Photography

Capturing Images of Ireland in Color

Experience a century of Irish history with author Rob Cross’ captivating sequel to his bestselling book, The Colour of Ireland: County by County 1860-1960.

#1 New Release in Color Photography

Rediscovering Ireland in color. Many photos from long ago still exist but fail to visualize the past as a part of everyday life. But with the help of modern technology, professional photographer Rob Cross brings Ireland’s history to life in vivid color in his all-new photography book, The Colour of Ireland: Bringing Ireland's Past to Life 1880-1980.  Travel through time as you discover a version of Ireland from long ago and the generations of people living in it. With scenic views of locations such as Dublin, Cork, Galway, and more, witness a century of change through the restored eyes of the past.

Breathing life into history. Capturing a hundred years of historic architecture, natural landscapes, and the daily lives of the Irish, The Colour of Ireland is a folio of stories from long ago, now restored with the power of color. Experience a piece of meaningful history from all 32 counties through cutting-edge restoration and authentic detail. With research and accounts for every photo, you’ll get to travel through Ireland like never before by meeting historic people, places, and moments now preserved in time.

Inside The Colour of Ireland, you’ll find not only archived images of Ireland, but also:

• Techniques used to modify historic photos
• Representation of women in war propaganda
• Architectural and nature photos of places that no longer exist

If you like photography books like Old Ireland in Color, Let’s Get Lost, or Discover Provence, then you’ll love The Colour of Ireland.

Ninth volume in the Double Exposure series draws upon photographs in the NMAAHC’s collection to explore the dynamic ways sports influence the social, political, and cultural life of African Americans.

This book, organized around key periods in the history of African American sports from the turn of the twentieth century to today, looks at the role of athletes and sports and their impact on American culture both on and off the field. While the major sports in which African Americans participate most frequently—football, basketball, baseball, and boxing—are prominently featured, the book also includes images of male and female athletes, amateur and professional, competing in gymnastics, track and field, skiing, golf, tennis, and other sports. Photographers include Ernest C. Withers, Roderick J. Lyons, Walter Iooss Jr., Maurice Sorrell, and Moneta Sleet Jr., among others.

Images of iconic moments in sports history—Jack Johnson vs. Jim Jeffries during the 1910 “Fight of the Century,” Jackie Robinson stealing home in 1952, and Colin Kaepernick taking a knee in 2016—are featured alongside photographs of more personal moments, including Larry Doby teaching his son how to hold a bat, Wilt Chamberlain in class at the University of Kansas, Wilma Rudolph standing outside her foundation, Muhammad Ali in conversation with Fannie Lou Hammer, and a young Venus Williams smiling after a practice session.

Visits to indigenous ethnic groups around the world whose habitats are threatened by external influences and bringing images of them and their habitat together in installations to show that everything and everyone is connected in our age of climate change. 

Climate change threatens not only nature, ecosystems and biodiversity, but above all people themselves. To make this visible, Barbara Dombrowski has spent ten years visiting climate-relevant sites on all five inhabited continents and immersing herself in the lives of indigenous peoples whose existence is threatened: the Inuit of East Greenland, the Achuar and Shuar in the Amazon rainforest, Mongolian nomads in the Gobi desert, the Maasai of Tanzania, and the Micronesian population of the island state of Kiribati in the fragile world of the South Pacific. 

On life-size textile banners, she presented the people of one region in the habitat of another of the ethnic groups she visited. Through this juxtaposition, she powerfully demonstrates the need to build global bridges and to become aware of a shared responsibility. The portraits themselves, the photographic documentation of the symbolic installations, and the very personal descriptions of her visits illustrate and address the climate crisis on multiple levels in a haunting way.

Deeply Personal Stories from Famous Scottish Names

More than a photography book. Transport yourself to beautiful, meaningful locations in Scotland through storytelling.

Be moved by deeply personal stories paired with captivating scenic photographs. Take a journey to the places in Scotland that have emotionally impacted dozens of influential and famous Scottish people. My Perfect Place in Scotland may transform the way you see your world, inspiring you to seek your own sacred places.

Scottish history and the present collide—storytelling at its purest. Well-known Scottish names provide rich stories detailing the places they feel you absolutely must see in Scotland. Their personal histories, combined with the images of the beautiful Scotland landscape that surrounds them, transports you into their lives and stories. 

Inside My Perfect Place in Scotland:

• Experience a deep connection to places you may have never seen before in beautiful, lush Scotland
• Delight in gorgeous pictures that remind you of the beauty of the world around you
• Gain a changed insight into your surroundings through emotional-charged stories and captivating photography

If you liked books such as Photographing Scotland, Waypoints: My Scottish Journey, or Discover Provence, you’ll love My Perfect Place in Scotland.

Das Parlament – in Szene gesetzt

Anlässlich des Wiedereinzugs des parlamentarischen Betriebs in das sanierte österreichische Parlamentsgebäude wagt dieses Buch eine künstlerische und fotografische Auseinandersetzung mit parlamentarischen Prozessen, mit dem Parlament als Bühne und als zentrale Institution des demokratischen Systems.

