Monographs & Art Books / L

Alain Laboile resides with his family in a village in the southwest of France. A sculptor by trade, he acquired his first camera only a few years ago.

But soon his six children and their natural and uninhibited lifestyle came to dominate his camera's attention: "Through my photographic work I celebrate and document my family life: a life on the edge of the world, where intemporality and the universality of childhood meet. Though my work is deeply personal, it is also accessible, addressing human nature and allowing the viewer to enter my world and reflect on their own childhoods."

At the latest since the great success of his book At the Edge of the World(Kehrer 2015), the French photographer Alain Laboile is well known around the world among connoisseurs of black-and-white photography.

In his new photobook, Summer of the Fawn, he once again provides insight into the free and nearly fairytale-like life of his family in a small village in the southwest of France. Far away from social constraints, school stress, Facebook & Co., it always seems to be summer here, and his six children frolic barefoot in an enchanted garden, in which one encounters cats, grass snakes, and even a fawn. Nevertheless, rules do indeed exist, even in fairytales – we thus also see how the children are homeschooled: sensibly and lovingly, and often outdoors.

Summer of the Fawn is a beautiful, vivacious, and at the same time melancholic ode to childhood and life.

TASCHEN is proud to announce Lost + Found, Part I and Good News, Part II, the long-awaited, latest and final publications from artist David LaChapelle. The books are the fourth and fifth installments of LaChapelle’s five-book anthology, which began with LaChapelle Land (1996), continued with Hotel LaChapelle (1999), and followed by Heaven to Hell (2006).

Good News, Part II follows David LaChapelle’s creative renaissance as he surrenders to contemplations of mortality, moving beyond the material world in a quest for paradise. Featuring a monumental curation of images that have never before been published in book form, it is a sublime and arresting new body of work that attempts to photograph that which can’t be photographed. It represents the final chapter to LaChapelle’s narrative in a collection of books that have captivated a generation of viewers across the globe.

Good News features:
Pamela Anderson, Lana Del Rey, Sharon Gault, Janet Jackson, Michael Jackson, Paris Jackson, David LaChapelle, Amanda Lepore, Miriam Makeba, Sergei Polunin, Tupac Shakur, Elizabeth Taylor, and many more...

Lost + Found, Part I and Good News, Part II are sold separately. Also available as a two-volume Art Edition limited to 500 copies and accompanied by three prints signed by David LaChapelle.

TASCHEN is proud to announce Lost + Found, Part I and Good News, Part II, the long-awaited, latest and final publications from artist David LaChapelle. The books are the fourth and fifth installments of LaChapelle’s five-book anthology, which began with LaChapelle Land (1996), continued with Hotel LaChapelle (1999), and followed by Heaven to Hell (2006).

Lost + Found, Part I is a visual recording of the times we live in and the issues we face, expressed through David LaChapelle’s unique and distinctive vision. Featuring a monumental curation of images that have never before been published in book form, it chronicles LaChapelle’s strongest images as a visionary to date while encapsulating our time in history.

This fourth volume also introduces a decade of unseen work from LaChapelle’s creative renaissance, where he offers a bridge into paradise and the sublime, leading viewers into volume two: Good News, Part II.

Lost + Found, Part I features:
Pamela Anderson, Julian Assange, Isabella Blow, David Bowie, Naomi Campbell, Hillary Clinton, Frances Bean Cobain, Miley Cyrus, Lana Del Rey, Lady Gaga, Sharon Gault, Daphne Guinness, Whitney Houston, Kris Jenner, Kendall Jenner, Bruce Jenner, Kylie Jenner, Dwayne Johnson, Khloe Kardashian, Kim Kardashian, Eartha Kitt, David LaChapelle, Amanda Lepore, Nicki Minaj, Katy Perry, Sergei Polunin, Keith Richards, Rihanna, Chris Rock, Amber Rose, Britney Spears, Uma Thurman, Andy Warhol, Kanye West, Pharrell Williams, Amy Winehouse, and many others...

Lost + Found, Part I and Good News, Part II are sold separately. Also available as a two-volume Art Edition limited to 500 copies and accompanied by three prints signed by David LaChapelle.

An all-new selection from the outrageous "enfant terrible" of contemporary photography, this volume is even sexier, funnier, and more fantastical than the bestselling LaChapelle Land.

David LaChapelle is the hottest young photographer working today. You've seen his celebrity portraits and fashion photography in Vanity Fair, Details, Paris Vogue, The Face, The New York Times Magazine, Arena, and on MTV. Now, for the first time in book form, more than 160 of his best and most outrageous images are brought together.

Originally trained as a fine artist, LaChapelle turned to photography as a teenager, first working professionally for Any Warhol's Interview magazine. His career has grown steadily every since, but it exploded with the development of his signature style in the early 1990s.

This book features LaChapelle's most striking photographs from the incomparably wide range of his work. A lively afterword by him provides a glimpse into his unique world. Legendary Japanese graphic artist Tadanori Yokoo designed the box and the book's covers, using elements from LaChapelle's pictures, especially for this book.

Foreign correspondent: a title that smacks of adventure. Driven by the desire to be a witness to his time, Jean-Pierre Laffont set off to explore the world in complete freedom.

Covering the news, telling stories, that's what he always wanted to do. He left for the United States in 1964 where he became the only correspondent photographer for Gamma in 1968, then for Sygma in 1973, where he opened two offices.

Free, passionate, persevering, Jean-Pierre likes to work alone, only for what he thinks is important. He makes his own itineraries, chooses his stories, builds his reports, makes his appointments, advances his expenses, develops his films, edits his photos and writes his texts. He only likes to work in "speculation". J.-P. never liked to work on orders and the needs of the market never entered into his decisions to cover this or that story.

Renowned documentary photographer Jean-Pierre Laffont has been a transplanted resident from Paris to New York City since 1965 and in addition his travels that have documented the entirety of America and its social forces as well as those around the world from 1960 to 1990, he has also squarely focused his camera on his new "hometown" New York City.

Demonstrating the people, places, and events with the same insight that he has the rest of the world, here is an elegant, incisive, and unexpected "review" of forty years of exploration by one of the most revered documentarians working today. Just as he explored the explosive, the calm, the social, the environment in his prize-winning book, Photographer's Paradise, this book is filled with the highs and lows of New York City life. Not a commentary on the high end versus the low end of lifestyles, it is instead a commentary on the ups and downs socially, politically, and visually that have taken place in the city he loves so much, with the eyes of a devoted viewer, over the past 40 years.

As explained by Joan Juliet Buck, the foreword-writer who is no casual observer herself: "When the young Frenchman Jean-Pierre Laffont arrived at JFK airport in March of 1965, he was greeted by a smell of hot dogs and yellow mustard that he'd known as a child on the American army bases in Morocco, where he remembered smiling GIs giving him licorice-flavored chewing gum. He was ready to respond to New York with his heart; over the next fifty years, as he became one of the world's top photojournalists, he never stopped tracking the city's dream of itself. He captured the exhilaration it provokes, the disappointment it metes out. Each of the photographs in this remarkable book about the city Laffont made his home captures the longing, the bravado, the blatancy of New York, and its monumental mess."

This is a book not to be missed by anyone who has ever visited, would like to visit, lived in or has any curiosity at all about the "real" New York City as seen through the eyes of a true visionary.

In this nostalgic, but never sad, souvenir album, photographer Jean-Pierre Laffont happily remembers his encounters with some sixty personalities from the artistic world during their stay in New York or on the West Coast.

The photographs that make up this first book by renowned photojournalist Jean-Pierre Laffont serve as a powerful and provocative examination of the American dream. For nearly three decades, Laffont traveled the breadth of the United States, a true embodiment of American freedom.

Documenting the country in all of its facets - from national crises and unsightly social injustices to heartfelt protest and solidarity, the photographer took full advantage of the access granted to him bythe world's greatest democracy. He traveled all fifty of the United States to document a broad swath of the country's fabric, capturing America through some of its most turbulent eras. From the electric chair at Sing Sing to Women's Jello Wrestling, the Watkins Glen rock festival to the Kent State shooting protest in Washington DC, Laffont was front and centre to history as it unfolded. Never working on assignment, Laffont chased stories of his own volition with a lens that was at once compassionate, humanistic, and unflinching.

Taken together, these pages tell the story of the chaotic, often painful, birth of twenty-first-century America - a place where a black president, gay marriage, and women executives have become the new norm. Photographer's Paradise reminds us of the power of the freedom of speech, as Laffont speaks truth to power through his camera lens. Contents: Foreword by Sir Harold Evans; Introduction: America As I Lived It; The 1960s / Expanded History: 1960s: 42nd Street; The Savage Skulls; Transvestites; Electric Chair, Sing Sing; Arkansas Prison Cummins Farm; The Krishnas; Rock Festival at Watkins Glen, 1973; The Funeral of Robert Kennedy; An Accident at Chappaquiddick. The 1970s / Expanded History: 1970s: Guam; Bombs; Protest in Washington DC against the Kent State Shooting; Boxing: Ali vs Frasier; The KKK at Home; KKK Secret Army; Carter County, Georgia; Explo 72; The Sorcerers of Brooklyn; Energy Crisis of 1973; Printing Dollars. The 1980s / Expanded History: 1980s: Women's Jello Wrestling; Children and Guns; The Rajneesh American Farmers in the 1980s.

As seen on CBS News Sunday Morning and CBS News This Morning: "No city has designed its lighting to look good from orbit. Yet our city lights viewed from above are truly spectacular - a beautiful, unintended consequence of civilization. They radiate into space a message about who we are." (foreword) - Donald R. Pettit / NASA Astronaut.

Sublime, quiet, serene, surreal, and other-worldly... these are just a few of the adjectives that only begin to describe Pulitzer Prize-winning photographer Vincent Laforet's mesmerizing high-altitude nighttime aerial photos over some of the most iconic cities around the world including New York, London, Sydney, Miami, Chicago, Los Angeles, San Francisco, Las Vegas, Berlin, and Barcelona. "AIR is a project born of my need to share an important lesson I've discovered over the past decade making aerial photographs: the world is much smaller than we think." says Laforet. "Borders are irrelevant and distances shortened.

Offering a dazzling new perspective of ten of the world’s most iconic cityscapes, Pulitzer-prize-winning photographer Vincent Laforet has completed his high-altitude photography series.

By dangling out of a helicopter at 7,500ft over New York, Chicago, Los Angeles, London, Las Vegas, Berlin, San Francisco, Miami, Barcelona, and Sydney, the acclaimed photographer has captured these cities in breath-taking detail.

Advances in photography have enabled Mr. Laforet to shoot a mesmerizing mix of old yellow streetlight grids, orange snaking highways, and the new blue LEDs of skyscrapers.

Daring to Look presents never-before-published photos and captions from Dorothea Lange’s fieldwork in California, the Pacific Northwest, and North Carolina during 1939. Lange’s images of squatter camps, benighted farmers, and stark landscapes are stunning, and her captions—which range from simple explanations of settings to historical notes and biographical sketches—add unexpected depth, bringing her subjects and their struggles unforgettably to life, often in their own words.

When Lange was dismissed from the Farm Security Administration at the end of 1939, these photos and field notes were consigned to archives, where they languished, rarely seen. With Daring to Look, Anne Whiston Spirn not only returns them to the public eye, but sets them in the context of Lange’s pioneering life, work, and struggle for critical recognition—firmly placing Lange in her rightful position at the forefront of American photography.

Dorothea Lange (1895-1965) was a highly acclaimed social realist photographer who recorded one of the most important historical periods in American social history. In 1935, tired of studio portraiture, she began working for the Farm Security Administration (FSA), and created many of the images that define the Depression and the disastrous migration of farming families to the West in the popular imagination.

This monograph is a concise introduction to her work, with an essay, 55 photographs and picture-by-picture commentaries.

Dorothea Lange was perhaps the best-known photographer working for the Farm Security Administration (FSA), mostly because of her iconic photograph Migrant Mother. But she did a lot of other fine work, too, as this book demonstrates. The Library of Congress has about 3800 Lange FSA photographs, of which 499 are high-quality scans. This book’s 500 photographs include those plus one of the others to make an even 500. They were taken between 1937 and 1939.

