Alone every Tuesday with his newborn daughter, Kenny Deuss fielded frequent requests from his partner, Tineke, for photos of the baby when she was away from home. His series of hilariously Photoshopped images of the baby in mock perilous situations began with teasing photographs that showed just how "safe" the baby was. Currently, people from all over the world follow Kenny's adventures with his (now 2) daughters Alix and Aster through his Instagram account “On Adventure with Dad.” In this book he bundles his best photos, supplemented with a large number of never-before-seen images. He also includes 'tips' for dads and dads-to-be with a large dose of his typical dry humour.

William Wegman is a world-renowned American artist whose paintings, photographs, videos and drawings have been exhibited in museums and galleries internationally. Today he is perhaps best known for his collaborations with his longstanding muses, an ever-expanding cast of Weimaraners, for whom performing elaborate scenarios or merely posing demurely for their portraits comes as second nature. Curated in close collaboration with distinguished photography author William A. Ewing, William Wegman: Being Human is the most extensive collection of Wegman's photographic work yet to be published. The book is organized thematically, presenting a wealth of exceptional work in such a way as to highlight the versatility of Wegman's everinventive mind as he explores what it means to be human. From portraits of characters we so easily recognize - a suburban housewife, a famous actor, a nightclub singer, a golfer dressed in plaid - to imagery that toys with a wide range of visual languages, Wegman quotes freely from fashion photography, Cubism, colour theory, the tradition of the nude and the history of art itself. Essays and an interview explore Wegman's approach to his subjects and their life in the studio. With over 300 images made over the last four decades, many published here for the first time, William Wegman: Being Human will delight and engage both those who are new to Wegman's work and those who have admired his art for many years.

The seminal work by photographer and artist Roger Ballen, re-released in an expanded edition with never-before-seen images from Ballen's archive. The culmination of nearly 20 years of work, Outland marked Ballen's move from documentary photography into the realms of fiction and propelled him into the international spotlight. Disturbing, exciting and impossible to forget, Ballen's images captured people living on the fringes of South African society. His powerful psychological studies influenced a generation of artists and still resonate today. First published in 2001, Outland is back in print and expanded to include 50 never-before-seen images from Ballen's archive with illuminating new commentary from the artist himself.

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.

The photographer behind Life magazine's first ever all-color photographic essay, Ernst Haas made-and captured-history as an early adopter of Kodachrome film. The Austrian-born artist had already established himself as a black and white photographer when he moved to America in 1951. But as a member of the renowned Magnum agency, he transformed the genre with his color-saturated images, the perfect medium for capturing America's geographic and cultural landscapes. From desert storms, Route 66 gas stations, and Las Vegas neon to rolling prairie, dilapidated farms, small-town parades, and city sidewalks, Haas' perfectly composed images, contain a distinct pictorial language, suffused with poetry, pattern, and light. At the same time his pictures communicate a journalist's point of view, whether the subject is rural poverty, suburban comfort, or the myth of the American West. This remarkable book offers a vision of America that feels both poignantly distant and reassuringly familiar.

Part memoir, part document of the DIY, punk-infused subculture of skateboarding as it came of age in the 1990s and early 2000s, Ed Templeton’s Wires Crossed pulses with the raw, combustive energy of Templeton’s image-making from the last twenty-plus years. Illustrated by photographs, collages, texts, maps, and other ephemera from Templeton’s journals, Wires Crossed offers an insider’s look at a subculture in the making and reflects the unique aesthetic stamp that sprang from the skate world he helped create. Templeton occupies the rare position of having been a professional skateboarder, a two-time World Skateboarding champion, as well as a photographer and artist working within the skateboard community as it gained increasing cultural currency in the 1990s and beyond. His work first gained recognition as part of the Beautiful Losers collective loosely gathered around Aaron Rose’s Alleged Gallery on Manhattan’s Lower East Side. This work, much of it previously unpublished and unseen, explores Templeton’s own journey as an image maker, as well as the lives of professional skateboarders as they spent long hours crisscrossing the world on tour, reveling in their newfound status as rock star–like figures and the eternal search for new terrain to skate. Interviews between Templeton and fellow pro-skaters and friends add compelling detail about the pressures and pleasures of life on the road, and what it’s like to obsessively pursue an art form—whether on their decks or behind the camera.

