Photography

Softcover. New York , Aperture Book, 1st, 1987, Book: Very Good, Dust Jacket: None, Softcover. Fall 1897. Includes work by: Sebastiao Salgado, Susan Meiselas, David Goldblatt, Bill Burke. Also writing by Arthur Miller, William Shawcross, Frances Hodgson, Nadine Gordimer.

Hardcover. David Zwirner, 1st, 2025, Book: Very Good, Dust Jacket: None, Hardcover in pictorial boards. A new collection of photographs by Diane Arbus illuminates her singular ability to enter private worlds. It brings together forty-five photographs made in private places across New York, New Jersey, California, and London between 1961 and 1971. Through her singular combination of intelligence, charisma, intuition, and courage, Diane Arbus (1923-1971) was frequently invited into personal realms seldom seen by strangers. Though made in intimate settings, the photographs collected in this volume convey no sense of intrusion or trespass-instead, they reveal an unspoken exchange between photographer and subject, a moment of recognition in which confidences emerge freely and without judgment. Arbus's desire to know people embraced a vast spectrum of humanity. Still in publisher's shrinkwrap.

Hardcover. NY, Harcourt, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover, 288 pages. From the late 1950s until her death in 1971, renowned photographer Diane Arbus took pictures of oddball performers at the now-forgotten Hubert's Museum, a typical freak show in New York City's seedy Times Square. One frequent subject was Charlie Lucas, first a freak himself, later an inside talker. In 2003, Bob Langmuir, an anxiety-ridden, pill-popping, obsessive antiquarian book dealer from Philadelphia, unearthed a collection of photographs and memorabilia, including Lucas's journals and what he thought were Arbus's photos. This trove of genuine American kookiness came to dominate his life. Following Langmuir's quest--from the slums of Philadelphia to the halls of the Metropolitan Museum of Art--as he gathered, priced and ultimately came to understand this collection, author Gibson (Gone Boy: A Walkabout), himself an antiquarian book dealer, effortlessly twists these strands together with an emotional wallop. His toil in Hubert's vineyard, Gibson writes of Langmuir, amounted to no more or less than the continuing archaeology of the old, weird America. Gibson's laser focus on Langmuir's shifting state of mind as he struggles to master his personal demons and navigate the pitfalls of his own obsession gives this story its heart and opens a window onto a lost part of the American soul. 21 b&w photos.

Hardcover. Austin TX, Texas State Historical Association, 1st, 1994, Book: Very Good, Dust Jacket: Very Good, Hardcover, 128 pages, 109 b&w photographs by Hickman. Bright copy in a nice dust jacket. This remarkable book reproduces more than one hundred photographs taken by R. C. Hickman, a professional photographer whose work provides a fascinating visual record of life in Dallas's black community during the three decades following World War II.After the war, he returned to Dallas and joined the staff of the Dallas Star Post. He also worked as a freelance photographer for Jet magazine, for several newspapers in the East, and for the NAACP. His work led him to photograph notables such as Martin Luther King Jr., Thurgood Marshall, Ella Fitzgerald, Joe Louis, and others when they visited Dallas.

Hardcover. New York, Abrams, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover, 168 pages. Nelson Mandela, an icon of the international struggle for freedom and equality, whose importance rivals that of Martin Luther King and Mahatma Gandhi, turns ninety in July 2008. Mandela spent twenty-seven years in prison for his opposition to the apartheid regime of his native South Africa. Released in 1990, he pursued a policy of reconciliation, steering his nation into the ranks of the world's multi-racial democracies. He was elected president of South Africa in 1994. Photographer David Turnley covered Mandela and South Africa for the world's press, beginning in the 1980s. He witnessed the turbulence of the last violent years of apartheid, was there when Mandela was released from prison, campaigned with him during the presidential election, and sought out the significant people and places of his life. In Mandela: Struggle and Triumph, he tells in words and photographs the dramatic and emotional story of the most powerful movement for civil rights since the American civil rights movement, through the eyes of its legendary leader.

