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.

    Over the past ten years it has experienced radical changes, in part due to the rise of digital technologies. Photography is now often engaged in by artists who are not just printing in a darkroom, but using the medium as a single aspect of a larger ouvre, as one of several media under exploration. Vitamin Ph focuses on diverse global developments in 'art' photography through the work of 121 contemporary artists, who were nominated by 78 international critics, curators and artists. These selections will be accompanied by a 5000 word introductory text by TJ Demos, aiming to explore ideas relevant to contemporary photography with reference to the works included in the book. In addition, the work of each photographer/artist will be introduced by a short commissioned text of approximately 500 words. Similar in concept, scope and structure to Vitamin P and Vitamin D, Vitamin Ph presents, in A to Z order, artists who have emerged, or in some instances re-emerged, in the last five years using the medium of photography.

    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.

    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

    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 volume is introduced by a well-known student of the featured photographer. In this book, Larry Fink--well-known for his layered pictures in social settings--explores composing photographs and improvising within a scene to create images with both feeling and meaning. Through words and photographs, he reveals insight into his own practice and discusses a wide range of creative issues, from connecting with the subject in front of the lens to shaping a vision that is authentic. Photographer Lisa Kereszi, a student of Larry Fink, provides the introduction.Larry Fink (born 1941) has been a professor at Yale University School of Art; Cooper Union School of Art and Architecture; Parsons the New School for Design; and Tyler School of Art, Temple University. Currently, he is a tenured professor of photography at Bard College. His work has been widely exhibited in the United States, including solo exhibitions at Light Gallery, New York; Massachusetts Institute of Technology, Cambridge; Museum of Modern Art, New York; and San Francisco Museum of Modern Art.Lisa Kereszi is a photographer and educator. She is now the director of undergraduate studies at the Yale University School of Art, where she has taught since 2004. She has published five books, including "Fun and Games" and "Joe's Junk Yard." Her work is in the collections of the Whitney Museum of American Art, New York, and the Brooklyn Museum, and has appeared in the "New Yorker," "Harper's" and the "New York Times Magazine."

    Photographer Joey L. found his vision early, drawing critical acclaim as a brilliant commercial photographer with a distinctive technical expertise for lighting.             In Photographing Shadow and Light, Joey lifts the curtain on his dramatic, creatively fearless approach to portraiture, sharing his personal philosophy and a behind-the-scenes look at 15 striking photo sessions—from personal projects shot in Africa, India, and Brooklyn to commercial shoots for 50 Cent, the Jonas Brothers, and Project Runway All Stars. Joey provides readers with a step-by-step description of how he visualized each shoot, formed meaningful connections with his subjects, and “built” his signature dramatic lighting effects—one light at a time.            Featuring more than 85 stunning portraits, detailed lighting diagrams, and a foreword from industry icon David Hobby (aka Strobist), Photographing Shadow and Light shares the creative process behind one of today’s most exciting photography talents, providing serious amateurs and professionals a fresh perspective on creating compelling, professional quality portraits. “Joey Lawrence is . . . the future of photography. Get used to it.” —David Hobby (Strobist) Get inside the images of commercial and fine art portrait photographer Joey L. with this behind-the-lens guide to his fearless approach, creative vision, and signature lighting techniques.Also available as an ebook

    Lara shares her experience of fashion photography in the digital age, including dedicated sections on retouching, genres of fashion photography, and making the best use of social media. Whether you're taking your first-ever shot, working with a professional model for the first time, or pitching to new clients, here is everything you need to produce moody, magical images that leap from the page straight into the viewer's imagination.

    Considered shocking and provocative back in the 60s, by the climax of his career he enjoyed the reputation of a photographer who was able to imagine and visualize his subjects as women who take the lead rather than follow it; women who enjoy the resplendence and vitality of their bodies; women who are both responsible and willing. This book presents a whole spectrum of Newton's work and celebrates the long career of this outstanding and prolific photographer.

    It is hard enough to find thesequalities in trained photographers with the benefit of schooling and mentors and a community of fellow artists and aficionados supporting and rewarding their efforts. It is incredibly rare to find it in someone with no formal training and no network of peers.Yet Vivian Maier is all of these things, a professional nanny, who from the 1950s until the 1990s took over 100,000 photographs worldwide—from France to New York City to Chicago and dozens of other countries—and yet showed the results to no one. The photos are amazing both for the breadth of the work and for the high quality of the humorous, moving, beautiful, and raw images of all facets of city life in America’s post-war golden age.It wasn’t until local historian John Maloof purchased a box of Maier’s negatives from a Chicago auction house and began collecting and championing her marvelous work just a few years ago that any of it saw the light of day. Presented here for the first time in print, Vivian Maier: Street Photographer collects the best of her incredible, unseen body of work.

