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Books > Arts & Architecture > Photography & photographs > Individual photographers
As famous as the stars he photographed, Brian Duffy defined the image of Swinging London in the 1960s. Together with David Bailey and Terence Donovan, Duffy is recognised as one of the innovators of 'documentary' fashion photography, a style which revolutionised the industry. Their attitude and aesthetic iconified the scene, birthing the cult of the fashion photographer and inspiring the famous film Blow-Up (Michelangelo Antonioni, 1966). As Duffy put it, "Before 1960, a fashion photographer was tall, thin and camp. But we three are different: short, fat and heterosexual!" The press nicknamed the three photographers 'The Terrible Three', while Norman Parkinson added to their notoriety by naming them 'The Black Trinity'. Duffy's most famous photograph is the 'Mona Lisa of pop', the cover of Bowie's 'Aladdin Sane'. He collaborated with the artist over eight years and exerted a direct influence on the numerous reinventions of Bowie's image. It is fitting, therefore, that this new edition should expand on their work together with new images. This new edition of Duffy also features other, new images from the photographer's archive, depicting both star and photographer in their prime. Duffy's first commission came from Ernestine Carter, the then fashion editor of The Sunday Times. From there he was hired by British Vogue in 1957, where he remained working until 1963, photographing famous models such as Pauline Stone and Jean Shrimpton. In the 1960s Duffy worked for many of the major fashion magazines; his list of subjects was a roll call of the celebrities of that time, including Sidney Poitier, Michael Caine, Tom Courtney, Sammy Davis Jnr, Nina Simone, John Lennon, Paul McCartney, Charlton Heston and William Burroughs. He was also critically acclaimed for his advertising campaigns with Benson & Hedges and Smirnoff. Notoriously, in 1979 Duffy decided to give up photography, burning many of his negatives in a symbolic fire in his back yard - although he would later take up the camera again at the behest of his son. Thankfully, many of these negatives have been discovered and salvaged since. Duffy died on 31 May 2010. "Duffy and aggravation go together like gin and tonic." - David Bailey
Almost all his images were produced at night, using the aprons' floodlights, moonlight or long exposures of between ten minutes to two hours. The airports on the Azores are unique. In order that they would not be spotted from the air during wartime they are amongst the very few black-tarred runways in the world, and it is the relationship between the dark tarmac and the fluorescent painted signs and runway markings that lie at the heart of some of Martins' most arresting images. This unusual combination allowed him to produce incredibly abstract images, with a very long depth of field and often with the use of minimal lighting. In some, sky and ground merge in darkness with only the lights and airport hieroglyphics to orient us. Yet even these are hard to decode, for whilst this is a landscape of signs that can be read by the knowledgeable - pilots and air traffic controllers, for instance - it remains perplexing to the uninitiated. This juxtaposition of sign and shape are at the heart of these remarkable images.
These photographs by David Katzenstein emerged from his lifelong artistic journey as a visual chronicler of humanity. His mission led him to travel to many parts of the world to experience other cultures and peoples firsthand, capturing images that relate to the themes he is drawn to. In the process, he came to be fascinated by rituals. The images were taken in twenty-six countries on six continents between 1982 and 2019 - a span of thirty-seven years. They document humans in the act of performing a wide array of rituals, both religious and secular. Rituals depicted herein include those of animism, Buddhism, Christianity, Hinduism, Islam, Judaism and Shintoism. Folk festivals, military assemblies, and parades are nonreligious rituals found in everyday life. Whether rituals are religious or secular, from his experience, they are all, in some sense, sacred to those who perform them.
Now available in a new paperback edition, Richard Renaldi's Touching Strangers embodies the human desire to connect despite our differences. Renaldi directed strangers to pose in front of a large-format, 8-by-10-inch view camera in towns and cities all over the United States. These startlingly intimate portraits reveal "humanity as it could be as most of us wish it would be and as it was, at least for those one fleeting moments in time." These relationships may have only lasted for one moment, but the resulting photographs are moving and provocative, and continue to raise profound questions about the possibilities for breaking down social barriers with positive human connection in a diverse society.
