Monographs & Art Books / H

232Francis Haar [1908-1997] practiced his art of photography and filmmaking in three distinctly different worlds. He started his first studio in his native Budapest; later he moved to Paris and from there he was invited to Japan. After twenty years working in the Orient -- interrupted by three years of activity in Chicago -- he settled in Honolulu in 1960. He brought with him from these previous experiences priceless riches and memories, reflected in all of his contemporary work.

He emerged from the same artistic and cultural milieu which nurtured Laszlo Moholy-Nagy and Gyorgy Kepes, with whom he enjoyed a personal and artistic friendship. As with so many Hungarians, he became fluent and expert in the 'Language of Vision' and enthralled with the 'Vision of Motion.' When expressing himself verbally, his Hungarian accent is unmitigated, but when speaking visually, in photography or in cinematography, his message resonates with overtones from Japan and reverberates with the cosmopolitan sophistication of European and American big-city environments. Like other sensitive and receptive newcomers to Hawai'i, he became deeply attracted to the study of Hawaiian culture.

1125Ernst Haas is one of the best-known, most prolific and most published photographers of the 20th century. He is famed for his vibrant color style, which, for decades, was much in demand by the illustrated press. This work, published in the most influential magazines in Europe and America, also produced a constant stream of books, and these too enjoyed great popularity. But although his color work earned him international fame, in recent decades it has been derided as "overly commercial" or not sufficiently "serious." Yet there was a side of Haas’ work almost entirely hidden from view: parallel to his commissioned work, he made images independently, images far more edgy, loose, complex, ambiguous and radical than the work for which he is famed. Hass never printed these pictures in his lifetime, nor did he exhibit them, perhaps believing that they would not be understood or appreciated. This volume, intended to "correct" the record, compiles these photos of great complexity for the first time in print. Ernst Haas (1921–86) was an Austrian-born artist who enjoyed a 40-year career as a photojournalist and creative photographer. A self-trained photographer, Haas first began to photograph his native Vienna in the aftermath of World War II. He published in various magazines before joining Magnum Photos, of which he would eventually become president. In 1950 Haas traveled to New York for a project and remained there for the rest of his life. The Museum of Modern Art presented a ten-year survey of his color photography in 1961―its first solo-artist retrospective dedicated to color work.

1125Ernst Haas's color works reveal the photographer's remarkable genius and remind us on every page why we love New York. When Haas moved from Vienna to New York City in 1951, he left behind a war-torn continent and a career producing black-and-white images. For Haas, the new medium of color photography was the only way to capture a city pulsing with energy and humanity. These images demonstrate Haas's tremendous virtuosity and confidence with Kodachrome film and the technical challenges of color printing. Unparalleled in their depth and richness of color, brimming with lyricism and dramatic tension, these images reveal a photographer at the height of his career.

In Lost Venice photographer Sarah Hadley presents an alluring and haunting portrayal of this majestic city as distilled through her personal lens of loss and nostalgia. By contemplating the temporal beauty of Venice, Hadley examines our own impermanence and the uncertain future of this unique city.

1240In Let the Sun Beheaded Be, Gregory Halpern focuses on the Caribbean archipelago of Guadeloupe, an overseas region of France with a complicated and violent colonial past. The work resonates with Halpern’s characteristic attention to the ways the details of a landscape and the people who inhabit it often reveal the undercurrents of local histories and experiences. Let the Sun Beheaded Be offers a visually striking depiction of place―as it has been worked on by the forces of nature, people, and events―as well as a thoughtful engagement with the complexities of photographing in foreign lands as an interloper. A text by curator and editor Clément Chéroux grapples with Guadeloupe’s colonial past in relation to the French Revolution, Surrealism, and the Martinican poet Aimé Césaire, whose writing inspired the title of the book and much of the imagery itself. A conversation between Halpern and photographer and critic Stanley Wolukau-Wanambwa delves into Halpern’s process, personal history, and the politics of representation.

Let the Sun Beheaded Be was produced as part of Immersion, a program of the Fondation d’entreprise Hermès, in partnership with the San Francisco Museum of Modern Art and the Fondation Henri Cartier-Bresson. Copublished by Aperture and Fondation d’entreprise Hermès.

1240Throughout his career, Gregory Halpern has explored the elusive, inchoate notion of Americanness. It is both a difficult subject and a lofty prospect for any photographer and it remains an absolutely essential line of investigation, particularly in the context of the current political maelstrom. Traveling to the nation's heartland-a vague construct increasingly synonymous with the Bible belt-Halpern continues to mine this idea of Americanness in a place bounded by prairie and steeped in pioneer history. His work in the midwestern city of Omaha reveals America as pluralized, fragmented, and teeming with its own 'brand of hypermasculinity', as he terms it: adolescents on the cusp of promise or obscurity, land that seemingly leads to nowhere, a sense of unending time and a dark side to domesticity. Halpern's efforts to visualize America yield an opportunity to learn about the country by staring back at images of it that breed their own complexity.--Amanda Maddox, J. Paul Getty Museum

202Condemned: Mental Health in African Countries in Crisis by Robin Hammond presents a profound body of work produced over seven years in nine African countries. "Condemned" was selected for the 2013 FotoEvidence Book Award by a prestigious international jury. Hammond captures both the deplorable conditions that the mentally ill endure and the overwhelming challenge that mental health workers face with limited resources and inadequate or failed systems health care systems in which the mentally ill have the lowest priority. Interviews with both the incarcerated mentally ill and those working to heal them - secular mental health workers and both Christian and Muslim faith healers - provide blunt evidence of the past trauma and current suffering of his subjects and the challenges and frustration of those struggling with limited resources to find ways to address the needs of vast numbers of mentally ill. Shame and prejudice based on traditional and religious beliefs about mental illness add cultural obstacles to the effective treatment of the mentally ill in many regions of Africa. The hardbound book measures 8 inches by 12 inches, with a matt laminated cover. It contains 89 black and white images, an introduction by the photographer and raw fragments of interviews conducted with patients, care givers, healers, and mental health administrators. Printed on 100lb paper on a Heidelberg press at Ofset Yapimavi in Istanbul, the photographs bring a rich aesthetic feel to a subject matter that could be considered harsh and disturbing.

202In Zimbabwe, Robin Hammond (born 1975), a freelance photojournalist from New Zealand and the recipient of the 2011 Carmignac Gestion photojournalism prize, highlights the humanitarian crisis in Zimbabwe and the trials of the people who suffered the repression, violence and atrocities committed under President Mugabe's regime.

