Photography

Half a century after the publication of The Lonely Doll, Dare Wright remains a subject of fascination. A strikingly attractive woman-child—a model and fashion photographer who always saw the world through the eyes of a girl—she was the author of nineteen children’s books that are still remembered fondly by a legion of fans. Ocracoke in the Fifties, now in print for the first time, is Dare Wright’s only book for adults. First and foremost, it is a tribute to one of Dare’s favorite places. It is also a time capsule of a unique island culture just past the midpoint of the twentieth century. And surprisingly, it is a testament to the timelessness of Ocracoke—which would please Dare immensely. Ocracoke has seen its share of changes, to be sure, but readers will have no trouble recognizing the durable little island off the North Carolina coast. The Ocracoke Lighthouse, the British Cemetery, the pony herd, the white picket fences, the legend of Blackbeard, the weathered fishermen, the barefoot children—seldom have Ocracoke’s landmarks, legends, and people been portrayed so memorably as by Dare Wright’s camera and pen. Dare Wright died in 2001. Ocracoke in the Fifties will bring a twinge of nostalgia to those who loved her children’s books and introduce her to a new generation of readers.

Dare Wright (1914–2001) was born in Canada on December 3, 1914. Her parents' marriage dissolved before Dare turned three, and Dare's father left with her older brother, Blaine. The children were not to reunite until they were in their twenties. Dare grew up in Cleveland, Ohio, and showed an early creative aptitude. Encouraged by her mother, the artist Edith Stevenson Wright, Dare learned to sketch, paint, write, and sew. It took the catalyst of photography for Dare to later combine these talents into her Lonely Doll book series. Moving to New York in her twenties, Dare modeled for major magazines and had small parts in theatrical productions. A stunning beauty, Dare seemed a natural for show business, but she was never comfortable performing in a public venue. Competition, whether with other actresses for roles, or with her mother as a painter, was too distressing. Instead, Dare found her niche as a photographer, first in the fashion field, and then as a children's book author. In 1941, Dare and her brother Blaine met for the first time since they had been separated as children. Blaine was handsome, witty, and everything Dare could have wished for in a sibling. Blaine introduced Dare to his RAF friend, Philip Sandeman. The two became engaged, but the wedding never transpired.  The 1957 success of Dare's first book, The Lonely Doll, brought her recognition as both an author and photographer. Illustrated with Dare's haunting black-and-white photographs, the seemingly simple text touched both children and their parents.  Almost fifty years later, Dare's nineteen published books continue to delight a new generation of readers.

Nachdem das Kloster Schlehdorf für die verbliebenen dreißig Ordensfrauen zu groß geworden war, beschlossen die Schwestern gemeinschaftlich den Verkauf und zogen in einen neu errichteten Anbau. Die Künstlerin Jutta Görlich, die Fotografin Ulrike Myrzik und die Kulturmanagerin Ulrike Rose haben die Schlehdorfer Schwestern und andere sich im Wandel befindende Frauenklöster besucht. Sie erforschen das aktuelle Verschwinden der Klöster, halten die Transformationen fotografisch fest und führen Interviews mit den Bewohnerinnen. Dabei wird nicht nur sichtbar, welche Wege die schrumpfenden Gemeinschaften einschlagen, wenn ihre Häuser zu groß werden, sondern auch, was mit den ehemaligen Klöstern passiert und welche Bedeutung eine räumliche Veränderung für das klösterliche Miteinander haben kann. Ohne Romantizismus und ohne Fokussierung auf Klostertraditionen wird ein Blick auf zeitgemäße klösterliche Lebensformen und auf die Zukunft der jahrhundertealten Denkmäler geworfen, die unsere Kulturlandschaft maßgeblich prägen.

Rudolf Prinz zur Lippe erweckt in seinen Texten zu Friederike von Rauchs Aufnahmen des Neuen Palais in Sanssouci die dunklen Ecken und stillen Bereiche des Prachtbaus zum Leben. Er hinterfragt und entlarvt die prunkvollen Dekorationen und fördert so manche liebevolle Schrulligkeit zutage, indem er den scheinbaren Nebensächlichkeiten eine Stimme verleiht: „In eines der Möbellager hat es sich zurückgezogen: das Pathos." Seine feinfühligen Beobachtungen nähern sich dem Schloss mit wachem Blick. Höfische Architektur und Dekorationskunst in Text und Bild ganz anders wahrgenommen – sie machen aus dem erhabenen Schloss Friedrichs des Großen eine Welt des Menschlichen.

