100 Ways Take Better Landscape Photographs

Reimagines photography through the long history of ideas of expression

The end of the nineteenth century saw massive developments and innovations in photography at a time when the forces of Western modernity—industrialization, racialization, and capitalism—were quickly reshaping the world. The Unintended slows down the moment in which the technology of photography seemed to speed itself—and so the history of racial capitalism—up. It follows the substantial shifts in the markets, mediums, and forms of photography during a legally murky period at the end of the nineteenth century. Monica Huerta traces the subtle and paradoxical ways legal thinking through photographic lenses reinscribed a particular aesthetics of whiteness in the very conceptions of property ownership.

The book pulls together an archive that encompasses the histories of performance and portraiture alongside the legal, pursuing the logics by which property rights involving photographs are affirmed (or denied) in precedent-setting court cases and legal texts. Emphasizing the making of “expression” into property to focus our attention on the failures of control that cameras do not invent, but rather put new emphasis on, this book argues that designations of control’s absence are central to the practice and idea of property-making.

The Unintended proposes that tracking and analyzing the sensed horizons of intention, control, autonomy, will, and volition offers another way into understanding how white supremacy functions. Ultimately, its unique historical reading practice offers a historically-specific vantage on the everyday workings of racial capitalism and the inheritances of white supremacy that structure so much of our lives.

Nathan Collie’s Moments with Birds is a collection of over 100 photographs capturing the beauty of both the migratory and resident birds of Tennessee, including information about the species, as well as Nathan’s own personal stories from behind the scenes.

This book will take you on a journey through all four seasons, drawing you into the wonderful world of birds.

From Here to the Horizon presents the work of fifty of America’s leading contemporary landscape photographers in honor of the life and influence of Barry Lopez (1945–2020), one of our most revered writers about the landscape and our place within it. Work by each photographer was selected in relation to, and accompanied by, an excerpt from the best-selling book Home Ground: A Guide to the American Landscape, a reader’s A-to-Z guide to American landscape terms, edited by Lopez and Debra Gwartney. With images reflecting landforms or locations and others that are more evocative, the collection creates a portrait of the beauty, diversity, and abundance found in our shared North American topography.

For Lopez, the land was never simply a background for human activity but reflected our aspirations and desires, both as individuals and communities. He had a particular affinity with photographers, and some have compared his precise, crystalline language to the artistry found in photography. As Virginia Beahan noted, “What impressed me so much about Barry’s writing was the slow-moving attention to detail . . . as he tried to make sense of the world.

The collection includes leading photographers such as Virginia Beahan, Barbara Bosworth, Frank Gohlke, Lois Conner, Emmet Gowin, Mark Klett, David Maisel, Laura McPhee, Andrew Moore, Mark Ruwedel, and essays by Debra Gwartney, Robert Macfarlane, and Toby Jurovics. From Here to the Horizon serves as a marker of the admiration of and affection for Lopez and will spark the imagination of places we already know, or hope to one day visit, or may never see but carry with us because of the life-affirming work of writers like Lopez.

Photographers: Robert Adams, Virginia Beahan, Marion Belanger, Michael Berman, Andrew Borowiec, Barbara Bosworth, Joann Brennan, Gregory Conniff, Linda Connor, Lois Conner , Thomas Joshua Cooper, Robert Dawson, Peter de Lory, Lucinda Devlin, Rick Dingus, Terry Evans, Lukas Felzmann, Steve Fitch, Frank Gohlke, Peter Goin, Emmet Gowin, Wayne Gudmundson, Owen Gump, David T. Hanson, Alex Harris, Allen Hess, Ron Jude, Robert Glenn Ketchum, Mark Klett, Stuart Klipper, Peter Latner, David Maisel, Laura McPhee, Andrew Moore, Eric Paddock, Mary Peck, Edward Ranney, Jeff Rich, Meghann Riepenhoff, Mark Ruwedel, Mike Smith, Joel Sternfeld, Martin Stupich, Willy Sutton, Bob Thall , Terry Toedtemeier, Geoff Winningham, Dennis Witmer, and William Wylie

Writers: Jeffery Renard Allen, Kim Barnes, Conger Beasley Jr., Lan Samantha Chang, Michael Collier, Elizabeth Cox, William deBuys, Pamela Frierson, Robert Hass, Patricia Hampl, Emily Hiestand, Linda Hogan, Barbara Kingsolver, William Kittredge, Gretchen Legler, Ellen Meloy, Robert Morgan, Antonya Nelson, Pattiann Rogers, Scott Russell Sanders, Eva Saulitis, Donna Seaman, Carolyn Servid, Kim Stafford, Arthur Sze, D. J. Waldie, Joy Williams, Terry Tempest Williams, and Larry Woiwod

We live in an era of abundant photography. Is it then counterintuitive to study photographs that disappear or are difficult to discern? Kate Palmer Albers argues that it is precisely this current cultural moment that allows us to recognize what has always been a basic and foundational, yet unseen, condition of photography: its ephemerality.

Through a series of case studies spanning the history of photography, The Night Albums takes up the provocations of artists who collectively redefine how we experience visibility. From the protracted hesitancies of photography’s origins, to conceptual and performative art that has emerged since the 1960s, to the waves of technological experimentation flourishing today, Albers foregrounds artists who offer fleeting, hidden, conditional, and future modes of visibility. By unveiling how ephemerality shapes the photographic experience, she ultimately proposes an expanded framework for the medium.

Since its founding in 1947, the legendary Magnum Photos agency has been telling its own story about photographers who were witnesses to history and artists on the hunt for decisive moments. Based on unprecedented archival research, The Decisive Network unravels Magnum’s mythologies to offer a new history of what it meant to shoot, edit, and sell news images after World War II.
 
Nadya Bair shows that between the 1940s and 1960s, Magnum expanded the human-interest story to global dimensions while bringing the aesthetic of news pictures into new markets. Working with a vast range of editorial and corporate clients, Magnum made photojournalism integral to postwar visual culture. But its photographers could not have done this alone. By unpacking the collaborative nature of photojournalism, this book shows how picture editors, sales agents, spouses, and publishers helped Magnum photographers succeed in their assignments and achieve fame. Bair concludes in the late 1960s and early 1970s, when changing market conditions led Magnum to consolidate its brand. In that moment, Magnum’s photojournalists became artists and their assignments oeuvres. Bridging art history, media studies, cultural history, and the history of communication, The Decisive Network transforms our understanding of the photographic profession and the global circulation of images in the predigital world.