Sensible Gebäude werden nach einem Neu- oder Umbau vor der Inbetriebnahme in einem Testbetrieb auf Funktionalität, Sicherheit etc. überprüft. Mitarbeiter:innen der Parlamentsdirektion, der Ministerien und weitere Personen erprobten die verschiedenen Abläufe nach einem Drehbuch. Im Zuge dieses Kooperationsprojekts realisierten Studierende der Universität für angewandte Kunst Wien in dem Gebäude zahlreiche künstlerische Arbeiten – mit dem Ziel, gesellschaftliche Ordnungen performativ zu befragen und neu auszuloten.

• Kooperationsprojekt der Universität für angewandte Kunst Wien und der Parlamentsdirektion zum Wiedereinzug des parlamentarischen Betriebs in das sanierte Gebäude
• Anknüpfend an die Publikation Temporäre Unordnung. 782 Abbildungen aus dem Parlamentsgebäude im Leerstand (2020)
• Mit zahlreichen großformatigen fotografischen Arbeiten

Bilingual edition (English/German) / Zweisprachige Ausgabe (deutsch/englisch)

Due to its more than 4,000 white Bauhaus buildings, Tel Aviv is often called “the White City”. The city center, created in the nineteen-thirties and -forties under the influence of international modernism, was declared a UNESCO World Heritage Site in 2003. Many architects, most of them emigrating from Europe, found opportunities here to realize their ideological principles and architectural ideas. Tel Aviv’s modernism is characterized by a specific combination of functionality and elegance. While the buildings are adapted to the climatic conditions, many of them display highly specific stylistic features.
Stefan Boness succeeds in capturing the particularities and unique atmosphere of the city in his photographs. By juxtaposing classical modernism with the contemporary architecture of the city, he demystifies it while simultaneously embedding it in a historical context.

Exploring the political and emancipatory potential of analog photobooks in the digital age

This volume examines the appeal of the analog photobook in the digital age, documenting the multiyear project World in Transition—a collaboration between Montag Stiftung and the PhotoBookMuseum—which invited participants in Asia, Europe and the US to design their own photobooks.

This publication documents the latest project by New York–based photographer Bastienne Schmidt (born 1961). Part one features bird's-eye photographs of constructed installations of colorful fabric and thread in the snow, while the second part reflects on the tradition of the square grid through mixed-media works on paper.

Australian photographer and film maker Frank Hurley became an international celebrity through his reporting of the Mawson and Shackleton Antarctic Expeditions, the First and Second World Wars, the England-Australia air race of 1919, and his own expeditions to Papua in the 1920s. This book is an account of his stage and screen practice in the context of early twentieth-century mass media.

‘Photography, Early Cinema and Colonial Modernity’ is not a biography of Frank Hurley the man; it is instead an examination of the social life of the many marvellous and meaningful things he made as a professional photographer and film maker in the early twentieth century: the negatives, photographic prints, lantern slides, stereographs, films, diaries and newspaper articles. His stage and screen practices offer an insight into Australia’s engagement with the romance and wonder of international modernity in the early years of the twentieth century. The level of description at which this volume works is not that of personality or the originary events of Hurley’s life – the Mawson and Shackleton Antarctic Expeditions, and the First and Second World Wars – but the media events he worked so hard and so professionally to create. He called them his ‘synchronized lecture entertainments’.

These media events were at once national and international; they involved Hurley in an entire culture industry comprising many kinds of personnel, practices and texts that were constantly in movement along global lines of travel and communication, and in a variety of institutional locations around the world. This raises complex questions both about the authorship of Hurley’s photographic and filmic texts – which were often produced and presented by other people – and about their ontology, since they were in a more or less constant state of re-assemblage in response to changing market opportunities. This unique study re-imagines, from inside the quiet and stillness of the archive, the prior social life of Hurley’s creations as they were once accelerated through the complicated topography of the early twentieth century’s rapidly internationalizing mass media landscape. As a way to conceive of that space and the social life of the people and things within it, this study uses the concept of ‘colonial modernity’.

Australian photographer and film maker Frank Hurley became an international celebrity through his reporting of the Mawson and Shackleton Antarctic Expeditions, the First and Second World Wars, the England-Australia air race of 1919, and his own expeditions to Papua in the 1920s. This book is an account of his stage and screen practice in the context of early twentieth-century mass media.

‘Photography, Early Cinema and Colonial Modernity’ is not a biography of Frank Hurley the man; it is instead an examination of the social life of the many marvellous and meaningful things he made as a professional photographer and film maker in the early twentieth century: the negatives, photographic prints, lantern slides, stereographs, films, diaries and newspaper articles. His stage and screen practices offer an insight into Australia’s engagement with the romance and wonder of international modernity in the early years of the twentieth century. The level of description at which this volume works is not that of personality or the originary events of Hurley’s life – the Mawson and Shackleton Antarctic Expeditions, and the First and Second World Wars – but the media events he worked so hard and so professionally to create. He called them his ‘synchronized lecture entertainments’.