    Finally, photography and offset printing techniques have caught up with Sternfeld's eye, and this new edition of American Prospects succeeds in presenting Sternfeld's most seminal work as it has always meant to be shown. A specially-commissioned essay by Kerry Brougher, Chief Curator at the Hirshhorn Museum and Sculpture Garden, considers the historical context in which Sternfeld was working and the pivotal role that American Prospects has played in the course of contemporary filmmaking and art photography. In American Prospects, a fireman shops for a pumpkin while a house burns in the background; a group of motorcyclists stop at the side of the road to take in a stunning, placid view of Bear Lake, Utah; the high-tech world headquarters of the Manville Corporation sits in picturesque Colorado, obscured by a defiant boulder; a lone basketball net stands in the desert near Lake Powell in Arizona; and a cookie-cutter suburban housing settlement rests squarely amongst rolling hills in Pendleton, Oregon. Sternfeld's photographic tour of America is a search for the truth of a country not just as it exists in a particular era but as it is in its ever-evolving essence. It is a sad poem, but also a funny and generous one, recognizing endurance, poignant beauty, and determination within its sometimes tense, often ironic juxtapositions of man and nature, technology and ruin.

    Walker is one of the most exciting photographers of our time, and his flamboyant style—often tongue-in-cheek but always exquisitely executed—places him in the line of brilliant eccentrics from Cecil Beaton to David LaChapelle. Showcasing 170 photographs through Walker’s most recent work, the book features many A-listers in fashion and Hollywood, including Tilda Swinton, Helena Bonham Carter, and Alber Elbaz. The book includes a foreword by Kate Bush, an introduction by writer Robin Muir, and an afterword by Tim Walker.Praise for Tim Walker: Story Teller:“You’ll delight in the fashion photographer’s visual daydreams.” —DuJour magazine

    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

    Here Friedlander focuses on the role of his own physical presence in his images. He writes: "At first, my presence in my photos was fascinating and disturbing. But as time passed and I was more a part of other ideas in my photos, I was able to add a giggle to those feelings." Here readers can witness this progression as Friedlander appears in the form of his shadow, or reflected in windows and mirrors, and only occasionally fully visible through his own camera. In some photos he visibly struggles with the notion of self-portraiture, desultorily shooting himself in household mirrors and other reflective surfaces. Soon, though, he begins to toy with the pictures, almost teasingly inserting his shadow into them to amusing and provocative effect--elongated and trailing a group of women seen only from the knees down; cast and bent over a chair as if seated in it; mirroring the silhouette of someone walking down the street ahead of him; or falling on the desert ground, a large bush standing in for hair. These uncanny self-portraits evoke a surprisingly full landscape of the artist's life and mind. This reprint edition of Lee Friedlander: Self Portrait contains nearly 50 duotone images and an afterword by John Szarkowski, former Director of the Department of Photography at The Museum of Modern Art.

    Whatever other technical skill is involved, if the formal organization of an image is lacking, there is little to hold the interest of the viewer. But what makes a winning composition? Is it about following the rules-or about breaking them?Basics Photography: Composition is divided into six core chapters that cover everything the beginner needs to know to improve their composition, including the basics of composition, exploring the formal elements, how to organize space and time, learning the real world 'rules' and, beyond that, how to use the ideas presented in the book to create original, compelling images. The book is illustrated throughout with photography to inform the mind and inspire the eyes.Includes work by:Henri Cartier-Bresson, Dorothea Lange, James Nachtwey, Martin Parr, Marc Riboud, David Hockney, Duane Michals, Harry Callahan and John Darwell, and many more.Includes the following subjects:The basic rules of composition, including viewpoint, perspective and scale; the formal elements, such as point, line, shape, form, texture, pattern, tone and color; how to organize space using frames, balance and space; capturing the passing of time and specific moments, the decisive moment and sequences; applications of composition, featuring landscape, still life, portraiture, documentary, the figure, action and sports, fine art and advertising; finally, finding your own view and the specific considerations of digital imaging.