Photography Art Books

he San Francisco Bay's salt ponds: A poweful photo story of nature's ability to regenerate and renew Salt of the Earth is a striking monograph, which skillfully captures humanity’s impact on the environment. From ground-level perspectives to aerial shots, Barbara Boissevain’s unique compositions of industrial salt ponds, accentuate the surreal qualities of landscapes altered by human activity. The artist’s intention extends beyond crafting captivating visuals; her work seeks to raise awareness of pressing environmental concerns and inspire engagement in conservation- related activism. Boissevain’s photographs of otherworldly landscapes compel us to reflect on the delicate balance between creation and devastation. Her powerful imagery challenges viewers to reassess their role in shaping Earth’s future, ultimately urging us to confront the consequences of our actions and actively participate in preserving the environment for generations to come.

64The first career survey on a leading chronicler of the American South.

Examining the deep emotional relationship between people and place, Louisiana-based photographer Debbie Fleming Caffery (born 1948) is recognized as a leading chronicler of the American South. Her shadowy, blurred, black-and-white images thoughtfully reveal shared human experience―childhood, spirituality, labor―and ultimately bring darkness to light.

Debbie Fleming Caffery: Come to Light immortalizes in book form the artist’s first major career retrospective presented at the New Orleans Museum of Art. The publication is her most comprehensive to date, showcasing projects produced in the American South and West, as well as in France and Mexico, and is the first to feature all series from across the course of her career.

A collection of over 200 breathtaking photos celebrating the history and cultural impact of the Asian American social justice movement, from a beloved photographer who sought to change the world, one photograph at a time.

Known throughout his lifestyime as the “undisputed, unofficial Asian American photographer laureate,” the late photojournalist Corky Lee documented Asian American and Pacific Islander communities for fifty years, breaking the stereotype of Asian Americans as docile, passive, and, above all, foreign to this country. Corky Lee’s Asian America is a stunning retrospective of his life’s work--a selection of the best photographs from his vast collection, from his start in New York’s Chinatown in the 1970s to his coverage of diverse Asian American communities across the country until his untimely passing in 2021.

Corky Lee's Asian America traces Lee’s decades-long quest for photographic justice, following Asian American social movements for recognition and rights alongside his artistic development as an activist social photographer. Iconic photographs feature protests against police brutality in New York in the 1970s, a Sikh man draped in an American flag after 9/11, and a reenactment of the completion of the transcontinental railroad of 1869 featuring descendants of Chinese railroad workers, and his last photos of community life and struggle during the coronavirus pandemic. Asian American writers, artists, activists, and friends of Lee reflect on his life and career and provide rich historical and cultural context to his photographs, including a foreword from writer Hua Hsu and contributions from artist Ai Weiwei, filmmaker Renée Tajima-Peña, writer Helen Zia, photographer Alan Chin, historian Gordon Chang, playwright David Henry Hwang, and more.

Featuring never-before-seen photographs alongside his best-known images, Corky Lee’s Asian America represents Lee’s mission to chronicle a history of inclusion, resistance, ethnic pride, and patriotism. This is a remarkable documentation of vital moments in Asian American history and a timely reminder that it’s also a history that we continue to make.

1237The first publication of photographs taken by Ernest Cole in the United States during the turbulent and eventful late 1960s and early 1970s.

After fleeing South Africa to publish his landmark book House of Bondage (1967) on the horrors of apartheid, Cole resettled in New York. He photographed extensively on the streets of New York City and documented Black communities in cities and rural areas of the United States—traveling across the country in the months leading up to and just after the assassination of Martin Luther King Jr. The pictures reflect both a newfound freedom Cole experienced in America and an incisive eye for the inequalities of systemic racism. He released very few images from this body of work while he was alive, and the pictures were thought to be lost entirely until the negatives resurfaced in Sweden in 2017. This treasure trove provides an important window into American society and establishes Cole’s place in the history of American photography.

63We are thrilled to announce the publication of Todd Hido's stunning new monograph, The End Sends Advance Warning. For over 25 years, Hido has crafted narratives through loose and mysterious suburban scenes, desolate landscapes, and cinematic portraits. Irrespective of its title, this is a book about hope and beauty and why we seek it so desperately at this time. For his latest images he has roamed as far as the Hawaiian Islands and their meteorological opposites; the shores of the Bering Sea, and Nordic fjords above the Arctic Circle. Even with such geographic diversity, Hido captures places that feel at once familiar and unknown; welcoming and unsettling. With this stunning new monograph, Hido picks up where his previous title Bright Black World left off, presenting some 80 new and previously unpublished landscape photographs.

The End Sends Advance Warning. is beautifully printed on heavyweight art paper and bound in offset printed linen. The book also includes 9 tipped-in photographs printed on Kasadaka art paper, as well as tipped-in and laid-in booklets. A masterpiece of an artist’s book, and a must for the serious contemporary art library.

Work by Hido is held in public and private collections including the Guggenheim Museum, New York; Los Angeles County Museum of Art; San Francisco Museum of Modern Art; the Whitney Museum of American Art, New York; the Art Institute of Chicago; the Smithsonian; and Fotomuseum Winterthur.

52A new, comprehensive survey of Sugimoto’s five-decade career, from grand dioramas and seascapes to eerie portraits of wax effigies and more.

Through his expansive exploration of the possibilities of still images, Hiroshi Sugimoto has created some of the most alluringly enigmatic photographs of our time―pictures that are meticulously crafted and deeply thought-provoking, familiar yet tantalizingly ambiguous. Hiroshi Sugimoto: Time Machine is a comprehensive survey of work produced over the past five decades, featuring selections from all of Sugimoto’s major series, as well as lesser-known works that illuminate his innovative, conceptually driven approach to making pictures.

Texts by international writers, artists and scholars?including Geoffrey Batchen, Edmund de Waal, Mami Kataoka, Ralph Rugoff, Lara Strongman and Margaret Wertheim?highlight his work’s philosophical yet playful inquiry into the nature of representation and art, our understanding of time and memory, and the paradoxical character of photography as a medium so well suited to both documenting and invention.

My father was a spy during the Cold War. Bilingual in German and English, he worked for the U.S. Air Force and sent agents into East Germany and elsewhere behind the Iron Curtain in the early 1960s. The Need to Know, a photo book, is my exploration of the meager details that emerged from brief and cryptic conversations with my father and my curiosity about Cold War espionage and its impact upon my family at the time. The book will be published by the Blow Up Press of Warsaw, Poland in early October.

My father led two lives that rarely intersected. Family members were often the unwitting participants in indecipherable events that left us with many more questions than answers. Mysterious strangers would show up at our apartment late at night only to depart before dawn without saying a word to anyone other than my father. Peculiar encounters, curious radio transmissions, and unexplained coincidences became the norms of my childhood.

The book that I have worked on for the past four years is a photographic re-creation of the intersections and divergences of my father’s secret life and the traditional paternal role he played. The project consists of vernacular photographs, new captures and ephemera to tell a story and investigate a childhood mystery. Ironically, several of the archival photos in the project were photographed by me and my father on separate trips to West Berlin in the winter of 1961 but were only rediscovered recently. The Need to Know is the intersection of the factual and fictional based upon historical research, family archives, my memories, and my imagination.

The project is particularly timely as the issues of the Cold War have evolved but continue to play out on the international stage. The current crisis in Ukraine is just one example of the evolution of that conflict. The espionage tools of the 1960s look primitive to a degree but they, too, have changed to conform to the current applications and tools used for cyber warfare and propaganda purposes. The cycle of history continues to unwind in an ever-repetitive pattern.