These media events were at once national and international; they involved Hurley in an entire culture industry comprising many kinds of personnel, practices and texts that were constantly in movement along global lines of travel and communication, and in a variety of institutional locations around the world. This raises complex questions both about the authorship of Hurley’s photographic and filmic texts – which were often produced and presented by other people – and about their ontology, since they were in a more or less constant state of re-assemblage in response to changing market opportunities. This unique study re-imagines, from inside the quiet and stillness of the archive, the prior social life of Hurley’s creations as they were once accelerated through the complicated topography of the early twentieth century’s rapidly internationalizing mass media landscape. As a way to conceive of that space and the social life of the people and things within it, this study uses the concept of ‘colonial modernity’.

Australian Women’s Historical Photography: Other Times, Other Views examines the photographs produced by six talented women photographers against the historical backdrop of settler violence towards Indigenous Australians, the First Women’s Movement, the Great War of 1914–1918, Australia’s imperial occupation of New Guinea, the final years of Chinese Nationalist Party rule in China and debates about photography’s status as an art form. Women’s works from the nineteenth and early twentieth centuries have been down-played or even ignored in existing accounts of Australia’s cultural history, and this study is aimed at rectifying this situation. At the same time, the book demonstrates why amateur works are just as important as commercial works to our understanding of the past.
● Methodologically, the book draws on scholarship from history, art history, anthropology, sociology, gender studies and cultural studies to create an interdisciplinary critical framework that will be of interest to a broad range of academic and archival researchers. It is also a framework that is critically sensible of its own groundings in the postcolonial and feminist present thereby reflecting what is meaningful at any given historical moment.
● Finally, this book responds to the pronounced lack of visibility of Australian realist, documentary and commercial women’s works. The few histories of Australian women’s photography that exist pay more attention to modernist and contemporary works, and when they do mention earlier women photographer’s works, they seldom go into much detail. They also ignore the works of the earliest Indigenous women photographers, women who traveled and made photographs abroad. By presenting a carefully contextualized and detailed study of works by six Australian women photographers who worked in the late colonial era and whose works in all sorts of small and surprising ways chronicled the impacts of some of the periods more disturbing as well as enlightened events, we will not only add to knowledge of Australian women’s photography, we will also broaden and enrich the frames of women’s photography and Australian history more generally.

A meditative journey of kyoto's zen gardens through all four seasons by photos and poems

A Zen garden is the symbiotic fusion of Japanese philosophy and the art of garden design, a spiritual place of meditation and inner reflection that teaches mindfulness and brings joy to the eyes. If you want to get to know this garden culture, you won't find as many wonderful gems in such a small area anywhere in the world as in Kyoto.

Thomas Kierok photographed these unique gardens in all four seasons. Through encounters with important Zen garden designers, he was able to develop his own photographic perspective inspired by the spirit of Zen. Poems by world-renowned Zen poets Dogen, Basho and Ryokan complement the visual masterpieces. The book is a a meditative journey, a sanctuary for the soul, a retreat between two covers whenever the need for calm, inspiration and grounding arises.

Instead of the horizontal panning movement used to create a classic panoramic image, the author experiments with curves as well as vertical or parallel shifting. A fixed camera recording of turning objects leads to surprising results and a whole new dimension of imaging. The results simultaneously show multiple sides and angles of an object, offering a fascinatingly deconstructed perception. Artifacts and objects unravel into new sculptures, at the same time familiar and irritatingly different – stylized and estheticized by rotography.

The perspective dissolves as photographic boundaries are exceeded to a new extreme. This illustrated book takes the reader through this creative experiment with the iPhone into a new dimension of panorama photography and invites to explore one’s own creative ventures, and to immerse contemplatively in the world of rotography.

For centuries, the golden eagle (Aquila chrysaetos) has been the archetype of the majestic bird of prey. The awe-inspiring birds have fascinated people of all cultures around the world with their proud appearance, the impressive wingspan of six to eight feet, amazing flying skills and much more. They are omnipresent in numerous fairy tales, myths, symbols, coats of arms, and state insignia.

The book is a stunning homage in black and white to the sovereign of the skies. The reader is presented with and captivated by well-founded background knowledge, remarkable personal anecdotes and reflections, as well as fairy tales, poems, quotes and short stories.

The fact that Heinz M. Gut only takes pictures of wild animals in their natural environment without any intervention lends a special quality to the book. The range of images extends from almost anatomical studies of the golden eagle, via pictures in which light reflections on the plumage play a central role, to poetic-looking images depicting the bird of prey in its spectacular rough and rugged habitat.

Fighters made of bronze, gigantic wall reliefs depicting heroic cosmonauts, and socialist pomp: If you immerse yourself today into the subway systems in countries that formerly belonged to the USSR and of Eastern Europe, time seems to stand still. The stations are chronicles of the history and art of a long vanished world power, conceived as prestige projects, thousands of kilometers apart, and created under different conditions in different times. In this volume, photographer Frank Herfort presents around 20 metro systems of the Soviet era from Moscow to Bucharest, from Baku to Tbilisi and Kiev.

