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 Featuring key works alongside previously unpublished photographs, The Suffering of Light provides the most thorough examination to date of this modern master's prolific, 30-year career.The photographs of Alex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.

    Up-to-the-minute coverage now includes digital assetmanagement; metadata standards; the role ofInternet, FTP, and e-mail technologies; the impactof media consolidation on assignment and stock photography;and much more. This indispensable guidecovers the full range of business and legal questionsthat photographers might have, with comprehensiveadvice from the ASMP, the foremost authorityin the field. In eleven in-depth chapters, morethan two dozen industry experts explore pricingand negotiating, ethics, rights in traditional andelectronic media, publishing, and much more. Businessand legal forms, checklists, and an extensivecross-media bibliography make this the one reference book that deserves a place on every successful photographer's bookshelf.• Covers all of today's most urgent issues in photography• Contributions from more than two dozenexperts, all professional photographers• 60,000 copies sold!

    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.

    His two previous books, "Picture Perfect Practice" and "Picture Perfect Posing," shattered the mold of instructional photography books as they empowered readers to advance their composition and posing skills. "Picture Perfect Lighting," the third book in the "Picture Perfect" series, brings that same spirit and approach to teaching lighting. With it, Roberto empowers photographers to embrace lighting as a source of creativity and expression in service of their vision for the image. In "Picture Perfect Lighting," Roberto has created a truly original system for understanding and controlling light in photography. After discussing the universal nature of light, Roberto introduces the five key behaviors of light, which are essential to understand in order to improve your knowledge of light. With those behaviors established, Roberto introduces his concept of circumstantial light, an ingenious way of examining and breaking down the light around you in any given situation. Providing a detailed analysis of circumstantial light, Roberto develops the top ten circumstantial light elements you need to know in order to fully harness the power of the light around you to create an image that is true to your vision. But how will you know if the circumstantial light is enough? The final piece of the "Picture Perfect Lighting" system is Roberto s lighting benchmark test, a brilliant method for determining the quality of the light in any given situation. It is with the lighting benchmark test that you will determine if and when you need to use helper light, the light that is needed or manipulated in order to help the circumstantial light so that your vision comes to life. Helper light is created with diffusers, reflectors, flashes, strobes, and light modifiers. "Picture Perfect Lighting" covers all of this in depth. Don t limit yourself to using only one kind of light, and don t depend on Photoshop actions and plug-ins to create the wow factor in your images. That is the job of light. With "Picture Perfect Lighting" by your side, you will learn to master light. With that mastery, you will finally have the ability to create that true wow factor in camera and in your photographs."

    Eliot Porter's photographs of the natural world, spanning thirty-five years and five continents -- from an Antarctic ice floe to an American desert to an Icelandic lava field -- reveal in mesmerizing ways what scientists are beginning to see for themselves: the patterns, relations, and interactions present in nature's disorder and wildness. This is the perfect marriage of image and text -- brilliant full-color photographs by the preeminent nature photographer of his generation together with an illuminating essay by the widely praised author of Chaos.

    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.

    Robert Mapplethorpe's black-and-white Polaroid photographs from the 1970s--a medium in which he established the style that would bring him international acclaim--are brought together in this exquisite volume for the first time.Prestel Publications

    Its prose is lit from below, like a vaguely scummy in-ground swimming pool, and the author’s photographs—of ranch houses, randy adolescents, alligators, drug paraphernalia, fishing tackle, convenience stores—are what you might get if you combined William Eggleston’s talents with Terry Richardson’s. 'My hometown, Loxahatchee, was built over Seminole Indian burial grounds,' Mr. Kwiatkowski writes. 'In exchange for land we inherited bad conscience. It was in my blood.' His book is full of young people, seen as if from a passing Camaro, having a good time and trying to get out alive."— New York Times , Holiday Gift Guide, Dwight Garner“A completely original and clearheaded voice.”—Ira Glass, host of This American Life"We finish And Every Day Was Overcast in a delirious state of disassociation, not unlike the kids whose lives it seeks to evoke. This, of course, is why we turn to books—or one reason, anyway—to see the world as we have not before. The shabby suburbs of And Every Day Was Overcast may not be unknown to us, but Kwiatkowski’s ruthless excavation give us a new language by which we hear stories that might otherwise go unheard."— The Los Angeles Times , David UlinPhoto-Eye Best Books of 2013 (Selected by Doug Rickard)“A tale of trailer parks, drugs and teenage construction and destruction, Paul K has brought forth an American diary hugely personal and partially universal. Through skillfully written prose and raw imagery that's authored, found and stolen, we witness the protagonist's young life on display. It's not pretty nor should it be. A scrapbook of intention and carefully put together pieces, we witness elation and pain and the special concoction of America's ‘Florida’ in all its glory.”“Kwiatkowski’s novel succeeds in doing much more than simply conveying the isolated experiences of one idle teenager with a penchant for drugs, pornography and reckless sexual encounters. Through a marriage of images and words, the novel illustrates the result of adolescent malaise against Florida’s eerie, subtropical backdrop."— Fault Magazine"With aesthetic conviction comparable to that of Harmony Korine, this alternative novel is sure to have you nostalgic and reaching for the cheapest brand of beer you ever got your teenage hands on."— Nylon “I can count on my fingers the number of great books that seamlessly mix photographs and literary text in a compelling way. Paul Kwiatkowski’s And Every Day is Overcast not only achieves this rare feat, he does so with an artistry that makes the achievement nearly invisible. . . A landmark in visual storytelling.”—Alec SothOut of South Florida's lush and decaying suburban landscape bloom the delinquent magic and chaotic adolescence of And Every Day Was Overcast. Paul Kwiatkowski's arresting photographs amplify a novel of profound vision and vulnerability. Drugs, teenage cruelty, wonder, and the screen-flickering worlds of Predator and Married…With Children shape and warp the narrator's developing sense of self as he navigates adventures and misadventures, from an ill-fated LSD trip on an island of castaway rabbits to the devastating specter of HIV and AIDS. This alchemy of photography and fiction gracefully illuminates the travesties and triumphs of the narrator’s quest to forge emotional connections and fulfill his brutal longings for love.Paul Kwiatkowski is a New York-based writer and photographer. This is his first novel. His work has appeared in numerous outlets, including Juxtapoz, Beautiful Decay, Dazed and Confused, Fault, Dust, and American Suburb X.

