folk art she loved. At 21, Kahlo fell in love with the Mexican muralist Diego Rivera; their stormy, passionate relationship survived infidelities, the pressures of Rivera's career, a divorce and remarriage, and Kahlo's poor health. The couple traveled to the United States and France, where Kahlo met luminaries from the worlds of art and politics. She had her first solo exhibition at the Julien Levy Gallery in New York City in 1938 and enjoyed considerable success during the 40s, but her reputation soared posthumously, beginning in the 80s with the publication of numerous books about her work by feminist art historians and others. In the last two decades an explosion of Kahlo-inspired films, plays, calendars, and jewelry has transformed the artist into a veritable cult figure. Portraits of an Icon is not another book featuring Kahlo's beloved, tortured self-portraits. Rather, it offers another kind of portrait of the artist, a means of seeing her through the eyes of those who surrounded her: modern masters of the camera such as Edward Weston, Imogen Cunningham, Manuel Alvarez Bravo, and Martin Munkacsi; leading photojournalists such as Giselle Freund, Bernard Silberstein, and Fritz Henle; and Kahlo's relatives, lovers, and friends, among them Guillermo Kahlo, Nicolas Muray, and Lola Alvarez Bravo. The images span Kahlo's life, beginning with a photograph of a self-possessed chubby four-year-old, her fists full of wilting roses, and ending with the image of an emaciated, wasted figure laying on her deathbed, dressed in pre-Columbian finery. They follow the artist's trajectory from precocious child to famous artist, bringing into focus the painter, the paintings, the patient, the wife, the daughter, the lover, the friend. They permit a look into her bedroom, a seat at her table, a visit to her hospital room, a stroll through her garden, a view into her collections, and some play with her pets. While many of these images provide us with a unique opportunity to glimpse the woman behind the facade, others, though less revealing, are equally fascinating in allowing us to view one of the most intriguing of the artist's creations--the construction of a self-image as carefully crafted and conceived as any of her works of art.

    Published to mark the artist's sixty-third birthday on May 25, 2003, this volume features 2002 photographs covering his entire career from 1963 to 2002.Sex-trade voyeur, recorder of Tokyo cityscapes, chronicler of married life, or experimental photo artist - no matter what your image of Araki, this collection will reveal new aspects of his talent, as it traces his unique vision over forty prolific years.All the pictures were selected by Araki himself (who also provides an original commentary), making Araki by Araki not only a comprehensive but highly personal overview of the artist's work to date. High quality color and duotone black and white printing ensure the highest standard of reproduction throughout.

    Dick Waterman has been representing and photographing blues artists for over fifty years and in Between Midnight and Day, he collects these rare images, many previously unseen, and illuminates them with his own first-hand commentary offering his unique perspective as an agent, representative, photographer, and friend to some of the most influential figures in American music. Waterman includes personal recollections and 120 color photographs of blues legends like Buddy Guy, John Lee Hooker, Lightnin' Hopkins, Chuck Berry, Ray Charles, Bob Dylan, Son House, "Mississippi" John Hurt, Skip James, Janis Joplin, B.B. King, Fred McDowell, Bonnie Raitt, Otis Rush, Roosevelt Sykes, Big Mama Thornton, Sippie Wallace, Muddy Waters, Junior Wells, Bukka White, and Howlin' Wolf. Contributors include critically acclaimed music biographer Peter Guralnick, Grammy award-winning musician Bonnie Raitt, and author Chris Murray.

    There he photographed a traditional Lakota Ghost Dance, and the resulting images re-create the dance that was originally performed by members of Chief Big Foot's band. Treating this sacred rite as both delirious remembrance and ephemeral dream, Miyelo includes literary and historical documentation that examines the Ghost Dance's origins.

    The Buddha also has inspired some of the most beautiful and magnificent artistic creations ever produced by humanity. Jon Ortner's photographs of over 150 of these extraordinary works of art grace this volume. From the hundreds of rare Laotian Buddhas filling the Pak Ou Caves to the colossal gold and gem-encrusted Maha Muni Buddha of Mandalay, the Buddha's wisdom, compassion, and serenity are eternally present. Simple but powerful verses from the sacred teachings of the Buddha accompany the photographs. The foreword by Jon Ortner talks about their creation and the introduction by Jack Kornfield gives the reader an understanding of the Buddha's life and influence. Additional notes in the back of the book provide descriptive and historic information on key images.Back in print in with a stunning new cover, this is the perfect gift for practicing Buddhists as well as anyone simply looking for an added measure of beauty and peace in his or her life.

    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.

    

    A self-taught photographer who subsequently learned to make museum quality prints, he bought what he calls "a good, journalist-type camera and some lenses" and traveled to Poland-once the home of the largest concentration of Diaspora Jews. He read the instruction manuals on the plane en route. Over four trips, accompanied each time by a top Polish guide, Gusky traveled through the country, beyond the city ghettos and the sites of concentration camps, into remote villages where Jews had lived and worked for almost 1,000 years before the Holocaust-capturing on film the austere landscapes and the remains of a once thriving Jewish culture. The silence is deafening: here are Jewish cemeteries full of broken gravestones, ruined synagogues filled with trash and disfigured with graffiti, a Jewish home now used as a public toilet-"where people lived, walked, worshipped, and were, ultimately, exterminated," says Gusky. The doleful, understated clarity of what he saw and photographed captures a poignant sense of loss-making at the same time an indelible connection to the past.

