Editor Will Steacy asked each photographer to abandon the conventional tools needed to make a photograph-camera, lens, film-and instead make a photograph using words, to capture the image (and its attendant memories) that never made it through the lens. In each essay, the photograph has been stripped down to its barest and most primitive form: the idea behind it. This collection provides a unique and original interpretation of the experience of photographing, and allows the reader into a world rarely seen: the image making process itself. Photographs Not Taken features contributions by: Peter Van Agtmael, Dave Anderson, Timothy Archibald, Roger Ballen, Thomas Bangsted, Juliana Beasley, Nina Berman, Elinor Carucci, Kelli Connell, Paul D’Amato, Tim Davis, KayLynn Deveney, Doug Dubois, Rian Dundon, Amy Elkins, Jim Goldberg, Emmet Gowin, Gregory Halpern, Tim Hetherington, Todd Hido, Rob Hornstra, Eirik Johnson, Chris Jordan, Nadav Kander, Ed Kashi, Misty Keasler, Lisa Kereszi, Erika Larsen, Shane Lavalette, Deana Lawson, Joshua Lutz, David Maisel, Mary Ellen Mark, Laura McPhee, Michael Meads, Andrew Moore, Richard Mosse, Zwelethu Mthethwa, Laurel Nakadate, Ed Panar, Christian Patterson, Andrew Phelps, Sylvia Plachy, Mark Power, Peter Riesett, Simon Roberts, Joseph Rodriguez, Stefan Ruiz, Matt Salacuse, Alessandra Sanguinetti, Aaron Schuman, Jamel Shabazz, Alec Soth, Amy Stein, and others.

    They rose to become one of the greatest powers of the Ancient Middle Eastern world by conquering Babylon and challenging the power of the Egyptian Pharaoh Rameses II at the battle of Quadesh. They themselves were destroyed in the wake of movements of the enigmatic Sea peoples around 1180 BC. This study investigates the origins of the Hittites, the sources of the metals that were so vital to their success and their relationship with contemporaries in the Aegean world, the Trojans and the Mycenaean Greeks. It includes descriptions of excavations, particularly at the temples and great defensive ramparts of the Hittite capital at Hattusas.

    This story of a fascinating landscape is told in an engaging style that nonscientists will find inviting. The story’s end, however, remains a mystery yet to be solved.

    Flagel unveils the big picture by using detailed top-ten lists, ranking the best, worst, first, and most significant elements of the largest and deadliest conflict in history.

    Unlike our cousins who subsist on raw food, spend their days and nights outdoors, and wear a thick coat of hair, humans are entirely dependent on artificial things, such as clothing, shelter, and the use of tools, and would die in nature without them. Yet, despite our status as the weakest ape, we are the masters of this planet. Given these inherent deficits, how did humans come out on top?In this fascinating new account of our origins, leading archaeologist Timothy Taylor proposes a new way of thinking about human evolution through our relationship with objects. Drawing on the latest fossil evidence, Taylor argues that at each step of our species' development, humans made choices that caused us to assume greater control of our evolution. Our appropriation of objects allowed us to walk upright, lose our body hair, and grow significantly larger brains. As we push the frontiers of scientific technology, creating prosthetics, intelligent implants, and artificially modified genes, we continue a process that started in the prehistoric past, when we first began to extend our powers through objects.Weaving together lively discussions of major discoveries of human skeletons and artifacts with a reexamination of Darwin's theory of evolution, Taylor takes us on an exciting and challenging journey that begins to answer the fundamental question about our existence: what makes humans unique, and what does that mean for our future?

    He lived during the Italian Renaissance, a period known for its creative activity. Civilization made huge strides in science and invention, in literature, and in politics. In art, the age's great achievement, Michelangelo led all others.A short, wide-shouldered man with a face made homely by a broken nose, Michelangelo had a remarkable ability to concentrate his thoughts and energy on the task in hand. Often while working he would eat only a little bread, would sleep on the floor or on a cot beside his unfinished painting or statue, and would continue to wear the same clothes until his work was finished.

    Jim Stegner has seen his share of violence and loss. Years ago he shot a man in a bar. His marriage disintegrated. He grieved the one thing he loved. In the wake of tragedy, Jim, a well-known expressionist painter, abandoned the art scene of Santa Fe to start fresh in the valleys of rural Colorado. Now he spends his days painting and fly-fishing, trying to find a way to live with the dark impulses that sometimes overtake him. He works with a lovely model. His paintings fetch excellent prices. But one afternoon, on a dirt road, Jim comes across a man beating a small horse, and a brutal encounter rips his quiet life wide open. Fleeing Colorado, chased by men set on retribution, Jim returns to New Mexico, tormented by his own relentless conscience. A stunning, savage novel of art and violence, love and grief, The Painter is the story of a man who longs to transcend the shadows in his heart, a man intent on using the losses he has suffered to create a meaningful life.

    In this revised edition, co-authors Carl Abbott, Stephen J. Leonard, and Thomas J. Noel incorporate more than a decade of new events, findings, and insights about Colorado in an accessible volume that general readers and students will enjoy. The new edition tells of conflicts, new alliances, and changing ways of life as Hispanic, European, and African American settlers flooded into a region that was already home to Native Americans. Providing balanced coverage of the entire state's history - from Grand Junction to Lamar and from Trinidad to Craig - the authors also reveal how Denver and its surrounding communities developed and gained influence. While continuing to elucidate the significant impact of mining, agriculture, manufacturing, and tourism on Colorado, this new edition broadens its coverage. The authors expand their discussion of the twentieth century with several new chapters on the economy, politics, and cultural conflicts of recent years. In addition, they address changes in attitudes toward the natural environment as well as the contributions of women, Hispanics, African Americans, and Asian Americans to the state. Dozens of new illustrations, updated statistics, and an extensive bibliography of the most recent research on Colorado history enhance this edition.

    Photos.

    

    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.

    Drawn from their work over the past thirty years, this book is an inclusive look at the people and cultures from across this broad continent.With their unique eye for Africa and its inhabitants, Beckwith and Fisher have brought forth a masterpiece in the genre—and a moving, personal tribute to some of the most beautiful people on Earth.

    She has photographed rarely seen sites from domains including: science, government, medicine, entertainment, nature security and religion. This index examines subjects that, while provocative or controversial, are currently legal. The work responds to a desire to discover unknown territories, to see everything. Simon makes use of the annotated-photograph's capacity to engage and inform the public. Transforming that which is off-limits or under-the-radar into a visible and intelligible form, she confronts the divide between the privileged access of the few and the limited access of the public. Photographed with a large format view camera (except when prohibited), Simon's 70 color plates form a seductive collection that reflects and reveals a national identity. In addition to this monograph, there is also an exhibition of Simon's work opening at the Whitney Museum of American Art in March 2007.

    To illustrate his story, Michael allowed renowned photographer Walter Ioss, Jr. and veteran journalist Mark Vancil access to the private corners of his world. Together, Michael's words and more than 1000 previously unpublished, full-color photographs provide an intimate view of a superstar.

    Common scenes -- tiny figures on a beach, a porch railing against a storm-darkened sky, a blue raft against a summer cottage -- all are transformed by the poignant light of the Cape and the photographer's subtle and luminous vision. This exquisitely printed book captures every nuance of color and light in that unique juncture of sky, sea, and land that is Cape Cod.