This provocative book of photography offers bold new insight into the lives of the world's largest mammals, along with their complex societies. In these pages, we learn that whales share an amazing ability to learn and adapt to opportunities, from specialized feeding strategies to parenting techniques. There is also evidence of deeper, cultural elements of whale identity, from unique dialects to matrilineal societies to organized social customs like singing contests. Featuring the arresting underwater images of Brian Skerry, who has explored and documented oceans for over four decades, this book will document these alluring creatures in all their glory--and demonstrate how these majestic creatures can teach us about ourselves and our planet.
Founded by Ansel Adams, directed by Minor White, and staffed by such luminaries as Imogen Cunningham, Dorothea Lange, Lisette Model, and Edward Weston, the first fine-art photography department in the United States was created in 1946 at the California School of Fine Arts (now known as the San Francisco Art Institute). Under White's leadership and against a backdrop of revolutions in photography as an art form, this dynamic faculty developed the modern photography curriculum, bringing a new academic pedigree to the medium and establishing the future of photography education. The Moment of Seeing is much more than a history of the program and those who comprised it. Including White's never-before-published writings on the teaching of photography, it is also a rich gallery of iconic images by both renowned faculty members and the dedicated students they taught.
The Columbia River Gorge exerts a powerful influence on the lives and imaginations of the inhabitants of the Pacific Northwest. For people who live here today, just as for those Native Americans and European settlers who preceded us, this dramatic natural landform is a source of awe. Since the 1860s it has inspired superb photographers who have framed and interpreted the way we see the Gorge, and who have in turn had their artistic vision shaped by this compelling landscape. The ninety-year period covered in Wild Beauty was a critical one in the river's history. Over thousands of years the wild, free-flowing torrent of the Columbia River carved a passage 'the Columbia River Gorge 'through the Cascade Mountain Range. In the 1860s, when the first photographers arrived, the Gorge still looked much the same as it had when Lewis and Clark made their way down the river in 1805, and indeed as it had for centuries before that, when the native peoples' culture of fishing and trade thrived along the river's banks. In the mid-twentieth century, the character of the river was fundamentally altered by the construction of hydroelectric dams. Terry Toedtemeier and John Laursen have selected more than 130 images - most of them previously unpublished and many of them never before available for public view - by some three dozen photographers to chronicle the history of photography in the Gorge. Wild Beauty begins in 1867 with images by the legendary Carleton Watkins, creator of some of the greatest landscape photographs of the nineteenth century. Later photographers include Benjamin Gifford, Lily White, Sarah Ladd, Fred Kizer, Alfred Monner, and Ray Atkeson. The volume ends in 1957 with the completion of The Dalles Dam, which drowned Celilo Falls and with it the historic site where Indians had fished for millennia.The images in this beautifully designed volume are presented one to a spread, with captions on the facing pages. The book is organized into five chronological sections, each with a brief introduction; a map shows the locations where the photographs were made. The photographs have been meticulously restored and are exquisitely reproduced in four-color process to capture the subtle coloration and nuanced tonal values of albumen prints, gelatin silver prints, platinum prints, hand-colored photographs, and early Kodachromes.The photography of Watkins and his successors is a significant piece of the cultural heritage of the Pacific Northwest. Readers interested in the history of the Columbia River and the photography of the developing American West will be enthralled by the book's scope and artistry. And those who love the Gorge's stunning beauty will welcome how this volume has captured its grandeur.Wild Beauty represents, in the words of one reviewer, 'a culmination of decades of research, exhibition, and total immersion in the geology, history, and photography of the Columbia River Gorge. Oregon State University Press is proud to partner with the Northwest Photography Archive to publish this remarkable volume.
An in-depth look at the many ways women around the world helped shape modern photography from the 1920s to the 1950s as they captured images of a radically changing world
During the 1920s the New Woman was easy to recognize but hard to define. Hair bobbed and fashionably dressed, this iconic figure of modernity was everywhere, splashed across magazine pages or projected on the silver screen. A global phenomenon, she embodied an ideal of female empowerment based on real women making revolutionary changes in life and art―including photography.
This groundbreaking, richly illustrated book looks at those “new women” who embraced the camera as a mode of expression and made a profound impact on the medium from the 1920s to the 1950s. Thematic chapters explore how women emerged as a driving force in modern photography, bringing their own perspective to artistic experimentation, studio portraiture, fashion and advertising work, scenes of urban life, ethnography and photojournalism.
Featuring work by 120 photographers, this volume expands the history of photography by critically examining an international array of canonical and less well-known women photographers, from Berenice Abbott, Dorothea Lange and Lola Álvarez Bravo to Germaine Krull, Tsuneko Sasamoto and Homai Vyarawalla. Against the odds, these women produced invaluable visual testimony that reflects both their personal experiences and the extraordinary social and political transformations of the era.
Typical warzone coverage has two focuses. The fighters, predominantly young men; and the victims - everyone else. This book calls this familiar narrative into question. Without glamorizing or sanitizing the harsh realities of our world, it presents the endurance and iron will of women in situations of war, poverty and hardship.
