In the late 1950s and early 1960s French New Wave cinema exploded onto international screens with films like Les quatre cents coups, A bout de souffle and Jules et Jim. They were radical, artistic, original and most importantly set up the director as a creative genius; at the forefront were Francois Truffaut and Jean-Luc Godard. Today these films are credited with changing cinema forever. For many film goers they command strong and passionate respect and became the foundations on which a lifetime of cinema-going is built. In the photographs of Raymond Cauchetier we bear witness to the great artistic genius that was central to the process of making these films. Cauchetier's photographs are a culturally important documentary of the director at work, his methods and processes. His photographs capture some of the most memorable moments in film; Jean-Paul Belmondo and Jean Seberg on the Champs Elysees in A bout de souffle, Jeanne Moreau in the race scene of Jules et Jim, Anna Karina in a Parisian Cafe in Une femme est une femme. But Cauchetier's genius lies also in the fact that his photographs are far above just a visual record of these films. They clearly show the same spirit, the same freedom and the same originality that made The New Wave so important. Cauchetier's photographs are as much a part of The New Wave as the films themselves. In the words of Richard Brody: In these images, Raymond Cauchetier, a witness to art, made art by bearing true witness. This is the first book published in English featuring the New Wave film photographs of Raymond Cauchetier.

Ron Buckley's photographs show the changing locomotive scene taking place from the later 1930s throughout the East Midlands and East Anglia, illustrating pre-grouping locomotive classes still working across Lincoln, Cambridge, Norfolk, Suffolk, Nottingham, Leicester, Northampton, Bedford, Hertford, Buckingham and Essex. During later LNER days, locomotives of the Great Eastern and Great Northern Railways continued working the many secondary routes and branch lines while the main East Coast saw from 1935 the appearance of Nigel Gresley's streamlined class A4 locomotives working the high speed passenger traffic between Edinburgh and London. The LMS influence saw many former London and North Western and Midland Railway locomotives handling both passenger and goods traffic especially the product of the many collieries in Nottinghamshire.

A classic, indeed perhaps the best of the Mapplethorpe books. And for many most certainly the most typical Mapplethorpe, now available once again thanks to this re-edition. The Black Book, first published in 1986, presents 96 formally stringent and highly erotic nudes, all of them photographs of black men, either as full figures, or staged as details, as fragments of their bodies. Stylized as classical statues or provocatively in all their presence and sensuous radiance. Black-and-white photography was Mapplethorpe's preferred medium. And his obsessive aesthetics was based on completely mastering it, as this enabled him to visualize any number of tonal gradations and penetrate deep into the very pores of the gleaming black skin. It is a method that reached a climax in these images. The Black Book, Mapplethorpe s homage to the black male body, has always been one of the most important visual contributions to the discussion on beauty, sensuality, and sexuality in photography.

Aenne Biermann is regarded as one of the important avant-garde photographers of the twentieth century. Together with Bauhaus artists like Lucia Moholy and Florence Henri she was represented in the pioneering exhibitions of the late 1920s and early 1930s. In 1930 Franz Roh, the art critic and early patron of Biermann, dedicated to her the legendary monograph designed by Jan Tschichold "Aenne Biermann 60 Fotos "which is now being published again as a reprint with commentary. As early as 1928, Franz Roh referred to the "remarkable" photo artist Aenne Biermann (1898-1933), who attracted the attention of experts with her close-up pictures of plants. In the following years the photographer, an autodidact, became an important artist of photographic modernism. Her works created a haunting and aesthetically fascinating pictorial world with close-up views, extreme detail shots and lighting contrasts. She mostly found her motifs in her immediate vicinity: in addition to numerous still lifes with everyday objects and nature photos, she also repeatedly photographed her children, their object world and their activities. Many originals were lost during the Second World War, including the 60 photos in this publication. The authorised reprint of this volume is a tribute to a great artist of the modern age.

Photographer Seth Casteel's underwater photographs of dogs and babies have captivated an international audience. Now, Seth has found the perfect way to capture our other best friends: cats! A beautiful, funny gift book with more than 80 previously unpublished photographs, Pounce reveals adorable cats and kittens as they pounce and jump through the air, arms outstretched - all in Casteel's signature up-close, mid-action style.

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.

In this book, this Australian photographer, one of the great contemporary photographers, gathers together a personal biography in which photographs mix with all kinds of personal and sentimental documents: facsimiles of his notebooks and diaries, passports, postcards, letters, drawings...They shape a collage that is as beautiful as it is disturbing in which word and image imitate each other and Pam demonstrates, as few other creators can, that everything can be turned into a small work of art if it finds the right eye and discourse.

Melancholy Witness is the published collection of the images of Sean Hillen's lauded exhibition of photography, documenting the years of The Troubles in Northern Ireland. Combining personality with documentary history, what emerges is a powerful and compelling story of unrest, beauty and change.