Anja Niemi: In Character is the first career retrospective/monograph by one of the most exciting talents working in contemporary photography, whose work has emerged as a distinctive force within the venerable tradition of conceptual self-portraiture. A photo-artist who works alone - photographing, staging and acting out the characters in all of her images - Niemi is a constant presence, in character, in her work, developing complex, nuanced narratives through evocative costume and styling, her characters framed and formed within meticulously staged mise-en-scene. In her bewitching 'Darlene & Me' series, for example, she reconfigures the concept of the Hitchcock blonde within a pristine Lynchian landscape for her own visual pleasure - and ours - while in 'She Could Have Been A Cowboy' she turns the lens to a life lived under the constraints of conformity. Anja Niemi is now at the 'breakout moment' in her career, having had exhibitions in Amsterdam, London, New York, Oslo and Paris, and with her first museum retrospective show opening at Fotografiska Museum in Stockholm in February 2019. With over 100 photographs organized into the six series that have marked Niemi's career to date, supported by an essay and interview by Max Houghton, Anja Niemi: In Character is the perfect introduction for those encountering Niemi's work for the first time, and a comprehensive retrospective of her career to date for her long-time followers.
With a career spanning nearly half a century, Bill Brandt was a master of several major genres of photography: photojournalism, portraiture, the nude and landscapes. At first glance, Brandt's genres may appear unrelated, but when analysing his career in its entirety, a common theme comes to the forefront: what psychologist Sigmund Freud and philosopher Eugenio Trias called 'the sinister.' From his earliest photographs taken as an amateur in the 1930s to his late portraits and studies of the female body, Brandt expresses a fascination with the strange and dark aspects of life that only he can reveal. With 200 photographs from throughout Brandt's career, this book adds a crucial chapter to the analysis of this key figure in 20th-century photography. Bill Brandt is set to become an authoritative retrospective.
Photographer Frederic Chaubin reveals 90 buildings sited in 14 former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no "school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union. Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of identity. It also outlines the geography of the USSR, showing how local influences made their exotic twists before the country was brought to its end. Frederic Chaubin's Cosmic Communist Constructions Photographed was elected best book on architecture of the year 2010 by the International Artbook and Film Festival in Perpignan, France (Festival International du Livre d'Art & du Film Perpignan).
..".Entrancing photographs of multi-colored mudhills in New Mexico, the red rock formations of Canyonlands National Park in Utah, and canyons, cliffs, and desert lands throughout California, Nevada, and Arizona. Strom has been photographing the deserts of the American Southwest for thirty years, creating arresting images of forbidding, breathtaking landscapes containing geological formations and striking colors like nothing else on earth... His book of photographs would make the perfect gift for anyone who loves the landscape of the West."--"New West Magazine" Stephen Strom has photographed in the southwestern desert lands of the United States for more than 20 years and this book brings together, for the first time, a selection of his most powerful and memorable images. Strom brings to this landscape the sensibilities of an astronomer who has lived in the desert for almost two decades. His photographs capture a land shaped both by the millennial forces of prehistory and also by yesterday's cloudburst. His images have the power to compress vast desert spaces in an illusion of intimacy and comprehension, presenting undulations of colour and form which appear reimagined in a light that at once penetrates and sculpts. Published in 2009, the book Earth Forms, with essays by Gregory McNamee and Albert Stewart, is the first fine art quality monograph of Stephen's photographs. To assure images of the highest quality, Stephen was present at EBS in Verona, Italy when the final proofs were made. He and Dewi Lewis, the publisher, certified the adjustments made before each page was printed.
Please note that all blank pages in the book were chosen as part of
the design by the publisher.
It is a piece of tranquil wilderness that overlooks the sprawling concrete of the city below, enveloped in thick brush and old trees, accessible through small winding trails. Photographed over a period of four years, Angels Point, in the words of Ianiello, '... stands at the edge of the new and the forgotten. A place to hide, to explore, with no commitments, no judgments.
