Over the course of his fifty-year career, American photographer Edward Weston (1886-1958) blazed a path into Photo-Modernism rendering portraits, landscapes, still-lifes and nudes. In 1902, a sixteen-year-old Weston took up photography in Highland Park, Illinois, where he worked as an amateur for five years. In 1907, at the age of twenty-one, Weston moved to Tropico, California, now the city of Glendale in Los Angeles County, where he constructed his first studio and set about with great purpose to become a photographic artist. Examining Weston's earliest sharp- and soft-focus photographs reveals that the young artist had already formed a perfect sense of composition that was to be the hallmark of his later work. Presenting Weston's earliest work from a recently discovered family album, Edward Weston: Portrait of the Young Man as an Artist compares the artist's naive first artistic efforts with his latest masterworks to show the persistence and evolution of his singular vision to find essential form in the vernacular with an ever-increasing intensity.As a young man deeply intuitive and original in his creative expression, Edward Weston demonstrates that his teenage work, beginning with his amateur snapshots, embrace the same significant form as the later work for which he is now considered a master.

Intimate photo essays of thirty-eight important writers, including Margaret Atwood, Gabriel Garcia Marquez, Zadie Smith, and Colm Toibin "We've all seen writers on the dust jackets of their books. These portraits, it seemed to me, generally failed to convey either character or personality. Writers deserve better. I wanted to make compelling pictures that would stick in the mind's eye."-Laura Wilson Inspired by the classic photo essays that once appeared in Life magazine, renowned photographer Laura Wilson presents dynamic portraits of thirty-eight internationally acclaimed writers. Through her photos and accompanying texts, she gives us vivid, revealing glimpses into the everyday lives of such luminaries as Rachel Cusk, Edwidge Danticat, David McCullough, Haruki Murakami, and the late Carlos Fuentes and Seamus Heaney, among others. Margaret Atwood works in her garden. Tim O'Brien performs magic tricks for his family. And Louise Erdrich, who contributes an introduction, speaks with customers in her Minneapolis bookstore. At once inviting and poignant, the book reflects on writing and photography's shared concerns with invention, transformation, memory, and preservation. With 220 duotone images, The Writers: Portraits will appeal to fans of literature and photography alike. Published in association with the Harry Ransom Center at The University of Texas at Austin Exhibition Schedule: Harry Ransom Center at The University of Texas at Austin August 26, 2022-January 1, 2023

'Artists live by curiosity and enthusiasm, qualities readily evident as inspiration in dogs.' Robert Adams, Why People Photograph I, Jack Russell is a journey of discovery that will enthrall dog lovers everywhere. When photographer Andy Hughes, a life long admirer and owner of Jack Russells, realised that he had many more pictures of his dogs than he did of his family and friends, he decided to create this joyous enterprise, photographing one dog which lead to another dog until he had traveled the length and breadth of the UK and then ventured to the USA.

Inspired by John Szarkowski's 1973 Looking at Photographs, and paying homage to the concept of the one hundred images and a page of text for each, Stephen Frailey now updates this classic with significant works of photography from early 80s to the present. Looking at Photography covers all genres of photography, and through discussing the process of the individual works Frailey - as photographer, editor and educator - articlulates the themes and sensibilities of contemporary photography. The book is illustrated with major works by acclaimed artists such as Tina Barney, Jeff Wall, Steven Meisel, Nan Goldin, Helmut Newton, Martin Parr, Tim Walker, Wolfgang Tillmans, among others.

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.

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.

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 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.

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.

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.

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.

Al-Masjid an-Nabawi, the great Mosque of Madinah containing the tomb of the Prophet himself, is one of the two holiest sites in the Islamic world. Since the Prophet's death thirteen centuries ago, the mosque has spread outwards from the core of the holy city. At night, it radiates a powerful light. The tomb itself within the Prophet's Chamber is a point of pilgrimage for visitors who come in their millions every year from across the globe. Moath Alofi, who was born and raised in the city, has witnessed this devotion to the Prophet all his life. It is natural that Nabawi should become the title and subject of his first photographic book. From that holy axis, he has travelled into the greater space of Madinah Province and has photographed both the desert culture and the vanishing fabric of the city and its surrounding neighbourhoods. Madinah, like its holy counterpart, Mecca, is a city in a constant state of transition. The role of the photographer as an observer of change becomes all the more important as the pace of transition inevitably escalates. This book, Nabawi, is a record of the daily life of one of the great holy sites, and a study in humanity. All manner of expression and experience are found in the faces of the pilgrims - the old and young men, women and children - who are touched by the spirit of the place and by the devotion they have so faithfully expressed.

