Fotografi

Named of The Hollywood Reporter's "100 Greatest Film Books of All Time, the definitive biography and photographic record of George Hurrell, the famed photographer who shot the most iconic images of classic Hollywood legends, now featuring new and upgraded images.   George Hurrell was called the “Rembrandt of Hollywood.” Before his arrival, movie star portraits were “soft focus” and undistinguished, derivative of the Main Street USA portrait salon. Hurrell instituted a sharp, dramatic look. The vibrant, temperamental artist was an original, loved by the subjects he glamorized. For these performers, a Hurrell portrait was the passport to immortality.   In this paperback edition of photographer and historian Mark A. Vieira’s original volume, the author offers a wealth of new images to illustrate a compelling narrative. Featuring rare and never-before-published portraits and behind-the-scenes shots, George Hurrell’s Hollywood covers Hurrell’s entire career, from his beginnings as a Los Angeles society photographer to his finale as the celebrity photographer who became a celebrity himself. More than 400 pristine images showcase his work with Hollywood icons from 1929 to 1992. Vieira's text recounts the artist’s life, from his childhood to the heyday of his career as a starmaker, through untold stories of his fall from grace and eventual comeback.   Filled with previously unseen photos of the biggest stars across more than six decades and abounding with fresh insight, this volume is not only the ultimate showcase of the trailblazing artist’s work but an indispensable treasury of Hollywood lore.

"From the photographer behind the Instagram sensation Brown Girls Do Ballet, this stunning coffee-table book showcases breathtaking images of ballerinas of color of all ages and levels that reflect today's beautifully diverse world of dance." -- provided by publisher.

Learn more about the historic Melbourne Hall Garden in Derbyshire, with striking photography of its beautiful green spaces, elegant monuments and delicate natural features.

The worst of the pandemic might be behind us, but the crises just keep coming. War is in Europe. Inflation and temperatures are on the rise. This, the fifth volume in the British Journal of Photography and Hoxton Mini Press'' collaborative series, brings together 200 portraits from all over our island that show Britain at a time of resilience and reimagining. It creates both a thoughtful reappraisal of our recent past, and reveals the individuals both loudly and quietly changing the future. It is published in support of 1854 Media''s annual award, Portrait of Britain, which sees the finest portraits taken in the nation in recent years tour the country via JCDecaux digital billboards. The book features an introduction that sets the portraits within their cultural context and the full shortlist of 200 photographs alongside quotes.

Few contemporary artists can demonstrate an oeuvre as varied, consistent and influential as that of Jim Dine-incorporating painting, drawing, printmaking, sculpture and photography, and sweeping across more than six decades. Fewer still can say they are respected poets. Dine has been writing and performing intensely autobiographical poems since the late 1960s, and With Fragile Spirit is his latest collection, consisting of five volumes. These differ greatly and include "A Beautiful Day," exploring Dine's polarities of experience from delight to melancholy, from disillusion to celebration; and "Like the Big Boy Tomato," a hand-written version of his 2021 hate poem "Electrolyte in Blue," probing themes of anti-Semitism, racism, climate change and failed world leaders. Together, these books affirm poetry as the unceasing critical flow that augments and energizes his visual work.

Since 2007 Khalid Al Thani has dedicated his vision to the Qatari desert, taking tens of thousands of photographs (and counting). Photography is his medium and yet the effects he teases from his subjects are decidedly painterly-tone, texture and suggestion prevail over any documentary perfection of line or form. By faithfully returning to the same motifs (among them the Sidra tree, the oryx, the horse), his approach furthermore likens that of certain great painters (Cézanne with Mont Sainte-Victoire, Monet with his water lilies, Morandi with his bottles and jars spring to mind), who revisited the same beloved subjects to transcend their physicality and access a greater emotional truth. Malamh, meaning "details" or "features," comprises a volume of Al Thani's color work, and one black and white. The image sequence in each book begins with a sunrise, takes us through the changing moods of day, and ends with a starry night-a lyrical cycle which Al Thani reinvents each time he visits the desert.Sprachen: Englisch, Arabisch

Dayanita Singh has long photographed the intriguing cloth bundles of India's archives, yet Time Measures marks the first time she has made portraits of them. Unlike its sister book Pothi Khana, which shows such bundles within their environments (on overflowing shelves, in the practiced hands of archivists), Time Measures presents these treasures photographed individually and close-up against a neutral stone background. Their details are thus revealed: the unique sun-bleached patterns in red, green or blue, the varying shapes and knots (tied and re-tied over the decades by unseen hands), the outlines of the secret contents within (which remain unknown even to Singh herself). Her images invite a process of slow, attentive looking through which the bundles assume the weathered charm of people's faces; the series becomes a shifting taxonomy of portraits. Bound in three different covers and designed to be hung directly on the wall, Time Measures furthermore extends Singh's project of transforming the book into the exhibition.

