These landmark images now have a clarity and depth not achievable in earlier editions.

    Although Edward Steichen had exhibited some of Leiter's color photography at The Museum of Modern Art in 1953, it remained virtually unknown to the world thereafter. Leiter moved to New York in 1946 to become a painter, but through his friendship with Richard Pousette-Dart he quickly recognized the creative potential of photography. Leiter continued to paint, exhibiting with Philip Guston and Willem de Kooning, but the camera remained his ever-present means of recording life in the metropolis. None of Leiter's contemporaries, with the partial exception of Helen Levitt, assembled a comparable body of work: subtle, often abstract compositions of lyrical, eloquent color.

    Her startling photographic images of dwarfs, twins, transvestites, and freaks seemed from the first to redefine both the normal and the abnormal in our lives and they were already becoming part of the iconography of the age when Arbus committed suicide in 1971. Arbus herself remained an enigma until the publication of this first full biography. Patricia Bosworth examines the life behind the eerie, mesmerizing photographs: Diane's pampered childhood; her passionate marriage to Allan Arbus and their work together as fashion photographers during the fifties; the emotional upheaval surrounding the end of that marriage; and the radically dark, liberating, and ultimately tragic turn Diane's art took during the sixties. Bosworth's engrossing book is a compassionate portrait of the woman behind some of the most powerful photographs of our time.

    Commenting on artists such as Avedon, Clifford, Mapplethorpe, and Nadar, Roland Barthes presents photography as being outside the codes of language or culture, acting on the body as much as on the mind, and rendering death and loss more acutely than any other medium. This groundbreaking approach established Camera Lucida as one of the most important books of theory on this subject, along with Susan Sontag's On Photography.

    Fresh, unstaged, and full of poetry and humor, his photographs portray everyday people (in everyday places, doing everyday things) frozen in time, unwittingly revealing fleeting personal emotions in a public context. Doisneau's gift was the ability to seek out and capture, with humanity and grace, those little epiphanies of everyday Parisian life. This book traces Doisneau's life and career, providing a wonderful introduction to the work of this seminal photographer.

    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."

    Over the past ten years it has experienced radical changes, in part due to the rise of digital technologies. Photography is now often engaged in by artists who are not just printing in a darkroom, but using the medium as a single aspect of a larger ouvre, as one of several media under exploration. Vitamin Ph focuses on diverse global developments in 'art' photography through the work of 121 contemporary artists, who were nominated by 78 international critics, curators and artists. These selections will be accompanied by a 5000 word introductory text by TJ Demos, aiming to explore ideas relevant to contemporary photography with reference to the works included in the book. In addition, the work of each photographer/artist will be introduced by a short commissioned text of approximately 500 words. Similar in concept, scope and structure to Vitamin P and Vitamin D, Vitamin Ph presents, in A to Z order, artists who have emerged, or in some instances re-emerged, in the last five years using the medium of photography.

    Arbus comes startlingly to life on these pages, a strong-minded child of disconcerting originality who grew into a formidable photographer of unflinching courage. Arbus forged an intimacy with her subjects that has inspired generations of artists. Arresting, unsettling, and poignant, her photographs stick in our minds. Why did these people fascinate her? And what was it about her that captivated them?It is impossible to understand the transfixing power of Arbus’s photographs without exploring her life. Lubow draws on exclusive interviews with Arbus’s friends, lovers, and colleagues; on previously unknown letters; and on his own profound critical insights into photography to explore Arbus’s unique perspective and to reveal important aspects of her life that were previously unknown or unsubstantiated. He deftly traces Arbus’s development from a wealthy, sexually precocious free spirit into first, a successful New York fashion photographer and then, a singular artist who coaxed secrets from her subjects. Lubow reveals that Arbus’s profound need not only to see her subjects but to be seen by them drove her to forge unusually close bonds with these people, helping her discover the fantasies, pain, and heroism within each of them, and leading her to create a new kind of photographic portraiture charged with an unnerving complicity between the subject and the viewer.Diane Arbus: Portrait of a Photographer brushes aside the clichés that have long surrounded Arbus and her work. It is a magnificently absorbing biography of this unique, hugely influential artist.

