One year after the success of "The Invisible City," Irene Kung is back with another amazing book. Fascinated by the trees, their shape, and their symbolic meaning, Kung focuses her lens on Mother Nature's creations, making an effort to catch the spirit of plants and places, and to transmit it, pure, intact, and free, in her photographs.
In "Metropolitan Life," Gabriele Basilico explains the relationship between the metropolitan landscapes, with their constant transformation and development, and photography, used as a way to catch the real shape and identity of cities.
Shot over four years, "The New Forty-Niners" by Sarina Finkelstein documents the new wave of gold prospectors who have rushed to California 160 years after the original Gold Rush of 1849. The tactile and earthy photographs show the gamblers, the adventurers, the desperate, and the young-at-heart in their camps and on claims spread across this magnificently wild landscape.
Alisa Resnik's photographs are rich in atmosphere. It is as if she ventures through stage sets catching fleeting moments of an insubstantial reality. Working mainly in Berlin, she explores faded bars and hotel rooms that echo the past—leaden-colored scenes and spaces emptied of life—and people's faces, etched with the traces of their lives.
Following her award-winning monograph 5683 miles away, Yael Ben-Zion fixes her camera on another personal but politically charged theme: intermarriage. Ben-Zion initiated the project in 2009, inviting couples who define themselves as "mixed" to participate. Her own marriage "mixed," she was interested in the many challenges faced by couples who choose to share their lives regardless of their different origins, ethnicities, races, or religions.
Fred Stein (1909-1967) was a master of street photography. An early pioneer of the hand-held camera, he captured poignant moments in the street life of two of the world's great cities: Paris and New York, where he lived after fleeing from Nazi Germany. This same immediacy infuses his portraits of the great personalities of the era, among them Albert Einstein, Georgia O'Keeffe, and Marc Chagall. Stein's images are a vital document of the twentieth century and an important part of photo…
Michel Champeau's book "Photographic Darkroom--Photogenic Obsolence," shows the passing of an era. Since 2003, Canadian photographer Michel Campeau has traveled the world to photograph darkrooms. These chambers of analog photography, where icons of picture making were crafted through the use of chemicals on silver gelatin paper, today seem like allusions to a time long gone.
Pulitzer Prize-winning photographer James Hill of the New York Times chooses fifty of his photographs and describes the stories and emotions behind those pictures and the artistic and emotional choices shaped during the intense kaleidoscope of those experiences....Hill has witnessed some of recent history's most poignant moments, and describes the fine balance demanded of a photojournalist between professional detachment and personal engagement.
Geologic landforms have often inspired myths and legends. British photographer David Parker uses the natural world as an arena for the exploration of new mythic, symbolic, and metaphoric motifs. Myth and Landscape combines images from Sirens and New Desert Myths. For Parker the siren song is a call to contemplation, and his pictures chart fascinated encounters with an enchanted world of forgotten archetypes, further exploring the tension between the temporal and eternal in our secular age.
In Peter Schlör's book "Light Shift," elements unnoticed at first glance gradually emerge in what initially seemed to be abstract black-and-white fields. The landscape in Turkey or the Canary Islands that was at first perceived as "untamed nature" turns out to be a civilized landscape—attesting to the intervention of human hands. By harking back to the grand tradition of landscape painting, Peter Schlör restores to photography its original description as "héliogravure": drawing with light.