1269Ren Hang, who took his life February 23, 2017, was an unlikely rebel. Slight of build, shy by nature, prone to fits of depression, the 29-year-old Beijing photographer was nonetheless at the forefront Chinese artists’ battle for creative freedom. Like his champion Ai Weiwei, Ren was controversial in his homeland and wildly popular in the rest of the world. He said, “I don’t really view my work as taboo, because I don’t think so much in cultural context, or political context. I don’t intentionally push boundaries, I just do what I do.”

Why? Because his models, friends, and in his last years, fans, are naked, often outdoors, high in the trees or on the terrifyingly vertiginous rooftops of Beijing, stacked like building blocks, heads wrapped in octopi, body cavities sprouting phone cords and flowers, whatever entered his mind at the moment. He denied his intentions were sexual, and there is a clean detachment about even his most extreme images: the urine, the insertions, the many, many erections. In a 2013 interview VICE magazine asked, “there are a lot of dicks … do you just like dicks?” Ren responded, “It’s not just dicks I’m interested in, I like to portray every organ in a fresh, vivid and emotional way.” True though that may be, the penises Ren photographed were not just fresh and vivid, but unusually large, making one wonder just where he met his friends.

In the same piece, Hang also stated, “Gender isn’t important when I’m taking pictures, it only matters to me when I’m having sex,” making him a pioneer of gender inclusiveness. Young fans still eagerly flock to his website and Facebook, Instagram, and Flickr accounts. His photographs, all produced on film, have been the subject of over 20 solo and 70 group shows in his brief six-year career, in cities as disparate as Tokyo, Athens, Paris, New York, Copenhagen, Frankfurt, Vienna, and yes, even Beijing. He self-published 16 monographs, in tiny print runs, that now sell for up to $ 600. TASCHEN’s Ren Hang is his only international collection, covering his entire career, with well-loved favorites and many never-before-seen photos of men, women, Beijing, and those many, many erections. We take solace remembering Ren’s joy when he first held the book, shared by his long-time partner Jiaqi, featured on the cover.

Coronavirus, in short-measure, has changed the world completely. How can we make sense of the impact this tsunami of change has on our lives? How can we cope with the many ways our lives have been shaken-up and the fears that have arisen? Zen Buddhism offers a clear path to find strength and courage, when all around us seems to be falling-apart. For thousands of years Buddhists have been meditating on the hardest challenges in life, such as sickness, grief and death. This book offers an introduction to the Zen path through words, photos and poetry. More than simply a guidebook, it provides a space for reflection on Zen, in relation to both photography and the coronavirus situation. Through the lens of author-photographer Rod Harbinson, we are taken on a spiritual journey into the sacred mountains of Japan, where Zen Buddhism evolved.

1063The Fens, a region of reclaimed marshland in eastern England, is one of the richest arable areas in the UK. It is a landscape of agribusiness that Paul Hart has been photographing for over eight years. In Drained, he continues the exploration of this wide-open environment which he began with Farmed, the first in a planned series of three books about the region. This is a linear landscape of straight lines and flat horizons, with monoculture at it's core. Hart's narrative pinpoints the objects that remain when all that surrounds has been cleared by modern agricultural practice. He conveys nature's vulnerability within this unsheltered, unprotected environment. Hart's working method is in the vein of documentary, exploring our relationship to the landscape by highlighting elements that are so often overlooked. He employs the analogue process and traditional darkroom techniques, to convey something of the soulful in a landscape.

1063The Fens, a region of reclaimed marshland in eastern England, is one of the richest arable areas in the UK. Hart has been photographing this landscape of agribusiness over the last six years. He explores this wide-open environment, a linear landscape of straight lines and flat horizons, which is monoculture at it’s core.

1063Paul Hart's new book Reclaimed concludes his three-part series on The Fens in the UK. The first two books Farmed (2016) and Drained (2018) have received several international awards and considerable critical acclaim. In 2018 work from the series was awarded the inaugural Wolf Suschitzky Photography Prize (Austria/UK) and in 2019 it was shortlisted for the Hariban Award (Japan).
The Fens, originally a region of low-lying marshland in the east of England, has been artificially drained over centuries to provide some of Britain's most fertile agricultural land. It is a landscape of agribusiness with monoculture at it's core, defined by human migration and long-term reclamation from the sea.
Paul Hart has photographed the area for over ten years. His narrative examines the complex interrelation between humanity and nature and raises important questions about human-altered topography and our occupation and stewardship of this land. By focusing on the often-overlooked elements in familiar vistas Hart's aesthetics carry a documentary sensibility that allows the landscapes to define themselves. He works solely with the analogue process employing traditional darkroom practice to convey something of the soulful in a landscape that is rarely considered of aesthetic merit.
As the respected French curator and writer Isabelle Bonnet states in her insightful introductory essay; "Hart's landscapes create a dialogue between art and document, lyricism and storytelling, the sublime and the ordinary. Almost everywhere, rectilinear and regular shapes unfold, impeccably drawn furrows responding to rows of trees, industrial constructions and metal structures... No movement animates this nature morte, no bird awakens these low and heavy skies and endless horizons... Hart's images take on a universal value: the battered and exhausted Fens resonate like a subtle metaphor for what humanity engenders and inflicts on itself."

1063The forest interior is more architecture than landscape. Amongst the trees, your concept of time is changed. As you move deeper inside, and the outside world disappears, the wind is calmed and noise filtered, temperature is altered, and light is bounced and subdued. Some trees stand like sentinels, others are stolid in ranks, an army of trees appearing out of the dark. This apparent sanctuary of stillness can strangely transform. It is it s own world. Stepping into the forest is always like stepping into the unknown, with the semi-dark concealing much, revealing a little. A place sometimes mysterious, sometimes secretive, but always seductive and always dark.

653Gardening at Night is an exploration of home, family, nature, and time. It’s predecessor, You Look at Me Like an Emergency, captured journeys in finding and defining home, while Gardening at Night denotes settling into one’s landscape, and creating life where you are. The narrative throughout has a delicious element of magical realism – the viewer is left with the feeling of waking within a dream. On the other hand there is familiarity in what she evokes – something primal and instinctual that points to each person’s connection to nature. Seasons figure prominently as metaphors for the cycle of life, and interplays between shadow and light underscore the work. Each photograph and written vignette offers a tactile experience of things that ordinarily seem intangible – the secret life of birds, of barren winter trees, of the lake in spring time, or the girl in the window whose house you pass every day. The jewel-toned images are arresting and weighted, but punctuated, as always by Cig’s characteristic whimsical style. The result is an intensely personal collection that captures an experience of the world that is at once otherworldly and yet instantly familiar.

