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.

    But he is also much more than that—he is a mentor, teacher, and trailblazer to many photographers, and a hero to those who feel Jay’s teaching has changed the way they see and create their own photography. He is a living legend whose work is studied around the world, and whose teaching style and presentation garner standing ovations and critical acclaim every time he takes the stage. In his first educational book, Light, Gesture, and Color, Jay put his amazing insights and learning moments from a lifetime behind the lens into a book that communicated the three most important aspects of street photography: light, gesture, and color. Here, in It’s Not About the F-Stop, Jay continues and builds on that success to take take you beyond the buttons and dials on your camera to continue to teach you how to “see” like a photographer, and how to capture the world around you in a way that delights, intrigues, and challenges the viewer. Each page unveils something new and challenges you to rethink everything you know about the bigger picture of photography. This isn’t a book about f-stops or ISOs. It’s about seeing. And there is nobody that communicates this, visually or through the written word, like Jay Maisel.

    "This is one life, and the personal pictures and the assignment work are all part of it." Portraits of well-known figures-Johnny Cash, Nicole Kidman, Mikhail Baryshnikov, Keith Richards, Michael Jordan, Joan Didion, R2-D2, Patti Smith, Nelson Mandela, Jack Nicholson, William Burroughs, George W. Bush with members of his Cabinet-appear alongside pictures of Leibovitz's family and friends, reportage from the siege of Sarajevo in the early Nineties, and landscapes made even more indelible through Leibovitz's discerning eye. The images form a narrative rich in contrasts and continuities: The photographer has a long relationship that ends with illness and death. She chronicles the celebrations and heartbreaks of her large and robust family. She has children of her own. All the while she is working, and the public work resonates with the themes of her life.

    This is a vision of the contemporary world (since the fall of the Berlin Wall in 1989) by the photographers of Magnum - from Henri Cartier-Bresson to the organization's newest recruits and presented in a sequence of photo-essays introduced by the photographers themselves.

    As Goldin writes: "Real memory, which these pictures trigger, is an invocation of the color, smell, sound, and physical presence, the density and flavor of life."

    Featuring brutally compassionate photographs taken from 1990-99, inspired by an overwhelming belief in the human possibility of change, this volume is a definitive selection from Nachtwey's astonishing portfolio. It documents today's conflicts and their victims, from Somalia's famine to genocide in Rwanda, from Romania's abandoned orphans and 'irrecoverables' to the lives of India's 'untouchables', from war in Bosnia to conflict in Chechnya. Inferno is an evocative visual insight into modern history, bringing it disturbingly close to our consciousness.

    What does it mean to become a photographer in the twenty-first century? This thoughtful collection of essays illuminates the spirit of the people who make the indelible images of our times. Aspiring and professional photographers—especially those in arts programs throughout the United States—will appreciate the comprehensive vision of The Education of a Photographer. Classic writings from the twentieth century as well as the thoughts of the most influential talents working today, plus essays from designers, editors, and gallery owners, make this a compelling look at what drives and inspires photographers to create great work.

    The exploration of new technology, as well as the explanation of older technology. No matter what equipment Joe uses and discusses, the most important element of Joe's instruction is that it is straightforward, complete, and honest. No secrets are held back, and the principles he talks about apply generally to the shaping and quality of light, not just to an individual model or brand of flash.He tells readers what works and what doesn't via his let's-see-what-happens approach, he shows how he sets up his shots with plentiful sketches and behind-the-scenes production shots, and he does it all with the intelligence, clarity, and wisdom that can only come from shooting in the field for 30 years for the likes of National Geographic, Time, Life, and Sports Illustrated--not to mention the wit and humor of a clearly warped (if gifted) mind.

    Accompanying the images are the photographers' accounts of the techniques they used and their adventures in the field -- sometimes humorous, sometimes terrifying, and always vividly compelling. National Geographic The Photographs also includes an introductory chapter that chronicles the evolution of the photographic principles that have kept National Geographic at the forefront of the field and presents the visionaries who believed that photography had the power to tell important truths.ContentsForewordThen and nowFaraway placesIn the wildUnderwaterThe SciencesIn the U.S.A.Index

    It captures bygone New York at its most raucous, dangerous, and outrageous. Grisly murders, tragic accidents, gawking crowds, along with intimate human-interest and high-society images, are all captured by Weegee's flash. Interpretive essays, an annotated chronology, bibliography, filmography, and a list of exhibitions complete this comprehensive volume.

    --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"

    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.

