The Colors of Photography aims to provide a deeper understanding of what color is in the field of photography. Until today, color photography has marked the "here and now," while black and white photographs have been linked to our image of history and have formed our collective memory. However, such general dichotomies start to crumble when considering the aesthetic, cultural, and political complexity of color in photography.
With essays by Charlotte Cotton, Bettina Gockel, Tanya Sheehan, Blake Stimson, Kim Timby, Kelley Wilder, Deborah Willis. Photographic contributions by Hans Danuser and Raymond Meier.
This gorgeous cornerstone volume celebrating the camera and the art of the photograph, created in collaboration with the George Eastman House, spans almost 200 years, from the first faint image ever caught to today's state-of-the-art digital equipment. The informative narrative by Todd Gustavson--including insightful essays by Steve Sasson (inventor of the digital camera) and Alexis Gerard (visionary founder of Future Image Inc.)--traces the camera's development, the lives of its inventors, and the artists behind the lens. Images of more than 350 cameras from the George Eastman House Collection, plus historic photos, ads, and drawings, complement the text.
Today color photography is so ubiquitous that it's hard to believe there was a time when this was not the case. Color Rush explores the developments that led us to this point, looking at the way color photographs circulated and appeared at the time of their making. From magazine pages to gallery walls, from advertisements to photojournalism, Color Rush charts the history of color photography in the United States from the moment it became available as a mass medium to the moment when it no longer seemed an unusual choice for artists. The book begins with the 1907 unveiling of autochrome, the first commercially available color process, and continues up through the 1981 landmark survey show and book, The New Color Photography, which hailed the widespread acceptance of color photography in contemporary art. In the intervening years, color photography captured the popular imagination through its visibility in magazines like Life and Vogue, as well as through its accessibility in the marketplace thanks to companies like Kodak. Often in photo histories, color is presented as having arrived fully formed in the 1970s; this book reveals a deeper story and uncovers connections in both artistic and commercial practices. A comprehensive chronology and examples of significant moments and movements mark the increasing visibility of color photography. Color Rush brings together photographers and artists such as Ansel Adams, Harry Callahan, William Christenberry, William Eggleston, Walker Evans, Nan Goldin, Saul Leiter, Helen Levitt, Philip-Lorca diCorcia, László Moholy-Nagy, Irving Penn, Eliot Porter, Cindy Sherman, Stephen Shore, Laurie Simmons, Edward Steichen, Joel Sternfeld, Edward Weston and many others, and examines them in a fresh context paying particular attention to color photography's translation onto the printed page. In doing so, it traces a new history that more fully accounts for color's pervasive presence today.
"Read this book if you want to understand me."--Pablo Picasso
Conversations with Picasso offers a remarkable vision of both Picasso and the entire artistic and intellectual milieu of wartime Paris, a vision provided by the gifted photographer and prolific author who spent the early portion of the 1940s photographing Picasso's work. Brassaï carefully and affectionately records each of his meetings and appointments with the great artist, building along the way a work of remarkable depth, intimate perspective, and great importance to anyone who truly wishes to understand Picasso and his world.
n August 1993, when Nirvana was in New York to perform at the legendary Roseland Ballroom, Jesse Frohman photographed them for the London Observer’s Sunday magazine—the last formal photo shoot in which Cobain participated before he committed suicide on April 5th, 1994. Over the course of ninety photographs, Cobain seems an almost feral creature, by turns gentle, playful, defiant, suffering, or absorbed in his music. There’s a diverse range of shots of Cobain with fellow band members Krist Novoselic and Dave Grohl and on his own, posing, performing, and greeting fans. Jon Savage’s original interview, which appeared with Frohman’s photographs in the Observer is also reproduced, giving us Cobain in his own words. The book is a touching tribute to Cobain twenty years after his tragic demise, and following Nirvana’s recent induction in to the Rock and Roll Hall of Fame. 90 illustrations, 25 in color
In the late nineteenth century and early twentieth, hundreds of amateur photographers took part in the photographic survey movement in England. They sought to record the material remains of the English past so that it might be preserved for future generations. In The Camera as Historian, the groundbreaking historical and visual anthropologist Elizabeth Edwards works with an archive of nearly 55,000 photographs taken by 1,000 photographers, mostly unknown until now. She approaches the survey movement and its social and material practices ethnographically. Considering how the amateur photographers understood the value of their project, Edwards links the surveys to concepts of leisure, understandings of the local and the national, and the rise of popular photography. Her examination of how the photographers negotiated between scientific objectivity and aesthetic responses to the past leads her to argue that the survey movement was as concerned with the conditions of its own modernity and the creation of an archive for an anticipated future as it was nostalgic about the imagined past. Including more than 120 vibrant images, The Camera as Historian offers new perspectives on the forces that shaped Victorian and Edwardian Britain, as well as on contemporary debates about cultural identity, nationality, empire, material practices, and art.