653Cig Harvey's third monograph, You An Orchestra You A Bomb, is a vibrant and bold book; possibly her most beautiful to date. It explores the photographer's relationship with life itself. It is a book about paying attention to and appreciating the fragile present. You An Orchestra You A Bomb captures moments of awe, makes icons of the everyday, and looks at life on the threshold between magic and disaster. Cig has always experienced the world viscerally but after a traumatic event, a raw heightened awareness of temporary nature of life permeates this new work. Through breathless moments of beauty, her images propel us to fathom the sacred in the split seconds of everyday. Cig's photographs are interwoven with her intimate poetry in this hauntingly beautiful book.

653Cig Harvey's YOU LOOK AT ME LIKE AN EMERGENCY is a visual autobiography exploring the photographer's central relationships over the course of more than a decade. Through rich, vibrant photographs and startingly revealing writing, Cig transforms quotidian experences that reference time and place, creating totems that mark key moments in her life. As much a map of one woman's emotional life as it is a catalog of psychological archetypes, YOU LOOK AT ME LIKE AN EMERGENCY takes the viewer on a literal and metaphorical journey that deals with rejection, hope, indecision, strength, loss, and love to finally find a place called home. In seventy-four gorgeously colored photographs and seventeen personally written vignettes, EMERGENCY conveys the universal quest for personal identity and place in the world.

896In German

906Photographs of Samuel Beckett by John Haynes, one of the leading theater photographers in the field, appear here with three new essays by Beckett's biographer and friend, James Knowlson. Haynes' photographs include previously unpublished studies of Beckett in addition to productions and rehearsals. Knowlson's first essay combines a verbal portrait of Beckett with a personal memoir of the writer. The second essay considers the influence of paintings on his theatrical imagery while the third offers a detailed account of Beckett's work as a director of his own plays. James Knowlson was the original founder of the Beckett archive (now the International Beckett Foundation) at the University of Reading, which also houses the Beckett Collection, now the world's largest collection of Beckett resources. Knowlson's previous publications include Frescoes of the Skull: The Later Prose and Drama of Samuel Beckett (Grove, 1980) and the highly praised biography Damned to Fame: The Life of Samuel Beckett (Simon & Schuster, 1999). John Haynes was privileged to work alongside Beckett as photographer in residence at the Royal Court Theatre in the 1970s, when Beckett was directing his plays. Haynes continues to work with the leading directors and actors of British contemporary theatre.

906Taking The Stage: Twenty-One Years Of The London Theatre by John Haynes

First monograph of this German photographer, unfortunately the book is in French only.

Robert Heinecken was a pioneer in the postwar Los Angeles art scene who described himself as a para-photographer because his work stood "beside" or "beyond" traditional ideas of the medium. Published in conjunction with the first museum exhibition of the artist's work since his death in 2006, this publication covers four decades of his remarkable and unique practice, from the early 1960s through the late 1990s, with special emphasis on his early experiments with technique and materiality. Culling images from newspapers, magazine advertisements and television, Heinecken recontextualized them through collage and assemblage, double-sided photograms, photolithography and re-photography. Although he was rarely behind the lens of a camera, his photo-based works question the nature of photography and radically redefine the perception of it as an artistic medium. As the most comprehensive survey of Heinecken's oeuvre, this book sets his work in the context of twentieth-century history of photographic experimentation and conceptual art. An illustrated essay by conservator Jennifer Jae Gutierrez about the artist's experimental techniques, which ranged from photograms to photolithography to collage, contributes to the sparse scholarship on Heinecken's working methods. Robert Heinecken was born in 1931 in Denver, Colorado and in 1942 his family relocated to Riverside, California. After serving in the US Marine Corp, he earned a BA in 1959 from the University of California, Los Angeles, where he continued his studies, specializing in printmaking and graduating with an MFA in 1960. He founded the graduate program for photography at UCLA in 1964, where he taught until 1991. Heinecken died at age 74 in 2006 in Albuquerque, New Mexico.

Forever comprises photographs taken in the downtown area of Los Angeles and the poorer neighborhoods of Compton, Watts and South Central, made between 2007-2012. The work traces the movements of the homeless, in images which take up the point of view of the homeless person. So, rather than photographing the material trace – a chair or bed – Hernandez photographs what might be might seen and observed from the street itself.

The most comprehensive book yet published on the Canadian color-photography pioneer Fred Herzog is best known for his unusual use of color photography in the 1950s and 1960s, a time when art photography was almost exclusively associated with black-and-white imagery. In this respect, his photographs can be seen as prefiguring the New Color photographers of the 1970s. The Canadian photographer worked largely with Kodachrome slide film for over 50 years, and only in the past decade has technology allowed him to make archival pigment prints that match the exceptional color and intensity of the Kodachrome slide, making this an excellent time to reevaluate and reexamine his work. This book brings together over 230 images, many never before reproduced, and features essays by acclaimed authors David Campany, Hans-Michael Koetzle and artist Jeff Wall. Fred Herzog is the most comprehensive publication on this important photographer to date.

63Nazraeli Press is pleased to announce Excerpts from Silver Meadows, our sixth monograph by Todd Hido and his most ambitious project to date. Hido is one of the most widely recognized and influential photographic artists of our time. Silver Meadows is the name of a street that runs through the neighborhood in Kent, Ohio where the artist grew up. The setting of Hido s childhood, it also became the creative wellspring for his work. Here, it serves as a point of departure for Hido s reexamination of a Midwestern suburban upbringing; a trip through the innocence of childhood and adolescence and into the darker aspects of life beyond. Beautifully printed on matt Japanese art paper, and featuring an installation of tipped-in images on the case binding, Excerpts from Silver Meadows is printed in a first edition of 3,000 copies.

63'Todd Hido's large color photographs of suburbia are lonely, forlorn, mysterious... and strangely comforting. Hido photographs the interior rooms of repossessed tract homes, and the outsides of similar houses at night whose habitation is suggested by the glow of a television set or unseen overhead bulb. Seldom does the similar evoke such melancholy. Yet rather than passing judgment on his anonymous subjects, Hido manages to turn the banal into something beautiful, imbuing his prints of interiors with soft pastels, and allowing the exteriors to glow in the cool evening air.' (From our description of the first printing of 'House Hunting', announced in 2000) We are excited to announce a newly remastered edition of Todd Hido's iconic and highly sought-after first monograph, House Hunting. To celebrate the upcoming 20th anniversary of this important book - certainly one of the most influential and oft-cited photography monographs of our time - we have collaborated closely with the artist to achieve a new impression of the highest possible fidelity. Printed on heavy weight matte art paper, using cutting-edge technologies in both the pre-press and production phases, this new edition of 'House Hunting' stays true to the original design and format while delivering even more accurate color rendition and nuances in tone and saturation. It will be a welcome addition to collections lacking access to the very scarce original printings; and to those fortunate enough to own a copy of the original edition, it further illuminates the images themselves that first catapulted the artist and his first monograph to fame.