Toward the end of her life, Dorothea Lange reflected, "All photographs-not only those that are so-called 'documentary'... can be fortified by words." Though Lange's career is widely heralded, this connection between words and pictures has received scant attention.

A committed social observer, Lange paid sharp attention to the human condition, conveying stories of everyday life through her photographs and the voices they drew in. Published in conjunction with the first major MoMA exhibition of Lange's in 50 years, Dorothea Lange: Words & Pictures brings fresh attention to iconic works from the collection together with lesser-known photographs-from early street photography to projects on the criminal justice system. The work's complex relationships to words show Lange's interest in art's power to deliver public awareness and to connect to intimate narratives in the world.

This beautiful volume celebrates one of the twentieth century's most important photographers, Dorothea Lange. Led off by an authoritative biographical essay by Elizabeth Partridge (Lange's goddaughter), the book goes on to showcase Lange's work in over a hundred glorious plates.

Dorothea Lange is the only career-spanning monograph of this major photographer's oeuvre in print, and features images ranging from her iconic Depression-era photograph "Migrant Mother" to lesser-known images from her global travels later in life. Presented as the companion book to a PBS American Masters episode that will air in 2014, this deluxe hardcover offers an intimate and unparalleled view into the life and work of one of our most cherished documentary photographers.

Reprinted for the first time, this is the most comprehensive collection of the photographer's work ever published.

It includes portraits from her early years as a fashionable studio photographer as well as classic images that established her as the preeminent documentary artist of her time.

Photographs of Berlin point to the remnants of the 1920s, the Holocaust and the Cold War.

American photographer Jason Langer (born 1967) presents photographs taken in Berlin between 2009 and 2013. Turning his camera to the city’s streets and people, he tracked traces of the Holocaust and the Cold War and imagined the freedom and creative expression of the Roaring Twenties.

Jason Langer's Twenty Years pursues a solitary journey through the nocturnal streets and dimly lit rooms of a dream like world. Spanning 20 years of his career, this aptly titled book is the first survey of Langer's work. Included are many previously unpublished images, surrealist experimentation and figure studies, as well as his singular investigation of the city of Berlin. Langer's photographic language has been variously described as cinematic and poetic, haunting and romantic. Best known for his noir visions of contemporary urban life, Langer has photographed not only some of the world's great cities, but intimate scenes as well, ranging from male and female nudes to inanimate objects captured in moments of lifelike feeling. Whatever their subject, his carefully crafted images, rich with lush, black tones, exude an air of vintage, timeless mystery --"as much Hopper and Raymond Chandler as Steichen" (Bomb magazine).

Frans Lanting’s vibrant tribute to Old Africa revisited on its 20th anniversary.

"Botswana, many say, represents the last of Old Africa. And in the heart of this arid land lies a place as inspiring and as incongruous as the snow-capped summit of Kilimanjaro rising on the equator: that is the Okavango, one of the greatest wetlands on earth, whose very existence in the middle of a desert is nothing short of miraculous." —Frans Lanting, 1993

In this new edition of London, including previously unpublished photographs and visual references, Sergio Larrain presents a powerful portrait of a city on the brink of a new era.

In the winter of 1958, Sergio Larrain traveled to London. He spent just a few months there, photographing subjects that interested him and embracing the shadows of the city. In the cold and damp, his images captured a tangible darkness in which he could 'materialize that world of phantoms.' A few years later, he joined Magnum Photos and set off around the world, before retiring to the Chilean countryside and leaving photography behind.

The book also features a text by the late Chilean writer Roberto Bolaño - written in 1999 specifically to accompany these images - as well as a new essay by Agnès Sire, artistic director of Fondation Henri Cartier-Bresson, detailing Larrain's stay in London.

A notoriously reclusive artist, Sergio Larrain (1931-2012) has nonetheless become a touchstone for those who have come to know and love his work, including authors Roberto Bolaño and Julio Cortázar.

Celebrated by Henri Cartier-Bresson, his contemporary and a co-founder of Magnum, Larrain's experimental process yielded images that transformed the fixed nature of the medium. His images have left generations of viewers in awe of the simultaneous serenity and spontaneity that a camera can capture--when placed, that is, in the hands of an artist with such rare meditative passion. "A good image is born from a state of grace," the artist once explained.

Sergio Larrain, a selection of more than 200 images, rectifies Larrain's omission from the canon of significant twentieth-century photographers, and combines his work in Latin America with photographs taken in Europe.

A notoriously reclusive artist, Sergio Larrain had a photographic career that was relatively short before he retreated to the Chilean countryside in the late 1960s to study meditation. Nevertheless, he is widely celebrated for his experimental process and the raw imagery he produced throughout Europe and Latin America.

His most well-known project, Valparaiso, began in 1957 while he was traveling with poet Pablo Neruda for Du magazine. When the photographs were first published in 1991, Larrain informed the publishers that he had made his own facsimile of the book, reflecting how he would have constructed the layout, and now this facsimile is beautifully produced for the first time in book form. Including text by the celebrated Pablo Neruda as well as correspondence between Larrain and Henri Cartier-Bresson, Valparaíso presents the long-awaited return of this rare and renowned body of work.

Jacques Henri Lartigue's carefree, joyful, and spontaneous spirit permeates his photography. And yet there are other, lesser-known aspects of his work that invite us to take a closer look. Whether capturing amusing scenes on film or sketching them on paper or canvas, the artist covered a vast range of themes. Lartigue took photographs throughout his career, almost as a matter of routine, which makes his work a vital record of his times. His style gradually evolved, influenced by artistic experiments and personal encounters.

He left behind a rich and varied body of work. Albums of his private photographs provide a romanticized view of the photographer's personal life, revealing his doubts and attempts to understand his place in the world; they constitute an essential part of his body of work. Lartigue played with visual tricks, styles, and recurring themes--transportation, sports, shadow play, chic women--bridging different periods and lending consistency to his work.

The selection of photographs reproduced here represents the best examples of his most popular themes.

Jacques-Henri Lartigue (1894-1986) is a central figure of importance in the history of photography. "An amateur graced with genius for forms", at the age of 12 he was already producing photographs capturing the carefree antics of his eccentric family and friends.

It was in these early years that he developed a fascination for the subjects that concerned him throughout his life: the immensity of the world to a child; the seaside; women of fashion; and above all, movement -from people walking or jumping, to flying machines and motor cars. Lartigue's photographic work was little-known until the 1960s, which gave him a unique freedom to create images for himself alone, unfettered by the criticism of others. His images evoke the sparkle of a long-gone era, documenting an idyllic world of ladies with parasols and gravity-defying hats; people flying kites or strolling in the park, on bicyles and at the races.

This book offers an illustrated tribute to this photographer.

A charming portrait of early-20th-century European society through the lens of Lartigue, with 55 unpublished photographs.

Despite becoming interested in photography when he was barely in double digits, French artist Jacques Henri Lartigue (1894-1986) didn’t achieve mainstream recognition until he was nearly 70 years old. A 1963 exhibition of his boyhood photography at the Museum of Modern Art in New York prompted new appreciation for his pictures, which bore a clear affinity with the street photography of the great humanist photographer Henri Cartier-Bresson.

Though he mainly supported himself as a painter later on in life, Lartigue was devoted to the art of photography and continued to capture the world around him until he was in his 90s, beginning with domestic candid shots in his childhood and later depicting the upper crust of European society.

With their motion-blur and frequently grinning, unposed subjects, Lartigue’s images convey the photographer’s genuine passion for life and a consistent interest in everyday moments. The book presents 120 images from Lartigue’s numerous personal photo albums, including 55 pictures that have never been published before.

A sweeping photographic retrospective of the artist's life and work presents the best of Lartigue's entire catalog of photography--from his first photograph to his last-accompanied by six essays covering various aspects of his art. 10,000 first printing.

Jacques Henri Lartigue (1894-1986) was the best-known "amateur" in the history of photography, famously discovered by the art world and given an exhibition at MoMA in New York when he was in his late sixties. He began by recording the pastimes and customs of his wealthy Parisian milieu, indulging his fascination with sports and aviation, and throughout his long life he was never without his camera. His friendships extended to the superstars of French culture, but he also made thousands of photographs of his family, wives, and lovers. His work was irresistibly warm and engaging.

Although known for his black-and-white work, Lartigue loved color film, experimenting with the Autochrome process in the teens and twenties and embracing Ektachrome in the late 1940s. His color work, reproduced here for the first time, is astonishingly fresh: the French countryside, the women in his life, famous friends (Picasso, Fellini), and glimpses from his travels all come alive in this delightful book.

Featuring previously unpublished images and personal accounts, this book is an exploration of the early work of Jacques Henri Lartigue, one of the twentieth century’s most celebrated photographers.

One of the twentieth century’s most celebrated and prodigious photographers, Jacques Henri Lartigue captured the exuberance of Belle Époque Paris during his childhood. Lartigue focuses solely on the artist’s adolescence, featuring classic images of motor cars and high fashion alongside previously unpublished photographs from his archive.

On his eighth birthday, in 1902, Lartigue was given his first camera. By the next year, he was developing his own photographs. His handheld Kodak camera allowed the young photographer the flexibility to capture his eccentric family at home and document the social rituals of Paris’s upper echelons. He was the first artist to utilize the immediacy of the snapshot, often capturing his subjects mid- gesture, as in real life, creating a new visual language for the twentieth century. Through his work, he painted an intimate portrait of the social and cultural atmosphere of Paris before the outbreak of the First World War.

Author Louise Baring brings the artist’s early work to life through vivid historical accounts, as well as personal observations and memories from Lartigue’s childhood diaries. This book is a must-have for all fans of photography and twentieth-century French culture.

This debut monograph from award-winning Belgian photographer Maroesjka Lavigne includes six of the artist's series: Island, Land of Nothingness, Habitat, Not Seeing is a Flower, Animal Cabinet and You Are More than Beautiful. Each of these series spans several years in the making, in which the artist traveled throughout Iceland, Korea, Japan and many parts of Africa, observing landscapes and their inhabitants.

Lavigne's subjects range from stark landscapes to spare, haunting portraits and unforgettable animal images; she produces stunningly beautiful images that are tenderly attuned to their settings and subjects. As the photographer puts it: "When you take a picture in a beautiful place, you have to realize that nature isn't the background for your photograph. Rather, you are its prop."

This debut mono­graph from pho­tog­ra­ph­er Maroesjka Lavigne includes four of the artist’s series: Island, Not Seeing is a Flower, Land of Nothingness, and Lost Lands. Each of these series spans sev­er­al years in the mak­ing, in which the artist trav­eled exten­sive­ly around the world – includ­ing time spent in Argentina, Iceland, Japan, and Namibia, among oth­ers – observ­ing land­scapes and their inhabitants.

Lavigne’s sub­jects range from stark land­scapes to spare, haunt­ing por­traits and unfor­get­table ani­mal images; she pro­duces stun­ning­ly beau­ti­ful images that are ten­der­ly attuned to their set­tings and sub­jects. As the pho­tog­ra­ph­er puts it: ​“When you take a pic­ture in a beau­ti­ful place, you have to real­ize that nature isn’t the back­ground for your pho­to­graph. Rather, you are its prop.”

70 writers, whether academicians or young novelists, following Leïla Slimani and Jean d'Ormesson, are featured in the pages of this book.

Gathered by Étienne de Montety for the 70th anniversary of the "Figaro Litéraire" that he manages, they play the literary game inherited from the surrealists and let themselves be photographed for the occasion by Stéphane Lavoué.

"I encountered the land of the Bigouden only a few days after meeting my partner, Catherine.

I was in my twenties, we had just decided to spend our life together and I had already had to go to Malaysia for several months. To seal our very young relationship, she decided to submit me to the "bigouden test", an initiation ceremony of a few days, at her grandparents' in Kérity.

From the first moment, I was literally bewitched. The smile of her grandmother welcoming us on the sidewalk, the blinding white light on the front of the house, the tray of steamed langoustines on the living room table ... then the strolls on the shore, the silhouette of the lighthouse, the stories of sailors lost at sea

Everything, my retina printed everything.

Twenty years later, here we are again at Kérity. With our two daughters.

