Robert Polidori is known for his large format photographs of habitats and rooms saturated with the traces of human intervention. In EYE and I, he turns the lens around to reveal the portraits of people he has encountered in his work of over thirty years photographing around the world, particularly in the Middle East and India. These instantaneous portraits of mutual recognition reveal the photographed subject and the photographer intersecting with each other in a fleeting gaze of mutual regard. Robert Polidori was born in Montreal in 1951 and lives in New York City. His work has been the subject of exhibitions in New York, London, Brazil, Montreal, among other places. He received the World Press Photo Award in 1997, the Alfred Eisenstaedt Award for Magazine Photography in 1999 and 2000, and Communication Arts awards in 2007 and 2008. In 2006, Polidori's series of photographs of New Orleans after Hurricane Katrina was exhibited at the Metropolitan Museum of Art. His bestselling books Havana (2003), Zones of Exclusion-Pripyat and Chernobyl (2003), After the Flood (2006), Parcours Museologique Revisite (2009) and Some Points in Between... Up Till Now (2010) are published by Steidl.

A digitally remastered facsimile edition of Danny Lyon's seminal 1971 photobook, highly influential in the history of documentary photography. Conversations with the Dead provides an extraordinary photographic record of life inside six Texas prisons and the relationships Lyon built with the inmates. Revolutionary at the time of publication, it was one of the first photobooks to include ephemera. This new edition has been updated with an afterward by Lyon himself detailing what happened to the inmates in the 40 years since the book was first published. It also offers new, unseen material including outtake images, audio recordings and newly commissioned texts on a specially created microsite as a free ibook edition of this landmark publication. Features: - A new afterward by Danny Lyon

A cultural geographer and an art historian offer fresh interpretations of Muybridge’s famous motion studies through the lenses of mobility and race. In 1878, Eadweard Muybridge successfully photographed horses in motion, proving that all four hooves leave the ground at once for a split second during full gallop. This was the beginning of Muybridge’s decades-long investigation into instantaneous photography, culminating in his masterpiece Animal Locomotion. Muybridge became one of the most influential photographers of his time, and his stop-motion technique helped pave the way for the motion-picture industry, born a short decade later.   Coauthored by cultural geographer Tim Cresswell and art historian John Ott, this book reexamines the motion studies as historical forms of “mobility,� in which specific forms of motion are given extraordinary significance and accrued value. Through a lively, interdisciplinary exchange, the authors explore how mobility is contextualized within the transformations of movement that marked the nineteenth century and how mobility represents the possibilities of social movement for African Americans. Together, these complementary essays look to Muybridge’s works as interventions in knowledge and experience and as opportunities to investigate larger social ramifications and possibilities.  

First we had dogs underwater, then dogs shaking off water... so why not dogs soaking up the exhilarating no-holds-barred pleasure of a car ride? Photographer Lara Jo Regan began her pet project as a calendar, but the response was overwhelming and absolute: Her photographs of the cruising canines, taken from incredible perspectives, with tongues hanging and ears flapping, became a global Internet sensation.

The energy of the photographs is impressive and visceral. In order to get these shots, Regan built a special light, which jutted out over the roof of the car, a harness that allowed her to lean out of the window, and various other contraptions to make the images come to life. This book will make you laugh out loud and want to share it with everyone you know. It s full speed happiness."

Born in 1944, Prague photographer Jindrich Pribik makes supremely complicated work. Over more than 50 years, he has created 40 overlapping series, an intricate web of mutual references and quotations. Many of the works include written essays, reflections in glass windows, found negatives, literary motifs and other montage elements.

Wild and Precious documents the road trips that American photographer Jesse Burke (born 1972) takes with his daughter to explore the natural world. Burke's landscapes and portraits investigate the complex relationship humans have with nature, as well as a father's love for his child.