Thanks to the sharpness of his eyes, the images bring amazing details to light. His photographs come together to form a holistic and comprehensive representation of socialist art that at the same time relates strongly to the modern residents of the cities, skillfully snatching elusive but precious moments from the whirlpool of everyday life.

Award-winning writer Timothy O’Grady lived in Vegas for two years. He finally began to understand it when he talked to people who had grown up there, the children of the card dealers and cocktail shakers, the jugglers and the dancers, young people who had been bearing witness to their strange city all their lives. One had her student loans and credit card limits stolen by her father. Another fled a sequence of exploiters until she found herself living in the storm drains under the casinos. There is the boy whose father entered him into a drinking contest when he was eight, the casino owner’s son, the erudite contortionist turned stripper. Each tells their own tale.

 O’Grady here renews his partnership with renowned photographer Steve Pyke. Through short essays, Pyke’s portraits and ten witness testimonies, he pierces the city’s glittering façade. Children of Las Vegas shows us what we can expect to find when the global marketplace has found the addiction genes in us all. It is a book of broken dreams, but also of an extraordinary striving for transcendence.

Lali Khalid is an immigrant artist grappling with issues of identity, home, family and diaspora. In her photographs captured over a span of ten years, she illustrates complex challenges exploring new ways of retaining her identity in an environment of changing ideologies and perspectives. Khalid successfully bridges two ends of spectrum: the fading past and the vague future. The images viewed without a predetermined perception explain the evolving narrative through the veiled stories imbedded in them.

A riveting photo journal documenting the pandemic by notable and noteworthy actor Richard Edson. It’s the stuff of science fiction and dystopian nightmares. But the writers and doomsayers were right. And here we are. Each of us who have lived through Year Zero having our own stories to tell. This is my story, in photographs, and texts. 

In the 1990s New York, the information Superhighway was a deer path through the vast woods. A time when Paparazzi wasn’t a bad word, and Agents, Managers and PR people would invite the photographers to their events in hopes that we would photograph their celebrity client to run in the gossip section of New York City's nightlife publications. I was a photographer in search of celebrities and had to speculate, guess, and make judgment calls about where and when they would make an appearance. I networked with Doormen, Groupies, Party Crashers, Chauffeurs, Editors, Writers, Business Owners, and Bartenders, and that was to receive information which was spotty at best. I knew that certain letters (CLS) on the license plate meant a celebrity car service as opposed to a regular black car. I knew the back doors of the Plaza hotel, the escalator in the rear of the Ritz Carlton, where the SNL cast would go for drinks after wrap, or when the guests arrived for the Letterman show, and the side door they would go through. After I captured the image the celebrity portrait was published in my column in Black Book magazine. The negatives, the leftover prints, or the slides went into a shoebox and a cardboard container and was forgotten. Life was good, then Princess Di happened, and we all had to stand behind a barrier and then the iPhone happened and now we are known as the paparazzi. Then the Twin Towers fell, and NYC went through a collective mourning. American Royalty is comprised of the images in the shoebox, all shot on film and with Celebrities who welcomed my lens and the attention. 

‘Pieces of a Man’ brings together 25 years of street photographs by noted American photographer Jamel Shabazz.“Beginning in Brooklyn’s tight-knit neighborhoods, including his own, Jamel Shabazz captured a true reflection of people of color now revered as a form of social commentary. His work resonates around the world because it is authentic. He has the authority to speak for us and yet he maintains genuine humility and respect for his people. From the streets of Brooklyn to Europe to Africa, Jamel’s work is inclusive and compassionate without imposing his views on how people should represent themselves. He gives his subjects control over their own image, and in that you see the dignity that he sees in them; turning everyday people into icons. While some celebrate an era or style, Jamel reminds us to celebrate the people, not just the image.”

The monograph Dead Lost or Displaced documents the lives of Louisiana natives mostly in and around New Orleans and Baton Rouge. This book is dedicated to the innocent, who either are Dead, Lost or Displaced due to the events that occurred after Hurricane Katrina struck New Orleans. Dead Lost or Displaced features excerpts from the New Orleans Times Picayune article titled: “Peace Among the Ruins” by Pulitzer prize winner Chris Rose author of 1 Dead in Attic, which is a collection of stories recounting the first four harrowing months of life in New Orleans after Katrina. The book went on to become a New York Times Bestseller.

Bringing the story of the race to life, 11-time Western States finisher and ultra-running writer John Trent along with runner and veteran book designer Vicky Vaughn Shea set out to craft a book that showcases the rich history of the Western States trail and the runners who keep its traditions alive.

This coffee table book consists of more than 175 photographs depicting the history of the race with end sheets that include the names of every Western States Endurance Run finisher through the 2022 race.

Second Sunrise is perfect for:

A book of stunning black and white photographs, capturing the events, people, and landscape of Chicago’s Washington Park during the summer of 1987. 

