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.

    Here Friedlander focuses on the role of his own physical presence in his images. He writes: "At first, my presence in my photos was fascinating and disturbing. But as time passed and I was more a part of other ideas in my photos, I was able to add a giggle to those feelings." Here readers can witness this progression as Friedlander appears in the form of his shadow, or reflected in windows and mirrors, and only occasionally fully visible through his own camera. In some photos he visibly struggles with the notion of self-portraiture, desultorily shooting himself in household mirrors and other reflective surfaces. Soon, though, he begins to toy with the pictures, almost teasingly inserting his shadow into them to amusing and provocative effect--elongated and trailing a group of women seen only from the knees down; cast and bent over a chair as if seated in it; mirroring the silhouette of someone walking down the street ahead of him; or falling on the desert ground, a large bush standing in for hair. These uncanny self-portraits evoke a surprisingly full landscape of the artist's life and mind. This reprint edition of Lee Friedlander: Self Portrait contains nearly 50 duotone images and an afterword by John Szarkowski, former Director of the Department of Photography at The Museum of Modern Art.

    Once upon a time,"there was an old lady who swallowed a fly"...Well, the fly is back!He's bigger.He's badder.And he wants revenge!

    In it, Anansi the spider learns that you usually have to work to get the things that you want, and that it is never a good idea to be too greedy!

    Internationally famous Czech photographer Jan Saudek is no exception, and equally as uncompromising in pursuit of his own unique vision. For over four decades Saudek has created a parallel photographic universe, a two-dimensional home full of longing, peopled with the most extraordinary characters and colored by desire. The timeless strength of his hand-tinted photographs lies in their poetic compositions and their forceful?at times ribald?pictorial language, with its overtones of medieval genre pictures and Baroque mythology. Rejecting the traditional beauty in his famous nude photographs, Saudek shows the distinctively different: old women, fat women, children; real people in tableaux vivants that remind us of everything from surreal early movies to fin-de-siecle carnival nights. They exist outside time, a uniquely colored and almost mythical theater of dreams. Covering his debut in the 1950s through his lesser-known work to recent images, this dazzling collection offers us the true "velvet revolution," fertile and unsettling images from the dreams we might still have. The author: Daniela Mr?zkov?, critic and editor of the Czech magazines Revue fotografie and Fotografie-Magaz?n, is the author of sixteen books on photography published in the Czech Republic and abroad, and the curator of around fifty photography exhibitions. She has been a member of international juries, and has authored film and television documentaries on photography and photographers. She hasfollowed Jan Saudek's work since his early years and is the author of Saudek's first Czech monograph, The Theatre of Life.

    Once you own a flash, though, you'll have a lot of questions about how to get it to create the light you need—questions about camera and flash settings, questions about direction, quality, and quantity of light. And in addition to knowing how to use your flash, you need to know which modifiers and triggers you might need, and you need to learn use them quickly.That’s why this book was created: to quickly get you to the technique, the setting, or exactly the right thing you need to do right now to improve your work.Here’s how it works: When you need to know how to do a particular thing, you turn to the chapter where it would be found, find the thing you need to do (it’s easy, each page covers just one single topic), and Scott tells you exactly how to do it just like he was sitting there beside you, using the same casual style as if he were telling a friend. That way, you get back to shooting fast. This isn’t a book of theory, full of confusing jargon and detailed multi-step concepts. This is a book on which button to click, which setting to use, and exactly how and when to use it, so you’re never “stuck” wondering how to use your flash again. This will be your “go to” book that sits within reach any time you’re shooting with flash, and you are going to love having this type of help right at your fingertips.

    But outside the lab, Herzog also devoted himself to what was, at the time, an unusual and even frowned-upon medium, at least artistically: color photography. Laboring away as a virtually anonymous pioneer in this field, some 20 years before William Eggleston's watershed show at the Museum of Modern Art, Herzog was quietly documenting in rich Kodachrome the streets of Vancouver: its supermarkets, gas stations, bars, urban scenery and above all its working class culture. Herzog used slide film to make his photographs, which limited his ability to exhibit them and further marginalized his work; but in recent decades, happily, this color pioneer has drawn great acclaim, and this volume, the largest Herzog monograph yet published, does marvelous justice to his rich oeuvre.

    Reflecting Goldsworthys lifelong interest in the landscape of the British Isles, its history, and the people who work on it, Enclosure is a collection of ephemeral work that relates to sheep, including a spectacular series of large sheep paintings--made by the hoof-prints of sheep.

    There is no question that Robert Frank's The Americans is the most famous and influential photography book ever published. It was 1959 when the book first came out: a series of deceptively simple photographs that Frank took on a trip through America in '55 and '56, pictures of normal people, everyday scenes: lunch counters, bus depots, cars, and the stangely familiar faces of people we don't quite know but have seen somewhere. They are pictures that saw the "American way of life" as we hadn't yet quite been able to see it ourselves, photographs that condensed the entire life of a nation in classic images that still speak to us today, forty years and several generations later.

    His journal has become a classic of photographic literature. Weston was a towering figure in twentieth-century photography, whose restless quest for beauty and the mystical presence behind it resulted in a body of work unrivaled in the medium. John Szarkowski observes that "It was as though the things of everyday experience had been transformed... into organic sculptures, the forms of which were both the expression and the justification of the life within... He had freed his eyes of conventional expectation, and had taught them to see the statement of intent that resides in natural form."

    The first change will be in his diet, and from now on puss is obliged to eat vegetables instead of his beloved cat food. But things get complicated and, unwittingly, Marmalade ends up in India in the Ashram of a well-known guru together with his companion in misfortune Fluffy the pussycat. After many adventures they return to their native land after being abducted by a UFO and end up triumphing on the small screen, because, as the authors conclude, "If you like happy endings, this is the book for you"

    It’s the perfect bedtime story for the entire family to enjoy. Teen author, Rachel Yu, is residing happily ever after, in her own Castle of Brilliance. Another quality children picture book from the father and daughter team of Michael and Rachel Yu.

    When the enchanted words are spoken, he (or whoever is in the tree house) magically appears wherever he wishes them to be. Come with him and his friend as they have great adventures, until Aidan's mother finds out the magic words and starts using this tree house for her own fun-filled adventures.

    When they don't get what they want, they may express themselves by screaming at the top of their lungs, kicking anything they see or throwing things on the floor.As a parent, you want to help your child manage their anger. You want to teach them in a way that is subtle and easy to understand. The question is, how?Let Milo and his two monster friends help your child manage their anger!Milo is a cheerful young boy who loves to play. One day, he meets Zim and Ixy, two little monsters that also like to have fun. Together, they find themselves in different everyday situations that sometimes trigger feelings of anger. With the help of Milo’s parents, the trio learn how to cope with their negative emotions.Two Monsters and Me was written to help children better understand different emotions. All the characters are very relatable, making it easy for kids to put themselves in every single one’s shoes.This book will teach kids:5 simple and effective techniques for coping with angerThat it’s natural to get angryHow to avoid outburstsHealthy ways to channel their feelings of anger… “This book was perfect for my 4-year-old who has a pretty rough temper! It helped us find alternative options for him when he's feeling TOO angry.” – Amber…This anger management book will not only teach kids how to control their anger but also help parents understand how to deal with their little one’s feelings.More reasons to love this book:Beautiful and colorful illustrationsAdorable and relatable charactersEasy to understandHelp your little one manage their emotions. Add «Two Monsters and Me: Everybody Gets Angry» to your Cart TODAY!