Following on from his daily photo blog, renowned London street photographer Babycakes Romero brings you MYDLN. A Street View of London Life. A compelling collection of documentary images showing both the communities and cultures which make up the multicultural melting pot that is London. These photos, carefully curated here for the first time, bear witness to the real heart and soul of the people that make up the metropolis. Narratives and interactions depicting scenes of love, hope, struggle and everyday life. This is his photographic love letter to London. A city of possibilities which has in fact become the impossible city. The intensity, the craziness, the inequality, the mayhem, the conflict, the injustice, the beauty and the essence of what makes the city what it was, what it is and what it will be. Each stolen moment recording and documenting a different perception of both the place and its people. This is survival in the city.

Beholden: Reinhild Beuther is a short monograph on the work of artist Reinhild Beuther.

It was no more than eight years after the surrender of the Nazi government when Josef Heinrich Darchinger set out on his photographic journey through the West of a divided Germany. The bombs of World War II had reduced the country's major cities to deserts of rubble. Yet his pictures show scarcely any signs of the downfall of a civilization. Not that the photographer was manipulating the evidence: he simply recorded what he saw. At the time, a New York travel agency was advertising the last opportunity to go and visit the remaining bomb sites. Darchinger's pictures, in color and black-and-white, show a country in a fever of reconstruction. The economic boom was so incredible that the whole world spoke of an "economic miracle." The people who achieved it, in contrast, look down-to-earth, unassuming, conscientious, and diligent. And increasingly, they look like strangers in the world they have created. The photographs portray a country caught between the opposite poles of technological modernism and cultural restoration, between affluence and penury, between German Gemutlichkeit and the constant threat of the Cold War. They show the winners and losers of the "economic miracle," people from all social classes, at home, at work, in their very limited free time and as consumers. But they also show a country that looks, in retrospect, like a film from the middle of the last century. For this revised edition, we have digitally remastered all photographies in a new, full-frame format that captivate with their highly pigmented colors and fine press varnish.

In our latest Collective Shorts series, photographer Aaron Tilley explores the notion of narratives and storytelling through carefully constructed and captured still images. Executed in a manner that is playful, yet driven with tension, Tilley's photography exacts an anticipation of the moment that is about to happen. Momentum is a collection of some of Tilley's best work to date. His photography continuously captivates the viewer, leading us to something perhaps unexpected, out of context or that may cause us some unease but in a fun and highly-dramatic way. The aesthetic is bold and well-designed with each image portraying a story at a paused point in time allowing the narrative of the image to be interpreted by the viewer. With this, the viewer should enjoy the surreal element to the work and embrace this style presented throughout the book.

The definitive monograph of American photographer Vivian Maier, exploring the full range and brilliance of her work and the mystery of her life, written and edited by noted photography curator and writer Marvin Heiferman; featuring 250 black-and-white images, color work, and other materials never seen before; and a foreword by New York Times bestselling author Laura Lippman.

Vivian Maier’s story—the secretive nanny-photographer during her life who becomes a popular sensation shortly after her death—has, to date, been pieced together only from previously seen or known images she made and the handful of facts that have surfaced about her life. During her lifetime she shot more than 100,000 images, which she kept hidden from the world. In 2007, two years before her death, Chicago historic preservationist John Maloof discovered a trove of negatives, and roll upon roll of undeveloped film in a storage locker he bought at auction. They revealed a surprising and accomplished artist and a stunning body of work, which Maloof championed and brought to worldwide acclaim. 



Vivian Maier presents the most comprehensive collection and largest selection of the photographer’s work—created during the 1950s through the 1970s in New York, Chicago, and on her travels around the country—almost exclusively unpublished and including her previously unknown color work. It features images of and excerpts from Maier’s personal artifacts, memorabilia, and audiotapes, made available for the first time. This remarkable volume draws upon recently conducted interviews with people who knew Maier, which shed new light on Maier’s photographic skill and her life.

"Phil & Me is a daughter's use of photography to try to understand her relationship with her father and the schizophrenia that has crippled him. Amanda's father, Philip Tetrault, is a poet who has lived with schizophrenia since he attended McGill University, in Montreal, at the age of 21. As a young man, Philip was suffused with promise, hailed by Leonard Cohen in 1986 as one of the best young poets in Canada--before he slipped into yet another schizophrenic void. These photographs cover six years of sporadic meetings between Amanda and her father. Throughout, Philip had been giving her scraps of paper and napkins with verses and lines scrawled on them: some are published here. Photo booth pictures that span the past 27 years form a visual narrative thread. Philip is now a part of the streets and the shadows of Montreal. The reality of his days--moving through the cafes and parks of the city, his habitual Mickey of vodka in hand, and his acquaintances of street kids, squirrels, crows and seagulls--haunt these photographs and his poems alike.

