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.

Dreamscapes is a stunning collection of over fifty of the world's most beautiful gardens from across the globe, photographed by internationally renowned and awarded photographer Claire Takacs. Dreamscapes includes many gardens designed by famous designers such as Piet Oudolf, Paul Bangay, and Spanish designer Fernando Martos among others, with photographed locations including Australia, New Zealand, UK, USA, Europe and Asia. This book will astound and delight you with the diversity and creativity of the gardens featured, all portrayed at that rare moment when they are at their most stunning. Iconic gardens included are the stunning Welsh garden Dyffyryn Fernant, Australia's Cloudehill, Martha Stewart's private garden, the beautiful Edwardian idyll of Bryan's Ground in Herefordshire, the former home of Vita Sackville-West, Long Barn in Kent, the naturalistic French garden of Le Jardin Plume in Normandy, Hermannshof in Germany at the forefront of planting design, and Kenfokuen one of Japan's most beautiful public gardens.

'I have seen landscapes which, under a particular light, made me feel that at any moment a giant might raise his head over the next ridge.' - C.S. Lewis The magnificent mountains of Mourne have long inspired artists and writers. Here, author and photographer Gareth McCormack shares his passion, knowledge and stunning pictures of these sweeping peaks, including the great Slieve Donard, Slieve Bearnagh and Slieve Binnian, with its otherworldly granite tors. He travels further into Mourne Country, to the towns of Newcastle by the sea, Dundrum and Kilkeel, and the estates of Tollymore, Rostrevor and Castlewellan, and finds monuments that bear witness to lives long ago, from pre-historic dolmens to smugglers' routes, Norman castles to traditional stone walls.

A rocky coast along the Sea of Japan; an immense plain of rice fields in the snow; Mount Fuji towering over misty wooded hills; silent temples devoid of people but brimming with Buddhist deities; a Torii gate mysteriously emerging from moving clouds and water-these are a few images from this remarkable collection of photographs by Michael Kenna, whose black-and-white work is highly renowned. Forms of Japan, brilliantly designed by Yvonne Meyer-Lohr, is organized into chapters simply titled, "Sea," "Land," "Trees," "Spirit," and "Sky." The quietly evocative photographs, often paired with classic haiku poems of Basho, Buson, Issa and others, provide a contemplative portrait of a country better-known for its energy and industry. Gorgeously reproduced to convey the enormous subtleties that exist in Michael Kenna's traditional black-and-white silver prints, the photographs in this book include both well-known and previously unpublished images from all corners of Japan: Hokkaido, Honshu, Kyushu, Okinawa and Shikoku.

Overpass is about what it means to move through the landscape. Walking along a vast network of centuries-old footpaths through the English countryside, artist Sam Contis focuses on stiles, the simple structures that offer a means of passage over walls and fences and allow public access through privately owned land. In her immersive sequences of black-and-white photographs, they become repeating sculptural forms in the landscape, invitations to free movement on one hand and a reminder of the history of enclosure on the other. Made from wood and stone, each unique, they appear as markers pointing the way forward, or decaying and half-hidden by the undergrowth. An essay by writer Daisy Hildyard contextualizes this body of work within histories of the British landscape and contemporary ecological discourses. In an age of rising nationalism and a renewed insistence on borders, Overpass invites us to reflect on how we cross boundaries, who owns space, and the ways we have shaped the natural environment and how we might shape it in the future.

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.

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.

Under the moniker the Cobrasnake, the photographer Mark Hunter captured the party scenes of Los Angeles and New York during the hipster-glam heyday of the 2000s and in doing so defined the look of a generation. Armed with just a Polaroid and a primitive website, Cobrasnake captured pioneers of youth culture from Kanye West and Steve Aoki to Jeremy Scott, Katy Perry, and Lindsay Lohan icons of the indie pop world in the making. Intimately connected with the people around him and keyed-in to the edgier fringes of the fashion, music, and art worlds, Hunter photographed influencers before they were influencers, in the wild and at play from the streets of LA to NYC and beyond. Collected here for the first time are more than three hundred of Cobrasnake s favourite images alongside ephemera, from concert tickets and backstage passes to outtakes and unseen photographs from his many adventures. These photographs are records of the last generation of partiers to predate the livestreaming of culture afforded by today s social media capturing the energy and vibrancy of a time before Instagram.

