At 17 Mike Brodie hopped his first train close to his

home in Pensacola, FL thinking he would visit a

friend in Mobile, AL. Instead the train went in the

opposite direction to Jacksonville, FL. Days later,

Brodie rode the same train home, arriving back

where he started. Nonetheless, it sparked something

and Brodie began to wander across the U.S. by

any means that were free - walking, hitchhiking and

train hopping. Shortly after, Brodie found a

Polaroid camera stuffed behind a carseat. With no

training in photography and coke-bottle glasses, the

instant camera was an opening for Brodie to document

his experiences.

As a way of staying in touch with his transient community,

Brodie shared his pictures on various websites

gaining the moniker "The Polaroid Kidd" sic].

When the Polaroid film he used was discontinued,

Brodie switched to 35mm film and a sturdy 1980's

camera. Brodie spent years crisscrossing the U.S.

amassing a collection, now appreciated as one of the

most impressive archives

Hailed by the poet and architectural historian Sir John Betjeman as "a genius at photography", Edwin Smith (1912 - 1971) was one of Britain's foremost photographers. At the time of his death he was widely regarded as without peer in his sensitive renditions of historic architecture and his empathetic evocations of place. The recurrent themes of Smith's work - a concern for the fragility of the environment; an acute appreciation of the need to combat cultural homogenization by safeguarding regional diversity; and a conviction that architecture should be rooted in time and place - are as pressing today as when Smith first framed them in his elegant compositions. By providing the first in-depth survey of his work, this book introduces Smith's poignant imagery to a new generation. This paperback edition accompanies the RibA exhibition at 66 Portland Place, London, entitled A Vanishing Past: The Photography of Edwin Smith, 11 September 2014 to 13 December 2014. The exhibition will then travel to the Mann Island Gallery in Liverpool in 2016.

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.

'Shoot for the moon. Even if you miss, you will land among the stars' Norman Vincent Peale Tim Walker's monograph Story Teller, published by Thames & Hudson, introduced audiences to this unique photographer's fantastical, magical worlds, conjured anew with each shoot. But every point must have its counterpoint, day its night, light its dark; creativity is no different. Shoot for the Moon, Walker's much anticipated followup, draws audiences close to reveal fantasy's other, darker side. Delving deep into the art and mind of one of the most exciting and original fashion photographers working today, Shoot for the Moon showcases the gamut of Walker's weird, wild Wonderlands. In images that demand to be read as art as much as fashion, his signature opulence and decadent eccentricity encroach ever further beyond the 'real', exploring the mysteries of imagination and inspiration, and where it is they come from. Dazzlingly designed to a lavish spec, with images featuring some of the biggest names in fashion and contemporary culture, and texts and commentary by a collection of noteworthy contributors as well as Walker himself, Shoot for the Moon is set to be an unmissable addition to the lexicon of fashion photography.

Thatcher’s Children was born out of a series first made in 1992 focusing on two parents and six children living in a hostel for homeless families in Blackpool, England. The project was made in response to a speech by Peter Lilley, then Secretary of State for Social Security, in which he announced his determination to ‘close down the something-for-nothing society.’ French newspaper Libération dispatched a journalist to northern England to find out what this society looked like, and Easton was commissioned to take the accompanying photographs. His resulting monochrome images of the overcrowded two-bedroom council flat in Blackpool sparked a reaction by both the public and the press. His images attached human faces and nuanced realities to a group of people casually maligned by politicians and media as an ‘underclass of scroungers.’

Elaine Mayes was a young photographer living in San Francisco's lively Haight-Ashbury District during the 1960s. She had photographed the Monterey Pop Festival in 1967 and, later that year, during the waning days of the Summer of Love, embarked on a set of portraits of youth culture in her neighborhood. By that time, the hippie movement had turned from euphoria to harder drugs, and the Haight had become less of a blissed-out haven for young people seeking a better way of life than a halfway house to runaway teens. Realizing the gravity of the cultural moment, Mayes shifted from the photojournalistic approach she had applied to musicians and concert-goers in Monterey to making formal portraits of people she met on the street. Choosing casual and familiar settings, such as stoops, doorways, parks, and interiors, Mayes instructed her subjects to look into her square-format camera, to concentrate and be still: she made her exposures as they exhaled. Mayes' familiarity with her subjects helped her to evade mediatized stereotypes of hippies as radically utopian and casually tragic, presenting instead an understated and unsentimental group portrait of the individual inventors of a fleeting cultural moment. Elaine Mayes: The Haight-Ashbury Portraits 1967-1968 is the first monograph on one of the decade's most important bodies of work, presenting more than forty images from Mayes' extensive series. An essay by art historian Kevin Moore elaborates an important chapter in the history of West Coast photography during this critical cultural and artistic period.

