Henri Cartier-Bresson was 'the eye of the 20th century' and one of the world's most acclaimed photographers. Paris was his home, on and off, for most of his life (1908-2004). The photographs he took of the city and its people manage to be both dreamlike and free of affectation. Here are around 160 photographs taken over a more than fifty-year career. Mostly in black and white, this selection reveals the strong influence on Cartier-Bresson of pioneering documentary photographer Eugene Atget (1857-1927), and the clear visual links with Surrealism that infused Cartier-Bresson's early pictures. After an apprenticeship with Cubist painter Andre Lhote, in 1932 Cartier-Bresson bought his first Leica, a small portable camera that allowed him to capture movement and the rhythms of daily life in Paris. Cartier-Bresson observed from close quarters the Liberation in August 1944 and the civil disturbances of May 1968. In between he also succeeded in capturing the faces of Parisians in their natural habitat, celebrated artists and writers and citizens alike. Ever-attentive to different ways of portraying the city around him, Cartier-Bresson returned to drawing during the last two decades of his life. This collection is not only a superb portrait of Paris in the 20th century, it is testament to Cartier-Bresson's skill as a supreme observer of human life. With 200 illustrations

Fox Talbot is universally recognised as the father of modern photography. His 'calotype' or 'Talbotype' process was the first working photographic process to use the now familiar format of negatives and positives. He was an ambitious man but his interests spread far beyond the confines of photography and it was as a mathematician that he was awarded first Membership and then Fellowship of the Royal Society before the age of thirty-three. He was an accomplished astronomer, a keen archaeologists and a fluent master of Greek and Hebrew. He patented pioneering ideas for internal combustion engines and as early as 1840 and through his life was at the forefront of progressive scientific thinking in England.

In The Intimacy of Making Swiss French photographer Helene Binet takes us on a visual journey through a world of stone, walls and gardens that define and celebrate the Korean art of making. In pure and calm photographs we discover traditional Korean architecture through a Western lens. The purity of the motifs sharpens one's eye for the often-overlooked beauty and harmony in our own environment and history, as well as for the care of craft and composition. This book is a reminder against our often fleeting and careless perceptions. In her photographs, which were taken over the course of the last three years, Binet looks at three typologies of traditional architecture in Korea: the Confucian school and sacred place Byeong- san Sewon; garden and tea house Soswaewon; and the Jongmyo Shrine. Her camera combines both the nature and the built structures and reveals the soul of the three sites. The photographic essays are accompanied by two texts: Korean architect, Byoung Soo Cho, offers insight into the cultural and architectural history, while art and design critic and teacher, Eugenie Shinkle, focuses on the "making."

A mind-blowing genre crossing deep purple velvet adventure (formerly known as "BOOK"). This publication concerns a multimedia project consisting of visual arts, micro stories and music, with a history on Instagram.

In Instanton, photographer and filmmaker Anton Corbijn presents a series of images, most of which have never been published previously. Corbijn gained his fame and reputation with his portraits of famous figures including Nick Cave, Tom Waits, The Rolling Stones, Marlene Dumas, Gerhard Richter, Clint Eastwood, Kate Moss and a host of other influential musicians, artists, filmmakers, models and designers. But over the years, Corbijn has also captured a wealth of intriguing images on his mobile phone. Instanton brings together a wide selection of these snapshots from his private life, as well as shots taken whilst travelling, recording 'the profane and the profound'.

For fifty years, architectural historian Maurice Craig carried a camera nearly everywhere he went. Meticulously catalogued, the resulting collection of over two thousand photographs was donated to the Irish Architectural Archive (IAA) in 2001. During his final year, Craig selected seventy-odd of his favourites, adding comments in his wry, incisive style. Many photographs here originally featured in the IAA 2006 exhibition 'Maurice Craig: Fifty Years of Photographing Ireland'; others appeared as small prints in Ireland Observed (1980), co-authored with the Knight of Glin. Here, they are grouped into four categories: buildings that no longer exist; tableaux of a byone age; curiosities, such as arresting stone carvings and plaster work, or humourous juxtapositions; and buildings of enduring architectural interest. With an introduction by the photographer and an afterword by Rolf Loeber, this book is part memento mori, part historical document - a tribute not only to Ireland's buildings and architecture, but also to one of their greatest champions.

Marzena Pogorzaly made two trips to Havana. There, she walked the streets of Havana Vieja and El Centro, the old districts, trying to capture the melancholy beauty and decay of the city, and its inhabitants. Pogorzaly's calmly gorgeous images are not directly concerned with politics, but as someone who grew up in pre-Solidarity Poland, she combines mature scepticism about communist regimes with due respect for some of its achievements. As she explains in her introduction: "Some of it was familiar. I was born, and grew up, behind the Iron Curtain. I immediately felt at home with the way The System worked, or rather the way it did not. But where the palette of my homeland was dull, drab and irredeemably monochrome, here I found a vivid treasure chest of visual epiphanies." Her chief care is for people, either viewed directly or by means of the traces they leave: posters of Che Guevara, neglected chairs, rickety old American cars. Her photographs are entirely without sentimentality but rich in that tradition of humanism which sees the deeper qualities that unite us with strangers, as well as the surface differences that divide us. Her Cubans are not pathetic victims of a dictatorship but a handsome, vital, proud and resourceful people.

