De Waal reminds readers through his account of the chimps' sexual rivalries and coalitions, and intelligent rather than instinctual actions, that the roots of politics are older than humanity.

    Was it the outcome of what a photographer had in mind from the outset? Did it emerge from a diligently worked sequence? Was the right shot a matter of being in the right place at the right time?Here, for the first time, are the best contact sheets created by Magnum photographers. They reveal the creative methods, strategies, and editing processes used by some of the acknowledged greats of photography, from legends such as Henri Cartier-Bresson and Elliott Erwitt to Magnum’s latest generation, including Jonas Bendiksen, Trent Parke, and Alec Soth.Events, places, and people from over seventy years of history are contained in Magnum’s contact sheets, including the Normandy landings by Robert Capa, Che Guevara by René Burri, the Paris riots of 1968 by Bruno Barbey, Malcolm X by Eve Arnold, and New York street scenes by Bruce Gilden.With supporting texts by the photographers or by those selected by the estates of deceased Magnum members, and ancillary material such as press cards, notebooks, and filed captions, this landmark publication provides a depth of understanding and a critical analysis of the backstory to a photograph.

    Arranged thematically from industrial to military sites, from ghosts towns to recreational sites, the book explains through extended captions the story of how each place came to be abandoned - natural or chemical disaster, war, economic collapse, changing attitudes and tastes. Often it's because the world has moved on and these places are no longer of use or interest in the march of progress. Throughout, though, emerges a picture not of what has been lost, but of what remains. Left to the elements but also ignored by humanity, the photographs of these ghost towns, crumbling structures and vessels illuminate worlds for us that we thought were lost. Through these, we gain a glimpse into the past. With more than 150 outstanding colour photographs exploring hauntingly beautiful places over one or two spreads, Abandoned Places is an excellent pictorial examination of worlds that we've left behind.

    Charged with energy, informed by history and culture, and filled with fresh concepts, McQueen’s shows have become legends not only of fashion but also of art. Anne Deniau was the only photographer allowed backstage by McQueen for 13 years, beginning in September 1997 and ending with the final show in March 2010. She captured McQueen working with his close circle of collaborators—including designer Sarah Burton, milliner Philip Treacy, jewelry designer Shaun Leane, and model Kate Moss—to create his meticulously produced spectacles. Her book offers an inspiring homage, through the art of photography, to the work of a great artist. Praise for Love Looks Not With the Eyes: Thirteen Years With Lee Alexander McQueen: The pictures are evocative of the torture, the toughness and, most of all, the tenderness of Mr. McQueen.” —New York Times “Deniau’s close connection to McQueen and her appreciation for his formidable talent is like many of the pieces he created: breathtaking.” —San Francisco Chronicle “Thekinetic color and black-and-white photographs document the fantastical,shocking spectacle of a McQueen show in action: hairdos trussed up with birdsof prey; hubcaps strapped to foreheads; faces enhanced by extraterrestrialcheek prostheses. The images are sensual, spooky, and whimsical, playing up thedrama of McQueen’s vision; like one of the designer’s fabulous garments, thephotographs transform fashion into high art. The book is both an homage and amemorial; this celebration of McQueen’s vast, unique talent is also a eulogyfor his tragic loss.” — “Haute couture has a reputation for spectacle, but Anne Deniau’s photographs remind us that it’s also the last bastion of craftsmanship in fashion—or it was, as practiced by designer Alexander McQueen (1969–2010).” —Wall Street Journal “Lush, previously unpublished backstage photographs from many of the late designer’s provocative fashion shows.”—The Los Angeles Times “The kinetic color and black-and-white photographs document the fantastical, shocking spectacle of a McQueen show in action: hairdos trussed up with birds of prey; hubcaps strapped to foreheads; faces enhanced by extraterrestrial cheek prostheses. The images are sensual, spooky, and whimsical, playing up the drama of McQueen’s vision; like one of the designer’s fabulous garments, the photographs transform fashion into high art. The book is both an homage and a memorial; this celebration of McQueen’s vast, unique talent is also a eulogy for his tragic loss.” —Publishers Weekly “Love Looks Not with the Eyes document[s] the intense work and equally intense emotions that played out behind the scenes of McQueen’s poetic, passionate, and provocative shows. . . . The intimacy is evident in the pictures.” —Vogue “The haunting images offer a rarefied glimpse into the designer’s inner world.” —Harper’s Bazaar “Deniau, in the process of documenting 26 McQueen presentations, captured images which, too, transcend photography—matching the decadent and grand world created by the hands of McQueen.” —Time.com “Haute couture has a reputation for spectacle, but Anne Deniau’s photographs remind us that it’s also the last bastion of craftsmanship in fashion—or it was, as practiced by designer Alexander McQueen (1969–2010).” —Wall Street Journal