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.

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.

Joerg Rubbert's series of photos about Paris, taken over a period of 30 years between 1988 and 2019, views the city and its people from different perspectives. His images feature bourgeois neighbourhoods and majestic public squares as well as run-down areas and famous red-light districts. Rubbert focuses both on the city's unique atmosphere and on its residents. He consistently makes use of analogue photography without digital add-ons, exclusively relying on natural light. With their dense atmosphere, blurred focus, high contrasts, and in some cases grainy appearance, Rubbert's photos are "imperfect" in the best sense of the word, taking on an almost painterly quality. His images approach their subject from two different angles. They show Paris, with its striking architecture and picturesque atmosphere, through the lens of accentuated nostalgia, yet they also shine a light on people's lives and the city's current social condition. In a demonstration that the streets still form the real stage of the "theatre of life," they put a spotlight on the seemingly trivial stories of everyday life. Text in English, German and French.

In 1941, Ansel Adams photographed America's national parks for a series of murals that would celebrate the country's natural heritage. Because of the escalation of World War II, the project was suspended after less than a year, but not before Adams had produced these images, which illustrate both his early innovations and the shape of his later, legendary career as America's foremost landscape photographer. The invitation to photograph the nation's parklands was the perfect assignment for Adams, as it allowed him to express his deepest convictions as artist, conservationist, and citizen. These stunning photographs of the natural geysers and terraces in Yellowstone, the rocks and ravines in the Grand Canyon, the winding rivers and majestic mountains in Glacier and Grand Teton national parks, the mysterious Carlsbad Caverns, the architecture of ancient Indian villages, and many other evocative views of the American West demonstrate the genius of Adams' technical and aesthetic inventiveness. In these glorious, seminal images we see the inspired reverence for the wilderness that has made Ansel Adams' work an enduring influence on environmentalism as well as art.

Montauk's beautiful beaches, and its location just over 100 miles east of Midtown Manhattan, make it a go-to destination for city dwellers seeking summer bliss. More than 100 photos offer viewers an unfiltered peek into the all-American charm of this town on Long Island's South Shore, famous for its fishing and six surrounding state parks. Native New Yorker Car Pelleteri captures the culture and scenic landscape-surf and sun bathers at Ditch Plains, the terrestrial Hoodoos at Shadmoor, and horseback riding at Deep Hollow, the oldest cattle ranch in the US. Images of the sun dipping into the ocean at Navy Beach, the walking dunes at Hither Hills, and visitors enjoying the fresh local seafood and homegrown brews on the dock distill the essence of summer at a classic hotspot.

An intimate, one-of-a-kind photographic journey that documents Liam Wong's nocturnal wanderings through the world's most captivating cities. In this singular photographic publication, Liam Wong weaves together a series of cinematic images that reveal the people and places, the slivers of life, that inhabit the mysterious space of night-time cities. Through his previous work as a videogame designer, Wong learned that 'real life is just as potent, bizarre and interesting as things we can imagine'. From Hong Kong and Seoul to London and Edinburgh, After Dark reveals shadowy cityscapes through the eyes of the insomniac artist. For centuries, artists have found both solace and fruitfulness in solitude. Through sleepless and solitary nights, After Dark explores the phenomenon of loneliness in city life, capturing urban interstices between dusk and dawn: the eerie emptiness of London's Piccadilly Circus at 4:00 a.m., Seoul's late-night taxi drivers moving along hushed roads and birds sharing the warmth of a neon sign in Hong Kong's TSM District - mysterious silhouettes representing lives lived in shadow, portrayed as intricate cinematic visions, all before the sun rises. Building on the success of his first monograph, TO:KY:OO, Wong widens his lens to capture the night in the world's most exciting cities. From workers leaving their night shifts to empty streets illuminated by neon signs, Wong charts the hours of darkness as populated scenes become deserted ones. The book's photography - framed to specific film ratios - is imbued with a cinematic intensity underscored by Wong's interest in film, while its themes are amplified through specially commissioned Chinese characters that pay homage to the works of celebrated Chinese director Wong Kar Wai.

