Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.Following the critically acclaimed first volume, this is the eagerly anticipated second volume of the comprehensive illustrated history of the photobook
Signed by Martin Parr
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
Following the success of volumes I and II of The Photobook: A History (published in 2004 and 2009 respectively), this is the third volume bringing this study of the photobook fully up to date, with specific exploration of the contemporary, postwar photobook. It covers key themes including the globalization of photographic culture, the personalization of photobooks, the self-publishing boom and the new 'layered' photobook approach.
While the history of photographs is a well-established canon, less critical attention has been directed at the phenomenon of the photobook, which for many photographers is perhaps the most significant vehicle for the display of their work and the communication of their vision to a mass audience. Volume III, co-edited by Martin Parr and Gerry Badger, expands this study and history of the photobook further. It explores the symbiotic relationship between the contemporary propaganda book vs. the protest photobook, sex and youth culture, photographers examining their own environments and the impact of the Internet and social media on the nature of the photobook, among much else.
The book is divided into 9 thematic chapters, each featuring general introductory text providing background information and highlighting the dominant political and artistic influences on the photobook in the period, followed by more detailed discussion of the individual photobooks. The introductory chapter texts are followed by spreads and images from over 200 books, which provide the central means of telling the history of the photobook. Chosen by Parr and Badger, these illustrations show the most artistically and culturally important photobooks in three dimensions, with the cover or jacket and a selection of spreads from the book shown.
290 x 250 mm
320 pages, 900 colour illustrations
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
The fourth edition of this comprehensive history of photography has been thoroughly revised and updated. Spanning the entire history of the medium, from its early development to current practice, and providing a focused understanding of the cultural contexts in which photographers have lived and worked throughout, this remains an all-encompassing survey.
Mary Warner Marien discusses photography from a truly global viewpoint and looks at a wide-ranging collection of images through the lenses of art, science, travel, war, fashion, the mass media and individual photographers. In addition to representing the established canon of Europe and the United States, key work from Latin America, Africa, India, Russia, China and Japan is also included. Professional, amateur and art photographers are all discussed, with ‘Portrait’ boxes devoted to highlighting important individuals and ‘Focus’ boxes charting particular cultural debates. New additions to this fourth edition include an overview of photography’s involvement in conceptual art, a detailed review of the photographic work of artist Ed Ruscha and new material on European Worker Photography during the 1920s and 30s. Many new pictures have been added throughout the book, including superior versions of historical photographs and recent images from contemporary photographers, including Walead Beshty, Youssef Nabil, Lalla Essaydi and Ryan McGinley. A rich and vivid account of the history of photography placed in an essential cultural context, this indispensable book shows how photography has charted, shaped and sharpened our perception of the world.
Publisher: Lawrence King
Size: 292 x 220 mm
568 pages, 642 illustrations
An intimate look at the journeys of two men—a gentleman scientist and a visionary artist—as they struggled to capture the world around them, and in the process invented modern photography
During the 1830s, in an atmosphere of intense scientific enquiry fostered by the industrial revolution, two quite different men—one in France, one in England—developed their own dramatically different photographic processes in total ignorance of each other's work. These two lone geniuses—Henry Fox Talbot in the seclusion of his English country estate at Lacock Abbey and Louis Daguerre in the heart of post-revolutionary Paris—through diligence, disappointment and sheer hard work overcame extraordinary odds to achieve the one thing man had for centuries been trying to do—to solve the ancient puzzle of how to capture the light and in so doing make nature 'paint its own portrait'. With the creation of their two radically different processes—the Daguerreotype and the Talbotype—these two giants of early photography changed the world and how we see it.
Drawing on a wide range of original, contemporary sources and featuring plates in colour, sepia and black and white, many of them rare or previously unseen,Capturing the Light by Roger Watson and Helen Rappaport charts an extraordinary tale of genius, rivalry and human resourcefulness in the quest to produce the world's first photograph.
Publisher: St Martin's Press
Size: 6 1/8 x 9 1/4"
320 pages, Plus two 8-page color photograph inserts
W. Eugene Smith, an icon in the field of twentieth-century photography, is best known as the master of the humanistic photographic essay. Smith’s most expressive and frequently reproduced images—World War II combat, the country doctor and nurse-midwife, Pittsburgh, Albert Schweitzer in Africa, rural Spanish villagers, and the mentally ill in Haiti—have altered our perception and understanding of the world.
