"The creativity of some photographers astounds me. Just when you think you've seen every creative, strange and unique photo idea, another comes along. These fascinating images by award-winning photographer Alice Smeets transform the mysterious cards into real-life scenes captured in the ghetto of Haiti." Photo blogger DL Cade, 500px. In this book multi-award winning artist Alice Smeets interprets traditional tarot cards through the art of photography. The scenes are inspired by the Rider Waite Tarot Deck, designed in 1919, and were recreated with a group of Haitian artists, the Atis Rezistans collective, in the ghettos of Haiti. The traditional symbolism of 78 tarot cards is transformed into timeless images. "Taking ordinary pictures of the scenes seemed too simple, my aim was to create a very personal deck without losing the spirit of the cards. I combined my passions: the spiritual world, the Haitian culture, the philosophical reflections about the dualities in our world and, of course, photography," says Alice Smeets. Atis Rezistans played a special part in the realisation. They acted as models in front of the camera and constructed the objects needed. Smeets doesn't show the expected image of despair in the slums, instead she presents life in the ghetto full of power, joy and creativity.

In this book Sam Contis presents a new window onto the work of the iconic American photographer Dorothea Lange. Drawing from Lange's extensive archive, Contis constructs a fragmented, unfamiliar world centred around the figure of the day sleeper - at once a symbol of respite and oblivion. The book shows us one artist through the eyes of another, with Contis responding to resonances between her and Lange's ways of seeing. It reveals a largely unknown side of Lange, and includes previously unseen photographs of her family, portraiture from her studio, and pictures made in the streets of San Francisco and the East Bay. Day Sleeper will be featured alongside other works of Contis' in the exhibition Dorothea Lange: Words & Pictures at the Museum of Modern Art, February-May 2020.

This is the first complete monograph dedicated to the work of the Italian photographer, Gabriele Basilico, who is recognised internationally as one of the most important contemporary landscape photographers. With more than 300 photographs included - from Glasgow to Tel-Aviv, from Milan to Beirut - it is a comprehensive overview of a major figure whose career has spanned almost 40 years. Gabriele Basilico first studied architecture, and this early training is reflected in his work and shows in his understanding of the landscape and architectural form. His landscapes avoid human presence and explore the complex interrelationships between the built environment and the natural one. A major retrospective of Basilico's work began an international tour at the prestigious Maison Europeenne de la Photographie in Paris in summer 2006.

'Rough Beauty' is a powerful and moving insight into the struggle of the community of Vidor, Texas, against poverty and its past links to the Ku Klux Klan.

"Everyday Dada" is a weird and wonderful take on the world of interior design. Using everyday items of food, Sian Bonnell reconstructs the home environment in a way that is both surprising and humorous. Fried-egg bathroom mats, pasta tablecloths and sliced meat floor-tiles abound, whilst other foodstuffs take on new character - a plate of mash and peas becomes the distant landscape of some undiscovered continent; and carrots, parsnips and bananas become surreal candles in a candelabra of the absurd. As Sian Bonnell says: "I am intrigued by the absurd. Life and the reality of our lives is steeped in absurdity so although my images may look surreal, to me they are more a kind of absurd reality."

Working Men's Clubs were originally set up for the support and education of the working man. Many clubs have long since disappeared, though there are still six million UK members. As a child, Chris Coekin visited clubs with his parents, both in his home town of Leicester and, on family holidays, around England. "Knock Three Times" is set in the Acomb WMC York, which Chris first photographed in 1996. Through photographs and archive material, Coekin explores the cultural roots and identity of the Working Men's Club and examines the complexity of working class culture, as well as ideas of masculinity, relationships and the work ethic.

The updated retrospective published for McCullin's 80th birthday. Contains 40 new unpublished photographs and a new introduction - the definitive edition. McCullin's reputation has long been established as one of the greatest photographers of conflict in the last century. In the fourteen years since the first publication of the book, McCullin has shed the role of war photographer and become a great landscape artist. He has also travelled widely through Africa, India, the Middle East and among the tribes living in Stone Age conditions in Indonesia. His journey from the back streets of north London to his rural retreat in the depths of Somerset is unparalleled. It includes a passage through the most terrible scenes of recent history, for which his stark views of the West Country offer him some redemption.