Located in Chicago’s South side and designed by famed landscape architect Frederick Law Olmsted, Washington Park takes its name from the first president of the United States. But in 1987, for at least one joyous summer, the community claimed it as their own—even renamed it Harold Washington Park—as depicted in this vibrant collection of work by Chicagoan and photographer, Rose Blouin. The resulting images represent a profile of Chicago’s Black community in a place where they come together for recreation, festivals, sports, community events, parades, weddings, and other arts and cultural events.

These photographs brim with the delights of summer: a verdant natural world, food, fun, music, family gatherings, and a community inhabiting the vast expanse of the Chicago park.They embody the diversity, strength, and humanity of the people for whom Washington Park is a summertime gathering place. To Washington Park, With Love includes forewords by Eve L. Ewing and Adrienne Brown, contextualizing and celebrating the 140 black and white photographs from Blouin’s indispensable body of work.

Winners of the annual international Graphis Photography Awards

Immerse yourself in the beauty of Graphis Photography 2024, a meticulously curated collection of award-winning photographs that serve as an essential source of inspiration through images shaping our cultural fabric and broaden our global perspectives today. 

The astounding talent and creativity of over 200 globally acclaimed photographers covers a diverse range of subjects and artistic style, including art, fashion, music, nature, sports, products, portraits, and beyond. 

Each high-quality full-page encapsulates a potent narrative, providing a window into the boundless potential of visual storytelling. Whether you're a professional photographer, creative director, design enthusiast, professor, student, smartphone photographer, or simply someone who appreciates the fine art of photography, Graphis Photography 2024 is an essential reference to the best photography today. 

Get your copy now and embark on an unforgettable journey through the lens of the world's best photographers.

Winners of the annual international Graphis Photography Awards

Look through the discerning and artistic eyes of today's leading creative talents from the prestigious annual international Graphis Photography Awards.

Graphis Photography 2023 is an inspiring guide through touching images that shape culture and expand horizons. Showcasing more than 200 award-winning photographers internationally, it captivates with its fine art quality print, full-page images. The photographs elicit a global journey seen through the discerning and artistic eyes of today’s leading creative talents. These powerful award-winning images define an unforgettable year across the worlds of fashion, art, music, nature, sports, products, portraits, still life and more.

An essential source that is sure to inspire all photographers, photography directors, designers, creative directors, professors, students, amateurs, and anyone who appreciates and has a passion for  the fine art of photography. Through the lens, the visual representation of the world is limitless.

Featuring fine art quality print, full-page

Part document and part visual poem, Far from Zion is the response of a young American Jew to the historical experience of Ashkenazic Jewry in the last century. In the spirit of a contemplative but unsentimental reckoning, the photographs consider the fragmentation and historical contingency of Jewish experience, the discontinuity and fragility of Jewish identity, and the uncertain meaning of diaspora as a Jewish inheritance. The result is a sequence of pictures that moves between marked and unmarked historical locations in Europe and the United States, portraits of contemporary Jews, and the events of Jewish life. An original essay, "Diasporic Investigations," elaborates the photographs' concerns.

In contrast to traditional documentary works aligned with confirmative and expository attitudes toward social testimony, this project looks to the indeterminacies of the photographic image to illuminate social experience that is itself indeterminate and elusive. By turns empathic and circumspect, quiet and pointed, the project addresses the complex actuality of diaspora in our own time.

Beyond its contribution to contemporary photography, the work also responds to Jewish photography (both by and about Jews) specifically. In contrast to the historical work of Roman Vishniac, for example, the book rejects nostalgic reclamation of vanished worlds; in contrast to the contemporary work of Frédéric Brenner, the book refrains from modish theatricality, and instead confronts the legacy of the passing Jewish century through interrogatory observation. Locating documentary photography at the intersection of history, geography, literature, and philosophy, the book promotes a dialogue between these fields through pictures.

This book brings together 57 of the best black-and-white photographs of Marion Patterson, who describes her work as “photographs of the intimate landscape, simple and contemplative like a zen garden.” The images focus on the natural surroundings of the central California coast and Sierra—rocks, waterfalls, creeks, trees, seashells, sand, driftwood, and kelp washed ashore by the tides—as well as images from the Southwest and the deserts of California. The book provides a quiet meditation on the beauty of our natural environment in a manner that reflects the author’s lifelong ties to the West Coast school of photography, deeply influenced by Edward Weston and Ansel Adams.

Although Patterson’s work is in some sense a virtual homage to those two giant figures, what sets it distinctly apart is her ability to use some of their stylistic and technical methods to express her own individual and deeply felt responses to the natural landscape. Where so many have understood the West Coast school as a graphic or technical exercise, Patterson has grasped the expressive language that originated in photographic modernism and has used that language to the most sincere and guileless ends.

Patterson has also contributed a short introductory essay on her photographic inspiration and techniques, and endnotes that comment on a number of the plates.

Using the expansive vernacular of black and white night photography to modify the antiquarian sensibility ordinarily brought to the study of Mexico's colonial architectures, Colonial Noir brings together the unsettling tenor of Mexico's colonial legacies with the ambiguous landscape of noir. Set against the backdrop of Baroque and Neoclassical architecture, the images in this collection draw on the aesthetics of Surrealism and Abstract Expressionism to create the collection's existential tone—where the innuendo of chiaroscuro becomes an analog to the tenuous relationship between Mexico's celebrated cultural plurality and its nefarious colonial history.

