Monographs & Art Books / F

Bestselling and award-winning American photographer Robert Farber is celebrated for his sensitive, sensual, often semi-abstract nudes.

For Farber fans. Natural Beauty represents the most beautiful book of his nude photography ever published. Included is a special technical section that explains how to achieve the 'Farber effect'.

A stunning album of lyrical and nostalgic photographs by the award-winning master of mood Robert Farber, whose previous book, Natural Beauty: Farber Nudes, was an international bestseller.

Photographs reflect the rich diversity of the life and landscape of America, from rural Montana to the Manhattan skyline at dawn; from a New Mexico cowboy to the abandoned lobby of a small-town mainstreet hotel; from an old-fashioned boxing ring to an old De Soto automobile in Maine - all in Farber's trademark painterly style.

Lavishly illustrated with over 320 color illustrations•Photographs of weaving methods, traditional dying methods and ceremonies.

One of the world's great textile collections•Written by acclaimed writer Catherine Bourzat whose previous works includes books on India and Sri LankaPhilippe Fatin is a traveler, photographer and collector who has established a world-class collection of tribal textiles from southern China.These exquisitely colorful, hand-woven textiles are highly prized by collectors and here for the first time is the most extensive collection of garments collected from tribes across southern China including the Bazhai, Zhouxi, Xijiang and Gedong amongst others.

The distinctive styles, colors and motifs from each are looked at in turn and the remarkable photographs allow the reader to appreciate the intricacy of each piece and the tradition prized by each tribe.Profusely illustrated with over 320 color illustrations the book not only studies the designs themselves but shows the ceremonies the textiles are made for, the traditional weaving methods employed as well other ornamentations such as headpieces and fastenings as well dying techniques and working methods.

A string of valleys carved out by strange and anarchic mountains and and lands. Mountains of the Moon is the name given to Guizhou, the province that lies in southeastern China. This book is dedicated to the Miao, who make up the largest ethnic group of the region.

It portrays their lives throughout the different seasons as well as their culture--including poems, songs, festivals and legends. The book's images preserve a people still living in a time preceding modern culture; their traditions have been maintained due to the geographical remoteness of the region. This portrayal of Guizhou and its people offers the West a unique vision of China as it once was. Texts Catherine Bourzat

Louis Faurer was one of America's "quiet" photographers. Known for his raw, melancholy, and psychologically charged pictures of life on the street, and in particular for his evocative shots of 1940s and 1950s Times Square, New York, Faurer frequently drew on the film noir idiom to create memorable images. Photographs of moviegoers, box-office lines, ushers, and cinemas advertising B movies such as Force of Evil, Edge of Doom, and Ace in the Hole are recurrent themes.

Much of Faurer's best work, though, is of ordinary people, and he frequently haunted the streets of New York, finding poetry amid the crackle of the city. In an untitled picture taken in 1937 in Philadelphia, the trousers, jacket cuffs, and cane of a seated man are in sharp focus, as are a box of pencils and a sign announcing "I am totally blind." Hurrying past him are the blurred images of pedestrians. Other shots such as I Am Paralyzed, Daddy Warbucks, and Eddie combine a social and personal awareness that was rare for its time.

Faurer also worked as a fashion photographer for nearly thirty years, producing work for Harper's Bazaar, Vogue, and Flair, with a particular gift for highlighting his subject's ephemeral grace. He was a lasting influence on Robert Frank and other members of the New York school of photography. This book, the first to examine Faurer's work in depth and bring it to a modern readership, draws together a great deal of previously unpublished material, as well as images not seen since they originally appeared in magazines in the 1940s and 1950s.

Darkly romantic images from an overlooked figure of the 1940s and ‘50s street photography.

This book is the first in 15 years to present the largely overlooked work of Philadelphia-born, New York-based photographer Louis Faurer (1916–2001), who depicted the melancholy streets of New York in the 1940s and ’50s, and whom Walter Hopps described as a “master of his medium.”

James Fee has been taking photographs for most of his life, and in the past decade he has developed a large and loyal following of critics and enthusiasts across the world of fine art photography. The 1990s was a prolific decade for Fee, who has in the last ten years produced several compelling series of works, all of which are documented in this essential new monograph. Presented here are the many black and white photographs of American icons and imagery that are thematically connected by Fee's obsession with the decline and destruction of the America that he knew as a young man: we see his series of New York imagery, including the Chrysler building and the Brooklyn Bridge; pictures of the crumbling Penn State penitentiary, Beat-inspired photographs of the American road; a distinctive and unique series of nude imagery; as well as his innovative collaborations with multimedia artist George Herms. Finally, presented here for the first time is a unique series of photographs taken on the South Pacific Island of Pelelui, a series which offers a glimpse at a long, very personal project for Fee, inspired by the photographs his father took while posted on the island during the Second World War.

A Decade ! It has already been 10 years ago that I set my first steps into an abandoned building. Time to celebrate that fact with a brand new book. a Book that covers the whole period of the most amazing abandoned places in Europe. Tempus Fugit - a Decade of Decay will also cover the Frozen and Disciple of Decay period but at least 75% of the photos have not been published in one of my books before.

Nat Fein was an inventive press photographer at the New York Herald Tribune from 1933 to 1966. Albert Einstein, Ty Cobb, Queen Elizabeth, and Harry S. Truman were among the many icons photographed by the insightful eye of Nat Fein. He won more press photo awards than any of his contemporaries.

Although considered to be one of the greatest human interest photographers in journalism, he carried the distinction of having taken 'the most celebrated photograph in sports history' (NY Times 1992). Fein's dramatic Babe Ruth image was the first sports picture to win a Pulitzer Prize.

With his Speed Graphic camera and his unconventional knack for communicating through pictures, Fein captured the soul of a bygone era in New York. A compilation of short stories, historical accounts, and 118 photos with descriptions will offer insight into the remarkable and compelling images of Nat Fein.

This book is a superb collection of American scenes taken in the 1940s, 1950s, and 1960s by one of photography's all-time greats, Andreas Feininger.

Each image is a fine example of Feininger's incorruptible sense of proportion, a tribute to the inimitable aesthetic quality that became the signature of his work. Many illustrate his ceaseless quest to minimize the difference between idea and reality, his desire to allow mundane subjects to slip into Utopia.

Feininger's America is a photographic tour de force, from Chicago to New Orleans, from Hollywood to Coral Gables.

“The camera is superior to the eye, and the photograph can, and ideally should, portray the world more graphic than reality itself.” - Andreas Feininger

The basic principles underlying the photographic art of Andreas Feininger are clarity, simplicity and organization. The eldest son of painter Lyonel Feininger, he was born in Paris in 1906. Upon completion of training as a cabinet-maker at the Bauhaus in Weimar in the early 1920s, he went on to study architecture in the state schools of Weimar and Zerbst.

It was while working as an architectural photographer in Stockholm that he developed the sweeping vistas and fine balance for which his pictures were famous. Emigrating to New York following the outbreak of World War II, Feininger was hired as a photo-editor by Life magazine. In his own work, he captured images of urban canyons, skyscrapers, bridges and elevated railways in concentrated, atmospheric photographs that are regarded as classical works today. He applied the same enthusiasm to nature studies: his detail images of insects, flowers, shells, wood and stones imbue these forms with a sculptural character.

That's Photography presents the work of this classic photographer, who died in 1999.

This is one of the finest in-depth photographic records of New York City that has ever been published. In this volume Andreas Feininger captures New York in her "glorious" years. You'll see New York as the leader in commerce, industry and shipping, the place where America's most skilled and talented came to succeed.

Included is almost every aspect of city life from the eerie shots of New York during the "dimout" to the bright lights of 42nd Street. You'll see buildings that look much the same and sights that have vastly changed. The Flatiron Building, Rockefeller Center, the Singer Building, tattoo parlors, clean city streets, 42nd Street with no pornographic movies. You'll see the Normandie in her heyday, the Queen Mary, and New York as one of the greatest port towns with 771 miles of bustling waterfront activity.

You'll see Harlem nightclub at 135th Street, the Louis-Walcott fight at Madison Square Garden, the glittering audience at the old Met; Fifth Avenue during the blizzard of '47; horse-drawn vehicles, the els, the last decade of the street car; the Lower East Side poultry markets and frenzied activity at the Fulton Fish Market; Bowery flophouses; the skyscraper race; incredible views made of the stair-step constructions of skyscrapers; the Brooklyn Bridge, Chinatown, Coney Island, Yorkville, and more.

One hundred and sixty two photographs show a multitude of facets of New York in the 1940s, the decade during which the city flourished and grew with incredible activity. The interesting, factual captions by John von Hartz convey a clear picture of what living in New York was like, giving us a background and explaining the problems, excitement, and changes people faced.

