And as with his photographs of the Mississippi, these images are less about natural wonder than human desire. "I went to Niagara for the same reason as the honeymooners and suicide jumpers," says Soth, "the relentless thunder of the Falls just calls for big passion." The subject may be hot, but the pictures are quiet, the rigorously composed and richly detailed products of a large-format 8x10 camera. Working over the course of two years on both the American and Canadian sides of the Falls, Soth edited the results of his labors down to a tight and surprising album. He depicts newlyweds and naked lovers, motel parking lots, pawnshop wedding rings and love letters from the subjects he photographed. We read about teenage crushes, workplace affairs, heartbreak and suicide. Oscar Wilde wrote, "The sight of the stupendous waterfall must be one of the earliest, if not the keenest, disappointments in American married life." Niagara brings viewers both the passion and the disappointment--a remarkable portrayal of modern love and its aftermath.

    Martin Parr is Europe's premier contemporary photographer, and The Last Resort is the book that is considered to have launched his career. Taken at the height of the Thatcher years, it depicts the "great British seaside" in all its garish glory. Described by some as cruel and voyeuristic and by others as a stunning satire on the state of Britain, early editions are now much sought after by collectors worldwide. Includes a new essay by Gerry Badger, photographer, architect, curator, and critic.

    A member of the prestigious Magnum agency since 1954, he has photographed all over the world and his images have been the subject of many books and exhibitions.Containing over 500 pictures, over half of which have never been published before, Elliott Erwitt Snaps is a unique and comprehensive survey of his work. From famous images such as Nikita Khrushchev and Richard Nixon arguing in Moscow in 1959 and Marilyn Monroe with the cast of the movie The Misfits, to his many more personal images of places, things, people and animals, Erwitt's unmistakable, often witty, style gives us a snapshot of the famous and the ordinary, the strange and the mundane over a period of more than half a century, through the lens of one of the period's finest image-makers.The book is arranged in nine chapters, each with a one-word title: Look, Move, Play, Read, Rest, Touch, Tell, Point, Stand. For Erwitt, whose photography is a study and celebration of life, these are the basic actions of life - the things people do. The photographs are not intended to illustrate the words, but the words act as a means of grouping and organizing, making broad connections and also playing with pun and ambiguity, in keeping with the visual games Erwitt plays.

    Grouped under the following titles-- Eisenhower Years, The Street, Women, The Zoo, On the Road, The Sixties, Etc, The Fort Worth Fat Stock Show and Rodeo, Airport and Unfinished Work-- many of the 179 plates are works that had never before been published. The last section includes 25 pictures chosen from the enormous body of work that Winogrand left unedited at the time of his death in 1984. In his essay, Szarkowski, who knew the photographer well during most of his career, describes the development of Winogrand's pictorial strategies during his years as a photojournalist, the increasing complexity of his motifs as he pursued more personal goals, and the challenge posed for other photographers by the powerful and distinctive authority of Winogrand's best work, "with its manic sense of a life balanced somewhere between animal high spirits and an apprehension of moral disaster."

    Cartier-Bresson’s concept of the “decisive moment” ― a split second that reveals the larger truth of a situation ― shaped modern street photography and set the stage for hundreds of photojournalists to bring the world into living rooms through magazines.

    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.

    It captures bygone New York at its most raucous, dangerous, and outrageous. Grisly murders, tragic accidents, gawking crowds, along with intimate human-interest and high-society images, are all captured by Weegee's flash. Interpretive essays, an annotated chronology, bibliography, filmography, and a list of exhibitions complete this comprehensive volume.

    Full page B&W photos

    An all-new selection from the outrageous "enfant terrible" of contemporary photography, this volume is even sexier, funnier, and more fantastical than the bestselling "LaChapelle Land." 158 full-color photos.