Fotobus Society is a network of photographers founded by Christoph Bangert. Its more than 800 members are studying at universities and photography schools across Germany and Europe and benefit from the association's broad cultural and social programs. At the heart of this community is a 30-year-old bus that acts as a mobile photography school and regularly takes members to photography festivals, symposia, and professional events. This book is the third volume in a series that introduces selected works of the association's members and offers a fascinating glimpse into the contemporary scene of young European photography. Telling stories about everyday life and the boundless excesses of our time, it features pictures that are marked by violence: directed against oneself, against others, and against the planet. There are poignant snapshots that reveal personal stories of individuals, groups, or communities who are grappling with ever-new challenges. The photos show freedom, hope, and love - as well as their absence. They do what photography does best: opening people's eyes to a world that would otherwise remain hidden from them.

Asylum of the Birds is a new body of work by Roger Ballen, one of the most original image-makers of our times. Ballen has always sought to push the boundaries of photographic practice and has created an aesthetic and artistic vision unlike any other contemporary photographer. The images in Asylum of the Birds have been photographed entirely within the confines of a house in a Johannesburg suburb, the location of which remains a tightly guarded secret. The inhabitants of the house, both people and animals, and most notably the ever-present birds, are the cast who perform within a sculptural and decorated theatrical interior that Ballen creates and orchestrates. The resulting images are painterly, complex and surreal. They are richly layered with graffiti, drawings, animals and found objects. In a world where photographers seek to avoid definition, and whose work is often banal, Ballen is a true original who not only defies genres, but has defined his own artistic space as well.

We all know Dorothea Lange's iconic photos—the Migrant Mother holding her child, the shoeless children of the Dust Bowl—but now renowned American historian Linda Gordon brings them to three-dimensional life in this groundbreaking exploration of Lange's transformation into a documentarist. Using Lange's life to anchor a moving social history of twentieth-century America, Gordon masterfully re-creates bohemian San Francisco, the Depression, and the Japanese-American internment camps. Accompanied by more than one hundred images—many of them previously unseen and some formerly suppressed—Gordon has written a sparkling, fast-moving story that testifies to her status as one of the most gifted historians of our time. Finalist for the Los Angeles Times Book Prize; a New York Times Notable Book; New Yorker's A Year's Reading; and San Francisco Chronicle Best Book.

First published in 1968, The Bikeriders explores firsthand the stories and characters of the Chicago Outlaws Motorcycle Club. The journal-size title features original black-and-white photographs and transcribed interviews made from 1963 to 1967, when Danny Lyon was a member of the Outlaws gang. Authentic, personal, and uncompromising, Lyon's depiction of individuals on the outskirts of society offers a gritty yet humanistic view that subverts the commercialized image of Americana. Akin to the documentary style of 1960s-era New Journalism, made famous by writers such as Joan Didion, Hunter S. Thompson, and Tom Wolfe, Lyon's work, like theirs, demonstrates humanitarian interests, advocacy, and "saturation reporting." The importance of his work and our interest in the subject is reinforced by Lyon's immersion in his subject.

A Life Behind the Lens is a collection of the very best work of Richard `Dickie' Pelham, the multi award-winning chief sports photographer of The Sun for the past 30 years. He has covered six Olympic Games, six World Cups, any number of Test matches and many championship boxing bouts, capturing the moments of triumph and despair, the great goals, the knockout punches, the key wickets and the gold-medal glory. He has been trackside, ringside, pitchside and poolside as well as in the studio and on the training grounds with the biggest names in world sport, including Usain Bolt, Mo Farah, Jessica Ennis-Hill, Andy Murray, Paul Gascoigne, David Beckham, Tom Daley, Lennox Lewis and Anthony Joshua. His pictures have featured on memorable front and back pages and centre spreads. The images are accompanied by Dickie's own recounting of the human stories behind the pictures and the technical secrets of a master of his trade.