Andreas Feininger brings to this volume an enormous reputation in the field of photography. A former staff photographer of Life magazine, author of several photography texts, and compiler of volumes of his own photographs, Mr. Feininger has personally supervised the publication of this collection of his famous photographs of New York City. While some of these photos have been seen in other books, never before have so many of them been made available in one volume.

Capturing a fascination with human nature and its various faces, this collection showcases the work of French photographer Denis Félix. Complementing the artist's success in fashion and advertising, the featured images focus on his favorite domain: the portrait.

Beginning with the striking photos of the farmer's hands that belonged to his grandfather, the study reveals his series of images portraying rural France. Félix's first two exhibitions are also featured, which were dedicated to the people he met in Mali—a rare civilization that represented an intact traditional culture.

Recollecting the subject's subsequent international exhibitions, the images also journey through his encounters in Morocco, Mauritius, and Martinmas. This edition is written in both English and French.

In this massive undertaking of portraiture, Christopher Felver celebrates the present moment of the anarchistic face of the new genius.

Over two decades, Felver traveled the United States and Europe, portraying the greatest creative forces of our times – writers, poets, filmmakers, actors, visual artists, protesters, and those engaged in the struggle for expression during the late twentieth century.

This spectacular international family of faces is an anthology of the most adventurous discoverers in language and the visual arts.

Never before has there been a book filled with this many photographs of Beat Era personalities—the most comprehensive photography collection of the people, players, and friends of the Beat era in American literature. Includes photos of: Kathy Acker, David Amram, Amiri Baraka, Charles Bukowski, William S. Burroughs, Carolyn Cassady, Francisco Clemente, Andrei Codrescu, Gregory Corso, Diane di Prima, Lawrence Ferlinghetti, The Fugs, and many more.

Christopher Felver's stunning coffee-table book Beat is the definitive Beat Generation Photo Book, and thankfully even more than that. What makes Felver's photography in this book so special is the fact that he was driven to bring Beat Generation images to life from the vibe and spirit and resonance of the writers and artists themselves, captured so dramatically through his camera lens.

Beat is Felver's life-journey tribute to the entire realm of spirit/vibe he started relating to and embracing as showcased in his book The Poet Exposed. Beat didn't come to be on account of a photographer on assignment...this book exists because Felver happens to be a true cohort in the creative craft with the fine-artist talent to put together a masterpiece. If you're into the Beat Generation and you have a coffee table, this book must be on it.

Christopher Felver's Tending the Fire celebrates the poets and writers who represent the wide range of Native American voices in literature today. In these commanding portraits, Felver's distinctive visual signature and unobtrusive presence capture each artist's strength, integrity, and character. Accompanying each portrait is a handwritten poem or prose piece that helps reveal the origin of the poet's language and legends. As the individuals share their unique voices, Tending the Fire introduces us to the diversity and complexity of Native culture through the authors' generous and passionate stories.

Felver's insightful epilogue reminds us that "Native Americans today are as modern as the Space Age, and each in their own way carries forth the cultural heritage 'from whence they came.' Their abiding legacy as the first people of this continent has found its voice in the hard-won wisdom of their art and activism. Let's learn from this belated opportunity to look and listen to these Native voices." Foreword by Simon J. Ortiz; Introduction by Linda Hogan

East Palo Alto is an anomaly of Silicon Valley, divided from the million dollar residencies of Palo Alto by the 101 freeway.

Using a discarded polaroid camera, these photographs symbolize the cast-off neighborhood of EPA and focus attention on the changing landscape of technology and income within Silicon Valley.

Roger Fenton (1819-1869) was England’s most celebrated and influential photographer during the 1850s, the “golden age” of this radically new medium. Fenton’s majestic pictures of cathedrals, country houses, and varied countryside were without peer in England—as were his views of the royal castles and Houses of Parliament that embodied Britain’s power. But Fenton’s choice of subjects ranged more widely still: he was among the first to photograph the Kremlin and other landmarks of Moscow and Kiev; he was commissioned in 1855 to document the Crimean War, producing early war photographs; and he created theatrical Orientalist costume pictures and a startling series of lush still lifes.

Fenton had first studied law and painting, but soon after he took up the camera he was making photographs that were technically superb and highly original in their handling of composition, perspective, atmosphere, and light. Always he strove to demonstrate that photography could equal the art of painting and even surpass it. He was the force behind the founding of the Photographic Society (later the Royal Photographic Society), which worked to advance the profession and encouraged the exhibition of members’ works throughout Britain. In a career of a single decade, Fenton did much to transform photography into a medium of powerful expression and visual delight.

This exquisitely produced book—the first comprehensive publication on Fenton in almost twenty years—presents eighty-five of the artist’s finest photographs and discusses every aspect of his work and his remarkable career.

Roger Fenton's photograph Pasha and Bayadére is a fascinating image in its own right and is an expression of a more general Orientalist craze that grew steadily stronger during the nineteenth century in Europe. In his rich and detailed study, Baldwin explains how this image of a seated man and a dancing woman embodies themes and motifs that can be found in the work of nineteenth-century artists from Eugéne Delacroix to John Frederick Lewis to Alfred Lord Tennyson. He has also brought to light significant new information about the life and career of Fenton, the important Victorian photographer best known for his photographs of the Crimean War.

In 1855, Roger Fenton (1819–69) traveled to the war-torn Crimea to capture scenes of the conflict and the soldiers involved. A pioneering photographer who helped establish photography as an art form, Fenton was also one of the first to document the brutality of war through this then-fledgling medium. Today, many of his images, like The Valley of the Shadow of Death, showing a dirt road scattered with cannonballs, are considered to be among most iconic photographs of war.

Shadows of War draws on the extensive holding of Fenton’s photographs in the Royal Collection, bringing together 250 photographs of the Crimean War, taken between March and June 1855. Because of the long exposure times needed for early photography, Fenton was never able to photograph battles, but his landscapes and portraits tell the story of camp life, mortar batteries, and the besieged town of Sebastopol, in a way that even the most powerful words could not. Shadows of War also highlights the impact Fenton’s images had on people back in Britain, who saw the realities of war documented in photographs for the first time.

The first book to focus on Fenton’s Crimean War photography, Shadows of War will fascinate anyone with an interest in history and photography.

Arthur Fields was a street photographer in Dublin for fifty years from the 1930s until 1985. His cherished photos form the basis of this collection. The photos bear witness to a changing cityscape, fashion, lifestyle, social habits, and even camera technology. Arthur didn't just photograph everyday people but also famous celebrities, African princes, street characters, and even a seven-year-old George Harrison with his mother. The result is a window to an era when times were so different and photographs were taken to be cherished.

Acclaimed master photographer Larry Fink's behind-the-scenes photographs from the world of fashion and couture have graced the pages of America's top beauty, style, pop culture and literary magazines (W, GQ, Detour, Vanity Fair, The New Yorker, Vibe) and his inimitable take on the biz has resulted in special commissions by the likes of Gianni Versace, Christian Lacroix, and Donna Karan, offering Fink carte blanche front row and backstage access.

The seemingly surreptitiously captured dioramas in Runway of fashion week worldwide, special collection debuts, and industry functions provide a surreal glimpse of the famous players, the dutiful minions, and the style czarinas at work in the 90s' most dynamic celebrity-driven industry. Glomming looks and gleaning style from the shows in Milan, New York, and Paris, Fink's distinctive take of the perversely unusual world of fashion teases, baits, and whets our morbid fascination with its glamour with humor—and style—like no other photographer possibly could.

Larry Fink secured enduring fame with the book Social Graces, which mixed images from working-class Pennsylvania with a portfolio from upper-crust Manhattan, observing manners and mores on the long, curvy couches of Studio 54 and in the chaos of Pat Sabatine's eighth birthday party, where the screen door is always just about to slam.

Fink has always been interested in what high and low culture have to say to one another, and has continued to seek the best of both behind the scenes at fashion shows in Runway and in the ring with sparring fighters in Boxing.

In the late 50s after an unsuccessful stint in college, master photographer Larry Fink dropped out and began an odyssey of hitchhiking through America. Starting out in Cedar Rapids, Iowa, and moving on to Chicago, Larry travelled eastward through Cincinnati and finally back to his native soil on Long Island where his family waited with dismayed but open arms.

Vanity Fair's Oscar parties have become a legend of their own over the last decade. A summit of the greatest Hollywood stars, they are the ultimate melting pot of beauty, fame, glamour, and wealth. For ten years American photographer Larry Fink, famous for a keen, uniquely sensual documentary eye, has been the official interpretive Vanity Fair photographer of these events.

His view of superstars and their entourages is in sharp contrast to everything we know and expect of official Hollywood. His look is clear and honestly searing; his flash light is married to the instant in devilishly expressive ways. His photographs capture the atmosphere of these meetings reminiscent of evenings at a royal court. With his sensual and intuitive eye, Larry Fink shows the celebrities of the glamorous movie world anxiously at leisure.