    With the exception of his earliest photographs, he chose not to represent a particular site by a single, definitive photograph but produced sequences of interrelated images that create a cumulative portrait.A collection of case studies of archetypal urban settings, this book examines Atget’s approach to photography. It features 240 of his photographs—nearly all of which have never been published—assembled to display the integral relationship between the photographer’s working method and his subject matter, revealing the character of Le Vieux Paris itself.A natural companion to the New Press’s Berenice Abbott: Changing New York, Eugène Atget is the product of an exhibit mounted in response to Abbott’s work and reflective of the two photographers’ shared vision.

    Many full-page plates of the photographs of commercial photographer Bourke-White, as well as photos by her contemporaries, are presented in this handsome catalogue, published in conjunction with an exhibition held at the Phillips Collection in Washington, DC in 2003 (and traveling to other US museum

    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.

    This book chronicles in dialogue and images the evolution of a friendship beween the artist and Alfreda, who became the subject of many of Whyte's paintings.

    Toward the end, he returns again and again to his themes of adolescent sexuality, unflinching self-exploration, and the never-ending contest between victims and victimizers. We are torn between the desire to witness these strivers and underdogs evolve gloriously into calm, powerful grown-ups and wanting to observe the Peter Pans as they play out the piercing struggles of adolescence-such apt metaphors for the rest of life's battles -- into eternity. Jennifer Dalton Recently, I have begun working on a series of video projects in which the narrative structure is generated and depicted through the progression of time. As in my photos, I am interested in self-portraiture, vanity, and narcissism, as well as issues revolving around the body, bodily functions, beauty, chaos, the grotesque and the perverse. The videos introduce the element of time into my narratives. I am interested in using this element to chronicle the gestation period of progressive states which ultimately end in destructive or absurd predicaments. Anthony Goicolea Anthony Goicolea has set the art world on its ear with these disturbing, provocative images. Exploiting his own boyish appearance, and with the help of body doubles and computer effects, he's cloned himself (all the faces in the photographs are his) in coming-of-age narratives that evoke both fondness and horror. The self portraits depict him (and his clones) indulging in all kinds of boys-will-be-boys mischief...where desire is unfixed and sometimes alarmingly off-kilter. This, the artist's first book, includes a DVD of his fiveshort films.

    

    In this follow-up to Buddhist Himalayas, Olivier and Danielle Follmi have once more worked in vivid colour to document the beauty of the majestic Himalayan landscape, while delving yet deeper into the wisdom of the Tibetans.

    No artist ever captured Harlem's dangerous highs and bluesy lows like this Master of the Performing Curve. Hirschfeld began his artistic Harlem odyssey six decades ago, charting that legendary New York neighborhood's special rhythms and moods in splashy feverish hues. Hirschfeld's Harlem opens onto a special portfolio of these full-color works, a pictorial essay of the Swing Era. Wynton Marsalis, Quincy Jones, Lena Horne and Harry Belafonte, among a dozen other Harlem artists and critics, supply accompanying commentary, reminiscences and analysis - each voice focusing on one portrait. Then it's back to Hirschfeld in his signature black and white takes on forty Harlem artists and public figures: Gregory Hines, Duke Ellington, James Earl Jones, Ethel Waters and dozens more - all have been caught in the creative act by one of our greatest artists. Each drawing is accompanied by a thumbnail narrative by Hirschfeld about the most famous inhabitants and transients of these fabled streets. Hirschfeld's Harlem opens a picture window into nearly a century of Black American artistry and life.

    The four--Arthur Rothstein, Marion Post Wolcott, Russell Lee, and John Vachon--captured the many facets of the Depression in Montana: rural and urban, agricultural and industrial, work and play, and hard times and the promise of a brighter future.Taken by men and women who became some of America's best-known photographers, the photographs of Rothstein, Wolcott, Lee, and Vachon are both stunning pieces of art and important historical documents. Today these striking images present an unforgettable portrait of a little-studied period in the history of Montana. Selected from the FSA Collection at the Library of Congress in Washington, D.C., the photographs in Hope in Hard Times offer viewers an unparalleled look at life in Montana in the years preceding the United States' entry into World War II.

    Yet its victims are often civilians -- many among them women and children.In Women and War Jenny Matthews gives a voice to this silent majority of casualties through a series of deeply moving -- sometimes disturbing -- photographs of human subjects in the midst of war and conflict wherever they are found.Twenty years of visual and written diaries tell of human struggle around the world -- in Nicaragua, Sierra Leone, Afghanistan, Burma, Chechnya, Haiti, the United Kingdom, Guatemala, and Sudan, among others. Jenny Matthews documents women and the roles they play -- avoiding, coping, confronting, participating -- as well as the emotions they experience: anger, fear, despair, joy, hope, terror.Jenny Matthews records the stories of the people she photographs, both visually and with written diaries that underscore the immediacy of the images, drawing connections between the different countries. Above all her book is a celebration of the lives of women, and how their role as actual or potential mothers changes their relationship to war.Jenny Matthews, freelance photographer and filmmaker, chronicles the devastating effects of armed conflict on women. Her work has been exhibited by Oxfam and Womankind Worldwide, and has appeared in magazines such as Mother Jones.