    Although Edward Steichen had exhibited some of Leiter's color photography at The Museum of Modern Art in 1953, it remained virtually unknown to the world thereafter. Leiter moved to New York in 1946 to become a painter, but through his friendship with Richard Pousette-Dart he quickly recognized the creative potential of photography. Leiter continued to paint, exhibiting with Philip Guston and Willem de Kooning, but the camera remained his ever-present means of recording life in the metropolis. None of Leiter's contemporaries, with the partial exception of Helen Levitt, assembled a comparable body of work: subtle, often abstract compositions of lyrical, eloquent color.

    Black-and-white photographs of the world's most majestic ancient trees, from the yews of England to the baobabs of Madagascar.

    They reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the twenties and thirties, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announces the end of Soviet Union. Taking advantage of the collapsing monolithic structure, the holes of the widening net, architects revisited all the chronological periods and styles, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba sanatorium), others expressed their imagination in an expressionist way (Tbilisi wedding palace). A summer camp, inspired by sketches of a prototype lunar base, lays claim to its suprematist influence (Promethee). Then comes the speaking architecture widespread in the last years of the USSR: a crematorium adorned with concrete flames (Kiev crematorium), a technological institute with a flying saucer crashed on the roof (Kiev institute), a political center watching you like a Big Brother (Kaliningrad House of Soviet). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of privacy and it also outlines the geography of the USSR, showing how local influences made their exotic twists before bringing the country to its end.

    Written by an international team of experts, this definitive history of photography looks at every step of the field's dynamic evolution, period by period and movement by movement. Each key genre is chronologically presented within its social, economic, and political context, along with close analysis of specially selected works that best exemplify the characteristics of the period. With more than 500 gorgeous examples in black and white and color, the book explores in-depth virtually every aspect of the medium since its first public demonstration in 1839 to the latest innovations: from early portraits and the birth of photojournalism to travel photography and the mapping of the world; from the Pictorialists to the avant-garde; from celebrity and fashion to documentary and landscape. Along the way readers will learn why some photographs are considered iconic, and why the medium as an art form continues to challenge and enthrall us.

    A visually arresting reference for art lovers and students, it provides a truly comprehensive worldwide gazeteer of paintings organized chronologically by date of completion. Each entry includes the history of the painting, information about the artist or artistic movement, the current location of the painting (all are on view to the public), as well as other details. The works are also indexed by artist and by title, making for easy cross-referencing. Included are popular paintings, key works that are the most breathtaking for their extraordinary power and beauty, paintings that were turning points in the history of art, and rediscovered masterpieces, making 1001 Paintings You Must See Before You Die an art museum in its own right.

    Her 1,700-mile solo journey across the Australian outback was a cover story in National Geographic, and her account of her trek has become a worldwide bestseller. Now the photographer who originally took the pictures for the NG story combines Davidson's text with his award winning photos, most never before published.

    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.