Beginning as a designer, Peter Fink (1907, Grand Rapids - 1984, New York) traveled the world from the 1950s to the 1970s, moving through hidden streets and industrial cities of post-war Japan, France, Portugal, North Africa and the Middle East, photographing workers and street scenes.

Arts and culture are recurring themes, as are the lives of workers, families or children in every new place he has observed, but also expressive portraits and fashion, surreal still lifes or his radical refractions. - reflections on architecture. During his lifetime, Peter Fink participated in fifty solo exhibitions in institutions around the world. His work is housed in leading museums such as the Metropolitan Museum of Art in New York and the Museum für Moderne Kunst in Frankfurt am Main.

Over a thirty year period, from 1987 onwards, Matthew Finn collaborated with his mother, Jean, to document her everyday life through a series of portraits taken in her home in Leeds. This is a record of the ordinary, of a daily routine with which we are all familiar. It is also a record of the gradual shift from middle age to old age, and, in Jean’s case, to the onset of mixed dementia and a move from the family home into residential care.

It is a poignant body of work, filled with warmth yet conscious of the fragility of life. Quiet domestic interiors act as a stage for life's everyday details, and though the focus is on the individual the bond between mother and son is a powerful constant, even as the balance of that relationship begins to change. As Matthew Finn has said, “For my mother and I, this switch of roles was quick. Diagnosed with mixed dementia two years ago, she fell silent and our collaboration was over. I no longer exist to her and she cannot recognise herself. What remains are these pictures.”

Born in Leeds in 1971, Matthew studied photography at The University of Derby before gaining an MA at Westminster. The recipient of the 2015 Jerwood/ Photoworks Award, his work has been exhibited widely including shows at The Jerwood Space, London, Impressions Gallery, Bradford and Open Eye gallery Liverpool. Finn is currently involved with the Hull International Photography Festival of which he is a patron.

In her essay, Elizabeth Edwards explores the context of the work. A visual and historical anthropologist, Professor Edwards has worked extensively on the relationships between photography, anthropology and history, on the social practices of photography, on the materiality of photographs and on photography and historical imagination.

The seminal volume on body painting and adornment by the world’s preeminent photographers of African culture. Following the international masterpiece Africa Adorned, Carol Beckwith and Angela Fisher have focused on the traditions of body painting spanning the vastly unique cultures of the African continent. In a contemporary world so fascinated with tattoos and piercings, Beckwith and Fisher document the origins of these fashionable adornments as passed down through African tribal culture.Featured are portraits of the richly colored, detailed, and exquisite body paintings of the Surma, Karo, Maasai, Himba, and Hamar peoples, among others. Drawing from expeditions in the field and firsthand experiences with African peoples and cultures over the past thirty years and with more than 250 spectacular photographs, this is the definitive work on the expressiveness and imagination of African cultural painting of the human body.

Two talented photographers focus on the Horn of Africa--an "ark" that shelters an astonishing variety of landscapes and human societies. Starting with the Christian Amharas of Lalibela and Axum and the Falashas of Lake Tana, they complete an arc that takes them to the seacoast of Eritrea, Djibouti and Somalia, as far south as Lamu in Kenya, and finally to the remote peoples of the Southeast who still engage in stick fighting, body painting, scarification and the wearing of lip plates.

Other handsome peoples they depict include the desert-dwelling Afar, Beja and Rashaida, the Somali nomads of Ogaden and the ecstatic Oromo (formerly Galla) pilgrims of the Bale Mountains. As in Beckwith and Fisher's previous, award-winning books ( Maasai and Nomads of the Niger ), their magnificent color photos (240 of them here) are the glory of this beautifully designed volume. Hancock's ( Ethiopia ) useful if uninspired text covers indigenous societies, cultures, crafts, religions, sacred places, dances, and cycles of life and death.

This seminal volume on the indigenous African Dinka group is a landmark documentation of a vanishing people in war-torn Sudan. World-renowned photographers Angela Fisher and Carol Beckwith have devoted their lives to documenting the rapidly disappearing ceremonies and cultures of the indigenous people of Africa.

In breathtakingly poignant images, they present a story that started with their first visit to the Dinka thirty years ago. Living in harmony with their cattle, the Dinka have survived years of war only to find their culture on the brink of vanishing forever. Where the White Nile River reaches Dinka country, it spills over 11,000 square miles of flood plain to form the Sudd, the largest swamp in the world. In the dry season, it provides abundant pasture for cattle, and this is where the Dinka set up their camps.

The men dust their bodies and faces with gray ash—protection against flies and lethal malarial mosquitoes, but also considered a mark of beauty. Covered with this ash and up to 7’ 6" tall, the Dinka were referred to as "gentle" or "ghostly" giants by the early explorers. The Dinka call themselves "jieng" and "mony-jang," which means "men of men."

Award-winning photographers Carol Beckwith and Angela Fisher present an unparalleled collection of 250 photographs, drawn from their work over thirty years, revealing an inclusive look at the people and cultures of Africa.

This astounding collection of rare and intimate photographs depicts a lifetime of events and experiences from birth and coming-of-age to marriage and death from every part of Africa. These varied cultural "faces" are expressed in the rolling eyes and flashing teeth of the Wodaabe charm dancers of Niger, the colorful beaded bodices of the Dinka of Sudan, the striking painted faces of the Karo of Ethiopia, and countless people beaded, draped in beautiful cloth, and veiled to honor a special moment in life.

With their unique eye for Africa and its inhabitants, Beckwith and Fisher have created a moving, personal tribute to some of the most beautiful people on Earth.

Since the wolf first snuck into the caves of our ancestors to take warmth from the fire, dogs have been man’s constant companion. Dogs, multi-award-winning photographer Tim Flach’s stunning follow-up to the critically acclaimed Equus, delves deep into the psyche of this enduring bond with Canis familiaris to present an exquisite study of “man’s best friend.”

From specimens on show at Crufts and Westminster to shelter dogs lovingly rescued by volunteers; from the grace and agility of racing greyhounds to adored domestic companions; from Afghan hounds to Hungarian komondors to Chinese crested, the images featured in Dogs promise to deliver one of the most appealing, popular, and exciting photographic tributes to dogs ever published.

Award-winning photographer Tim Flach has spent years inquiring into the essential bond we have with animals. Now he presents the culmination of a career-long endeavor, an extraordinary body of work in which each image is more striking and powerful than the last. Just as did Flach’s highly acclaimed previous books, Equus and Dogs, More than Human will amaze and inspire, in a constant affirmation of the animal, whether it be rare or common, powerful or defenseless, odd or majestic. The book showcases a menagerie of creatures—pandas, tigers, bats, lions, orangutans, cobras, bullfrogs, chimpanzees, wolves, porcupines, elephants, owls, armadillos, among many others—as they have never been seen before. Shedding light on Flach’s images will be an accessible collection of texts, written and edited by author Lewis Blackwell.

Award-winning photographer Tim Flach has built an exceptional reputation for creating compelling images of animals that captivate and enthrall photography buffs and animal lovers alike. His commissions include such world-renowned publications as National Geographic and The Sunday Times. He combines artistic originality with an intuitive genius for capturing every creature's distinctive quirks and traits. As he puts it himself, his work explores "how we shape nature and how it shapes us." In doing so, we see how our perceptions affect the reality around us-- high-lighting the deep bond we share with other members of the animal kingdom.

Birds of the world are portrayed in all their colorful glory by Tim Flach, the world’s leading animal photographer.

Radiating grace, intelligence, and humor, and always in motion, birds tantalize the human imagination. Working for years in his studio and the field, Tim Flach has portrayed nature’s most exquisite creatures alertly at rest or dramatically in flight, capturing intricate feather patterns and subtle coloration invisible to the naked eye. From familiar friends to marvelous rarities, Flach’s birds convey the beauty and wonder of the natural world. Here are all manner of songbirds, parrots, and birds of paradise; birds of prey, water birds, and theatrical domestic breeds. The brilliant ornithologist Richard O. Prum is our guide to this magical kingdom.

With this volume, Maia Flore (born 1988), winner of the 2015 HSBC Prize for Photography, receives her first monograph. Flore stages herself in improbable poetical or metaphorical situations―dangling above the sea, hanging from a cloud above Parisian rooftops―seeking the sublime in her theatrical self-portraits.