Porodina's early years were impacted by the brutalist buildings in Moscow and her mother who introduced art to Porodina's mind. Stored in her subconscious, art is what became the extension and expression of "her self", implying that every single one of her photographs is a self-portrait. Art became-and still is-an inevitable, and inseparable, part of her. Porodina's academic upbringing in post-Soviet Russia and her interest in emotional behavior led her to study clinical psychology.This background and her striving towards greater understanding of herself, her environment and others, informed her move to photography. It became a frame by which she is not limited-photography is just another medium to her that allows to stimulate the mind by showing, rather than by speaking, since the subconscious is not verbal either.

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.

A magnificently illustrated showcase of the work of 300 women photographers from all over the world, from the invention of the medium to the dawn of the 21st century. As in many fields of art history, the work of women photographers has often been overlooked, and few of their names are now widely recognized. However, women were closely involved in all major photography movements of the 19th and 20th centuries, and have used the camera as an extraordinary tool for emancipation and experimentation. These are artists who never stopped documenting, questioning and transforming the world, breaking down social boundaries, challenging gender roles and expressing their imagination and sexuality. To capture the diversity of this global body of work, Luce Lebart and Marie Robert have invited 160 international women writers to contribute to this volume, which is a bold and beautifully illustrated manifesto as well as an invaluable work of reference.

W.R. Trivett (1884-1966), a farmer born in Watauga County, North Carolina, was also a self-taught professional photographer who left behind an invaluable collection of over 400 glass plate negatives taken between 1907 and the late 1940s in the Beech Mountain community of neighboring Avery County. Along with the photographs (over 90 of which are reproduced herein), a collection of Trivett's personal papers survive, revealing very enlightening information about his life in the mountains. This work--the fourth in McFarland's continuing series of Contributions to Southern Appalachian Studies--carefully examines Trivett's life and photographs, comparing his work to that of contemporary outside photographers who often produced stereotypical images of mountain people. Through Trivett's images we can, by contrast, see the everyday reality for most people in rural Appalachia.

Focusing on early nineteenth-century England?and on the works and texts of the inventor of paper photography, William Henry Fox Talbot?Singular Images, Failed Copies historicizes the conceptualization of photography in that era as part of a major historical change. Treating photography not merely as a medium or a system of representation but also as an epistemology, Vered Maimon challenges today's prevalent association of the early photograph with the camera obscura. Instead, she points to material, formal, and conceptual differences between those two types of images by considering the philosophical and aesthetic premises linked with early photography. Through this analysis she argues that the emphasis in Talbot's accounts on the removal of the "artist's hand" in favor of "the pencil of nature" did not mark a shift from manual to "mechanical" and more accurate or "objective" systems of representation. In Singular Images, Failed Copies, Maimon shows that the perception of the photographic image in the 1830s and 1840s was in fact symptomatic of a crisis in the epistemological framework that had informed philosophical, scientific, and aesthetic thought for two centuries.

Nominated for World Press Photo and a finalist for the Gran Prix Fotofestival, in The Observation of Trifles the Madrid-born photographer Carlos Alba suggests a unique, random guide through the conventionalisms of a London seen through objects found on its streets. This London is a far cry from postcards and is defined by both these everyday objects (which are therefore forgotten in the routine) and the look of the people that Alba photographed in the neighbourhoods of Hackney and Tower Hamlets, which make up a panoply of stories which may be analytical or superficial but are always poetic.

This uniquely designed postcard set features some of Joseph Maida's most popular Things "R" Queer photographs from his popular Instagram feed @josephmaida. The 6 included perforated sheets divide into 24 individual cards, linking Maida's series back to one of the first photo sharing platforms, the postcard. In addition to yellow, orange, pink, green, and blue sheets of 4 postcards each, this set includes a special multicolor sheet highlighting the 4 photographs included in Aperture Foundation's book and eponymous traveling exhibition Feast for the Eyes: The Story of Food in Photography. Now Things "R" Queer can be mailed, framed, and collected!

The approach is based on "In Movement: Art for Social Change", an NGO which uses dance, theatre, music, the fine arts, creative writing and the circus arts to create a life space of personal reaffirmation and social integration for Ugandan youths. There they can practice and display their art and receive applause from an audience, the best reaffirmation therapy possible.

In October of 1966, a coal waste tip slipped down the mountainside above the Welsh village of Aberfan and buried its school, killing 116 children. Within hours, the worldwide news media descended upon the village, stripping away any sense of deserved privacy and rendering "the village that lost its children" a perennial destination for disaster tourism. Shimon Attie's sensitive portrayal of Aberfan today takes the form of a five-channel high definition video installation and a body of still photographs in which the villagers "perform" being themselves, in terms of their social or occupational roles. Thus, Attie subsumes the story of the disaster below a contemporary art historical narrative that helps normalize how the village is represented. This volume presents both photographs and video stills. It comes with a DVD featuring the award winning BBC documentary "An American in Aberfan," as well as a short film representing the installation.