In 1959, Smith became obsessed with creating an extended photo-essay that he called “The Big Book,” a complex retrospective of his work that would reflect his philosophy of art and critique of the world. Smith’s layout grouped photographs out of context and chronological order to form a series of connected “visual chapters and subchapters” that were intended to have a Joycean or Faulknerian literary quality. After three years of intense labor, Smith completed two handmade folio-sized maquettes to send to publishers. With 380 pages and 450 images, The Big Book was universally rejected as unviable and non-commercial, and it was never published.
Now, five decades later, a facsimile of W. Eugene Smith’s The Big Book, which is part of the Smith Archive at the Center for Creative Photography (CCP) at the University of Arizona, is in print for the first time. Accompanying the facsimile is a supporting volume with a foreword by Dr. Katherine Martinez, Director of CCP; an introduction by William S. Johnson, who arranged Smith’s archive at CCP; an essay by the renowned Swiss critic John Berger; notes on the Smith Collection at CCP by archivist Leslie Squyres and Jennifer Jae Gutierrez. “The Walk to Paradise Garden,” by W. Eugene Smith; and an appendix that maps Smith’s complete layout with titles, dates, and reproductions of each image from original prints. The Big Book is an essential primary source document for the study of both the history of photography and the history of the photobook. This set, in slipcase, will likely be the most comprehensive catalogue of W. Eugene Smith’s work ever published.
Foreword by Dr. Katharine Martinez. Introduction by William S. Johnson. Essay by John Berger. Notes by Leslie Squyres and Jennifer Jae Gutierrez.
University of Texas Press
112 p, ills bw, 20 x 27 cm, hb, French/English
112 p, ills bw, 20 x 27 cm, hb, French/English
This book is dedicated to the exhibition New Topographics: Photographs of a Man-Altered Landscape, held in 1975 at the International Museum of Photography, and demonstrates both the historical significance of the show and its continued relevance in today’s culture.
The exhibition brought together Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore and Henry Wessel. Signalling the emergence of a new approach to landscape, the exhibition effectively gave a name to a movement. Even today, the catchphrase New Topographics is used to characterize the work of artists not yet born when the exhibition was held. New Topographics has since come to mark a paradigm shift. The show occurred just as photography took its place within the contemporary art world. Arguably the last traditionally photographic style, New Topographics was also the first photo-conceptual style. Illustrated with selected works from the 1975 exhibition, installation views, and contextual comparisons, this new edition also includes an illustrated checklist of the show and an extensive bibliography.
Abstraction has been, and remains, intrinsic to photography. The Edge of Vision: The Rise of Abstraction in Photography is the first book in English to document this phenomenon and to put it into historical context. Author Lyle Rexer examines abstraction at pivotal moments, starting with the inception of photography, when many of its pioneers believed the camera might reveal other aspects of reality. He traces subsequent explorations—from the Photo Secessionists, who emphasized emotional expression over observed reality, to Modernist and Surrealist experiments. From the 1940s through the 1980s, a multitude of photographers—Edward Weston, Aaron Siskind, and Barbara Kasten, among them—took up abstraction. Finally, Rexer explores the influence the history of abstraction exerts on contemporary thinking about the medium. Many contemporary artists—most prominently Silvio Wolf, Marco Breuer, and Ellen Carey—reject photography's documentary dimension in favor of other possibilities, somewhere between painting and sculpture, that include the manipulation of process and printing.
In addition to Rexer's engagingly written and richly illustrated history, this volume includes a selection of primary texts from key practitioners and critics, such as László Moholy-Nagy, and James Welling.
Size: 8 x 10"
292 pages, 180 four-color images
William Henry Fox Talbot (1800–1877) was a British pioneer in photography, yet he also embraced the wider preoccupations of the Victorian Age—a time that saw many political, social, intellectual, technical, and industrial changes. His manuscripts, now in the archive of the British Library, reveal the connections and contrasts between his photographic innovations and his investigations into optics, mathematics, botany, archaeology, and classical studies.
Drawing on Talbot’s fascinating letters, diaries, research notebooks, botanical specimens, and photographic prints, distinguished scholars from a range of disciplines, including historians of science, art, and photography, broaden our understanding of Talbot as a Victorian intellectual and a man of science.
Publisher: Yale University Press
Size: 7 x 10"
328 pages, 100 color illus.