The most famous outdoor photographer captures and celebrates the oceans in all their beauty and majesty.

The oceans are the lifeblood of our planet, a source of wonder, beauty, and inspiration. In this breathtaking photo book, Chris Burkard, world-renowned outdoor photographer and explorer, takes us on a journey across the seven seas.

From the rugged shores of the North Atlantic to the tranquil waters of the tropics, Burkard's lens captures the stunning diversity and ever-changing beauty of the world's oceans. With each turn of the page, readers are transported to a different corner of the globe, immersing themselves in natural splendor.

But The Oceans is more than just a collection of stunning photographs. It's a call to action, a reminder of the urgent need to protect and preserve our fragile blue planet. Through his art, Burkard encourages us to see the oceans not just as a resource to be exploited, but as a source of wonder and inspiration that deserves our respect and stewardship. Dive into The Oceans and experience the awe-inspiring beauty of the world's deep blue waters.

An inspiring and beautifully produced series of photo-portraits of LGBTQ Russians living in an increasingly homophobic Russia

Do we want children from elementary school to be imposed with things that lead to degradation and extinction? Do we want them to be taught that instead of men and women, there are supposedly some other genders and to be offered sex-change surgeries?—President Vladimir Putin

In late 2022, as Russia’s invasion of Ukraine dragged on, President Vladimir Putin signed new legislation cracking down on LGBTQ communities. Almost ten years earlier, Russia had enacted a federal law that prohibited the promotion of “non-traditional sexual values”—seen as Western values—to anyone under the age of eighteen. Known by many as the “gay propaganda law,” it has been used to silence any public discussion or positive messaging about LGBTQ issues in any place or format accessible to minors, including the media and online. The new legislation expands on the 2013 law to cover all ages and all media, causing many to fear for a new wave of homophobic violence.

In Ordinary People, Ksenia Kuleshova, a rising star in the world of photography, has taken a series of color portraits, accompanied by short interviews, of LGBTQ Russians who, despite the relentless homophobia from politicians, religious leaders, and the media, remain open about their sexuality and seek happiness and joy in their everyday lives. Kuleshova also looks beyond Russia’s borders to people in former Soviet states, many of which have taken their lead from Russia’s homophobic policies. Powerful and intimate, Ordinary People is a moving and ultimately joyful testament to the survival and resilience of the LGBTQ community in one of the most oppressive countries in the world.

In his coffee table book Metropolis, Alan Schaller presents city life in his own individual way, setting standards in modern street photography. For all lovers of spectacular black-and-white photography, the coffee table book Metropolis is a must-have, because there is hardly anything comparable on the market. In a unique way, Alan Schaller depicts urban contrasts that big cities like New York, London, Paris, Tokyo or Istanbul hold in store in their architecture and everyday life. In the photo book Metropolis, Alan Schaller elevates city views to an art form, playing with light and perspective and creates a world in black and white that captivates the viewer. This is what fans of Schaller love about his work. The photo artist manages to capture moments for eternity. Accompany Alan Schaller in his coffee table book Metropolis on 240 pages through the most famous metropolises on earth. Look forward to impressive black-and-white photographs, with extraordinary city views in which people and architecture merge in an intimate moment.

During reconstruction of the Italian economy following World War II, the newly established Italian republic and its American allies implemented a program of land reform, the Riforma Fondiaria, which ran from 1950 to 1972. With funding from the Marshall Plan, the Italian state attempted to inhibit the popularity of the communist party and other left wing movements by appropriating some of their policies. Two extensive re- form laws initiated a redistribution of land that had profound e ects across Italy, albeit predominantly in the south. Nearly 50 years later, what became a spectacular disaster for the people and a bonanza for the state has left its physical evidence scattered across the countryside. In 2017, Steven Seidenberg and Carolyn White began an interdisciplinary project to document the contemporary remains of the Riforma. Seidenberg’s richly detailed photographs capture the houses, the outbuildings, the interiors, and the exteriors in a hauntingly beautiful manner, drawing attention to the lives that were strung along through the reform process. Some of the photographs depict the houses themselves, documenting the cast concrete structures posed on the landscape. As Seidenberg turns his lens toward this rural landscape, he captures the tensions between permanence and temporary, between oc-cupied and abandoned, and where the edge of tolerability exists―places where people moved to live better and where the place was so intolerable that it had to be abandoned again.

Mexico City Noir: Photography and Beat Poetry by Max Milano. Toltecs, Aztecs, Mexicas, Mexico. Beat poets and Cuban revolutionaries: Mexica temples, 18th-century baroque cathedrals, earthquakes, and volcanoes. The mundane and the divine coexist in the Valley of Mexico: life beneath the volcanoes. Embark on a noir photographic journey that explores the light behind the light of one of the world's largest metropolises.

1024A searing, diaristic portrayal of a city and society in revolution by Magnum nominee Myriam Boulos.

In her debut monograph, Myriam Boulos casts an unflinching eye on the revolution that began in Lebanon in 2019 with protests against government corruption and austerity—culminating with the aftermath of the devastating Beirut port explosion of August 2020. She portrays her friends and family with startling energy and intimacy, in states of pleasure and protest. Boulos renders the body in public space as a powerful motif, both visceral and vulnerable in the face of state neglect and violence. Of her approach to photography, Boulos states: “It’s more of a need than a choice. I obsess about things and I don’t know how to deal with these obsessions in any other way but photography.” Featuring a contextual essay by noted writer Mona Eltahawy, What’s Ours showcases Boulos’s strident and urgent vision.

32An expansive look at portraiture, identity, and inequality as seen in Dorothea Lange’s iconic photographs.

Dorothea Lange (1895–1965) aimed to make pictures that were, in her words, “important and useful.” Her decades-long investigation of how photography could articulate people’s core values and sense of self helped to expand our current understanding of portraiture and the meaning of documentary practice.

Lange’s sensitive portraits showing the common humanity of often marginalized people were pivotal to public understanding of vast social problems in the twentieth century. Compassion guided Lange’s early portraits of Indigenous people in Arizona and New Mexico from the 1920s and 1930s, as well as her depictions of striking workers, migrant farmers, rural African Americans, Japanese Americans in internment camps, and the people she met while traveling in Europe, Asia, and Latin America.

Drawing on new research, the authors look at Lange’s roots in studio portraiture and demonstrate how her influential and widely seen photographs addressed issues of identity as well as social, economic, and racial inequalities—topics that remain as relevant for our times as they were for hers.

Published in association with the National Gallery of Art, Washington.

This is War presents a tour de force of one of most celebrated women war photographers of her generation. From 1988 to 1999, Capa Gold Medal winner and Pulitzer Prize–nominated photographer Corinne Dufka covered some of the bloodiest conflicts of the late twentieth century. The devastatingly powerful and intimate images in this book chart revolutions and coups, separatist movements, and mass atrocities across nine different countries on three continents.

Starting in El Salvador during the Cold War, This Is War moves onto Bosnia, and then Africa, where Dufka reported on the Rwandan genocide and conflicts in South Sudan, Liberia, Sierra Leone, Burundi, Ethiopia, and the Congo. Her photographs are as brutal as they are tender, as mournful as they are meaningful, and are, above all, a testament to the profound toll conflict leaves in its wake. Her images interrogate abuse of power, celebrate defiance, and seek out the humanity of civilians and combatants who lives were torn apart by war.