Slim Aarons: Women explores the central subject of Slim Aarons's career-the extraordinary women from the upper echelons of high society, the arts, fashion and Hollywood. The book presents the women who most influenced Slim's life and work-and the other remarkable personalities he photographed along the way, including Audrey Hepburn, Jackie Kennedy, Diana Vreeland and Marilyn Monroe, all featured in unforgettable photographs. The collection contains more than 200 images, the majority of which have not appeared in previous books, along with detailed captions written by one of Slim's closest colleagues. Showcasing beautiful women at their most glamorous in some of the most dazzling locations across the globe, Slim Aarons: Women is a fresh look at the acclaimed photographer through the muses who inspired his most incredible photographs.

Brilliant and sophisticated fashion photographer, leading artist of Vogue magazine for six decades, Horst P. Horst has become a reference for entire generations in this photographic genre. This volume traces Horst's main creative periods, from the beginning of his career to his latest creations, with a focus on some highlights of his production: the link with classical art which, nevertheless, doesn't elude the influences of the avant-gardes, and surrealism in particular; the visual investigation of the human figure's harmony and elegance, embellished by the perfect mastery of scene lighting; the fruitful and lasting collaboration with Vogue, a magazine for which the photographer has provided dozens of covers; the portraits of stars from the world of fashion and art, often set in their own homes, which once again reveal his indisputable compositional skills. Over 120 works, chosen from among his best known ones by the author himself, alongside a series of surprising previously unpublished works, testify to the talent and creative vision of one of the leading figures in 20th century photography. Text in English and Italian.

In ONYX, photographer Adrienne Raquel explores the intensity and escapism of the nightclub experience, documenting the power of the performers at Houston’s famed Club Onyx. Raquel’s photography is usually editorial, with high-power celebrities as her subjects. Her work has broken glass ceilings for Black female photographers. Now, for this passion project commissioned by Fotografiska New York, she has turned her lens towards a community of underrepresented artists in her hometown. At Club Onyx, strippers step on stage displaying their bodies, strength, and seduction, but there’s a virtue to this particular space. “They don’t get naked” is a common idiom to describe the club’s ambiance. Performers there take the word “stripper,” and negotiate what that means to them, on their own terms. Raquel captures elements of southern strip culture and the power of these performers with her signature glossy photographic style. From powerful images of the dancers mid-movement to detailed shots and intimate portraits, Raquel’s striking images put the divine beauty and compelling energy that enlivens Houston’s nightlife on full display. She also takes viewers behind the scenes, giving us a window into the community the dancers have built in the privacy of the locker room. There they prepare for the evening together before moving to the stage, each dancer in her moment. Uniting their star power to conquer one customer at a time, dancers continue into the early morning, performing and collecting bills. ONYX displays the empowerment and inclusivity in strip clubs that society has ignored. As captured by Raquel, the night club experience is revealed with layered meaning — granting the chance for these performers to be seen as elevated as the culture they influence.

Havana Buzz was shot in 2015 in Havana, Cuba. Once a majestic and cosmopolitan city at the heart of the Spanish colonial empire, turned playground for the American wealthy and powerful in the first half of the 20th century, for nearly 60 years Havana has been the capital of one of the last remaining socialist regimes in the world. This historical U turn is at the core of Havana's unique identity. The anti-urban character of Cuba's communist rule and the inflexible embargo imposed by the United States cast a paralyzing spell on the lavish metropolis, freezing it in time. Havana Buzz explores Cuba's capital at this time of much awaited historical transition. Caught in fleeting glimpses from its public buses, Havana's features are dispassionately laid bare, and the truth is revealed beyond the myth. Behind the romantic languidness of its urban relinquishment, the daily struggles for survival of an impoverished but resourceful population are displayed against the backdrop of anachronistic propaganda billboards, decrepit housing estates, crumbling infrastructures and a lush tropical nature that reclaims its rule after man's neglect. Yet, the signs of change are visible throughout the city and the new appears to seep relentlessly through the cracks of the past, creating a unique blend of antique and nouveau, nostalgia and hope, disillusionment and elation.