    In the years that followed, she published other notable monographs, including "Aila" (2004), "The Eyes, the Ear" (2005) and "Semear" (2007). And now, ten years after her precipitous entry onto the international stage, Aperture has published "Illuminance," the latest volume of Kawauchi's work and the first to be published outside of Japan. Kawauchi's photography has frequently been lauded for its nuanced palette and offhand compositional mastery, as well as its ability to incite wonder via careful attention to tiny gestures and the incidental details of her everyday environment. As Sean O'Hagan, writing in "The Guardian" in 2006, noted, "there is always some glimmer of hope and humanity, some sense of wonder at work in the rendering of the intimate and fragile." In "Illuminance," Kawauchi continues her exploration of the extraordinary in the mundane, drawn to the fundamental cycles of life and the seemingly inadvertent, fractal-like organization of the natural world into formal patterns. Gorgeously produced as a clothbound volume with Japanese binding, this impressive compilation of previously unpublished images is proof of Kawauchi's unique sensibility and her ongoing appeal to lovers of photography.

    It is hard enough to find thesequalities in trained photographers with the benefit of schooling and mentors and a community of fellow artists and aficionados supporting and rewarding their efforts. It is incredibly rare to find it in someone with no formal training and no network of peers.Yet Vivian Maier is all of these things, a professional nanny, who from the 1950s until the 1990s took over 100,000 photographs worldwide—from France to New York City to Chicago and dozens of other countries—and yet showed the results to no one. The photos are amazing both for the breadth of the work and for the high quality of the humorous, moving, beautiful, and raw images of all facets of city life in America’s post-war golden age.It wasn’t until local historian John Maloof purchased a box of Maier’s negatives from a Chicago auction house and began collecting and championing her marvelous work just a few years ago that any of it saw the light of day. Presented here for the first time in print, Vivian Maier: Street Photographer collects the best of her incredible, unseen body of work.

    Containing 150 recent photographs by the American photographer William Eggleston, this volume provides a sequence of images which form an almost autobiographic narrative, beginning with pictures of Eggleston's home territory in the Mississippi Delta and radiating out across the USA.

    Gathering some of his most iconic images, many of which were taken in the far corners of the earth, this exquisite book brings a fresh perspective to his extensive catalog. Recognized as a pioneer of American color photography since the 1970s, Webb has consistently created photographs characterized by intense color and light. His work, with its richly layered and complex composition, touches on multiple genres, including street photography, photojournalism, and fine art, but as Webb claims, "to me it all is photography. You have to go out and explore the world with a camera." Webb's ability to distill gesture, color and contrasting cultural tensions into single, beguiling frames results in evocative images that convey a sense of enigma, irony and humor. Featuring key works alongside previously unpublished photographs, The Suffering of Light provides the most thorough examination to date of this modern master's prolific, 30-year career.The photographs of Alex Webb (born 1952) have appeared in a wide range of publications, including The New York Times Magazine, Life, Stern and National Geographic, and have been exhibited at the International Center of Photography, New York; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York. He is a recipient of the Leica Medal of Excellence (2000) and the Premio Internacional de Fotografia Alcobendas (2009). A member of Magnum Photos since 1976, Webb lives in New York City.

    This beautifully produced catalogue, designed by the renowned Danish graphic designer Michael Jensen, features deluxe tritone printing and varnish on premium paper. It includes 125 reproductions of Avedon's greatest work from the entire range of his oeuvre--including fashion photographs, reportage and portraits--and spans from his early Italian subjects of the 1940s to his 2004 portrait of the Icelandic pop star Bjork. It also features a small number of color images, including what must be one of the most famous photographic portraits of the twentieth century, -Nastassja Kinski and the Serpent- (1981). Texts by Jeffrey Fraenkel, Judith Thurman, Geoff Dyer, Christoph Ribbat, Rune Gade and curator Helle Crenzien offer a sophisticated and thorough composite view of Avedon's career.

    This work reveals the growth of an artist who saw no artificial boundary between art and the paying job and who succeeded in putting her indelible stamp on the visual imagination.