Composed over a period of five years, the images in this collection reflect elements of Reid Samuel Yalom's background in modernist architectural photography and bear the subtle influence of Mexican works by Edward Weston and Paul Strand. The images also pay homage to the work of George Brassai and collections of Guillermo Kahlo and Henry Ravell that celebrate the architectural landscape of colonial Mexico. The book includes an essay by Frederick Luis Aldama, which uses ephemera of personal experience and elements of Latin American literary culture to provide an interpretive window into Yalom's work, and it includes an introduction by Santhosh Daniel, which places Yalom's work in the context of the history of photographic work on Mexico. The book also includes a foreword by the photographer Mark Citret.

Widely acknowledged as the leading architectural photographer of Northern California, the late Morley Baer had an enduring passion for photographing barns, which he began doing in the 1950s. This book makes available fine-arts quality prints of sixty-eight extraordinary black-and-white photographs of California barns, those often ghostly but comforting shapes in a grassy pasture we glimpse as we fly down the freeway at seventy miles an hour.

The photographs also serve as a documentary record of a once common and now vanishing element of the landscape of California and the West. What is it about an old barn that wrenches a heartfelt pang from us today? Why do we photograph them, visualize them in their prime, and voice strenuous objections when new developments threaten to wipe them away? For many of us, abandoned farm structures are the focus of romantic reverie, an evocation of our agrarian roots, inviting us back to what we imagine must have been simpler, less complicated lives. A vision of life on the farm conjures a sense of wholesomeness and hard work, tillers of the soil taming the wild land as the American way of life moved West.

Enjoyment of the superb photographs will be deepened by Bright Eastman’s colorful discussion of the history and various roles and styles of barns, as well as by the description by Patrick Jablonski—Morley Baer’s last assistant—of how Baer took pictures, developed his negatives, and printed them.

This biographical dictionary of some 3,000 photographers (and workers in related trades), active in a vast area of North America before 1866, is based on extensive research and enhanced by some 240 illustrations, most of which are published here for the first time.

The territory covered extends from central Canada through Mexico and includes the United States from the Mississippi River west to, but not including, the Rocky Mountain states. Together, this volume and its predecessor, Pioneer Photographers of the Far West: A Biographical Dictionary, 1840-1865, comprise an exhaustive survey of early photographers in North America and Central America, excluding the eastern United States and eastern Canada.

This work is distinguished by the large number of entries, by the appealing narratives that cover both professional and private lives of the subjects, and by the painstaking documentation. It will be an essential reference work for historians, libraries, and museums, as well as for collectors of and dealers in early American photography.

In addition to photographers, the book includes photographic printers, retouchers, and colorists, and manufacturers and sellers of photographic apparatus and stock. Because creators of moving panoramas and optical amusements such as dioramas and magic lantern performances often fashioned their works after photographs, the people behind those exhibitions are also discussed.

This richly evocative study of photography has two major emphases, that the language of description (be it title, caption, or text) is deeply implicated in how a viewer looks at photographs, and that the use of a photograph determines its meaning.

This richly evocative study of photography has two major emphases, that the language of description (be it title, caption, or text) is deeply implicated in how a viewer looks at photographs, and that the use of a photograph determines its meaning.

Encompassing a wide range of subjects, the ten masterful essays gathered here may at first appear unrelated to one another. In truth, Giorgio Agamben's latest book is a mosaic of his most pressing concerns. Take a step backward after reading it from cover to cover, and a world of secret affinities between the chapters slowly comes into focus. Take another step back, and it becomes another indispensable piece of the finely nuanced philosophy that Agamben has been patiently constructing over four decades of sustained research.

If nudity is unconcealment, or the absence of all veils, then Nudities is a series of apertures onto truth. A guiding thread of this collection—weaving together the prophet's work of redemption, the glorious bodies of the resurrected, the celebration of the Sabbath, and the specters that stroll the streets of Venice—is inoperativity, or the cessation of work. The term should not be understood as laziness or inertia, but rather as the paradigm of human action in the politics to come. Itself the result of inoperativity, Nudities shuttles between philosophy and poetry, philological erudition and unexpected digression, metaphysical treatise and critique of modern life. And whether the subject at hand is personal identity or the biometric apparatus, the slanderer or the land surveyor, Kafka or Kleist, every page bears the singular imprint of one of the most astute philosophers of our time.

This is an expanded edition of the first comprehensive overview of the work of Jean Baudrillard, one of the most fascinating thinkers on the French intellectual scene. To the original selection of his writings from 1968 to 1985, this new edition adds examples of Baudrillard's work since that time.