Ende 2018 erschien im JOVIS Verlag ein Buch mit Fotografien von Friederike von Rauch zum Neuen Palais. Die atmosphärischen Blicke hinter die Kulissen und auf Details des ehemaligen Königsschlosses werden darin begleitet von Textminiaturen des Philosophen Rudolf Prinz zur Lippe. Diese wurden nun erweitert und zu diesem feinsinnigen Band zusammengestellt.

Since the turn of the millennium, the analogue photo book has experienced an international boom, developing into its own art form: a kind of visual literature, somewhere between novel and film. More and more often, photographers are publishing their works in this format rather than only as part of exhibitions. However, the photo book as an art form is hardly known to a wider public. The multiyear project “Welt im Umbruch” (World in Transition), which the Montag Stiftung initiated together with the PhotoBookMuseum, made one attempt to change this. In Rostock, Duisburg, and Kassel, members of the public were able to get to know photobooks as an artistic form of expression and to design photobooks of their own.

This volume not only documents the experience-based knowledge of all participants but also introduces the history of the photobook along with theories and current practices of participative art. It collects contributions on the production and distribution conditions of photobooks from Asia, Europe, and the United States. In addition to the medium’s political and emancipatory potential, topics discussed include the reasons for the analogue photobook's enormous appeal in the digital present.

With the term "artist complex" the present volume poses new theoretical questions to the photographic image of the artist and inquires about the making of the artistic persona. The present articles examine photographic (self-)portraits, single or serial photographs, collages, the dynamics between self-statements of artists and photographers, representations of artworks, as well as the interrelations of photography, of painting and of performance art and investigate their origins in the history of ideas. At the same time, the volume traces a portrait of photography as a "meta-science"; as preparatory work, a source of inspiration, and an alternate medium in which artists could explore different subjects.

Lebendige Städte verändern sich kontinuierlich. Viele kleine Eingriffe verwandeln unser Stadtbild Tag für Tag.

Reinhard Mandl transformiert solch flüchtige Momente des Wiener Großstadtlebens zu bleibenden fotografischen Erinnerungen. Der Fotograf erschließt sich die Stadt mittels alphabetisch nach Straßennamen gewählten, gut nachvollziehbaren Routen, buchstäblich von A bis Z.

Welche Überraschungen gibt es von der Abbégasse bis zum Baaderwiesenweg und warum ist gleich zu Beginn „fotografieren verboten“? Eröffnen sich beim Gang vom lärmenden Trubel am Calafattiplatz zur Dachauer-Straße tatsächlich neue Perspektiven auf Altbekanntes und wie ist er schlussendlich von der Ybbsstraße in die Zachgasse gelangt? Die Ausstellung lädt ein, Reinhard Mandl durch sieben Jahre Wiener Stadtleben zu begleiten.

Wir leben in einem Zeitalter allgegenwärtiger und berechneter Bilder: Welche Möglichkeiten haben Fotografinnen und Fotografen, sich einem historisch aufgeladenen Prunkgebäude zu nähern, ohne sich dabei in die Gefahr zu begeben, instrumentalisiert zu werden? Können Fotografien und künstlerische Arbeiten in einem leer stehenden Gebäude mehr erzählen als die Tatsache, dass das Gebäude vorübergehend nicht mehr seinem eigentlichen Verwendungszweck dient?

In einem Kooperationsprojekt der Universität für angewandte Kunst Wien mit der Parlamentsdirektion des österreichischen Parlaments hatten Studierende der Abteilung für angewandte Fotografie und zeitbasierte Medien die Gelegenheit, das historische Gebäude am Ring kurz nach dem Auszug des Parlaments fotografisch zu untersuchen und auf diese Fragen Antworten zu finden.