Hardcover. New York, Aperture, 1st, 1987, Book: Very Good, Dust Jacket: Very Good, Hardcover, b&w photos throughout by Heyman, 112 pages. Clean, unclipped dust jacket.

Hardcover. London, Vision On/Omnibus Press, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 159 pages illustrated in b&w. Few photographers had greater access to Bob Dylan than Barry Feinstein. Having taken the iconic photograph that appeared on Bob Dylan's 'The Times They Are A-Changin' album in 1963, Feinstein was invited as the exclusive photographer on Dylan's European tour of 1966 and US tour of 1974. This title includes these photographs from these sessions and concerts.

Softcover. Aperture, 1st, November 30, 1998, Book: Very Good, Dust Jacket: None, 80 pages, b&w and color photographs throughout. Very good. The Mexican book series Rio de Luz was a courageous and energetic presentation of Latin American photography. To honor the accomplishments of the series and the artists, an issue of Aperture is devoted to the Rio de Luz collection.

Hardcover. Cambridge MA, The MIT Press, 1st, 2002, Book: Very Good, Dust Jacket: Very Good, 311 pages, illustrated throughout. Not until the fall of the communist regime in 1989 and the end of Czechoslovakia's cultural isolation did the world begin to appreciate the Czech avant-garde photographers of the first half of the twentieth century. This first survey of Czech avant-garde photography introduces the important work of Frantisek Drtikol, Jaromir Funke, Jaroslav Rossler, Jindoich Styrsky, Josef Sudek, and numerous others whose work made Czech photography synonymous with visions of modernity. The essays introduce the period and explore the background and connections among the photographers. Biographical profiles are also included. But the book's main attraction is its outstanding collection of duotone and color images, many published here for the first time.

Hardcover. New York, Dahesh Museum of Art, July 2002, Book: Near Fine, Dust Jacket: Near Fine, Hardcover in a dust jacket. Never opened, still in original shrink wrap. Spotless copy. Frederic Church (1826-1900), who gained international renown for paintings such as Niagara (1857), Heart of the Andes (1859), Twilight in the Wilderness (1860), and The Icebergs (1861), was inspired by his extensive travel and study. His work was also informed by his appreciation of a new visual medium. Fire & Ice, a selection from the several thousand photographs and daguerreotypes Church collected at Olana, his Orientalist home on the Hudson River, provides insight into the interests and taste of one of nineteenth-century America's greatest painters.

Softcover. New York , Bulfinch Press, 2nd pr., 1998, Book: Very Good, Dust Jacket: None, A retrospective photo-essay of photographer Gordon Parks' work in B&W and color photos from the 1940s to his latest works and impressionist photos. 95 color and 195 duotone plates. Softcover, clean, bright copy.

Hardcover. Tarrytown, N.Y., Sleepy Hollow Press, 1st, 1981, Book: Very Good, Dust Jacket: Very Good, Hardcover, 202 pages, black & white photographs throughout. Minor dust jacket edge wear and fade, otherwise, very clean and tight copy.

Hardcover. New York, Aperture, 1st, 2006, Book: Very Good, Dust Jacket: None, 56 pages. Like new in publisher's shrink-wrap. A Couple of Ways of Doing Something replicates a deluxe limited-edition portfolio whose initial run was only 75 copies. This clothbound edition preserves the luxurious sensibility of the original with 22 extraordinary oversized daguerreotypes printed in rich tritone. Working with daguerreotype master Jerry Spagnoli to conquer the complexities of this venerable process, which yields images of astonishing detail and gravity, Chuck Close photographed many of the same artist-friends who have made regular appearances in his paintings over the years: Laurie Anderson, Lyle Ashton Harris, Cecily Brown, Gregory Crewdson, Carroll Dunham, Ellen Gallagher, Philip Glass, Bob Holman, Elizabeth Murray, Elizabeth Peyton, Andres Serrano, Cindy Sherman, James Siena, Lorna Simpson, Kiki Smith, James Turrell, Robert Wilson, Terry Winters, Lisa Yuskavage and himself. Each image is complemented by a poem on its subject by Bob Holman, the celebrated and widely published New York School poet who originated and hosted the famous Poetry Slams at the Nuyorican Poets Cafe and now runs the Bowery Poetry Club. With the counterpoint of Holman's engaging poetry, the collected work becomes a transfixing group portrait of Close's influential and highly creative circle of friends and colleagues, as well as an exploration of a challenging photographic medium.