"The eye of Paris" - as the writer Henry Miller called his friend, the photographer Brassaï, famous for his photographs of Paris at night. Many photographers have focused their camera on the French capital before and since. In "Eyes on Paris", the 130 best books from 1890 to 2010 are documented in a unique picture book that was awarded the "Gold 2012 German Photo Book Prize".
The Eiffel Tower, Notre Dame, the Louvre - who has not heard of the most beautiful sights of Paris, at least from the photos? Paris and photography have always been closely linked. The photograph was invented in Paris in 1839. Since then, the French capital has become one of the most photographed cities in the world. Some artists deliberately keep the clichés of everyday life with the camera to find that many photos of Paris show a bistro, a gourmet restaurant or the couples on the Seine. Other photographers look behind the facade of the metropolis: "Eyes on Paris" depicts the dark side, the abyss, the revocation.
"Eyes on Paris" presents 130 of the finest international photo books with Paris at their heart.
Immerse yourself in the photos of the Paris of the Belle Epoque, of the 1950s, the present. Famous photographers from Eugène Atget and Brassaï to Stefania Beretta, William Eggleston and Andreas Gursky.
Size: 240 x 300 mm
400 pages, 899 illustrations in colour and black & white; text in German
Reflections in Black, the first comprehensive history of black photographers, is a groundbreaking pictorial collection of African American life. Featuring the work of undisputed masters such as James VanDerZee, Gordon Parks, and Carrie Mae Weems among dozens of others, this book is a refutation of the gross caricature of black life that many mainstream photographers have manifested by continually emphasizing poverty over family, despair over hope. Nearly 600 images offer rich, moving glimpses of everyday black life, from slavery to the Great Migration to contemporary suburban life, including rare antebellum daguerrotypes, photojournalism of the civil rights era, and multimedia portraits of middle-class families. A work so significant that it has the power to reconfigure our conception of American history itself, Reflections in Black demands to be included in every American family's library as an essential part of our heritage. A Los Angeles Times and Washington Post Book World Best Book of 2000, and a Good Morning, America best gift book of 2000.
Size: 22.5 x 30.5"
A prolific landscape record evolved as soon as cameras and equipment could be reliably used outdoors. Most nineteenth-century photographers worked on government-sponsored surveys. Others helped to lure investors westward with the images they made along the routes of the railroads. At the same time, Americans were hanging framed images by such photographic artists as Carleton Watkins and Eadweard Muybridge on their parlor walls. Photographs of unspoiled national treasures such as those by Ansel Adams exerted considerable influence on the federal government's efforts to create national parks. Modern and contemporary photographers have recorded their impressions of both man's and nature's impact on the land, from Robert Dawson's images of polluted waterways to Emmet Gowin's views of the aftermath of Mount St. Helens's spectacular eruption.
Seductive beauty, promise, and myth mingle with America's history and its technological and economic progress in these landscape photographs. Whether incorporating the nineteenth-century notion of the sublime or twentieth-century theories of social documentary, each is a witness to a profound and often complex relationship to the land.
Size: 9.1 x 9"
Named a best book of 2012—Modern Art Notes
“[O]ne of the most interesting, liveliest art history books I’ve read this year.”—Tyler Green, Modern Art Notes podcast
Photographic manipulation is a familiar phenomenon in the digital era. What will come as a revelation to readers of this captivating, wide-ranging book is that nearly every type of manipulation we associate with Adobe’s now-ubiquitous Photoshop software was also part of photography’s predigital repertoire, from slimming waistlines and smoothing away wrinkles to adding people to (or removing them from) pictures, not to mention fabricating events that never took place. Indeed, the desire and determination to modify the camera image are as old as photography itself—only the methods have changed.
By tracing the history of manipulated photography from the earliest days of the medium to the release of Photoshop 1.0 in 1990, Mia Fineman offers a corrective to the dominant narrative of photography’s development, in which champions of photographic “purity,” such as Paul Strand, Edward Weston, and Henri Cartier-Bresson, get all the glory, while devotees of manipulation, including Henry Peach Robinson, Edward Steichen, and John Heartfield, are treated as conspicuous anomalies. Among the techniques discussed on these pages—abundantly illustrated with works from an international array of public and private collections—are multiple exposure, combination printing, photomontage, composite portraiture, over-painting, hand coloring, and retouching. The resulting images are as diverse in style and motivation as they are in technique. Taking her argument beyond fine art into the realms of politics, journalism, fashion, entertainment, and advertising, Fineman demonstrates that the old adage “the camera does not lie” is one of photography’s great fictions.