The American photographer Abe Frajndlich has close connections with New York. He describes the cityas his muse and repeatedly records it and its people in haunting photographs.This volume shows selected, highly personal images which are very different from the ubiquitous postcardsand poster views, which is lavishly illustrated in this book. Abe Frajndlich (*1946, Frankfurt am Main) is known internationally for his portraits of famous people such as Jack Lemmon and Stephen Hawking. Since moving to New York in 1984 the city itself has been one of his principal subjects. He is fascinated by its radiance and watches spellbound how it changes and reinvents itself on a daily basis. The result is a multi-faceted picture: the black-and-white photographs aresometimes perceptive, sometimes thoughtful, and sometimes witty or quirky -but they are always a declaration of love to New York.

Americans is the second book in a series on America by Christopher Morris. While the first book My America (Steidl, 2006) focused on Republican nationalism, Americans takes a much broader journey across American society. With an empathetic and critical eye, Morris presents a nation in a state of perpetual loss and its people searching for an identity- stranded within two long-running wars and an economy on the verge of collapse. Christopher Morris, born in California in 1958, began his career as a documentary conflict photographer, working almost exclusively with Time Magazine, where he has been on contract since 1990. Parallel to his career as a photojournalist, Morris has recently expanded into the fashion world, working for such clients as Roberto Cavalli and magazines on the collections of Louis Vuitton, Prada and Max Mara. Morris has received many awards including the Robert Capa Gold Medal, the Olivier Rebbot Award, and the Infinity Award for photojournalism from the International Center of Photography. Morris is a founding member of VII Photo Agency in New York.

Becoming Photography looks back at the more than 30-year-long career of the Canadian artist Chuck Samuels (*1956). Samuels often photographs or films himself to explore the themes of memory, photography, and cinema. This catalogue contains analytical essays by Mona Hakim and Joan Fontcuberta. Hakim, a close colleague of Samuels, observes all of the artist's serial work, while Fontcuberta analyses the presence of truth and falsehood in his oeuvre.

#metadata features new painting, sculptures, and installations by Ryan McGinness. The paintings depict various scenes from the studio, including tools, sketches, paint containers, materials indigenous to the studio, and finished paintings. The sculptures take the tools of production as well as studio detritus out of the paintings and into the viewer's personal space. The installations bring the paintings and the objectified references to the production of those paintings together into site-specific environments. Included are installation views from McGinness' exhibitions at Deitch Projects in New York, Kohn Gallery in Los Angeles, Quint Gallery in San Diego, La Casa Encendida in Madrid, Ron Mandos Gallery in Amsterdam, Virginia Museum of Fine Arts, and the Cranbrook Art Museum in Michigan.

In "Photography After Frank," former "New York Times" writer and picture editor Philip Gefter narrates the tale of contemporary photography, beginning at the pivotal moment when Robert Frank commenced his seminal works of the 1950s. Along the way, he connects the dots of photography's evolution into what it is today, forging links between its episodes to reveal unsuspected leaps. Gefter takes Frank's "The Americans" as a decisive challenge to photographic objectivity, with its grainy, off-hand-seeming spontaneity and its documentation of life beyond the picket fence. Thus viewed, "The Americans" provides Gefter with a bridge to the phenomenon of the staged document and Postmodernism's further challenge to image fidelity. Other areas of discussion include photojournalism, the recent diversity of portraiture styles, the influence of private and corporate collections on curatorial decisions and how the market shapes art making. Throughout "Photography After Frank," Gefter deftly demonstrates Frank's legacy in the work of dozens of important individual artists who followed in his wake, from Lee Friedlander and Nan Goldin to Stephen Shore and Ryan McGinley. The book includes texts written exclusively for this publication as well as essays drawn from Gefter's critical writings, reviews and even obituaries. "Photography After Frank" offers a page-turning approach to a subject that will appeal to students and art world aficionados alike.

Derek Ridgers is one of the UK's foremost portrait photographers with a career spanning forty years. He is best known for his photography of music, film and club/street culture - photographing everyone from James Brown to The Spice Girls, from Clint Eastwood to Johnny Depp. During his career, Ridgers has worked for many publications, including Time Out, The Sunday Telegraph, NME, The Face, Loaded, The Sunday Times, The Sunday Independent, GQ Style and Arena.

As a little boy of seven or eight, Jacques Henri Lartigue was given his first camera, and soon was developing his own photographs. Born into a prosperous family, from childhood Lartigue acutely observed the social rituals of the upper echelons of society through his photography. The hand-held Kodak camera, first introduced in 1888, granted the young photographer flexibility to capture the fine details of eccentric family members at home, the elaborate social parade in the Bois de Boulogne, on the beach in Normandy and beyond. Classic images of motor cars and high fashion sit alongside previously unpublished photographs from the Lartigue archive. These images of family beau-monde and demi-monde life are not only evidence of a prodigious talent, but also offer an intimate, adolescent perspective of Belle-Epoque Paris, the world of Proust, Debussy and the Nabis, before the outbreak of the First World War. At a young age Lartigue mastered the medium of photography: this exploration of his extraordinary childhood is interwoven with a social and cultural portrait of the Belle Epoque. Bonnard and Vuillard used the camera as a reference point for painting, Eugene Atget documented the architecture of the old Paris ahead of its developers, but Lartigue was the first to harness the immediacy of the snapshot, often capturing his subjects mid-gesture as in real life, creating a new visual language for the 20th century.