The Colors of Photography aims to provide a deeper understanding of what color is in the field of photography. Until today, color photography has marked the "here and now," while black and white photographs have been linked to our image of history and have formed our collective memory. However, such general dichotomies start to crumble when considering the aesthetic, cultural, and political complexity of color in photography.

With essays by Charlotte Cotton, Bettina Gockel, Tanya Sheehan, Blake Stimson, Kim Timby, Kelley Wilder, Deborah Willis. Photographic contributions by Hans Danuser and Raymond Meier.

"It has been called a revolution. It is." So beschreibt die Zeitschrift Photography 1907 die Neuerung des Autochroms. Als erstes Farbfotografieverfahren, das einfach zu verwenden war und hervorragende Farbergebnisse erzielte, wurde das Autochrom als Zäsur in der Entwicklung der Fotografie gefeiert. KunstfotografInnen, StudiofotografInnen ebenso wie Wissenschaftler widmeten sich der Aufzeichnung der Welt in Farbe bis in die Weiten der Antarktis. Die Publikation bietet die erste umfassende Analyse dieser Medienrevolution am Beispiel Großbritanniens. Sie eröffnet einen neuen Blick: nicht nur auf die Anfänge einer Debatte um den Wert der Farbe in der Fotografie, die bis in die 1980er Jahre geführt wurde, sondern auch auf den Ursprung einer Bildpraxis, die bis ins digitale Zeitalter fortlebt.

The historiography of early photography has scarcely examined Islamic countries in the Near and Middle East, although the new technique was adopted very quickly there by the 1840s. Which regional, local, and global aspects can be made evident? What role did autochthonous image and art traditions have, and which specific functions did photography meet since its introduction? This collective volume deals with examples from Iran, the Ottoman Empire, and the Arab lands and with the question of local specifics, or an „indigenous lens." The contributions broach the issues of regional histories of photography, local photographers, specific themes and practices, and historical collections in these countries. They offer, for the first time in book form, a cross-section through a developing field of the history of photography.

Die Frage, ob die Fotografie zu zeigen und/oder zu beweisen vermag, geht auf Carlo Ginzburg zurück. Im Nachhall seiner Auseinandersetzung mit dem Indizienparadigma als konstitutiver Methode der Kulturwissenschaften führte dieser 1982 aus, dass die Untersuchung der Verbindung von wissenschaftlichen und gerichtlichen Beweisen von Interesse ist – gerade in Hinblick auf die in den Wissenschaften gültigen „Gesetze des ‚Aufweisens‘" und die juristischen „Gesetze des ‚Beweises‘". Ausgangspunkt des vorliegenden Bandes ist zu untersuchen, inwieweit diese heuristische Frage auch auf die Kulturtechnik Fotografie bezogen werden kann.

Fotografische Bilder dienen als Dokumente, Argumente oder Belege. Dies ist nur möglich, weil Fotografien das, was sich vor dem Objektiv der Kamera befunden hat, abbilden und damit sichtbar machen, also zeigen. Durch dieses bildliche „Aufweisen" kann das Abgebildete jedoch nicht nur als Bezeichnung (Designation), sondern auch als Beweis der dargestellten Dinge (miss)verstanden werden.

Die vorliegenden Aufsätze beschäftigen sich methodisch mit den Modellierungen des Indizienparadigmas im Kontext fotohistoriografischer Auseinandersetzungen. Dies nicht zuletzt, um durch Re-Lektüren und in einer kritischen Auseinandersetzung mit den Bestätigungen, Normierungen und Identifizierungen vermittels fotografischer Bilder und unter Berücksichtigung der in den letzten Jahrzehnten angestellten Reflexionen die Fotografie – als das Medium des Indizienparadigmas schlechthin – einer Diskussion und Neubewertung zu unterziehen.

Die freie Auseinandersetzung mit dem Medium Fotografie schließt die Verwendung von Ausdrucksformen wie Zeichnung, Video, Sound, Performance und raumbezogene Installationen mit ein. Recherche, individuelle künstlerische Konzepte und Strategien - alle diese Zugänge kulminieren in den konkreten Werken, die in Bilding nun gesammelt vorgelegt werden. Sie zeigen neue künstlerische Freiräume und Bildsprachen in der Fotografie.