    'Blue' magazine's favorite photographer for many years, Freeman is also known for authoring the best-selling biography of Ian Roberts ('Ian Roberts: Finding Out', Random House, Australia 1997). 'Bondi Classic' stands out in a publishing genre filled, of late, with thoughtless compilations. It's a sumptuous 240-page hardbound, with beautiful production values and design, and exquisite photography. It's the first in a self-published series of 'coffee table' collectibles by Freeman's. A tribute to the Australian hero, Bondi Classic responds to a strong international demand for a book of Freeman's art nude portraiture. With remarkable talent Freeman gives us a sensual yet respectful look at a vast and varied array of Aussie men, including some of Australia's top actors, models, sports stars and Olympians. (Captured champion iron men, Princess Diana's personal trainer, mister Australia body building champions, actors from international theatre and film, television soap heart-throbs, top pro footballers, Olympic boxers, divers and wrestlers, and an Australian Man Of The Year!) Using classic and European religious art references, often within an ancient and moody Sydney coastal environment, Bondi Classic takes us on an epic of unabashed male physicality. Maintaining a reverential distance from his subjects, Freeman's story revels in the paradoxes of masculinity. His subjects are strong yet sensual, courageous while provocative, violent and divinely innocent. Director of the internationally- acclaimed Sydney Festival, Brett Sheehy, gave the book a rave review when he launched it in Sydney in February 2004. Sheehy referred to Freeman as a new Bruce Weber, as well as Australia's own Renaissance man.

    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.

    Diaspora is a photographic record of his 25-year search for the Jewish population in 40 countries over five continents. Volume I, 344 pages, is a collection of 262 of Brenner's more than 80,000 photographs, the most extensive and diverse visual record of Jewish life ever created. A four page color insert includes two full-color photographs. Volume II is 164 pages of evocative essays by leading intellectuals on the meaning and significance to each of them of 60 of Brenner's photographs, reproduced here in smaller format. Diaspora is a landmark project that captures the scope and dynamism of one of the world's oldest, most diverse communities, and challenges stereotypes held by Jews and non-Jews alike.

    "Where are they after all these years?" was a question that haunted Zaven when he rediscovered the remnants of his teenage hobby in an old family house. The quest for the anonymous faces, frozen in black and white, was a hard and difficult journey. Two years of a door-to-door search, resulted in this trilingual (Arabic / English / French) gift book that contains a splendid collection of photos of people and places - both as they were during the Lebanese civil war and as they are today. "Lebanon Shot Twice" is neither a book about war nor a history book. It simply tells the untold and forgotten stories of those who experienced the years of madness. "Maybe it's just an attempt to foresee the memory of the future," says Zaven.

    The Huntington Library in Southern California was suggested, and Weston, recognizing its suitability as one of the West's premier cultural institutions, responded with "quiet and intense joy." This is the first major book to celebrate The Huntington's extraordinary collection of five hundred Edward Weston photographs, all of them selected and printed for the institution by the artist himself in the 1940s. The Guggenheim photographs of the American West lie at the heart of this legacy, but Weston also included in his gift still-life studies from the early 1920s and 1930s, as well as later landscapes from the 1940s. Weston selected these photographs as representative of his best work, and they are stunningly reproduced in this landmark publication.

    On a windy August night in 1999, two 12-year-old boys had broken into a boarded-up apartment building owned by Epstein's father in Holyoke, Massachusetts, and, just for the hell of it, set it ablaze. The fire had spread, engulfing a nineteenth-century Catholic church, then a city block. The $15 million lawsuit brought by the church against the senior Mr. Epstein threatened to unravel his life. Faced with the family crisis, Mitch went home to help, possessed by the question of how his father, once owner of the largest furniture and appliance store in western New England and former Chamber of Commerce Businessman of the Year in 1970, ended up a character out of an Arthur Miller tragedy. What resulted is Family Business, an epic work about the demise of a Jewish immigrant dynasty. It traces the parallel fall of a New England town from industrial giant to drug-dealing capital. Epstein has combined formally rigorous, large-scale photographs with fluid video clips to re-create his father's universe. The book's four chapters--"store," "property," "town," "home"--include photographs, storyboards, video stills, archival materials and text, resulting in a mixed-media novel that asks how the American Dream failed his father and his generation of men.

    Its collection remains the essential barometer of the social and cultural changes of the last century. So, portrayed here are the great, the good, and, frequently, the infamous too. PEOPLE IN VOGUE provides an insight into those who, through talent, beauty, personality or an alchemical combination of all three, set a stamp on their age. From life-enhancers to the great catalysts of change. Princesses and pop stars. Models, writers and actors. Architects and designers. Society beauties and style dictators. Scientists and world leaders. They all appear here, fixed in their time by the 20th-century's leading photographers: Hoppe, Baron de Meyer, Horst, Beaton, Steichen, Snowdon, Parkinson, Bailey, Newton, Weber, Knight, Teller, Testino and others. A commentary accompanies each picture, describing the subject and their allure (or notoriety) in terms of their era, circumstance and lifestyle, frequently with the reactions of Vogue's critics and commentators. PEOPLE IN VOGUE is a unique modern archive of a century and beyond -- as stunningly produced as the people within its pages.

    Despite the richness, significance, and variety of this work, however, it has largely been neglected in Western histories of photography. This gorgeous and groundbreaking book--the first comprehensive account of Japanese photography from its inception in the mid-nineteenth century to the present day--reveals to English-speaking audiences the importance and beauty of this art form. Written by a team of distinguished Japanese and Western scholars, this book establishes that photography began to play a vital role in Japanese culture soon after its introduction to Japan in the 1850s. Illustrated essays discuss the medium's evolution and aesthetic shifts in relation to the nation's historical and cultural developments; the interaction of Japanese photographers with Western photographers; the link between photography and other Japanese art forms; and photography as a record and catalyst of change. Handsomely designed and generously illustrated with beautiful duotone and color images, the book emphasizes not only the unique features of Japanese photography but also the ways it has influenced and been influenced by the country's culture and society.

    Working almost exclusively with the photographic image, the visual language and sensibility he has created have had a profound influence on both photography-based art practice and commercial photography. and fashion shoots he did for cult magazines such as I-D, Index and Interview. Blurring the distinctions between fine art and photography, fashion shoot and reportage, his apparently spontaneous images of gay pride activists, clubbers and eco-warriers led to him being hailed as a chronicler of his generation, a tag he insistently rejected. this book includes many previously unpublished images and presents an artist constantly developing his vision to encompass new aspects of the world that surrounds us.