Publisher: Yale University Press
Size: 9 1/2 x 10 1/2"
288 pages, 276 color & black & white illustations
The Lomography phenomenon shows that interest in and love for cheap, fun cameras has never been stronger. But the few plastic-lens models that are still manufactured are only the tip of the iceberg, with hundreds of amazing, exciting, weird and wonderful models widely available and at low prices.
This book is the first to look at every significant ‘people’s camera’ launched since Kodak’s Box Brownie brought cameras to the masses in 1908 and launched the photo revolution providing a fascinating insight into the tastes of previous generations.
Publisher: Ilex Press
Size:152 x 202 mm
176 pages, full colour throughout
Dec 12 out of stock - please only order if you are happy with 2013 delivery.
William Klein: Life is Good & Good for You in New York Trance Witness Revels is regarded as one of the most influential and groundbreaking photo books created in the last half century. Published in 1956, its visual energy captured the rough and tumble streets of New York like no artbook had before or has done since. Books on Books 5 reproduces in its entirety Klein’s brilliantly photographed and designed magnum opus. The American Art historian, Max Kozloff, contributes an essay called William Klein and the Radioactive Fifties.
Publisher: Errata Editions
Size: 9.5 x 7"
Publisher's Price: £29.50
About the Books on Books series
Errata Editions’ Books on Books series is an on-going publishing project dedicated to making rare and out-of-print photography books accessible to students and photobook enthusiasts. These are not reprints or facsimiles but complete studies of those originals. Each in this series presents the entire content, page for page, of an original master bookwork which, up until now, has been too rare or prohibitively expensive for most to experience. Through a mix of classic and contemporary titles, this series spans the breadth of photographic practice as it has appeared on the printed page and allows further study into the creation and meanings of these great works of art.
Each in the Books on Books series contains; illustrations of every page in the original photobook being featured; a new essay by established writers on photography composed specially for this series; production notes about the creation of the original edition; biography and bibliography information about each artist.
This pioneering study offers detailed analysis of the impact of photographys birth on the classical art form of painting. Photography divided opinion in its early years; some saw it as an invaluable tool in the enhancement of artistic reproductions, while many believed it to be too mechanical to be associated with the grand concept of Art. Covering portraiture, landscapes, nudes, tableaux vivants, and still lifes, this richly-illustrated volume showcases some of the earliest photographic works alongside paintings that challenged, resisted, or were influenced by the emergence of photography in the first half of the nineteenth century. Author Dominique de Font-Réaulx examines the birth of photography in this period, its first forays into the public domain, and the organizations set up to preserve and defend it against a raft of criticism. The influence of figures such as Daguerre (creator of the daguerreotype, and originally a painter himself), Nièpce, and Hippolyte Bayard is charted, as the idea of accurately replicating images seen by the human eye gradually became a very real possibility. Imperfections, for so long erased by painters seeking to capture an idealized version of the body, were laid bare by an invention that captured even the minutest details. Featuring an engaging text accompanied by a rich selection of illustrations, Painting and Photography explores not only photographys fight for recognition, but its impact on painters of the day, challenging them to devise new ways of capturing the human form.
The Bitter Years celebrates some of the most iconic photographs of the 20th century and provides a whole new insight into Edward Steichen’s impact on the history of documentary photography.
The Great Depression of the 1930s was still a vivid memory in 1962 and The Bitter Years was the title of a seminal exhibition held that year at The Museum of Modern Art, New York, curated by Edward Steichen. 2012 marks its 50th anniversary. No proper catalogue was produced of the exhibition in 1962 so this book provides a unique opportunity to see all the photographs in a structure and sequence that reflect those devised by Steichen for the original show.
The exhibition featured more than 200 images by photographers who worked under the US Farm Security Administration (FSA) in 1935–41 as part of Roosevelt’s New Deal. The FSA, set up to combat rural poverty, included an ambitious photography project that launched many photographic careers, most notably those of Walker Evans and Dorothea Lange.
The exhibition featured their work as well as that of ten other FSA photographers, including Ben Shahn, Carl Mydans and Arthur Rothstein. Their images are among the most remarkable in documentary photography – testimonies of a people in crisis, hit by the full force of economic turmoil and the effects of drought and dust storms.
This book is published in association with the Centre National de l’Audiovisuel and the Ministry of Culture in Luxembourg. It accompanies a permanent display at the Château d’Eau in Dudelange of the original exhibition, given by Steichen, who was born in Luxembourg. No proper catalogue was produced of the exhibition in 1962 so this book provides a unique opportunity to see all the photographs in a structure and sequence that reflect those devised by Steichen for the original show.
