Originally published in 1986, this dark, democratic environment provided the setting for photographer Bruce Davidson's first extensive series in color. Subway riders are set against a gritty, graffiti-strewn background, displayed in tones Davidson described as "an iridescence like that I had seen in photographs of deep-sea fish." Never before has the subway been portrayed in such detail, revealing the interplay of its inner landscape and out vistas. The images include lovers, commuters, tourists, families, and the homeless. From weary straphangers to languorous ladies in summer dresses to stalking predators, Davidson's compassionate vision illuminates the stubborn survival of humanity. From the spring of 1980 to 1985, Davidson explored and shot six hundred miles of subway tracks. In his own words, "I wanted to transform this subway from its dark, degrading, and impersonal reality into images that open up our experience again to the color, sensuality, and vitality of the individual souls that ride it each day." Now nearly 25 years later, and on the eve of the subway's 100th anniversary, St. Ann's Press is publishing a new edition of Davidson's classic book. This edition adds forty unseen images to the original book, and includes a new introduction by Arthur Ollman of the Museum of Photographic Art in San Diego, and a foreword by Fred Braithwaite (aka Fab Five Freddy), the original graffiti artist. It also includes Bruce Davidson and Henry Geldzahler's original essays.

    It is the adventurous, insightful, and often chilling story of a young geographer's road trip through the underworld of U.S. military and C.I.A. ?black ops? sites. This is a shadow nation of state secrets: clandestine military bases, ultra-secret black sites, classified factories, hidden laboratories, and top-secret agencies making up what defense and intelligence insiders themselves call the ?black world.? Run by an amorphous group of government agencies and private companies, this empire's ever expanding budget dwarfs that of many good sized countries, yet it denies its own existence. Author Trevor Paglen is a scholar in geography, an artist, and a provocateur. His research into areas that officially don?t exist leads him on a globe-trotting investigation into a vast, undemocratic, and uncontrolled black empire?the unmarked blank areas whether you are looking at Google Earth or a U.S. Geological Survey map. Paglen knocks on the doors of CIA prisons, stakes out the Groom Lake covert air base in Nevada from a mountaintop 30 miles away, observes classified spacecraft in the night sky with amateur astronomers, and dissects the Defense Department's multibillion dollar black budget. Traveling to the Middle East, Central America, and even around our nation's capital and its surrounding suburbs, he interviews the people who live on the edges of these blank spots. Paglen visits the widow of Walter Kazra, who, while working construction at Groom Lake, was poisoned by the toxic garbage pits there. The U. S. Air Force defense to his estate's suit? The base does not exist. The U. S. Supreme Court declined to review the case. Whether Paglen reports from a hotel room in Vegas, Washington D. C. suburbs, secret prisons in Kabul, buried CIA aircraft in Honduras, or a trailer in Shoshone Indian territory, he is impassioned, rigorous, relentless?and eye-opening. This is a human, vivid, and telling portrait of a ballooning national mistake.

    From Félix Nadar to Nan Goldin, each of the photographers featured here represents an important aspect of photography's evolution. The artists are presented in double-page spreads that include reproductions of their most important works, concise biographies, informative sidebars, and a timeline that extends throughout the volume. The result is a fascinating overview of the way photographers continue to push the limits of their genre, offering their audiences new ways of seeing and understanding our world.

    It developed concurrently everywhere, and every region had it's own identity. But it was in San Francisco and L.A. where the most radical behavior in stateside punk rock style and attitude was exhibited. It was anti-hippie, anti-disco, anti-parent and anti-"nice". And it was shockingly new. These photos are ground zero of punk rock style—delirious innovation and a snarling takeover of youth culture still resonating more than 20 years hence.

    Newly wed Rosabelle Maltman loses her husband, and her mother-in-law Effie lost her husband and three sons. For these women and their neighbours in the close-knit community life will never be the same again. Yet as the months pass, the women of Eyemouth must learn to look to the future, to live and to love again.