After more than a decade of life in Paris, we are yearning for profound changes. We have considered everything: Rio de Janeiro, San Francisco, Montreal.

Finally, it was at Cap Caval, the southern tip of Finistère, that we decided to settle.

In Kerity, in the house of Catherine's grandparents.

Quickly, this small familiar territory provoked the long-awaited Copernican revolution. The end of Parisian commissions has enabled me to practice a more personal photography and our new environment becomes my main source of inspiration. It's about trying to express the emotions I can feel living here on the edge of the world.

I grope around, experiment with several photographic forms to escape the worn-out iconography of the seashores, boats and fishing nets. Luckily, I'm too sick at sea to photograph on board! So I stay at the quay and push the door of the hangars: auctions, shipyards, marine forges, canneries, coolers ... I discover the "On land " sector fed by the successive tides of trawlers, trolling boats and netters. Community. Manual work. Painfulness. The economic and social architecture of the territory.

And there are young people . Those who have not left "the country" but cling to it, viscerally. They intrigue me, I photograph them: the young self-employed fisherman, queen of the embroiderers, miller, fish-scaler, surfer ... why do they stay when the majority leave? They guide me on new paths and help me complete my "Bigoudene" mind map.

That's how The Black Months was born, a fictional photographic story, an intimate representation of the territory in which my "bigoudène" and I had decided to live."

An-My Lê's first publication, Small Wars, brought together three bodies of black-and-white work (Vietnam, Small Wars and 29 Palms), offering a trilogy of tautly rendered examinations of landscape, war, memory and spectacle.

This earlier work examined the troubling beauty that both informs and binds Hollywood evocations and photojournalistic documents of conflict to Lê's childhood experiences in wartime Vietnam. Events Ashore continues her exploration of the American military, a pursuit both personal and civic.

With this body of work, however, Lê emerges as a master colorist, employing the compositional precision and subtlety of palette of the large-format color negative to render the kaleidoscopic shifts of terrain and sudden intrusions of beauty, atmosphere and psychology within her observations of the military at work.

Gustave Le Gray's life was as romantic as any novel. A young painter in Rome, then a fashionable portrait photographer in Paris, Le Gray received commissions from Napoléon III and astonished viewers with his painterly landscapes and ravishing seascapes. Facing bankruptcy, he fled Paris with Alexandre Dumas to Palermo, traveled to the Middle East, and finally settled in Egypt, where he became drawing master to the ruler's children and continued to make photographs until his death in 1884.

Le Gray's work had remained largely unknown by the general public until he was rediscovered in the 1960s and was deemed by connoisseurs to be the Monet of photography. The fruit of years of research, this complete retrospective offers, as no volume before it, an assessment of Le Gray's important place in the history of photography.

This catalog was originally published in French to accompany the exhibition Gustave Le Gray, Photographer (1820-1884) at the Bibliothèque Nationale in spring 2002. This English-language edition, edited by Gordon Baldwin, associate curator of photographs at the Getty Museum, coincides with an abridged version of the same exhibition at the Getty Museum that will run from July 9 to September 29, 2002.

Guy Le Querrec en Bretagne retraces 40 years of photographs of both traditional and contemporary Brittany, anchored in its culture and open to others.

From the workers of the Douarnenez canneries to the Leon artichoke pickers, from popular balls to smoky cafes, from family celebrations to traditional pardons, Guy Le Querrec takes us into the intimacy of the inhabitants who make this region so rich. A Breton among his own. Guy Le Querrec en Bretagne is not just another book on Brittany, it is the living memory of a great photographer.

1986-2006. To celebrate the twentieth anniversary of the ONJ (Orchester National de Jazz), François Jeanneau, Antoine Hervé, Claude Barthélemy, Denis Badault, Laurent Cugny, Didier Levallet, Paolo Damiani and Franck Tortiller each entrusted the pen to a writer passionate about jazz to tell and comment on their experience as a conductor of the National Jazz Orchestra.

Guy Le Querrec, pillar of the Magnum Photos agency and adventure companion since the very beginnings of the ONJ, tells the story in pictures. A testimony and a reflection - sometimes scathing, always demanding - on a unique institution in France.

A moving photographic essay documenting the Lakota Sioux's retracing of their doomed ancestors' trail to Wounded Knee.

This oversized book contains twenty-six powerful and psychologically intimate images. Learoyd's minutely detailed, large-scale color portraits do not look like other photographs.

Made with a giant camera comprised of two rooms, Learoyd's subject (generally a person, though sometimes an object such as a mirror) occupies one room containing a powerful light source, while the photographic paper occupies the adjacent camera obscura (dark room in Latin). Connecting the two rooms is a lens set within a bellows an accordion-like contraption dating from the medium's first century. The direct-positive images are generous in size and have a subtle tonal range that is reminiscent of Dutch Master painting, though are clearly portraits and studies of our time.

In addition to the twenty-six portraits and still lives, the book includes a number of details illustrating the particular focal characteristics of the camera obscura as well as installation photographs.

A sumptuous clothbound collection of work by British photographer Richard Learoyd, famed for his luminous camera obscura portraits.

Bringing together more than 70 photographs from the past ten years, this luxurious volume includes Learoyd's (born 1966) widely acclaimed portraits of clothed or nude models, made with the massive camera obscura that he built in his studio, which produces one-of-a-kind color photographs. Sandra S. Phillips writes of these portraits: "There is something incontrovertibly present in the people he photographs; they are more alive, more beautiful, and more fallible - even more vulnerable―than the people we see in most pictures.

Also featured are landscapes made in California, England, and Spain, as well as still lifes of animals and flowers. Presenting the highlights of Learoyd's career, and organized in reverse chronological order, this volume shows how Learoyd's images are rooted in the history of art, but were made with the intention of challenging the authority of painting.

This deluxe, oversized monograph offers the most comprehensive collection of British photographer Richard Learoyd's (born 1966) color studio images to date--mostly portraits, but also including a handful of exquisite still lifes. The color images are made with one of the most antiquarian of photographic processes: the camera obscura, literally translated from Latin as "dark room." Learoyd has created a room-sized camera in which the Cibachrome photographic paper is exposed.

The subject is in the adjacent room, separated by a lens. Light falling on the subject is directly focused onto the photographic paper without an interposing film negative. The result is a perfectly clear, entirely grainless, larger-than-life image. Learoyd's subjects, composed simply and directly, are described with the thinnest plane of focus, recreating and exaggerating the way that the human eye perceives; the images recall Dutch Master paintings in tone and composition.

"I first saw some of Laurence’s images in 1993, when she was intersted in covering the 'Secret World'v tour around the world. There was a strong mood to her pictures, very different from any other photos at that time. I was very impressed by her work and although it is not something we normally do, we granted her request to photograph the Tour. The photos she took at that time were wonderful, and as a result we included some of them in the artwork for the Secret World Live record – they are some of my favorites in the photo archives.

"Laurence has continued to explore new areas in her work, and I have watched her develop into an extraordinary artist. " - Peter Gabriel’s preface

On the occasion of the twentieth anniversary of the end of the war in Bosnia-Herzegovina, Here Soon Sarajevo addresses the question of time in architecture and the memory of places from the recent history of Sarajevo.

Its ambition is to reflect the relationship of individuals to their territory and the reconstruction of the city through the prism of collective housing, emblematic of the former Yugoslavia and of a war that has interfered in the spaces. the most daily (buildings, apartments, shopping streets, etc.).

The subject also extends to places of economic and political power (the seat of the Bosnian government, the parliament, the twin towers, etc.) whose reconstruction contrasts with the state of disrepair of collective housing.

In 1983, Baldwin Lee (born 1951) left his home in Knoxville, Tennessee, with his 4 × 5 view camera and set out on the first of a series of road trips to photograph the American South. The subject of his pictures was Black Americans: at home, at work and at play, in the street and in nature. This project would consume Lee―a first-generation Chinese American―for the remainder of that decade, and it would forever transform his perception of his country, its people and himself.

The resulting archive from this seven-year period contains nearly 10,000 black-and-white negatives. This monograph, Baldwin Lee, presents a selection of 88 images edited by the photographer Barney Kulok, accompanied by an interview with Lee by the curator Jessica Bell Brown and an essay by the writer Casey Gerald. Arriving almost four decades after Lee began his journey, this publication reveals the artist’s unique commitment to picturing life in America.

Russell Lee is widely acclaimed as one of the most outstanding documentary photographers of the twentieth century. His images of American life during the Great Depression, created for the Farm Security Administration between 1936 and 1942, hold a preeminent place in one of history’s best-known and most useful photographic collections.

This famous body of work demonstrates Lee’s extraordinary ability to reveal the humanity of his subjects and to become a part of the communities he photographed. It also displays Lee’s superior technical ability―his legendary skill in using a flash enabled Lee to create some of the finest candids in the history of photography. Russell Lee Photographs is the first book to show the full range and quality of Lee’s entire oeuvre beyond the FSA work, as well as the first major publication of his photographs since F. Jack Hurley’s 1978 book, Russell Lee: Photographer (long out of print). The book contains over 140 images, 101 of which have never appeared in book publication.

The photographs are grouped into suites of images that represent all of Lee’s important, non-FSA subjects: early work from New York City and Woodstock; the Spanish-speaking people of Texas; the mentally and physically disabled; political campaigns, including the Kennedy-Johnson campaign of 1960; commercial work for chemical and other companies; a portfolio of images of Italy; and quintessential scenes of small-town life.

Setting Lee’s images in context are a foreword by John Szarkowski, one of America’s leading photography curators and critics, and an introduction by Lee’s friend and fellow photography educator J. B. Colson, who offers fascinating personal insights into Lee’s life and career. Considering Russell Lee’s stature in American photography, it is surprising that much of his post-FSA work is unknown to the public and has been seldom seen even in the photography community.

By making these images readily available for the first time, this book gives long-overdue recognition to the full range and excellence of Lee’s work. Russell Lee Photographs is the essential book on this major American photographer.

Russell Lee, a contemporary of Walker Evans and Dorothea Lange, now emerges from the shadows as one of the most influential documentary photographers in American history.

The most prolific photographer of the Great Depression, Russell Lee has never been canonized for his iconic images. With this compulsively readable and definitive biography, historian and archivist Mary Jane Appel finally uncovers Lee’s rebellious life, tracing his journey from blue-blood beginnings to intrepid years of activism and pioneering creativity, through the incredible body of work he left behind.

Born in the quintessential turn-of-the-century small town of Ottawa, Illinois, in 1903, Lee grew up in a wealthy family riddled with tragedy. He trained in college to become a chemical engineer, but was quickly drawn to Greenwich Village, where he developed an interest in social change and the arts. In 1935, the charismatic bohemian picked up a camera and a year later walked into the office of Roy Stryker, head of the Historical Section of the Resettlement Administration, later renamed the Farm Security Administration (FSA), setting in motion a new life trajectory.

The Historical Section aimed to capture rural poverty and the New Deal programs designed to abolish it. But Stryker imagined a much broader pictorial sourcebook for America, and no one on his legendary team―including Dorothea Lange, Walker Evans, and Gordon Parks, among others―would be more dedicated to reaching this goal than Russell Lee. As Appel demonstrates, Stryker and Lee developed a fascinating symbiotic relationship that resulted in a massive and complex breadth of work.

Living out of his car from the fall of 1936 to mid-1942, Lee crisscrossed America’s back roads more than any photographer of his era. During this time, he shot 19,000 negatives that were captioned and printed―more than twice that of any other FSA photographer. He captured arresting images of sweeping dust storms and devastating floods, and chronicled the World War II home front and the last gasp of a small-town America that was inexorably vanishing, all the while focusing prophetically on issues like segregation and climate change, decades before they became national concerns.

Meticulously weaving previously unseen letters and diaries, Appel brilliantly reveals why Lee’s profile has remained obscured, while his contemporaries became broadly celebrated. With more than 100 images spread throughout, Russell Lee speaks not only to the complexity of a pioneering documentary photographer’s work but to a seminal American moment captured viscerally like never before.

The approximately 77,000 photographs in The Library of Congress’ collection from the (FSA), later the Office of War Information (OWI), provide a unique view of American life during the Great Depression and Second World War.