    Living at the height of the Victorian era, Cameron was anything but conventional, experimenting with the relatively new medium of photography, promoting her art through exhibitions and sales, and pursuing the eminent men of her time (Tennyson, Herschel, Carlyle, etc.) as subjects for her lens. For the first time, all known images by Cameron, one of the most important nineteenth-century artists in any medium, are gathered together in a catalogue raisonne. In addition to a complete catalogue of Cameron's photographs, the book contains information on her photographic experiments and techniques, artistic approach, small-format photographs, albums, commercial strategies, sitters, and sources of inspiration. Also provided is a selected bibliography of all major Cameron publications, a list of exhibitions of her work, and a summary of important Cameron collections worldwide. This catalogue is published in conjunction with a traveling exhibition of Cameron's photographs that opens in England in spring 2003 and will be on view at the Getty Museum in autumn 2003."

    What is it about writers, we wonder, that empowers them to work words into shapes and patterns that move us? The most affecting photographs possess that same power -- to reach out upon first sight, to capture our hearts and minds, to leave us smitten. Such is the feeling that comes from gazing at the work of Marion Ettlinger, a photographer celebrated for her "literary portrait power" (The Wall Street Journal). Author Photo collects, for the first time in book form, more than two hundred of Ettlinger's most famous photographs. Immortalized in these pages are many of America's greatest writers, including Raymond Carver, Francine Prose, Walter Mosley, Mary Karr, John Irving, Joyce Carol Oates, Truman Capote, Cormac McCarthy, Patricia Highsmith, Ken Kesey, Edwidge Danticat, and Jeffrey Eugenides. According to one of Ettlinger's Pulitzer Prize-winning subjects, "starkness and a sense of shadows" are at the core of her artistic allure. Shot exclusively in natural light and in black-and-white film, each of these images is an intimate artwork, putting the reader closer than ever before to the writers they revere and admire. A photographic paean to the literary spirit, Author Photo opens a rare and revealing window onto the timelessness of creativity.

    Raised in a well-connected and creative family, Cameron led an unconventional life for a woman of the Victorian age. After devoting herself to an artistic and literary salon at her home on the Isle of Wight and raising eleven children, Cameron took up photography in her late forties. Over the next fourteen years, she produced more than a thousand strikingly original and often controversial images. Her searching portraits of her friends and acquaintances, including Alfred Tennyson and Charles Darwin, have been called the world's first close-ups. This biography casts new light on the artist's links with the leading cultural figures of her time and on the techniques she used to achieve her distinctive style. It is published to coincide with a travelling exhibition of Cameron's photographs that will be on display at the National Portrait Gallery, London, and the National Museum of Photography, Film and Televison, Bradford, England, in spring 2003 and will open at the Getty Museum in October 2003.

    An unprecedented infusion of hundreds of millions of dollars in development capital is revitalizing the community and transforming a cityscape marred by decades of poverty. In a striking show of exuberance, upscale shops are materializing in once-abandoned buildings, new homes are popping up in vacant lots, and sheets of glass twinkle in place of grim, boarded-up windows. The economic renewal has lured a host of new people to the neighborhood—doctors, lawyers, investment bankers, and even a former president. But it has also posed a threat to many residents who have lived through the worst of times and now fear that they will lose their homes and livelihoods as boom times sweep in. Spirit of Harlem documents this extraordinary period of transition through the words and faces of newcomers and longtime residents alike. There are reminiscences of Harlem during the 1920s through the 1960s, stories of friends and families gathering at churches, in local shops, and on the streets, and thoughts on what the future holds for the neighborhood. Millions of tourists visit Harlem each year, and many people in the United States can trace their roots to this legendary area or have read about its remarkable history and impact on American life and culture. In more than fifty stunning portraits and essays, Spirit of Harlem brings all its splendor, rancor, drama, and glamour vividly to life. The voices of Spirit of Harlem:“The minute you step out your door, everything in Harlem is in your face. There is a beauty and a poetry in all that . . .” —Lana Turner, real estate broker“Bubba and me thought Harlem was Heaven, all the lights and the sights. I asked my aunt, ‘Where do all the white people live?’” —Rev. Betty Neal“When I came up from the subway, I said, ‘Oh man, I'm lost!’ But then I saw the Apollo and it blew me away. I said, ‘Wow, this is it! I’m in Harlem!’ I had never been to Harlem before, but I just knew I belonged here.” —Bryan Collier, author and artist

    By asking his subjects to put on the same cardigan sweater and seeing how they choose to wear it, Mosher was able to capture on film a most remarkable phenomenon - when given a common item with which to express themselves, each person's distinctive personality came shining through, and the sweater becomes a symbol of what each considers to be most unique about themselves.The resulting collection of over 500 stunning black-and-white photographs proves to be a touching and exhilarating ride from New York to Dallas, from Hollywood to London, as Mosher explores the creativity of celebrities and humbles alike - in their homes and workplaces, with their families and pets, in any way they chose. The people featured includes top names from the world of theater, film, TV, fashion, music, dance, and literature, such as Michael Bolton, Dominick Dunne, Matthew Broderick, Ted Danson, Tim Allen, Noah Wyle, Quentin Crisp, Josh Hartnett, Ryan Phillipe, and many more. See Sarah Michelle Gellar on the set of Buffy The Vampire Slayer before the first episode aired. See Swoosie Kurtz and Chris Meloni show some skin. See Jason Alexander re-enacting the behavior of his newborn child. See Jenna Elfman jumping for joy and Sela Ward snuggling her sibling. You will be amazed at how many different ways this one sweater can be worn!