Ein aktueller Überblick über das künstlerische Schaffen der Studierenden der Klasse Fotografie/Gabriele Rothemann.

Scholars are increasingly investigating photography’s broad cultural role, expanding our understanding of the diversity of photographic practices. Kim Timby contributes to this new history of photography by examining the multifaceted story of images that animate with a flick of the wrist or appear vividly three-dimensional without the use of special devices—both made possible by the lenticular process.

Using French case studies, this volume broadly weaves 3D and animated lenticular imagery into scientific and popular culture, from early cinema and color reproduction to the birth of modern advertising and the market for studio portraits, postcards, and religious imagery. The motivations behind the invention and reinvention of this pervasive form of imagery, from the turn of the twentieth century through the end of the pre-digital era, shed new light on our relationship to photographic realism and on the forceful interplay in photography between technological innovation and the desire to be entertained.

3D and Animated Lenticular Photography: Between Utopia and Entertainment is a profusely illustrated and engaging interdisciplinary study of a wide-ranging body of images that have fascinated viewers for generations.

Transborder Media Spaces offers a new perspective on how media forms like photography, video, radio, television, and the Internet have been appropriated by Mexican indigenous people in the light of transnational migration and ethnopolitical movements. In producing and consuming self-determined media genres, actors in Tamazulapam Mixe and its diaspora community in Los Angeles open up media spaces and seek to forge more equal relations both within Mexico and beyond its borders. It is within these spaces that Ayuujk people carve out their own, at times conflicting, visions of development, modernity, gender, and what it means to be indigenous in the twenty-first century.

As a visual medium, the photograph has many culturally resonant properties that it shares with no other medium. These essays develop innovative cultural strategies for reading, re-reading and re-using photographs, as well as for (re)creating photographs and other artworks and evoke varied sites of memory in contemporary landscapes: from sites of war and other violence through the lost places of indigenous peoples to the once-familiar everyday places of home, family, neighborhood and community. Paying close attention to the settings in which such photographs are made and used--family collections, public archives, museums, newspapers, art galleries--the contributors consider how meanings in photographs may be shifted, challenged and renewed over time and for different purposes--from historical inquiry to quests for personal, familial, ethnic and national identity.

Ravens appear in mythology and folklore the world over. Few other birds have inspired such simultaneous dread and fascination, or given rise to so many forms of artistic expression. But in the Arctic, ravens are not only mythological and artistic figures, but also brilliant scavengers, fascinating communicators, and daily nuisances.

The result of ten years of research and interviews, Tulugaq examines the raven's place in Canadian Arctic society and reveals a bird that is at times loved, maligned, dreaded, and even revered. With dozens of photographs and first-person stories from communities across Nunavut, the Yukon, and the Northwest Territories, Tulugaq is a visually stunning examination of one of the animal kingdom's most complicated figures.

On April 18, 2015, the city of Baltimore erupted in mass protests in response to the brutal murder of Freddie Gray by police. Devin Allen was there, and his iconic photos of the Baltimore uprising became a viral sensation.
In these stunning photographs, Allen documents the uprising as he strives to capture the life of his city and the people who live there. Each photo reveals the personality, beauty, and spirit of Baltimore and its people, as his camera complicates popular ideas about the "ghetto."
Allen's camera finds hope and beauty doing battle against a system that sows desperation and fear, and above all, resistance, to the unrelenting pressures of racism and poverty in a twenty-first-century American city.

Photographic realism: Late twentieth-century aesthetics provides an accessible and useful introduction to uses of photography in art practice, and relates them to wider cultural ideas. Focusing on conceptual and political projects between 1970 and the turn of the century, it draws parallels between issues discussed in theory and those displayed visually in practice. Tormey discusses a dynamic era in photography’s history, which follows the influences of conceptual art and shifts in thinking about representation and subjectivity. The author moves away from the preoccupations of modernist photography to outline a photographic aesthetic that signals a direction for development in the twenty-first century, exampled here by the complex practices of Chinese photography.

This book emphasises how photographs construct ideas, make comments and promote thought – philosophically, culturally and politically. It will be particularly useful in post-graduate courses on fine art and photography, but it will also appeal to students and lecturers of art history, visual culture and media studies.