    From the mid-nineteenth century to the early twentieth, over 250 institutions for the insane were built throughout the United States; by 1948, they housed more than a half million patients. The blueprint for these hospitals was set by Pennsylvania hospital superintendent Thomas Story Kirkbride: a central administration building flanked symmetrically by pavilions and surrounded by lavish grounds with pastoral vistas. Kirkbride and others believed that well-designed buildings and grounds, a peaceful environment, a regimen of fresh air, and places for work, exercise, and cultural activities would heal mental illness. But in the second half of the twentieth century, after the introduction of psychotropic drugs and policy shifts toward community-based care, patient populations declined dramatically, leaving many of these beautiful, massive buildings--and the patients who lived in them--neglected and abandoned. Architect and photographer Christopher Payne spent six years documenting the decay of state mental hospitals like these, visiting seventy institutions in thirty states. Through his lens we see splendid, palatial exteriors (some designed by such prominent architects as H. H. Richardson and Samuel Sloan) and crumbling interiors--chairs stacked against walls with peeling paint in a grand hallway; brightly colored toothbrushes still hanging on a rack; stacks of suitcases, never packed for the trip home. Accompanying Payne's striking and powerful photographs is an essay by Oliver Sacks (who described his own experience working at a state mental hospital in his book Awakenings). Sacks pays tribute to Payne's photographs and to the lives once lived in these places, "where one could be both mad and safe."

    Sartore’s photographs delight and inspire, from the first moments a newborn enters the house to Halloween parades, from visits with family and friends to fireworks on the Fourth of July. Easy-to-follow tips and instructions make the creative process simple, helping parents approach photography in a whole new way. Digital photographers will appreciate tips on editing techniques, album innovations, archiving methods, and printing. Sartore’s charisma and humor make learning a pure delight. Unlike competitive titles, Photographing Your Family is lavishly illustrated to show the many ways to make pictures, how Sartore captured these images specifically, and the philosophies a world-class photographer brings to his work at home—with emphasis on the contributions that relatives, friends, and pets can make to the story that is family. Early childhood is a fleeting time that parents and grandparents go to great lengths to capture in photos. This book will appeal to a vast audience: families who want to create memorable albums, parents with new babies, and everyone who wants to give a truly unique and useful family gift.

    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.

    For this collection Joel-Peter Witkin has personally selected from his own archives his finest images, ranging from his early Coney Island "freak show" studies to his most recent work. Witkin's portraits of subjects both living and dead have disturbed countless viewers for their unwavering viewpoint and magically grotesque compositions. The artist's sojourn captured here, with each photograph a station along his path, veers between oblivion and salvation. This book depicts Witkin's journey until now. Texts by the artist and Eugenia Parry.

    All concepts are fully illustrated with sample work by internationally renowned professionals, representing editorial work, photojournalism, and everything in between. Topics covered include essential information for both film and digital photography, such as exposure controls and shutter speed, as well as digital-specific information on image editing, printing methods, and even file storage. The first digital textbook by legendary photography teacher Henry Horenstein, Digital Photography is the best guide yet for aspiring digital photographers, essential both for photographers transitioning from film to digital and those learning the art of photography for the first time.

    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.

    city. Its buildings were monuments to its success and vitality in the first half of the twentieth century. At the start of the twenty-first century, those same monuments are now ruins: the United Artists Theater, the Whitney Building, the Farwell Building and the once ravishing Michigan Central Station (unused since 1988) today look as if a bomb had dropped on Motor City, leaving behind the ruins of a once great civilization. In a series of weekly photographic bulletins for Time magazine called "Detroit's Beautiful, Horrible Decline," photographers Yves Marchand and Romain Meffre have been revealing to an astonished America the scale of decay in Detroit. "The state of ruin is essentially a temporary situation that happens at some point, the volatile result of change of era and the fall of empires," write Marchand and Meffre. "Photography appeared to us as a modest way to keep a little bit of this ephemeral state." As Detroit's white middle class continues to abandon the city center for its dispersed suburbs, and its downtown high-rises empty out, these astounding images, which convey both the imperious grandeur of the city's architecture and its genuinely shocking decline, preserve a moment that warns us all of the transience of great epochs.