    Drawing on newly examined archival sources, it provides a fascinating in-depth examination of the making of the photographs and the book's construction, using vintage contact sheets, work prints and letters that literally chart Frank's journey around the country on a Guggenheim grant in 1955-56. Curator and editor Sarah Greenough and her colleagues also explore the roots of The Americans in Frank's earlier books, which are abundantly illustrated here, and in books by photographers Walker Evans, Bill Brandt and others. The 83 original photographs from The Americans are presented in sequence in as near vintage prints as possible. The catalogue concludes with an examination of Frank's later reinterpretations and deconstructions of The Americans, bringing full circle the history of this resounding entry in the annals of photography. This volume is a reprint of the 2009 edition.

    --Margarett Loke, "ARTnews""His coverage of the Spanish civil war established Capa's reputation as a peerless battlefield photojournalist... But he was also a man who loved making pictures of beautiful women, famous men and grand parties. Often overlooked when discussing the Capa legacy, those too, were his life's work. Both Capas--the raconteur of high society and the fearless witness to war--are evident in "Robert Capa: Photographs." The two sides of Capa's work may seem irreconcilable, but they're not. He was recording one world. His own."--Allison Adato, "Life Magazine"

    He was a notoriously private man, rarely granting interviews. For the first time, his life will be portrayed in over 200 images from film, photographs, and the words and full-color paintings of Christiane Kubrick, his wife for over 42 years.Never before seen photographs offer a unique perspective on a man, his times, and his films -- from his very first, Day of Flight (1950), through to his last and unrealized project, finished by Steven Spielberg, A.I. (2001)."Stanley Kubrick": A Life in Pictures explores the many and varied aspects of its subject -- the director, the producer, the photographer, the writer and, not least of all, the man himself.

    On May 11, 1968, when her portrait of Eric Clapton was featured on the cover of Rolling Stone, she entered the record books as the first woman to have that honor. During her tenure as the leading photographer of the late 1960s’ musical scene, she captured many of rock’s most important musicians on film, including Aretha Franklin, Jimi Hendrix, Bob Dylan, Janis Joplin, Simon & Garfunkel, The Who, The Doors, and the Grateful Dead. In 1967, Linda went to London to document the "Swinging Sixties," where she met Paul McCartney at the Bag ’o Nails club and subsequently photographed the Beatles during a launch event for the Sgt. Pepper’s Lonely Hearts Club Band album. Paul and Linda fell in love, and were married on March 12, 1969. For the next three decades, until her untimely death, she devoted herself to her family, vegetarianism, animal rights, and photography. From her early rock ’n’ roll portraits, through the final years of the Beatles, via touring with Wings to raising four children with Paul, Linda captured her whole world on film. Her shots range from spontaneous family pictures to studio sessions with Stevie Wonder and Michael Jackson, as well as artists Willem de Kooning and Gilbert and George. Always unassuming and fresh, her work displays a warmth and feeling for the precise moment that captures the essence of any subject. Whether photographing her children, celebrities, animals, or a fleeting moment of everyday life, she did so without pretension or artifice.This retrospective volume—selected from her archive of over 200,000 images—is produced in close collaboration with Paul McCartney and their children. As such, it is a moving personal journal and a lasting testament to Linda’s talent.Additional to our limited and art editions, this book is also available as unlimited trade edition.

    But before achieving fame as an author, Carroll was a prolific and sophisticated photographer, acutely engaged in the art world of Victorian England. This illustrated volume examines Carroll's photographs not as the sideline of a celebrated writer, but as the creations of a serious photographic artist, and demonstrates their importance to the history of photography. Douglas Nickel traces the evolution in thought about Carroll's photography in the period since his death, demonstrating the ways it has been viewed largely through the filter of his literary reputation. Key to this have been certain preconceptions built up around Carroll's attitudes toward children, especially Alice Liddell, the inspiration for his first book and the subject of a number of his photographs. Nickel demonstrates how, by overturning the modern myths that have attached themselves to Carroll's photography, the works themselves can be seen again as they were by their original Victorian viewers. This analysis is designed to reveal not only Carroll's signal achievement in the medium, but also a new understanding of Victorian art photography in general.

    --"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"

    Dr. Seuss) in a whole new light. Depicting outlandish creatures in otherworldly settings, the paintings use a dazzling rainbow of hues not seen in the primary-color palette of his books for children, and exhibit a sophisticated and often quite unrestrained side of the artist. 65 color illustrations.