Reviews of the First Edition

"This is a good book, and the author of its selected writings, Jean Baudrillard, deserves only a share of the compliment. It is difficult to introduce a difficult author, and Mark Poster has done a brilliant job. He has selected wisely from Baudrillard's writings. . . . More important, Poster has written what may be, pound for pound, the best introduction to a social theorist I have read. . . . Poster has somehow said everything the uninitiated needs to know before deciding to read Baudrillard."—Contemporary Sociology

"Following the lead of thinkers such as Foucault, Derrida, and Deleuze, Baudrillard engages in a task of pointing away from any traditional sociological themes. His writings demand that one turn away from convenient or customary interpretations of society and, in the process, one is forced to use his or her imagination in new ways."—Choice

"Poster's Introduction presents what is probably as clear and intelligent an exposition of Baudrillard's ideas as you'll find anywhere."—Philosophy and Literature

This is an expanded edition of the first comprehensive overview of the work of Jean Baudrillard, one of the most fascinating thinkers on the French intellectual scene. To the original selection of his writings from 1968 to 1985, this new edition adds examples of Baudrillard's work since that time.

Reviews of the First Edition

"This is a good book, and the author of its selected writings, Jean Baudrillard, deserves only a share of the compliment. It is difficult to introduce a difficult author, and Mark Poster has done a brilliant job. He has selected wisely from Baudrillard's writings. . . . More important, Poster has written what may be, pound for pound, the best introduction to a social theorist I have read. . . . Poster has somehow said everything the uninitiated needs to know before deciding to read Baudrillard."—Contemporary Sociology

"Following the lead of thinkers such as Foucault, Derrida, and Deleuze, Baudrillard engages in a task of pointing away from any traditional sociological themes. His writings demand that one turn away from convenient or customary interpretations of society and, in the process, one is forced to use his or her imagination in new ways."—Choice

"Poster's Introduction presents what is probably as clear and intelligent an exposition of Baudrillard's ideas as you'll find anywhere."—Philosophy and Literature

Smartphone cameras have evolved from being useful for taking quick snapshots, to being powerful and sophisticated devices that, for many people, have replaced the need to use a separate camera. It is now possible to take high-quality photos, edit them and then share them in a variety of ways, all from your smartphone.

Smartphone Photography in easy steps looks at all aspects of using your smartphone or tablet as a one-stop shop for all of your photographic needs. These include:

Smartphone Photography in easy steps reveals the exciting world of taking photos with your smartphone, and shows how to enhance them so that you can create memories of which you can be proud.

Covers iPhones and Android phones.

Philadelphia native Charles Sheeler (1883-1965) is recognized as one of the founding figures of American modernism. Initially trained in impressionist landscape painting, he experimented early in his career with compositions inspired by European modernism before developing a linear, hard-edge style now known as Precisionism. Sheeler is best known for his powerful and compelling images of the Machine Age—stark paintings and photographs of skyscrapers, factories, and power plants—that he created while working in the 1920s and 1930s. Less known, and even lesser studied, is that he worked from 1926 to 1931 as a fashion and portrait photographer for Condé Nast. The body of work he produced during this time, mainly for Vanity Fair and Vogue, has been almost universally dismissed by scholars of American modernism as purely commercial, the results of a painter's "day job," and nothing more.

Charles Sheeler contends that Sheeler's fashion and portrait photography was instrumental to the artist's developing modernist aesthetic. Over the course of his time at Condé Nast, Sheeler's fashion photography increasingly incorporated the structural design of abstraction: rhythmic patterning, dramatic contrast, and abstract compositions. The subjects of Sheeler's fashion and portrait photography appear pared down to their barest essentials, as sculptural objects composed of line, form, and light. The objective, distant, and rigorously formal style that Sheeler developed at Condé Nast would eventually be applied to all of his artistic forays: architectural, industrial, and vernacular.

The contributing essays to Charles Sheeler expose the artistic breadth and depth of Sheeler's Condé Nast oeuvre, over 300 images of which are gathered in this volume. Michener Art Museum curator Kirsten M. Jensen provides the historical context for Sheeler's experimentation in the years preceding his time at Condé Nast, as well as a comprehensive analysis of the artist's Condé Nast photography alongside his Precisionist work. Further essays explore the role of Condé Nast, the individual, in shaping the era's culture; investigate how Sheeler's work reinterpreted and shifted contemporary trends in architecture and fashion; examine the influence of Sheeler's experimentation with filmmaking on his later work; and analyze Sheeler's influence on later generations of fashion photographers, who have continued his studies into the model as a sculptural form.

In the 1890s Philadelphia's preeminent photographer, William H. Rau, was commissioned to take more than 450 photographs along the routes of the Pennsylvania Railroad in order to promote travel on the railway to the general public. Known as "the standard railroad of the world," the PRR was the largest rail system in the East and linked metropolitan New York and Philadelphia to Pittsburgh and such industrial cities of the Midwest as Chicago and St. Louis.

Using a mammoth view camera that made 18-inch by 22-inch glass negatives, Rau produced a spectacular series of images for the railroad's promotional use. The remarkably detailed and texturally rich albumen prints, on deposit at The Library Company of Philadelphia, display a harmony between the railroad and the natural and industrial landscapes through which the line passed. The collection includes striking views not just of railcars, tracks, and stations but also of cities and towns, bridges, ferry boats, rivers, canals, factories, residences, and hotels, mostly in Pennsylvania, but with some views also of New York, New Jersey, and Maryland.