Born into a civil service family in India in 1907, Helen Muspratt was a lifelong communist, a member of the Cambridge intellectual milieu of the 1930s, and a working mother at a time when such a role was unusual for women of her class. She was also a pioneering photographer, creating an extraordinary body of work in many different styles and genres. In partnership with Lettice Ramsey she made portraits of many notable figures of the 1930s in the fields of science and culture. Her experimental photography, using techniques such as solarisation and multiple exposure, bears comparison with the innovations of Man Ray and Lee Miller.

This book reproduces some of Helen Muspratt's most important photographic images, including documentary records of the Soviet Union and the Welsh valleys. The accompanying text by Jessica Sutcliffe is an intimate and revealing memoir of her mother that offers a fascinating insight into her life, work and politics.

Nominated for the William MB Berger Prize for British Art History 2017.

The Victorians admired Julia Margaret Cameron for her evocative photographic portraits of eminent men like Tennyson, Carlyle and Darwin. However, Cameron also made numerous photographs that she called 'Fancy subjects', depicting scenes from literature, personifications from classical mythology, and Biblical parables from the Old and New Testament. This book is the first comprehensive study of these works, examining Cameron's use of historical allegories and popular iconography to embed moral, intellectual and political narratives in her photographs. A work of cultural history as much as art history, this book examines cartoons from Punch and line drawings from the Illustrated London News, cabinet photographs and autotype prints, textiles and wall paper, book illustrations and lithographs from period folios, all as a way to contextualise the allegorical subjects that Cameron represented, revealing connections between her 'Fancy subjects' and popular debates about such topics as Biblical interpretation, democratic government and colonial expansion.

Attend this on-the-page digital photography school . . . and become a better photographer!

Created by an editor for Practical Photography magazine, How to Shoot Like a Pro offers a unique photography course that’s designed for both beginners and experts. Illustrated with more than 400 photographs, it features 20 subject-based projects that start simple and become more challenging. 

You’ll learn all the basic skills needed to shoot fantastic images, from understanding your DSLR and essential camera settings to image editing. Individual modules cover:

• Self-portraits
• Artistic light paintings
• Landscapes
• Night photography
• Nature
• Reflections
• Action shots
• And much more, so you can hone both your technique and your artistry

New in paperback edition of Digital Camera School.

Picture Your Profit shows managers how to create and increase awareness about their company’s products and services using photography in a strategic marketing plan. Using her years of photography and marketing experience, Pam Reid uses Picture Your Profit to teach any media, marketing, and communications manager:

# 1 Best Seller in Photography Lighting ─ The Secrets to Creating Amazing Photos

Learn the secrets to composition: There's a common misconception that composition is mysterious and that only certain people have that natural gift for the techniques involved. The truth is that composition involves a set of skills that you can master. Just as you can use cookbook recipes to make your favorite meal―you don't have to be a famous French chef―you also can take amazing photos by just following a recipe!

Easy-to-follow photography composition recipes: Marc Silber has spent years studying the works of masters and interviewing some of the biggest names in photography. Now he can provide you with simple and easy-to-follow recipes for creating photographs that you and others will love! The Secrets to Creating Amazing Photos puts at your fingertips ideas for improving your skills by giving you easy-to-follow "recipes" that will improve your photography right now! Take your photography to the next level: Composition is one of the biggest keys to creating photos that others will love. No matter what kind of camera or smartphone you're using, you can take your photography to the next level and beyond by learning composition tools and secrets known to the masters of the art.

Carry The Secrets to Creating Amazing Photos in your camera bag: The book is compact in size and easy to carry with you, so you can flip to the look you want and follow the recipe for creating an image that inspires you. Use it when you're out photographing to get new ideas and inspiration. You'll be able to rapidly up you photography game by learning the skills in Picture Perfect Processes.

Key benefits of owning The Secrets to Creating Amazing Photos include:

• Taking better photographs today by learning the keys to composition
• Having quick and easy to follow "recipes" for composition at your fingertips
• Learning the secrets of composition from the masters of classical art and photography

Learn How the Photography Pros Do it!