    Whether you're an experienced enthusiast or toy camera neophyte, you'll find Plastic Cameras: Toying with Creativity chock full of tantalizing tips, fun facts and, of course, absolutely striking photographs taken with the lowest tech and simplest tools around. I got me a Holga. Now What? Holgas need a little TLC before they're ready to go out in the world and start snapping. Plastic Cameras: Toying with Creativity digs through all the different Holga models available, lays out thier advantages and quirks and helps you get up to speed on all the prep you'll need to do to jump in on the toy-camera revolution. What should I Feed my Holga? Holgas, Dianas, other toy cameras can use many types of film. Plastic Cameras: Toying with Creativity, lays all their pros and cons on the line letting you get some images you want, and some you could just never imagine. Can Holga come out to play?Plastic Cameras: Toying with Creativity will help you steer your way through all the details and quirks of taking wonderful and weird pictures with your toy camera. We'll explore possible subjects and the best way to shoot them and play with all sorts of techniques from vignetting, to multiple exposures, to panoramas, close-ups, movement, night photography, flare, flash, color and more. For the Intrepid Holga-ographerFor the Holga master, we've diagramed and described advanced toy camera modifications and introduce you to a variety of problems, solutions and inventions born from toy cameras' "limitations." What Next?From negatives to prints or pixels, we help you navigate your post-shooting choices.Don't ForgetThe Diana, Banner, Action Sampler, Photo Blaster, and Lensbaby are all toy cameras with their own loveable qualities. We'll look beyond the Holga to show a whole wide world of toys. Artists Artists in this book include: Michael AckermanJonathan BaileyEric Havelock-BaillieJames BalogBetsy BellSusan BowenLaura BurltonDavid BurnettNancy BursonPerry DilbeckJill EnfieldAnnette FournetMegan GreenWesley KennedyTeru KuwayamaMary Ann LynchAnne Arden McDonaldDaniel MillerTed OrlandRobert OwenBecky RamotowskiNancy RexrothFrancisco Mata RosasRichard RossFranco SalmoiraghiMichael SherwinHarvey SteinGordon StettiniusMark SinkKurt SmithSandy SorlienPauline St. Denis;-p r a b u!

    More than 235 prize-winning photographs offer a year-by-year, dramatically visual chronicle of our times. Each beautifully reproduced image is accompanied by key information on how the shot was taken and the stunning story behind it, as told to author Hal Buell by the photographers. An accompanying timeline, placing each photo in its historical context, features yet another 265 photographs.This unique and moving volume is completely up to date, including the 2000-2001 winners. Recent photos include images of students fleeing Columbine High School and the striking shot of federal agents taking Elian Gonzales from the arms of his relatives at gunpoint.

    And now, in his New York Times best-selling book, you can too! Momo and his best buddy Andrew Knapp have traveled all over—through fields, down country roads, across cities, and into yards, neighborhoods, and surreal spaces of all sorts. The result is a book of spectacular photography that’s also a game you can play anytime. Lose yourself in page after page of Andrew’s beautiful, serene, dreamlike images, and sooner or later you’ll find Momo’s sweet, eager face looking back at you. (Can’t find him? Don’t worry…the answers are in the back.)

    For more than a millennium, Polynesians have occupied the remotest islands in the Pacific Ocean, a vast triangle stretching from Hawaii to New Zealand to Easter Island. Until the arrival of European explorers they were the only people to have ever lived there. Both the most closely related and the most widely dispersed people in the world before the era of mass migration, Polynesians can trace their roots to a group of epic voyagers who ventured out into the unknown in one of the greatest adventures in human history.How did the earliest Polynesians find and colonize these far-flung islands? How did a people without writing or metal tools conquer the largest ocean in the world? This conundrum, which came to be known as the Problem of Polynesian Origins, emerged in the eighteenth century as one of the great geographical mysteries of mankind.For Christina Thompson, this mystery is personal: her Maori husband and their sons descend directly from these ancient navigators. In Sea People, Thompson explores the fascinating story of these ancestors, as well as those of the many sailors, linguists, archaeologists, folklorists, biologists, and geographers who have puzzled over this history for three hundred years. A masterful mix of history, geography, anthropology, and the science of navigation, Sea People combines the thrill of exploration with the drama of discovery in a vivid tour of one of the most captivating regions in the world.Sea People includes an 8-page photo insert, illustrations throughout, and 2 endpaper maps.