A fascinating look at how Mapplethorpe and Munch, although separated by many years, shared certain affinities in their lives and artwork This revelatory catalogue delves into the many affinities shared between two widely renowned and discussed artists, Robert Mapplethorpe (1946-1989) and Edvard Munch (1863-1944), whose intensely studied work has, until now, never been considered in relation to one another. Mapplethorpe + Munch brings to light how these two monumental figures curiously relate on an existential level, in how they deal with questions concerning sexuality, and in their way of utilizing self-portraiture as a means to explore issues of personal identity. Featuring essays that examine the thematic impulses behind the accompanying exhibition, this publication establishes a previously unexplored association between two equally contentious art figures, while working to impart alternative perspectives and new insight into their respective outputs. Although distinct in their legacies, Mapplethorpe and Munch remain remarkably intertwined. Distributed for Mercatorfonds Exhibition Schedule: Munch Museum, Oslo (02/06/16-05/29/16)

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.  

For five years, Meredith Davenport has photographed and interviewed men who play live-action games based on contemporary conflicts, such as a recreation of the hunt for Osama Bin Laden that took place thousands of miles from the conflict zone on a campground in Northern Virginia. Her images speak about the way that trauma and conflict penetrate a culture sheltered from the horrors of war.
Bringing together a series of two dozen photographs with essays discussing and analyzing the influence of the media, particularly photographs and video, on the culture at large and how conflict is "discussed" in the visual realm, "Theater of War" is a unique look at the influence of contemporary conflict, and their omni-presence in the media on popular culture. Written by an experienced photojournalist who has covered a variety of human rights issues worldwide, this book is an essential addition to the library of anyone interested in the confluence of war and media.

"Terry was everywhere in the '60s - he knew everything and everyone that was happening" - Keith Richards Terry O'Neill (1938-2019) was one of the world's most celebrated and collected photographers. No one captured the front line of fame so broadly - and for so long. Terry O'Neill's Rock 'n' Roll Album contains some of the most famous and powerful music photographs of all time. At the same time, the book includes many intimate personal photos taken 'behind the scenes' and at private functions. Terry O'Neill photographed the giants of the music world - both on and off-stage. For more than fifty years he captured those on the front line of fame in public and in private. David Bowie, Elton John, Led Zeppelin, Amy Winehouse, Dean Martin, The Who, Janis Joplin, AC/DC, Eric Clapton, Sammy Davis Jnr., The Rolling Stones, Bruce Springsteen, Chuck Berry and The Beatles - to name only a few. O'Neill spent more than 30 years photographing Frank Sinatra as his personal photographer, with unprecedented access to the star. He took some of the earliest known photographs of The Beatles, and then forged a lifetime relationship with members of the band that allowed him to photograph their weddings and other private moments. It is this contrast between public and private that makes Terry O'Neill's Rock 'n' Roll Album such a powerful document. Without a doubt, Terry O'Neill's work comprises a vital chronicle of rock 'n' roll history. To any fan of music or photography, this book will be a must-buy. "Trusted by the stars to make them look good, O'Neill has captured the icons of music for over half a century... Terry O'Neill's Rock 'N' Roll Album, collects a wealth of private moments and memories captured for eternity, with the likes of David Bowie, Bryan Ferry, Dolly Parton, Diana Ross, Bruce Springsteen, Led Zeppelin, Amy Winehouse and even Elvis Presley all the subject of O'Neill's immaculately placed lens. A life in pictures, a legacy in print. Pay heed to history!" - Simon Harper, Clash Magazine

An updated edition of Shore's groundbreaking book, now with previously unpublished photographs and a new introduction Stephen Shore's images from his travels across America in 1972-73 are considered the benchmark for documenting the extraordinary in the ordinary and continue to influence photographers today. The original edition of American Surfaces, published by Phaidon in 2005, brought together 320 photographs sequenced in the order in which they were originally documented. Now, in the age of Instagram and nearly 50 years after Shore embarked on his cross-country journey, this revised and expanded edition will bring this seminal work back into focus.