Through a series of photographs, Ahmed Mater charts the city's origins to its more recent history over the last 5 years. It is a study of the site's recent transformation - Makkah, until recently, embodied a unique urban tapestry, layered with histories that are stitched together by an abundance of organically rooted communities and cultures. It is a place that accommodated not only sacred structures and sites but also huge fluctuations in population during Ramadan (up to 3 million visitors a year travel to Makkah for Eid and Hajj). More recently, these sites and communities have been eradicated and are being replaced with five-star-studded high rise developments, transforming it from an active metropolis to the world's most exclusive, yet most visited religious tourist destination, reflective of an unprecedented experimentation with architecture and its possible impact on social stratification. This photographic essay is a celebration of Makkah's real and projected or imaginary states. It provides singular access to this site and its associated social and religious rituals, along with its architectural urban planned and proposed development.

As she crosses Asia on her own, the path of a 30-year-old French girl accidentally crosses that of a unique religious community, tiny and composed exclusively of women. They live in Puntsokling: one of the ten totally destitute Buddhist nunnery of Zanskar, a valley on the edge of the Himalayas in northwestern India, still isolated from the rest of the country by its inhospitable geography. This meeting at the end of the world will change the course of her existence and, without a doubt, that of the nuns. A revelation and a long human as well as spiritual journey. Caroline Riegel's book is a two-sided journey. Through the story she tells us, we discover both the charm of a unique "tribe" with astonishing sorority (a journey into the intimate) and the masterful beauty of their territory (a journey into the landscapes). But humans are inseparable from the environment in which they live. Here, the harshness of the elements did not generate that of the characters but their dazzling vitality. The hostile environment strengthened hearts, embracing in one movement the spirituality and uncompromising beauty of Nature. Devoid of the superfluous, these Sowers rub shoulders with the essence of the soul, the awareness of Happiness. Caroline Riegel's photographs demonstrate the closeness that she has created with her "subjects", giving photographic work the power to reveal the Other and to make him access the universal. The still image gives them a voice and opens up intercultural and intergenerational dialogue. Caroline Riegel is not just a simple spectator, her photography is not sidelined, it does not freeze the Other. On the contrary, it is the source of life, and testifies to the flourishing of bodies, faces and souls. Her camera is a tool she uses to testify to the uniqueness of this extraordinary community to as many people as possible. Caroline Riegel delivers a luminous tribute, in images and words, to these women who have found, in the heart of the Zanskar mountains, far from the modern world, a balance of life. Faced with destitution: joy. Faced with loneliness: solidarity. In the face of autarky: authenticity. In the same way that Matthieu Ricard - the preface's author - speaks of wonder to the world, the smile of The Sowers of Joy testifies to their singular gaze on what surrounds them, on the meaning of existence, on simplicity of life. In the great tradition of books by traveling photographers, The Sowers of Joy is both an ode to Nature, a unique encounter with otherness, an openness to the world, a quest for meaning, a tribute humanist, a family album where love, respect and benevolence burst out on every page. Photographer Caroline Riegel has lived day after day with these nuns from afar. His photographs are snapshots of simple gestures in a mostly agrarian community, where each activity gives its rhythm to the unfolding of the days, according to the seasons. Often ancestral practices, carried by a Buddhist culture almost 1000 years old.

In 1987 Aperture published Lynne Cohen's first monograph, Occupied Territory, an exploration of space as simulated experience-an ersatz reality, idealized and standardized. Now, Aperture is pleased to release a newly expanded and updated reissue of this classic monograph, making Cohen's pioneering work available to a contemporary audience and situating her appropriately within the lineage of Lewis Baltz, Stephen Shore, and other widely celebrated Topographic photographers. In the twenty years of work contained in the book, Cohen turns her view camera toward classrooms, science laboratories, testing facilities, waiting rooms, and other interior spaces where function triumphs over aesthetics. What decorations the inhabitants might have added to these rooms to make them more inviting-mostly phony attempts at warmth or individualism-only serve to amplify their artifice and uniformity. In cool, functional offices, futuristic reception areas, lifeless party rooms, escapist motel rooms, and haunting killing chambers, Cohen surveys a society of surface, contradiction, and social engineering. In her hands, clouds peel off walls and forest glades invade indoor tennis courts, and the awkward lives of furniture are revealed. Drawing on a background in sculpture, Cohen records the world's readymade sculptures, waiting to be framed by the photograph. This new edition of Occupied Territory includes a new text by Britt Salvesen, and over fifteen unpublished images drawn from the book's original time period of the '70s and '80s, encouraging a reexamination of Cohen's deft exploration of Topographic seeing.