This government photography project, headed by Roy E. Stryker, was initially conceived to document government loans to farmers and their resettlement in suburban communities, but the scope of the project expanded to create a visual record of agricultural workers across the United States. These evocative pictures transport the viewer to American homes, farms, and streets of the 1930s and 1940s, while offering a glimpse of a new narrative and intimate style that defined America.

This volume features an introduction to the work of Russell Lee and presents 50 images selected from his work.

“I don’t have two lives,” Annie Leibovitz writes in the Introduction to this collection of her work from 1990-2005. “This is one life, and the personal pictures and the assignment work are all part of it.”

Portraits of well-known figures–Johnny Cash, Nicole Kidman, Mikhail Baryshnikov, Keith Richards, Michael Jordan, Joan Didion, R2-D2, Patti Smith, Nelson Mandela, Jack Nicholson, William Burroughs, George W. Bush with members of his Cabinet–appear alongside pictures of Leibovitz’s family and friends, reportage from the siege of Sarajevo in the early Nineties, and landscapes made even more indelible through Leibovitz’s discerning eye.

The images form a narrative rich in contrasts and continuities: The photographer has a long relationship that ends with illness and death. She chronicles the celebrations and heartbreaks of her large and robust family. She has children of her own. All the while she is working, and the public work resonates with the themes of her life.

Leibovitz addresses young photographers and readers interested in what photographers do, but any reader interested in contemporary history will be fascinated by her account of one of the richest bodies of work in the photographic canon.

The subjects include photojournalism, studio work, photographing dancers and athletes, working with writers, and making the transition from shooting with film to working with digital cameras. Originally published in 2008, this revised and updated edition brings Leibovitz's bestselling book back into print.

When Benedikt Taschen asked the most important portrait photographer working today, Annie Leibovitz, to collect her pictures in a SUMO-sized book, she was intrigued by the challenge. The project took several years to develop and when it was finally published in 2014, it weighed in at 26 kg (57 pounds).

This incredible collection is now available in an accessible XXL book format.

Leibovitz drew on more than 40 years of work, starting with the photojournalism she did for Rolling Stone magazine in the 1970s through the conceptual portraits she made for Vanity Fair and Vogue. She selected iconic images―such as John Lennon and Yoko Ono entwined in a last embrace―as well as portraits that had rarely, if ever, been seen before.

The Annie Leibovitz SUMO covered political and cultural history, from Queen Elizabeth II and Richard Nixon to Laurie Anderson and Lady Gaga.

“What I had thought of initially as a simple process of imagining what looked good big, what photographs would work in a large format, became something else,” Leibovitz says. “The book is very personal, but the narrative is told through popular culture. It’s not arranged chronologically and it’s not a retrospective. It’s more like a roller coaster.”

Fans of Leibovitz and her many celebrated subjects can now enjoy that same roller coaster ride for themselves with this unlimited edition.

In 1966, during a brief stint as a receptionist for Town and Country magazine, Linda Eastman snagged a press pass to a very exclusive promotional event for the Rolling Stones aboard a yacht on the Hudson River. With her fresh, candid photographs of the band, far superior to the formal shots made by the band’s official photographer, Linda secured her name as a rock ’n’ roll photographer. Two years later, in May 1968, she entered the record books as the first female photographer to have her work featured on the cover of Rolling Stone with her portrait of Eric Clapton. She went on to capture many of rock’s most important musicians on film, including Aretha Franklin, Jimi Hendrix, Bob Dylan, Janis Joplin, Simon & Garfunkel, The Who, The Doors, and the Grateful Dead.

In 1967, Linda went to London to document the "Swinging Sixties," where she met Paul McCartney at the Bag O’Nails club and subsequently photographed The Beatles during a launch event for the Sgt. Pepper’s Lonely Hearts Club Band album. Paul and Linda fell in love, and were married on March 12, 1969. For the next three decades, until her untimely death, she devoted herself to her family, vegetarianism, animal rights, and photography.

From her early rock ’n’ roll portraits, through the final years of The Beatles, to raising four children with Paul, Linda captured her whole world on film. Her shots range from spontaneous family pictures to studio sessions with Stevie Wonder and Michael Jackson, as well as encounters with artists Willem de Kooning and Gilbert and George. Always unassuming and fresh, her work displays a warmth and feeling for the precise moment that captures the essence of any subject. Whether photographing her children, celebrities, animals, or a fleeting moment of everyday life, she did so without pretension or artifice.

This retrospective volume is a lasting and deeply personal testament to Linda's talent, produced in close collaboration with the McCartney family, with forewords by Paul, Stella, and Mary McCartney.

A collection of Annie Leibovitz's most classic photographs. The photographs made up her first museum show, which took place in 1991 at the National Portrait Gallery in Washington, D.C. and toured internationally for six years. At the time she was only the second living portraitist - and the only woman - to be featured in an exhibition by the institution.

Included in the book are such legendary photographs as those from the Rolling Stones' 1975 world tour; the last ever taken of John Lennon, nude and wrapped around a fully-clothed Yoko Ono; Nixon's resignation; and Leibovitz's series of ballet dancers, with Mikhail Baryshnikov, Mark Morris, and Darci Kistler.

In addition to commemorating Leibovitz's talent as a photographer, Photographs is emblematic of the three decades it spans, depicting celebrities and major events with unparalleled artistry and intimacy.

Pilgrimage took Annie Leibovitz to places that she could explore with no agenda. She wasn’t on assignment. She chose the subjects simply because they meant something to her. The first place was Emily Dickinson’s house in Amherst, Massachusetts, which Leibovitz visited with a small digital camera. A few months later, she went with her three young children to Niagara Falls. “That’s when I started making lists,” she says. She added the houses of Virginia Woolf and Charles Darwin in the English countryside and Sigmund Freud’s final home, in London, but most of the places on the lists were American. The work became more ambitious as Leibovitz discovered that she wanted to photograph objects as well as rooms and landscapes. She began to use more sophisticated cameras and a tripod and to travel with an assistant, but the project remained personal.

The final list of subjects is perhaps a bit eccentric. Georgia O’Keeffe and Eleanor Roosevelt but also Elvis Presley and Annie Oakley, among others. Figurative imagery gives way to the abstractions of Old Faithful and Robert Smithson’s Spiral Jetty. Pilgrimage was a restorative project for Leibovitz, and the arc of the narrative is her own. “From the beginning, when I was watching my children stand mesmerized over Niagara Falls, it was an exercise in renewal,” she says. “It taught me to see again.”

For more than half a century, Annie Leibovitz has been taking culture-defining photographs. Her portraits of politicians, performers, athletes, businesspeople, and royalty make up a gallery of our time, imprinted on our collective consciousness by both the singularity of their subjects and Leibovitz’s inimitable style.

The catalogue to an installation at the LUMA Foundation in Arles, France, Annie Leibovitz: The Early Years, 1970–1983 returns to Leibovitz’s origins. It begins with a moment of artistic revelation: the spontaneous shot that made Leibovitz think she could transition from painting to photography as her area of study at the San Francisco Art Institute. The meticulously and personally curated collection, including contact sheets and Polaroids, provides a vivid document both of Leibovitz’s development as a young artist and of a pivotal era.

Leibovitz’s reportage-like photo stories for Rolling Stone, which she began working for when she was still a student, record such heady political, cultural, and counter-cultural developments as the Vietnam War protests, the launch of Apollo 17, the presidential campaign of 1972, Richard Nixon’s resignation in 1974, and the Rolling Stones on tour in 1975. Then, as now, Leibovitz won the trust of the prominent and famous, and the book’s pages are animated by many familiar faces, among them Muhammad Ali, Mick Jagger, Keith Richards, Ken Kesey, Patti Smith, Bruce Springsteen, Joan Didion, and Debbie Harry, as well as John Lennon and Yoko Ono, captured in their now iconic embrace just hours before Lennon was assassinated.

Throughout the book, the portraits and reportage are linked to images of cars, driving, and even a series on California highway patrolmen. In many ways, it’s a celebration of life on the road―the frenetic rhythms, the chance encounters, the meditative opportunities. And with its rich archival aspects, it is also a tribute to an earlier time and a young photographer enmeshed in a culture that was itself in transition.

The photographs by Annie Leibovitz in Women, taken especially for the book, encompass a broad spectrum of subjects: a rap artist, an astronaut, two Supreme Court justices, farmers, coal miners, movie stars, showgirls, rodeo riders, socialites, reporters, dancers, a maid, a general, a surgeon, the First Lady of the United States, the secretary of state, a senator, rock stars, prostitutes, teachers, singers, athletes, poets, writers, painters, musicians, theater directors, political activists, performance artists, and businesswomen.

"Each of these pictures must stand on its own," Susan Sontag writes in the essay that accompanies the portraits. "But the ensemble says, So this what women are now -- as different, as varied, as heroic, as forlorn, as conventional, as unconventional as this."

Legendary photographer Annie Leibovitz’s surprising – and surprised – account of her encounters with fashion.

‘Looking back at my work, I see that fashion has always been there,’ Annie Leibovitz observes in the preface to her new book, Wonderland. ‘Fashion plays a part in the scheme of everything, but photography always comes first for me. The photograph is the most important part. And photography is so big that it can encompass journalism, portraiture, reportage, family photographs, fashion... My work for Vogue fueled the fire for a kind of photography that I might not otherwise have explored.’

Fire Island’s gay communities, documented in a nocturnal erotic fever-dream by Matthew Leifheit.

Featuring 77 color photographs and a faux leather cover, To Die Alive portrays Fire Island’s world of desire and its layers of history: the Ice Palace bar’s infamous underwear party; the men-only Belvedere Guesthouse; clandestine encounters in the Meat Rack; and landscapes in all seasons of the island’s delicate maritime forest. The wide-ranging subjects of Matthew Leifheit’s portraits reflect the intergenerational community who come to the island for refuge or employment, ranging from weekend visitors to sugar daddies to bartenders and sex workers. Tinged with sadness, the book's climax mixes feelings of pleasure with desperation and loss. As homosexuality gains mainstream acceptance, many queer Americans no longer need to go to geographic extremes like Fire Island, Provincetown, Palm Springs or Key West to express themselves. But what is the cost of assimilation? To Die Alive is both romantic and grotesque, challenging the sun-bleached history of homoerotic representation on this fragile island, which itself is under constant threat of erosion by the sea.

Matthew Leifheit (born 1988) is an American photographer, magazine editor and professor born in Chicago and based in Brooklyn. A graduate of the Yale School of Art, he was formerly photo editor of Vice and is currently on faculty at Pratt Institute. Leifheit’s photographic work has been exhibited internationally and is held in public collections. His photographs have appeared in publications such as the New York Times, the New Yorker, Aperture, Time and Artforum. Leifheit is editor-in-chief of Matte Magazine, a journal of emerging photography that he has edited and published since 2010.

Since the 1940s, Arthur Leipzig has been roaming the streets of New York, recording its residents and their myriad activities. His black-and-white photographs of lovers at Coney Island, painters on the Brooklyn Bridge and kids swimming in the East River document the human dimension of New York City.

As a photojournalist, he traveled the city day and night, sometimes on assignment, sometimes on his own, but always sensitive to its energy, poverty and poetry, violence and drama. His affection for the city he calls home is manifest in his work, which captured the unvarnished side of life in New York.

Focusing on Leipzig's work created in New York, the book also includes other images which capture the daily life of people across the United States. With a selection of approximately 90 photographs, this book presents the work of an important photographer who exemplifies the finest of American photojournalism.

Arthur Leipzig has been photographing on the streets of New York for 50 years. Here are 90 of his photographs from the 1940s and 1950s, presented with captions that convey both the particulars and the universals of the time and place.

Saul Leiter (b. 1923 in Pittsburgh) has only in recent years received his due as one of the great pioneers of color photography. This can perhaps be attributed to the fact that Leiter saw himself for a long time mainly as a painter.

After coming to New York in 1946, he exhibited alongside abstract expressionists like Willem de Kooning before beginning in the late 1940s to take photographs. Like Robert Frank or Helen Levitt, he found his motifs on the streets of New York, but at the same time was visibly interested in abstraction. Edward Steichen was one of the first to discover Leiter's photography, showing it in the 1950s in two important exhibitions at New York's Museum of Modern Art. Back then color photography was regarded as "low art," fit only for advertising. Leiter accordingly worked primarily as a fashion photographer, for magazines such as Esquire and Harper's Bazaar. Nearly forty years would go by before his extraordinary artistic color photography was rediscovered.