Random Access is a collection of John T. Hill's photographs taken over 70 years, showing the remarkable scope and empathy of his vision. Hill's consistent focus over the decades has been what he calls "found compositions," recording "chance happenings that strike a personal chord." From a street scene in São Paulo in 1958 to the interior of a Queens taxi in 1970, from John F. Kennedy at the podium of a 1960 rally to punks in Trafalgar Square, from Walker Evans' home to recent landscapes and still lifes, his work is democratic, curious, all-embracing. Hill celebrates the contradictions and imperfections of his subjects, engages but never sentimentalizes, and is careful to never impose a singular interpretation onto the viewer. Here is none of the self-congratulation of "Look at what only I can see," but rather an open invitation for the viewer of "This is what you are also capable of seeing."

This is the long-awaited new edition of Dayanita Singh's File Room, her first book dedicated to the archive, and published by Steidl in 2013. Singh's images of archives and their custodi- ans across India examine how memory is made and how history is narrated. Her photographs bring to light the paradoxes of archives: while impersonal in their classifications, each is the careful handwork of an individual archivist, an unsung keeper of history whose decisions generate the sources of much of our knowledge. Archives are vessels of orthodox facts but also the home of neglected details and forgotten documents that can unsettle the status quo. As the pace of contemporary India accelerates and its people continue to turn from the past and fix their gaze on the future, what will become of the archive? Singh prompts us to imagine archives not merely as documents of dusty scholarship but as monuments of knowledge, beautiful in their unkempt order.

Ralph Ellison (1913-94) is a foremost figure in American literature, hailed for his seminal novel Invisible Man (1952), a breakthrough representation of the American experience and Black everyday life. Lesser known, however, is his lifelong engagement with photography. Photographer is the first book dedicated to Ellison's extensive work in the medium, which spans from the 1930s to the '90s.Throughout his life, photography played multiple roles for Ellison: a hobby, a source of income, a note-taking tool and an artistic outlet. During his formative years in New York City in the 1940s, he keenly photographed his surroundings, with many images serving as field notes for his writing. In the last decades of his life, as he grappled with his much-anticipated second novel, Ellison turned inward, and he studied his private universe at home with a Polaroid camera. At all times his photography reveals an artist steeped in modernist thinking who embraced experimentation to interpret the world around him, particularly Black life in America. In a 1956 letter to fellow writer Albert Murray, Ellison underscored photography's importance to his creative process: "You know me, I have to have something between me and reality when I'm dealing with it most intensely." Accompanying the photographs in this book are several essays situating Ellison's work within his broader career as a writer, as well an excerpt from his 1977 essay "The Little Man at Chehaw Station: The American Artist and His Audience."Co-published with The Gordon Parks Foundation and the Ralph and Fanny Ellison Charitable Trust

No other photographer knows the Qatari desert quite so well as Khalid Al Thani. The movements of its sands, the patterns of light, the behavior of its camels, falcons and oryxes, the changes in its sparse vegetation throughout the seasons-all this and more he has patiently observed, and captured with his camera. Al Thani photographs exclusively in analogue, and for many years a Leica with 35mm black-and-white film has been his favorite tool. Now, he has turned to Polaroids, and this book publishes the results for the first time. Al Thani's interest is not only the subtle, painterly compositions and luminous color variations of the medium, but also its fascinating irregularities: the unpredictable streaks, blotches and distortions that make every print unique.Sprachen: Englisch, Arabisch

This book is Dayanita Singh's meditative, sometimes melancholic exploration of a range of work environments across India. It comprises three visual chapters, each springing from individual, larger series in Singh's archive which she has now re-edited around the theme of work. The first, "Museum of Machines," presents black-and-white images of factory equipment, stately despite its grime, and only occasionally joined by human counterparts. "Blue Book" shows photographs of industrial landscapes Singh made on her wandering-exceptionally in color, the serendipitous outcome of running out of black-and-white film. All are tinged with the same eerie hue and form a poetic critique of the sites of labor. "Go Away Closer" returns us to black and white, and reveals the greatest range of subjects, from thousands of scooters in a warehouse to the charming clutter of a shop, and are taken from a series Singh originally edited according to what she calls the "note and feeling" of the images. Together, the chapters are furthermore a blueprint for the work involved in Singh's own bookmaking: the unceasing reassessment of her archive and its rebirth in book form.