Any examination of the history of the photographic portrait uncovers two very different traditions, shaped by the place where they were made - in the street or in the studio. Both are essentially urban. The street has been the place where small and easily concealed cameras allowed photographers to capture subjects unaware or at least in informal settings. In contrast, the studio offered both photographer and subjects the opportunity to present carefully composed images to the world, making use of all the elaborate staging and technical tricks at their disposal. Both these practices have since been subverted, with celebrities becoming used to posing in the street and the studio being used for informal and intimate shots. For the first time this book examines the contrasts and tensions between these two traditions, revealing much about the history of photography itself and providing fascinating insights into the changing face of societies across the globe.The book will include many of the greatest names in the history of photography. Among those who have famously photographed in the street, it will feature work by Atget, Brassai, Henri Cartier-Bresson, Robert Frank, Diane Arbus, Araki, Boris Mikhailov and Wolfgang Tillmans. Studio-based photographers include Carlo Ponti, Edward Steichen, Richard Avedon, David Bailey, Annie Leibovitz, Jurgen Teller, and Rineke Dijkstra. Essays by leading critics examine the history of street and studio photography and how the images these photographers have produced has conditioned the way we see both the modern city and ourselves.

Redlands weaves together an intimate sequence of photographs and a short story by Philip Brookman, set in California, Mexico, and New York City during the unsettled decades of the 1960s and 1970s. Brookman uses fiction and images from his own photographic diaries to create a first-person account of Kip, an artist who wanders back and forth between farmworkers and poets - between California and New York - seeking to question the meaning of his mother's death. When Kip learns that he can't trust the eyewitness accounts of his sister, he picks up a camera to find meaning in his own experience. By juxtaposing the oppositional strategies of fiction and documentary practice to find an invented narrative, Redlands questions the veracity of logical observation and embraces the poetry of the real world.

Focusing on one broadly representative figure, Francis Bedford, this study emphasizes how photographs operated to form and transmit cultural ideas and values. The first writing on Bedford since the 1970s, the book examines the work of a man who was one of Victorian England's premier landscape photographers, and also a successful photographic entrepreneur. His fusion of art and commerce illuminates classifications of each field, exemplifies the tensions between them, and demonstrates a reconciliation of two often conflicting sets of issues. This study fills an informational gap, and analyzes the definitions, expectations, and positioning of photography in its seminal decades. The multiple interpretative possibilities arising from Bedford's photographs in particular elucidate the range of discussions and complexity of ideas about culture and nature, the individual and the nation, home and abroad, and the past and the present engaging the mid-Victorian public. Major themes of the book include the intersection of nature and culture, the related practice of nineteenth-century tourism, attitudes toward historical identity, and the formation of a national identity in England and Wales, c. 1856-94.

The most prolific photographer of the Farm Security Administration (FSA), Russell Lee has never been canonised for his iconic images of mid-century America. With this insightful biography, historian and archivist Mary Jane Appel uncovers Lee’s rebellious life, tracing his journey from blue-blood beginnings to self-taught photographer through the body of work he left behind. Lee crisscrossed America’s back roads more than any photographer of his era, living out of his car from 1936 to 1942. Under the guidance of FSA director Roy Stryker, he captured arresting images of dust storms and punishing floods, and chronicled the Second World War home front and the heyday of small-town America—all the while focusing prophetically on themes like segregation and climate change. With more than 100 images spread throughout, Russell Lee speaks not only to the complexity of a pioneering documentary photographer’s work but to a seminal American moment captured viscerally like never before.

Clive Arrowsmith is a celebrated London-based international photographer. After leaving art school where he studied painting and design, he began taking photographs whilst working as a graphic designer for television. Leaving television to work as a photographer, he soon gained commissions from leading fashion magazines, most notably, British and French Vogue, Harpers, The Sunday Times Colour Magazine, Vanity Fair, Esquire U.S.A, and F.T. "How to Spend It". Clive continues to work in this genre in both editorial and advertising photography and is equally known for his music and celebrity images: Paul McCartney, Wings, Mick Jagger, Jeff Beck, George Harrison, Daniel Barenboim, Anna Netrebko, Art Garfunkel, Def Leppard, Prince Charles, Michael Caine and Damien Hirst to name a few. Clive is also an accomplished landscape and still life photographer and is the only photographer to have shot the Pirelli Calendar two years in succession. Having worked on many major stills advertising campaigns; De Beers, Revlon, G.H.D.Morello, Caroline Castigliano, Lexus, Hassleblad etc, Clive has continued to broaden his creative scope moving on to direct commercials for Heinz, Revlon, Hamlet Cigars (winner of The Silver Lion Cannes Film Festival), Rapeed Sunglasses, Greenmail Whitney Beer, music videos such artists like Lee Griffiths, Jamiroquai, Jools Holland, ZTT and Def Leppard, and album covers such as Wings' 'Band on the Run. '

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.