Softcover. New York, Aperture, 1st pbk, 1985, Book: Very Good, Dust Jacket: None, Softcover, 159 pages, full-page black & white photographs throughout. Minor edge wear and fade, else, clean and tight. The photographer's love affair with New York City is evident in this amazing collection of images spanning 4 decades.

Hardcover. New Haven, CT, Yale University Press, 1st, 2015, Book: Very Good, Dust Jacket: Very Good, 336 pages. Hardcover with dust jacket. Like new in publisher's shrink-wrap. The definitive study of the images made by a pioneer journalist and photographer who passionately advocated for America's urban poor. 336 pages, 25 color, 375 duotone + 210 b/w illustrations.

Hardcover. Boston, Little Brown & Co , 1st, 1983, Book: Very Good, Dust Jacket: Very Good, Hardcover, 180 pages, b&w illustrations. Previous owner's inscription on prelim page. Light shelf-wear and rubbing to price clipped dust jacket, else a clean, tight copy.

Hardcover. US, The MIT Press, Book: Very Good, Dust Jacket: Very Good, Like new in publisher's shrink-wrap. Remainder mark on top page block. Boston played a crucial role in the development of American photography, including criticism, collecting, and curating, in the second half of the twentieth century. This book accompanies a landmark exhibition at the DeCordova Museum that includes such important American artists as Berenice Abbott, Harry Callahan, Paul Caponigro, Marie Cosindas, Harold Edgerton, Nan Goldin, Jerome Liebling, Nicholas Nixon, Barbara Norfleet, Olivia Parker, Rosamond Purcell, Aaron Siskind, and Minor White.The period from 1955 to 1985 reflects photography's acceptance as an art form, the influence of modernism, and the coalescence of a unique constellation of educational institutions, museums, and technological development in the Boston area that directly influenced artistic options for photography. Minor White's arrival at the Massachusetts Institute of Technology in 1965 to run the Center for Creative Photography and the Polaroid Corporation's innovative support of photographic art suggest how developments built upon one another to create a regional critical mass in photography.The book contains twenty-five color plates, sixty duotones, and essays by A. D. Coleman, Rachel Rosenfield Lafo, Arno Rafael Minkkinen, and Kim Sichel.

Hardcover. NY, Atlantic Monthly Press, 1st, 1987, Book: Very Good, Dust Jacket: Very Good, 198 pages, Color, black & white photos, maps of Amundsen's expeditions. Dust jacket price clipped, rubbing, light edgewear to bottom spine edge, corner.

Softcover. New York , Aperture, 1st, 2009, Book: Very Good, Dust Jacket: None, Softcover. 88 pages, Summer 2009. Photography journal. Articles: Not-so-fashion photography, Edward Hopper's legacy and dialogue with Don McCullin A clean, tight issue.

Hardcover. NY, MOMA, 1st, 2002, Book: Very Good, Dust Jacket: None, 73 pages, a reproduction of the artist/photographer's handmade album. Maroon cloth with photography pasted on cover. No dust jacket issued. Still in shrink-wrap.

Hardcover. Washington DC, National Portrait Gallery, 1st, 2014, Book: Very Good, Dust Jacket: None, Hardcover, 272 pages, 300 color and b&w images. Like new in publisher's shrink-wrap. Accompanied by a major exhibition at the National Portrait Gallery, London, in spring 2014, which will then tour to venues on four continents, this book like the exhibition, is structured thematically, with iconic images presented alongside many lesser-known and previously unseen portraits. Essay by Tim Marlow.