In the summer of 2006, Lucas Foglia set out to photograph a network of people who had left cities and suburbs to live off the grid in the rural southeastern United States. Many were motivated by environmental concerns, others were driven by religious beliefs or predictions of economic collapse. While everyone he photographed was working to maintain self-sufficiency, none lived in complete isolation from the mainstream. Instead, they chose which parts of the modern world to embrace and which to leave behind. The body of work, made over a five-year period, is gathered together in the artist's first book, A Natural Order a collection that explores a human relationship with wilderness and the persistent libertarianism of the American psyche. Foglia's photographs, at once iconic and intimate, provoke us to take a candid look at individuals whose chosen lifestyles seem both exotic and unnervingly close to home. Included with the book is an anonymously authored, illustrated 'zine titled wildlifoodin. Part journal, part survival manual, it reads like a poet's version of the Whole Earth Catalog, the bible for 1970's back-to-the-landers. Lucas Foglia exhibits and publishes his photographs internationally. His work is in the permanent collections of the Museum of Fine Arts Houston, the Pilara Foundation and the Rhode Island School of Design Museum of Fine Art, and has been published in Aperture Magazine, the New York Times Magazine, the Washington Post Magazine, British Journal of Photography, Contact Sheet, and PDN's 30.

Between 2006 and 2013, Lucas Foglia traveled throughout rural Idaho, Montana, Nevada, New Mexico, Texas, and Wyoming, some of the least populated regions in the United States. 'Frontcountry' is a photographic account of people living in the midst of a mining boom that is transforming the modern American West. Published in a first edition of 2,000 casebound copies, 'Frontcountry' is Lucas Foglia's second monograph. Foglia's first monograph, 'A Natural Order' was published by Nazraeli Press in 2012 to international critical acclaim. Foglia's photographs have been widely exhibited in the United States and in Europe, and are in the permanent collections of major museums including the Denver Art Museum, Museum of Fine Arts, Houston, Philadelphia Museum of Art, and Victoria & Albert Museum, London.

Nazraeli Press is delighted to present our third monograph by American photographer Lucas Foglia. Human Nature revisits themes established in Foglia's his previous books, A Natural Order and Frontcountry, but on a broader, global scale.
Foglia grew up on a small farm bordering a wild forest, thirty miles east of New York City. In 2012, Hurricane Sandy flooded his family's fields and blew down the oldest trees in the woods. On the news, scientists linked the storm to climate change caused by human activity. Foglia realized that if humans are changing the weather, then there is no place on earth unaltered by people.
The average American spends 93% of their life indoors. With this in mind, Foglia photographed government programs that connect people to nature, neuroscientists measuring how time in wild places benefits us, and climate scientists measuring how human activity is changing the air. Many of the scientists included in the book are now facing budget cuts and censorship by the Trump administration.
Human Nature begins in cities and moves through forests, farms, deserts, ice fields, and oceans, towards wilderness. Funny, sad, or sensual, the photographs illuminate the human need to connect to the wildness in ourselves.
Foglia's photographs are held in major collections in Europe and in the United States, including Art Collection Deutsche Börse, Denver Art Museum, Fotografiemuseum Amsterdam, International Center of Photography, Museum of Contemporary Photography, Museum of Fine Arts Houston, Victoria and Albert Museum, Philadelphia Museum of Art, Pier 24, Portland Art Museum, and San Francisco Museum of Modern Art.

Franco Fontana is undoubtedly one of the most renowned Italian photographers, unanimously considered as the pioneer of color photography. During the 1970s he was able to fully exploit the inner potentialities of color photography through photos which might be situated beetween representation and abstraction. His daring sense of color and his skillfulness with composition gave him the opportunity to create unforgettable images that are universally praised.

Reflections on the landscape are the fulcrum of Franco Fontana's poetic imagery, whose work has always been aimed at revealing the mystery of the invisible that is hidden within the visible. Photography is the tool Franco Fontana uses to capture the inexistent of what is real - always hanging in the balance between representation of reality and so-called reality.

Quiet, atmospheric documentary photography of faded interiors and nature reasserting itself over manmade environments
Melbourne-based photographer Mark Forbes (born 1980) presents a cohesive blend of carefully composed scenes, from faded quotidian interiors to the romance of nature reclaiming the environment. Forbes’ photographic preference, medium format film, is slow and methodical: an approach that can be felt throughout the volume.

In this rich and dream-like collection of photo-paintings, artist and fabulist Fran Forman offers characters, scenes and visual narratives that lure the imagination. She explores the multiple meanings of the word escape, focusing on the central idea of breaking through the normal barriers of everyday life. Many of these figures appear to be floating or rowing or sailing away, trying to leave the rest of the earth-bound world behind. Thus, the artist invites us to ask ourselves what realities exist beyond the traditional limits of gravity, linear time, and social convention. The exquisite poems and story by writer Michelle Blake act as a guidebook to these vast imaginary worlds, suggesting voices for some of the characters and destinations for some of the journeys. All together, the book offers its own particular form of beauty, one that invites the viewer to step outside the known.

By integrating contemporary photography with historical periods and settings around the world, Fran Forman creates a world of illusion. Upon closer inspection, elements of her work that appear ordinary suggest an underlying tension and an aura of mystery. A collection of more than 100 of Forman's photo-paintings, The Rest Between Two Notes: Selected Works explores life's liminal and in-between moments - coming and leaving; innocence and confidence; shadow and light; night and day; absence and connection; loss and longing; not quite the past and not yet the future. Portals, both real and metaphorical, frequent her layered, complex, and often dark, dreamlike images.

Autoportrait is the first comprehensive survey of the multifaceted oeuvre of Nigerian photographer Samuel Fosso (born 1962). Since the mid-1970s, Fosso has focused on self-portraiture and performance, envisioning variations of identity in the postcolonial era. From Fosso's early black-and-white self-portraits from the 1970s to his recent exercises in self-presentation, highlights include the vibrant series Tati (1997), in which he playfully inhabits African and African American characters and archetypes; and the magisterial portraits of African Spirits (2008), where he poses as icons of the pan-African liberation and Civil Rights movements, such as Angela Davis, Martin Luther King, Jr., Patrice Lumumba and Nelson Mandela.

In the summer of 1992, there was carnage in and around Palermo. First, a slaughter at Capaci, in which a judge, his wife and three police officers were slaughtered. Then, a blast in Via D'Amelio, which killed another judge as well as his five bodyguards. It was at this point that a group of women in Palermo felt the need to do something, to react in some way.

This book acknowledges and celebrates the many courageous women from Sicily who staged a public protest and hunger strike against the Mafia in 1992. Their actions were unprecedented, and their bravery initiated waves of publicity as well as public and private debate about a topic many feared.

22 years later, photographer Francesco Francaviglia sought out these heroic women to hear the stories about their actions in 1992 and to learn what has happened in the intervening decades. He made portraits, recorded interviews, collected archival documents and newspaper clippings, and gathered statements from other people who were affected by their actions. Together, this material has become a fascinating testimony filled with insight about the ways of the Mafia, and more importantly, how the rebellion of these women has affected the course of their lives. Many have continued to stay active in politics, law, advocacy and journalism.
Copyright 2014 LensCulture, Inc.

Martine Franck: One Day to the Next includes more than 100 images that capture singular visual moments with elegance and wit. Presented here is a selection of this highly regarded photographer's favorite images from the last 30 years, covering subject matter from the inquisitiveness of childhood to the quirks of old age, from strange and rugged landscapes to the rhythms of crowds. Whether photographing artists and writers such as Michel Foucault and Marc Chagall, or Tibetan Buddhist refugees in India and Nepal, Franck sees photography as “a frontier, a barrier of sorts that one is constantly breaking down so as to get closer to the subject.”

"Taking a portrait of someone--be it man or woman--starts with a conversation. It is important for me to try and catch the person when they are listening or when they are in a pensive mood or have forgotten my presence. I rarely ask a person to pose for me as I prefer that they reveal themselves as they wish. For me the eyes and the hands are most important and when possible I like to use natural light. All through my life as a photographer I have made a point of photographing women whom I admire, who have done something special with their lives, who have protested against their fate, also those close to me like my daughter and grand daughter and intimate friends all of whom appear in this collection." --Martine Franck. Martine Franck has travelled the globe photographing the social landscape. This book brings together a selection of her photographs of women, from factory workers in Bucharest to geishas in Kyoto and encompassing the film stars, artists, writers and performers she has photographed since the 1960s. It is both a celebration of women and a testimony to the unique vision and empathy of a great photographer.

Chongqing is one of the largest cities in China, and one that has recently undergone one of the most rapid urban developments in the world. Tim Franco, a Shanghai-based French photographer, has been following and documenting this enormous city’s equally great transformation since 2009. His book is a rare photographic collection and documentation of Chongqing’s bewildering scale, containing over 60 original images Tim Franco recorded over dozens of trips to the city across a fascinating five-year period.

UNPERSON is one of the first photo books of North Korean Defectors. In George Orwell’s 1984, an unperson is someone who has been vaporized, whose record has been erased. As each defector begins their new life, they all start out as an UNPERSON. The 15 intimate portraits tell the stories of the brave people who decided to take the chance to flee to South Korea.

The road to South Korea is dangerous and can take years with the many different borders of Mongolia, Laos, Thailand and China. The people fleeing are filled with the fear of being arrested and sent back to labour camps. Once they arrive in South Korea, they often struggle to find a new identity: Lost between their North Korean past and South Korean future.