63Well-known for his photographs of landscapes and suburban housing across the United States, and for his use of luminous color, Todd Hido casts a distinctly cinematic eye across all that he photographs, digging deep into his memory and imagination for inspiration. David Campany introduces the work and looks specifically at Hido's cinematic influences and the kind of spectatorship the work demands. The book is organized chronologically, showing how his series overlap in exciting, new ways. Also featured are short interviews with Hido about the making of each of his monographs. From exterior to interior, surface observations to subconscious investigations, landscapes to nudes, this mid-career survey reveals insight into Hido’s practice and illustrates how his unique focus has developed and shifted over time.

Photographer Jonathan Higbee spent years painstakingly documenting fleeting juxtapositions on the streets of New York. These intersections of passers-by, street signs, billboards, and more take on new meaning and life through the lens of Higbee’s camera: as a dancer on a stage of trash, graffiti unfurling from a backpack, to even a giant casually walking the streets of the city. Each photograph captures the wit, joy, and surrealism of everyday life in a sometimes chaotic world. Featuring new photographs, as well as seminal photos from his initial series, Coincidences is Higbee’s self-professed love letter to New York and its moments of serendipity.

934By capturing threatened animal species in ice, photographer Erik Hijweege creates confusion. The images set his audience thinking. Is this animal encased in ice the last of its kind, or is it simply preserved, left in stasis and immortalised until it can perhaps be resurrected? Hijweege, moreover, applies an archaic, rarely used technique to produce his images: the wet collodion process dating from 1851. The depictions of species like the polar bear, bison, gorilla and elephant seem like artefacts from another time or our future. In this way, we become witnesses to a project that has far-reaching implications for our ways of thinking about extinction, preservation and conservation.

934Dutch photographer Erik Hijweege paints a fascinating and endearing portrait of Holland in the 21st century through his use of tilt-shift photography. This technique involves a camera method of selective focus, which often simulates a miniature scene, enabling the photographer to create images with a playful dynamic between sharp focus and blurry swathes of colour. Small commentaries by Hijweege accompany most of the images, giving each a highly personal insight, not only as to his reasons for capturing that particular landscape and subject, but also offering an intimate look at Holland, its features and history, and of course a celebration of the country's culture today.

934NOIR is a tribute to the African people. In the 2002/2003 Erik Hijweege went on three expeditions to Senegal, Namibia and Botswana. Deep into the Kalahari, in the south of Africa, he set up a fully equipped photographic studio in each village he visited.
By choosing a black background he profoundly brings out the mystic of the Bushmen and Herero tribes. A beautiful counterpoint is provided by the portraits of Senegalese albinos photographed against a white background. These pictures capture their compelling fragility, adding another dimension to the beauty of Africa.
English travel adventure writer Redmond O'Hanlon provides a storytellers perspective to the stunning visual impressions of Africa in his introduction.

934After more than 5 years of stormchasing in the U.S.A. my first monograph on rotating storms was published by Hatje Cantz in 2011. This beautiful large book has 192 pages and circa 110 color illustrations. Environmental writer and historian Richard Hamblyn wrote the introduction. Author Redmond O' Hanlon completed the book with an essay.

1274Photographer, teacher, and sociologist Lewis W. Hine (1874–1940) shaped our consciousness of American working life in the early 20th century like no other. Combining his training as an educator with his humanist concerns, Hine was one of the earliest photographers to use the camera as a documentary tool, capturing in particular labor conditions, housing, and immigrants arriving on Ellis Island. His images, including those of children in cotton mills, factories, coal mines, and fields, became icons of photographic history that helped to transform labor laws in the United States.

This book brings together a representative collection of Lewis W. Hine’s photography from all periods of his work. It spans his earliest forays into social-documentary work through to his more artistic and interpretative late photographs, including his phenomenal images of the construction of the Empire State Building and his symbiotic staging of human and machine as a comment on increasing industrialization. Alongside the near 350 photographs, the book includes an essay by the editor, introducing Hine’s life and pioneering work.

1274In 1905, a young sociologist named Lewis Hine Wickes decided to pursue photography as the medium with which to denounce injustice and poverty. Hine was one of the first photographers to document the wave of mass immigration from an impoverished Europe to an economically booming America, and his portraits of immigrants at Ellis Island offered a more positive image of this influx. Later, while working with the National Child Labor Committee, Hine compiled a vast corpus of images that showed how American industry was making use of child labor, helping to bring about changes in U.S. child labor law. But as he wearied of photographing poverty, Hine developed an idealized vision of the worker that emphasized the dignity of labor--a vision that culminated in his legendary Men at Work series, first published in 1932 and today a classic American photobook. "We call this the Machine Age," he wrote in its introduction, "But the more machines we use, the more do we need real men to make and direct them." This beautifully produced volume, which includes a complete facsimile of Men at Work, is compiled from the collection of the George Eastman House, to whom Hine's son bequeathed his archive after his death. It includes both well-known series and recently discovered early works, plus rare family photographs, ephemera and a detailed chronology. The works are arranged in thematic groupings: "Ellis Island," "Tenements," "Child Labor," "Chicago and New York," "Pittsburgh," "Europe," "Black America," "Empire State Building" and "New Deal."

1274At the dawn of the twenty-first century it is hard to imagine a time when this countrys coal miners and mill workers were elementary-school aged boys. But nine decades ago, it was entirely common to find a seven-year-old boy selling a newspaper, digging in the fields, or standing in an assembly line. Photographer Lewis W. Hines images of these child workers serve as disturbing evidence of Americas dark side, a time before common beliefs about poverty had shifted. Hines photographs inspired the Progressive reform movement and the professionalization of social work. With his camera, Hine (1874-1940) helped make possible the everlasting efforts of the National Child Labor Committee. Lewis Hine: Children at Work explores the world of juvenile workers in mills, mines, canneries, fields, and city streets throughout America with shocking candor and insight. Featuring large, high-quality black-and-white photographs, Children at Work is at once impressive and shocking, beautiful yet utterly heartbreaking.

1274I will take you into the heart of modern industry where machines and skyscrapers are being made, where the character of the men is being put into the motors, the airplanes, the dynamos upon which the life and happiness of millions of us depend.

