Lehane Fiction collection Six-Book Set For a limited time get six of Dennis Lehane's books in one easy-to-order package, including Lahane's now classic Mystic River.

    Until she comes to New Mexico. During one summer in Agua Dulce, a village haunted by a phantom herd of wild horses and where ravens embody the spirits of ancestors, Charlotte’s world is upended as she unearths the details of her mother’s forbidden love affair, chilling murder, and courageous last act of redemption. Pursued by a madman hell-bent on killing her, Charlotte finds shelter, romance, and her own misplaced soul at the desert camp of a surprisingly sophisticated cowboy, and learns how love in its myriad forms is the only path to lasting salvation.

    Excerpts from the Taoist classic the Chuang-tzu and the writings of Western aesthetes are complemented by over 60 photographs from the work of such canonical photographers as Henri Cartier-Bresson, Alfred Stieglitz, and Dorothea Lange. Lucid instructional text and enlightening exercises assure that photographers of all levels will be able to incorporate the lessons of the Tao into their own work.

    I want there to be a combination of the past juxtaposed with the modern. I use nature to symbolize the search, saving a tree, watering the earth. In this fabricated world, strange clouds of smog float by; there are holes in the sky. These mythic images mirror our world, where nature is domesticated, controlled, and destroyed. Through my work I explore technology and a poetry of existence. These can be very heavy, overly didactic issues to convey in art, so I choose to portray them through a more theatrically absurd approach.--Robert ParkeHarrison

    Excerpts from the original Anne Morrow Lindbergh bestseller on love, happiness, solitude, and contentment.

    The images that comprise Crewdson’s new series, “Beneath the Roses,” take place in the homes, streets, and forests of unnamed small towns. The photographs portray emotionally charged moments of seemingly ordinary individuals caught in ambiguous and often disquieting circumstances. Both epic in scale and intimate in scope, these visually breathtaking photographs blur the distinctions between cinema and photography, reality and fantasy, what has happened and what is to come.Beneath the Roses features an essay by acclaimed fiction writer Russell Banks, as well as many never-before-seen photographs, including production stills, lighting charts, sketches, and architectural plans, that serve as a window into Crewdson’s working process. The book is published to coincide with exhibitions in New York, London, and Los Angeles.

    Their initial contact grew into a friendship that O'Brien chronicled for the Miami News, where he began his career as a staff photographer. O'Brien's photo essays conveyed empathy for the homeless and the disenfranchised and won two Robert F. Kennedy Journalism Awards. In 2006, O'Brien reconnected with the issue of homelessness and learned the problem has grown exponentially since the 1970s, with as many as 3.5 million adults and children in America experiencing homelessness at some point in any given year.In Hard Ground, O'Brien joins with renowned singer-songwriter Tom Waits, described by the New York Times as "the poet of outcasts," to create a portrait of homelessness that impels us to look into the eyes of people who live "on the hard ground" and recognize our common humanity. For Waits, who has spent decades writing about outsiders, this subject is familiar territory. Combining their formidable talents in photography and poetry, O'Brien and Waits have crafted a work in the spirit of Let Us Now Praise Famous Men, in which James Agee's text and Walker Evans's photographs were "coequal, mutually independent, and fully collaborative" elements. Letting words and images communicate on their own terms, rather than merely illustrate each other, Hard Ground transcends documentary and presents independent, yet powerfully complementary views of the trials of homelessness and the resilience of people who survive on the streets.

    Friedman's uncompromising look at the radicals of youth culture in the extreme worlds of skateboarding, punk and rap. From day one behind his camera, Friedman has had an unerring ability to be in the right place ahead of everybody else. He was a teenaged photographer for 'Thrasher' and 'Skateboarder' magazines, he created the seminal one-hit punk fanzine 'My Rules', worked with Black Flag and Suicidal Tendencies in their early days, wrote for Maximum Rock & Roll, did street promotion for Def Jam's west coast office and shot sleeve photos for everyone from Minor Threat to Public Enemy. This book presents the photographic distillation of Glen's ethic: it's about the perfect shots of the people who live by the touchstones of intensity and integrity.

    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.

    Its goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Each book features the creative process and core thinking of a photographer told in their own words and through pictures of their choosing, and is introduced by a well-known student of the featured photographer. In this book, Todd Hido explores the genres of landscape, interior and nude photography, with emphasis on creating images from a personal perspective and with a sense of intimacy. Through words and photographs, he also offers insight into his own practice and discusses a wide range of creative issues, including mining one's own memory and experience as inspiration; using light, texture and detail for greater impact; exploring the narrative potential activated when sequencing images; and creating powerful stories with emotional weight and beauty.Todd Hido (born 1968) is a San Francisco Bay Area-based artist. He is well known for his photography of urban and suburban housing across the United States, and for his use of detail and luminous color. His previous books include House Hunting (2001), Outskirts (2002), Roaming (2004) and Between the Two (2007). He is a recipient of a Eureka Fellowship and a Wallace Alexander Gerbode Foundation Visual Arts Award, and is represented by Stephen Wirtz Gallery in San Francisco. He is an adjunct professor at California College of the Arts.Gregory Halpern received a BA in history and literature from Harvard University and an MFA from California College of the Arts. His third book of photographs, entitled A, is a photographic ramble through the streets of the American Rust Belt. His other books include Omaha Sketchbook and Harvard Works Because We Do. He currently teaches at the Rochester Institute of Technology and is the coeditor of The Photographer's Playbook (Aperture 2013).

    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

    Schooled as a painter and designer in New York, Man Ray turned to photography after discovering the 291 Gallery and its charismatic founder, Alfred Stieglitz. As a young expatriate in Paris during the twenties and thirties, Man Ray embraced Surrealism and Dadaism, creeds that emphasized chance effects, disjunction and surprise. Tireless experimentation with technique led him to employ solarization, grain enlargement, mixed media and cameraless prints (photograms)--which he called "Rayographs." These successful manipulations for which he was dubbed "the poet of the darkroom" by Jean Cocteau, were a major contribution to twentieth-century photography. Man Ray presents 43 of the greatest images from the artist's career. The essay by Jed Perl describes the influences on Man Ray's career and his enduring contribution to photography.

    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.

    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."

    Witty, provocative and searching, this lively catalogue of female roles inspired by the movies crystallizes widespread concerns in our culture, examining the ways we shape our personal identities and the role of the mass media in our lives. Sherman began making these pictures in 1977 when she was 23 years old.