    Showcasing the best photographs as documented by up to a million or more participants from across the United States, the publication of America 24/7 will coincide with network television specials, a DVD documentary, a traveling exhibition of photographs, and a compelling website. In addition to the 1,000+ top photojournalists being hired by the America 24/7 team, amateur photographers from across the country will be invited to submit their own digital photographs of American life via the project's website--america24-7.com. Participants across the United States will help to create a vivid panorama of modern American life capturing the myriad experiences that take place across the nation within a week. The creators of America 24/7 have several New York Times bestsellers to their credit, including A Day in the Life of America, A Day in the Life of the Soviet Union, and Christmas in America.

    Preservationist and architectural historian Michael Henry Adams presents the stylish and unique homes of a distinguished group of African-Americans.

    Known for his beautiful and uplifting imagery and soulful, but intimate, portraits, Steve McCurry's photographic collection offers an intimate insight into the unique and dignified culture and religion of Tibet.

    Norfolk’s powerfully beautiful images reveal utter devastation on a vast and overwhelming scale. Afghanistan is unique, utterly unlike any other war-ravaged landscape. In Bosnia, Dresden or the Somme, for example, the devastation appears to have taken place within one period, inflicted by a small gamut of weaponry. However, the sheer length of the war in Afghanistan, now in its 24th year, means the ruins have a bizarre layering; different moments of destruction lying like sedimentary strata on top of each other.Afghanistan won the Leica-sponsored European Publishers Award for Photography 2002.An exhibition began its US tour in late 2002.Simon Norfolk worked as a photojournalist through the early ’90s on projects relating to fascism, the far-right, anti-rascism issues and Northern Ireland. He was assigned to eastern Europe at the fall of the Berlin Wall and covered the Gulf War. In the mid ’90s he turned to landscape photography, working for four years on his book For Most Of It I Have No Words: Genocide, Landscape, Memory. This was published to wide acclaim including praise from the novelist Anne Michaels and Louise Arbour, Chief Prosecutor of the War Crimes Tribunal in The Hague.

    Photographer Subhankar Banerjee, in collaboration with six essayists, presents a portrayal of a unique landscape made up of equal parts beauty and hazard. The Arctic National Wildlife Refuge, one of the last intact ecosystems on earth, is being impacted by forces that may change its existence forever: global warming and the encroachment of modern society through the potential for oil drilling. Jimmy Carter, George Schaller, and Bill Meadows narrate the story with essays that delve into the history of the Refuge, the political battles -- past and present -- and the fragility of the ecosystem. Wildlife biologist Fran Mauer writes of the areas geological and geographical uniqueness while Debbie Miller describes the cultures of the Inupiat Eskimos and the Gwich'in Athabascan Indians. David Allen Sibley explores the prolific bird life and migrations at the refuge with an eye toward the delicately balanced ecology of the region. Peter Matthiessen, reflecting on his journey through the Refuge with Banerjee, passionately defends the need to preserve these lands and the people and the wildlife they shelter. Visit the photographer's website at www.subhankarbanergee.org

    

    Internationally acclaimed photographer Sebastiao Salgado offers an inspiring and poignant chronicle of the global initiative to eradicate polio

    The pictures are complemented by essays from a group of highly-regarded writers.

    In his off-hours, he immersed himself in country music at the show venues, music parks, and the rural saloons that coursed with the music and its rough-and-tumble lifestyle, otherwise known as honky tonks. With over 100 incomparable duotone photographs, Honky Tonk captures the heart of the country music experience during a period of transition, as the friendly familiarity of the scene -- from the huge hall of the Grand Ole Opry to the family vacation camps -- took on a more commercial polish. Disarming portraits of legends such as Bill Monroe, Dolly Parton, and Waylon Jennings brush up against shots of the workaday fans who kept the scene alive. Offering an intimate glimpse into country music as it was performed and enjoyed, these photographs capture a true slice of American life where artists and fans converged to enjoy music and strut their stuff.

    Each photograph is accompanied by side- and plan-view diagrams showing how the setup worked. Includes a directory of photographers, an excellent resource for art directors and designers.

    In Twins, her fourteenth publication, Mark turns her acute eye and her heart to the extraordinary bond that exists between these very special siblings.

    Soviet imperialism and empiricism was dead and lands, nations, and peoples would henceforth be free from the tyranny of the communist diktat. But it also sounded the death knell of a small, impoverished, and forgotten land-locked state in the Caucasus which had the misfortune to be of geopolitical importance. Stanley Greene's photographs in Open Wound are so powerful as to make Chechnya our responsibility. He is unashamed to use guilt, with his painter's eye, to relate the deeds of men in Chechnya to our own conduct.

    An exceptional photographic history of the changing face of war and combat photo journalism through the last 150 years fully illustrated with over 200 photographs

    Jacques Henri Lartigue was only nineteen years old when he spent his first winter vacation in the Alps. Immediately captivated, he became a frequent visitor to the increasingly fashionable resorts of Chamonix, Megè ve, and Saint Moritz. The photographs that he took there are full of the adolescent wonderment that he was to maintain all his life. The exhilaration at being in the mountains and the awe inspired by the ethereal scenery of snowcapped summits are difficult to contain. Lartigue was overcome by the "dazzle of colorless light" that surrounded him: "I am in the negative of night!" he wrote in his journal at the time. The young photographer's joy was as fresh as it was lasting, reinforced by the inexhaustible pleasures of winter sports, which he discovered at the same time. He photographed all the fun and glamour of European high-society at play in the snow--intrepid sportsmen and women in action, displaying their athletic prowess at skiing, ice hockey, skating, curling, bobsleigh. . . . His pictures propel us between sky and land: skaters twirl, skiers jump, fir trees sway. But the mountains also harbor more contemplative, personal moments: his honeymoon with his young wife Bibi at Chamonix; skiing through "silence as soft as down"; the quiet poetry of a winter landscape. Beautifully reproduced in duo-tone, this collection of winter photographs, the majority of which are published here for the first time, reiterate Lartigue's positon as one of the great masters of twentieth-century photography.