For many hundreds of years Kazakh nomads have been grazing their livestock near the Altai Mountains in western Mongolia. The Altai Kazakhs are unique in their tradition of using golden eagles to hunt on horseback. The lifestyle of these hunters, known in Kazakh as burtkitshis, is changing rapidly, and over the last few years the award-winning photographer Palani Mohan has spent time with these men and their families, documenting a culture under threat. The special bond between a hunter and his eagle begins when the hunter takes an eagle pup from a nest high on the rock face. The pups are usually about four years old (a golden eagle can live to 30 years of age). It's important that the pup has learned to hunt and is not still dependent on her mother; but neither can she be too old nor experienced, or she will not learn to live with humans. The hunters take only female pups from the nest, as females are larger and more powerful and aggressive than the males. Adult female golden eagles can have a wingspan of up to 9 feet, and weigh over 15 pounds. The eagle pup gradually learns to accept food from the hunter, and once trust has been established, the hunter begins to train the bird. The hunters describe the eagle as part of their family. The eagle takes pride of place in the home most of the time except during the day in the summer months or the warmest part of the day in the winter months. While all the men in the family handle the eagle, only the man who took her from the nest hunts with her. Hunting takes place in winter, when temperatures can plummet to minus 40 degrees Farenheit. The birds are carried in swaddling, which the hunters claim keeps them both warm and calm. The strong bond between hunter and eagle is strengthened by the amount of time they spend together. Hunting trips can last many days, as the hunter and eagle trek up to a mountain ridge to obtain a good view across the landscape. Once the prey - usually a fox - is spotted, the hunter charges towards it to flush it into the open, then releases the eagle to make the kill. Hunters traditionally wear fur coats made from the skins of the prey their eagle has caught. The relationship between hunter and eagle typically lasts six to eight years, then the eagle is released back into the wild to breed. One hunter tells Mohan: 'You love them as your own, even when you set them free at the end.' In his book, which comprises an introductory essay and 90 dramatic duotone images, Mohan explains how the burkitshis are slowing dying out. Rather than endure the brutal winters, their children choose to move to the capital, Ulan Bator, for a better way of life. There are also fewer golden eagles in the Altai Mountains. Although the 'Golden Eagle Festival' takes place every October to showcase the ancient art of hunting with eagles, attracting tourists from across the world, there are only between 50 and 60 'true' hunters left. This book is therefore a timely, important record of these proud men and their magnificent eagles in a remote, unforgiving part of the planet.

Light Break presents the first survey since 1996 of photographer Roy DeCarava, an essential figure of American art and culture, whose "poetry of vision" re-forms urban life, labor, love, and jazz into the discovery of "an intimate, emotional arc of transformation." Though DeCarava often refrained from public discussion of his work, this catalogue provides important background into determining factors of his aesthetic sensibility--his traditional training in painting and printmaking as well as his philosophical undertakings. It brings the viewer to a consideration of contradictory precepts in DeCarava's work that seeks resolution through tonal and structural elements within the image. Light Break presents a wide-ranging selection of DeCarava's photographs accompanied by a preface by Zoe Whitley, an American curator based in London, and features an introduction and essay by curator and art historian Sherry Turner DeCarava. Titled "Celebration," Turner DeCarava's essay considers the artist's singular poetic vision, his timeless portrayals of individuals and places, and his mastery of composition and photographic printmaking. "In making photographs, as in life, DeCarava was patient. Possessing both a peerless self-awareness and acute observational skills, he knew intuitively when to wait and when to open the camera's shutter. In the dark room, he availed himself of these same attributes, moving with steady assurance to develop his prints so as to allow the full range of what he called his "infinite scale of grey tones"--often realized at the deepest end of the spectrum--to emerge slowly and fully." This exquisite volume showcases a dynamic range of images that underscore DeCarava's subtle mastery of tonal and spatial elements across a wide, fascinating array of subject matter: from the figural implications of smoke and debris to the "shimmering mirror beneath a mother as she walks with her children in the morning light." These photographs express a strength of imagery--an intent to synchronize and honor the pulse of art as an emergent signal for creative and revelatory freedom.