"Marc's new book is an all-in-one, easily accessible handbook drawn from his huge library of interviews with top photographers─and packed with information that can be put into action immediately." ─Chase Jarvis, Multi-award-winning photographer and CEO/Founder of CreativeLive.

#1 Best Seller in Photography

Photography tips from professional photography masters. Easy-to-understand photography tips for beginners and amateurs─all in one compact book that fits into your camera bag. Included are tips on landscape, wedding, lifestyle, sports, animal, portrait, still life, and iPhone photography.

Take stunning pictures. Learn professional photography tips and tricks from masters of this art form. In Advancing Your Photography, Marc Silber provides the definitive handbook that takes you through the entire process of becoming an accomplished photographer. From teaching you the basics to exploring the stages of the full "cycle of photography," he makes it easy for you to master the art form and create stunning pictures.

Begin a lifetime of enjoyment and satisfaction. Photography and the technology associated with it is constantly evolving, but the fundamentals remain the same. Advancing Your Photography can start you on a lifetime of enjoying the art of photography.

Advancing Your Photography features:

• Top tips from iconic photographers and many other leading professional photography masters of today
• Numerous step-by-step examples
• Guidance on training your eye to see composition with emotional impact
• Tips on mastering the key points of operating your camera like a pro
• Secrets to processing your images to professional standards

If you have enjoyed photography books such as Understanding Exposure, Extraordinary Everyday Photography, Learning to See Creatively, or Marc Silber's Create, you will love Advancing Your Photography.

Tibet was once home to thousands of thriving Buddhist monasteries. But in 1959, following a Tibetan uprising against China's long occupation, nearly all were destroyed by the Chinese military, the practice of Buddhism was outlawed, and the Dalai Lama was forced into exile. In March of that year, Chinese tanks bombarded the 540-year-old Sera Jey Monastery in Lhasa, Tibet, killing hundreds of monks and destroying ancient texts and invaluable artifacts that had been collected over centuries. Thousands of survivors fled over perilous mountain passes to neighboring India, many with only thin robes and light footwear to shield them from the harsh winter conditions of the Himalayas.

The Sera Jey Monastery, reestablished near Mysore, India, now houses 5,000 Buddhist monks living in exile-including many who escaped the attack on the Tibetan monastery in 1959, and many more who have never known their ancestral homeland. Providing an intimate glimpse of this rarely seen world, Sera: The Way of the Tibetan Monk evokes the subtle moods and rhythms of this Buddhist community that has steadfastly carried on the legacy of the original Sera Jey. More than 100 duotone photographs capture daily rituals and sacred ceremonies, serious moments and playful gestures, compassionate faces and expressions of inspired serenity. Moving and unforgettable, Sheila Rock's portraits celebrate the tranquility, simple joys, and unadorned beauty of the ascetic life, offering a powerful testament to the strength and resilience of a persecuted people.

A percentage of the royalties from this book go to the Sera Jhe Health Care Committee in aid of various humanitarian projects

South Street is Barbara G. Mensch's evocative tribute to the lost world of Lower Manhattan's Fulton Fish Market. For more than a century, a colorful, tightly knit community of fishmongers, many of them recent immigrants and children of immigrants, thrived under the base of the Brooklyn Bridge. Resistant to government regulations and corporate encroachment, these men lived in a closed, internally policed world that was deeply hostile to outsiders.

As a young photographer in the early 1980s, Mensch bonded with this particular group of "authentic New Yorkers," becoming a confidante for their life stories, which were often filled with hardship, mystery, and misadventures. These striking photographs capture the unique personality and fierce secrecy of their vibrant working-class culture. Combined with lively commentary—reminiscent of Studs Terkel's riveting oral histories—the images offer a rare peek inside a society described by Philip Lopate as "a precious last vestige of historic Gotham."

Mensch's story ends with the closure of the docks and the opening of the Seaport mall, a symbolic victory of corporate interests over more than a century of mob rule. Her visual essay recounts the driving forces and the effects of this urban transformation on the entrenched community of fishmongers, creating an enduring historical document. Though the Fulton Fish Market no longer resides below the Brooklyn Bridge, the history and energy of this cherished New York City landmark are beautifully preserved in this book.