Hardcover. New York, Umbrage Editions, 2nd pr., 2004, Book: Very Good, Dust Jacket: None, Hardcover. Non-paginated. Full color and black & white photographs. Clean, bright copy.

Hardcover. US, D.A.P./Schirmer/Mosel, 1st, 2011, Book: Very Good, Dust Jacket: Very Good, Hardcover, 232 pages. Like new in publisher's shrink-wrap. Offers a look at selected photographs of American artist Robert Rauschenberg (1925-2008). "Gathers and surveys for the first time Rauschenberg's numerous uses of photography. This publication includes portraits of friends such as Cy Twombly, Jasper Johns, Merce Cunningham and John Cage, studio shots, photographs used in the Combines and Silkscreen paintings, photographs of lost artworks and works in process.

Hardcover. Washington, D. C., National Geographic, 1st, 2007, Book: Very Good, Dust Jacket: Very Good, 200 pages. INSCRIBED BY DIANA WALKER ON TITLE PAGE. Illustrated with full color and black & white photographs by Diana Walker. Dust jacket with light wear. Clean, tight copy.

Softcover. n/a, self-published, 1st, 1991, Book: Very Good, Dust Jacket: None, Softcover booklet, 48 pages. Black and white pictures throughout. Scarce self-published book.

Hardcover. New York, Abbeville Press, 1st, 1985, Dust Jacket: Near Fine, 228 pages. Pink cloth covered hardcover with gray lettering on spine. Square quarto. B/W and color plates. a romantic and nostalgic look back at the fabulous nightclubs and palaces of entertainment that lined the Hollywood hills and spread across California's Southland in the heyday of the film capital, from 1915 to 1945. Clean, bright copy.

Softcover. Plainfield, NH, Alma Gilbert, Inc., 1st, 1998, Book: Very Good, Dust Jacket: None, 81 pages. Softcover. Light edgewear to wrappers. Color and Black and white pictures throughout.

Hardcover. Little, Brown, & Co., New York Graphic Society, 1st US, 1986, Book: Very Good, Dust Jacket: Very Good, 256 pages, hardcover with dust jacket. Retrospective on famed artist. Edited by Dr. David Mellor. With color and b&w plates throughout. Light edgewear and rubbing to dust jacket. Light fading and foxing to front flyleaf. Unmarked. A bright and tight copy.

Hardcover. Charta, 1st, 2010, Book: Very Good, Dust Jacket: None, Like new in publisher's shrink-wrap.Black and white photos, 72 pages. New Zealand-born, New York-based photographer Brian Sweeney moves between long-distance reverie and the documentation of pattern and motif in landscape. Of this work, essayist Stuart McKenzie writes that "you can't look at Sweeney's photographs in Paradise Road and find paradise in and of itself. Instead, they carefully send you on your way, deflecting any pretense of essentiality."

Hardcover. Kansas City, Hallmark Cards, 2nd Ed., 1999, Book: Very Good, Dust Jacket: Very Good, Hardcover, Second Edition, Revised and Enlarged, one of a series from the hallmark Photographic Collection celebrating the history and art of photography. Blue gilt stamped cloth over boards, 590 pages, Notes, Bibliography, Index, 499 illustrations, including 448 in tritone, 48 in full-color, and 3 in duotone. Bright, clean copy. This new edition is nearly fifty percent larger than the first. The entire text has been revised, and a great number of new artists, images, and themes have been added.

Hardcover. New Haven CT, Yale University Press, 1st, 2014, Book: Very Good, Dust Jacket: Very Good, Hardcover, 160 pages. Photographer Laura McPhee, noted for her stunning large-scale landscapes and portraits of the people who live and work in them, has been traveling to eastern India for over a decade. This book features a selection of McPhee's works in and around India's former capital.