Alfredo Boulton (1908–1995) is considered one of the most important champions of modern art in Venezuela and a key intellectual of twentieth-century modernism. He was a pioneer of modern photography, an art critic, a researcher and historian of Venezuelan art, a friend to many of the great artists and architects of the twentieth century, and an expert on the imagery of the heroes of his country’s independence. Yet, Boulton is shockingly underrecognized outside of his native land. The few exhibitions related to his work have been focused exclusively on his photographic production; never has there been a project that looks at the full range of Boulton’s efforts, foregrounding his influence on the shaping of Venezuelan art. This volume addresses these lacunae by analyzing Boulton’s groundbreaking photographic practice, his central role in the construction of a modern national artistic canon, and his influence in formalizing and developing art history and criticism in Venezuela. Based on the extensive materials held in Boulton’s archive at the Getty Research Institute, Alfredo Boulton brings together essays by leading scholars in the field to offer a commanding, original perspective on his contributions to the formation of a distinctive modernity at home and beyond.

The second book by Simon Eeles spanning over two summers in Far Rockaway beach this project is the artist's idea of happiness and honesty. Working from a tent perched on the edge of the beach, he works with strangers to paint a picture on the Colorful and diverse fantasy this is Rockaway beach. Having worked under renowned British fashion photographer Craig McDean, Eeles creates images with sharp, fashion-world glamour, even when working with a raw beach culture saturated in the eccentric New York style.

Danish photographer Jacob Holdt is internationally revered for his vision of America, as portrayed in classic volumes like "American Pictures" and "United States 1970-1975." It is a vision which has inspired many, both in its extremity (the director Lars von Trier is reputedly a fan) and in its tenacity. Holdt arrived in the U.S. in the early 70s with almost no money, and hitchhiked all over the U.S., earning a living by selling blood, and proceeded to build an amazing portrait of the margins of America over the course of his 100,000-mile journey. This monograph continues Holdt's fascination with American society, with a portfolio of photographs from the 70s to the present. Holdt's photographs document the social realities of the people he travels with, spanning the demographic from poor families to millionaires, junkies and even members of the Ku Klux Klan.

There are now precious few places left on earth with which we do not feel familiar, if not from first hand experience then at least from the perspective of the armchair traveller - and fewer still where the camera has not yet prescribed our vision. An unrivalled collection of images of one of the last unsullied wildernesses in the world: the vast, uninhabited spaces of north-east Greenland. These beautiful, majestic and poetic landscapes exist in one of the harshest environments on earth. Roy traces the historical background with a brief outline of Greenland's early exploration. He documents the poignant traces of the Inuit tribe - their winter houses, summer tent circles and graves and enigmatic stone mosaics - and the structures left by the European trappers who once plied their dog-sledges in the lonely fjords. Iain Roy's first expedition to Greenland was in 1982, to the mountainous region of the south near Cape Farewell. He was a member of a small group of Arctic enthusiasts who shared a love of wild spaces and whose ambitions were fuelled by the accounts of earlier pioneers - early whaling and expedition journals and memoirs of scientists and trappers from the pre-war period. The group pooled their resources in order to reach remote corners of a faraway region that had become their common obsession. Roy himself has since made ten expeditions to the region.

A selection of amateur photographic prints taken in the Autumn of 1968 at the time of the Vietnam War. Here is the intimacy that danced in the eyes of family photographers as they framed the everyday lives of ordinary people.

In The Intimacy of Making Swiss French photographer Helene Binet takes us on a visual journey through a world of stone, walls and gardens that define and celebrate the Korean art of making. In pure and calm photographs we discover traditional Korean architecture through a Western lens. The purity of the motifs sharpens one's eye for the often-overlooked beauty and harmony in our own environment and history, as well as for the care of craft and composition. This book is a reminder against our often fleeting and careless perceptions. In her photographs, which were taken over the course of the last three years, Binet looks at three typologies of traditional architecture in Korea: the Confucian school and sacred place Byeong- san Sewon; garden and tea house Soswaewon; and the Jongmyo Shrine. Her camera combines both the nature and the built structures and reveals the soul of the three sites. The photographic essays are accompanied by two texts: Korean architect, Byoung Soo Cho, offers insight into the cultural and architectural history, while art and design critic and teacher, Eugenie Shinkle, focuses on the "making."

A visual journey through Indian cities from a rare non-western point of view, this account of street life, kitsch and popular culture moves through the spaces and signs of the city-both imaginative and physical, commenting on the complex and often surreal forms of human arrangements.