A handsome volume of the renowned photographer's work from 2005 to 2021 Best known for his large-scale photographs, carefully constructed "near documentaries" created in collaboration with the subjects, Jeff Wall (b. 1946) is one of the most influential photographers of the late twentieth and early twenty-first centuries. Often displayed as backlit color transparencies, Wall's works have helped define the use of color and painterly sensibilities in contemporary art photography. This volume collects over fifteen years' worth of new work from Jeff Wall in a lavish presentation that includes multiple gatefolds to better convey the scale of Wall's work. As a collection of Wall's most recent work, this volume will include numerous pieces that are as-yet unfamiliar to many of his fans. Chevrier's essay deftly summarizes the varied directions of Wall's recent work and contextualizes them within the body of work that precedes this volume; de Duve's and Campany's wide-ranging conversations with the artist cover the role of performance and the effects of spontaneity and scale, respectively. Distributed for Gagosian

Jim Marshall created iconic images of rock 'n' roll stars, jazz greats, and civil rights leaders. He had the power to look into the soul of an individual and to capture the mood of an entire generation. This deluxe, career-spanning volume showcases hundreds of photographs: intimate portraits, heady crowd scenes, and haunting street shots evoking the sights and sounds of the 1960s and 1970s. Marked-up proof sheets offer insight into Marshall's process, while in-depth essays from his contemporaries tell a compelling story about this larger-than-life man. Nearly a decade after his death, Marshall's legacy is the subject of a documentary feature film. This gorgeous collection is a must-have for devoted fans and newcomers alike; a fitting tribute to a true legend.

Reproduced in exquisite black and white, the images in this book range from Henri Cartier-Bresson's earliest work in France, Spain, and Mexico through his postwar travels in Asia, the US, and Russia, and even include landscapes from the 1970s, when he retired his camera to pursue drawing. While his instinct for capturing what he called the decisive moments was unparalleled, as a photojournalist Cartier-Bresson was uniquely concerned with the human impact of historic events. In his photographs of the liberation of France from the Nazis, the death of Gandhi, and the creation of the People's Republic of China in 1949, Cartier-Bresson focused on the reactions of the crowds rather than the subjects of the events. And while his portraits of Sartre, Giacometti, Faulkner, Capote, and other artists are iconic, he gave equal attention to those forgotten by history: a dead resistance fighter lying on the bank of the Rhine, children playing alongside the Berlin Wall, and a eunuch in Peking's Imperial Court. Divided into six thematic sections, the book presents the photographs in spare double-page spreads. In a handwritten note included at the end of the book, Cartier-Bresson writes, "In order to give meaning to the world, one must feel involved in what one singles out through the viewfinder." His work shows how he has been able to capture the decisive moment with such extreme humility and profound humanity.

"Penelope Umbrico: Photographs" offers a radical reinterpretation of everyday consumer and vernacular images. As the artist describes, she works "within the virtual world of consumer marketing and social media, traveling through the relentless flow of seductive images, objects and information that surrounds us, searching for decisive moments--but in these worlds, decisive moments are cultural absurdities." Umbrico finds these moments in the printed pages of consumer product mail-order cataloguess, travel and leisure brochures, and online sites such as Craigslist, eBay and Flickr. By identifying and isolating image typologies--candy-colored horizons and sunsets, books used as props--the farcical and surreal nature of the lingua franca of consumerism and recreation is brought to new light. "Penelope Umbrico: Photographs" presents a unique and challenging approach to quintessential issues of representation in contemporary culture, including how images are used to construct and communicate consumer desire, and whether or not the growing volume of images we view online fosters a critical visual literacy. This volume, Umbrico's first monograph, is accompanied by a series of essays, appendices of source material, excerpts from theoretical works and other material serving as resources for engaging further with the work and issues involved.