More than just a documentary, This is War is an extraordinary photographic record of war and personal enlightenment. It adds to the historical record of many under-covered conflicts and of the role of women in photojournalism, and urges the viewer to interrogate why conflict in many countries covered in the book, persist to this day.

After leaving photojournalism, Dufka went on to a career as a war crimes investigator, for which she was, in 2003, awarded a MacArthur Fellowship. In her introduction to This is War, she notes: “These images beseech us to work harder to honor those who have perished and protect the rest of us from humanity’s worst, most abject failure: its capacity for war.”

An expansive and timely survey on contemporary British photographer and artist Nick Waplington, with work spanning his entire 40-year career – his first comprehensive retrospective volume.

London- and New York-based artist Nick Waplington uses photography to capture the complex and far-reaching aspects of our lived experience. He rose to prominence in the early 1990s with Living Room and has since become known for his unfiltered depictions of people and places, and the sociopolitical backgrounds that define them.

From the chaos, violence, and euphoria of riots, protests, and free parties to the surreal, hypnotic quiet of his large-format landscapes, Waplington’s work (in all its messy humanness) transcends stereotypes and confounds expectations, and this book is no exception. Including never-before-published images, offering new insight into both well- and lesser-known projects, as well as Waplington’s painting and artistic practice, the book opens with a newly commissioned introduction from Simon Baker, one of the leading curators of contemporary photography in Europe and director of the Maison Européenne de la photographie (MEP), Paris.

This is the most extensive survey of Waplington's work to date, and includes previously unpublished photographs, as well as paintings, sketchbooks, and other artworks that complement his practice.

1540At once quietly grand and pervasively eerie, An-My Lê’s photography and art explores scenes of conflict and political intrigue, both real and simulated.

Through her photographs, videos, installations and embroidered works, An-My Lê considers the cycles of global history and conflict, the complexities of diaspora and the sensationalizing of warfare. Published to accompany the artist’s major survey at the Museum of Modern Art, An-My Lê: Between Two Rivers is the first catalog to present Lê’s three-decade practice in different mediums, with seven photographic series presented alongside textiles, installations and newly rediscovered films. The two rivers in the title refer to the Mekong River in Vietnam and the Mississippi River in the southern United States, two important geographic locations that appear in the artist’s photography from her earliest to her most recent works. An essay by curator Roxana Marcoci examines the full sweep of Lê’s creative practice; essays by scholars La Frances Hui, Joan Kee, Thy Phu and Caitlin Ryan each focus on specific series; and two texts by writers Monique Truong and Ocean Vuong bring poetic sensibility to Lê’s singular perspective.

138A sweeping survey of Mary Ellen Mark’s most recognizable series, enhanced with original archival material.

The images of American photographer Mary Ellen Mark are icons of documentary and humanistic photography. Focusing her camera on the socially disadvantaged and those on the fringes of society, she told the stories of her protagonists without prejudice. In the context of the emerging women’s movement in the USA during the 1960s and 70s, and as a freelance photographer at a time when print media was suffering its first major crisis, Mark fought her way to the forefront of female voices in photojournalism. Encounters provides an expansive cross-section of the photographer’s full body of work. The book focuses on five iconic series that contributed significantly to Mark’s reputation: Ward 81 in which she photographed residents at an Oregon psychiatric hospital for women; a reportage on prostitutes on Falkland Road in Mumbai; a tribute to Mother Teresa’s charitable work; Indian Circus, documenting traveling circus families; and the long-term project Streetwise, in which Mark followed the life of Erin Blackwell (Tiny) for more than 30 years. For the first time, this book contextualizes these works within Mark’s œuvre and presents them alongside original magazine spreads and archival material―including contact sheets, letters and notebooks―to reveal the breadth of her accomplishments and singularly compassionate eye.

In Catholic Girls Andrea Modica presents her first monograph, produced in large format platinum palladium prints. This series of portraits was shot in the early 1980s in Catholic schools in Brooklyn and Connecticut.

Micaiah Carter’s work is a singular alchemy of contemporary youth culture, fine art, street style, and the certainty that the simple act of representation can be a force for change.

Over the past decade Micaiah Carter has established himself as one of the most exciting and admired young photographers working in the field of portraiture and fashion. With a vision all his own, Carter's images are preternaturally sophisticated. His lighting is intentional but not attention-seeking, and his subjects always seem fully themselves, whether he’s photographing a celebrity, a musician, or a family member.

Micaiah’s portraits are sincere, dignified representations of the sitters while staying true to his distinctive aesthetic. His stylized ideas and assiduous attention to color and light have culminated in a body of work that feels timeless and pertinent at the same time.

326First comprehensive monograph on acclaimed Magnum photographer Burt Glinn.

Highlighting Burt Glinn’s extraordinary versatility and talent for picturing the most iconic and everyday scenes of the second half of the 20th century, this is the first monograph covering the breadth of Glinn’s storied career. With rarely seen and acclaimed images, Burt Glinn. Half a Century as a Magnum Photographer celebrates the compelling, elegant, and always expressive ways Glinn experienced the world through photography. Along with Eve Arnold and Dennis Stock, he was among the first Americans to join Magnum Photos, when he became an associate member in 1951.

Born in Pittsburgh, Pennsylvania, Glinn served in the U.S. Army, attended Harvard, and worked for Life magazine before joining Magnum. Documenting conflict, leisure, medicine, and more, Burt Glinn (1925–2008) received many awards for his editorial and corporate photography.

34An intimate portrait of the life and work of one of photography’s most renowned and celebrated artists.

Throughout his more than sixty-year-long obsession with the medium, Josef Koudelka considers a remarkable range of photographic subjects—from his early theater work, to his seminal project on the Roma and his legendary coverage of the 1968 Soviet invasion of Prague, to the solitariness of exile and the often-devastating impact humans have had on the landscape. Josef Koudelka: Next embraces all of Koudelka’s projects and his evolution as an artist in the context of his life story and working process. Based on hundreds of hours of interviews conducted over the course of almost a decade with Koudelka—as well as ongoing conversations with his friends, family, colleagues, and collaborators worldwide—this deftly told, richly illustrated biography offers an unprecedented glimpse into the mind of this notoriously private photographer. Writer, editor, and curator Melissa Harris has independently crafted a unique, in-depth, and revelatory personal history of both the man and his photography.

414A classic Adams depiction of ecological devastation in a greatly expanded slipcased edition.

Having lived in Southern California during his university years, Robert Adams (born 1937) returned to photograph the Los Angeles Basin in the late 1970s and early 1980s, concentrating on what was left of the citrus groves, eucalyptus and palm trees that once flourished in the area. The pictures, while foreboding, testify to a verdancy against the odds. Featuring sumptuous quadratone plates, this greatly expanded and revised edition of a title originally published in 1986 reinvigorates one of Adams’ most influential and admired bodies of work.

“The Los Angeles he reveals here abounds in attenuated beauty, with eucalyptus, palm and orange trees holding out against the forces of asphalt and concrete. As in all of Mr. Adams’ work, the pictures have an idiosyncratic beauty and they serve as partial solace for the disharmonies they depict.” –Andy Grundberg, New York Times Book Review

482Over one hundred of the most outstanding photographs taken by photographer, model, and surrealist muse Lee Miller, published in anticipation of the film Lee starring Kate Winslet as Miller.

