Miscellaneous Photo Books / D

n celebration of the world’s favorite animal, we bring you over 400 photographs of or about dogs. With pictures from the 19th century to today, the collection includes works by Man Ray, Eric Fischl, Wolfgang Tillmans, Donna Ruskin, Fatima NeJame, Vincent Versace, and of course Elliott Erwitt and William Wegman. Together, their pictures, unique in style but united in canine affection, are testimony if ever there was one that dogs are not only best friends, but also pure photographic inspiration.

Forget #dogsofinstagram, this is real canine art, showing how the camera has been key witness to dogs in all their diversity, character, and friendship, from pensive pooch portraits to four-pawed action shots. As intellectually as it is visually stimulating, the book includes captivating essays tracing the presence of dogs in the history of photography and their relationship with humans across the decades.

Magnum Dogs brings together a brilliantly diverse and entertaining selection of images that showcase man's best friend, through the visual wit and skill of Magnum's photographers. This collection features some 180 photographs of dogs from across the world-and highlights the depth of their relationships with humans. The book is organized into five thematic chapters-"Streetwise," "Best in Show," "It's a Dog's Life," "At the Beach," and "Behind the Scenes." These encounters include immaculately coiffed showdogs captured in wryly observed photography from the likes of Martin Parr and Harry Gruyaert as well as privileged, intimate glimpses of Hollywood stars alongside their trusted, four-legged confidants, as seen through the lenses of Eve Arnold and Dennis Stock.

Since the Magnum photo agency was founded eight decades ago, dogs have found their way into the collection's most captivating images. Whether depicting pampered pooches lounging in Parisian apartments or beloved family dogs, these photos convey affection, humor, and insight into the universal human bond with canines.

Explore the creation of Denis Villeneuve’s film adaptations of Dune through this evocative fusion of actor Josh Brolin’s sublime writing and cinematographer Greig Fraser’s intimate set photography. During the shooting of Dune: Part One and Dune: Part Two, Greig Fraser went beyond standard unit photography and documented the filming process using still photography on a variety of cameras. This led the cinematographer on an unexpected creative journey that yielded an electrifying gallery of photographs. Meanwhile, Brolin, who plays Warmaster Gurney Halleck in the two films, shares his on-set experience through his vivid, poignant writing. Brolin and Fraser developed a unique bond during production, solidifying a connection that led to this remarkable collaboration that seamlessly juxtaposes the actor’s enthralling writing with the cinematographer’s striking images. An exceptional new way to experience life on the set of the Dune film adaptations, this thrilling ode to the art of filmmaking from two of the most revered artists in the industry is an unmissable publishing event.

Several years ago, a treasure trove containing some 6,000 original Bob Dylan manuscripts was revealed to exist. Their destination? Tulsa, Oklahoma.

The documents, as essential as they are intriguing—draft lyrics, notebooks, and diverse ephemera— comprise one of the most important cultural archives in the modern world. Along with countless still and moving images and thousands of hours of riveting studio and live recordings, this priceless collection now resides at The Bob Dylan Center in Tulsa, Oklahoma, just steps away from the archival home of Dylan’s early hero, Woody Guthrie.

Nearly all the materials preserved at The Bob Dylan Center are unique, previously unavailable, and, in many cases, even previously unknown. As the official publication of The Bob Dylan Center, BOB DYLAN: MIXING UP THE MEDICINE is the first wide-angle look at the Dylan archive, a book that promises to be of vast interest to both the Nobel Laureate’s many musical fans and to a broader national and international audience as well.

Edited by Mark Davidson and Parker Fishel, BOB DYLAN: MIXING UP THE MEDICINE focuses a close look at the full scope of Dylan’s working life, particularly from the dynamic perspective of his ongoing and shifting creative processes—his earliest home recordings in the mid-1950s right up through Rough and Rowdy Ways (2020), his most recent studio recording, and into the present day.