Leon of Juda is the seventh book in Robert Frank’s (born 1924) acclaimed series of visual diaries, which combine iconic photos from throughout his career with the more personal pictures he makes today. Here, still lifes taken in Frank’s home in Bleecker Street, New York, and landscapes around his house in Mabou, Nova Scotia, jostle alongside spontaneous portraits of friends, colleagues and his wife, the artist June Leaf, as well as vintage postcards. With these images Frank creates a seemingly casual layout that recalls the look and spirit of a private album or scrapbook. Equally humble and ambitious, Leon of Juda shows how the past tempers Frank’s present and how his life is not only documented in, but shaped by, bookmaking.

Following its acclaimed predecessors Tal Uf Tal Ab (2010) and You Would (2012), Park / Sleep is the third in the series of Robert Frank's late visual diaries. It takes up his familiar collage technique, combining new and old snapshots mainly of Frank's friends, family, and home/studio, but also scenic and urban settings and interiors. The images are accompanied by short texts--notes, pieces of conversations, poems, and thoughts.

In 1950, Robert Frank left his job as a photographer in New York to travel through Europe with his family. That summer he arrived in Valencia, Spain, which was at the time a humble, bleak place enduring the austere conditions of the postwar period like the rest of the country. The pictures Frank took of Valencia depict the daily life of a fishing village. His portrayal is so natural and clear that further verbal explanation seems superfluous; they simply reflect, in the photo grapher's words, "the humanity of the moment". The photographs in this book, many of which have never been published before, allow dignity to override poverty.

"Tal Uf Tal Ab is Swiss-German. It means direction up the valley - down the valley. Now I live and wait and think mostly in the places I live - New York City and Mabou N.S." Robert Frank. Tal Uf Tal Ab is a book of new photographs by Robert Frank. Frank's subjects are his life now, an inquisitive existence shaped by memory: newsstands, streetscapes, portraits of friends and his wife June Leaf, interiors, a self-portrait. This book is the latest phase in Frank's unceasing exploration of photography, and a humble yet important progression in the medium of the photobook.

Award-winning filmmaker and photographer Jona Frank took this portrait series at an amateur boxing club just outside of Liverpool, United Kingdom. Shirtless and sweaty, their hands covered with big, puffy, colorful gloves, these modern kids look timeless, but the truth is they are like any adolescent who is trying on a role and attempting to find their place. Like the suburb of Liverpool where these photos were made, boxing has a foot in the past while grasping its contemporary purpose. Frank's photographs provide a record of a sport and a community whose presence is slowly fading.

Robert 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.

This volume, published in conjunction with Robert Frank’s first solo exhibition at the Museum of Modern Art, New York, offers fresh perspectives on the interdisciplinary and lesser-known aspects of the artist’s expansive career. The exhibition covers the six decades following his groundbreaking photobook The Americans, during which Frank continued to engage in an extraordinarily diverse practice, constantly experimenting across mediums and engaging in artistic and personal dialogues with other artists and communities. Marking the centennial of his birth, this catalog takes its title from Frank’s poignant 1980 film Life Dances On, where he reflects on the individuals who shaped his worldview.

Lavishly illustrated, the publication includes photographs, films, books, and archival materials, enriched with Frank’s own reflections on his influences and creative process. It features three scholarly essays, excerpts from previously unpublished video footage, and a comprehensive visual chronology, all of which explore Frank’s relentless creative exploration and his profound observations of life.

First published in France in 1958, then in the United States in 1959, Robert Frank's The Americans changed the course of twentieth-century photography. Looking In: Robert Frank's "The Americans" celebrates the fiftieth anniversary of this prescient book. Drawing on newly examined archival sources, it provides a fascinating in-depth examination of the making of the photographs and the book's construction, using vintage contact sheets, work prints and letters that literally chart Frank's journey around the country on a Guggenheim grant in 1955-56. Curator and editor Sarah Greenough and her colleagues also explore the roots of The Americans in Frank's earlier books, which are abundantly illustrated here, and in books by photographers Walker Evans, Bill Brandt and others. The 83 original photographs from The Americans are presented in sequence in as near vintage prints as possible. The catalogue concludes with an examination of Frank's later reinterpretations and deconstructions of The Americans, bringing full circle the history of this resounding entry in the annals of photography. This volume is a reprint of the 2009 edition.

The second reprint of Hold Still, Keep Going revisits the groundbreaking exploration of the interplay between still photography and film in Robert Frank’s artistic practice. Originally published to accompany Frank’s 2001 exhibition at the Museum Folkwang in Essen, this edition continues to shed light on the often-overlooked intersection of photography and film in his body of work.

While Frank is widely celebrated for his iconic photobook The Americans (1958) and experimental film Pull My Daisy (1959), Hold Still, Keep Going fills a critical gap in scholarship by focusing on how these two mediums influenced and informed each other throughout his career. The volume takes a nonchronological approach, weaving together photographs, film stills, 35mm filmstrips, and photomontages to present both his renowned series and lesser-known works. These diverse elements reveal compelling juxtapositions, offering a more cohesive understanding of Frank’s seemingly fragmented oeuvre.

Text plays a significant role in this exploration, whether in the form of handwritten notes on photographs or film dialogue, such as the titular phrase “Hold Still, Keep Going.” This blend of visual and textual elements also reflects Frank’s later forays into bookmaking, where he often treated his images and words as part of a single narrative.

With contributions from scholar Wolfgang Beilenhoff and author Christoph Ribbat, this edition provides fresh insights into the lesser-explored aspects of one of the most influential photographers in history.

Before The Americans reshaped the landscape of photography, Robert Frank (1924–2019) crafted a deeply personal and poetic work—one that remained largely unseen. Mary’s Book, created in 1949 for his then-girlfriend and future wife, artist Mary Frank (née Lockspeiser), is a tender, intimate exploration of love, place, and artistic discovery.

Living in postwar Paris, Frank documented the city with an inquisitive eye, blending text and image in a way that foreshadowed his later innovations in photobook storytelling. The result was an unbound series of prints and handwritten notes—an ephemeral yet profound gesture of devotion. It was here that Frank first experimented with the dynamic interplay of words and photographs, a hallmark of his later career.

Now, for the first time, Mary’s Book is reproduced in its entirety, accompanied by insightful essays that contextualize its significance within Frank’s artistic evolution. This facsimile edition, echoing the handmade original, allows readers to experience Paris through the eyes of a young photographer on the cusp of his legendary career. A love letter in every sense, Mary’s Book offers a rare glimpse into the origins of Robert Frank’s singular vision.

Before The Americans redefined documentary photography, a young Robert Frank (1924–2019) arrived in the United States in 1947 with a modest yet pivotal collection of images: his first portfolio. Created to showcase his talent and secure employment, this selection of 40 photographs—taken between 1941 and 1946—offers an intimate look at the formative years of one of the 20th century’s most influential photographers.

Now reproduced in facsimile for the first time in over a decade, Portfolio captures the essence of Frank’s early vision. Rural Swiss landscapes stand alongside bustling street scenes, antique shops, fine fabrics, and the glow of cinema lights—subjects that hint at the keen observational eye that would later define his work. Also included are images Frank retouched for other photographers, revealing his technical precision.

Designed in collaboration with Gerhard Steidl, this edition stays true to Frank’s original presentation, housed in a softcover within a cardboard envelope, just as he would have stored and carried it. In many ways, Portfolio serves as his first photobook, laying the foundation for the sequencing and storytelling approaches that would culminate in masterpieces like The Americans and The Lines of My Hand. More than a collection of early work, it is a testament to the beginnings of a groundbreaking artistic journey.

Newly unearthed from Robert Frank’s archive, these three maquettes highlight his enduring affinity for Polaroid photography. The Polaroid camera, with its instant prints, was one of Frank’s preferred methods for capturing images. Red Table, Green Tree, and From the Window, by the Window are three volumes featuring rare or previously unseen Polaroid and Fuji Instax facsimiles.

The first volume, Red Table, showcases images of a small red table Frank discovered in an antique shop in New Glasgow. This table eventually became a fixture in the entryway of the home Frank shared with his wife, artist June Leaf, in Mabou, Nova Scotia. Frank photographed it repeatedly, experimenting with various lighting conditions and arrangements of objects on the table’s surface.

In Green Tree, the second volume, Frank turns his lens to the landscape, capturing the ever-changing beauty of trees and their seasonal foliage. The third volume, From the Window, by the Window, presents views from different windows in Frank’s Mabou home. These images oscillate between the distant seascape and the cherished souvenirs he collected.

Curated by A-chan, who collaborated with Frank on many of his later books with Steidl, the prints are arranged in albums from a local drugstore—a method Frank used throughout his career to categorize his work. These albums reveal Frank’s ongoing experimentation with instant photography and his deep connection to the world around him.