Photojournalist, war correspondent, model, and surrealist muse, Lee Miller was one of the most important women photographers of the twentieth century, working in the fields of photojournalism, fashion, portraiture, and advertising. This book presents over one hundred of Miller’s finest works in a single volume.

Introduced to photography at an early age, Miller honed her craft in Paris, where she associated with the surrealists and other avant-garde artists, including Jean Cocteau and Pablo Picasso. Together with Man Ray, she discovered the distinctive technique of solarization to create mesmerizing halo effects. After establishing her own photographic studio in New York, where she became a prominent commercial photographer, she then moved to the Middle East and Europe before becoming the official war photographer for Vogue, a period during which she took many of her most iconic photographs.

This evocative book collects Miller’s most famous documentary, fashion, and war works, as well as photographs of Miller. They are all carefully compiled by her son, photographer Antony Penrose, with a foreword by actress Kate Winslet, who will star as Miller in the film Lee.

1248Newly reimagined edition of Alex Webb’s now-classic and long out-of-print Dislocations.

Dislocations presents a contemporary update of Alex Webb’s long out-of-print and highly sought title, first published in 1998 as an experiment in alternative book making. This newly reimagined edition brings together pictures from the many disparate locations over Webb’s oeuvre, meditating on the act of photography as a form of dislocation in itself.

127Celebrating the centennial of Saul Leiter’s birth, the official retrospective of a revolutionary figure in twentieth-century photography.

Saul Leiter photographed and painted nearly every day for over sixty years, amassing an enormous archive, most of which remained unseen during his lifetime. Finding inspiration within a few blocks of his apartment in lower Manhattan, he was a master at discovering beauty in the most ordinary places. Celebrated today for his evocative color photographs of New York in the 1950s and 1960s, which were unknown in their day, Leiter also found success as a fashion photographer for Harper’s Bazaar. All the while he was shooting black-and-white street scenes on his daily walks, and nudes and intimate portraits back home, while continuing his painting explorations with abstract watercolors, whimsical sketchbooks, and painted photographs.

Created in collaboration with the Saul Leiter Foundation, this definitive monograph brings together these diverse yet interconnected bodies of work―including much that was previously unpublished―to reveal the complete artist for the first time.

Following on from the first three book in the Unseen series about New York, London and Berlin, Tokyo Unseen is another authentic approach to one of the largest and most fascinating cities of our civilization. The impressive coffee table book presents the city of contrasts in a fascinating honesty that only an inhabitant of this city of millions can portray in such a direct way. In unique photographs, Polish photo artist Lukas Palka, who has lived and worked in Tokyo since 2008, succeeded in explaining his home city to strangers in pictures. The street life photographer describes his own work as a by-product of his countless walks through the city, where he constantly encounters exciting scenes and people. The magic behind his pictures lies in the chance product, because the artist never searches for his motifs, they simply come across him. In doing so, he manages to convey the fascinating contrast of the Japanese capital in an almost perfect way. For in hardly any other city do the future and the past exist so close together. Thus, the coffee-table book presents wonderful pictures of people going about their daily lives, of skyscrapers and temples and the unique culture of life that arises when 14 million people meet in a very small space.

114Robert Frank’s and Todd Webb’s parallel 1955 projects to photograph America are considered in the context of mid-twentieth-century American culture.

In 1955 two photographers were awarded grants from the John Simon Guggenheim Foundation to embark on trips across the United States. Robert Frank (1924–2019) drove coast to coast, photographing the highways, bars, and people that formed the basis for his widely admired publication The Americans (1958). Todd Webb (1905–2000) walked across the country, searching for “vanishing Americana and what is taking its place.”

Unaware of each other’s work, the photographers produced strikingly similar images of the highway, parades, and dim, smoky barrooms. Yet while Frank’s grainy, off-kilter style revealed many inequities of American life, Webb’s carefully composed images embraced clear detail and celebrated the individual oddities of Americans and their locales.

This revelatory book is the first to publish Webb’s 1955 photographs and connects these parallel projects for the first time. More than one hundred images accompany text illuminating Frank’s and Webb’s different perspectives and approaches to similar subjects and places; the difference in reception of Frank’s iconic work and Webb’s relatively unknown series; and the place of the road trip in shaping American identity at midcentury.

Published in association with the Museum of Fine Arts, Houston.

Christopher Payne’s Made in America is a photographic celebration of how things are created, honoring the workers who bring craft, passion, and technological savvy to American manufacturing—both traditional and cutting-edge.

Foreword by Kathy Ryan, Director of Photography, New York Times Magazine.

Introduction by New York Times bestselling author Simon Winchester, OBE.

For ten years, Christopher Payne embarked on a photographic journey to learn more about American manufacturing and the industries that built this country. He has gained access to a world that continues to thrive, although not many have been privy to its history and intricacies until now.

Showcasing the past, present, and the future, Payne explores both old-school factories, such as New England’s textile mills that have survived by staying exactly the same and proudly producing on vintage equipment, and newer factories that embrace the evolution of technology—for example, Corning’s bendable glass or GE’s next-generation wind turbines. From the tip of a pencil to the sleek lines of an airplane, or from a classical guitar to a communications satellite, diverse forms of manufacturing, including the very small and the incredibly large, are revealed as beautiful examples of American ingenuity. Regardless of their differences, these factories share the common bonds of craftsmanship and a commitment to quality that can’t be outsourced.

Beautifully showcasing Payne’s dynamic color photographs in an oversize format, Made in America is a celebration of the making of things, the transformation of raw materials into useful objects, and the human skill and mechanical precision brought to bear on these materials that give them form and purpose.

A visually stunning, intimate photographic tour of Pompeii’s spaces, including many that have never been seen by the public.

Pompeii, one of the most astonishing and well-preserved sites of classical antiquity, is also one of the world’s most visited architectural locations. Produced in partnership with the Archeological Park of Pompeii, this lavish volume takes readers on a tour of Pompeii through an array of visually compelling and original photographs by Italian artist Luigi Spina.

Pompeii’s architecture is a central feature of Spina's pictures, which were shot at all times of day, in all seasons, and in natural light. Lacy peristyles and rows of ruined columns give way to intimate, atmospheric interior spaces. Mosaic floors and beautiful wall paintings are reproduced with stunning fidelity and sensitivity. The volume also includes an essay by Gabriel Zuchtriegel, director of the Archeological Park of Pompeii, and several meditations on the history, architecture, and natural beauty of the city.

Inside Pompeii provides the wondrous experience of wandering through this remarkable site without ever leaving home.

1623The ultimate and most comprehensive collection of Slim Aarons’s photography ever released, featuring more than 100 previously unpublished images.

This luxe edition provides a deep and comprehensive look at the groundbreaking career of Slim Aarons, spanning five decades. The book begins with Slim’s fieldwork as an army photographer and continues through his fledgling days in Hollywood, opening the LIFE bureau in Rome, doing fashion and travel shoots for Holiday, and finally traveling the world for Town & Country.

With a new and definitive biographical essay, spotlights on key moments in his career, and exclusive insights from former associates, Slim Aarons: The Essential Collection gives readers an unprecedented look into Slim’s private world. The supervisor of Slim’s image archive, author Shawn Waldron’s text digs into the photographer’s biography in unprecedented detail and reveals new information, while award-winning journalist, historian, and New York Times bestselling author Lesley Blume provides historical context to Slim’s career. Additionally, Slim’s former assistant and author Laura Hawk reveals the intricacies of her friendship with Slim, and historian, author, and Vanity Fair contributing editor Nick Foulkes explores Slim’s influence on our current cultural moment.