This book, published to mark the first major retrospective of Leiter's work anywhere in the world, features for the first time, in addition to his early black and white and color images, his fashion photography, the overpainted nudes, as well as his paintings and sketchbooks.

The classic Photofile series brings together the best work of the world's greatest photographers in an attractive format and at a reasonable price.

Handsome and collectible, the books are produced to the highest standards. Each volume contains reproductions printed in superb duotone, together with a critical introduction and a full bibliography.

Saul Leiter (b. 1923) is one of those photographers who seek neither fame nor commercial success, despite their talent for image-making. Born in Pittsburgh, he spent the 1940s and 1950s in New York, in an intensely creative environment where ideas from Europe and America came together and intermingled. There he encountered Rothko and the Abstract Expressionists and discovered street photography and the work of Cartier-Bresson. His mastery of color is displayed in unconventional cityscapes in which reflections, transparency, complex framing, and mirroring effects are married to a very personal printing style, creating a unique urban view.

The distinctive iconography of Saul Leiter’s early black and white photographs stems from his profound response to the dynamic street life of New York City in the late 1940s and 50s.

While this technique borrowed aspects of the photodocumentary, Leiter’s imagery was more shaped by his highly individual reactions to the people and places he encountered. Like a Magic Realist with a camera, Leiter absorbed the mystery of the city and poignant human experiences. Together with Early Color, also published by Steidl, Early Black and White shows the impressive range of Leiter’s early photography.

Although Edward Steichen exhibited some of Saul Leiter's color photographs at The Museum of Modern Art in 1953, for 40 years afterward they remained virtually unknown to the art world. Saul Leiter: Early Color provides the first opportunity to see a comprehensive presentation of images by one of photography's great originals.

Leiter moved to New York in 1946 intending to be a painter, but through his friendship with the Abstract Expressionist Richard Pousette-Dart, he quickly recognized the creative potential of photography. Though he continued to paint, exhibiting alongside Philip Guston and Willem de Kooning, Leiter's camera became--like an extension of his arm and mind--an ever-present interpreter of life in the metropolis. He sought out moments of quiet humanity in the Manhattan maelstrom, forging a unique urban pastoral from the most unlikely of circumstances.

The lyricism and intensity of his vision come into fullest play in his eloquent handling of color unequaled by his contemporaries. Leiter's visual language of fragmentation, ambiguity and contingency is evoked by these 100 subtle, painterly images that stretched the boundaries of photography in the second half of the twentieth century.

"Saul Leiter's apartment is filled with memories, photographs and paintings of people he knew and the people he lived with but Saul hasn't found the answers yet to questions as to why he has done what he did.

Probably because he enjoyed doing it and that's about it. Every time I enter his place this is what strikes me: this apartment filled with his life. It moves me and touches me just the like man living there does. On the occasion of the gallery's fourth solo show, once again, I could'n resist making a catalogue.

Saul has therefore been digging in his archive and selected 34 unpublished photographs for which I'm very grateful" - from the introduction by Roger Szmulewicz, Gallery owner. New small volume (21x15) with 34 previously unpublished colour images.

The fruit of fantastic recent discoveries from Saul Leiter's vast archive, In My Room provides an in-depth study of the nude, through intimate photographs of the women Leiter knew. Showing deeply personal interior spaces, often illuminated by the lush natural light of the artist's studio in New York City's East Village, these black-and-white images reveal a unique type of collaboration between Leiter and his subjects.

In the 1970s Leiter planned to make a book of nudes, but the project was never realized in his lifetime. Now, we get a first-time look at this body of work, which was begun on Leiter's arrival in New York in 1946 and honed over the next two decades. Leiter, who was also a painter, allows abstract elements into the photographs and often shows the influence of his favorite artists, including Bonnard, Vuillard and Matisse. Leiter, who painted and took pictures prolifically up to his death, worked in relative obscurity until he entered his eighties. He preferred to be left alone, and resisted any type of explanation or analysis of his work. With In My Room, Leiter ushers viewers into his private world while retaining his strong sense of mystery.

Saul Leiter was born in Pittsburgh in 1923. In 1946 he moved to New York to become a painter, but was encouraged to pursue photography by the photographic experimentation and influence of his friend, the Abstract Expressionist Richard Pousette-Dart. Leiter subsequently enjoyed a successful career as a fashion photographer spanning three decades, and his images were published in magazines such as Esquire, Harper's Bazaar, Elle and British Vogue. His work is held in many prestigious private and public collections, including The Museum of Modern Art, New York, the Whitney Museum of American Art and the Victoria and Albert Museum. Leiter died in November 2013.

A thrilling trove of newly discovered color works from the photographer celebrated for his pioneering painterly vision.

Now firmly established as one of the world’s greatest photographers, Saul Leiter (1923–2013) was relatively little known until the 2006 publication of Saul Leiter: Early Color, when he was already in his eighties. Choosing to shoot in color when black and white was the norm, Leiter portrayed midcentury New York’s street life with a gorgeous painterliness that evoked the sensuality of his Abstract Expressionist contemporaries Rothko and Newman. His studio in the East Village, where he lived from 1952 until his death in 2013, is now the home of the Saul Leiter Foundation, which has commenced a full-scale survey of his more than 80,000 works. This volume contains works discovered through this project―specifically, color photography from slides never before published or seen by the public. It is edited by Margit Erb and Michael Parillo of the Saul Leiter Foundation, and is embellished with texts that describe how Leiter assembled his slide archive and how it is being catalogued and restored.

A beautifully somber photographic meditation on an ancient Jewish ritual.

The Jewish tradition of leaving a stone or pebble at the gravesite of a loved one is an ancient custom of remembering the departed by means of a humble natural object. Minneapolis-based photographer Vince Leo (born 1949) began taking photographs of these “visitation stones” after several people close to him died in quick succession, and he found himself enacting the ritual of grief over and over. Placing a stone is a simple but powerful gesture that connects the living to the dead.

Remembered as a Blessing contains 30 of Leo’s black-and-white photographs, which honor these stones as the complex objects they are: simultaneously hard, durable pieces of matter and embodiments of ineffable spiritual relationships, often among many generations. Each of Leo’s photographs fuses light, focus, viewpoint, reflection and magnification into a moment in which the ordinary and the symbolic coexist. Daniel Mendelsohn, acclaimed author of The Lost, contributes an essay.

Since the 1950s, Herman Leonard's photographs of jazz musicians have been crucial in shaping the image of the music and the world in which it was created. Leonard's friendships with jazz greats such as Dizzy Gillespie and Miles Davis gave him rare access to the innovators who made modern jazz and the places in which they made it.

Leonard took his camera into the smoky clubs and after-hours sessions, to backstage parties and musicians' apartments, to build an incomparable visual record of one of the twentieth century's most significant art forms. His luminous images of Charlie Parker, Ella Fitzgerald, Duke Ellington, Billie Holiday, and many others, both in performance and "off duty," are at once supreme examples of the photographer's art and a unique record of a musical revolution.

For this definitive collection of his work, Leonard has retrieved scores of previously unseen photographs, published here for the first time, alongside his most famous and widely recognized images. Accompanied by an essay exploring the stories behind the pictures, and an interview with Leonard revealing his techniques, Jazz captures and preserves the glory days of the music that has been called "the sound of surprise."

The first book on Leonard's full body of work, including portraits of Billie Holliday, Tony Bennett, Quincy Jones and Frank Sinatra. With a camera as his backstage pass, Herman Leonard has photographed the giants of jazz in their golden age, movie stars on set and on their travels to exotic places, the fashion world of Paris in the 1960s, and the inner sanctums of his beloved New Orleans.

His friendships with the jazz greats, moments at Harlem and Paris jazz clubs, and colorful life enabled him to document the lives of the cultural icons of his day, with such rare images as Marilyn Monroe on an elephant in the circus, to Albert Einstein at his desk. This exquisite book is the first full treatment of this extraordinary life and distinctive body of work, giving Leonard's photographs the artistic recognition that they deserve.

Gathers postwar portraits of more than sixty top jazz musicians and singers from Louis Armstrong to Lester Young.

Typically a photograph of a jazz musician has several formal prerequisites: black and white film, an urban setting in the mid-twentieth century, and a black man standing, playing, or sitting next to his instrument. That's the jazz archetype that photography created. Author K. Heather Pinson discovers how such a steadfast script developed visually and what this convention meant for the music.

Album covers, magazines, books, documentaries, art photographs, posters, and various other visual extensions of popular culture formed the commonly held image of the jazz player. Through assimilation, there emerged a generalized composite of how mainstream jazz looked and sounded. Pinson evaluates representations of jazz musicians from 1945 to 1959, concentrating on the seminal role played by Herman Leonard (b. 1923). Leonard's photographic depictions of African American jazz musicians in New York not only created a visual template of a black musician of the 1950s, but also became the standard configuration of the music's neoclassical sound today.

To discover how the image of the musician affected mainstream jazz, Pinson examines readings from critics, musicians, and educators, as well as interviews, musical scores, recordings, transcriptions, liner notes, and oral narratives.

There’s nothing quite like a relationship with an aged pet—a dog or cat who has been at our side for years, forming an ineffable bond. Pampered pets, however, are a rarity among animals who have been domesticated. Farm animals, for example, are usually slaughtered before their first birthday. We never stop to think about it, but the typical images we see of cows, chickens, pigs, and the like are of young animals. What would we see if they were allowed to grow old?

Isa Leshko shows us, brilliantly, with this collection of portraits. To create these portraits, she spent hours with her subjects, gaining their trust and putting them at ease. The resulting images reveal the unique personality of each animal. It’s impossible to look away from the animals in these images as they unforgettably meet our gaze, simultaneously calm and challenging. In these photographs we see the cumulative effects of the hardships of industrialized farm life, but also the healing that time can bring, and the dignity that can emerge when farm animals are allowed to age on their own terms.

Each portrait is accompanied by a brief biographical note about its subject, and the book is rounded out with essays that explore the history of animal photography, the place of beauty in activist art, and much more. Open this book to any page. Meet Teresa, a thirteen-year-old Yorkshire Pig, or Melvin, an eleven-year-old Angora Goat, or Tom, a seven-year-old Broad Breasted White Turkey. You’ll never forget them.

Eastman Kodak, the company which pioneered so much in photography from the 1880s through the 1960s, could have owned digital imaging; the very first electronic camera was born in one of Kodak's labs. Instead, they missed that boat, going into a tailspin that resulted in their eventual bankruptcy.

Tied to that economic engine, the fortunes of Rochester, New York, the archetypal company town where Kodak had its headquarters, fell as "Big Yellow" collapsed. Catherine Leutenegger's attentive, deadpan studies of Rochester today explore the face of a city once central to photography but now irrelevant and adrift.

In his series Opera, photographer David Leventi (born 1978)-whose work has been widely published in Time, The New York Times Magazine, Condé Nast Traveler and American Photography-captures the interiors of more than 40 opera houses spanning four centuries and four continents.

Shot meticulously over five years, Opera presents a typology; each empty hall is seen from the place at center stage where the singers would stand. The large-format camera reveals these temples of music in their wealth of architectural detail and acoustic design; the body of work historically documents landmarks that serve as symbols of their nations' wealth and grandeur, their dedication to the promotion of the arts and to bringing communities together.

With its unique concept-the opera house as a lens for cultural survey, a unifying force and tradition across continents-the collection serves as a beautiful tribute to opera.

Helen Levitt (1913-2009) numbers among the foremost exponents of street photography. As a passionate observer and chronicler of everyday street life in New York, she spent decades documenting residents of the city's poorer neighbourhoods such as Lower East Side and Harlem.

Levitt's oeuvre stands out for her sense of dynamics and surrealistic sense of humour, and her employment of color photography was revolutionary: Levitt numbers among those photographers who pioneered and established color as a means of artistic expression. The book accompanying the retrospective of the Albertina Museum features around 130 of her iconic works. These range from her early, surrealism-influenced photographs of chalk drawings to her 1941 photos from Mexico and the clandestinely shot portraits of New York subway passengers that Walker Evans encouraged her to do in 1938.