Hardcover. Boston, Bulfinch Press, 1st, 1997, Book: Very Good, Dust Jacket: Very Good, Hardcover, 112 pages, 73 duotone and 11 color photographs by David Bailey. Includes images of the Rolling Stones, Elton John, Queen, Bob Geldof, George Michael, The Beatles, Duke Ellington, U2, etc, Clean copy. Light fading to red spine, some yellowing to dust jacket.

Hardcover. New York, Harry N. Abrams, 1st, 2018, Book: Very Good, Dust Jacket: Very Good, 256 pages. Hardcover with dust jacket. Like new in publisher's shrinkwrap

Hardcover. NY, Abrams, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover, unpaginated. In mylar dust jacket. The theatrical photos of Thompson--mainly of women, several of a single, elaborately made-up woman's eye--derive their style from a combination of Man Ray and fashion photography. They are reproduced in full-page color plates of the best quality in this oversized (11.25x14.25") volume. Plain cardboard slipcase soiled.

Hardcover. NY, Viking Press, 1st US, 1969, Book: Very Good, Dust Jacket: Very Good, Hardcover, unpaginated with 208 b&w photographs. Dust jacket has some wear and rubbing, unclipped. Great pictorial reference. Introduction and commentaries on the pictures by Betjeman.

Hardcover. NY, Metropolitan Museum of Art, 1st, 2016, Book: Very Good, Dust Jacket: None, Hardcover, 240 pages. A collection of Arbus's photographs from her formative years, 1956-62; 125 images in all, more than half published here for the first time. No dust jacket issued. This book is the definitive study of the artist's first seven years of work, from 1956 to 1962. Drawn primarily from the rich holdings of the Metropolitan Museum's Diane Arbus Archive--a remarkable treasury of photographs, negatives, appointment books, notebooks, and correspondence--it is an essential contribution to our understanding of Arbus and her oeuvre.

Hardcover. London, Merrell, 1st, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover, 351 pages, color and b&w plates. This book collects Willoughby's candid photographs from the sets of various great films since the 1950s. Also included are filmographies of the directors with whom he has worked. As the subtitle indicates, he really has collaborated with many of the great cinema luminaries. Beginning with Vincente Minnelli, they include Orson Welles, William Wellman, George Stevens, Mike Nichols, William Wyler, Alfred Hitchcock, and others. The most interesting aspect of this book is indisputably the photos (most of them black and white), many of which were shot in informal settings, showing directors and actors in seemingly unguarded moments. He made himself seem invisible, Willoughby said, by blending in with the movie crew, once he realized they were invisible to the actors.

Gudensberg-Gleichen GR, Wartberg, 1st, 1998, Book: Very Good, Dust Jacket: None, Hardcover, pictorial boards, no dust jacket issued. 72 pages of b&w photos of Frankfurt and it's citizens in the 1950s. GERMAN TEXT.

Hardcover. GR, Steidl, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover, 272 pages. One of the most intriguing and little studied forms of nineteenth-century photography is the tintype. Introduced in 1856 as a low-cost alternative to the daguerreotype and the albumen print, the tintype was widely marketed from the 1860s through the first decades of the twentieth century as the most popular photographic medium. The picture-making preference of the people, it was almost never used for celebrity portraiture: It was affordable, portable, unique and available almost everywhere. Because of its ubiquity, the tintype provides a startlingly candid record of the political upheavals that rocked the four decades following the American Civil War-and the personal anxieties they induced. As this book's author, Steven Kasher, argues, the tintype studio became a kind of performance space in which sitters could act out their personal identities. Sitters brought to the tintype studio not just their family and friends but also the tools of their trade, costumes, toys, stuffed animals and other such props. Often they would enact stereotypes and fantasies that reflected or challenged conventional gender, race and class roles. Surprisingly, the tintype was almost exclusively an American phenomenon, rarely used in other countries, and this book demonstrates how this modest form of photography provides extraordinary insight into the development of national attitudes and characteristics in the formative years of the early Modern era. Featured in this book are more than 200 remarkable examples of tintypes, mostly drawn from the Permanent Collection of the International Center of Photography in New York.

