Ernst Haas's color works reveal the photographer's remarkable genius and remind us on every page why we love New York. When Haas moved from Vienna to New York City in 1951, he left behind a war-torn continent and a career producing black-and-white images. For Haas, the new medium of color photography was the only way to capture a city pulsing with energy and humanity. These images demonstrate Haas's tremendous virtuosity and confidence with Kodachrome film and the technical challenges of color printing. Unparalleled in their depth and richness of color, brimming with lyricism and dramatic tension, these images reveal a photographer at the height of his career.

‘I want to make a picture that could stand on its own, regardless of what it was a picture of. I’ve never been a bit interested in the fact that this was a picture of a blues musician or a street corner or something.’ – William Eggleston William Eggleston’s photographs are special for their eccentric, unexpected compositions, playfulness, implied narrative and, above all, his portrayals of people. Over the past half-­‐century he has created a powerful and enduring body of work featuring friends and family, musicians, artists and others. Eggleston frequented the 1970s Memphis club scene, developing friendships and getting to know musicians, including Ike Turner, Alex Chilton and others. His fascination with the nightclub culture resulted in the experimental video Stranded in Canton (2005), which chronicles visits to bars in Memphis, Mississippi, and New Orleans. At the same time he encountered and photographed the likes of Dennis Hopper, Eudora Welty and Walter Hopps – and for a brief moment Eggleston even entered the Warhol Factory scene, dating the Warhol protégé, Viva. William Eggleston: Portraits accompanies the first exhibition to explore Eggleston’s pictures of people. Works included span his career from the 1950s through to his well-­‐known portraits of the 1970s to the present day. The catalogue includes an essay, chronology and beautifully reproduced exhibition plates, as well as a series of revealing interviews with Eggleston and his close family members, conducted in Memphis by exhibition curator Phillip Prodger.

Spanning the career of one of Japan's most revered photographers, this monograph- the only English-language volume of its kind-features exquisitely detailed full- page images that capture the relationship between human-made structures and the natural world. Toshio Shibata's large-format contemporary landscapes are distinguished by their haunting beauty, graceful composition, and meticulous detail. Using long exposures, and eliminating any references to people, horizons, or identifying geographic reference points, Shibata captures structures such as dams, bridges, reservoirs, and roads as they interact with their natural settings-mountainsides, rivers, forests and fields. The results are highlighted by painterly composition; filled with patterns, lines, and fluid action; and unmistakably Japanese in their aesthetic. Curated and with commentary by Phillip Prodger, one of the most erudite and critical voices in contemporary photography, this book will appeal both to fans of Shibata's work as well as an audience that has yet to discover his remarkable oeuvre.

Between 1925 and 1938, photographer E.O. Hoppe traveled the length and breadth of Germany, recording people and places at one of the most tumultuous times in the country's history. He photographed movie stars and captains of industry, workers and peasants, and captured the birth of the Autobahn and UFA film studios in its heyday. He saw the rise of fascism, the creation of vast new suburbs, and the displacement of people from their traditional ways of life. With unprecedented access to the country's world-famous factories and industrial installations, he witnessed Germany as few others could-barreling headlong into the unknown. Moving, insightful, and deeply revealing, the full significance of Hoppe's German work has been unknown until now. This volume combines photographs published in Hoppe's legendary book of 1930, Deutsche Arbeit, with many new pictures never previously seen. From factory floor to the commuters of Berlin and Munich, Hoppe's photographs reveal the profound social and economic tensions that preceded the Second World War. This publication uncovers Hoppe as a pivotal figure in the history of twentieth-century photography, who introduced for the first time elements of typology, seriality and sequence, which have become key elements of contemporary photographic practice. Hoppe used his experience in Germany to develop a new modern style of photography-showing not just how things looked, but how it felt to be there.

Darwin's Camera tells the extraordinary story of how Charles Darwin changed the way pictures are seen and made.
In his illustrated masterpiece, Expression of the Emotions in Man and Animals (1871), Darwin introduced the idea of using photographs to illustrate a scientific theory--his was the first photographically illustrated science book ever published. Using photographs to depict fleeting expressions of emotion--laughter, crying, anger, and so on--as they flit across a person's face, he managed to produce dramatic images at a time when photography was famously slow and awkward. The book describes how Darwin struggled to get the pictures he needed, scouring the galleries, bookshops, and photographic studios of London, looking for pictures to satisfy his demand for expressive imagery. He finally settled on one the giants of photographic history, the eccentric art photographer Oscar Rejlander, to make his pictures. It was a peculiar choice. Darwin was known for his meticulous science, while Rejlander was notorious for altering and manipulating photographs. Their remarkable collaboration is one of the astonishing revelations in Darwin's Camera.
Darwin never studied art formally, but he was always interested in art and often drew on art knowledge as his work unfolded. He mingled with the artists on the voyage of HMS Beagle, he visited art museums to examine figures and animals in paintings, associated with artists, and read art history books. He befriended the celebrated animal painters Joseph Wolf and Briton Riviere, and accepted the Pre-Raphaelite sculptor Thomas Woolner as a trusted guide. He corresponded with legendary photographers Lewis Carroll, Julia Margaret Cameron, and G.-B. Duchenne de Boulogne, as well as many lesser lights. Darwin's Camera provides the first examination ever of these relationships and their effect on Darwin's work, and how Darwin, in turn, shaped the history of art.

The real history of photography is a vast collection of inter- connected stories stretching from East Asia to West Africa, from New Zealand to Uzbekistan. It parallels acknowledged greats with forgotten masters, and lesser-known works with regional champions. It is a complex interplay of fine art, scientific, anthropological, documentary, and amateur traditions forged by women and men alike. Drawn from the extraordinary Solander Collection, this pioneering, alternative history of photography is based on principles of diversity and democracy, allowing famous works to be seen with fresh eyes, and giving more obscure works the platform they deserve. Images by Robert Frank, Diane Arbus, Man Ray, Ansel Adams, and Edward Weston are seen alongside those of Helen Stuart and John Lindt, early, self- trained practitioners Lady Augusta Mostyn and Major Francis Greeley, and African studio photographers Sanle Sory, Michel Kameni, and Malick Sidibe. It contains many rarities and "firsts" and spans photography's early decades with linchpin works by Sir John Herschel, William Henry Fox Talbot, Hippolyte Bayard, and Julia Margaret Cameron. Contemporary in outlook, visually captivating, and with contributions from leading curators and photo historians, this book will prove essential reading for those looking for an introduction to the field, as well as informed readers looking for more complete knowledge.

Published on the occasion of the art exhibition Screen Time: Photography and Video Art in the Internet Age, this catalog features a selection of leading international artists who engage with and critique the role of media in contemporary society. Their work demonstrates what has become known as post-internet artistic practices-art that may or may not be made for the internet but nevertheless acknowledges online culture as an omnipresent influence, inseparable from contemporary social conditions. They ask what it means to be a photographer when everyone is an Instagram influencer; what it means to make video art when everyone is a TikTok video star; and how to deliver meaningful social commentary in the age of the meme. The exhibition and accompanying catalog showcase artwork by N. Dash, Nathalie Djurberg, Marcel Dzama, Peter Funch, Cyrus Kabiru, William Kentridge, Christian Marclay, Marilyn Minter, Vik Muniz, Otobong Nkanga, Erwin Olaf, Robin Rhode, Vee Speers, Mary Sue, Puck Verkade, Huang Yan.