Henry Horenstein and Leslie Tucker began working together in the
summer of 1997, when she invited him to Maryland to shoot the
mysterious, little-known Wesort clan. ''We sorts are different from
you sorts.''
Celebrated photographer Bruce Haley spent much of his career documenting people and geopolitical conflict in far corners of the world, resulting in a Robert Capa Gold Medal, and placement of his work in major international news publications and exhibitions. In recent years he has been photographing throughout California and Nevada, exploring his own personal history and definitions of "home."
In August of 2020, my daughter Margaret announced the new name and non-binary identity as Alex (no pronouns), and while I fully support this, I am learning who the new person is, learning to love who Alex is becoming, and considering my own evolution as a mother. My project, Becoming Alex unfolded over a year during which Alex and I came to understand what our transitions looked like and meant. As a young adult with autism spectrum disorder and countless physical ailments, Alex struggles to exist in a world that seems to run counter to how my child understands it.
Artist and writer Steven Seidenberg presents his series and book The Architecture of Silence: Abandoned Lives of the Italian South, published by Contrasto Books, examining the failed post-war land reform movement (called the Riforma Fondiaria in Italian) to which these imaged structures and landscapes belong.
Twenty years ago, in the South Bay region of San Francisco, the South Bay Salt Pond Restoration Project was established to address the impact of human activity on the diminished marshes of the Bay and the role wetlands play in protecting vulnerable communities from sea level rise. This expansive environmental project is the largest tidal wetland restoration project on the West Coast and is dedicated to converting over 15,000 acres of commercial salt ponds at the south end of San Francisco Bay to a mix of tidal marsh, mudflat, and other wetland habitats
In his coffee table book Metropolis, Alan Schaller presents city life in his own individual
way, setting standards in modern street photography. For all lovers of spectacular
black-and-white photography, the coffee table book—Metropolis is a must-have,
because there is hardly anything comparable on the market. In a unique way, Alan
Schaller depicts urban contrasts that big cities like New York, London, Paris, Tokyo or
Istanbul hold in store in their architecture and everyday life.
In Ordinary People, Ksenia Kuleshova, a rising star in the world of photography, has taken a series of intimate portraits, accompanied by short interviews of LGBTQ Russians who, despite the relentless homophobia from politicians, religious leaders, and the media, remain open about their sexuality and seek happiness and joy in their everyday lives.
The Oceans is the culmination of fifteen years of traveling the globe to capture the seven seas—from the rugged shores of the North Atlantic to the turquoise tranquil waters of the tropics—Burkard’s lens captures the stunning diversity and ever-changing beauty of the world’s oceans. Traversing the world to document the oceans, the book features nearly 250 images from far away corners of the world like the Kuril Islands, Faroes, and Tahiti. He is also dedicated to climate change and The Oceans is more than just a collection of stunning photographs, it's also a call to action and a reminder of the urgent need to protect and preserve our oceans and fragile planet.
My father was a spy during the Cold War. Bilingual in German and English, he worked for the U.S. Air Force and sent agents into East Germany and elsewhere behind the Iron Curtain in the early 1960s. The Need to Know, a photo book, is my exploration of the meager details that emerged from brief and cryptic conversations with my father and my curiosity about Cold War espionage and its impact upon my family at the time. The book will be published by the Blow Up Press of Warsaw, Poland in early October
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