After five previous books, Slim Aarons: The Essential Collection presents the best of the previous image collections, including hundreds of iconic black-and-white and color photos, along with more than 100 rare and previously unpublished works. This beautifully produced book, a tribute to Slim Aarons’s incredible contribution to modern photography, is the result of intensive scholarship and research, making it a must-have for any Slim fan and photography lover.

A collaborative portrait of the renowned American ballet dancer.

Henry Leutwyler is certainly no stranger to the art of ballet―for many years he photographed on stage and behind the scenes at the New York City Ballet, culminating in his book Ballet, since published by Steidl in two editions. Yet Misty Copeland pushes Leutwyler’s vision into a new direction: neither a strict portrait of the renowned ballerina nor a mere documentation of her exceptional craft, this is an intimate collaboration between photographer and subject that explores the subtleties of Copeland as a performer, person, persona and idol.

Born in Kansas City, Missouri, and raised in San Pedro, California, Copeland’s biography has all the arc of a fairy tale: she was living in a shabby hotel room, struggling with five siblings for a place to sleep on the floor, when she began ballet studies at the late age of 13. She soon proved a prodigy: within three months of her first class she was dancing en pointe, in just over a year she was performing professionally. In 2015 she became the first African American woman appointed principal dancer at the prestigious American Ballet Theater in the 75 years of its existence. In Copeland’s own words: “The path to your success is not as fixed and inflexible as you think.”

Born in 1961 in Switzerland, Henry Leutwyler moved to Paris in 1985 and established himself there as an editorial photographer. In 1995 he moved to New York City where he lives and works today. His books with Steidl are Neverland Lost: A Portrait of Michael Jackson (2010), Ballet: Photographs of the New York City Ballet (2012), Document (2016), Hi there! (2020) and the forthcoming Philippe Halsman: A Photographer’s Life.

An intimate and original photographic portrait of Robert Frank by a longtime friend and collaborator.

Robert Frank carefully entwined his life and work, yet the man behind the camera always remained enigmatic. Goin’ Down the Road with Robert Frank is a rare insider’s look at Frank’s world by his longtime friend and assistant Brian Graham (born 1951). Graham’s photos, made between 1979 and 2019, take us behind the scenes of Frank at work―on location for his 1987 film Candy Mountain, photographing Allen Ginsberg, inspecting contact sheets―and into his private life: laughing with his wife June Leaf, exploring a thrift shop, even fixing the roof of his Bleecker Street studio. Candid and spontaneous, Graham’s images are often arranged in filmic sequences that create a sense of events unfolding in real time. They are framed with nostalgic notes (by Graham and novelist/screenwriter Rudy Wurlitzer) and an introduction by Ai Weiwei.

138A new edition of Mark’s most iconic project, including original text and a new image sequence printed from scans of the original 35mm Kodachromes.

On her very first trip to India in 1968, American photographer Mary Ellen Mark (1940–2015) visited Falkland Road, the notorious red-light area in Bombay (now Mumbai). She tried to photograph its inhabitants, yet was consistently met with hostility and aggression, both from the prostitutes she sought to portray and the men who were their customers. Resilient, she returned in October 1978 after 10 years of trying to photograph the area, this time sponsored by a magazine. She slowly began to make friends and finally entered the daily lives of these “very special” women. “I had no idea if I could do this,” Mark recalls in her introduction, “but I knew I had to try.” Her portraits of Falkland Road’s denizens are beautiful and shocking: remarkable for their intimate compositions, visceral color and emotional power. Her accompanying captions introduce her subjects and their stories, their daily lives and the profound bonds they share with one another. Mark herself describes this series as “one of the most powerful and rewarding experiences of my photographic life.” Falkland Road has long been recognized as one of Mark’s major bodies of work. It was initially published in 1981 and again in a 2005 Steidl edition with additional photos. Including Mark’s original introduction and captions as well the new photos of the 2005 book, this latest edition―with a revised sequence, and printed from scans of the original 35mm Kodachromes―is the truest expression of her insight into this raw world, made accessible by the intensity of her involvement and compassion.

A special edition of Deakins’ first-ever monograph, reproduced in a limited run of 50, each including a signed and numbered print.

After graduating from college, British cinematographer Roger Deakins (born 1949) spent a year photographing life in rural North Devon, in Southwest England, on a commission for the Beaford Arts Centre; these images are gathered here and attest to a keenly ironic English sensibility, while also documenting a vanished postwar Britain. A second suite of images expresses Deakins’ love of the seaside. Traveling for his cinematic work has allowed Deakins to photograph landscapes all over the world; in the third group of images, that same irony remains evident.

This special edition, limited to just 50 copies, includes the monograph as well as a print signed and numbered by Deakins: The Joy of Flight, Teignmouth, 2000, 6 x 9 inches. Deakins’ signature also figures on the bookplate applied to the front endpaper of the book.

59A handsome overview of Eggleston’s evolution and legacy, from the early black-and-white work to his pioneering adventures in color.

Although the first universal color slide film came onto the market in 1935, it was reserved for the world of advertising, and as late as the 1980s it was still considered commercial, vulgar and unartistic. Despite this, from the 1960s onward, more and more photographers began to discover the creative possibilities of the medium. William Eggleston, whose career has spanned over five decades, not only substantially contributed to this paradigm shift; he also noticeably influenced many subsequent generations. Along with Saul Leiter, Evelyn Hofer and Stephen Shore, Eggleston was one of the first photographers to recognize the distinctive power of color and its unique capacity to create pictures that continuously challenge the everyday. He imbued banality with the uncanny and mysterious, investigating his immediate surroundings again and again―as if he were somehow suspicious of the contents of his freezer, the ketchup bottle on the diner counter, not to mention the guns that appear as if by chance in so many of his pictures. Mystery of the Ordinary captures the full scope of Eggleston’s evolution and legacy: from the early black-and-white work of the late 1950s, in which we witness his discovery and exploration of themes and unconventional croppings, to some of his most iconic color images.

A brilliant, perceptive visual study of the increasing integration of the photographic image and the built environment.

In the latest series from Anastasia Samoylova, the Russian-born, Miami-based photographer studies the proliferation of photographic images in urban environments across the world. Samoylova observes how, in our neoliberal era of networked economic markets and networked imagery, the global centers of internationalized money and culture are becoming increasingly aligned and similar: "all these cities are moving towards a generic urban landscape of anonymous steel and glass architecture in which homes, offices and storefronts all appear and feel the same. This is a new global order in which old ideas of nationality are at odds with the 21st-century notion of borderless economics and transnational culture. And yet, those older ideas are now deployed as attractive marketing devices, giving the illusion that these cities are somehow still appealing in their uniqueness rooted in the past." Samoylova’s work also points to the role photography plays in creating this ideological gap between branded urban identity and lived reality.

Anastasia Samoylova (born 1984) lives and works in Miami, Florida. Her photographs have been shown at museums in Europe and the US. She is the winner of numerous prizes, including the Fundación MAPFRE’s KBr Photo Award (2021).

A tender, joyous portrait of the thriving lesbian subculture in ’90s San Francisco.

In the 1990s, queer youth, outcasts and artists flocked to San Francisco to experiment with art, self-expression, style and gender and to find community. Rent was affordable, paving the way for queer bars, clubs, tattoo shops, galleries, cafés, bookstores and women-owned businesses to emerge. A new wave of feminism embraced gender fluidity, and butch/femme culture flourished. The Mission district was the center of this queer cultural renaissance, and the feeling of community there was palpable.