Many of these photos come from Helen Levitt's personal estate, and this exhibition represents their first-ever public showing.

In 1938 Helen Levitt (1913-2009) accompanied Walker Evans on a project to photograph passengers on the New York subway. Soon she was taking her own pictures. More empathetic and informal than Evans', Levitt's finest photographs are the product of her willingness to participate as a fellow citizen, not as a photographer setting herself apart. The disarming ease of Levitt's pictures quickly accrues into an undeniably singular attitude to both the medium and the world.

Around 1978-a full four decades after her first foray-Levitt returned to the New York subway, by which time public behavior on the subway was visibly less formal. She seems to have picked up exactly where she had left off in 1938, but in general her photography was even less restricted-more in keeping with her looser street photographs. This is the most comprehensive publication of Helen Levitt's photographs from the New York subway, many of which are published here for the first time.

Helen Levitt's earliest pictures are a unique and irreplaceable look at street life in New York City from the mid-1930s to the end of the 1940s. There are children at play, lovers flirting, husbands and wives, young mothers with their babies, women gossiping, and lonely old men. A majority of these photographs have never been published. Other pictures included in this book are now world-famous, now part of the standard history of photography. Together they provide a record of New York not seen since Levitt's pioneering solo show at The Museum of Modern Art in 1943.

Levitt's photographs are in some of the best photography collections in America, including: The Met, MoMA, The Smithsonian, Museum of Fine Arts Houston, and the Art Institute of Chicago.

Despite the promise of alternative energy, coal still fuels most of our power plants and steel mills. The story of its extraction, and of the people who live, work, and endure in West Virginia, Southwestern Virginia, Kentucky, and Pennsylvania, has been a source of fascination bordering on obsession for the photographer Builder Levy.

For four decades, he has been witness to a dangerous industry where workers operate heavy machinery in close quarters underground, extracting ever-increasing tonnage of coal. Over the last two decades, at surface mines, Levy has seen powerful explosives tear apart mountain summits, followed by giant draglines that scoop out the exposed veins of coal in massive, destructive, quantities. He has also witnessed strikes and picket lines, desperation and rage, hope and dignity, and the inevitable natural and man-made disasters that are part of the territory.

Levy ( Colonialism in America: The Appalachian Case ) here presents 93 sensitive black-and-white documentary photographs of miners and mining communities taken in the 1970s and early '80s in West Virginia, Kentucky and Pennsylvania.

There are shots of miners setting up support struts or drilling holes for dynamite, working with pick and shovel, taking a lunch break. We see mining families and their friends, the bars they go to, the machines and tools of their trade, their homes and the towns where they live. We also see the slag heaps, sludge ponds and mountainsides denuded by strip-mining that lie in the mining industry's wake.

Lewis's knowledgeable introduction to Appalachian mining examines the dangers of the work and the demographics of the industry, describes union struggles and community life in the coal camp and indicts ecologically destructive company policies throughout mining history.

The photographs in this book invite us to experience real lives as real people live them, while at the same time enjoying the beauty of the photographic medium. Builder Levy's work combines social documentary and street photography with the elements of fine art.

In these photographs we come face to face with persevering individuals in inner-city neighborhoods in New York City; in communities in the hills and "hollers" and inside coal mines of Appalachia; on the central Asian steppe of Mongolia; in Cuba; and at street demonstrations in the 1960s and the new millennium.

Skeleton in the Closet’s intimate portraits of women and men struggling with the secrets of anorexia and bulimia is both fine art monograph and memoir. Combining compelling photographs and personal stories, it gives the reader a compassionate, first-person look inside the minds of those who live with and try to leave behind an eating disorder. Artist Fritz Liedtke—who relates the story of his own struggle with anorexia in his introduction—has created an award-winning series that includes women and men of all ages and ethnicities. Prefaced with a moving essay by award-winning novelist Gina Ochsner, this beautiful fine art book challenges stereotypes, and offers insight and hope to anyone wanting to better understand life with an eating disorder and the challenge of overcoming addiction.

Coal is still king in much of Appalachia, yet the heritage and history of the people who enabled the United States to become an economic superpower in the Industrial age are slipping away.

This remarkable book presents arresting black and white photographs and powerful oral histories that chronicle the legacy of coalmining in southern West Virginia. Ken and Melanie Light traveled hundreds of miles through rugged, isolated terrain recording the stories of a range of people whose lives were shaped by coal: retired miners, men and women who have been jobless their entire lives, a contemporary coal baron, a justice of the State Supreme Court of West Virginia, a writer who bravely ran for governor on a third party ticket, and people who returned to the hills when their lives failed elsewhere.

What emerges is a complex portrait of people locked into an intricate web of geography, history, and unfettered profiteering. In Light's poignant images and in their own distinctive voices the residents of Coal Hollow - a fictional composite of the communities the Lights surveyed―reveal how the intersection of mountain culture and the greed of the coal companies produced the most powerful economy in the world yet brought crushing poverty to a region of once-proud people.

A decade ago, Ken Light (born 1951) traveled across the United States photographing a country that he realized was the most fragile of organisms. The photographs of the earlier years in this book create the context for understanding how America lost its way. Light reached all four corners of the country to document people across race, class and political lines. We see the heartland and the coastal cities, Wall Street and rural small towns.

As he continued, seismic changes erupted across America and the country descended into an age of crisis. He photographed protests and Washington politicians in Congress and the White House, climate change disasters and environmental defenders, the rise of the regime of Donald Trump, the Trump rallies and America's reactions to it all. He comprehensively probed the fractured social and economic condition, going beyond the tropes of inequality we all recite by heart to create a visual portrait of a country mired in calamity, its people deeply splintered, angry and in pain.

The resulting portrait of the American social landscape is a riveting historical and visual record of a complicated country in a complicated time. It is compelling, and one of the earliest photographic accounts of an age that historians and citizens will be scrutinizing for generations to come.

Between 1983 and 1987 along the California/Mexico border, Ken Light took his Hasselblad camera and flash and rode along with US Border Patrol agents in the middle of the night as they combed the Otay Mesa looking for "illegal aliens.” He was there when they were apprehended - captured by authorities as well as the photographer's flash. The black and white images are stark, impromptu mug shots in the desert, taken at a moment of extreme vulnerability, when hope gave way to despair, migrants caught in a cruel game of hide and seek.

Light's photographs and José Ángel Navejas' first hand, compelling memoir, presented in both English and Spanish, offer testimony of the harrowing night border crossing of those desperately seeking a chance at a better life. A day after Navejas first crossed the US border from Mexico, he was caught and deported back onto the streets of Tijuana. Undeterred, he crawled back through a tunnel to San Diego, where he entered the United States forever.

In piercing words and in strobe-lit images caught against the dark of night, Midnight La Frontera's immediacy underscores the struggle and defiance of those who make the perilous hike for days and weeks in search of the American Dream.

A powerful commemoration of notable moments of protest, Picturing Resistance highlights the important American social justice movements of the last seven decades. Including both black-and-white and color photographs, this important record pairs iconic and unexpected images with insightful narrative captions that contextualize the meanings behind the moments. UC Berkeley Graduate School of Journalism professor Ken Light and author Melanie Light have carefully curated unconventional photographs of the most memorable moments in twentieth- and twenty-first-century protest history, offering a fresh perspective on these important occasions.

In place of the iconic image of Martin Luther King, Jr. speaking at the March on Washington, Picturing Resistance conveys the feeling of pain and frustration of the time period by instead showing him moments after being arrested, restrained against a police station table. The moments captured in Picturing Resistance take the reader on a journey through decades of people-powered protest, featuring images from the front lines of the civil rights, women's, environmental, and disability rights movements, as well as contemporary movements like Black Lives Matter and March for Our Lives.

Picturing Resistance will inspire revolutionary thinkers, activists, and dreamers of all stripes to celebrate the milestones of the past as we build a progressive future.

Ken and Melanie Light have embarked on a photographic and literary exploration of a region known for its agricultural plenty--and the marginalization of its people. In Valley of Shadows and Dreams they dig deep into the harsh truths of farm workers' daily experience, revealing a deep sense of anger and betrayal toward the destructive legacies of politics, bureaucracy, and control.

The Lights show us once-viable farmland transformed into neighborhoods full of empty tract homes that no workers can afford. We are confonted head-on with the devastating results of foreclosure. We stand in the Community Center food line in Mendota, we slip magically onto a midnight dance floor with migrant workers in Tulare, and we sail out across the San Joaquin River on a rope swing. These photos and stories capture scenes of hardworking people fighting to preserve their livelihoods and traditions.

With an introduction by Thomas Steinbeck and impassioned essays by Melanie Light about the importance of recognizing and rectifying the cycle of employers oppressing workers, Valley of Shadows and Dreams uncovers the realities of life in this troubled but vital region that are often hidden and difficult to capture.

“What’s Going On” is a collection of photographs taken from 1969-1974 showing Ken Light’s early work as he chronicled America and the political upheaval of his generation. In this era, America was deeply divided and at war with itself, yet Americans saw much promise and felt that fundamental change was possible.

It was a time when young people believed they could create a better world. It is a period we should not forget. These photographs share many of the important moments of these times. Light began this work in his late teens and while some of the images were published in the underground newspapers back in the day, many more were not.

Between July 1945 and November 1962 the United States is known to have conducted 216 atmospheric and underwater nuclear tests. After the Limited Test Ban Treaty between the United States and the Soviet Union in 1963, nuclear testing went underground. It became literally invisible-but more frequent: the United States conducted a further 723 underground tests, the last in 1992. 100 Suns documents the era of visible nuclear testing, the atmospheric era, with one hundred photographs drawn by Michael Light from the archives at Los Alamos National Laboratory and the U.S. National Archives in Maryland. It includes previously classified material from the clandestine Lookout Mountain Air Force Station based in Hollywood, whose film directors, cameramen and still photographers were sworn to secrecy.

The title, 100 Suns, refers to the response by J.Robert Oppenheimer to the world's first nuclear explosion in New Mexico when he quoted a passage from the Bhagavad Gita, the classic Vedic text: "If the radiance of a thousand suns were to burst forth at once in the sky, that would be like the splendor of the Mighty One . . . I am become Death, the destroyer of worlds." This was Oppenheimer's attempt to describe the otherwise indescribable. 100 Suns likewise confronts the indescribable by presenting without embellishment the stark evidence of the tests at the moment of detonation. Since the tests were conducted either in Nevada or the Pacific the book is simply divided between the desert and the ocean. Each photograph is presented with the name of the test, its explosive yield in kilotons or megatons, the date and the location. The enormity of the events recorded is contrasted with the understated neutrality of bare data. Interspersed within the sequence of explosions are pictures of the awestruck witnesses.

The evidence of these photographs is terrifying in its implication while at same time profoundly disconcerting as a spectacle. The visual grandeur of such imagery is balanced by the chilling facts provided at the end of the book in the detailed captions, a chronology of the development of nuclear weaponry and an extensive bibliography. A dramatic sequel to Michael Light's Full Moon, 100 Suns forms an unprecedented historical document.

The most thrilling of all journeys--the missions of the Apollo astronauts to the surface of the Moon and back--yielded 32,000 extraordinarily beautiful photographs, the record of a unique human achievement. Until recently, only a handful of these photographs had been released for publication; but now, for the first time, NASA has allowed a selection of the master negatives and transparencies to be scanned electronically, rendering the sharpest images of space that we have ever seen. Michael Light has woven 129 of these stunningly clear images into a single composite voyage, a narrative of breathtaking immediacy and authenticity that begins with the launch and is followed by a walk in space, an orbit of the Moon, a lunar landing and exploration, and a return to Earth with an orbit and splashdown.

Graced by five 45-inch-wide gatefolds that display the lunar landscape, from above the surface and at eye level, in unprecedented detail and clarity, Full Moon conveys on each page the excitement, disorientation, and awe that the astronauts themselves felt as they were shot into space and then as they explored an alien landscape and looked back at their home planet from hundreds of thousands of miles away.