A much-anticipated reissue of Robert Frank’s sought-after Polaroid photobooks, Seven Stories, originally released in 2009, is finally back in print. This highly collectible set quickly sold out upon its first release and has since become a rarity. The 2024 edition reintroduces Frank's extraordinary Polaroid series to a new generation of photography enthusiasts.

After completing his iconic project The Americans, Frank shifted his focus to filmmaking throughout the 1960s, returning to still photography in the 1970s. He embraced the Polaroid camera, using black-and-white positive/negative film to explore new creative possibilities. In his later years, Polaroids became a key part of his practice, allowing him to experiment with collage and assemblage in ways that expanded the boundaries of instant photography.

This slipcased set of small, staple-bound books marks an important phase in Frank's evolution as an artist. Always pushing the limits of both photography and film, Frank used these Polaroids to tell deeply personal stories about his life, capturing moments from his homes in Mabou and New York, as well as his travels to places like China and Spain. Seven Stories offers a window into the intimate, ever-exploratory world of a true artistic pioneer.

A celebrated return of Robert Frank’s seminal photobook, The Americans, to Aperture’s catalog—one of the most important bodies of photographic work ever made.

In the nearly seven decades since its publication in France in 1958, and in the United States in 1959, Robert Frank’s The Americans has become one of the most influential and enduring works of American photography. Through eighty-three photographs taken across the country, Frank unveiled an America that had gone previously unacknowledged—confronting its people with an underbelly of racial inequality, corruption and injustice, and the stark reality of the American Dream. Frank’s point of view—at once startling and tenacious—is imbued with humanity and lyricism, painting a poignant and incomparable portrait of the nation at a turning point in history.

This edition of The Americans is a celebrated return of an iconic title to Aperture’s catalog, more than a half-century after the Aperture and Museum of Modern Art edition was published in 1968. Presented on the centennial of Frank’s birth and a major exhibition at the Museum of Modern Art, it has been produced following the finest tritone printing from the 2008 edition for which Frank was personally involved in every step of the design and production.

Frank’s exacting vision, distinct style, and poetic insight changed the course of twentieth-century photography, and influenced subsequent generations of photographers, including Lee Friedlander, Nan Goldin, Danny Lyon, Joel Meyerowitz, Ed Ruscha, and Garry Winogrand. Now extolled as one of the most groundbreaking photobooks of all time, The Americans remains as powerful and provocative as it was upon publication and continues to resonate with audiences today.

Robert Frank’s groundbreaking autobiographical photobook, The Lines of My Hand, returns to print, building on the original 1972 edition. Often considered his most important work after The Americans (1958), this book solidified Frank’s personal, often confessional style of storytelling through photography. First published by Yugensha in Tokyo in 1972, this reprint follows the 2017 Steidl edition, which was created in close collaboration with Frank and updates the first US edition by Lustrum Press.

The Lines of My Hand is organized chronologically, offering a comprehensive selection of Frank’s work up until 1972. It features early photographs from Switzerland (1945–46), along with images from his travels through Peru, Paris, Valencia, London, and Wales. The book also includes contact sheets from his famed 1955–56 journey across the US, which culminated in The Americans, as well as personal photos of his family, later photo-collages, and stills from films like Pull My Daisy (1959) and About Me: A Musical (1971). Frank’s brief personal texts, reminiscent of diary entries, further enrich the narrative and give readers a glimpse into his inner world.

The unique blend of text and imagery, combined with Frank’s raw self-reflection, made The Lines of My Hand a pivotal work in photography. It also influenced many artists, including Frank himself, who extended this approach in his visual diaries from 2010 to 2017.

The Visual Diaries offers a poignant glimpse into Robert Frank’s final artist books, capturing the essence of his later life and career. This collection brings together six deeply personal volumes published between 2010 and 2017, which represent a crucial chapter in Frank’s evolution as a bookmaker. These introspective works blend iconic images from his early career, including some from The Americans, with more intimate photographs taken later in life.

The books present a rich mix of 35mm black-and-white photos alongside contemporary Polaroids, featuring contemplative landscapes, urban scenes, quiet still lifes, and personal snapshots of friends, colleagues, and his wife, June Leaf. These images, taken at their homes in New York’s Bleecker Street and Mabou, Nova Scotia, are arranged in seemingly casual, scrapbook-like layouts, reflecting on memory, time, and the emotional undercurrents of his life.

Throughout the volumes, Frank incorporates factual captions and cryptic text fragments, further enhancing the intimate, diary-like feel. His highly personal approach suggests that bookmaking not only documented his life but also shaped it, blending the past with the present in a reflective and innovative way.

Until his passing in 2019, Robert Frank remained creatively ambitious. The Visual Diaries stands as a testament to his unwavering artistic curiosity and his ability to continually reinvent his visual language.

Destino, meaning "destination" or "destiny" in Spanish, tells the story of undocumented Central American migrants and their perilous journey by freight train across Mexico, as they attempt to enter the United States in pursuit of a better life. In Destino, Michelle Frankfurter seeks to capture the experience of people who struggle to control their own destiny when confronted by extreme circumstances. Destino is both a social commentary on one of the biggest global issues of our times and an epic adventure tale. It conveys the experience of a generation of exiles, driven by poverty and the dysfunction of failed states, traveling across a landscape that has become increasingly dangerous, heading towards a precarious future as a last resort. Frankfurter takes the viewer beyond what is expected. She humanizes the real-life individuals behind the polarizing political debate and draws attention to the underlying causes behind this migration. She wants the viewer to see and feel the humanity of these people who seek no more than the security and prosperity that they imagine we live with in the United States.

These captivating landscapes by the Magnum photographer Stuart Franklin provide a visual document of Europe in the midst of a growing environmental crisis.

Technically flawless, cool, detached, yet highly analytical, Franklin's photos reveal the irrefutable proof of humans effect on Europe and the vulnerability we face as a result, from the Arctic Circle to the Peloponnese. Footprint brings together a singular photographic perspective with a powerful environmental message to present an engaging picture of the vulnerability of Europe's landscape and population in the wake of ominous change.

Photographer LaToya Ruby Frazier (born 1982) grew up in Braddock, PA, a borough in the American Rust Belt ravaged by the steel-industry crisis that hit the US during the Reagan administration. In this former bastion of the steel industry, the artist was raised in her Afro-American family, whose story she told in The Notion of Family.

Her 2016 residency at Grand-Hornu allowed her to pursue her work on postindustrial society in Belgium, turning her camera to the Borinage, a mining region whose intense activity in the 19th century was diminished by a series of crises that led to the closure of the last mine in 1976. Testimonies gathered by Frazier from the former miners and their families have resulted in And from the Coaltips a Tree Will Rise, an extensive collection of portraits, landscapes and still lifes.

LaToya Ruby Frazier’s Flint Is Family in Three Acts chronicles the ongoing manmade water crisis in Flint, Michigan, from the perspective of those who live and fight for their right to access free, clean water. Featuring photographs, texts, poems and interviews made in collaboration with Flint’s residents, this five-year body of work, begun in 2016, serves as an intervention and alternative to mass media accounts of this political, economic and racial injustice.

In 2014, as a cost-cutting measure, the Flint City Council switched the town’s water supply from a Detroit treatment facility to the industrial-waste-filled Flint River. Forced to use water contaminated with lead at 27 times the government’s maximum threshold, Flint’s citizens―predominantly Black and overwhelmingly poor―fell ill almost immediately and many battle chronic medical conditions as a result.

Frazier first traveled to Flint in 2016, as part of a magazine commission to create a photo essay about the water crisis. During that trip she met Shea Cobb, a Flint poet, activist and mother who became Frazier’s collaborator. Divided into three acts, the book follows Cobb as she fights for her family’s and community’s health and well-being. Act I introduces Cobb, her family and their community. Act II follows Cobb and her daughter Zion to Newton, Mississippi, where they move in with Cobb’s father, Douglas R. Smiley, and learn to take care of family-owned land and horses. Act III documents the arrival of an atmospheric water generator to Flint that Frazier, Cobb and her best friend, Amber Hasan, helped set up and operate in their neighborhood. Spurred by the lack of mass-media interest in this ongoing crisis, Frazier’s approach ensures that the lives and voices of Flint’s residents are seen and heard. Flint Is Family in Three Acts is a 21st-century survey of the American landscape that reveals the persistent segregation and racism which haunts it. It is also a story of a community’s strength, pride and resilience in the face of a crisis that continues.

