A woman floats in her flooded living room, a cow appears to have fallen from the sky onto a front lawn, a gang of teenagers, seemingly hypnotized, pile up household objects for a bonfire. Created as elaborately staged tableaux, this series of images suggests the bizarre yet beautiful surrealities behind deceptively familiar suburban facades.Scheduled to accompany three simultaneous gallery exhibitions in Spring 2002 and a subsequent retrospective at Mass MoCA, this book chronicles the completion of the Twilight series, which Crewdson began in 1998. Including both production stills and the 40 finished images, all in full color, it also features an essay by Rick Moody, a novelist equally renowned for exposing the underbelly of small-town, middle-class America.

    Simultaneous.

    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.

    After all the risk and daring, the result is extraordinary: 300 dancers, 400 locations, more than 150 stunning photographs. And no clothes, no arrests, no regrets.Each image highlights the amazing abilities of these artists—and presents a core message to the reader: Say yes rather than no, and embrace the risks and opportunities that life presents.

    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.

    Techniques for using simple accessories such as bounce cards and diffusers, as well as how to improve a lighting scenario by enhancing it rather than overwhelming it, show photographers how to master this challenging aspect of portraiture.

    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.

    While on set, Mark met the women of Ward 81, the only locked hospital security ward for women in the state: the inmates were considered dangerous to themselves or to others. In February of 1976, just before the ward closed (it ceased to exist in November of 1977, when it became the female section of a coeducational treatment ward), Mark and Karen Folger Jacobs, a writer and social scientist, were given permission to make a more extended stay, living on the ward in order to photograph and interview the women. They spent 36 days on Ward 81, photographing and documenting. Jacobs recalls their slow, inevitable assimilation: "We felt the degeneration of our own bodies and the erosion of our self-confidence. We were horrified at the thought of what we might become after a year or two of confinement and therapy on Ward 81." This new hardcover edition adds 10 new pictures to the original. Ward 81 is a sobering investigation into the lives and treatment of the mentally ill.

    The unprecedented scope of this collection provides the opportunity to study his more composed, aesthetically structured images alongside his snapshots, which offer a more anecdotal account of Doisneau's Paris. Organized thematically, the book leads us on an entrancing tour through the gardens of Paris, along the Seine, and through the crowds of Parisians who define their beloved city. More than 600 photographs-many rare, forgotten, and previously unpublished-are assembled in this beautiful volume to create a unique portrait of Paris. From toddlers scrambling to cross rue de Rivoli to fresh-faced accordionists, from elegant dog walkers to exuberant roller skaters, and from the indelible kiss in front of the Hétel de Ville to cyclists beneath the Eiffel Tower, the magic of Paris in black and white is a timeless treasure. The photographs, edited by Doisneau's daughter, are complemented by citations from the photographer himself, which reveal his profound fascination with the city where he lived and worked.

    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.

    This is the book Haring wanted to make, based on the outline of a monograph that was never completed due to his untimely death in 1989.

    Minutes to Midnight is the ambitious photographic record of that adventure, in which Parke presents a proud but uneasy nation struggling to craft its identity from different cultures and traditions. Minutes to Midnight merges traditional documentary techniques and imagination to create a dark visual narrative portraying Australia with a mix of nostalgia, romanticism and brooding realism. This is not a record of the physical landscape but of an emotional one. It is a story of human anxiety and intensity which, although told from Australia, represents a universal human condition in the world today.

    Walker is one of the most exciting photographers of our time, and his flamboyant style—often tongue-in-cheek but always exquisitely executed—places him in the line of brilliant eccentrics from Cecil Beaton to David LaChapelle. Showcasing 170 photographs through Walker’s most recent work, the book features many A-listers in fashion and Hollywood, including Tilda Swinton, Helena Bonham Carter, and Alber Elbaz. The book includes a foreword by Kate Bush, an introduction by writer Robin Muir, and an afterword by Tim Walker.Praise for Tim Walker: Story Teller:“You’ll delight in the fashion photographer’s visual daydreams.” —DuJour magazine

    This spectacular book brings together the most beautiful, memorable and evocative pictures of Steve McCurry's extraordinary career.

    His images, published in Life magazine, brought the war home, scorching the consciousness of the public and inspiring much of the anti-war sentiment that convulsed American society in the 1960s. To see these photo essays today, gathered in one volume and augmented by unpublished images from the Burrows archive, is to experience (or to relive), with extraordinary immediacy, both the war itself and the effect and range of Larry Burrows’s gifts—his courage: to shoot “The Air War,” he strapped himself and his camera to the open doorway of a plane . . . his reporter’s instinct: accompanying the mission of the helicopter Yankee Papa 13, he captured the transformation of a young marine crew chief experiencing the death of fellow marines . . . and his compassion: in “Operation Prairie” and “A Degree of Disillusion” he published profoundly affecting images of exhausted, bloodied troops and maimed Vietnamese children, both wounded, physically and psychologically, by the ever-escalating war.The photographs Larry Burrows took in Vietnam, magnificently reproduced in this volume, are brutal, poignant, and utterly truthful, a stunning example of photojournalism that recorded history and achieved the level of great art. Indeed, in retrospect, says David Halberstam in his moving introduction, “Larry Burrows was as much historian as photographer and artist. Because of his work, generations born long after he died will be able to witness and understand and feel the terrible events he recorded. This book is his last testament.”With 150 illustrations, 100 in full color