Hardcover. NY/London, Booth-Clibborn, 1st, 2011, Book: Very Good, Dust Jacket: Very Good, Hardcover, 300 pages. Basil Hyman, a keen amateur photographer, took hundreds of photographs of everyday life in Britain during the 1950s. The Lost Album is a nostalgic look back at this long-gone era, filled with photographs made during a time of enormous social change--just after World War II and before the "Swinging Sixties"--and a wealth of ephemera: theater tickets and playbills, newspaper advertisements, ration books, and much more. Special inserts include actual facsimiles of some of these now-obscure items--talismans from a slower time, when formality, pride, and courtesy prevailed. There are special sections on two major events: the Festival of Britain in 1951, and the Coronation of Queen Elizabeth II in 1953. With brief, lively introductions and captions, this is a captivating snapshot of how people lived and played in Britain in those years.

Hardcover. Hatje Cantz, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover, 320 pages. "Some people find a certain cruelty in parts of our work," say the rising conceptualist-collaborators Michael Elmgreen and Ingar Dragset, "but they are definitely not more vicious than any real life experiences." Since 1995, Elmgreen and Dragset have tackled issues of privatization, gentrification, social alienation and the dismantling of social welfare. For their first show at Tanya Bonakdar Gallery in 2001 they papered over the windows with the announcement "Opening Soon Prada." Pursuing and inverting this theme, in 2005 they installed a mocked-up Prada store on a deserted road near Marfa, Texas. They have recreated hospitals and prison cells, and have reconfigured gallery spaces to spatially deter their would-be audience. "Our aim is to investigate some of the power structures that these spaces derive from, and by exchanging and replacing some of these structures, show how fragile they actually are." This monograph is the first extensive survey of their work to date.

Softcover. NY, Aperture Foundation, 1997, Book: Very Good, Dust Jacket: None, Softcover, 80 pages. A large, beautifully designed photography publication with many full page photographs in black and white and color. Glossy wraps. Many contributors. Features: Manuel Alvarez Bravo: Photographs and Memories. Frederick Kaufman's "Essay of Memories," based on extensive interviews he conducted with Don Manuel in 1996, was commissioned especially for this publication. In his richly descriptive and insightful essay, Kaufman weaves together Alvarez Bravo's recollections, biographical information, and Mexican history in order to illuminate the story of the photographer's life against the backdrop of a complex and ever-changing culture.

Softcover. NY, Aperture Foundation, 2000, Book: Very Good, Dust Jacket: None, Softcover, 80 pages. A large, beautifully designed photography publication with many full page photographs in black and white and color. Glossy wraps. A diverse compilation of images and writing, this 1st issue of the new Aperture signifies the magazine's commitment to the remarkable range of cross-cultural experiences that photography addresses. From the stark isolation of Mimmo Jodices's Mediterranean island landscapes to Julian Cardona's disturbing photo-essay on foreign owned factories in Mexico, issue 159 presents a dynamic and vital window on the myriad happenings in the photographic community.Other features in this issue include Neil Selkirk on designer Tibor Kalman's use of photography, The photographic books of Jeff Bridges accompanied by a discussion between the artist and Richard Misrach, love letters to Edward Weston, the life and work of Marilyn Silverstone and an essay by Francine Prose on the phenomenon of the wedding ritual accompanied by the work of photographers as diverse as Henri Cartier-Bresson and William Wegman.

Hardcover. NY, Abrams, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, Hardcover, 212 pages. Collects 170 of the twentieth-century photographer's portraits of actors, artists, models, royalties, and socialites, in a volume complemented by extensive notes on both the subjects and sittings and a complete chronology.