Allen Ellenzweig traces the male gaze upon men as captured by the camera throughout the history of photography. More than one hundred striking, provocative duotone photographs reflect a wide-ranging history of photographic male homoeroticism and the spiritual, physical, and intellectual exchange among men. Accompanying these images is a detailed account of the multiple, complex meanings of the homoerotic that have taken shape from the 1850s to today.

Ellenzweig situates each of his artists within their historical context, with chapters devoted to specific photographers and eras. He begins with nineteenth-century French photographer Eugène Durieu and his studies of the male nude, created under the direction of painter Eugène Delacroix. He then takes readers all the way through the rebellious 1960s and the disputes surrounding Robert Mapplethorpe's controversial retrospective in 1989 and 1990. Showing that homoeroticism in photography is anything but a contemporary invention, Ellenzweig unites photographers across the stylistic spectrum within a theme that came to inspire a host of larger spiritual, physical, and intellectual ideals.

According to Walter Benjamin, the past that is not recognized by the present threatens to disappear irretrievably. As a consequence, photographs cannot save the moment from oblivion by pure depiction alone, but only by keeping the depicted moment actual at every present moment.
Instead of counting on the documentary quality of photography that speaks in the past tense of "what has been", Silke Helmerdig suggests a different approach to photography: an extension of a future subjunctive (photographic) tense speaking of "what could be, if", allowing one to think possible futures instead of harking back to the past.

The Blind Man: A Phantasmography examines the complicated forces of perception, imagination, and phantasms of encounter in the contemporary world. In considering photographs he took while he was traveling in France, anthropologist and writer Robert Desjarlais reflects on a few pictures that show the features of a man, apparently blind, who begs for money at a religious site in Paris, frequented by tourists. In perceiving this stranger and the images his appearance projects, he begins to imagine what this man’s life is like and how he perceives the world around him.

Written in journal form, the book narrates Desjarlais’s pursuit of the man portrayed in the photographs. He travels to Paris and tries to meet with him. Eventually, Desjarlais becomes unsure as to what he sees, hears, or remembers. Through these interpretive dilemmas he senses the complexities of perception, where all is multiple, shifting, spectral, a surge of phantasms in which the actual and the imagined are endlessly blurred and intertwined. His mind shifts from thinking about photographs and images to being fixed on the visceral force of apparitions. His own vision is affected in a troubling way.

Composed of an intricate weave of text and image, The Blind Man attends to pressing issues in contemporary life: the fraught dimensions of photographic capture; encounters with others and alterity; the politics of looking; media images of violence and abjection; and the nature of fantasy and imaginative construal. Through a wide-ranging inquiry into histories of imagination, Desjarlais inscribes the need for a “phantasmography”—a writing of phantasms, a graphic inscription of the flows and currents of fantasy and fabulation.

A compelling and innovative reflection on the way photography captures and condenses time

Two photographs, connected by a ladder, separated by a century. First, William Henry Fox Talbot photographed a faithfully realistic image of a ladder against a haystack in the English countryside.One hundred years later, an anonymous photographer captured another ladder, “photographed” alongside an incinerated man by the blinding light of the atomic bomb. These two images underpin a poetic and theoretical reflection on the origins of photographic technique, the imaginative power of montage, and the relation of photography to time itself in Jean-Christophe Bailly’s The Instant and Its Shadow, translated into English for the very first time.

A rare find of intellectual caliber and theoretical rigor, The Instant and Its Shadow pursues a unique and powerful reflection on the first hundred years of photography’s history and on the essence of the photographic art in general. Inspired by the unexpected coming together of these two iconic images, the book begins by retracing Talbot’s invention of the photographic calotype in the early nineteenthcentury, highlighting the paradox that saw Talbot wishing to imitate the representative arts of painting and drawing while simultaneously liberating the image from any imitative paradigm. This analysis leads Bailly to elucidate photography’s relation to material and visual reality. A meditation on photography’s seeming ability to stop time follows, concluding with the photographs of Hiroshima and the photographic nature of the atomic bomb.

