A full-career retrospective on the work of Vivian Maier, bringing together a selection of key works from throughout her life and career. When Vivian Maier's archive was discovered in Chicago in 2007, the photography community gained an immense and singular talent. Maier lived in relative obscurity until her death in 2009, but is now the subject of films and books, and recognized as one of the great American photographers of the 20th century. Born in New York in 1926, she worked as a nanny in New York and Chicago for much of her adult life. It was during her years as a nanny that she took many of the photographs that have made her posthumously famous. Maier's incredible body of work consists of more than 150,000 photographic images, Super 8 and 16 mm films, various recordings and a multitude of undeveloped films. Working primarily as a street photographer, Maier's work has been compared with such luminaries as Helen Levitt, Robert Frank, Diane Arbus and Joel Meyerowitz. Drawing on previously unpublished archives and recent scientific analyses, this retrospective sheds new light on Maier's work. With texts by Anne Morin and Christa Blumlinger, this thorough look at Maier's entire archive is organized thematically in sections that cover self-portraits, the street, portraits, gestures, cinematography, children, colour work and forms. A valuable addition to the continuing assessment of Maier's work, this book is a one-volume compendium of her most enduring images.

The first book by one of the most in-demand photographers of our time, Holding Space shares one hundred stunning photographs of queer, inter-racial couples, with first-person text about their relationships in this current time period. After the May 2020 murder of George Floyd, and during the Covid pandemic, photographer Ryan Pfluger set out to capture queer, inter-racial couples across the US. It was (and is) a time of intense upheaval and reckoning and Ryan wanted to capture that in the lives and on the bodies of these friends and strangers. The photographs, and the people in them, can be startling in their vulnerability, playful in their poses, and tender to the core. The interviews produce a range of short, revealing stories about the couples.

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.

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.

An introduction to the work of the celebrated fashion photographer. An experimenter and innovator, Erwin Blumenfeld (1897-1969) produced an extensive body of work including portraits and nudes, celebrity portraiture and advertising campaigns - but it is his fashion photography for which he is best known. Having fled Paris during World War II, Blumenfeld forged a stellar path in New York, where he worked for Harper's Bazaar, American Vogue, Helena Rubinstein, L'Oreal and Elizabeth Arden. Discover Blumenfeld's masterful work through sixty full-page reproductions in this title in the Photofile series. The curator Emmanuelle de l'Ecotais contributes an introduction.

Take an inspiring walk with legendary photographer Daido Moriyama while he explains his groundbreaking approach to street photography. For over half a century, Moriyama has provided a distinct vision of Japan and its people. Here he offers a unique opportunity for fans to learn about his methods, the cameras he uses, and the journeys he takes with a camera.

The histories of these communities have formed the backbone of Cuba, and yet they are rarely depicted in photographic representations of the country. Sharum began researching Campesino communities in late 2015 and his resulting black and white photographs depict the intertwined relationship of people and the land they depend on.

'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.

For most people in the West, the realities of life behind the Iron Curtain have faded into caricatures of police state repression and bread lines. With the world seemingly again divided between democracies and authoritarian regimes, it is essential that we understand the reality of life in the Soviet Bloc. American photojournalist Arthur Grace (born 1947) was uniquely placed to provide that context. During the 1970s and 1980s Grace traveled extensively behind the Iron Curtain, working primarily for news magazines. One of only a small corps of Western photographers with ongoing access, he was able to delve into the most ordinary corners of people's daily lives, while also covering significant events. Many of the photographs in this remarkable book are effectively psychological portraits that leave the viewer with a sense of the gamut of emotions in that era. Illustrated with over 120 black-and-white images-nearly all previously unpublished-Communism(s) gives an unprecedented glimpse behind the veil of a not-so-distant time filled with harsh realities unseen by nearly all but those that lived through it. Shot in the USSR, Poland, Romania, Yugoslavia and the German Democratic Republic, here are portraits of factory workers, farmers, churchgoers, vacationers and loitering teens juxtaposed with the GDR's imposing Social Realist-designed apartment blocks, annual May Day Parades, Poland's Solidarity movement (and the subsequent imposition of martial law) and the vastness of Moscow's Red Square.

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!

Intimate pictures of the top artists in rap music from one of the most influential and culturally relevant photographers of his generation Despite only being 26 years old, photographer Gunner Stahl has captured shots of some of the world's most famous rappers including Drake, Migos, Kayne West, A$sap Rocky, Childish Gambino, Gucci Mane, Post Malone, Migos, and many others. He started by capturing the burgeoning hip-hop scene in Atlanta with an undeniable raw energy that has led to professional opportunities with magazines like Vogue, Fader and Highsnobiety as well as brands like Google, Red Bull, Moncler, Adidas, Stella McCartney, PUMA, and Kylie Jenner's Thick clothing collection. In Portraits, he will publish unseen images of rap's most famous artists along with written contributions from rapper Swae Lee and photographer Chi Modu.