Published on the thirtieth anniversary of Apollo 11--the first landing on the Moon--this remarkable and mesmerizing volume is, like the voyages it commemorates and re-creates, an experience both intimate and monumental.

Located at 8,000 feet, 20 miles southwest of Salt Lake City in the Oquirrh Mountains, the Bingham Canyon copper mine is the largest manmade excavation in the world. More than half a mile deep, with a rim nearly three miles in width and a smelter stack only 35 feet shorter than the Empire State Building, Bingham has produced more copper than any mine in history.

This volume presents San Francisco-based photographer Michael Light's series of breathtaking black-and-white aerial images of the Bingham Mine and Garfield Stack taken in the course of a single day. For the last several years, Light has become known for his aerial photos of the settled and unsettled areas of the American West, which reveal a fascination with geology, mapping and human impact on the land. These series have been published as limited edition, critically acclaimed artist's books; this is Light's first trade-edition release.

The greater Los Angeles area covers 4,850 square miles--the size of a small country--and holds almost 18 million people. Perhaps America's largest human creation, it has been vilified and celebrated in equal measure since its inception. Is L.A. the face of the apocalypse, or an ultimate paradise at continent's edge--or both?

With LA Day/LA Night, photographer Michael Light continues his aerial examination of the arid American West by bringing together two opposing views of the city in a double-volume set. LA Day stares directly into the sun, which blasts the metropolis in a relentless and specific light. LA Night drifts over the city as it grows darker, and begins to resemble the starry sky vaulted above. Referencing Ed Ruscha, Peter Alexander, Julius Schulman and writers from Philip K. Dick to Raymond Chandler, LA Day/LA Night continues Los Angeles's rich cultural legacy of examining its favorite schizophrenic subject--itself.

San Francisco-based photographer Michael Light's (b. 1963) fourth Radius book of his aerial survey Some Dry Space: An Inhabited West journeys into the vast geological space and time of the Great Basin—the heart of a storied national "void" that is both actual and psychological, treasured as much for its tabula rasa possibilities as it is hated for its utter hostility to human needs.

Twelve thousand years ago most of the Great Basin-that part of the country between California and Utah where water does not drain to the ocean- was 900 feet underwater, covered by two vast and now largely evaporated historical lakes, Bonneville and Lahontan. The shrunken remnants of Lake Bonneville today are the Great Salt Lake in Utah and its eponymous salt flats, while the best known portion of the former Lake Lahontan is the Black Rock Desert in Nevada, an alkali bed that floods and dries each year, creating the flattest topography on earth, home to the annual counterculture festival Burning Man.

Until 2008 Nevada was the fastest-growing state in America. But the recession stopped this urbanizing gallop in the Mojave Desert, and Las Vegas froze at exactly the point where its aspirational excesses were most baroque and unfettered. In this third Radius Books installment of noted photographer Michael Light's aerial survey of the inhabited West, the photographer eschews the glare of the Strip to hover intimately over the topography of America's most fevered residential dream: castles on the cheap, some half-built, some foreclosed, some hanging on surrounded by golf courses gone bankruptcy brown, some still waiting to spring from empty cul-de-sacs.

Throughout, Light characteristically finds beauty and empathy amidst a visual vertigo of speculation, overreach, environmental delusion and ultimate geological grace. Janus-faced in design, one side of the book plumbs the surrealities of "Lake Las Vegas," a lifestyle resort comprised of 21 Mediterranean-themed communities built around a former sewage swamp. The other side of the book dissects nearby Black Mountain and the city's most exclusive-and empty -future community where a quarter billion dollars was spent on moving earth that has lain dormant for the past six years.

Following the boom and bust history of the West itself, Light's photographs terrifyingly and poignantly show the extraction and habitation industries as two sides of the same coin.

Everything is concentrated in a second of abandonment where grace and intimacy come together in a suspended gesture. In the descending light, in the bedroom of his camera, close to confidence, LiLiROZE transcends intimacy like a painting.

Imprecise contours, resonant blurry like an echo or the trace of a dream that one has already had. An approach close to hallucination, almost an unconscious revelation, the obvious clarity or its shadow, always denser and more fragile. Everything is concentrated in a second of abandonment where grace and intimacy come together in a suspended gesture. In the descending light, in the bedroom of his camera, close to confidence, LiLiROZE transcends intimacy like a painting.

From the world's most foremost photographer of women comes the splendid celebrations of female form and mystique--a massive collection that spans 300 pages and covers every aspect of Peter Lindbergh's impressive body of work. Nearly every beautiful woman of the past two decades has posed for Peter Lindbergh, from supermodels to movie stars.

This splendid monograph represents the definitive collection of Lindbergh's considerable oeuvre: classic fashion photographs, arresting candids, portraits of female celebrities--including Madonna, Isabella Rossellini, Sharon Stone, Catherine Deneuve, Charlotte Rampling, Darryl Hannah--and of course his signature shots of the world's supermodels.

Internationally-revered German fashion photographer Peter Lindbergh revolutionized his metier with iconic images of the 1980s supermodels. From his beginnings, he has sought to capture the personality, character, and identity of fashion models, not just the glitter and glamour.

In 1997 he presented his seminal book Images of Women comprising his work of the 1980s and 1990s. As a sequel, Lindbergh now presents Images of Women II featuring the highlights of his work created between 2005 and 2014: fashion photographs, nudes, and portraits of today's actresses and models such as Milla Jovovich, Isabella Rossellini, Monica Bellucci, Jamie King, Emmanuelle Seigner, Tilda Swinton, Kate Moss, Elisa Sednaoui, Jessica Chastain, Hye Jung Lee--and the occasional man, such as Hollywood grand seigneur Kirk Douglas.

Peter Lindbergh is one of the most talented photographers of his generation. His vision ranges from a world seen through the eyes of Fellini to that of post-war Berlin. His brilliantly posed fashion photographs depict women whose beauty is striking in its intensity.

This remarkable collection features Lindbergh's most famous photographs, as well as never-before-published images from the past three years of his career. This visually stunning book includes an interview with Lindbergh by critic and photographer Antonio Ria.

Follow Peter Lindbergh across four decades of pioneering fashion photography. Through countless collaborations with the most venerated names in fashion, the German photographer created new narratives with his humanist approach, which resulted in iconic shots at once introspective and appealing.

This book features more than 300 images, many previously unpublished, as well as an updated introduction in which Lindbergh establishes his sentiment on "so-called fashion photography".

Peter Lindbergh is courted by international fashion magazines and is loved for his sensitive portraits of the most beautiful women in the world. The renowned photographer who lives in Paris and New York and works all over the world has also published two earlier books with overwhelming success: Ten Women (1996) with dream shots of ten dream models, and Images of Women (1997), a collection of famous fashion photographs of beautiful women.

As a climax in his third book, Untitled 116, Peter Lindbergh presents a collection of his most impressive photographs of 116 stars in the world of pop music, cinema and fashion, such as Monica Bellucci, Juliette Binoche, Naomi Campbell, Geraldine Chaplin, Catherine Deneuve, Linda Evangelista, Aretha Franklin, Daryl Hannah, Milla Jovovich, Jennifer Lopez, Madonna, Demi Moore, Jeanne Moreau, Charlotte Rampling, Anna Nicole Smith, Sharon Stone, Tina Turner, Isabella Rossellini, Veruschka, and many others.

Baobab: Tree of Generations is a limited edition portfolio of twelve 11x14" pigment ink prints from Elaine Ling's acclaimed series of photographs of these magnificent trees from Madagascar, Mali and Limpopo, Africa. The Edition is limited to 30 portfolios.

Using the now discontinued 4x5 Polaroid positive/negative material with its distinctive edges, Ling's photographs capture the dramatic nature of these monumental trees. For this portfolio, the images are bled to the edges of the paper. Also included is an essay by Kevin Miller, Director, Southeast Museum of Photography.

This is the fifth publication in our photo-eye Editions series of contemporary photographers' projects. Housed in a beautiful, engraved aluminum box, the work is exquisitely printed on 11x14" Hahnemühle Photo Rag Baryta paper. These prints may easily be framed using our matching German-made, magnetic aluminum shadow-box frames. Please inquire about these wonderful frames

Mongolia: Land of the Deer Stone is a visually stunning collection of Elaine Ling's photography. The book's sumptuous, oversized book contains 180 pages, with 116 photographs printed from 4x5 Polaroid negatives on heavy cover stock. Dr. Alison Devine Nordstrom, Curator of Photographs at the George Eastman House International Museum of Photography and Film, wrote the introduction. Her engrossing text introduces Ling's elegant, deceptively spare photographs.

She explains why and how their intimately, lyrical documentation of Mongolia's vast, half-million square miles of desert and nomadic people is notable. For six years between 2002 and 2008 photographer Elaine Ling explored a culture whose roots were established some 700 years ago, in the 13th century under the rule Chinggis Khan. During her five trips to Mongolia's Gobi Desert Ling searched for and subsequently photographed Deer Stones, Turkic Stones and the shamanistic stone makers, known as ovoos. Known for her interest in deserts, Ling's work is characterized by minimal compositions of light and form often mimicking the impactful, yet paradoxically simple desert landscape. Her passion for simple forms and scenes led her to the Gobi in search of a subject scattered throughout: ancient stones.

In the process, her impassioned journey and warm nature opened the hearts and homes of people she encountered. It is this unique access that gives the audience a look at a culture currently experiencing a rebirth of Buddhist traditions nearly lost under Soviet suppression. Commanding and intimate, Mongolia: Land of the Desert is a pictorial tribute to a magical and mysterious land, its people, and their traditions. Elaine's Ling's compassionate collection provides a breathtaking and revealing peak into a rich culture against an astonishing backdrop of desert, high plains, and mountains.

For thirty years, photographer Elaine Ling wandered through deserts, canyons and jungles across four continents gathering the mythology of stones.

This book offers a stunning global view of a very unique presentation of natural and ancient stones, from the Joshua Tree to a Chinese tomb, from the ruins of Petra in Jordan to the junge of Myanmar, from Cappadocia to Australia's Kangaroo Island. Listen to the polyphonic voice of Talking Stones.

O. Winston Link photographed the Norfolk and Western, the last major steam railroad in the United States, when it was converting its operations from steam to diesel in the 1950s.

Link’s N&W project captured the industry at a moment of transition, before the triumph of the automobile and the airplane that ended an era of passenger rail service. His work also revealed a small-town way of life that was about to experience seismic shifts and, in many cases, vanish completely.

Including a collection of more than 180 of Link’s most famous works and rare images that have never before been published, O. Winston Link: Life Along the Line offers a moving account of the people and communities surrounding the last steam railroad.

Celebrates the Norfolk and Western Railway and the communities through which the last commercially-operated steam engines in America traveled.

This volume was published in conjunction with an exhibition in Spain of Lissitsky's photographic works.

Margaret Tupitsyn is an independent scholar and author of The Soviet Photograph 1924-1937. Other contributors to this volume are Matthew Drutt and Ulrich Pohlmann.

A brief profile of the Russian engineer, architect, and artist accompanies paintings, book illustrations, typography, exhibition designs, photographs, and architectural projects he created.

Prolific German photographer Herbert List (1903–75) worked in the genres of architecture, still life, street photography, portraiture and documentary. This publication offers a journey leading from enigmatic night shots to the Mediterranean sunlight on the bodies of young men and the ruins of ancient Greece.

Herbert List, who died in 1975, was one of the most influential photographers of the twentieth century. Early in his career he photographed primarily in Italy and Greece, attracted like many previous travelers to the countries' beauty. List came of age in Germany during the development of the "new objectivity"; his photographs, surreal in aesthetic, in certain ways parallel de Chirico's paintings. After World War II he photographed the ruins of Munich, portraying the consequences of destruction by means of a classical visual form. List was the youngest of a famous group of photographers -- Hoyningen-Huene, Cecil Beaton, and Horst P. Horst -- and his photographic oeuvre is perhaps the freshest and most artistic of these distinguished individuals.

This large volume assembles 250 of Herbert List's most famous images in the first comprehensive compilation of his work. The photographs are organized according to five themes: Metaphysical Photography, Ruins and Fragments, Eros and Photography, Portraits, and Moments. Accompanying the images are essays written by five important historians of photography and art.