Hardcover. London, Trolley, 1st, 2011, Book: Very Good, Dust Jacket: None, Hardcover, pictorial boards, 303 pages. More than 200 color photos by Osodi document the damage done to the Niger Delta and it's people by economic exploitation. Small tear to rear edge of spine, else like new

Hardcover. NY, Norton, 1st, 2015, Book: Very Good, Dust Jacket: Very Good, Hardcover, 192 pages. This book has an international bent: Hand has taken photographs in more than fifty countries over the past fifty-five years. These 162 black-and-white photographs present a sampling of his best work from around the world and show how the railway is a compelling subject no matter the locale. An introduction by well-known transportation reporter and railroad columnist Don Phillips explains how Hand got interested in railways and how his approach to the subject developed; extended captions provide historical context. The book includes an afterword by rail and photography historian Jeff Brouws.

Hardcover. San Francisco, Chronicle Books, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover, 336 pages. Manuel Alvarez Bravo was one of the foremost practitioners of visual arts in the twentieth century. Manuel Alvarez Bravo, the first major retrospective of his eighty-year career, showcases hundreds of iconic photographs and unveils more than twenty previously unpublished images. Featuring landscapes, still lifes, rural and urban scenes, religious and vernacular subjects, as well as portraits of luminaries such as Diego Rivera, Frida Kahlo, Carlos Fuentes, and Octavio Paz, the work is chronologically arranged and richly varied. Three illuminating essays reveal the poetry of Bravo's photographsfrom his use of light and form to his fascination with dreams and his preoccupation with death. This definitive monograph is a powerful tribute to Mexico's most distinguished photographer.

Hardcover. NY, D.A.P./Distributed Art Publishers, 1st, 2002, Book: Very Good, Dust Jacket: Very Good, Hardcover, 96 pages. In the six photo essays compiled in this well-designed volume, widely admired American photographer Friedlander (e.g., The American Monument) presents images of factory, technology, and telemarketing workers. This visual workplace odyssey starts with "factory valleys" in Ohio and Pennsylvania in 1979 and ends in Omaha, NE, with "telemarketing" in 1995. Throughout, Friedlander centers his black-and-white photographs on the faces of individual workers-bored by repetition, firm in vocational resolve, or frozen for a moment in a physically demanding job. Benson (dean, Yale Univ. Sch. of Art) gives Friedlander a helping hand with a comforting afterword that connects these portraits of work with its reality. Maybe it is unfair to expect a collection of photo essays, commissioned by companies or art institutions, to show us something we never knew before, but a photography book succeeds or fails by its images. With no surprises to convey-we already know that many jobs are tedious and that the people stuck in them drift into a trance to get through the day-this book seems like an effort merely to expand the Friedlander bibliography.

Hardcover. NY, Doubleday, 1st, 1977, Book: Very Good, Dust Jacket: Very Good, Hardcover, 144 pages. B&w photos by Freesman. Dust jacket with mild edgewear. Beautiful copy of a scarce book. A photo essay on the experiences of firemen.

Hardcover. NY, Abrams, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover, 128 pages. Although Stock has been associated with Magnum Photos since 1951 and his work has been collected in numerous books (California Trip; Jazz Street), he remains best known for his unforgettable b&w photographs of Dean, which soared beyond routine celebrity shots. Stock's photo essay in Life, "Moody New Star," attracted attention the same week East of Eden opened in 1955, and in the years since, his photos of Dean have resurfaced in magazines, books and exhibitions. Published on the 50th anniversary of Dean's death, this collection of 80 duotones recaptures the few weeks in 1954 Stock spent with the actor in New York and his Fairmount, Ind., hometown before the two flew back to L.A. for the filming of Rebel Without a Cause. Hyams (James Dean: Little Boy Lost) calls the haunting shot of Dean alone in a rainy Times Square "one of the foremost iconic images of the 20th century." A surreal scene at the Fairmount farm shows Dean banging bongo drums for an audience of cows and pigs, and a peek inside an Actors Studio session is a rarity since Lee Strasberg "almost never let anyone photograph his classes." Stock's own brief memoir of his friendship with Dean is well written, evocative and insightful.