    This is universally recognized as the definitive competition for photographic reporting, and photojournalists, newspapers, and magazines throughout the world submit thousands of images in the race to win. The World Press Photo Competition 2003, the forty-sixth contest to date, brings together some 200 images. The best pictorial journalism from an evenful year, this selection brings us face to face with contemporary world events--an impressive visual record of social, political, cultural, scientific, and, above all, human milestones.

    But what about John Voelker, the man? They're one in the same. Attempting to escape his literary trappings as an author, Voelker sought refuge in fly fishing and writing about his treasured pastime up north in Michigan. His friend Charles Kuralt called him the closest thing to a great man (he) ever met. Explore this special Michigan pictorial by photographer Ed Wargin and writer James McCullough.

    A lavishly illustrated tour of Paris depicts the city from a range of perspectives, from its Seine quays, to the Montmartre stairs, to the nighttime lights of the Champs +lyseTs.

    How did this come to be? The Last Picture Show will address the emergence of this phenomenon of artists using photography by tracing the development of conceptual trends in postwar photographic practice from its first glimmerings in the 60s in the work of artists such as Bernd & Hilla Becher, Ed Ruscha and Bruce Nauman, to its rise to art-world prominence in the work of the artists of the late 70s and early 80s including Sherrie Levine, Richard Prince and Cindy Sherman. Intended as a major genealogy of the rise of a still-powerful and evolving photographic practice by artists, the checklist will include a wide array of works examining a range of issues: performativity and photographic practice; portraiture and cultural identity; the formal and social architectonics of the built environment; societal and individual interventions in the landscape; photography's relationship to sculpture and painting; the visual mediation of meaning in popular culture; and the poetic and conceptual investigation of visual non-sequiturs, disjunctions and humorous absurdities. Bringing together a newly commissioned body of scholarship with reprints of important historical texts, The Last Picture Show seeks to define the legacy that has produced a rich body of photographic practice in the art world today.

    Whether white, black, red or yellow, of whatever religion or language, whether city dwellers or country folk, sedentary or nomadic, rich or poor, the peoples of the world are the creators of such diverse civilisations that even researchers have not yet fully mapped them.

    Street punks. Supermodels. Plenty of tattoos and lots of bling bling. Big Up is a photographic scrapbook of Americas raucous youth culture, created by one of the brightest young photographers in the fashion industry. Our limited hardcover edition of this extraordinary document was so eagerly sought that all 1,500 copies were accounted for before we even released the book. Now we're reissuing it -- how could we not? -- in a handy and inexpensive paperback format that's sure to once again capture the imagination. But don't just take our word for it. Here are what the critics have to say about Big Up: "Big Up, a hectic insider's view of the past dozen years of urban youth culture by London-born, Australian-raised Ben Watts, is too wild and too idiosyncratic to go unmentioned. The spontaneity and verve Watts packs into his pictures are perfectly mirrored in the book's...scrapbook-style design. Cut up, collaged, crayoned, and tagged with markers, the photos feel less like fixed, flattened documents than little time bombs about to explode. This sense of terrific, barely contained energy makes Big Up big fun, and the ideal time capsule for a style moment that just won't quit." --Village Voice"British photographer Ben Watts shot some rad pictures of wrestlers for us a short while ago. We were in love with his images then, and we haven't fallen out of love since. Big Up collects a variety of his raw, high-energy hip-hop portraits into one inspiring scrapbook." --Tokion

    For over a decade Kansas-based photographer Larry Schwarm has been making extraordinary color photographs of the dramatic prairie fires that sweep across the vast grasslands of his native state each spring. Based on this stunning and extensive body of work, Schwarm was chosen from over 500 submissions as the inaugural winner of the CDS/Honickman Foundation First Book Prize in Photography. With publication of On Fire, Duke University Press, in association with the Center for Documentary Studies and The Honickman Foundation, launches this major biennial book prize for American photographers.Fire is an essential element of the ecosystem. Every spring, the expanses of tallgrass prairie in the Flint Hills of east-central Kansas undergo controlled burning. For photographer Larry Schwarm, documenting these fires has become a passion. He captures the essence of the fires and their distinct personalities—ranging from calm and lyrical to angry and raging. His photos allow us to see the redemptive power of fire and to remove ourselves from its tragic elements. Through Schwarm’s lens, the horizon takes on new meaning as we view the sublime, mystical, and sensual character of the burning landscape. Schwarm connects the enormous power and devastation of fire to what can only be identified as another kind of creation—the creation of beauty.Published by Duke University Press in association with Lyndhurst Books of the Center for Documentary StudiesThe Center for Documentary Studies/Honickman First Book Prize in Photography is open to American photographers who use their cameras for creative exploration, whether it be of places, people, or communities; of the natural or social world; of beauty at large or the lack of it; of objective or subjective realities.

    It reproduces over 200 photographs by the century's most important photographers, together with essays and biographies of the photographers featured.

