À travers plus de 250 images, ce livre propose une histoire ambitieuse du portrait en photographie du daguerréotype à l'ère du numérique. Le corpus remarquable inclut les plus grands photographes : Man Ray, Diane Arbus, Cindy Sherman, Todd Hido, Zanele Muholi... Un livre de référence sur un thème aussi recherché qu'absent des rayons des librairies signé de Phillip Prodger, directeur de la photographie à la National Portrait Gallery de Londres.
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.
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.
De la même génération qu'August Sander, Emil Otto Hoppé saisit l'Allemagne des années 1930 avec la spontanéité de l'approche documentaire : les industries et ses ouvriers à Dortmund, Hanovre, Nuremberg et Berlin, la vie à la ville et à la campagne, la société de production UFA (Universum Film AG) et l'avènement du régime national-socialiste.
From the daguerreotype to the digital age, Face Time is an accessible introduction to one of photography's most popular subjects: ourselves.
With over 250 illustrations, it presents rarely seen treasures alongside works by the greatest names in photography, including nineteenth-century pioneers Hippolyte Bayard and Julia Margaret Cameron, twentieth-century masters Edward Weston, Lee Miller and Richard Avedon, and contemporary groundbreakers Newsha Tavakolian, Rineke Dijkstra and Zanele Muholi. It also immortalizes some of photography's most iconic subjects, such as Queen Elizabeth II, Barack Obama, Marilyn Monroe, Frida Kahlo, Truman Capote and many others.
Transcending time and space, the book adopts a fresh, thematic approach to the history of photographic portraiture in eight chapters, tracing a wide range of applications and influences across the spheres of art, advertising, anthropology, fashion, narrative, documentary and vernacular photography. Informative and insightful introductions to each theme are followed by unexpected and thought-provoking curations of photographs, as well as detailed commentaries on key images.
The result is an ambitiously curated and visually entertaining introduction to the history and themes of photographic portraiture, and an inspiring journey through the ever-elusive question of human identity.
En 1952, le magazine américain Life demande à Ernst Haas de travailler en couleur sur New York, alors que le photographe expérimente depuis quelques temps déjà avec cette nouveauté encore très difficile à manier techniquement. Il photographie alors la ville dont il a rêvé quand il était jeune garçon, subissant le trauma de la Seconde Guerre Mondiale dans une famille juive autrichienne. Ces images, rassemblées dans ce livre, marqueront tout une génération de photographes amateurs et contribueront à faire changer la perception de la couleur en photographie.