Chloe Sherman was both a member of this community and an ardent visual chronicler. Her documentary photographic work on 35mm film stems from a commitment to capturing the vibrancy, tenderness, individuality, resilience and joy within this subculture that was derided by mainstream society. Distilling the spirit of the time, her debut monograph is a candid portrait of a vibrant era that connects current and future generations to the pulse of San Francisco at a pivotal chapter in queer history.

Chloe Sherman (born 1969) arrived in San Francisco in 1991 and earned her BFA in Photography at the San Francisco Art Institute. Her work has been exhibited internationally and featured in magazines such as Rolling Stone and Interview.

Dreamy, intimate portraits of the LGBTQ creatives energizing Mexico City’s art and design culture.

Through her reportage, fashion and portrait work, Israeli Moroccan photographer Mayan Toledano shares the stories of her queer community, exploring their interior lives with empathy and respect. Characterized by their colorful dreaminess, her portraits often capture her young subjects in their bedrooms.

Although Toledano is based in New York, she has found herself increasingly drawn to Mexico City, a place she considers a creative safe haven. No Mames pays tribute to the local LGBTQ artists, designers and creatives who are currently contributing to Mexican culture―many of whom are couples, roommates or childhood friends. The series’ portraiture follows a twofold process: first, she captures her subjects as they present themselves in everyday life; then, she photographs them as they would like to appear, facilitating the construction of their fantasy selves. This collaborative act of wish fulfilment sometimes coincides with real-life transformations: for instance, she follows one of her subjects, Havi, over the course of her gender transition, during which she underwent breast augmentation surgery.

From reportage to fashion to portraiture, the work of photographer Mayan Toledano is characterized by a strong sense of humanity, empathy, femininity and rebellion. Whether created in New York City or Mexico City, Toledano’s photography often concerns the interior lives of young people―existences that notably revolve around the bedroom. "Your bedroom is the first place that is your own and private, and it’s your first place to be creative," Toledano has written. "There’s something really vulnerable about letting people into your space and we created these personal images of people being and becoming an authentic version of themselves, all done in collaboration." Toledano’s work has been featured in i-D, Vogue, W Magazine, Teen Vogue, Them and the New York Times, among other publications.

60A half-century of social documentary from the acclaimed American photographer, with previously unseen works.

In this deeply personal book, Eugene Richards (born 1944) excavated a collection of more than 50 years of mostly unseen photographs―from his earliest pictures of sharecropper life in the Arkansas Delta to the present. In the midst of a fraught political climate―pandemic, rise in gun violence, polarized politics and the devastation in Beirut―Richards found himself meditating on what it means to make socially conscious documentary photography today. Upon his son’s suggestion, he began to post his photographs on social media, sifting through dusty binders of contact sheets―photographs taken for a community newspaper, on assignment for magazines, as a volunteer for human rights organizations, when wandering alone and at home with his family―and scanning the negatives.

In This Brief Life compiles these works, along with personal commentary and extensive captions by the photographer.

60A diaristic photographic portrait of the memory-laden Mississippi Delta of Arkansas.

Fifty years ago, New York–based photographer Eugene Richards (born 1944) worked as a VISTA Volunteer and then as a reporter in the Arkansas Delta. Even after the newspaper he helped found closed its doors, Richards kept revisiting the region. In early 2019 he returned to the small town of Earle, Arkansas, where, on a September night in 1970, peaceful protesters were attacked by a crowd of white men and women brandishing sticks and firing guns. Crossing the tracks from what had been the Black side of the town into the white side of the town, Richards happened upon an old appliance store. On the shadowy and cracked walls of the building were painted the faces of Jesus, Malcolm X, H. Rap Brown, Angela Davis, Dr. Martin Luther King and John Brown―the faces of revolution, reconciliation, change. In the months that followed, the old store became for Richards a kind of portal, a doorway into the region’s volatile history and into the lives of those who lived, struggled, raised families, grew old and died there.

The Day I Was Born interweaves full-bleed images of Earle with deeply personal narratives in the words of people who live there.

10In his selection of 70 photographs by Lee Friedlander, acclaimed filmmaker Joel Coen focuses on Friedlander’s beautifully strange sense of composition, in which images are off kilter and visually dense, bisected and carved by stop signs and utility poles, store windows and reflections, car doors and windshields or shadows and trees. "As a filmmaker, I liked the idea of creating a sequence that would highlight Lee’s unusual approach to framing―his splitting, splintering, repeating, fracturing and reassembling elements into new and impossible compositions," Coen writes. Featuring work spanning more than 60 years, the book includes selections from some of Friedlander’s most celebrated series, including The American Monument, America by Car, The Little Screens and others, arranged to draw connections between form and composition rather than subject. In an afterword, renowned actor Frances McDormand describes the bond between the two artists: "they both capture and fill frames with sometimes simple and other times chaotically elaborate images that cause us all to wonder."

Joel Coen (born 1954) is an American filmmaker who, with his younger brother Ethan, has directed films such as Raising Arizona, Barton Fink, Fargo, The Big Lebowski, True Grit, O Brother Where Art Thou?, Burn After Reading, A Serious Man and Hail Caesar.

10A superbly assembled survey of Friedlander’s abiding fascination with the American social landscape across six decades.

This volume presents 155 photographs spanning 60 years of the artist’s exploration of the built environment in the American social landscape. Collectively these photographs add to one of the broadest and most nuanced visual explorations of America, and, individually, they are filled with the kind of intellectual humor and observation for which Friedlander has become celebrated. Along the way, of course, Friedlander has expanded our ideas of what constitutes real estate, just as he continues to compel us to reconsider how photography reveals essential aspects of our lives over time. The mirror that Lee Friedlander holds up to us is his mirror and everything reflected in it has the common traits of his way of seeing―each picture is definitively a Friedlander picture.

The first comprehensive monograph on the forgotten radical innovator of color photography and mythic, surreal portraiture.

The British photographer Yevonde was a businesswoman and tireless creator; as an innovator committed to color photography when it was not considered a serious medium, her work is significant in the history of portrait photography. Yevonde’s portraits embody glorified tradition countered with a desire for the new; her most renowned body of work is a series of women dressed as goddesses posed in surreal tableaux from the 1930s. Yevonde championed photography during a time when there were few women photographers working professionally, and this book tells the story of her life, her works and her 60-year career.

Yevonde: Life and Colour brings the photographer’s works together for the first time in 20 years. With an abundance of reproductions, and featuring previously unpublished works, the book showcases her experimentation with a range of techniques and genres including color photography, portraiture, still lifes, solarization and the Vivex color process, and repositions her as a key modern artist of the 20th century. It also provides in-depth context for Yevonde’s images, considering their aesthetic and mythic references.

This publication introduces the untold story of German artist and poet Anneliese Hager. Active from the 1930s to the 1960s, Hager began her photographic experimentation in Germany during the Nazi censure of modern art. Her preferred medium was the cameraless photograph, or photogram―an image made by placing objects directly on (or in close proximity to) a light-sensitive surface and exposing the assembled material to light. In its final form, a photogram is a one-of-a-kind work that reverses light and dark: the longer the paper is covered, and hence unexposed, the brighter the covered parts will be, and vice versa. Hager called these bright areas "white shadows."

