Photographer Joel Meyerowitz is renowned for his vast spectrum of work. He is a preeminent street photographer, having broken new ground in the genre in the 1960s. He is also a pioneer of color photography, as testified by his classic pictures of Cape Cod. And he is the photographer who has given us unforgettable images of Ground Zero. Spanning a career rich with creative milestones and iconic works, "Joel Meyerowitz: Taking My Time" explores the enduring influence of the master photographer over the past half-century.
The two volumes of this superb limited edition feature close to 600 photographs edited and sequenced by Meyerowitz to create a chronological record of his evolution as an artist and the crucial role he played in the emergence of color photography. A fitting tribute to an illustrious career, "Joel Meyerowitz: Taking My Time" showcases the photographer's entire oeuvre, including both landmark and previously unpublished photographs.
Volume 1 of this two-volume set covers 1962 to 1974. The images in this volume include Meyerowitz' seminal color photography and black-and-white street photographs of New York City; images taken during a year in Europe which he refers to as his coming-of-age bot as an artist and a man; and documentation of America during the Vietnam War years. Volume 2 takes us through to present-day, spotlighting his trademark images of Cape Cod; portraits; photographs taken while traveling through Tuscany and other places; his chronicle of the road trip he took with his son and his father, who had Alzheimer's; indelible images of Ground Zero; and transporting pictures of the parks of New York.
Featuring a signed print, a DVD of Meyerowitz's award-winning film "Pop" - in which he chronicles the road trip he took with his son and father (who at the time was suffering from Alzheimer's) and a graphic novel adapted from the film, "Joel Meyerowitz: Taking My Time" is a compelling record of the creative and professional development of a master photographer, and a tremendously personal, inspiring work.

Berenice Abbott is to American photography what Georgia O'Keeffe is to painting or Willa Cather to letters. Abbott's sixty-year career established her not only as a master of American photography but also as a teacher, writer, archivist and inventor. A teenage rebel from Ohio, Abbott escaped to Paris-photographing, in Sylvia Beach's words, "everyone who was anyone"-before returning to New York as the Roaring Twenties ended. Abbott's best known work, "Changing New York", documented the city's 1930s metamorphosis. She then turned to science as a subject, culminating in work important to the 1950s "space race". This biography secures Abbott's place in the histories of photography and modern art while framing her accomplishments as a female artist and entrepreneur.

The volume brings together for the first time the photographs taken by Olivo Barbieri (Carpi, Modena, 1954) in the early eighties. In these shots, full of mystery and everyday life, can be found all the elements that in the following decades the Emilian master would have developed: the artificial lighting in contemporary cities, views from above, home interiors and bars, the signs left by man in the landscape. In consonance with the spirit of research that characterised the season of Italian photography between the late seventies and the early eighties, Barbieri scoured with a sharp and meticulous gaze the hidden corners of the province - authentic places of the indefinite - with the intent to investigate the theme of visual perception and its representation. His images scratch the surface of a banal only apparently so and, in a state of expectation and disorientation, open up a new way of looking at space, instilling a doubt in the observer: do we actually see reality? The volume includes a critical text by Corrado Benigni and a conversation with the artist. Text in English and Italian.

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.

Sarah Angelina Acland (1849-1930) is one of the most important photographers of the late Victorian and early Edwardian periods. Daughter of the Regius Professor of Medicine at Oxford, she was photographed by Lewis Carroll as a child, along with her close friend Ina Liddell, sister of Alice of Wonderland fame. The critic John Ruskin taught her art and she also knew many of the Pre-Raphaelites, holding Rossetti's palette for him as he painted the Oxford Union murals. At the age of nineteen she met the photographer Julia Margaret Cameron, whose influence is evident in her early work. Following in the footsteps of Cameron and Carroll Miss Acland first came to attention as a portraitist, photographing the illustrious visitors to her Oxford home. In 1899 she then turned to the challenge of colour photography, becoming, through work with the 'Sanger Shepherd process', the leading colour photographer of the day. Her colour photographs were regarded as the finest that had ever been seen by her contemporaries, several years before the release of the Lumiere Autochrome system, which she also practised. This volume provides an introduction to Miss Acland's photography, illustrating more than 200 examples of her work, from portraits to picturesque views of the landscape and gardens of Madeira. Some fifty specimens of the photographic art and science of her peers from Bodleian collections are also reproduced for the first time, including four unrecorded child portraits by Carroll. Detailed descriptions accompany the images, explaining their interest and significance. The photographs not only shed important light on the history of photography in the period, but also offer a fascinating insight into the lives of a pre-eminent English family and their circle of friends.