Sour-Puss: The Opera is the result of a 5-year collaboration between artist duo Diogo Duarte and Jessica Mitchell who also work in mental health. Consisting of photographs, drawings and texts, the 'Sour-Puss' of the title is a composite character sometimes based on real-life Mitchell and real-life Duarte and their life experiences. Duarte and Mitchell were colleagues turned and then friends. The birth of 'Sour-Puss' was a gradual one emerging through conversations and arguments where they uncovered similarities in worldview, their feelings relating to themselves and a mutual dislike for 'positive thinking'. 'The composite character bearing both biographical and fictional traits was created to expose the hypocrisies and inconsistencies within normative power structures. 'Sour-Puss' has no desire to 'accept' or 'assimilate' mainstream versions of gender and sexuality. 'Sour-Puss' is in the truest sense of the word, queer'. 'She is neither passive nor an object nor a limp body for my eyes to feast on. Even though my gaze, when I frame the photograph, is irrevocably mine and not Jessica's, conceptually it's not just my gaze, it's ours. That is fundamentally what makes this collaboration unique. The story of the woman in the photographs and her drawings, but also her narrative, arose out of many hours of conversing with Jessica about pain and repression, but also about happiness and freedom'. - Diogo Duarte 'The series has led to some honest and challenging conversations. It has shocked me just how surprised some people are that anyone would take pictures of a woman who looks like me ... I think middle-aged women terrify people --we are uncategorisable, we are harbingers of the 'doom' facing us all and we are cut loose, at least potentially, from many of the roles society likes to impose on women. Somehow 'Sour-Puss' embodies this--that I might do anything--and, in fact, I plan to'. - Jessica Mitchell 'Melancholia and a sense of isolation or alienation, feeling fundamentally wrong or at odds with the world, are the backing track to the work. Questions are raised concerning sexuality and gender, age and beauty, body image, and even the idea of redemption or reconciliation and how it can be possible--or if it can be possible-- to live within the context of one's own 'insanities, ' accepting these as part of whom one is. Acceptance of oneself--the good, the bad and the ugly, or, as Mitchell says: 'loving oneself, and screwing up, and loving one's self again--accepting all the imperfections'. - From the essay by Anna McNay

An accessible monograph on the work of David Seymour (1911-56), the Polish-born American photojournalist, who used his camera to record the political upheavals and social change of the 1930s. Known by his pseudonym, Chim, Seymour was a practitioner of concerned photography and his images provide an eloquent testimony to the strength and vulnerability of humankind. He became known for his sensitive documentation of war and its devastating effects on its victims, especially children, and his documentation of the Spanish Civil War established him as one of history's finest photojournalists

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 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.

Elliott Erwitt: Home Around the World offers a timely and critical reconsideration of Erwitt’s unparalleled life as a photographer. Produced alongside a major retrospective exhibition, the book features examples of Erwitt’s early experiments in California, his intimate family portraits in New York, his major magazine assignments and long-term documentary interests, and his ongoing personal investigations of public spaces and their transitory inhabitants. Essays by photography experts based on extensive new interviews with the photographer consider less-studied aspects of Erwitt’s work: his engagement with social and political issues through photojournalism, the humanist qualities of his very early photographs, and his work as a filmmaker. Home Around the World traces the development and refinement of Erwitt’s unique visual approach over time. With over two hundred photographs, and ephemera including magazine reproductions, advertisements, and contact sheets, this volume is the first to offer a comprehensive historical treatment of Erwitt’s body of work and position in the field.

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.

There is an astonishing world just waiting to be photographed underwater. With marine biologist Dr Alexander Mustard as your guide you can learn all you need to know to explore the amazing creatures and landscapes that lie beneath the surface. From information about diving equipment and cameras, to crucial advice on understanding and controlling light underwater, this book provides all the background you need before you take the plunge. Topics covered include wide-angle light, macro lighting, ambient light and macro techniques. All this is illustrated, of course, with stunning images of the weird and wonderful animals and sights he has encountered beneath the waves.

This is a display of her entire oeuvre, with neither a curator nor any apparent order, which seeks to question the art market and its rules. At the same time, this book shows a series made up of pictures taken in New Zealand in which the artist strives to bring depth back to landscape photography by using mirrors and her own devices. Both works are captured in this publication, a book that had become an object of desire even before it materialised, as always happens with the works of one of the most fascinating photographers on today's scene. Every copy is signed and numbered by the artist.

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.

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.

NYC-based photographer Tommy Kwak brings Miami Beach to life After the destruction of Hurricane Andrew on Miami Beach in 1992, the lifeguard towers were commissioned to be redesigned in vibrant fashion to uplift the spirits of the town. In the tradition of the Becher's water tower series, this book of Tommy Kwak's photographs methodically examines the 30+ iconic towers that have become symbols of South Florida's revitalization. This award-winning series of photographs utilizes similar framing and long exposures to produce minimal sky and sea backdrops in order to highlight the traits of each tower, inviting the reader to appreciate and compare the electric color palettes and eccentric forms. This body of work shows Tommy's distinct approach recognizable by the composition of the pictures, sophisticated usage of the angles, and manipulation of light, shadow, and colors. Tommy's style of photography celebrates a kind of ephemeral beauty, and at the same time transforms these entities into more graphic forms, bringing a fresh perspective on the lifeguard towers of Miami Beach.

A year before 1967's famed Summer of Love, documentary photographer William Gedney set out for San Francisco on a Guggenheim Fellowship to record "aspects of our culture which I believe significant and which I hope will become, in time, part of the visual record of American history." A Time of Youth brings together eighty-seven of the more than two thousand photographs Gedney took in San Francisco's Haight-Ashbury neighborhood between October 1966 and January 1967. In these photographs Gedney documents the restless and intertwined lives of the disenchanted youth who flocked to what became the epicenter of 1960s counterculture. Gedney lived among these young people in their communal homes, where he captured the intimate and varied contours of everyday life: solitude and companionship, joyous celebration and somber quiet, cramped rooms and spacious parks, recreation and contemplation. In these images Gedney presents a portrait of a San Francisco counterculture that complicates popular depictions of late 1960s youth as carefree flower children. The book also includes facsimiles of handwritten descriptions of the scenes Gedney photographed, his thoughts on organizing the book, and other ephemera.