Hager’s photograms offer a more inclusive history of the medium, synthesizing the technique’s 20th-century avant-garde trajectory (best known in the work of László Moholy-Nagy and Man Ray) and its 19th-century prehistories in the realm of science and in practices such as the making of silhouettes, collage and textile arts―pursuits often coded feminine. In 1945, all Hager’s existing artwork was destroyed in the bombing of Dresden during World War II. This book offers an unprecedented reconstruction of her development and postwar creation of otherworldly, Surrealist visions in photograms and poems, a selection of which appear here in English for the first time. For Hager, the photogram was significant for its provocative tonal inversions and surprising chance effects, but also for what emerges from the dark.

Anneliese Hager (1904–97) was a German Surrealist poet, translator and photo artist. She began making photographs in Berlin in the 1920s, and from 1935 began to experiment with photograms. Hager also made the first German translations of French authors such as Apollinaire, Breton, Char, Jarry, Lautréamont and Yourcenar.

299Based on the original images and dialogue of William Klein’s 1966 film Who Are You, Polly Maggoo?, this fantastic photo-novel tells the adventures of Polly Maggoo, a star model played by Dorothy McGowan (model for Vogue in the 1960s). The plot unfolds across the fashion world of Polly Maggoo; the world of television (based around the character of director Jean Rochefort); and a magical kingdom of operetta whose crown prince (played by Sami Frey) is in love with the young model. Also featuring in this star-studded cast are Alice Sapritch, Delphine Seyrig, Philippe Noiret, Roland Topor and Jacques Seiler.

The publication ingeniously translates into book form the zany universe of the film. Klein’s masterful framing gives exquisite rhythm to its page composition and flow as we follow the crazy adventures of the extraordinary heroine in a madcap race through the streets and rooftops of Paris, all the way up to a distant palace lost in the snow.

145Ralph Gibson (b. 1939) is one of the most interesting and versatile photographers of our time. His great international reputation is based on his exceptional work, which is exhibited and collected by leading museums around the world, including the Museum of Modern Art in New York, the Paul Getty Museum in Los Angeles, the Maison Européenne de la Photographie in Paris and the Fotomuseum Winterthur in Switzerland. The publication accompanying the exhibition Ralph Gibson. Secret of Light brings together key series from the F. C. Gundlach Collection, Hamburg, as well as the photographer’s collection and describes his artistic development from the 1960s to the present. Gibson tirelessly explores and breaks new ground in photography. The playful use and design with light are an essential part of his unmistakable signature, which is reflected in his multi-layered and complex oeuvre.

Dreaming California spans twelve years of color photographs made in Southern California and is the sequel to Susan Ressler's 2018 monograph Executive Order: Images of 1970s Corporate America (Daylight, 2018). Once again, Ressler is looking at power relationships: the haves and have nots, political unrest, injustice and inequity; not only in the Golden State (California) but the US, and by implication, the world at large.

1356Cole, who is often referred to as an inventor, uses a raw, hands-on photographic process that is consistent with her belief that the possibilities of photography are virtually limitless. Since the early 1980s, she has channelled her appreciation for the camera itself. She is dedicated to the history of photography by deviating from automatic cameras and techniques. Barbara Cole uses photography to play with notions of time, place, and identity. In her numerous series, Cole often asks the questions: how do you paint an image of timelessness? How do you capture the feeling of weightlessness in an image?
Her ethereal photography takes on a quintessential painterly quality, with the transformation of figures a predominant theme in her work. Over the past 30 years, although she works with traditional photographic means, Cole's approach and aesthetic has become closer to that of a painter. The artist's work focuses on a powerful narrative, some with external motifs and others with intense figure transformations that alone tell the story. Cole's background in fashion and fashion editorial naturally leads to a process that channels her experience into creating a particular atmosphere with costumes and backdrops.

Throughout the 1980s, award-winning photographer Dafydd Jones was granted access to some of England's most exclusive upper-class events. Now, the author of Oxford: The Last Hurrah presents this irreverent and intimate portrait of birthday parties and charity balls, Eton picnics and private school celebrations.
With the crack of a hunting rifle and a spray of champagne, these photos give an almost cinematic account of high-society England at its most riotous and its most vulnerable. Against the backdrop of Thatcher's Britain, globalization, the Falklands War, rising stocks and dwindling inherited fortunes, Jones reveals the inner lives of the established elite as they party long into the night-time of their fading world.

855This richly illustrated volume is the first critical look at the early career of Arthur Tress, a key proponent of magical realism and staged photography.
Arthur Tress (b. 1940) is a singular figure in the landscape of postwar American photography. His seminal series, The Dream Collector, depicts Tress’s interests in dreams, nightmares, fantasies, and the unconscious and established him as one of the foremost proponents of magical realism at a time when few others were doing staged photography.
This volume presents the first critical look at Tress’s early career, contextualizing the highly imaginative, fantastic work he became known for while also examining his other interrelated series: Appalachia: People and Places; Open Space in the Inner City; Shadow; and Theater of the Mind. James A. Ganz, Mazie M. Harris, and Paul Martineau plumb Tress’s work and archives, studying ephemera, personal correspondence, unpublished notes, diaries, contact sheets, and more to uncover how he went from earning his living as a social documentarian in Appalachia to producing surreal work of “imaginative fiction.” This abundantly illustrated volume imparts a fuller understanding of Tress’s career and the New York photographic scene of the 1960s and 1970s.
This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from October 31, 2023, to February 18, 2024.

The first monograph by Swedish Greek American photographer and artist Florence Montmare showcases images made in 2021–22 while she traveled across the United States from east to west (and back). Using an electric vehicle as a mobile studio, her 7,000-mile roundtrip odyssey took her through nearly 30 states, on iconic roads such as Route 66 in the Midwest and I-10 across Texas and the South. Montmare encountered individuals from all walks of life, often at her frequent charging stops, and she took the opportunity to ask people about their relationship to nature and hopes and dreams for the future. As a woman and immigrant, Montmare focuses on female, minority, Native American and LGBTQ perspectives and voices. The result is an unflinching, deeply personal yet universal portrayal of a transforming nation while the climate crisis alters the physical and social landscape.

1756New York Street Diaries is an impressive coffee table book for all the fans of the Big Apple. Phil Penman shows the big city on the east coast of the USA from a side that is rarely seen, calm and tranquil. The pictures were taken partly during the great snowstorm and partly during the Corona Lockdown and are thus contemporary witnesses of the pandemic restrictions that completely turned our previously-known world upside down. Born in Great Britian (Poole, Dorset), he has been photographing the streets of New York for well over two decades.
He is known, among other things, for his photographs of famous personalities such as Michael Jackson, Madonna, Jennifer Lopez or Bill Gates. When the biggest tragedy in New York's history shook the city on 11 September 2001, Phil Penman was on the spot and created unique footage of the events with his camera.
Penman knows how to capture the city in its most sensitive moments in an impressive way. He catches intimate moments in his black and-white photographs and shows the people and streets of New York City far away from the hustle and bustle. The city life of the metropolis is presented so closely that some pictures inevitably evoke a smile in the viewer. Penman literally catapults his viewer into the scene with a refreshing directness and the feeling of really being present.

The first ever book on Ellison's lifelong photography practice, from New York scenes to domestic vignettes.

Ralph Ellison is a leading figure in American literature, hailed for his seminal novel Invisible Man (1952), a breakthrough representation of the American experience and Black everyday life. Lesser known, however, is his lifelong engagement with photography. Photographer is the first book dedicated to Ellison’s extensive work in the medium, which spans the 1930s to the ’90s.