For Now is the result of film-maker Michael Almereyda's year-long rummage through the Eggleston archives, a remarkable collection of heretofore unseen images spanning four decades of work by one of our seminal artists. Unusual in its concentration on family and friends, the book highlights an air of offhand intimacy, typical of Eggleston and typically surprising. Afterword by Michael Almereyda, with additional texts by Lloyd Fonvielle, Greil Marcus, Kristine McKenna and Amy Taubin.

Published on the occasion of the first Italian anthological exhibition dedicated to her, the volume retraces the successful work of Lisette Model, an artist of Austrian origin who had great importance in the development of photography in the Fifties and Sixties. Parallel to her teaching activity - she had among her students authors who later became famous such as Diane Arbus and Larry Fink - Lisette Model was an ironic and irreverent photographer, able to capture in her shots the most grotesque aspects of post-war American society. Alongside the most famous series - such as Promenade des Anglais, created in Nice, or the photographs dedicated to New Yorkers or the very suggestive ones made in jazz clubs - the book also includes lesser-known projects, which account for her personal and sardonic photographic language. The close-up shots, the recurring use of the flash, the exasperated contrasts are the expedients that the author resorts to in order to accentuate the imperfections of the bodies and the coarse gestures of her subjects, transformed into the characters of a sneering human comedy: an approach to reality that made Lisette Model the forerunner of a way of using photography that would find full realisation only in the following decades. Text in English and Italian.

Cecil Beaton (1904-1980) is one of the most celebrated British Portrait photographers of the twentieth century and is renowned for his images of elegance, glamour and style. His influence on portrait photography was profound and lives on today in the work of many contemporary photographers. Beaton used his camera, his ambition and his larger-than-life personality to mingle with a flamboyant and rebellious group of artists, writers, socialites and partygoers. These 'Bright Young Things' captured the spirit of the roaring twenties and thirties as they cut a dramatic swathe through the epoch. Beaton quickly developed a reputation for his beautiful, often striking and fantastic photographs, which culminated in his portraits of Queen Elizabeth in 1939. More than a photographer, Beaton became a society fixture in his own right. In a series of themed chapters, covering Beaton's first self-portraits and earliest sitters to his time at Cambridge and as principle society photographer for Vogue and Vanity Fair, over 60 leading figures who sat for him are profiled and the dazzling parties, pageants and balls of the period are brought to life. Among this glittering cast are Beaton's socialite sisters Baba and Nancy Beaton, Stephen Tennant, the Mitfords, Siegfried Sassoon, Evelyn Waugh and Daphne Du Maurier. Beaton's photographs are complemented by a wide range of letters, drawings and ephemera and contextualised by artworks created by those in his circle, including Christopher Wood, Rex Whistler and Henry Lamb.

John Chiara creates his own cameras and chemical processes in order to make unique photographs using the direct exposure of light onto reversal film and paper. Chiara describes his process: "When I'm out shooting, I directly expose the paper, dodge, burn, and filter the light as if I were working in the darkroom." This compression of the traditional photographic processes into one event, involving the hauling around of huge, handmade cameras and film backs, results in images that are intuitive and performative-and visually stunning. Focusing almost exclusively on landscapes and architecture, each resulting photograph is a singular, luminous object that renders each scene with an almost hallucinatory clarity, deploying surreal shifts of color, light, and skewed perspectives. This book, his first, focuses exclusively on images of Chiara's native California, including images from his hometown of San Francisco and other locations in Northern California, as well as Los Angeles and along the Pacific Coast. Virginia Heckert's essay situates Chiara's work in the long tradition of the landscape of the American West while also discussing his working methods and the contemporary context of this process-driven work.

Fully revised with 100 percent new photography, this best-selling guide takes a radical approach to creativity by explaining how it is not just an inherent ability but a skill that can be learned and applied. Using inventive photos from his own stunning portfolio, author and veteran photographer Bryan Peterson deconstructs creativity for photographers. He details the basic techniques that go into not only taking a particular photo, but also provides insights on how to improve upon it - helping readers avoid the visual pitfalls and technical dead ends that can lead to dull, uninventive photographs. This revised edition features a complete section on colour as a design element and all new photographs to illustrate Peterson's points. Learning to See Creatively is the definitive reference for any photographer looking for a fresh perspective on their work.