In this, her first book, LaToya Ruby Frazier (born 1982) offers an incisive exploration of the legacy of racism and economic decline in America's small towns, as embodied by Braddock, Pennsylvania, Frazier's hometown. The work also considers the impact of that decline on the community and on her family, creating a statement both personal and truly political--an intervention in the histories and narratives of the region that are dominated by stories of Andrew Carnegie and Pittsburgh's industrial past, but largely ignore those of black families and the working classes. Frazier has set her story of three generations--her Grandma Ruby, her mother and herself--against larger questions of civic belonging and responsibility. The work also documents the demise of Braddock's only hospital, reinforcing the idea that the history of a place is frequently written on the body as well as the landscape. With The Notion of Family, Frazier knowingly acknowledges and expands upon the traditions of classic black-and-white documentary photography, enlisting the participation of her family, and her mother in particular. As Frazier says, her mother is "co-author, artist, photographer and subject. Our relationship primarily exists through a process of making images together. I see beauty in all her imperfections and abuse." Frazier's work reinforces the idea of image-making as a transformative act, a means of resetting traditional power dynamics and narratives, both those of her family and those of the community at large. Frazier is a 2014 Guggenheim fellow.

Leonard Freed (1929-2006) was inspired to capture the African American experience while he was in Berlin in 1962 to photograph the building of the Berlin wall. He noticed a black soldier standing in front of the wall and was struck by the fact that this soldier was ready to defend America abroad, while at home African Americans were facing their own battle for civil rights. Traveling in New York, Washington, D.C., and throughout the South, Freed captured images that reflected the struggle for the end of racial segregation. First published in 1968, Black in White America shows many aspects of black life in 1960s America, from political marches and rallies to children playing and splashing in the spray of a fire hydrant, from signs for colored entrances to interactions with whites. One particularly poignant image shows Martin Luther King Jr. in an open convertible being greeted by an eager crowd of admirers. Freed's captions include observations, stories about the people he met, lyrics from spirituals, and an excerpt from the "I have a dream" speech.

The American photographer Leonard Freed travelled to Germany for the first time in 1954. He observed the people in their social surroundings, at work, at street festivals, in public parks, in the streets and against the industrial backdrop of the Ruhr Valley. The Germany he saw was deeply scarred by the effects of war and the Nazi regime, despite the country's reconstruction, industrial development and economic success. Freed published his extensive report Made in Germany for the first time with Grossman Publishers in New York in 1970. The present reprint accompanies the exhibition of the same name at Museum Folkwang in Essen and comes with the booklet Re-Made: Reading Leonard Freed, providing extra information about Freed's approach and his times. The booklet is edited by Paul M. Farber and contains hitherto unpublished images, documents and writing by Freed, spanning his 50 years of photographing Germany.

This Is the Day: The March on Washington is a stirring photo-essay by photographer Leonard Freed documenting the March on Washington for Jobs and Freedom of August 28, 1963, the historic day on which Dr. Martin Luther King Jr. delivered his “I Have a Dream” speech at the base of the Lincoln Memorial. This book commemorates the fiftieth anniversary of the historic march that ultimately led to the passage of the Civil Rights Act of 1964. Never before published in book form, the seventy-five photographs in this volume were chosen from among the hundreds of images that Freed made in the nation’s capitol—before, during, and after the march. These images not only present us with stunning wide-angle views of hundreds of thousands of marchers overflowing the National Mall but also focus on small groups of people straining to see the speakers and on individual faces, each one filled with hope and yearning, epitomized by the beautiful young woman who throws her entire being into singing "We Shall Overcome.” In addition are eighteen pictures from the twentieth-anniversary march of August 1983, conveying a sense of celebration coupled with peaceful protest. Accompanying the photographs are a first-hand, backstage account of the preparations leading up to the march by social activist and civil rights leader Julian Bond; an essay on the importance of the march and Dr. King's involvement by sociology professor and author Michael Eric Dyson; and an informative discussion of Freed’s approach to the photographic project by scholar Paul Farber.

The definitive compilation of Leonard Freed’s renowned photographs of the New York Police Department during the tumultuous 1970s.

Renowned Magnum photographer Leonard Freed spent several years working alongside the New York police force, capturing the harsh realities of life on the streets during a period marked by escalating crime rates and profound social unrest, amid the city's near-bankruptcy. Reflecting on his nearly decade-long association with the police department, Freed remarked, "What I saw were average people doing a sometimes boring, sometimes corrupting, sometimes dangerous and ugly and unhealthy job.” His insightful essay exudes both poignancy and elegance, depicting the camaraderie among officers as well as their interactions with the communities they serve.

Freed accompanied the NYPD on various assignments, including murder investigations, drug raids, public protests, and community outreach efforts, while also documenting the everyday challenges and routines of policing. This revised and redesigned edition of Freed’s original 1980 publication includes previously unpublished photographs from his archive. It stands as a tribute to his multifaceted and compassionate body of work, which remains socially resonant and pertinent in today’s context.

The climax of Martin Luther King's Poor People's Campaign

Published in 1970, Jill Freedman’s Old News: Resurrection City documented the culmination of the Poor People’s Campaign of 1968, organized by Martin Luther King, Jr. and the Southern Christian Leadership Conference, and carried out under the leadership of Ralph Abernathy in the wake of Dr King’s assassination. Three thousand people set up camp for six weeks in a makeshift town that was dubbed Resurrection City, and participated in daily protests. Freedman lived in the encampment for its entire six weeks, photographing the residents, their daily lives, their protests and their eventual eviction.

This new 50th-anniversary edition of the book reprints most of the pictures from the original publication, with improved printing and a more vivid design. Alongside Freedman’s hard-hitting original text, two introductory essays are included, by John Edwin Mason, historian of African history and the history of photography at the University of Virginia, and by Aaron Bryant, Curator of Photography at the National Museum of African American History and Culture.

An ode to summer vacations and fleeting nostalgia.

French Italian photographer Riccardo Fregoso (born 1981) revisits spots across Italy’s Adriatic Coast where he once vacationed as a child. Traveling from Abruzzo to Marche to Puglia, Fregoso captures the contradictions and atmospheric wonder of a region shaped dramatically by mass tourism.

In 1950, photographer Gisèle Freund embarked on a two-week trip to Mexico, but she wouldn’t leave until two years later. There she met the legendary couple Frida Kahlo and Diego Rivera. Welcomed into their home, she immersed herself in their private lives and the cultural and artistic diversity of the country, taking hundreds of photographs. These powerful photographs, among the last taken before Kahlo’s death, bear poignant witness to Frida’s beauty and talent.

Showcasing more than 100 of these rare images, many of which have never been published before, the book also includes previously unpublished commentary by Gisèle Freund about Frida Kahlo, texts by Kahlo’s biographer Gérard de Cortanze and art historian Lorraine Audric, as well as a link to a previously unreleased color film, shot by Freund, showing Diego Rivera at work.

A collection of photographs and photo essays that focuses on the relationship between the photographer and the surrounding society.

Writing about The Museum of Modern Art, New York's monumental and critically acclaimed 2005 Lee Friedlander retrospective, Richard Lacayo of Time magazine said: "If a sophisticated notion of what a picture can look like, the continuous construction of new avenues of feeling, and sheer, sustained inventiveness are the measures we go by, then Friedlander is one of the most important American artists of any kind since World War II Friedlander loves the muchness of the world. He loves the haphazard multitude of things that can pop up in every picture--street signs, sunbeams, bits of roofline, a jagged shadow--all colliding and contradicting one another. In his breezy but very acute introduction to the show's catalogue, Peter Galassi, MoMA's Chief Curator of Photography, gets it just right when he says some of Friedlander's pictures give you the impression that 'the physical world had been broken into fragments and reconstituted under pressure at three times its original density.'"

Lee Friedlander's exploration of one of photography's most enduring genres began almost by chance, in the late 1970s, when a teacher colleague at Rice University in Houston lined up a regular schedule of nude models for his students. Almost immediately, Friedlander found that he preferred to photograph the models at their homes, and ingeniously deployed household objects such as bedside lamps, potted plants and sofa fabrics to play off against the angular poses of the models and the emphatic framing of the overall composition. Friedlander's nudes show every blemish, every contour that makes each body unique, while his flash often serves to counter this realism with a softening effect that often recedes the body's shadow right up to its outline. With the publication of Friedlander's nude portraits of Madonna (prints of which fetch huge sums), the series became among the photographer's best known work, and eventually saw publication in 1991, from Jonathan Cape. Lee Friedlander: The Nudes significantly expands on the Cape edition (itself long out of print), with a total of 84 nudes, plus a new layout and design by Katy Homans and new separations by Thomas Palmer. As such, it offers the most lavish presentation of this key series in Friedlander's massive oeuvre.

