The only definitive collection of photographs spanning the entire career of war photographer Robert Capa.

    Simultaneous.

    PHOTOGRAPHING THE WORLD AROUND YOU, is about learning to see and about using your camera to record and interpret what you see where ever you are.

    As word began to spread, similar establishments popped up across the country. Men lined up outside these cafés waiting to pay three times the usual cost for coffee served by a panty-free young woman, hoping to catch a fortuitous glimpse. Within a few years, a new craze took hold: the no-panties "massage" parlor. Competition for customers led these new types of businesses to offer an increasingly bizarre range of services: fondling clients through holes in coffins whilst they lie naked inside playing dead, interiors catering to commuter-train fetishists, young virgin role-playing, etc. Amongst these many destinations was a Tokyo club called Lucky Hole. Here, the premise was ridiculously simple: clients stood on one side of a plywood partition, a hostess on the other; in between them was simply a hole big enough for a certain part of the male anatomy to pass through. Nobuyoshi Araki was a frequent visitor to the sex clubs of Tokyo's Shinjuku neighborhood, and he photographed them profusely until the golden age of Japan's sex industry came to a screeching halt in February 1985, with the enactment of the New Amusement Business Control and Improvement Act. In over 800 photos, Tokyo Lucky Hole documents the free-for-all spirit of those clubs via Araki's lens.

    A woman floats in her flooded living room, a cow appears to have fallen from the sky onto a front lawn, a gang of teenagers, seemingly hypnotized, pile up household objects for a bonfire. Created as elaborately staged tableaux, this series of images suggests the bizarre yet beautiful surrealities behind deceptively familiar suburban facades.Scheduled to accompany three simultaneous gallery exhibitions in Spring 2002 and a subsequent retrospective at Mass MoCA, this book chronicles the completion of the Twilight series, which Crewdson began in 1998. Including both production stills and the 40 finished images, all in full color, it also features an essay by Rick Moody, a novelist equally renowned for exposing the underbelly of small-town, middle-class America.

    With characteristic perversity - and trademark originality - THE ONGOING MOMENT is Dyer's unique and idiosyncratic history of photography. Seeking to identify their signature styles Dyer looks at the ways that canonical figures such as Alfred Stieglitz, Paul Strand, Walker Evans, Kertesz, Dorothea Lange, Diane Arbus and William Eggleston have photographed the same scenes and objects (benches, hats, hands, roads). In doing so Dyer constructs a narrative in which those photographers - many of whom never met in their lives - constantly come into contact with each other. Great photographs change the way we see the world; THE ONGOING MOMENT changes the way we look at both. It is the most ambitious example to date of a form of writing that Dyer has made his own: the non-fiction work of art.

    Drawn from the archives of British Vogue, an immense resource of over 1,000,000 images, the book presents hundreds of images never seen before - the killed pictures, rejects and out-takes - to form a fresh, new history of fashion photography. Featuring the first attempts of many now internationally famous photographers, great pictures by forgotten masters, out-takes from famous shoots and many other extraordinary and sometimes controversial pictures. By showing contact sheets and unedited film UNSEEN VOGUE opens up the process of making fashion images, previously the reserve of fashion's inner circle.From Irving Penn to David Bailey, from Cecil Beaton to Mario Testino - the new book will be an authoritative addition to the documented history of fashion photography.

    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.

    Since nobody photographs libraries as beautifully as Hofer, it seemed only natural to dedicate one of her publications to the splendid and intimate cathedrals of knowledge across Europe and the US: the Escorial in Spain, the Whitney Museum in New york, Villa Medici in Rome, the Hamburg University library, the Bibliotheque nationale de France in Paris, the Museo Archeologico in Madrid, and Pierpont Morgan Library in New York, to name just a few. Almost completely devoid of people, as is Candida Hofer's trademark, these pictures radiate a comforting serenity that is exceptional in contemporary photography. Now available in an unchanged reprint.

    This book was conceived on a grand scale that does justice to his extraordinary life and the events he has witnessed. It forms one of the great documents of the latter part of the last century.The book begins and ends in the Somerset landscape that surrounds McCullin's home, but the whole sequence of more than two hundred photographs encompasses a ravaged northern England, war in Cyprus, Biafra, Vietnam, Cambodia, Beirut and riots in Derry. The climax of the book is among the cannibals and tribespeople deep in the jungles of Irian Jaya, where McCullin focuses on humanity in an almost Stone Age condition.The introduction by Harold Evans, the acclaimed newspaper editor and authority on photojournalism, is drawn from his long experience of working with McCullin. The distinguished novelist and essayist, Susan Sontag, has contributed an essay on McCullin and the role of witness to conflict - a subject of timely pertinence.

    The desire to gain a greater understanding of our past has driven archaeologists, artists, and scholars from across the world to study the vestiges of lifestyles that have vanished in an attempt to capture their mystique and beauty.Originally intended as an examination of the rise and fall of the state hospital system, Matthew Christopher’s Abandoned America rapidly grew to encompass derelict factories and industrial sites, schools, churches, power plants, hospitals, prisons, military installations, hotels, resorts, homes, and more. Through his collection of writing and photography, Christopher has spent the last decade documenting the ruins of one of the greatest civilizations the world has ever known: our own. Exploring sites like the charred remains of the Hotel Do De, the rusted cells of the Essex County Jail Annex, the sublime majesty of the Church of the Transfiguration, or the eerie and dilapidated remnants of the New Castle Elks Lodge, the work spans architectural treasures left to the elements and then all too often lost forever.

    This collection of photographs captures these accoutrements.

    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.

    This selection contains many groundbreaking essays and previously uncollected pieces written for exhibitions and catalogues in which Berger probes the work of photographers such as Henri Cartier-Bresson and W. Eugene Smith - and the lives of those photographed - with fierce engagement, intensity and tenderness.The selection is made and introduced by Geoff Dyer, author of the award-winning The Ongoing Moment.How do we see the world around us? This is one of a number of pivotal works by creative thinkers whose writings on art, design and the media have changed our vision for ever.

    The original edition of American Photographs was a carefully prepared letterpress production, published by The Museum of Modern Art in 1938 to accompany an exhibition of photographs by Evans that captured scenes of America in the early 1930s. As noted on the jacket of the first edition, Evans, "photographing in New England or Louisiana, watching a Cuban political funeral or a Mississippi flood, working cautiously so as to disturb nothing in the normal atmosphere of the average place, can be considered a kind of disembodied, burrowing eye, a conspirator against time and its hammers." This seventy-fifth anniversary edition of American Photographs, made with new reproductions, recreates the original 1938 edition as closely as possible to make the landmark publication available for a new generation. American Photographs has fallen out of print for long periods of time since it was first published, and even subsequent editions--two of which altered the design and typography of the book in small but significant ways--are often available only at libraries and rare bookstores. This version, like the fiftieth-anniversary edition produced by the Museum in 1988, captures the look and feel of the very first edition with the aid of new digital technologies.