Lewis H. Hine (1874-1940), one of America’s best photographers, wrote this in his introduction to Men at Work, a book, he said, about “men of courage, skill, daring, and imagination.” And in 69 attention-riveting photographs, including those of the construction of the Empire State Building, he makes us believe once again in the heroism of ordinary people.

Originally published in 1932, and now exceedingly rare, Men at Work takes us into coal mines, heavy industry, and tire and airplane factories. We see railroad workers in the shop, on the tracks and as train crews. Foundation men, connecters, bellmen, hoisters, derrick men, plumbers-up, riveters, buckers-up, catchers, burners, heaters, welders, bolt boys, sky boys — the various trades of construction workers — build from bedrock that great monument and symbol of twentieth-century life, the Empire State Building. For this edition 18 additional and extraordinary Hine photographs of this construction have been added.

Hine, widely known for his pictures of immigrants arriving at Ellis Island and his studies of child labor, combines enormous technical ability with sensitivity and deep feeling. The people in this book do their job with pride, dignity, and skill. They are in control of the giant machines they use, at home in space, not dwarfed by their constructions.

1274Between 1908 and 1917, the American photographer and sociologist Lewis Hine (1874–1940) took some of the most memorable pictures of child workers ever made. Traveling around the United States while working for the National Child Labor Committee, he photographed children in textile mills, coal mines, and factories from Vermont and Massachusetts to Georgia, Tennessee, and Missouri. Using his camera as a tool of social activism, Hine had a major influence on the development of documentary photography. But many of his pictures transcend their original purpose. Concentrating on these photographs, Alexander Nemerov reveals the special eeriness of Hine's beautiful and disturbing work as never before. Richly illustrated, the book also includes arresting contemporary photographs by Jason Francisco of the places Hine documented.

Soulmaker is a striking new meditation on Hine's photographs. It explores how Hine's children lived in time, even how they might continue to live for all time. Thinking about what the mill would be like after he was gone, after the children were gone, Hine intuited what lives and dies in the second a photograph is made. His photographs seek the beauty, fragility, and terror of moments on earth.

The Gowanus Canal is a 1.8-mile-long waterway connecting Upper New York Bay (the bay in between Brooklyn, Manhattan, New Jersey, and Staten Island) with the formerly industrial interior of Brooklyn. Originally it was fed by the marshland and freshwater springs in Brooklyn and drained into the Atlantic Ocean in Upper New York Bay.

302Now available is Fan Ho's most popular book, Hong Kong Yesterday (3rd Edition). Hong Kong Yesterday is a beautiful look at Hong Kong during the 1950's and 1960's by award winning photographer, Fan Ho. The book is Cloth bound, Hard cover, 9.5 x 11 inches, 112 pages, 70 dual-color plates.

302"Award-wining photographer Fan Ho has won 280 awards from international exhibitions and competitions worldwide since 1956. Ho has been elected Fellow of the Photographic Society of America, Fellow of the Royal Photographic Society and Fellow of the Royal Society of Arts, England; Honorary Member of the Photographic Societies of Germany, France, Italy, Belgium, Brazil, Argentina, Singapore and etc, and was honored with One-Man-Shows in the above countries. Ho's works can be seen and have been published in many International Photographic Annuals all over the world."

Ali was and is the greatest. A great sportsman, a controversial thinker, who with, his appearances in and outside the ring, enthralled people but also offended many. A polarizing figure, still unforgotten. Thomas Hoepker, a member of MAGNUM PHOTOS, had the opportunity to spend time with Cassius Clay aka Muhammad Ali and take photographs in 1960 when he won the a gold medal at the Rome Olympics, in 1966, when Ali was world heavyweight champion already, in 1970, when he, after several years of a forced absence from the ring, restarted his career and prepared himself for the "Fight of the Century" against Joe Frazier and years later, already weakened by Parkinson's disease. Many of these pictures have gone around the world and have become photographic icons. They have been shown in many museums and are sought after by collectors. But many photographs in this book have been unpublished until now. They show Ali in private moments and public appearances outside of the ring, on a visit to his hometown, talking to children and young people, flirting with a pretty baker's daughter, who later became his wife, on the film set of 'The Dirty Dozen ', in the gym and at home.

The bustling gateway to America, New York has always been a city of dramatic excitement--big dreams and constant changes. A legendary photojournalist and former president of Magnum Photos, Thomas Hoepker vividly captures the city's complex spirit in all its many moods. A long-time resident, Hoepker's images range from the early 60s through 9/11, and up to the very present including the aftermath of Hurricane Sandy. With journalistic zeal and a keen eye for crucial details, he documents a true New York with its diverse inhabitants and the allure of its prominent landmarks and hidden, far-flung corners. His insightful photography conveys a vivid sense of the city's physical landscape and also of its unique everyday interactions and intricate urban culture.

980Book in French. Texts by Jean-Baptiste Gauvin

980They are the last remaining Jews in Ethiopia. More than 20 years after Operation Solomon enabled tens of thousands of this group’s members to return to the Promised Land, a handful are still waiting to migrate to Israel. The exodus is particularly complex. As they have been converted to Christianity over the centuries, proving their Hebrew roots is a tedious process, one that rabbis and religious authorities have tackled for years. In January 2011, Israel revived its immigration efforts after years of obstacles and refusal. A list of 8,000 candidates was then submitted to the Jewish Agency, the organisation that oversees weekly departures. These are the families that we followed from the northern Ethiopian city of Gondar to Jerusalem. The purpose of this site and the book is to tell in words and images the story of the Beta Israel’s (House of Israel) final exodus.

980Benjamin Hoffman lived and photographed for several months in Cape Town, South Africa. The violence and the intensity of the city's contrasts fascinated him; with Farewell Cape Town, he gives us his reflection on the relationship of man to others and to his environment. In French

980Testament Manouche is a dive into the world of adolescents and young adults from the Gypsy community. Book in French

In the 1970s, photographer Hugh Holland masterfully captured the burgeoning culture of skateboarding against a sometimes harsh but always sunny Southern California landscape. This never-before-published collection showcases his black-and-white photographs that document young skateboarders sidewalk surfing off Mulholland Drive in concrete drainage ditches and empty swimming pools in a drought-ridden Southern California. From suburban backyard haunts to the asphalt streets that connected them, this was the place that inspired the legendary Dogtown and Z-Boys skateboarders. With their requisite bleached-blond hair, tanned bodies, tube socks and Vans, these young outsiders evoke the sometimes reckless but always exhilarating origins of skateboarding lifestyle and culture.