Enduring icons of American culture, the car and the highway remain vital as auguries of adventure and discovery, and a means by which to take in the country's vast scale. Lee Friedlander is the first photographer to make the car an actual "form" for making photographs. Driving across most of the country's 50 states in an ordinary rental car, Friedlander applied the brilliantly simple conceit of deploying the sideview mirror, rearview mirror, the windshield and the side windows as a picture frame within which to record the country's eccentricities and obsessions at the turn of the century. This method allows for fascinating effects in foreshortening, and wonderfully telling juxtapositions in which steering wheels, dashboards and leatherette bump up against roadside bars, motels, churches, monuments, suspension bridges, landscapes and often Friedlander's own image, via sideview mirror shots. Presented in the square crop format that has dominated his look in recent series, and taken over the past decade, the nearly 200 images in America by Car are easily among Friedlander's finest, full of virtuoso touch and clarity, while also revisiting themes from older bodies of work (Friedlander occasionally used aspects of automotive architecture in photographs from the late 1960s and early 1970s). Never has America been photographed so penetratingly and ingeniously as in Friedlander's latest body of work.

One of the masters of contemporary photography, Lee Friedlander has dedicated his career to the documentation of everyday life in the United States. His images are characterized by a composition that utilizes the urban geometry of storefronts and street signs―and later car windows and telephone poles―as a framing technique. This catalog, published in conjunction with a retrospective organized by the Fundación MAPFRE in Madrid, surveys the wide scope of Friedlander's career from the 1960s to today. High-quality reproductions of all of the exhibited works are supplemented by text written by curator Carlos Gollonet and photographer Nicholas Nixon.

The volume serves as a comprehensive guide to Friedlander's body of work, with personal insight provided through an interview between Maria Friedlander and gallery director Jeffrey Fraenkel, as well as a chronology of the artist's life by his grandson Giancarlo T. Roma.

Lee Friedlander is celebrated for his ability to weave disparate elements from ordinary life into uncanny images of great formal complexity and visual wit. And few things have attracted his attention―or been more unpredictable in their effect―than the humble chain link fence. Erected to delineate space, form protective barriers and bring order to chaos, the fences in Friedlander’s pictures catch filaments of light, throw disconcerting shadows and visually interrupt scenes without fully occluding them. Sometimes the steel mesh seems as delicate as lace; at others it appears as tough as snakeskin. In this book’s 97 pictures, drawn from over four decades of work, it recurs as versatile, utilitarian and ubiquitous―not unlike the photographer himself.

In 1967, The Museum of Modern Art presented New Documents, a landmark exhibition organized by John Szarkowski that brought together a selection of works by three photographers whose individual achievements signaled the artistic potential for the medium in the 1960s and beyond: Diane Arbus, Lee Friedlander and Garry Winogrand.

Though largely unknown at the time, these three photographers are now universally acknowledged as artists of singular talent within the history of photography. The exhibition articulated a profound shift in the landscape of 20th-century photography, and interest in the exhibition has only continued to expand. Yet, until now, there has been no publication that captures its content.

Published in celebration of the 50th anniversary of the exhibition, Arbus Friedlander Winogrand features full-page reproductions of the 94 photographs included in the exhibition, along with Szarkowski’s original wall text, press release, installation views and an abundance of archival material. Essays by curator Sarah Hermanson Meister and critic Max Kozloff, who originally reviewed the exhibition for The Nation in 1967, critically situate the exhibition and its reception, and examine its lasting influence on the field of photography.

In 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.

A 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 chalk grasslands of Salisbury Plain have been used since 1897 as a preparation ground for war. The heart of this ancient English landscape is an eerie and ambiguous space. The Plain is both the UK's largest military training ground and also a conservation area shared with archaeologists and dogwalkers, larks and corn buntings, wildflowers and rare forms of wildlife.
Melanie Friend's photographs reveal the military presence as a disquieting feature on the horizon: a rusty tank positioned as a target, a red box used for field telephones in a copse, smoke from an exploding shell. In the inaccessible ‘Impact Area', a cluster of distant soldiers undertake firing exercises. Red flags warn the visitor to keep out; signage to the military remind them not to drive tanks over Neolithic barrows. Occasionally, Friend has closer encounters with an artillery gun or an armoured vehicle, but often the landscape holds sway; manoeuvres are heard, but not always seen.

200 pages in color & 300 b/w illustrations! How has Britain changed over 150 years? Examine remarkable historical photographs that date back to the 1860s, and which are complemented by photographs of the same scene today, and you'll have a good idea. The photographs are chosen from the world-famous Frith collection and show the British at work and play, and what the cities, towns, villages, coast and countryside looked like. Provides an interesting way of getting to know a country, then and now. Trim size: 8 1/2 x 11.

In 1856, the English photographer Francis Frith set out on the first of three tours of Egypt and the Holy Lands. Traveling up the Nile and then on to the Sinai, Palestine, Syria, and Lebanon, Frith systematically crafted exquisite pictures of ruins, landscapes, and legendary sites. He then published his views in England and America in a variety of formats, becoming something of a celebrity in photographic circles. This book, the first to place Frith's Egyptian and Levantine images in cultural context, reveals the distinct meanings these ostensibly "topographic" pictures held for the photographer and his Victorian audience.

Bound in publisher's original black cloth over boards, spine stamped in gilt. Lightly rubbed at extremities. Decorated endpapers, frontispiece and illustrations throughout in color.

'Teenage Stories' is a narrative of teenage girl adolescence. In it I portray the emotional dynamics of the female adolescent - her self-consciousness, mood swings, uncertainty and vulnerability; experiencing over time, changes in her body, psychology, her emotional and social identity.

Adolescent girls can often be caught day-dreaming, just staring into space, immersed in their own thoughts and fantasies. For a while they inhabit an imaginary world. At this vulnerable age their imaginary world appears to be bigger, grander, more real than their own mundane suburban surroundings. In this fantasy world girls feel that they have much more power than in their everyday lives.

A theorist, critic, organizer, editor, teacher and pioneer of modern photography, Funke was one of the few Czech photographers to grasp the international context of avant-garde photography, painting, and sculpture. Founder of “Photogenism,” his pictures responded to Cubism, New Objectivity, Constructivism, Poetism and Surrealism.

When Caroline Furneaux’s father Colin died suddenly in 2011, she discovered an archive of 35mm slides that he had shot during the 1960s. They were a beguiling series of beautiful women photographed in idyllic locations, mostly in Sweden, where he was working and living. It was during this time that he had first met Caroline’s Swedish mother, Barbro, yet hardly any of the photographs were of her.

Who were these girlfriends? For Furneaux, they evoked off-duty film stars from a bygone era. They were everyday goddesses encapsulating the essence of youth and Scandinavian summers: short and intensely sweet. Sleuth-like, she scoured the photographs, cropping and enlarging tiny fragments, looking for clues as to who the women might be and how her father might have met them. She showed them to family members, but they didn’t recognise any of them.

She began writing her own responses to these images, creating characters and entwining them with memories from her own childhood and summers spent in Sweden.

Chernobyl Legacy bears witness to the present-day effects of a horrific nuclear accident of unprecedented magnitude. Searing images documenting the effects following the Chernobyl disaster are central to the mission of this book, the work of noted photojournalist Paul Fusco of Magnum Photos and Magdalena Caris. Commentaries by United Nations Secretary General Kofi Annan, actor Michael Douglas and Didier J. Cherpitel, the secretary general of the International Federation of Red Cross and Red Crescent Societies.

"Paul Fusco: RFK," published during the fortieth anniversary of Robert F. Kennedy's assassination, is the long-awaited follow-up to Fusco's acclaimed "RFK Funeral Train," a body of work heralded as a contemporary classic. This historical new publication features more than 70 never-before-seen images, many selected from the untapped treasure trove of slides that comprise the Library of Congress' "Look" Magazine Collection.

As a staff photographer for "Look" magazine in 1968, Fusco was commissioned to document all of the events surrounding the funeral. In addition to capturing the thousands of Americans who stood by the railroad tracks to greet the funeral train carrying Kennedy's coffin, he also photographed the mourners gathered at St. Patrick's Cathedral in New York, as well as the dramatic night burial in Arlington National Cemetery. In this volume, newly discovered photographs are presented alongside classic images of the funeral train that have been seared into public consciousness from two previous iterations of the work: a 1999 limited edition and the 2000 trade edition, both long out-of-print.

"Paul Fusco: RFK" provides a new perspective on this legendary photographer's singular achievement. It also helps solidify the status of this classic body of work as one of the great efforts in photographic reportage and an incomparable document of this pivotal moment in U.S. history.

Paul Fusco, born in Leominster, Massachusetts in 1930 and a member of Magnum Photos since 1974, began his career photographing for the U.S. Signal Corps during the Korean War. He studied photojournalism at Ohio University and his work has been widely published and exhibited at venues including the Photographers' Gallery, London and the International Festival of Photojournalism, Perpignan, France.
Senator Edward M. Kennedy, brother of Robert F. Kennedy, has served in the U.S. Senate since 1962.
Norman Mailer (1923-2007) wrote more than 30 books, garnering the Pulitzer Prize twice.
Evan Thomas is Editor at "Newsweek" and author of "Robert Kennedy: His Life."
Vicki Goldberg is a leading voice in the field of photography criticism; her essay collection "Light Matters" was published by Aperture in 2005.