Henry Taunt was one of the great photographers of the nineteenth and early twentieth centuries. He was a master of the camera and possessed of a profoundly creative sense of scene and composition. First published in 1973, this collection of Henry Taunt's finest work includes artistic prints as well as images which are of importance to architectural and social historians. Sympathetically introduced and captioned by Bryan Brown, this book is a striking visual essay on the Victorian and Edwardian eras and a magnificent record of places and their past.

Gillian Laub’s photographs of her family from the past twenty years, now collected in one volume, explore the ways society’s biggest questions are revealed in our most intimate relationships. Family Matters zeroes in on the artist’s family as an example of the way Donald Trump’s knack for sowing discord and division has impacted communities, individuals, and households across the country. As Laub explains, “I began to unpack my relationship to my relatives—which turned out to be much more indicative of my relationship to the outside world than I had ever thought, and the key to exploring questions I had about the effects of wealth, vanity, childhood, aging, fragility, political conflict, religious traditions, and mortality.” These issues became tangible in 2016, when Laub and her parents found themselves on opposing sides of the most divisive presidential election in recent US history; and further exacerbated in the lead-up to the 2020 election, in the wake of a global pandemic and protests in support of Black Lives Matter. Family Matters reveals Laub’s willingness to confront ideas of privilege and unity, and to expose the fault lines and vulnerabilities of her relatives and herself. Ultimately, Family Matters celebrates the resiliency and power of family—including the family we choose—in the face of divisive rhetoric. In doing so, it holds up a highly personalized mirror to the social and political divides in the United States today.

Easton's photographs, alongside texts by writer, poet and social researcher Abdul Aziz Hafiz, aim to confront stereotypes and question the dangerous over-simplification of the challenges facing such communities. They do so by presenting the contemporary experience of residents as an 'alternative history telling'. The black and white photographs in the book were all made in an area less than half a mile square in Blackburn during 2019 and 2020. Working with a large-format wooden field camera, Easton spent long days and weeks in the neighbourhood talking to residents and sometimes making pictures. The project melds image and text - Easton's portraiture and landscapes combined with poetry and an essay by Aziz Hafiz and with the testimonies of residents. This long-form collaboration acknowledges the issues and impacts of social deprivation, housing, unemployment, immigration and representation, as well as past and present foreign policy. The result is a collective and nuanced portrait of the town - a sensitive response to the oversimplistic representation of such communities in both the media and by government, which deny the right of Bank Top to tell its own story.

Built in 1883, the Hotel Chelsea, on 23rd Street in New York City, quickly became the most famous and notorious hotel in the world. From day one, it has been a center of artistic and bohemian activity, with notable residents like actor Ethan Hawke, painter Phillip Taaffe, magazine editor Sally Singer, filmmaker Milos Forman, poet and painter Rene Ricard, beat poet Herbert Huncke, and novelist Joseph O'Neill. This photographic collage of 76 images and vignettes was gathered by a longtime hotel resident prior to the hotel's restoration under new ownership. It unpacks suitcases of memories with atmospheric photographs of residents and guests from the past 20 years. As the author notes, "Life at the Chelsea Hotel arrived in fragments, signs, things heard, and things felt, rather than chronologically charted."

Features stunning aerial photographs of the Deep-water Horizon Gulf oil spill. The full scale of the disaster is revealed in these photographs where the human presence takes the form of tiny toy-like helicopters and ships. Only the billowing smoke from a great fire signals the true destruction caused.

Do you recognise these ingredients? 35 recipes as you've never seen them before. A gorgeous gift book as well as a cookery title, Dinner Deconstructed features 35 recipes as you've never seen them before, broken down into their individual ingredients and photographed in stylish still-life arrangements. Serried rows of vegetables and small heaps of flour turn into a comforting cauliflower bake, the ingredients of steak bernaise boil down to meat, peppercorns, eggs, butter and herbs, and key lime pie looks mesmerising before the ingredients are magically melded together in the kitchen. And after you've feasted your eyes on the dishes in their natural and aesthetically pleasing state, simply turn to the back of the book to get the recipes themselves, so you can turn the raw ingredients into the delicious dishes they were destined to be. Word count: 7,000