A cultural geographer and an art historian offer fresh interpretations of Muybridge's famous motion studies through the lenses of mobility and race. In 1878, Eadweard Muybridge successfully photographed horses in motion, proving that all four hooves leave the ground at once for a split second during full gallop. This was the beginning of Muybridge's decades-long investigation into instantaneous photography, culminating in his masterpiece Animal Locomotion. Muybridge became one of the most influential photographers of his time, and his stop-motion technique helped pave the way for the motion-picture industry, born a short decade later. Coauthored by cultural geographer Tim Cresswell and art historian John Ott, this book reexamines the motion studies as historical forms of "mobility," in which specific forms of motion are given extraordinary significance and accrued value. Through a lively, interdisciplinary exchange, the authors explore how mobility is contextualized within the transformations of movement that marked the nineteenth century and how mobility represents the possibilities of social movement for African Americans. Together, these complementary essays look to Muybridge's works as interventions in knowledge and experience and as opportunities to investigate larger social ramifications and possibilities.

Stephen Shore is a pioneering photographer and influential teacher. From Galilee to the Negev is an intimate portrait of a multi-faceted place, exploring the landscape of Israel and the Palestinian territories of the West Bank; its complexities and its contradictions. Shore travelled the length and breadth of the region, questioning and revealing through his camera lens. His visual inquiry explores the landscape itself and the people who live in it - the daily lives and the narratives that combine to create this fascinating place - at once beautiful and ugly, safe and hostile. A selection of texts by a diverse range of writers - who have each selected one photograph as a spring board - will be interspersed amongst the photographs, offering a gathering of voices and perspectives.

The Day May Break, photographed in Zimbabwe and Kenya in late 2020, is the first part of a global series portraying people and animals that have been impacted by environmental degradation and destruction. The people in the photos were all affected by climate change, displaced by cyclones and years-long droughts. Photographed at five sanctuaries, the animals were rescues that can never be re-wilded. As a result, it was safe for human strangers to be close to them, photographed so close to them, within the same frame. The fog on location is the unifying visual, as we increasingly find ourselves in a kind of limbo, a once-recognizable world now fading from view. However, in spite of their loss, these people and animals are the survivors. And therein lies possibility and hope.

Good Sick by Jordan Baumgarten is a photographic portrait of the US opioid crisis, shown through its effects on one neighbourhood in Philadelphia. The neighbourhood of Kensington is a nexus for those in and around the city seeking heroin and all that it entails. The supporting addiction based economy co-exists alongside everyday life in the neighbourhood and in its surrounding landscape there are signs and premonitions of disorder and confusion. The photographs in this book depict chaos; nature encroaching on urban decay; an ambiguity between magic and darkness; private moments which are public; animals and humans roam free--fuelled by id, and always, somewhere, there is a fire burning. The images in Good Sick are a small proportion of those taken by Baumgarten, a native of the city, between the winter of 2012 and the spring of 2017.

More than twenty years after its initial publication, Michael Kenna's seminal collection of photographs of the Ford River Rouge industrial complex is now available in a new, revised, and expanded edition. One of the world's most acclaimed photographers working exclusively in black-and-white, Michael Kenna has traveled the world to create stunning, magical images of nature and manmade objects. Known for the ethereal tone and incredibly nuanced detail of his photographs, Kenna is also a chronicler of environmental degradation. His images of an auto plant outside of Detroit, Michigan, are some of his best-known works. Long out of print, Rouge has been brought back to life with a spectacular new design, an authoritative essay by art historian James Steward, and many previously unpublished images that were part of the original series. As the city of Detroit struggles to reclaim its heritage as an American commercial and artistic hub, these photographs resonate more than ever with the stark realities and hidden beauty of the industrial landscape.

John Arsenault's flowery photographs in For You! do not highlight perfection but, rather, show the continual wrestling act between beauty and decay. The result of a long-term exploration on the seductive beauty of the rose, these intimate and varied images stand as a symbol of the artist's budding ardor for his lover, now husband. Historically, roses have been used to symbolize desire, sexuality, seductiveness, and secrecy; this in-depth study is testament to the continued potency of the time-honored symbol of love. John Arsenault is internationally exhibited and has worked with clients ranging from The New Yorker and Volkswagen to Goldman Sachs and Out Magazine.