Photography: The Whole Story is a celebration of the most beautiful, meaningful and inspiring photographs that have arisen from this very modern medium. It begins with a succinct overview of photography, placing it in the context of the social and cultural developments that have taken place globally since its arrival. Organized chronologically, the book then traces the rapid evolution of photographic style, period by period and movement by movement. Illustrated, in-depth essays cover every photographic genre, from the early portraits and tableaux to the digitally manipulated montages, split-second sports images, and conceptual photographs of today. The ideas and works of key photographers are assessed to reveal what motivated them, who influenced whom, and what each was striving to achieve. Detailed cultural and individual artist timelines clarify historical context.

Fred Herzog is known for his unusual use of colour in the fifties and sixties, a time when art photography was almost exclusively associated with black and white imagery. The Canadian photographer worked almost exclusively with Kodachrome slide film for over 50 years, and only in the past decade has technology allowed him to make archival pigment prints that match the exceptional color and intensity of the Kodachrome slide. In this respect, his photographs can be seen as a pre-figuration of the New Color photographers of the seventies.This book will bring together over 230 images, many never before reproduced, and will feature essays by acclaimed authors David Campany and Hans-Michael Koetzle. Fred Herzog will be the most comprehensive publication on this important photographer to date.

The last book completed by William Klein within his lifetime: A landmark retrospective encompassing Klein's legacy of creativity across photography, filmmaking, painting, book design, graphic design and beyond. Photographer. Filmmaker. Artist. Designer. To master one of those disciplines would be a lifetime achievement for any creative individual, yet William Klein's career was celebrated in each of them over the last eight decades. Klein was one of the great image makers of the 20th century and one whose work remains an enduring creative influence on the work of contemporary artists, photographers and filmmakers. With over 250 images, this career retrospective explores the late William Klein's entire creative and artistic arc. Directed by Klein himself, from the selection of content to book design, this large-format publication looks back at his uncompromisingly creative lifetime, showcasing Klein's prolific and relentlessly innovative contribution to the world of photography, art, design and filmmaking. Published in association with a major retrospective at the International Center of Photography, this book is a comprehensive take on his career. While best known as a photographer who broke all the rules and conventions, William Klein: Yes focuses on the full range of Klein's work, from his abstract paintings through to his startling, authentic street photography and photobooks and his dynamic, satirical take on filmmaking. With a flowing, chronological text by David Campany, this book will be both an introduction to William Klein for a new generation and a source of fresh insights for those who already know who William Klein was: a true original.

The pandemic serves as background to this story of human life and dynamics in a period of great individual and global uncertainty. From self portraits taken at the height of the lockdown to street photography in New York, Europe and Argentina, Trapped seeks to capture human feelings during these challenging times of social disruption and personal anxiety.

Although it is one of the oldest techniques in photography, stereoscopy receives little attention in contemporary photography. Wrongly so, as the timeless works in this book show. For nine years now, Sebastian Cramer has been working on his project Two Views, which is presented in book form for the first time in this volume. Its focus is on images of plants that look like nothing ever seen before. Viewed through 3D glasses, the seemingly familiar natural forms take on a thoroughly unique quality: delicate and fragile, sometimes alien, appear the leaves and blossoms as they form into a photographic sculpture. Two Views on Plants is a book about visual perception and the experience of space.

A diary for a world-wide pandemic, #ICPConcerned captures 263 days in 2020 recorded by 820 photographers curated from over 60,000 submissions. This is the book form of an exhibition at the International Center of Photography Museum (ICP) that became a digital phenomenon in lockdown.

An overview of John Stezaker's film still collages, this book showcases the evolution of the artist's relationship with a specific material. Leading British collage and appropriation artist John Stezaker began his ongoing series of film still collages in 1979 - the result of a period that marked a crucial change in the direction of the artist's work, which had previously been centered around a text-based 'conceptualism'. The series moves with Stezaker's changing interests, using stills from classic American-period Hitchcock films as raw material before shifting towards the undistinguishable mass of 1940s and early 1950s low-budget studio films. Featuring collages based on a combination of film still excisions and superimpositions, this ongoing series is catalogued comprehensively for the first time in this volume, which brings together Stezaker's earliest film still collages with his most recent. Full-colour illustrations are accompanied by an essay by David Campany and a conversation between the critic and the artist. John Stezaker (b.1949, Worcester) is one of the leading artists in contemporary photographic collage and appropriation. Employing vintage photographs, old Hollywood film stills, travel postcards and other printed matter, Stezaker creates small-format collages that bear qualities of Surrealism, Dada and found art. Stezaker studied at the Slade School of Art and has taught at the Royal College of Art and Central Saint Martins School of Art, London. In 2012 he was awarded the Deutsche Boerse photography prize following a retrospective at the Whitechapel Gallery, London. His work has been exhibited internationally since the 1990s and is held in collections such as the Museum of Modern Art, New York; Los Angeles County Museum of Art; Stedelijk Museum, Amsterdam; Arts Council England; and Tate.

This text offers a comprehensive survey of a rich and important period of photographic history, from the 1960s to the 21st century. Arranged thematically, it presents works by the most significant international artists who have explored and extended the boundaries of photography.

Image Cities is the latest project of photographer Anastasia Samoylova. In the series, carried out in cities across the globe, Samoylova studies the proliferation of photographic images in urban environments. She observes how in our neo-liberal era of networked economic markets and networked imagery the global centers of internationalized money and culture are becoming increasingly aligned and similar. At the same time, however, these cities attempt to promote their individuality, often by repurposing their specific histories. Samoylova’s work reveals how the cities she photographs are moving towards a generic urban landscape of anonymous steel and glass, and it also points to the role photography plays in creating this ideological gap between branded urban identity and lived reality.

Twenty years ago Traub abandoned all pretense of trying to find specific themes and subjects in his photographic wanderings other than to make Taradiddles, embracing fully the digital image which is always questioned for its further and inherent potential for distortion. Ironically, the witty and sardonic juxtaposition of Traub's images, are only a matter of framing his discoveries - here, there and everywhere. This volume is a collection of trifles that become matters of remarkable social commentary when Traub photographs them - "For me, serendipity, coincidence and chance are more interesting than any preconceived construct of our human encounters." (Charles H. Traub) - in a hundred plus images Traub seems to have captured the common incongruities of a global society. Traub took these pictures in more than 60 cities around the world: Dubai, Shanghai, Beijing, Rome, Tunis, Buenos Aires, Budapest, Moscow, St. Petersburg, Santo Domingo, New York, just to name a few.

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

Not only do we live in a period of rapid, exciting change, but we are also in the midst of the Anthropocene age. The environment and climate are changing in the wake of human-driven turbo-capitalism. Benedikt Partenheimer's works make it possible to imagine-sensorily as well as contextually-the close connection and increasing imbalance between humans and the earth. Photographs of fascinating, impressive elegance reveal processes of ecological and cultural transformation. What makes these pictures so irresistible is the human influence factor: the painterly mist of air pollution floating above urban panoramas, the ambivalence of mountain reflections in melted glacier water. The price of beauty is inscribed into each image. It makes Partenheimer's work aesthetically intriguing-but above all, existentially important and politically controversial.