    Helmut Newton (1920–2004) always demonstrated a healthy disdain for easy or predictable solutions. SUMO—a bold and unprecedented publishing venture—was an irresistible project. The idea of a spectacular compendium of images, a book with the dimensions of a private exhibition, reproduced to exceptional page size and to state-of-the-art origination and printing standards, emerged from an open, exploratory dialogue between photographer and publisher.With the physically commanding SUMO weighing in—boxed and shrink-wrapped—at 35.4 kilos, Newton created a landmark book that stood head and shoulders above anything previously attempted, either in terms of conceptual extravagance or technical specifications. Published in an edition of 10,000 signed and numbered copies, SUMO sold out soon after publication and quickly multiplied its value. This worldwide publishing sensation now features in numerous important collections around the world, including New York's Museum of Modern Art. Legendary SUMO copy number one, autographed by over 100 of the book's featured celebrities, also broke the record for the most expensive book published in the 20th century, selling at auction in Berlin on April 6, 2000 for 620,000 German Marks – approximately $430,000.Now, 10 years after the original publication, SUMO is back in a more economical edition, but one with the same DNA as its unique progenitor.SUMO established new standards for the art monograph genre, and secured a prominent place in photo-book history. This new edition is the fulfillment of an ambition conceived some years ago by Helmut Newton. He would surely be pleased that, a decade on from its first publication, SUMO—now in a format that allows for a more democratic distribution—will reach the widest possible audience. However, proud owners of the new edition won't wrestle with their copy of SUMO. It comes with a unique stand for displaying the book at home:

    Yet in 1979, the Amon Carter Museum of Fort Worth, Texas, daringly commissioned him to do just that.The resulting 1985 exhibition and book, In the American West, was a milestone in American photography and Avedon's most important body of work. His unflinching portraits of oilfield and slaughterhouse workers, miners, waitresses, drifters, mental patients, teenagers, and others captured the unknown and often-ignored people who work at hard, uncelebrated jobs. Making no apologies for shattering stereotypes of the West and Westerners, Avedon said, "I'm looking for a new definition of a photographic portrait. I'm looking for people who are surprising—heartbreaking—or beautiful in a terrifying way. Beauty that might scare you to death until you acknowledge it as part of yourself."Photographer Laura Wilson worked with Avedon during the six years he was making In the American West. In Avedon at Work, she presents a unique photographic record of his creation of this masterwork—the first time a major photographer has been documented in great depth over an extended period of time. She combines images she made during the photographic sessions with entries from her journal to show Avedon's working methods, his choice of subjects, his creative process, and even his experiments and failures. Also included are a number of Avedon's finished portraits, as well as his own comments and letters from some of the subjects.Avedon at Work adds a new dimension to our understanding of one of the twentieth century's most significant series of portraits. For everyone interested in the creative process it confirms that, in Laura Wilson's words, "much as all these photographs may appear to be moments that just occurred, they are finally, in varying degrees, works of the imagination."

    Slight of build, shy by nature, prone to fits of depression, the 28-year-old Beijing photographer was nonetheless at the forefront of Chinese artists' battle for creative freedom. Like his champion Ai Weiwei, Ren was controversial in his homeland and wildly popular in the rest of the world. He said, -I don't really view my work as taboo, because I don't think so much in cultural context, or political context. I don't intentionally push boundaries, I just do what I do.- Why? Because his models, friends, and increasingly, fans, are naked, often outdoors, high in the trees or on the terrifyingly vertiginous rooftops of Beijing, stacked like building blocks, heads wrapped in octopi, body cavities sprouting phone cords and flowers, whatever enters his mind at the moment. He denies his intentions are sexual, and there is a clean detachment about even his most extreme images: the urine, the insertions, the many, many erections. In a 2013 interview VICE magazine asked, -there are a lot of dicks ... do you just like dicks?- Ren responded, -It's not just dicks I'm interested in, I like to portray every organ in a fresh, vivid and emotional way.- True though that may be, the penises Ren photographed are not just fresh and vivid, but unusually large, making one wonder just where he met his friends. In the same piece, Hang also stated, -Gender isn't important when I'm taking pictures, it only matters to me when I'm having sex, - making him a pioneer of gender inclusiveness. Young fans still eagerly flock to his website, Facebook, Instagram, and Flickr accounts. His photographs, all produced on film, have been the subject of over 20 solo and 70 group shows in his brief six-year career, in cities as disparate as Tokyo, Athens, Paris, New York, Copenhagen, Frankfurt, Vienna, and yes, even Beijing. He self-published 16 monographs, in tiny print runs, that now sell for up to $600. TASCHEN's Ren Hang is his only international collection, covering his entire career, with well-loved favorites and many never-before-seen photos of men, women, Beijing, and those many, many erections. We take solace remembering Ren's joy when he first held the book, shared by his long-time partner Jiaqi, featured on the cover.Text in English, French, and German