Throughout the late 1980s and early 1990s, a radical cultural scene emerged in cities across the globe, finding expression in the galleries, nightclubs, and bedrooms of New York, London, Los Angeles, and Rome. In Lyle Ashton Harris: Today I Shall Judge Nothing That Occurs , the artist's archive of 35 mm Ektachrome images are presented alongside journal entries and recollections from a host of artistic and cultural figures. It offers a unique document of what Harris has described as "ephemeral moments and emblematic figures shot in the 1980s and '90s, against a backdrop of seismic shifts in the art world, the emergence of multiculturalism, the second wave of AIDS activism, and incipient globalization." As a young artist experimenting with installation, performance, and collage at the time, Harris obsessively photographed his friends, lovers, and individuals who either were, or would become, figures of influence, such as Marlon Riggs, Cornel West, bell hooks, Stuart Hall, Klaus Biesenbach, Nan Goldin, Catherine Opie, Glenn Ligon, and others. The images record the confluence of multiple international communities- gathering points for the exchange of ideas and the development of theoretical positions on art and culture that continue to resonate to this day. Together, these photographs and the journals not only sketch a personal history of a unique time of importance to contemporary art, but also show the development and shaping of Harris's eye and influences as an artist.

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. '

This volume is dedicated to the phenomenon of staged photography, the trend that has revolutionised the photographic language since the 1980s. Through over 100 works, the catalogue tells how photography was able to reach the heights of fantasy and invention between the end of the 20th and the beginning of the 21st-century, previously almost exclusively entrusted to cinema and painting. Goldfish invading bedrooms, icefalls in the desert, imaginary cities, Marilyn Monroe and Lady D shopping together: all of this can happen thanks to veritable stages set up in order to build a parallel reality, or thanks to new technologies and, in particular, through the increasingly sophisticated use of Photoshop, released in 1990. Photography, the realm of documentation and (presumed) objectivity becomes the realm of fantasy, invention and subjectivity, completing the last decisive evolution of its history. Works by: Jeff Wall, Cindy Sherman, James Casebere, Sandy Skoglund, Yasumasa Morimura, Laurie Simmons, David Lachapelle, Bernard Faucon, Eileen Cowin, Bruce Charlesworth, David Levinthal, Paolo Ventura, Lori Nix, Miwa Yanagi, Alison Jackson, Julia Fullerton Batten, Jung Yeondoo, Jiang Pengyi. Text in English and Italian.

To celebrate the acquisition of the archive of distinguished artist Tom Phillips, the Bodleian Library asked the artist to assemble and design a series of books drawing on his themed collection of over 50,000 photographic postcards. These encompass the first half of the twentieth century, a period in which, thanks to the ever cheaper medium of photography, ordinary people could afford to purchase their own portraits. These portraits allowed individuals to create and embellish their own self images, presenting themselves as they wished to be seen within the trends and social mores of their time. Each book in the series contains two hundred images chosen from a visually rich vein of social history. Their back covers also feature thematically linked paintings, specially created for each title, from Phillips's signature work, " A Humument." "Weddings" captures all the excitement and drama of the stages of the ceremony from preparations to wedding vehicles to family and friends in lively scenes in churches and homes. These unique and visually stunning books offer a rich glimpse of forgotten times and will be greatly valued by art and history lovers alike. "These images are captivating visual vignettes. We may not know who the subjects are, but the postcards offer us a glimpse of their interests, their time, and their world. Tom Phillips's exceptional collection gives us a fascinating chance to retrieve something of these lives."--Sandy Nairne, Director, National Portrait Gallery, London "Picture postcards from a century ago capture unique moments in time and place and are a wonderful social history record. Tom Phillips is adept at seeking out and choosing amazingly evocative postcard images."--Brian Lund, editor, "Picture Postcard Monthly"