As feminism gained momentum in 1970s America, three photographers―Abigail Heyman, Eve Arnold and Susan Meiselas―published massively influential photobooks informed by the movement.
The first, Heyman's Growing Up Female (1974), is a kind of feminist diary: the photographer casts a lucid eye at her own life and questions the imprisonment of women in stereotype roles. The second, Eve Arnold's The Unretouched Woman (1976), shows unknown women and celebrities in spontaneous everyday moments. The photos were deliberately not retouched or staged and offer a nuanced vision of women far from the glamor of glossy magazines. The third, Susan Meiselas' Carnival Strippers (also 1976), is the fruit of three years of investigation into fairground striptease sideshows in the Northeastern United States.
Issue Three: The United States (2003-2013) is a composition of new American photographs taken over the last 10 years. It features the work of photographers like Bryan Schutmaat, Ilona Szwarc, Daniel Shea, Vanessa Winship, Lucas Foglia and over 100 more. Printed at Shapco, Minneapolis, 216 pages.
Since the invention of photography almost 175 years ago, the medium has proven itself understandably adept at capturing what is there to be photographed: the solid, the concrete, that which can be seen. Another tradition exists, however; a parallel tradition in which photographers and artists have attempted to depict via photographic means that which is not so easily photographed: dreams, ghosts, god, thought, time. The Unphotographable explores this parallel tradition, and is published to coincide with an exhibition of the same name at Fraenkel Gallery in San Francisco, presenting photographs by anonymous amateurs alongside those of artists such as Diane Arbus, Bruce Conner, Liz Deschenes, Adam Fuss, Man Ray, Christian Marclay, Ralph Eugene Meatyard, Alfred Stieglitz and Hiroshi Sugimoto. Jules-Bernard Luys and Émile David are represented by a photograph taken toward the end of the nineteenth century, of fluidic emission from the fingers of two hands; Richard Misrach captures a sandstorm in California in 1976; and Conner is represented by "Angel Light," one of the Angels series of dramatic, life-sized photograms he created in 1973-75, and which explore the disjunction between vision and phenomenological experience. Since opening in 1979, Fraenkel Gallery has presented close to 300 exhibitions exploring photography and its interrelations with the other arts, and The Unphotographable is one of its most ambitious projects to date. The catalogue is edited with an essay by Jeffrey Fraenkel, and includes 50 images in color.
From the water's surface, it's a simple exercise: a dog's leap, a splash, and then a wet head surfacing with a ball, triumphant.
But beneath the water is a chaotic ballet of bared teeth and bubbles, paddling paws, fur and ears billowing in the currents. From leaping lab to diving dachshund, the water is where a dog's distinct personality shines through; some lounge in the current, paddling slowly, but others arch their bodies to cut through the water with the focus and determination of a shark.
In more than eighty portraits by award-winning pet photographer and animal rights activist Seth Casteel capture new sides of our old friends with vibrant underwater photography that makes it impossible to look away. Each image bubbles with exuberance and life, a striking reminder that even in the most loveable and domesticated dog, there are more primal forces at work. In Underwater Dogs, Seth Casteel gives playful and energetic testament to the rough-and-tumble joy that our dogs bring into our lives.
Family Amnesia is a visual tribute and love letter honoring the artist's Chinese American family roots in the United States. The book explores her family's multi-generational resilience and resistance through mixed media collages, her grandfather’s photographs, her own captured images and archival material.
In July, Aperture will release Todd Hido: Intimate
Distance, Over Thirty Years of Photographs, A Chronological Album, a newly
assembled, chronological album compiling over thirty years of Hido’s
photographs, including a selection of new works.
Spending between 24 and 72 hours documenting each family, Lewis's intimate black and white photographs capture caught moments within the homes of a variety of families as the project unfolded over 14 years. The images explore the fullness of parenting, from the unexpected chaos to the quiet shared moments.
The Enchanted Ones, a new photo book by Stephanie Pommez, is a visual tale that drifts between reality and myth, inspired by the legends of the Brazilian Amazon. Shot entirely on 35mm black-and-white film, the book moves beyond documentary into the realm of the imaginary, capturing a world where the seen and unseen coexist.
Soumoud In Dark Times is a new photobook by Rehab Nazzal. Featuring 41 color photographs taken between October 2023 and November 2024, the book presents a diaristic record of everyday life across the West Bank during a year of intensified military and settler violence.
If you’re looking for a photography magazine that does more than showcase beautiful images—one that actually invites you to think, feel, and connect—PhotoED Magazine’s Issue #73 is something special. The theme for this edition is MELD, and it really lives up to that name. It's all about merging: ideas, identities, histories, and creative practices. And the result is a thoughtful, moving, and surprisingly hopeful collection of work.
On 15 May, Amsterdam-based photographer Jackie Mulder releases her first artist book. Known for her unique approach to photography and mixed media art, Mulder presents Thought Trails, a visual fusion of present and past. The book showcases her signature style, where self-made photographs are transformed into dreamlike compositions.
Photographer Hannah Altman’s new book, We Will Return To You, considers how Jewish storytelling is translated and transformed through photographs by evoking the enigmatic, ritualistic, and multi-layered world of folklore. The 71 color photographs in the book, often portraits, are illuminated by Altman’s distinctive use of natural light. An excerpt from the book forms the foundation for her upcoming exhibition, As It Were, Suspended in Midair, in the Kniznick Gallery at the Hadassah-Brandeis Institute at Brandeis University, running February 13–June 12, 2025.
Born in Madagascar and raised in Kenya, celebrated documentary photographer Guillaume Bonn has dedicated over 20 years to exploring and chronicling wildlife conservation practices, vanishing landscapes, and the implementation of landscape and wildlife preservation in East Africa.