Stunning photographs of Soviet Metro Stations from across the former states of the USSR and Russia itself, many of which have never previously been documented For us, said Nikita Khrushchev in his memoirs, 'there was something supernatural about the Metro'. Visiting any of the dozen or so Metro networks built across the Soviet Union between the 1930s and 1980s, it is easy to see why. Rather than the straightforward systems of London, Paris or New York, these networks were used as a propaganda artwork - a fusion of sculpture, architecture and art, combining Byzantine, medieval, baroque and Constructivist ideas and infusing them with the notion that Communism would mean a 'communal luxury' for all. Today these astonishing spaces remain the closest realisation of a Soviet utopia. Following his best-selling quest for Soviet Bus Stops, Christopher Herwig has completed a subterranean expedition - photographing the stations of each Metro network of the former USSR. From extreme marble and chandelier opulence to brutal futuristic minimalist glory, Soviet Metro Stations documents this wealth of diverse architecture. Along the way Herwig captures individual elements that make up this singular Soviet experience: neon, concrete, escalators, signage, mosaics and relief sculptures all combine build an unforgettably vivid map of the Soviet Metro. The photographs are introduced by leading architecture, politics and culture author and journalist Owen Hatherley.

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.

Goldblatt began working on Some Afrikaners Photographed, first published in 1975, in 1963. He had sold his father s clothing store where he worked, and become a full-time photographer. The ruling Afrikaner National Party many of its leaders and members had supported the Nazis in the Second World War was firming its grip on the country in the face of black resistance. Yet Goldblatt was drawn not to the events of the time but to the quiet and commonplace where nothing happened and yet all was contained and immanent. Through these photos he explored his ambivalence towards the Afrikaners he knew from his father s store. Most, he guessed, were National Party voters, yet he experienced them as austere, upright, unaffected people of rare generosity of spirit and earthy humor. Their potency and contradictions moved and disturbed him; their influence pervaded his life.

The book includes an essay by South African writer Antjie Krog: Three kinds of Afrikaners look out at us from these photographs, she writes, of which the poor Afrikaner is the most haunting the simple one who, by the sweat of his brow, eats his bread in isolation.

Art critic Ivor Powell charts the outraged reaction of the Afrikaner media towards photos that showed rural Afrikaners at a time when the Afrikaner elite was trying to establish itself on the international stage, as well as his own reaction to the original book: It was all but incandescent with tension and revelation, with a sense of souls being held up to scrutiny, of skins being peeled away.

An old man sits for me. A black child comes and stands next to him, looking at me with curiosity. The man turns and says to the child, Yes, what are you doing here, you black rubbish? the insult meant and yet said with affection. How is this possible? I don t know. But the contradiction was eloquent of much that I found in the relationship between rural and working-class Afrikaners and their black workers: an often comfortable, affectionate, even physical intimacy seldom seen in the liberal circles in which I moved, and yet, simultaneously, a deep contempt and fear of black people. David Goldblatt

The Underground is the backbone of the city of London, a part of our identity. It's a network of shared experiences and visual memories, and most Londoners and visitors to the city will at some point have an interaction with the London Underground tube and train network. The Tube Mapper project deliberately captures moments of subconscious recognition and overlooked interests, showcasing images that can be seen near or at many of London's Underground, Overground and DLR stations. Photographer Luke Agbaimoni gave up city-scape night photography after the birth of his first child, but creating the Tube Mapper project allowed him to continue being creative, fitting photography around his new lifestyle and adding stations on his daily commute. His memorable photographs consider such themes as symmetry, reflections, tunnels and escalators, as well as simply pointing out and appreciating the way the light falls on a platform in an evening sunset. This book reveals the London every commuter knows in a unique, vibrant and arresting style.

A member of Magnum, Marc Riboud has travelled the world, from Europe to the Middle East and from Vietnam to the United States. Repelled by violence, indifferent to the pursuit of 'events', yet irresistibly drawn by the desire to see, he is a reporter under the spell of life itself. Whether covering the Cultural Revolution or the Soviet Union before perestroika, he waits for the inner truth to 'rise to the surface of things'. These photographs reveal his intense awareness of the innate power of each image.

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.

Meloni's original aim was to connect the history of troubled countries with their current events to explore new ways of capturing uprisings against totalitarianism and the after-effects of colonial ventures. 'My intent was to try, within the limits of visual language, to understand and rationalise a conflict- its roots and evolution-and thus position it within its historical context. The Islamic State's emergence was a logical development, and I can potentially understand why many young men in Iraq, Syria and Libya decided to join. I asked myself many times: if I had been born Iraqi and my family was killed by US soldiers, what might I have done?'