Throughout his career, award winning photographer Tom Stoddart has shown us the remarkable resilience of all sorts of people from across the world. With Extraordinary Women, he hones his focus on the female perspective. His photojournalistic approach travels through the recent decades, with images displaying courage and freedom, the working lives of everyday women and the frontline of war.
Each photo serves as a testament to the agency and strength of those who are so often portrayed as vulnerable and helpless. Tom Stoddart has built a reputation for compelling work, and this collection is especially remarkable for its uncompromising celebration of humanity.
Recover the stories of long-overlooked American women who, at a time when women rarely worked outside the home, became commercial photographers and shaped the new, challenging medium. Covering two generations of photographers ranging from New York City to California's mining districts, this study goes beyond a broad survey and explores individual careers through primary sources and new materials. Profiles of the photographers animate their careers by exploring how they began, the details of running their own studios, and their visual output. The featured photos vary in form—daguerreotype, tintype, carte de visite, and more—and subject, including Civil War portraits, postmortem photography, and landscape photography. This welcome resource fills in gaps in photographic, American, and women's history and convincingly lays out the parallels between the growth of photography as an available medium and the late-19th-century women's movement.
This thorough and accessible introduction to the greatest women photographers from the 19th century to today features the most important works of 55 artists, along with in-depth biographical and critical assessments. Since the inception of photography as an art form nearly 200 years ago, women have played an important role in the development of the genre, often pushing boundaries and defying social convention. This comprehensive volume features 55 of the most important women photographers. Each artist is profiled in spreads featuring splendid reproductions of key works and an in-depth overview of her career and contributions to the art of photography. Biographical information and a contextual essay focusing on the impact of women in the history of the medium makes this an excellent illustrated reference.
With a rising number of women throughout the world picking up their cameras and capturing their surroundings, this book explores the work of 100 women and the experiences behind their greatest images.
Traditionally a male-dominated field, street photography is increasingly becoming the domain of women. This fantastic collection of images reflects that shift, showcasing 100 contemporary women street photographers working around the world today, accompanied by personal statements about their work. Variously joyful, unsettling and unexpected, the photographs capture a wide range of extraordinary moments. The volume is curated by Gulnara Samoilova, founder of the Women Street Photographers project: a website, social media platform and annual exhibition. Photographer Melissa Breyer's introductory essay explores how the genre has intersected with gender throughout history, looking at how cultural changes in gender roles have overlapped with technological developments in the camera to allow key historical figures to emerge. Her text is complemented by a foreword by renowned photojournalist Ami Vitale, whose career as a war photographer and, later, global travels with National Geographic have allowed a unique insight into the realities of working as a woman photographer in different countries. In turns intimate and candid, the photographs featured in this book offer a kaleidoscopic glimpse of what happens when women across the world are behind the camera.
A glorious new volume of Sartore's signature animal portraits, this time highlighting the fascinating shapes, patterns, and expressions of animals both familiar and little known.
Joel Sartore, on a mission to photograph all the animal species in human care, now delights us with more photographs, this time selected to represent the amazing diversity of the world's animals.
The book's four chapters -- Pattern, Shape, Extra, and Personality -- invite us to revel in these photographs, many cleverly paired into amusing and often surprising comparisons, like the catfish and the mouse with the same stripes down their backs, the tarantula and the poison dart frog both cobalt blue, or the tiny lizard and the weighty ox both sporting pointed horns.
An extraordinary spiritual memoir about the will to survive . . . one breath at a time
Alison Wright, covered human conflict with her camera until her own life was nearly cut short during a horrific bus accident with a logging truck on a remote jungle road in Laos. Suffering from excruciating life-threatening injuries she drew upon her years of meditation practice, concentrating upon each breathe believing it to be her last. Wright's recent memoir, "Learning to Breathe; One Woman's Journey of Spirit and Survival," chronicles this inspirational story of survival and years of rehabilitation, and her ongoing determination to recover and continue traveling the world as an intrepid photojournalist. The book details her ascent of Mt. Kilimanjaro as well as her circumambulation of Mt. Kailash in Tibet.
In this beautiful, yet extremely practical source book, fashion photographer Eliot Siegel embarks on an ambitious project to pull together 1,000 poses for photographing models. Designed to inspire photographers and models alike, the book's poses are organized by type including standing, sitting, reclining, crouching, kneeling, and dynamic poses, as well as head and shoulder shots and expressions. For selected images, Siegel includes a lighting diagram as well as a detailed explanation of how the image was made, but in every case he explains why a pose works, or why it doesn't.