    Society may label them bums, homeless, or pariahs, but Zellar's empathetic writing allows the reader to get inside one broken man, and therefore all."—Jim Walsh, MinnPostWashed up in the shadow of a refinery, Lester B. Morrison, legendary recluse, documents his life in a series of photographs taken with a disposable camera. In a landscape of off ramps, warehouses, and SRO hotels occupied by terminally lonely men, love and faith break in, quietly offering human connection and the possibility of redemption.Brad Zellar has worked as a writer and editor for daily and weekly newspapers, as well as for both regional and national magazines. He is the author of Suburban World: The Norling Photos, The 1968 Project, Conductors of the Moving World, and House of Coates.Alec Soth is a photographer whose first monograph, Sleeping by the Mississippi, was published by Steidl in 2004. Since then Soth has published over a dozen books including Niagara (2006), Dog Days, Bogotá (2007), The Last Days of W (2008), and Broken Manual (2010). Soth's work has been exhibited at Jeu de Paume in Paris and Fotomuseum Winterthur in Switzerland.

     In Downsizing Your Life for Freedom, Flexibility and Financial Peace , you’ll learn about the joys of the downsized life: Lower personal expenses, Flexibility to move to wherever your career takes you, Clutter-free living, and More time to do what you love to do! Thanks to the economic downturn, Claire Middleton and her family lost their business and had to sell their spacious home. They sold or gave away more than half of their possessions to comfortably fit into the little house where they now live (quite happily). And they learned that downsizing, even forced downsizing, can be a blessing in disguise. In Downsizing Your Life for Freedom, Flexibility and Financial Peace , Claire shares her story as well as those of others who learned the truth about possessions and freedom after downsizing their lives (voluntarily or not). Is your lifetime’s worth of stuff holding you back? Are you missing out on dreams and opportunities because the burden of your possessions weighs you down? It’s never too late to free yourself! Downsizing Your Life for Freedom, Flexibility and Financial Peace will show you how: just click the “Buy” button at the top of this page to get started.

    You'll start your journey with legendary consoles like the Magnavox Odyssey, Atari 2600, Nintendo Entertainment System, and the Commodore 64. The visual nostalgia trip continues with systems from the 1990s and 2000s, and ends on modern consoles like the Xbox One, PlayStation 4, and Wii U.Throughout the book, you'll also discover many consoles you never knew existed, and even find a rare peek at the hardware inside several of history's most iconic video game systems.

    Elsken focuses on the Left Bank of Paris in the 1950s—a time when it was recognised as a centre of creative ferment which would determine the cultural agenda of a generation. With its unconventional, gritty, snapshot-like technique the work has been acclaimed as expanding the boundaries of documentary photography.

    Oriented toward traditional black and white photography, the book also explores digital techniques and web photography resources, equipment, the exposure and development of film, and the making and finishing of prints.

    In this respect, his photographs can be seen as prefiguring the New Color photographers of the 1970s. The Canadian photographer worked largely with Kodachrome slide film for over 50 years, and only in the past decade has technology allowed him to make archival pigment prints that match the exceptional color and intensity of the Kodachrome slide, making this an excellent time to reevaluate and reexamine his work.This book brings together over 230 images, many never before reproduced, and features essays by acclaimed authors David Campany, Hans-Michael Koetzle and artist Jeff Wall. Fred Herzog is the most comprehensive publication on this important photographer to date.

    The digital photography handbook in Simplified Chinese.

    Apple's machines have legions of loyal, sometimes demented fans. The Cult of Mac surveys the devoted following that has grown up around Macintosh computers. Like fans of a football team or a rock group, Macintosh fanatics have their own subculture, with clearly defined obsessions, rites, and passages. Famously dedicated to their computers, many Mac fans eat, sleep, and breathe the Macintosh. Fans who get Mac tattoos and haircuts, people who attend Apple Store openings like they are Grateful Dead shows, counterculture icons who love the Mac, people who turn old Macs into aquariums (or bongs), Ellen Fein lookalike contests, erotic fiction featuring Steve Jobs; it's all here. Technology reporter Leander Kahney exposes all sides of Mac fanaticism, from the innocuous to the insane.

    Benjamin Spock, September 1969The connection between all the rhetoric and all the poetry, between the words of a Black Panther and those of a rock star or a pacifist, between the scars of a pop artist and those of a napalm victim, have haunted and informed the structuring of this book, with its own peculiar version of a beginning, a middle, and an end.

    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.