The ten photographs in this portfolio are contact prints from 11x14-inch negatives, the largest format Brett Weston ever used, and the largest practical format for any but the most ardent devotee of view cameras and contact prints. Brett employed this camera between 1944 and the early 1960s, when he realised that new medium-format roll-film cameras like the Rollei SL66 (which made relatively small 2 1/4-inch square negatives), were so good that he could abandon contact prints altogether. By 1963, Weston felt confident that he had enough 11x14 prints to select ten pictures that fit his criteria for a portfolio-quality, variety, unity, and ease of printing-and since he did not use the 11x14 camera after this time, he may have intended this portfolio as a farewell to the big camera itself. Like his previous portfolios, this selection is neutral, and the portfolio has no text or predetermined order. As a group, these pictures are quieter, more relaxed, and somewhat less shocking or abstract than his previous portfolios, perhaps because of the limitations of the camera.
Winner of the Leica Oskar Barnack Award In March 2006 the residents of 911 Prestes Maia, a twenty-two story ramshackle tower block in the center of sprawling Sao Paulo, Brazil, learned that they were to be evicted. The building, neglected by its landlord, had been empty for over a decade. In 2003 the "Movement of the Homeless" had moved in hundreds of families. The new residents created homes and a thriving community from squalor and neglect, complete with a library, workshops, and other educational activities. In this collection Julio Bittencourt records the tower's residents as they appear in weathered window frames. It is powerful and thought provoking.
Highlights from Stieglitz's legendary photo journal
(1903-1917)""This has to be the 'must buy' book of the decade--no
photographic library will be complete without it. "" - mono, UK
A catalogue of the first, major exhibition of Ballen s work in France and an exploration of Ballen s positioning within modern and contemporary art. The World According to Roger Ballen, co-authored with Colin Rhodes, looks at Ballen s career in the wider cultural context beyond photography, including his connections with and collections of Art Brut. It features photographs selected from across Ballen s career, along with installations created exclusively for the exhibition at Halle Saint Pierre and photographs of objects and works from Ballen s own collection of Art Brut. Organized thematically, with texts by Colin Rhodes and an introduction and interview with Ballen by Martine Lusardy (the Director of the Halle Saint Pierre), The World According to Roger Ballen is both a catalogue of the first, major exhibition of Ballen s work in France and an exploration of Ballen s positioning within and connections to the wider context of modern and contemporary art.
Photographer Ryland Hormel traveled across the United States from Alaska to Florida, asking people “When do you feel free?” Respondents wrote down their answers on 3” x 5” index cards, then had their photographs taken with Hormel’s vintage Leica M6 analog camera. When Do You Feel Free? is a collection of over 100 hand-written responses, alongside photographs that put the answers in context. The pages contain answers of photographs of recent immigrants, former convicts, fishermen, cowboys—that all come together to create a collective conversation about freedom through the fragmented perspectives of individuals across America. When Do You Feel Free? makes the reader realize freedom isn’t a location, but a state of mind, one that can be uncovered at any time.
British-Iranian photographer and filmmaker Mitra Tabrizian creates an unsettling imagery out of ordinary daily life. Atmospherically, she evokes almost unreal scenes, which push reality and its inhabitants into the sublime realm of a fathomless emotional interior. She addresses the incidental and mundane, yet her agenda reaches deeper. With a unique perspective, she inquires the complex social roles of the individual. By revealing too often unnoticed phenomena of contemporary living she challenges our established conceptions of the world. The book presents all of her works since 2012.
memymom is the mother-daughter artistic collaboration of Marilene Coolens and Lisa De Boeck. Their transgenerational project, which first emerged in the 1990s, consists of intimate archives and family photos where Marilene urges her daughter Lisa to express and invent herself by improvising her own theatrical scenes. Since 2004, the protagonists have worked together behind and in front of the lens, simultaneously photographer and model. Over the years, memymom's dreamlike, partly directed portraits have matured into a conversation about metamorphosis, personal identity, potential, as well as a plea for sensual analysis and tragic romanticism, as irrefutably illustrated in their latest series Somewhere Under the Rainbow. In this book, which is the culmination and prolongation of their recent work, the two artists disclose the way in which their themes and visual language have remained constant over the past 30 years, while simultaneously evolving fascinatingly in terms of aesthetics and content, through recurring references and reflections. This exhibition also provides an opportunity to see how the inclusion of an assorted group of other people, each playing a different role, has always been part of their artistic process. Text in English and French.
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