Testament is a collection of photographs and writing by late photojournalist Chris Hondros spanning over a decade of coverage from most of the world's conflicts since the late 1990s, including Kosovo, Afghanistan, the West Bank, Iraq, Liberia, Egypt, and Libya. Through Hondros' images, we witness a jubilant Liberian rebel fighter exalt during a firefight, a U.S. Marine remove Saddam Hussein's portrait from an Iraqi classroom, American troops ride confidently in a thin-skinned unarmored Humvee during the first months of the Iraq war, "the probing eyes of an Afghan village boy," and "rambunctious Iraqi schoolgirls enjoying their precious few years of relative freedom before aging into more restricted adulthoods." Hondros was not just a front-line war photographer, but also a committed observer and witness, and his work humanizes complex world events and brings to light shared human experiences. Evident in his writings, interspersed throughout, Hondros was determined to broaden our understanding of war and its consequences.

618BOX has Slight wear on corners and slight discoloration on one side. They book has a few pages in the back with a fingernail size slight indentation. The inscription can be covered with the third grey page. The point has a small white blemish that would be easy for a pro to fix.

283Director, actor, photographer, artist and art collector, Dennis Hopper was a man of diverse talents who intersected with countless key moments in American culture--particularly, and most famously, in the 1960s. Hopper's great gifts as a photographer are well established, with many of his images having entered public consciousness. This handsomely produced volume looks at Hopper's photography throughout its glory years, from 1961 to 1967. In these years, Hopper carried a camera everywhere, from bars to marches, art openings to freeways. Conceived as a kind of road trip across America, the book runs the gamut of 1960s counterculture and film culture, taking in Warhol's Factory (where Hopper spent much time), film shoots, street scenes, road trips and of course the classic portraits of movie stars, musicians, artists, bikers and activists, from Martin Luther King to Allen Ginsberg and James Brown. The result of exhaustive research into the artist's archives at the Dennis Hopper Art Trust, and with a wealth of previously unpublished images, Dennis Hopper: On the Road offers a first-hand, collective portrait of an era.

394ANIMALIA is a collection of the best of noted photographer Henry Horenstein’s images of sea and land creatures. Described variously as evocative, mysterious, romantic, surprising, and weird, Horenstein’s abstract images will make the viewer see otherwise familiar animals in a new and different light. Printed in sumptuous sepia duotones, ANIMALIA will make an elegant gift book for the animal or photography lover among your friends and family members.

394In Close Relations, noted photographer Henry Horenstein presents his earliest photographs, made from 1970 to 1973: a collection of portraits of family and friends, landscapes, and period imagery. These photographs describe a time familiar to everyone, when one moves from adolescence to adulthood, remaining as part of a family while beginning to create a network of one’s own.

394Forty years after Henry Horenstein began documenting the country music scene in and around Nashville, his deep love for the music and its people continues. Having spent a lifetime around performers and fans, he has been granted access to both the high-glamour backstage of the Grand Ole Opry in its heyday of the 1970s and the rough-and-tumble dive bars that carry on the tradition today.

13Horst P. Horst's images are the essence of elegance. Glamorous and sexy, they capture the celebrity and style of the 20th century. In this, the first book devoted specifically to Horst's portraits, 170 full-page photographs immortalize the actors and artists, designers and models, royalty and socialites who sat for him during his 60-year career. Coco Chanel, Joan Crawford, Marlene Dietrich, Gertrude Stein, Salvador Dali, Steve McQueen, Noel Coward, Jacqueline Kennedy, and Calvin Klein are just a few of those pictured. Culled from private collections as well as from the archives of American, British, and French Vogue, a number have never before been published. Horst Portraits includes an informative introduction, extensive notes on both the subjects and the sittings, and a complete chronology.

13The first major book to celebrate the entire career of legendary fashion photographer Horst P. Horst. The first comprehensive book on Horst P. Horst, this richly illustrated survey accompanies a retrospective of the photographer’s career, spanning fashion, nudes, portraiture, interiors, and art, at the Victoria and Albert Museum. For an incredible six decades, Horst’s work graced the pages and covers of Vogue, beginning in the 1930s alongside luminaries such as Cecil Beaton and George Hoyningen-Huene. With equal admiration for the physical ideals of classical sculpture and the surrealism of Salvador Dali, Horst crafted some of fashion’s most iconic images. Newly researched essays follow the photographer as he captured—and mingled with—the great thinkers, designers, and muses of his day, among them Elsa Schiaparelli and Coco Chanel. Known first as a master photographer of French and British couture, Horst also left his mark on interior and lifestyle photography with his work in House & Garden. This survey traces a career remarkable for its range, daring, and depth.

416Excelling in numerous genres, Frank Horvat (born 1928) likes to transgress boundaries, and he does not worry about the conventions of the genre in his fashion photographs: as early as the 1950s, he was going out onto the street, brazenly positioning a model in the middle of a vegetable market (1959) for Jours de France, or, shortly afterwards, experimenting with bold cropping or humorous film quotation. In doing so, Horvat mostly dispenses with artificial light and shoots many of his fantastic pictures with a 35mm Leica from the hip, so to speak. He works for Elle, Vogue, Harper's Bazaar and other major magazines, with famous models and celebrities, and he is the first photographer ever to use Photoshop for his work. Respect for the portrayed women and palpable endearment distinguish Horvat's sensual, elegant pictures from those by all other photographers on the fashion scene.

416The legendary photojournalist's early '80s New York photographs, published alongside his autobiographical musings in an elegant clothbound edition

From 1979 to 1986, the city of New York functioned as a kind of refuge for photographer Frank Horvat (born 1928). Born in present-day Croatia, for years Horvat lived and worked rather nomadically, traveling extensively through Asia and Europe on photojournalist excursions with a brief stopover in Paris where he shot fashion photography for Jardins de Mode and Elle. Eventually he found himself in New York; during this period, he allowed himself to surrender to the daily hustle and bustle of the city streets. In between commissions, Horvat created a prolific series of photography and writing that was not intended for public consumption, instead functioning as a reflection upon his own craft as well as the significance of photography itself.

Frank Horvat: Side Walk publishes many of these photographs for the first time alongside the photographer's writing. The elegant presentation of this clothbound volume is representative of the great pride that Horvat took in the creation of his personal projects as well as his professional pursuits: the photojournalist's texts are published on thin Munken offset paper and his photographs are printed on deep matte photo paper. This publication is both a compelling depiction of a beloved city and a portrait of the sensitive man behind the camera.

317New York-based photographer James Houston (born 1965) is a leading beauty and celebrity photographer. For his latest project, Houston has shot luxuriant, saturated color portraits of some of the world's leading environmentally conscious celebrities--(including Adrian Grenier and Emma Watson) and supermodels (including Christy Turlington, Elle Macpherson, Arizona Muse and Anja Rubik)--each with nature as the inspiration for the portrait. Houston's project aims to raise awareness about environmental issues, and to raise funds for Global Green USA.