Richard Long has been at the forefront of land art for more than half a century. A pioneer of conceptual practices in the 1960s, his expanded approach to sculpture has consistently taken the medium out of the studio into the natural world and around the globe, using time, space, distance, navigation, perception, the elements and the geological forces that have shaped the landscape around us as both his tools and his vocabulary. Many Rivers to Cross is a thorough overview of Long's career, selected by the artist himself and spanning the late 1960s to the present day. It covers his practice in all its forms - walks, photographs, text works, large installations, mud works and drawings, including some early unpublished works as well as many seminal and celebrated projects. A number of short 'back stories' written by Long not only provide insight into the context and creation of key works, but also evoke the sense of freedom and adventure of an epic journey across foreign landscapes. Texts include a recent conversation between Long and internationally acclaimed composer and musician Nitin Sawhney; a dialogue about the recreation of Muddy Water Circle (1994) at Frieze Masters in London with Lisson Gallery in 2013; and a discussion with curator Alkistis Dimaki on the occasion of the presentation of Athens Slate Line at the Acropolis, Athens, in summer 2020. The book also includes documentation of works presented internationally in museums and galleries. Using earth, rocks, sticks and other natural materials and forces ranging from water and gravity to clouds and constellations of stars, over the course of his distinguished career Long has represented the primal relationship between humankind, art and the landscape. In a modern, post-industrial, digital world, his poetic and often profound practice is a poignant reminder of the origins of life, of human development and civilization, and of the fundamental, primordial drive to create.

Manhattan Sunday is part homage to a slice of New York nightlife, and part celebration of New York as palimpsest-an evolving form onto which millions of people have and continue to project their ideal selves and ideal lives. In the essay that accompanies his photographs, Richard Renaldi describes his experiences as a young man in the late 1980s who had recently embraced his gay identity, and of finding a home in "the mystery and abandonment of the club, the nightscape, and then finally daybreak," each offering a "transformation of Manhattan from the known world into a dreamscape of characters acting out their fantasies on a grand stage." Drawing heavily on his personal subcultural pathways, Renaldi captures that ethereal moment when Saturday night bleeds into Sunday morning across the borough of Manhattan. This collection of portraits, landscapes, and club interiors evokes the vibrant nighttime rhythms of a city that persists in both its decadence and its dreams, despite beliefs to the contrary. Manhattan Sunday is a personal memoir that also offers a reflection the city's evolving identity-one that still carries with it and cherishes the echoes of its past.

In 1975, fresh out of art school, Martin Parr found poor footing in the London photography scene, so he moved to the picturesque Yorkshire Pennine mill town of Hebden Bridge. Over a period of five years, he documented the town in photographs, showing in particular the aspects of traditional life that were beginning to decline. Susie Parr, whom he had met in Manchester, joined him in documenting a year in the life of a small Methodist chapel, together with its farming community. Such chapels seemed to encapsulate the region's disappearing way of life. Here Martin Parr found his photographic voice, while together he and Susie assembled a remarkable and touching historic document-now published in book form for the first time. The Non-Conformists takes its title from the Methodist and Baptist chapels that then char - acterized this area of Yorkshire and defined the fiercely independent character of the town. In words and pictures, the Parrs vividly and affectionately document cobbled streets, flat-capped mill workers, hardy gamekeepers, henpecked husbands, and jovial shop owners. The best Parr photographs are interleaved with Susie Parr's detailed background descriptions of the society they observed.

The photographer Achim Lippoth (*1968 in Ilshofen) discovered his subject-childhood- while studying art. Geschichten uber das Kindsein / Storytelling presents a comprehensive view of Lippoth's practice. The sensitivity of his photographs make it possible to understand the world of children, and their naturalness is touching, taking viewers back to their own childhood experiences. With great respect for their emotions, their frankness, and their dreams, Lippoth shifts the focus to his young protagonists. Here, adults take on the roles of extras, at most. Lippoth's visual vocabulary does not include staging his photographs, nevertheless, the children's poses anticipate their eventual arrival into the world of adulthood. Far from reinforcing cliched roles or being patronizing, Lippoth's photographs, through their careful use of light and captivating closeups, tell stories of feeling carefree in childhood as well as the stories of the families and of belonging.Exhibition: 19.3.-11.6.2017, Erholungshaus Leverkusen