Only the most intrepid urban explorers cross the tattered ruins of the old iron curtain to endure the excessive bureaucracy, military paranoia and freezing winds of the East to hunt for the ghosts of an empire.

Rebecca Litchfield is one who couldn’t resist the haunting allure of the ruins of the Soviet Union. Time and again she risked radiation exposure, experienced arrest and interrogation, and was accused of espionage while collecting the stunning photography in Soviet Ghosts. Join her on an adventure through the ruins of soviet bloc, never before seen by western eyes.

With his graphic, color-sensitive, and vernacular photographic voice, Douglas Ljungkvist produced a body of work depicting a unique place in the American landscape with strong yet quiet subtexts of time, memory, and identity. He felt the project was ready to publish when Hurricane Sandy hit the Jersey Shore in October 2012 and destroyed cottages that he had recently photographed.So Ljungkvist began taking pictures again, this time of homes without roofs or walls, with floors full of sand and doors open to the ocean breeze.

Fine art photographer Douglas Ljungkvist has exhibited at festivals and in galleries both in the United States and Europe as well as winning several awards for his personal projects.

From thirty years old, Jean-Daniel Lorieux was one of France's most famous photographers. After engineering studies, Jean-Daniel Lorieux enlisted for two years in Algeria as a war photographer. On his return in 1962, he entered the Harcourt studio, then to Vogue rapidly becoming one of the greatest fashion photographers. Women thus became his predilection, enabling him to achieve the formidable publicity campaigns during the 1970s and 1980s.

He also carried on a more personal activity as a portrait At the dawn of a new technological era, Jean-Daniel Lorieux came with the latest tools: pigments, oils, and brushes have from now on invaded his workshop. He "coats" his photos onto canvas more inspired by Andry Warhol and David Hockney, highlighting in oil, in violent colors what he has been unable to express with a film.

Since childhood, Irène Frain has had a passionate interest in three worlds: books, fashion and faraway voyages. A writer, well-known to the general public for novels like Le Nabab, Secret de Famille, Devi, L'homme Fatal, or historical works like L'Inimitable, a biography of Cleopatra, nothing concerning either women or love has remained foreign to her. This is why she has enjoyed unraveling the photographic world of Jean-Daniel Lorieux, his productions, his luxurious décors, and his exotic horizons, inevitably peopled with dream creatures.

To contemplate Jean-Daniel Lorieux's work is to contemplate an entire era, which this emblematic photographer made sure to capture on film. Even though he started his career as a war reporter in Algeria, it now seems that Lorieux only has eyes for beauty. As a result, he traveled the world, pursuing sun and blue skies in order to give striking contrasts to his pictures.

As a glamour photographer, but first and foremost, an artist, he collaborated with American Vogue, the Officiel, and other great fashion magazines, as well as designers such as Christian Dior, Pierre Cardin, and Yves Saint Laurent. That being said, the focus of his camera was thus set on great men, like Nelson Mandela or fashion icons such as Brooke Shields, Claudia Schiffer, or Sharon Stone, and even celebrities such as James Brown, Mick Jagger, Glenn Ford or David Lynch. This beautiful book of photographs showcases the glamour of this past decade.

An exhibition on his life's work in the fashion industry (1970-2014) is ongoing in Brussels. Over 80 pictures and several paintings are on display, of celebrities from Frank Sinatra to Farah Fawcett and Brooke Shields.

An extraordinary collection of six hundred photographs from the archives of the Kennedy family, many never before published, taken by JFK's personal photographer Jacques Lowe, is accompanied by personal commentary from friends and family and captures some of the intimate moments within the Kennedy enclave. 75,000 first printing.

Published on the eve of the fiftieth anniversary of the assassination of John F. Kennedy and replete with many never-before-seen photographs, this posthumous memoir draws on previously unpublished oral histories, gallery talks, and speeches by Jacques Lowe, JFK’s official photographer.

Jacques Lowe was the official photographer of John F. Kennedy’s pivotal 1960 campaign for the presidency as well as his personal photographer following his election, with unprecedented access to the President’s family and inner circle. Fifty years after the assassination of John F. Kennedy, it is finally possible to publish Lowe’s own, never-before-revealed account of his experiences during the Camelot years, supplemented with previously unseen material from his private files, the Kennedy Archives, and a range of other sources. In both words and pictures, Lowe captures the charisma of Kennedy relaxing at home with Jackie and daughter Caroline, engaging with the public on the campaign trail, at work in the White House, and as a leader on the world stage.

These photographs are an astonishing record of an era when political image-making was far less calculated than it is today. Lowe’s 40,000 negatives of the Kennedy years were stored in the vaults of the World Trade Center. After 9/11—which came just months after Lowe’s death—it was learned that this priceless collection had been reduced to ashes, leaving Lowe’s original contact sheets as the only record of a most remarkable era.

Breaking down the structure of the photograph as truth and the book as narrative, Joshua Lutz's second monograph, HESITATING BEAUTY, it is an intimate portrait unlike other photographic models.

Rethinking how photographs and text can function, Lutz blends family archives, interviews and letters with his own photographic practice seamlessly into a precious, fictitious experience of a life and family consumed by mental illness. Instead of showing us what it looks like, HESITATING BEAUTY is able to play with our own conceptions of reality to show us what it feels like.

"There are these two worlds vying for my attention at all times. In one of them this diagnosis has metastasized to the brain and I am no longer able to care for my children. The bank takes over the house and I become an albatross in hands not fully formed. In the other world, noise shuts down for a very split second and the smallest fragment of light becomes a pathway to immortality. Colour is no longer a placeholder and language is no longer a tool. You can read this as small moments of clarity or large chunks of confusion. Either way, they mix with the noise and become gaps I long to possess." -Joshua Lutz

The images and text in Joshua Lutz's third monograph Mind The Gap unravels a story of attempting to find some assemblage of truth in the chaos of hierarchy, class and privilege. It is a journey for clarity, Hijacked by sex, addiction, and mental illness. As we travel from a black and white world of photographs into colour the reader is confronted with a space of groundlessness. Protagonists in the story are found clinging and grasping to everything they believe to be true. Mind the Gap points to the physical, mental and psychological gap we are confronted with in our daily lives.

It is a reference to the gap between thoughts as well as the gap between coherence and confusion. Caught between thinking something is one thing and the reality of what it is Mind the Gap functions as a reminder to the effort needed to let go of the stories we tell ourselves and rest for a brief moment in the space between thoughts.

Just two miles west of Manhattan lies the Meadowlands, a 32-square-mile stretch of sweeping wilderness that evokes morbid fantasies of Mafia hits and buried remains. Development has claimed two-thirds of the region, making way for scores of landfills, motels, and gas stations. The growth of poorly planned communities and the impending construction of Xanadu, a five million-square-foot entertainment and retail complex, threaten to change these lands forever.

Under the pretext of searching for Jimmy Hoffa, photographer Joshua Lutz began exploring these lonesome wetlands ten years ago; what started as a strict documentary project soon evolved into something else entirely. Meadowlands, Lutz's first monograph, is a compelling portrait of this vast and stunning landscape, whose unspoiled area is quickly dwindling. The Meadowlands are a place of solitude, a place you pass through on your way somewhere more inviting-and yet, within it all resides a quiet beauty, a glimmer of hope, a hidden potential for renewal and rebirth.

Though the sense of realism in German photographer Loretta Lux's striking portraits of children remains eerily intact, Lux does not strive to create faithful photographic representations of her young subjects. Instead, each image--invariably comprised of a lone child in a sparse landscape--is painstakingly composed and manipulated to create psychically charged explorations of the nature of childhood and the process of self-discovery.

Originally trained as a painter, Lux continues to draw influence from paintings by old masters such as Velasquez, Goya and Runge. This influence is especially apparent in Lux's compositions. After carefully choosing the models, costumes and backdrops--sometimes using her own paintings--she digitally combines and enhances each element to form meticulously structured tableaux. The consistently forlorn expressions of her models combined with the hyperreality of the image create portraits that transcend their subjects and remind us that childhood is as chaotic and multidimensional as any other part of life.

Fair Witness presents the humorous and sometimes unsettling street work of New York City-based photographer David Lykes Keenan, whose black-and-white photos, taken with a Leica rangefinder, recall Frank, Winogrand, Friedlander and particularly Erwitt.

New York-based photographer Janelle Lynch (born 1969) creates still lives within landscapes that combine similar and disparate elements.

Informed by Lynch’s recent immersion in drawing and painting, the biological need for connection and the consequences of disconnection.

First published in 1968, and now back in print for the first time in ten years, The Bikeriders explores firsthand the stories and personalities of the Chicago Outlaws Motorcycle Club. This journal-size volume features original black-and-white photographs and transcribed interviews by Lyon, made from 1963 to 1967, when he was a member of the Outlaws gang.

Authentic, personal and uncompromising, Lyon's depiction of individuals on the outskirts of society offers a gritty yet humane perspective that subverts more commercialized treatments of Americana. Akin to the documentary style of 1960s-era New Journalism made famous by writers such as Hunter S. Thompson, Joan Didion and Tom Wolfe, Lyon's photography is saturation reporting at its finest. The Bikeriders is a touchstone publication of 1960s counterculture, crucially defining the vision of the outlaw biker as found in Easy Rider and countless other movies and photobooks.

Danny Lyon is one of the 20th century’s most influential documentary photographers. In The Seventh Dog, Lyon tells the story of his personal photographic journey, beginning in the present day and moving back in time through the 1950s.

Beautifully produced, this unique photo book features Lyon’s own writings, collages, letters, documents, and color and black–and–white photographs – many published here for the first time.

San Francisco Then by Fred Lyon is cloth bound, Hard cover, 9.5 x 11 inches, 112 pages, 70 dual-color plates. Signed copies are available. Publication date May 2010 Brand New 2nd Edition.

Following in the footsteps of classic films like The Maltese Falcon and The Lady from Shanghai, veteran photographer Fred Lyon creates images of San Francisco in high contrast with a sense of mystery. In this latest offering from the photographer of San Francisco: Portrait of a City 1940–1960, Lyon presents a darker tone, exploring the hidden corners of his native city. Images taken in the foggy night are illuminated only by neon signs, classic car headlights, apartment windows, or streetlights.

Sharply dressed couples stroll out for evening shows, drivers travel down steep hills, and sailors work through the night at the old Fisherman's Wharf. Stylistically, many of the photographs are experimental the noir tone is enhanced by double exposures, elements of collage, and blurred motion. These strikingly evocative duotone images expose a view of San Francisco as only Fred Lyon could capture.

With a landmark around every corner and a picture perfect view atop every hill, San Francisco might be the world's most picturesque city. And yet, the Golden City is so much more than postcard vistas. It's a town alive with history, culture, and a palpable sense of grandeur best captured by a man known as San Francisco's Brassai.

Walking the city's foggy streets, the fourth-generation San Franciscan captures the local's view in dramatic black-and-white photos— from fog-drenched mornings in North Beach and cable cars on Market Street to moody night shots of Coit Tower and the twists and turns of Lombard Street. In San Francisco, Portrait of a City 1940–1960, Fred Lyon captures the iconic landscapes and one-of-a-kind personalities that transformed the city by the bay into a legend.

Lyon's anecdotes and personal remembrances, including sly portraits of San Francisco characters such as writer Herb Caen, painters Richard Diebenkorn and Jean Varda, and madame and former mayor of Sausalito Sally Stanford add an artist's first-hand view to this portrait of a classic American city.

As a budding photographer and oenophile in the 1940s, Fred Lyon surveyed the wine photography of the day and thought, "I can do better than that!" What followed was a seven-decade adventure that took him to the world's great wine regions—to French châteaux, the verdant slopes of Chile, and the picturesque wineries of Italy, Greece, Portugal, and beyond — always returning to the breathtaking Napa and Sonoma vineyards that lie just over the bridge from his San Francisco home.

Lyon's keen eye illuminates moments both grand and intimate that define the world of winemaking: families turning out for the harvest, a horse pulling a sled of freshly picked grapes, a midmorning workers' break to enjoy bread and cheese. Vineyards is a delightful gift for wine lovers, foodies, and armchair travelers.