The fate of these people who are constantly on the move is an issue which we cannot face with indifference. The photographer and videographer, Jean-Dominique Burton, offers us another viewpoint relating to refugees and what they represent: a viewpoint which is beyond stereotypes, and fundamentally respectful and human. This artistic and altruistic reflection is based on the welcome, the opening up to others and the amazing interaction that can happen when different cultures come together. Text in English, French, and Dutch.

Ever since his student days, Cy Twombly has concerned himself with photography, but only in recent years has he turned it into a unique artistic concept- and an aesthetic sensation. Twombly's photographic pieces are documents of a fascinatingly enigmatic and personal poetry. His studios in Lexington and Gaeta, details of his own sculptures and collected sculptural items, landscape motifs, fruits and flowers appear in a mysteriously transformed manner on these delicate sheets. Printed in matte colors on matte paper using a dry-print process that imbues them with velvet and an almost grainy hue, the images are vaguely reminiscent of the pictorialist tradition in fin de siecle photography. In their minimalist way, however, generating aesthetic visions by the simplest of means, they are utterly contemporary.
'Photographs 1951-2007' presents Twombly's photographic works of over fifty years- full of surprises and breathtaking beauty.

When Frida Kahlo died, her husband Diego Rivera asked the poet Carlos Pellicerto turn the Blue House into a museum that the people of Mexico could visit to admire the work of the artist. Pellicer selected those of Frida's paintings which were in the house, along with drawings, photographs, books, and ceramics, maintaining the spaces just as Frida and Diego had arranged them to live and work in. The rest of the objects, clothing, documents, drawings, and letters, as well as over 6,000 photographs collected by Frida in the course of her life, were put away in bathrooms converted into storerooms. This remarkable collection remained hidden for more than half a century. A few years ago the storerooms, wardrobes, and trunks that safeguarded it were opened. The collection of photographs is a treasure that reveals the tastes and interests of the famous couple, not only through the images themselves but also through the annotations made on them. The collection allows us to speculate about Frida's and Diego's likes and dislikes, and makes it possible to document their family origins. Photography had always been a part of Frida's life. Her father Guillermo Kahlo was one of the great photographers of Mexico at the beginning of the twentieth century, whose images of colonial architecture and numerous self-portraits have been preserved. Frida's collection constitutes a roll call of great photographers: Man Ray, Brassai, Martin Munkacsi, Pierre Verger, George Hurrel, Tina Modotti, Edward Weston, Manuel and Lola lvarez Bravo, Gisele Freund, and many others, including Frida Kahlo herself. It is likely that many of the photographs in the collection were taken by her, though we can only be sure of the few that she decided to sign in 1929.

"In the beginning, there was no real plan, just a road trip that became a journey." In the years 1986 and 1987, Keith Carter and his wife, Patricia, visited one hundred small Texas towns with intriguing names like Diddy Waw Diddy, Elysian Fields, and Poetry. He says, "I tried to make my working method simple and practical: one town, one photograph. I would take several rolls of film but select only one image to represent that dot on my now-tattered map. The titles of the photographs are the actual names of the small towns. . . ." Carter created a body of work that evoked the essence of small-town life for many people, including renowned playwright and fellow Texan, Horton Foote. In 1988, Carter published his one town/one picture collection in From Uncertain to Blue, a landmark book that won acclaim both nationally and internationally for the artistry, timelessness, and universal appeal of its images--and established Carter as one of America's most promising fine art photographers.

Now a quarter century after the book's publication, From Uncertain to Blue has been completely re-envisioned and includes a new essay in which Carter describes how the search for photographic subjects in small towns gradually evolved into his first significant work as an artist. He also offers additional insight into his creative process by including some of his original contact sheets. And Patricia Carter gives her own perspective on their journey in her amplified notes about many of the places they visited as they discovered the world of possibilities from Uncertain to Blue.

William Helburn was the go-to photographer for many of the top advertising agencies in New York in the 1950s and 1960s. Shock value and an unrelenting hunger for success helped Helburn to a pioneer s share in the revolutionary era of advertising and his work would also appear on the editorial pages and covers of major magazines. As well as cars and cosmetics, Helburn shot Coca-Cola, Canada Dry, whiskeys, clothing lines, airlines, jewelry, cigars and cigarettes, and any number of other products. He worked with the top models of the day, from Dovima and Dorian Leigh to Jean Patchett and Barbara Mullen to Jean Shrimpton and Lauren Hutton. William Helburn: Seventh and Madison is the first book to survey the photographic work of William Helburn and gives viewers a delicious taste of the vivid reality that the television series Mad Men seeks to evoke. Most of these images have not been seen since they were first published decades ago. In addition to the photographs, Robert Lilly contributes a biographical account of Helburn s life and work, and former colleagues Jerry Schatzberg, George Lois, Sunny Griffin, and Ali McGraw offer insights into the lusty, creative spirit of William Helburn."