Publisher: Thames & Hudson
Size: 305 x 240 mm
288 pages with 229 illustrations
An extravagant photographic history of photographers and their cameras.
Photographers celebrates the truly innovative men and women behind the camera; trailblazers in their field, who captured and immortalised our world.
This definitive edition shows rarely seen photographs of some of twentieth-century photography’s greatest names. From Henri Cartier-Bresson and Weegee, to David Bailey and Richard Avedon by way of the men and women of Life and Picture Post magazines as well as anonymous pressmen, they are all shown at work with their camera. Photographers shows photographers with their celebrity subjects, who range from the best-known Hollywood stars to players of sport, musicians and politicians. It also shows some of those same celebrities turning the camera back on to the photographer.
Photographers shows off the classic cameras used by the press, photojournalists and fashion photographers. The Leica, the Nikon, the Pentax, the Rolleiflex and Speed Graphic are among the cameras shown in use. A section on wartime photographs shows aerial cameras in action.
Amongst the photographers shown are: Antony Armstrong-Jones, Richard Avedon, David Bailey, Cecil Beaton, Margaret Bourke-White, Robert Capa, Henri Cartier-Bresson, Terence Donovan, Philippe Halsman, Bert Hardy, Annie Leibovitz, Tony Ray-Jones and Weegee. Stars include Sean Connery, Sammy Davis Jr, David Hemmings, Audrey Hepburn, Jayne Mansfield, Marilyn Monroe, Peter Sellers, Terence Stamp, James Stewart, Robert Vaughn and John Wayne; and subjects such as the Beatles, Christine Keeler, Bobby and John F Kennedy, and shots on film sets.
An introductory essay by one of the world’s leading photographic specialists, Michael Pritchard, sets the photographers and their cameras within a wider context of the rapid growth in demand for photographs of celebrities from the 1890s and the development of celebrity culture associated with the rise of the movies from the 1920s.
Produced in association with Getty Images, one of the world’s leading collections of photography, Photographers reproduces each of the images to the highest standards supported by detailed captions.
Publisher: Real Art Press
Size: 300 x 250 mm
288 pages, 260 colour and b/w photographs
This is the first book to provide a full and coherent introduction to the photography of Victorian Scotland. There are many books which deal with particular elements and individual photographers, which show the interest in the subject, but no book draws everything together to provide an understanding of the multi-faceted nature of photography and the inter-relationship with other activities in the society of the time. This authoritative introduction, building upon these other publications, will provide a wide-ranging appreciation of early Scottish photography and in particular that Scottish photography was in the vanguard of many international trends. The material has been structured and the topics organised, with appropriate illustrations, as both a readable narrative and a foundation text for the subject.
Publisher: Edinburgh University Press
Size: 234 x 156 mm
224 pages, 130 illustrations
The Dutch photobook is internationally recognized for its innovative and collaborative approach between photographers, printers, and designers. Dutch graphic designers have long worked at the forefront of their discipline, often crossing existing boundaries and exploring new territories—qualities that have become an integral part of contemporary Dutch photobook culture.
The current photobook publishing boom in the Netherlands springs from a long-standing tradition of excellence. This tradition precedes WWII, but the aftermath of the war marked a period of particularly close collaboration between photographers and designers. Their contributions led to such unique photography books as Ed van der Elsken’s Love on the Left Bank (1956) and Chili September by Koen Wessing (1973). Innovations such as the photo novel and the company photobook bloomed in the 1950s and 60s. Later, other genres emerged as part of the publishing landscape, including conceptual and documentary works.
The Dutch Photobook will feature selections from approximately one hundred historic, contemporary, and self-published photobook projects, including landmarks such as Hollandse taferelen by Hans Aarsman (1989), The Table of Power by Jacqueline Hassink (1996), Why Mister Why by Geert van Kesteren (2006), and Empty Bottles by Wassink Lundgren (2007).
Dutch photo historians Frits Gierstberg and Rik Suermondt contribute several texts on the history of the genre, the collaborative efforts between photographers and designers, and their inspiration and influences, to complement the special, high quality reproductions of photobooks. Award-winning designer Joost Grootens contributes unique charts and diagrams that bring all of these elements together, forming a visually unique map of the Dutch photobook.
Size: 11" x 9 1/2"
240 pages, 620 four-colour images