Throughout his life, photography played multiple roles for Ellison: a hobby, a source of income, a note-taking tool and an artistic outlet. During his formative years in New York City in the 1940s, he keenly photographed his surroundings―at times alongside fellow photographer Gordon Parks―with many images serving as field notes for his writing. In the last decades of his life, as he grappled with his much-anticipated second novel, Ellison turned inward, and he studied his private universe at home with a Polaroid camera. At all times his photography reveals an artist steeped in modernist thinking who embraced experimentation to interpret the world around him, particularly Black life in America. In a 1956 letter to fellow writer Albert Murray, Ellison underscored photography’s importance to his creative process: "You know me, I have to have something between me and reality when I’m dealing with it most intensely." Accompanying the photographs in this book are several essays situating Ellison’s work within his broader career as a writer, as well an excerpt from his 1977 essay "The Little Man at Chehaw Station: The American Artist and His Audience."

152A sumptuous trove of photographs, stills and more from Goldin’s innovative work in film.

This is the first book to present a comprehensive overview of Nan Goldin’s work as a filmmaker. Accompanying the retrospective show and tour of the same name, organized by Moderna Museet, Stockholm, the book draws from the nearly dozen slideshows and films Goldin has made from thousands of photographs, film sequences, audio tapes and music tracks. The stories told range from the trauma of her family history to the portrayal of her bohemian friends to a journey into the darkness of addiction.

By focusing exclusively on slideshows and video installations, This Will Not End Well aims to fully embrace Goldin’s vision of how her work should be experienced. The book retains the presentation of the slide shows by showing all images in the same format on a black background and sequenced as they are in the sources. The 20 texts, the majority of which are newly commissioned by Goldin, complement and deepen the intention of her work.

47Crewdson’s epic photographic trilogy―a portrait of America a decade in the making.

Over the past three decades, Gregory Crewdson has been fleshing out a portrait of middle America, an America gazing wide-eyed at the glimmers of a fading dream. His cinematographically staged photos have pieced together the fragments of a twilight world tinged with numbness.

This book brings together three bodies of work made between 2012 and 2022: Cathedral of the Pines (2012–14), An Eclipse of Moths (2018–19) and Eveningside (2021–22). Envisaged as a trilogy, they provide unique insight into a decade of creation and offer a comprehensive view of the universe that has positioned Crewdson as one of the major figures of contemporary photography. This trilogy is introduced by Fireflies (1996), a pivotal series for grasping the intimate undercurrents in Crewdson’s work.

Long-lost images of family and friends from the late 1970s by the acclaimed portraitist and chronicler of domesticity.

Over the course of her 40-year career, acclaimed American photographer Tina Barney has illuminated the inner lives of her subjects, observing the generational repetition of familial traditions and rituals as played out in domestic settings. In the summer of 2020, at the height of Covid and quarantine restrictions, Barney began to sort through her archive, which contained thousands of 35mm negatives taken between 1976 and 1980. Finding these long-forgotten images engendered a rediscovery of some of her most intimate memories as a young artist: “the photographs in this book seem like X-rays of my mind and thoughts through the summers I spent with family and friends on the East Coast and in Sun Valley, Idaho.”

Revisiting her work from decades prior, Barney found herself meditating on who and where she was at the time, as well as why and how she approached specific subjects. What was the impetus to capture these moments? The Beginning encompasses Barney’s nostalgic exploration of her earliest work in the medium, and further reflects a self-examination of this formative period through a critical lens.

The photographs of Tina Barney (born 1945) are in numerous public collections, including the Museum of Modern Art, New York; the Whitney Museum of American Art; Los Angeles County Museum of Art; the Museum of Fine Arts, Boston; and the Nicola Erni Collection, Zug, Switzerland. Barney's work has been the subject of major recent exhibitions at the New Orleans Museum of Art; Frist Center, Nashville; and the Barbican, London.

Sumptuous and tender portraits of an empowered Black queer experience.

Eric Hart Jr.’s black-and-white photo series presents more than 70 portraits focusing on the notion of power as it relates to the Black queer experience. Begun in 2019, When I Think About Power investigates and expands the contemporary reimagining of men through themed chapters. “I'm fascinated with the intersectionality and the layers of what it means to be Black in the modern day,” he has said. “From masculinity, queerness, to dress, I strive to utilize image-making in a way that displays people like myself in all of their power and all of their beauty.” Hart's approach stems from his own journey toward self-acceptance growing up in Macon, Georgia. By visually exploring the differences and similarities between himself and the men who surround him, studying the words of Black queer icons and researching the visibility of power in eras such as the Ming dynasty or ancient Egypt, Hart has created an iconography of a power that so many queer individuals seek.

The work of Brooklyn-based photographer Eric Hart Jr. (born 1999) has been published in Rolling Stone, the Washington Post, the New York Times and i-D magazine, and has been praised by artists such as Beyoncé and Spike Lee. Hart is a two-time Gordon Parks scholar, a 2022 Forbes 30 under 30 Art & Style choice, and in 2020 was named one of Men's Health magazine's “20-year-old mavericks changing America.”

In ONYX, photographer Adrienne Raquel explores the intensity and escapism of the strip club experience, documenting performers at Houston’s famed Club Onyx. Raquel’s photography is usually editorial, with high-powered celebrities such as Megan Thee Stallion, Lil Nas X and Travis Scott as subjects. Now, for this project commissioned by Fotografiska New York, she turns her lens toward a community of underrepresented artists in her hometown. At Club Onyx, strippers display their bodies and seductiveness, but there’s a virtue to this particular space: “they don’t get naked” is a common description of the club’s ambiance. Performers there negotiate what “stripper” means to them on their own terms.

Raquel captures these performers with her signature glossy style. From powerful images of the dancers mid-movement to detailed shots and intimate portraits, Raquel’s photographs place their beauty and energy on full display. She also takes viewers behind the scenes, giving us a window into the community the dancers have built in the privacy of the locker room. ONYX displays the empowerment and inclusivity in strip clubs that society has tended to ignore.

Adrienne Raquel (born 1990) is a Texas-raised photographer and art director working between Houston, New York and Los Angeles. Featured in Aperture's New Black Vanguard, she received her first solo exhibition at Fotografiska New York in 2021. Clients include Apple, Savage x Fenty, Pat McGrath Labs, Dior, Bacardi, Rare Beauty, Bacardi, Nike and Beats By Dre, as well as covers for Vanity Fair, V Magazine, GQ and Interview.

34Key works and previously unseen images from the archives of the great humanist photographer.

“Ikonar” (“maker of icons”) is the nickname bestowed on the Czech French photographer Josef Koudelka (born 1938) by a group of Roma he encountered on his travels. The group assigned this name to Koudelka quite aptly; for some time, they had been treating his famous photographs of Roma communities as quasi-religious icons in their places of prayer. Josef Koudelka: Ikonar is the first survey of the photographer to explore in depth his personal archive: 30,000 35mm contact sheets covering the years from 1960 to 2012.

The catalog is structured around key works from his most important series, including Theatre, Gypsies and Invasion 68: Prague and Exiles. It also includes a section entirely devoted to Koudelka’s archive, analyzing its role in his personal and artistic journey, as well as a selection of works from his key books. Altogether, the book addresses some of the central paradoxes of Koudelka’s work, life and career: a nomadic life versus an unrelenting focus on collecting and archiving, and a constant revision and reworking of his iconic works versus a “maximalist” philosophical agenda.