This oversize volume reproduces almost 100 of the photographs, carefully selected for their historical and artistic significance, as full-page quadtone images, capturing the impact of the originals as closely as possible. The photographs are arranged in geographical order along the various branches of the PRR, and each photograph is accompanied by a descriptive caption provided by PRR expert James J. D. Lynch, Jr. In the three essays that complement the photographs, Kenneth Finkel details Rau's career and early commercial photography, Mary Panzer places Rau and his PRR photographs in the context of the history of American landscape photography, and John R. Stilgoe discusses the advent of railroad advertising photography and its role in shaping perceptions of the American landscape.

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.

Weaving together the narratives of female farmers from across three continents, Women Who Dig offers a critical look at how women are responding to and, increasingly, rising up against, the injustices of the global food system

Beautifully written with spectacular photos, it examines gender roles, access to land, domestic violence, maternal health, political and economic marginalization, and a rapidly changing climate. It also shows the power of collective action.

With women from Guatemala, Nicaragua, the United States, Canada, Uganda, the Democratic Republic of Congo, India, and Cuba included, it explores the ways women are responding to, as both individuals and in groups, the barriers they face in providing the world a healthy diet.

Stories of pioneers often evoke images of romance and hardship. Settlers came to the Great Northern Plains from all over the world seeking democracy, equality, and free land. But what they endured--arduous voyages, back-breaking labour, homes built from sod, and the misery of pests, cyclones, and fires--made them a special kind of people.


In The Homesteaders, settlers speak of their early days in their own voices--a treasure trove of first-hand accounts collected by the Saskatchewan Archives.


They talk of food and medicines; sod huts and one-room schools; books, songs, and games; dances, picnics and weddings--the ordinary daily realities of the extraordinary people who built our communities and made the Prairies the place it is today.


Lavishly illustrated with 175 photographs, The Homesteaders celebrates Saskatchewan's agricultural and settler past.

A look into the talent of South African female photographers

Commissioned by the Ministry of Arts and Culture, this book celebrates the 50th anniversary of the 1956 women's march on the Union Buildings. It provides a dramatic and unprecedented showcase of photographic talent, from the early pioneers of social documentary, including Anne Fischer and Constance Stuart Larrabee, to the challenging images created by women in South Africa today. 75 photographers and almost 400 images are included.

2005 Author of the Year Award—Working Harbor Committee of New York and New Jersey

2006 AAUP Book, Jacket, and Journal Show in the category of Trade Illustrated Book Design

A fascinating historical account of the tugboats that navigate the New York harbor

Tugboats are the workhorses of the greatest harbor in the world, easing massive ocean liners and garbage scows alike cleanly into their berths. Tugboats of New York captures the history and lore of these iconic craft, from their precursors in the early 1800s to their heyday in the 1950s, when more than 700 small but potent boats dotted the harbor. They are the most versatile of vessels, not only guiding large oceangoing ships safely into harbor, but also conducting rescue operations and navigating vast quantities of oil, cement, and scrap iron through traffic-clogged waters.

A twenty-year veteran of New York tugboats, George Matteson knows the tides and currents of New York from the Bronx to the Verrazano Narrows. His history of tugboating shows how this inherently risky business pits men and their boats against weather, water, and the scarcely measurable physics of ships and barges of far greater dimension.

The story of New York’s tugs parallels the broader history of New York’s industrial development, from the rise of railroads to the decline of the port in the wake of labor disputes and large container ships. It is also a story of remarkable seamen who pass their craft from pilot to apprentice over generations, along with the lore of great waterways that remain unchanged despite the lengthening shadows of skyscrapers and commerce.

Rich with first-person anecdotes of life on the New York waterways and one hundred and fifty black-and-white illustrations, including rare and sumptuous photographs from the likes of Gordon Parks and Todd Webb, Tugboats of New York will fascinate readers interested in New York history, boating, and maritime history.

What compels us to look at shocking photographs or, alternatively, to look away? Should the media use disturbing images to inform, at the risk of offending? How is our sense of politics, morality, and culture affected when we are exposed to gruesome images of accidents and disasters, murder and execution, grief and death?
In Body Horror, John Taylor addresses these questions by examining how the media presents unsettling pictures, especially those of dead and injured "foreigners." Drawing on recent experiences in the Gulf, Bosnia and Rwanda, Taylor argues that documentary photography, for all the horror it reproduces, ultimately defines a democracy.
Fully aware of the voyeuristic aspects of photojournalism, Taylor probes the difficulty of applying moral imperatives when separating the utility of showing images of suffering and violence from the risk of either insulting or gratifying public sensibilities. A compelling documentary of photography's cultural and political power, Body Horror analyzes the moral responsibility attached to publishing and bearing witness to photographs of violence, and the historical amnesia that arises when such imagery remains unseen.