150From unpublished memoirs and other sources, Ewing (Style and Motion, etc.) offers a comprehensive picture biography of Geoge Hoyningen-Huene, who was born into Russia's aristocracy and in the Paris of the '20s and '30s became a quintessential sophisticate among fashion magazine photographers. For Vogue, Vanity Fair and Harper's Bazaar he provided location and studio portraits of models, designers, film stars, authors, poets and society's darlings. Influenced by Man Ray, Baron de Meyer and Edward Steichen, Hoyningen-Huene set a standard of elegance in a genre later taken further by Horst, Penn and Avedon. In this volume's richly reproduced portraitsamong them Coco Chanel, Cocteau, Chaplin, Stravinsky, the Windsors, Lifar, Dolores Del Rio and Garboartist and subject combine superlatively in what came to be known as glamour.
Copyright 1986 Reed Business Information, Inc.

Pine Ridge Indian Reservation is a sprawling area of land that encompasses parts of the Lakota Sioux tribe's traditional homeland, the Black Hills of South Dakota. Sadly, Pine Ridge continues to be the setting for an ongoing massacre within the tribe. Gangs on the reservation are out of control, and the violence they live by affects even the smallest villages. Pine Ridge is the quintessential example of the failure of the reservation system, with staggeringly depressing statistics on everything from violent crime (the average life expectancy for men is 48) to education. In this powerful new book, Seattle-based photographer Aaron Huey (born 1975) portrays the broken social landscape and desperate living situation that permeates Pine Ridge today. Huey, a photographer who has covered war and poverty in some of the most far-flung places on the planet, stumbled upon Pine Ridge several years ago and has spent the last few years trying to unravel its complexities. His color photographs stand as chilling testaments to the incredible difficulties facing the tribe as a whole, and the reparations yet to be made to them.

252Brilliant South African photographer Pieter Hugo reflects on a generation of Africans born in an era of unprecedented freedom and in the wake of unspeakable violence. Celebrated for his often unsettling but arresting images, especially from his native continent, Pieter Hugo is a photographer with a passion for revealing the truth, no matter how painful or disturbing it may be. In this book, he turns his lens to images of reconciliation, healing, and hope as seen in the faces of children, including his own. 1994 refers to a pivotal moment in African history―specifically in South Africa, which held its first free and democratic elections that year, and Rwanda, where a clash between the Tutsi and Hutu ethnic groups gave rise to a brutal genocide. Hugo photographs children in a landscape from which they emerge and are sometimes engulfed by, some representing more of the Edenic, while others seem older, more impacted by life. His photographs are both unsentimental and straightforward.

252A comprehensive survey of the acclaimed photographer Pieter Hugo and his mesmerizing work, this book features images from each of his major series throughout his prolific career. Pieter Hugo’s images are unflinching and unforgettable. Beginning with “Looking Aside,” his series of portraits of marginalized people, Hugo has striven to capture the African continent with empathy and impartiality. Whether confronting the aftermath of genocide in Rwanda, documenting electrical waste dumps in Ghana, or photographing in Nigeria’s dynamic film industry, Nollywood, Hugo treats his subjects with reverence and awe. Including examples of his most recent series taken in the U.S. and China, this book offers stunning reproductions of Hugo’s work in color and black-and-white, accompanied by the photographer’s personal commentary. Bringing together more than a decade of work that has elicited fulsome praise, this volume lets readers appreciate Pieter Hugo’s extraordinary oeuvre.

252ieter Hugo (born 1976) has garnered critical acclaim for his series of portraits and landscapes, each of which explores a facet of his native South Africa and neighboring African countries, including the film sets of Nigeria's Nollywood; toxic garbage dumps in Ghana; sites of mass executions in Rwanda; as well as albinos, the Hyena Men of Nigeria, honey collectors and garbage scavengers. Kin, a collection of images shot throughout South Africa over the past decade, focuses instead on the photographer's family, his community and himself. Writer John Mahoney characterizes it as the artist's first major work to focus exclusively on his personal experience in his native South Africa, a place defined by centuries of political, cultural and racial tensions and contradictions. Hugo describes his series as "an engagement with the failure of the South African colonial experiment and my sense of being 'colonial driftwood.' South Africa is such a fractured, schizophrenic, wounded and problematic place ... How does one take responsibility for history, and to what extent should one try? How do you raise a family in such a conflicted society?" This work attempts to address these questions and reflect on the nature of conflicting personal and collective narratives.

252This is Cape Town–based photographer Pieter Hugo’s (born 1976) homage to Mexico, in portraits, landscapes and still-life vignettes with bright shades of pink, blue and green.

252This great publication from the award-winning photographer Pieter Hugo reveals the devastating consequences of toxic waste on one community in Africa. In his previous well-received volumes of photographs, Hugo offers unflinching yet striking portraits of humans, animals, societies, and landscapes that shock and disturb, but also demand our attention. In Permanent Error, he documents a garbage dump in Ghana that has become the repository for discarded computers from around the world. These haunting images document the true cost of a misguided policy-the shipping of millions of tons of obsolete computers to developing countries. The computers are burned to extract valuable metals, effectively turning the site into a toxic wasteland that contaminates air, soil, and groundwater for miles around. These amazing portraits tell a story of a marginal community overwhelmed by poverty, but where human strength and resilience shine through the inhuman conditions Hugo lays bare.

252Many myths surround the "Hyena Men" who haunt the peripheries of Nigeria's cities. Accompanied by hyenas, rock pythons and baboons, these men earn a living by performing before crowds and selling traditional medicines. Pieter Hugo's extraordinary portraits of their liminal existence reveal an uncanny world of complex, codependent relationships, where familiar distinctions between dominance and submission, wildness and domesticity, tradition and modernity are constantly subverted. Nigerian journalist Adetokunbo Abiola introduces readers to the "Hyena Men," explaining the traditions and mystique behind their practices. Presented in thirty-five full-color plates, these intense portraits reveal why Hugo is one of the most exciting young photographers at work today.