Bringing together a group of stylistically diverse but similarly adventurous and innovative artists, this book explores the intense creative experimentation in photography that has occurred since the 1970s. Few people ask, "What is a painting? A drawing? A sculpture?" But the medium of photography, especially since the 1970s, has been constantly changing as technological developments allow for endless experimentation--until the very definition of a photograph becomes ripe for debate. Beginning with the waning days of conceptual art, this book presents a wide variety of artists--among them James Welling, Christopher Williams, Marco Breuer, Alison Rossiter, Sigmar Polke, and Gerhard Richter--who have reconsidered and reinvented the role of light, color, composition, materiality, and subject in the art of photography. Brought together for the first time in book form, these individuals have found new ways of implementing both analog and digital technology, in many cases creating hybrid works that open up new possibilities for today's artists. Filled with brilliant color reproductions, this volume not only traces the many strands of experimentation that have developed out of conceptual art, but also encourages dialogue on the continuing experimentation that is occurring as photography continues to evolve within the analog and digital worlds.
Every photographer, from weekend enthusiast to professional, can learn by studying the "greats". In Why Photographs Work, author/photographer George Barr analyzes 52 striking images by some of the world's top photographers. Accompanying Barr's analysis of each image is an explanation by the photographer describing the circumstances of making the image, including not only the how, but also the why. Also included is each photographer's biography, a reference to his or her websites and publications, and brief technical descriptions of the equipment used in making each image.
Memories of the past explain the present to us. Lives torn from their normal existence leave behind memories that are lost. These photos, these fragments of lives destroyed by violence, attracted me and I look for them, because it seems to me that they can tell what was and now no longer is. The thousands of images I have taken of these family and personal photographs found in the rubble, are for me a way of preserving the lost memory of these people. A way to remember that another world was possible
In All the Colors I Am Inside, Deb Achak reflects on our relationship
with the soft, quiet voice of our intuition and the beauty of who
we are under the surface. Achak explores how our inner voice
leads us on the most surprising and glorious adventures, but to
hear it, we must quiet our brains and savor the present moment.
Bringing together human and spiritual worlds, she uses landscapes
that are rich and mysterious, the way our dreams and
meditations might feel, and portraits in which the subject is consumed
by nature, swept up by it. Achak seeks to represent the
pictorial quality of intuition using imagery that walks the line
between rare and familiar. Ultimately, the work invites us to
think less, feel more.
Perhaps one of the most iconic and symbolic cities in America, Los Angeles, California is also one of the most extreme. It is a place where dreams and storytelling about the human experience are a big and glamorous industry. Sparks of possibility around hopes and dreams reaching stardom-level, coexist alongside risk and staggering disappointment. The city's sprawling infrastructure holds both jaw-dropping wealth and poverty, and even the landscape reflects a disparity in experience: the rolling waves, pristine beaches, and nightly sunsets into the ocean line one side of the city, and wildfires and mudslides are annual factors on the inland side.
Landscapes hold stories and are the harbors of memories for the generations who chase chickens across yards, walk among the grasses, build homes, grow gardens, watch their children kick balls outside, watch the sky change with the seasons and the patterns of days. Alicia Bruce's book, I Burn But I Am Not Consumed (Daylight Books, July 11, 2023), is a visually immersive experience that documents through photographs, narratives, and images of ephemera, the 16 year battle between the residents of the Scottish community of Menie defending their land and homes from takeover by Donald Trump.
During the period of Covid lockdown, Buchanan was caretaking family members impacted by the pandemic, while also navigating the unique challenges of an aging mother in and out of a care facility. Buchanan found comfort and a sense of grounding in daily walks along the mountain ridge and in nearby natural areas.
French photographer Jean-Pierre Gilson is recognised as one of the leading European landscape photographers and over the past forty years, more than a hundred exhibitions have been devoted to his work. In this new book he explores the English landscapes that have influenced many of the most famous British artists and writers.
This wide-ranging exhibition by the photographer Ralph Gibson (*1939) presents the development of his work from the 1960s to the present day based on selected series. The exhibition is being developed in a direct collaboration between the artist and the curator, Dr. Sabine Schnakenberg, and is composed of some 300 analogue and digital works in black and white and color from the artist's private collection as well as works that the collector F.C. Gundlach acquired during his collaboration with Ralph Gibson in the early 1980s for his private photography collection, which is now on permanent loan to the House of Photography at the Deichtorhallen.
Noguchi and Greece, Greece and Noguchi examines the relationship between one of the 20th century’s most celebrated artists, Isamu Noguchi (1904–88), and the Mediterranean country he regularly visited for decades through the lens of Objects of Common Interest (OoCI). This two-volume set considers the influence of Greek culture on Noguchi’s work, and the metamorphosing identity he established from engaging with multiple cultures, diverse practitioners and a variety of mediums.
The photos in Street Life are almost all taken in Lithuania, during the years 1959-1977, at a time when the country was part of the Soviet Union. Soviet troops first took over in 1940, retreating after the Nazi invasion and leaving over 200,000 Jews – over 90% of whom would be murdered -- at the mercy of detachments of German Einsatzgruppen and anti-Semitic Lithuanian auxiliaries. Soviet control was reasserted in 1944 and Lithuania largely vanished behind the ‘iron curtain' until Gorbachev's reforms in the mid-1980s. This historical background is not the concern of Suktus's work, his affinities remain with people not politics, but his photographs are far removed from scenes of cosmopolitan life in Western Europe.