Building on an inspired juxtaposition of The Haystack with the Hiroshima photographs, the book becomes a testament to the potency of photomontage, arguing that “the more singular an image, the greater its connective power.” Bailly’s book is at once a lyrical homage to some of the founding texts of photographic theory and a startling reminder of the uncanny power of photography itself. Part theoretical reflection, part lyrical reverie, The Instant and Its Shadow is packed with profound and stellar insights about the medium.

Black and White is a book of 32 evocative images of political conflict and confrontations in the streets taken by Howard Epstein when he was a photographer for Liberation News Service.

The collection of images is a visceral flashback to the political turmoil of the late 1960s and early 1970s. Epstein’s photographs will resonate both for people who lived through those struggles and those organizing and protesting today.

Whether you want to get more from your DSLR or are simply looking for new creative avenues to explore, 50 Photo Projects shows you how to break out of your comfort zone and try something new.

Packed with invaluable tips on how to create stunning photographs, Lee Frost provides the bright ideas that will reinvigorate your photography, from inspiration on what to photograph, to inventive projects with vintage, pinhole and toy cameras.

”Doyle’s modesty of language conceals a profound tolerance of the human complexity”-John Le Carré

“Every Writer owes something to Holmes.” -T.S. Eliot

While the controversy of Psychic Photography was gripping the early 20th Century United Kingdom, Sir Arthur Conan Doyle set out to investigate the most notable cases. In The Case for Spirit Photography, he aimed to defend the validity of capturing images of spirits with a camera. The spectacle of spirit photography had become popular in the late 19th Century, but by the 1920’s The Crewe Circle, an infamous English spiritualist group had become the center of a national controversy attacking spirit photography as a hoax.

Doyle, a leader of the Spiritualist movement, wrote this investigation in defense of the group, and conjointly looks at other cases of supernatural incidences. As we face current public figures dismissive of empirical scientific evidence, this is a fascinating look at the intrigue of conviction. As the writer of one of fictions most colorful and abiding detectives, Doyle’s deductions in The Case for Spirit Photography are enthralling.

With an eye-catching new cover, and professionally typeset manuscript, this edition of The Case is both modern and readable.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

People magazine's top reason for Hope in America.

Curated from a grassroots social movement, The Front Steps Project is an inspiring, uplifting portrait series capturing how people coped with living in isolation during the COVID-19 pandemic.

The Front Steps Project™ demonstrates that even in the most challenging of circumstances, kindness, love, courage, and hope exist to build, bind, and connect communities around the globe.

Created on March 18, 2020, The Front Steps Project™ began when friends Kristen Collins and Cara Soulia sought out to unite their neighbors through photographs of life in quarantine. In addition to incorporating work from other local photographers, the women traveled to neighborhoods around Needham, Massachusetts to photograph residents in front of their homes in exchange for donations to their local food pantry.

Within days, #TheFrontStepsProject became a grassroots social mission, connecting thousands of people across the globe and raising over $3,250,000 for vital non-profit organizations and local businesses including food pantries, frontline workers, homeless and animal shelters, hospitals and so much more. Through their noble efforts, hundreds of thousands of images and stories of love, sacrifice, compassion, kindness, perseverance, and – ultimately hope – flooded social media.

Featured on Good Morning America, The Today Show, People Magazine, The Wall Street Journal, The Boston Globe and more, The Front Steps Project brings communities together virtually, despite being – and maybe feeling – isolated.

The Front Steps Project contains over 400 photographs and dozens of stories of families during the COVID-19 pandemic. This heartwarming keepsake commemorates a massive effort of courage, unity, and goodwill.

As a tribute to the good work of The Front Steps Project, a portion of book sales will be donated to The United Way to help people impacted by the pandemic.

This book chronicles the great state of California through 100 powerful, evocative color photographs with scenes from north to south.

From the fruitful cornucopia of the Central Valley and the solitary ancient pillars of redwood old-growth forests; the soaring granite cliffs of Yosemite Valley and Death Valley's heat-blasted wastes; the sun-drenched meadows of the High Sierra and breathtaking sunsets and coastal mists. Master photographer David Muench and his son, David apply their decades of on-location photographic skills to the making of interpretive views embracing all aspects of the great state.