252Filled with startling portraits of Africa's raw and tragic beauty, this first retrospective of Pieter Hugo's award-winning work collects the most important images from the photographer's career to date. Pieter Hugo has been documenting his native continent of Africa since his late teens. An autodidact, he was eventually drawn to portraiture, an interest that culminated with his hugely popular book, The Hyena and Other Men. Since that book, Hugo has continued to earn high praise while testing the limits of the traditional portrait. As Aperture magazine observes, "Hugo maneuvers through the muddy waters of political engagement, documentary responsibility, and the relationship of these to his own aesthetic." In the books Nollywood and Permanent Error he suffuses a journalist's perspective and a voyeur's theatricality into images of Africa's people and environment. This retrospective volume collects photographs from each of his earlier series as well as portraits and landscapes that have never been shown or published before. Essays by three esteemed photographic critics contextualize Hugo's career Hugo's career within the realm of contemporary photography. Full-page color illustrations highlight Hugo's extraordinary talent for teasing out the subtleties in otherwise stark images.

Celebrated and revered by artists, the work of Peter Hujar remains something of a public secret, but his photographs dealing with sex and eroticism, made between the years 1969 and 1986, have come to define a certain era in New York. Today they are widely considered to be his finest and most radical work. Hujar's view of the human body is uninhibited and uncompromising, but his poignant explorations of sexuality and desire also project a universal humanity; as Nan Goldin said of Hujar's nudes, "Looking at his photographs of nude men, even of a naked baby boy, is the closest I ever came to experience what it is to inhabit male flesh." This monograph, published in conjunction with an exhibition at Fraenkel Gallery in San Francisco, is the first to deal specifically with Hujar's photographs of love and lust. Captured in deeply textured black and white, these photographs present a view of human relationships that encompasses both the tender and taboo. This volume also contains an interview with author Fran Lebowitz from 1989, and newly commissioned essays by Vince Aletti and Stephen Koch.

1316Created and printed by Sohrab Hura to accompany his exhibition of the same title, A Proposition for Departure focuses on the relationship between light and sound, and reads as an instructional guide for the artist, dictating the sound extractions that Hura would create from a selection of his photographs.

1316Self-published (under the imprint Ugly Dog press) in 2015 (here). Hardcover with dust jacket, 144 pages, with 84 black and white photographs. Includes multiple hand written texts by the artist. In an edition of 600 copies. Sohrab Hura is a young Indian photographer, from a small place called Chinsurah in West Bengal. Trained as an economist, he gradually turned to photography, shooting his immediate surroundings, family and close friends, simply “making photographs just for the love of making photographs”. Eventually, he made the leap to photography as his main occupation, and last year Hura became the latest Magnum Photos nominee. It’s been quite an artistic and personal journey in such a short period of time. The photographs he took between 2005 and 2011 have become part of an inwardly felt project entitled Life is Elsewhere. This recently self-published photobook is a diary of Hura’s day to day existence at that time, combining photography and hand written captions in an attempt to bring order to the various fragments of his life. The book, which is dedicated to his mother, reads like a personal journey. Hura begins with a bright, flash lit silhouette of a person in the middle of the street, seemingly glowing or emitting intense, almost blinding energy (can this be a reference to the photographer himself?); it is followed by a neatly handwritten introduction. From these notes, we learn about Hura’s complicated and emotionally challenging relationship with his mother – she screams, she beats him, and sometimes even disbelieves that he is her son. In 1999, she was diagnosed with paranoid schizophrenia, when Hura was just 17.

1316"Over the years when my mother’s condition started to improve I started to photograph at home more. Apart from my mother the focus of the photographs also included her dog Elsa who had been her sole companion at home for many years and also the house itself whose condition deteriorated or improved as my mother’s illness regressed or progressed. Her relationship with Elsa which had substituted intimate human contact as simple as touch or conversation all these years, had played a big part in my mother’s improvement. In February of 2014 Elsa died having grown old in her 13th year. That winter was a strange one because for the first time it had rained everyday and the sun wasn’t seen on most days. Towards the end my mother had even opened up to my father with whom she had separated almost 15 years ago. It was her separation with him that had triggered her illness in the first place."

1316The Coast opens with an absurd short story that leads into a sequence of images taken along the Indian coastline. While the photographs are made in real situations, the continuous removal and addition of context manipulates the line between what is fact and what is not, in a way not unlike how new realities are increasingly being engineered today. Some might imagine the book to be a fable-like tale while others might recognize in it reality. Either way, the book in its stories alludes to undercurrents in a country that is seeing higher frequencies of violence: religious, caste, sexual or otherwise and the increasing normalization of it, which is far more absurd than the story itself. There is respite toward the end as the book moves to the sea. The margin between land and water becomes a point of release beyond which characters experience fear, surprise, anger, sadness, trust, anticipation, excitement, contempt but also rapture. The short story at the beginning of the book also exists in 11 other iterations, each one changing only a few words at a time like a game of Chinese Whispers. Just like with the images, each story forms a slightly different meaning in every subsequent reading and it becomes one of a dozen different truths. The Coast is the fourth book by Sohrab Hura.

1308Magnum's David Hurn (born 1934) is one of Britain’s most important reportage photographers. His documentary photographs are distinguished by their quiet observation and remarkable insight. “Life as it unfolds in front of the camera is full of so much complexity, wonder and surprise that I find it unnecessary to create new realities,” he writes. “There is more pleasure, for me, in things as they are.”

Released to coincide with Magnum photo agency’s 70th birthday, this is the first book dedicated to Hurn’s photographs from Arizona. In 1979–80 he was awarded a UK/USA Bicentennial Fellowship, a one-year award to photograph in America. He chose Arizona, as “the most right-wing state in America, plus it is the driest state in America. The exact opposite of my home country Wales. The contrasts appealed to me.” Hurn fell in love with Arizona and made several trips back between 1979 and 2001, turning his inimitable eye to ordinary Arizonians in their daily life, their schools, exercise classes, holidays and their landscape.

1308This volume is the first anthology dedicated to David Hurn during one of his most iconic periods of the 1960s. As this collection shows, Hurn has “the eye of a compassionate eagle, the skill to entice the best out of his subjects, and the wit to turn everyday images into an enduring legacy.” Hurn’s portfolio is a unique blend of celebrity and anonymity, which provides a far more accurate summary of the decade than an anthology of superstar portraits. His rendering of the 1960s encompasses both Hollywood screen idols and East End sun-seekers; headline news, alongside rituals unchanged for centuries. Included are photo essays from the streets of New York, anti-Vietnam protests, the London Soho scene, the French Riviera, Queen Charlotte’s Ball and the Isle of Wight Festival in 1969. Also featured are portraits of some of the coolest characters of the age--Michael Caine, Quentin Crisp and Julie Christie--and Hurn’s work within the film industry, capturing The Beatles during the filming of A Hard Day’s Night, Sean Connery in From Russia With Love and Jane Fonda in Barbarella. This is a magnificent volume, curated with insight and appreciation for a true master of his art.