    From the cities, small towns and villages of India -- a country of almost unparalleled diversity where every major religion of the world has found a home -- Dinesh Khanna brings us images of faith as it endures in everyday life. Priests light up the night on the ghats of Varanasi in honor of Shiva; Sufis sing ecstatic love songs to Allah at the tomb of Nizamuddin Auliya; young boys in Ladakh prepare for the austere life of a Buddhist Lama; and devotees offer wax models of what they desire to Mary at her church in Mumbai. Meanwhile, on the highways and lanes of India, taxi and truck drivers carry on their dashboards little shrines to their gods; Jain nuns walk barefoot for miles on an eternal pilgrimage; and people stop along busy roads to offer prayers at modest temples and tombs.Living Faith is an intimate, revealing record of a deeply spiritual way of life. It acknowledges the strength of private worship and shared faith, which ultimately transcends the more visible but short-lived realities of discord.

    For thirty years, this committed photographer has portrayed the history and evolution of the American land, from great desert spaces to agricultural patterns to city grids. A trained architect who is closely involved in landscape heritage protection issues, MacLean has set out to create a series of pictures that show and explain the universal history of town and countryside. What he has to say may be invigorating or alarming, but it always raises the issue of the landscape's future.This new collection of exemplary photographs taken across the American landscape reflects MacLean's passionate interest in the effects of time, geological movements, shifting landscapes, redeployment, pollution, urban sprawl, and the overlapping of surfaces and activities. More than 400 color photographs reveal in a unique way the physical splendor of America: both the beauty of the ongoing inhabiting of the land and the potential for modern planning to create spectacular environments.

    Users will learn all there is to know about importing, organising, correcting, printing, and sharing their digital images.

    The viewer, willing or not, fills in the frames that precede and follow it. . . . When confronted by such compelling and seductive images, the viewer can hardly help but respond reflexively, amplifying, expanding, and otherwise making the photograph his own. This compulsion to respond, together with the lovely elegiac mood in all his work, is the real power of Schenck's photographs." --John Berendt, from the Foreword Remembered movies . . . images from a dream . . . scenes from another world--the photographs of Rocky Schenck are endlessly evocative, though the photographer asserts that "my approach is rather simple: I record on film what I see and what I feel as I travel through life." Still, these haunting images are no mere reproductions of everyday reality. By manipulating both the film's negative and the print's surface, Schenck creates images that are "illustrations of my conscious (and perhaps subconscious) dreams, emotions, and longings. . . . When I shoot these images, they are usually not premeditated or contrived. . . . I simply take my camera with me where I go and try to remain open to whatever life shoves . . . or gently places . . . in front of me." This volume is the first book-length publication of Rocky Schenck's photography. The images range from human spaces--hotel rooms, store windows, lobbies, living rooms, even information booths--to natural places--oceans, lakes, forests, fields, and roadways--he encountered on trips through North America, Europe, and Mexico. For all their variety, however, Schenck'simages form a coherent whole. Like lost scenes from a silent movie, they suggest bits of a story set in a vaguely threatening landscape in which loneliness and alienation are offset by moments of pure beauty. Refusing easy resolutions, Rocky Schenck never quite closes the story, leaving viewers to navigate their own way back to the daylight world. Accompanying the images is an appreciative foreword by John Berendt, author of Midnight in the Garden of Good and Evil and a collector of Schenck's work. Connie Todd's introduction links Schenck's work with the nineteenth-century pictorial tradition and twentieth-century modernism and also provides a brief biography of the photographer.

    Burns, denominates the field of early medical photography. Contain written explanations, have never been seen by the general medical profession. 25 selected photogragraphs.

    In 10 expertly written chapters, each with a separate thematic focus, he uses examples from his own work—along with innovative techniques—to demonstrate the myriad ways family, friends, a garden, animals, or a backyard view can become lasting and imaginative works of art.• Presents an inventive approach to photography, teaching photographers to use their own homes as studios• Filled with beautiful, surprising photos• Will benefit photographers working in digital and traditional mediums

    Regardless of their size or shape, their forms follow their functions. They are honest. They are beautiful. And they are rapidly vanishing. Across the land we see abandoned farms with barns falling down, being torn down, and only occasionally being converted to other uses. As urban sprawl eats up the countryside and food-producing Goliaths put small farmers out of business, the need for old barns has diminished. For most of his life as a photographer, David Plowden has admired and photographed barns. In recent years, as their disappearance accelerated, he made it his mission to document these beautiful structures, before they too are lost. The result is this beautiful book, his hymn to the American barn.

    Each of these 150 dazzling photographs is accompanied by Cornish's insights on how the picture came to be taken: how light, weather, timing, and composition affected his choice of viewpoint; the selection of film and filters; plus much more. Although rich with technical information, the real fascination behind this book lies in the author's explanations of the thought processes and creative inspiration behind each of his magnificent photographs. Above all, Cornish offers readers intriguing insight on how to capture the wonders of nature on film.

    Over the next century, Scottish photographers captured a stunning visual record of their land and its people, their mixed fortunes, hopes, and aspirations. Their achievementsnever before collected together so tellinglydocument a century of profound contrasts, of division, upheaval, and change that recast forever the character of Scotland. Here are the triumphs of self-confident Scotlandthe completion of the Forth Bridge and the stream of vessels that slid down the slipways of the Clyde to bind together a far-flung empirebut also its injustices, the story of the urban and rural poor, and the evictions that drove people from the land to seek work in the cities or renewed hope in emigration to the New World. Scotland has always been the country of the "lad o' pairts," the youth from the unpromising, impoverished, often rural background who, with the help of parental self-sacrifice and ambition, personal determination and strength of character, progressesoften as an emigrant to North Americato great things. Gordon Highlanders drinking whisky from enamel buckets in the New Year celebrations of 1890; the caves of Staffa and their associations with the mythical Celtic hero, Finigal; the grandeur of Edinburgh Castle; a portrait of John Logie Baird, Scottish scientist-hero and inventor of the television; the golfers of Scotscraig a mere decade after the beginning of photography; settlers overseas in Colorado; salmon-netting on the River Oykelthis enthralling visual history brings the country to life not only for everyone of Scottish origin, but equally for everyone who has enjoyed the rich character and landscape of this beguiling nation. 236 illustrations in color and duotone.

