As Goldin writes: "Real memory, which these pictures trigger, is an invocation of the color, smell, sound, and physical presence, the density and flavor of life."

    Who are the makers and who are the takers? Readers can judge from themselves?

    This collection of photographs captures these accoutrements.

    First published in French in 1932, this new edition brings one of Brassa's finest works back into print. The back alleys, metro stations, and bistros he photographed are at turns hauntingly empty or peopled by prostitutes, laborers, thugs, and lovers. "Paris by Night" is a stunning portrait of nighttime in the City of Light, as captured by its most articulate observer. 62 photos.

    Following the death of his mother, photographer Phillip Toledano was shocked to learn of the extent of his father's severe memory loss. He started a blog on which he posted photographs and accompanying reflections on his father's changing state. Through sometimes sad, often funny, and always loving observations, we follow Toledano as he learns to reconcile the elderly man living in a twilight of half memories with the ambitious and handsome young man he occasionally still glimpses. Days With My Father is an honest and moving reflection about coming to terms with an aging parent.

    He is a mentor, teacher, and trailblazer to many photographers, and a hero to those who feel Jay's teaching has changed the way they see and create their own photography. He is a living legend whose work is studied around the world, and whose teaching style and presentation garner standing ovations and critical acclaim every time he takes the stage.Now, for the first time ever, Jay puts his amazing insights and learning moments from a lifetime behind the lens into a book that communicates the three most important aspects of street photography: light, gesture, and color. Each page unveils something new and challenges you to rethink everything you know about the bigger picture of photography. This isn't a book about f-stops or ISOs. It's about seeing. It's about being surrounded by the ordinary and learning how to find the extraordinary. It's about training your mind, and your eyes, to see and capture the world in a way that delights, engages, and captivates your viewers, and there is nobody that communicates this, visually or through the written word, like Jay Maisel.Light, Gesture & Color is the seminal work of one of the true photographic geniuses of our time, and it can be your key to opening another level of understanding, appreciation, wonder, and creativity as you learn to express yourself, and your view of the world, through your camera. If you're ready to break through the barriers that have held your photography back and that have kept you from making the types of images you've always dreamed of, and you're ready to learn what photography is really about, you're holding the key in your hands at this very moment.

    Early on he adopted the versatile 35mm format and helped develop the popular “street photography” style, influencing generations of photographers that followed. In his own words, he expressed that “the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. . . . It is by economy of means that one arrives at simplicity of expression.” In 1947 Cartier-Bresson founded Magnum Photos with four other photographers. August 22 will be the 100th anniversary of his birth.

    An excellent, comprehensive overview of the life and work of the groundbreaking artist who broke down the boundaries between photography and graphic design with his innovative techniques.

    Originally published in 1986, this dark, democratic environment provided the setting for photographer Bruce Davidson's first extensive series in color. Subway riders are set against a gritty, graffiti-strewn background, displayed in tones Davidson described as "an iridescence like that I had seen in photographs of deep-sea fish." Never before has the subway been portrayed in such detail, revealing the interplay of its inner landscape and out vistas. The images include lovers, commuters, tourists, families, and the homeless. From weary straphangers to languorous ladies in summer dresses to stalking predators, Davidson's compassionate vision illuminates the stubborn survival of humanity. From the spring of 1980 to 1985, Davidson explored and shot six hundred miles of subway tracks. In his own words, "I wanted to transform this subway from its dark, degrading, and impersonal reality into images that open up our experience again to the color, sensuality, and vitality of the individual souls that ride it each day." Now nearly 25 years later, and on the eve of the subway's 100th anniversary, St. Ann's Press is publishing a new edition of Davidson's classic book. This edition adds forty unseen images to the original book, and includes a new introduction by Arthur Ollman of the Museum of Photographic Art in San Diego, and a foreword by Fred Braithwaite (aka Fab Five Freddy), the original graffiti artist. It also includes Bruce Davidson and Henry Geldzahler's original essays.

    In concise analyses, John Szarkowski investigates the aesthetic, formal, social and historical issues of 100 photographs selected from the Modern's collections. This archive of pictures contains a vast range of works from familiar and not-so-familiar photographers. Included are some the of most recognizable pictures of the past 150 years by acknowledged masters of their field such as Adamson, Cameron, Stieglitz, Weston, Cartier-Bresson, Cunningham, Arbus and Frank.

    Some of the 50 flower images in this collection, all in colour, date from the early 1980s, but many of them from the months leading to his death in 1989.

    In 1972, the 13-year-old Woodman made a black-and-white photograph of herself sitting at the far end of a sofa in her home in Boulder, Colorado. Her face is obscured by her hair, light radiates from an unseen source behind her out at the viewer through her right hand. This photograph typifies much of what would characterize Woodman's work to come: a semi-obscured female form merging with or flailing against a somewhat bare and often dilapidated interior. In an oeuvre of around 800 photographs made in just nine years, Woodman performed her own body against the textures of wallpaper, door frame, baths and couches, radically extending the Surrealist photography of Man Ray, Hans Bellmer and Claude Cahun and creating a mood and language all her own. In the 30 years since her untimely death, Woodman has gained a following among successive generations of artists and photographers, a testament to her work's undeniable immediacy and enduring appeal Amid a renewed intensification of interest in Francesca Woodman, this volume is published for a major touring exhibition of her photographs and films at the San Francisco Museum of Modern Art and the Guggenheim. Containing many previously unpublished photographs, it is the definitive Francesca Woodman monograph.Francesca Woodman (1958-1981) was born in Denver, Colorado, to the well-known artists George and Betty Woodman. In 1975 she attended the Rhode Island School of Design, and in 1979 she moved to New York, to attempt to build a career in photography. In 1981, at the age of 22, she committed suicide.

    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."

    In The Big Book of Breasts, Dian Hanson explores the origins of mammary madness through three decades of natural big-breasted nudes. Starting with the World War II Bosom-Mania that spawned Russ Meyer, Howard Hughes's The Outlaw and Frederick's of Hollywood, Dian guides you over, around, and in between the dangerous curves of infamous models: Michelle Angelo, Candy Barr, Virginia Bell, Joan Brinkman, Lorraine Burnett, Lisa De Leeuw, Uschi Digard, Candye Kane, Jennie Lee, Sylvia McFarland, Margaret Middleton, Paula Page, June Palmer, Roberta Pedon, Rosina Revelle, Candy Samples, Tempest Storm, Linda West, June Wilkinson, Julie Wills, and dozens more, including Guinness World Record holder Norma Stitz, possessor of the World's Largest Natural Breasts.The 420 pages of this book contain the most beautiful and provocative black and white and color photos ever created of these iconic women, plus nine original interviews, including the first with Tempest Storm and Uschi Digard in over a decade, and the last with Candy Barr before her untimely death in 2005. In a world where silicone is now the norm, these spectacular real women stand as testament that nature knows best.

    The only definitive collection of photographs spanning the entire career of war photographer Robert Capa.