Over the past ten years Mark Peterson has focused his lens on the divided political landscape America has become. The Fourth Wall takes up Peterson's ongoing documentation where his award-winning book Political Theatre, depicting the troubled lead-up to the 2016 presidential election, left off. He captures a time in which the left and right move further apart, misinformation and untruths abound in the media, and politicians have no qualms in breaking the fourth wall to recruit audiences to their causes. Peterson tackles these schisms head-on and portrays a country on edge, through subjects such as "Stop the Steal" protesters and the 6 January 2021 attack on the United States Capitol. With his trademark flash and high-contrast approach, Peterson's dramatic black-and-white images are like X-rays of America's complex political culture: "Democracy is a messy form of government," he declares, "and I try and capture it in all its chaos."

Frames of Reference offers the first opportunity to view all of Lucinda Devlin's photographic series in a single volume. The nine thematic series reveal a remarkably consistent approach from the 1970s to the present; from her early work as an exponent of New Color photography to her focus on a wide variety of interiors, before expanding her scope in the 2000s to include exterior environments and landscapes. No people appear in these images, yet their influence is everywhere.Following the example of Walker Evans, Devlin is guided by specific phenomena of American culture and its developments, which she observes with a critical eye-from the early series "Pleasure Ground," offering glimpses into spaces of entertainment and diversion (discos, strip bars, fantasy hotels), to later images of treatment rooms, operating theaters, autopsy rooms, and execution chambers in American prisons in "The Omega Suites." In more recent works that are more subtle yet no less nuanced, Devlin examines the cultivation and management of landscapes in Indiana, the Midwest, the Carolinas and Arizona, as well as the changes in Utah's salt flats and Great Salt Lake. An enduring source of contemplation is the vast expanses of Lake Huron, to which she dedicated "Lake Pictures" between 2010 and 2019.Sprachen: Englisch, Deutsch

Covering over 30 years of artistic practice, this book celebrates the complex yet highly distilled photographs of Jin-me Yoon's dynamic vision. Showcasing a camera that is a witness to performative acts occurring both inside and outside the frame, the book reveals how Yoon has expanded conceptualist understandings of image-making and contributed to ongoing discussions of place and identity. In doing so, this volume illustrates how she uses the inherent mobility of images and the forces of diasporic thinking to bring disparate worlds together in poetic relation and create conditions for a different future.Featured works include Fugitive (Unbidden) (2004), which calls up stereotypes imposed on Asian Canadians and Asian Americans through popular culture in the context of intergenerational histories of war; and Long Time So Long (2022), in which, wearing traditional Korean masks that have been fused with ubiquitous emojis, Yoon performs against the background of an industrial waste plant that is also a natural bird habitat, to reimagine new ways of being in relation to nature and one another.Co-published with Scotiabank Photography Award, Toronto

This image book was created by Juan Bartet for Bartetmedia and contains 119 amazing Ai-generated images using the latest AI art software Midjourney, and Stable Diffusion. This collection features beautiful male and female cyber-fashion models from around the world, as well as other amazing images. The book took a few weeks to compile, as it required generating and editing many images to complete the book. The images within are sure to inspire and captivate anyone interested in fashion, beauty, photography, graphic design, art, and other related fields. All images in this book are AI-generated illustrations, all models are fictional characters bearing no relation to living persons. If any of our characters have a resemblance to any person is purely coincidental, no names or artist styles were used.

Image Cities takes us on a journey through cities the Globalization and World Cities Research Network ranks highest according to their degree of "global interconnectedness." We find them in a process of transformation concealed behind dummy façades onto which a sense of heightened anticipation has been projected. It would be tempting to read these photographs as a polemic against the triumph of consumerism and a slowly numbing global visual-economic order that wraps itself around whatever once felt local and civic. Samoylova's photography is full of masterful refinements of the existing clichés of urban photography: Citizens dwarfed by giant images. Faces and bodies refracted through glass. The Pop-Cubism of visual bricolage. The minuscule human figures that stroll seemingly indifferent through city space while being at least partly somewhere else in their imaginations¿ their existence already a collage of places and times. Yet, Samoylova consciously engages with cliché, takes it apart and reassembles it, gambling that it can be taken to a level of pictorial sophistication that eludes any simple argument or statement. Instead, she invites us to reflect on photography's role in the creation of a gap between these citie's brand identity and their everyday reality.ANASTASIA SAMOYLOVA (*1984) grew up in Moscow. In 2008 she moved to the United States, where she graduated with a master's degree in Interdisciplinary Art from Bradley University, Illinois. Her work explores the tension between the staged perception of a bombastic materialism and reality. Living and working in Miami, Florida has become the backdrop for her combination of collage-like details with the genre of the road trip. Her recent series Flood Zones and Floridas have received great critical acclaim.

The Routledge Companion to Photography and Visual Culture is a seminal reference source for the ever-changing field of photography. Comprising an impressive range of essays written by experts and scholars from across the globe, this book examines the medium¿s history, its central issues and emerging trends, and its much-discussed future.