    Gilbert's work is a valuable contribution to the honorable photographic tradition of tribal studies.' Peter Matthiessen When photojournalist Elizabeth Gilbert first came into contact with the Maasai over ten years ago, their images were everywhere in Africa. Pictures of warriors were printed on postcards, T-shirts, safari advertisements, and hotel logos, but in reality their traditional life was disappearing. So Gilbert set out on a four-year journey to photograph what was left of traditional Maasailand.Broken Spears is the stunning result of that remarkable journey. Over 120 images capture the rituals, secret ceremonies, and landscapes of the Maasai, documenting the life of this extraordinary tribe in the most comprehensive collection of photographs ever assembled. Gilbert's intimate relationship with the Maasai allowed her to photograph centuries-old Maasai ceremonies, including male and female circumcisions, weddings, and perhaps the most dangerous of all Maasai rituals, a lion hunt. Broken Spears is a haunting testament to a rapidly disap

    The fruits of their journey are pictures so poignant and evocative of the American West that they are the photographic equivalent of a Steinbeck novel. Each amazing photo vividly reveals the struggle for survival, of a disappearing way of life, in the forgotten countryside and backroads of the U.S. In the often harsh and unforgiving landscape, the Worobiecs shot affecting and beautiful pictures of abandoned farms, schools, gas stations, grain elevators and tractors, diners, and trucks. Tony's pictures are large format, shot in black and white, and then hand tinted. The results resemble postcards from the 1950s. Eva shoots directly in color for a more starkly modern aspect. Both achieve magnificent, and ultimately emotionally touching, results. Along with the photographs are the words of the remaining residents, who speak sadly of better times, the friends and neighbors for whom things didn't work out, and of their own, once-flourishing piece of abandoned America. This remarkable achievement is both an exquisite photography book and a commentary on the American way of life.

    Although these islands are vastly different in many ways, they also share many common features. Most dramatic among these is their dynamism--barrier islands are in almost constant motion, their advances and retreats powerful testimony to the force and beauty of nature--and their vulnerability in the face of a different kind of force, commercial and residential development.This first-of-its-kind survey of barrier islands around the globe had its genesis in 1993, when geologist Orrin Pilkey met artist Mary Edna Fraser at Cape Lookout National Seashore in North Carolina. They soon realized they shared a passion for the barriers, one heightened by the many threats the islands face from development and global warming. These fragile and irreplaceable jewels, Pilkey and Fraser determined, needed to be better understood, and, as important, to be seen in a new way, if they were to be saved.Every bit as dynamic as the islands they depict, Mary Edna Fraser's spectacular original batik artwork (silk cloth colored by hand using a modern variation of an ancient dyeing technique) has been exhibited in both science and art museums. Combined with Orrin Pilkey's engaging and informative text, they create a treasure of a book that is at once beautiful and rigorously scientific. Pilkey identifies three major types of barriers--coastal plains, Arctic, and delta--each with its own geological characteristics and particular morphologies, which are themselves shaped by several factors, including the absence or presence of underlying rock formations, tidal patterns, and vegetation. Employing the latest advances in geological mapping, Pilkey also identifies traces of ancient barriers marking long-lost shorelines--a further reminder that in the geological dance of land and sea, change is the only constant.Praise for Mary Edna Fraser and her art:"Pilot with a palette... as much of an artist in the midst of the creative process as Picasso laboring over his easel." --Michael Kilian, Chicago Tribune"Fraser's works depict an organization and sensuousness in the land that is visible only from the air." --Susan Lawson-Bell, National Air & Space Museum"Exhibited and collected around the world, her batiks have a common theme: promoting the awareness of environmental beauty and change on the planet as seen from the air. " --Carolyn Russo, Women and Flight

    Starting off with a look at the equipment required for a glamour shoot, the authors further delve into the possibilities of camera format and location, both indoors and outdoors, giving examples of what can be achieved through the positioning of light, reflectors and the use of ambience. Over 200 stunning glamour shots and six portfolios by the team members describing their entire creative process demonstrate the wide variety of styles and techniques that can be employed, making this book a real treat for all lovers of modern glamour photography.

    In this gorgeous volume, Simon Marsden, a master of eerily beautiful photographs, has interspersed his own work with selections from Celtic writing as well as the imaginative works of Robert Louis Stevenson, Arthur Conan Doyle, Bram Stoker, Edgar Allan Poe, and others. There are also real-life contemporary ghost stories, reminding us of the dark terrors that still haunt the present.

    Simons Island has been part of the changing landscape of Georgia's coast. When Gen. James E. Oglethorpe established Fort Frederica to protect Savannah and the Carolinas from the threat of Spain, it was, for a short time, a vibrant hub of British military operations. During the latter part of the 1700s, a plantation society thrived on the island until the outbreak of the War Between the States. Never returning to an agricultural community, by 1870 St. Simons re-established itself with the development of a booming timber industry. And by the 1870s, the pleasant climate and proximity to the sea drew visitors to St. Simons as a year-round resort. Although the causeway had brought large numbers of summer people to the island, St. Simons remained a sleepy little place with only a few hundred permanent residents until 1941.