The centerpiece of BOB DYLAN: MIXING UP THE MEDICINE is a carefully curated selection of over 600 images including never-before-circulated draft lyrics, writings, photographs, drawings and other ephemera from the Dylan archive.

With an introductory essay by Sean Wilentz and epilogue by Douglas Brinkley, the book features a surprising range of distinguished writers, artists and musicians, including Joy Harjo, Greil Marcus, Michael Ondaatje, Gregory Pardlo, Amanda Petrusich, Tom Piazza, Lee Ranaldo, Alex Ross, Ed Ruscha, Lucy Sante, Greg Tate and many others. After experiencing the collection firsthand in Tulsa, each of the authors was asked to select a single item that beguiled or inspired them. The resulting essays, written specifically for this volume, shed new light on not only Dylan’s creative process, but also their own.

BOB DYLAN: MIXING UP THE MEDICINE is an unprecedented glimpse into the creative life of one of America’s most groundbreaking, influential and enduring artists.

Even by conservative estimates, the situation in the Darfur region of the Sudan is grave. There are 3.5 million people who are hungry, 2.5 million who have been displaced by violence, and 400,000 individuals who have died since the crisis began in 2003. The international community has failed to take steps to protect civilians, or to influence the Sudanese government to intervene. The spread of violence, rape, and hate-fueled killings across the border into Chad is simply the latest atrocity. Call it war. Call it genocide. Call it famine. There is no single word to describe the plight of these people. They face all of these horrors at once.

Photographer and bookseller Melissa Catanese has been editing the vast photography collection of Peter J. Cohen, a celebrated trove of more than 20,000 vernacular and found anonymous photographs from the early to mid-twentieth century. Gathered from flea markets, dealers and Ebay, these prints have been acquired, exhibited and included in a range of major museum publications. In organizing the archive into a series of thematic catalogues, she has pursued an alternate reading of the collection, drifting away from simple typology into something more personal, intuitive and openly poetic. Her magical new artist's book, Dive Dark Dream Slow, is rooted in the mystery and delight of the "found" image and the "snapshot" aesthetic, but pushes beyond the nostalgic surface of these pictures and reimagines them as luminous transmissions of anxious sensuality. Through a series of abandoned visual clues, from the sepia-infused shadow of a little girl running along a beach to silhouettes of a group of distant figures pausing upon a steep and snowy hill, a dreamlike journey is evoked. Like an album of pop songs about a girl (or a civilization) hovering on the verge of transformation, the book cycles through overlapping themes and counter-themes--moon and ocean; violence and tenderness; innocence and experience; masks and nakedness--that sparkle with deep psychic longing and apocalyptic comedy.

The Dutch photobook is internationally celebrated for its particularly close collaboration between photographer, printer and designer. The current photobook publishing boom in the Netherlands stems from a tradition of excellence that precedes World War II, but the postwar years inaugurated a period of particularly close collaboration between photographers and designers, producing such unique photography books as Ed van der Elsken's Love on the Left Bank (1956) and Koen Wessing's Chili, September 1973 (1973). Innovations such as the photo novel and the company photobook blossomed in the 1950s and 60s; later, other genres emerged to characterize the publishing landscape in Holland, including conceptual and documentary photobooks, books on youth culture, urbanism photobooks and landscape photobooks and travelogues. Examining each of these genres across six themed chapters, The Dutch Photobook features selections from more than 100 historical, contemporary and self-published photobook projects. It includes landmark publications such as Hollandse taferelen by Hans Aarsman (1989), The Table of Power by Jacqueline Hassink (1996), Why Mister Why by Geert van Kesteren (2006) and Empty Bottles by Wassink Lundgren (2007). Dutch photo historians Frits Gierstberg and Rik Suermondt contribute several essays on the history of the genre, the collaborative efforts between photographers and designers and their inspiration and influences, complementing the high-quality reproductions of photobooks throughout. Award-winning designer Joost Grootens contributes unique charts and diagrams that consolidate all of these elements, in a visually unique map of the Dutch photobook.