documentary photography

Softcover. NY, Collier Books, 1st, 1979, Book: Very Good, Dust Jacket: None, Softcover, 126 pages, b&w photod by Englander.

Hardcover. Washington, D.C., Smithsonian, 1st US, 1999, Book: Very Good, Dust Jacket: Very Good, Hardcover, 38 pages, b&w photographs throughout. Very clean and tight copy.

Hardcover. San Francisco, Chronicle Books, 1st, 2006, Book: Very Good, Dust Jacket: Very Good, Hardcover, 191 pages, color photography by Greenfield. Critically acclaimed for Girl Culture and Fast Forward, Lauren Greenfield continues her exploration of contemporary female culture with Thin, a groundbreaking book about eating disorders. Greenfield's photographs are paired with extensive interviews and journal entries from twenty girls and women who are suffering from various afflictions. Very good in a similar dust jacket.

Softcover. Montpelier VT, Craftsbury Common Books, 1st, 2009, Book: Very Good, Dust Jacket: None, Softcover, 222 pages. In 1964 Ethan Hubbard began photographing and tape-recording the most unique and intriguing rural Vermonters he could find, believing that they were a vanishing race. B&w photos.

Hardcover. London, Dewi Lewis, 1st, 1998, Book: Very Good, Dust Jacket: None, Hardcover, 80 pages. A photo essay depicting the British Army struggling to come to terms with contemporary life. No dj issued.

Hardcover. London, Dewi Lewis, 1st, 1998, Book: Very Good, Dust Jacket: None, Hardcover, 80 pages. A photo essay depicting the British Army struggling to come to terms with contemporary life. No dj issued.

Hardcover. New York/London, Merrell, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover, 240 pages, 165 color and b$w images. Like new in publisher's shrink-wrap. Equal parts glamour and cataclysm, sunshine and noir, few cities have provoked visual representation as insistently as LA. This Side of Paradise explores the synergistic relationship between the city and photography from the mid-nineteenth century to the present through the key themes of landscape and the body. Beautifully illustrated throughout, including images by Carleton Watkins, Edward Weston, Louise Dahl-Wolfe, Garry Winogrand, Ed Ruscha, Dennis Hopper, Herb Ritts, John Baldessari, Catherine Opie and many others.

Hardcover. London, Merrell, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover, 239 pages, Color and b&w images throughout by various photographers. In publisher's shrinkwrap.

Hardcover. Boston, New York Graphic Society, 1st US, 1980, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. 143 pages Illustrated with B&W plates throughout. Reproduces over 100 examples of Doisneau's evocative photographs of 1930s Parisian street life. Includes extensive essay by Doisneau on his life and work. Clean copy.

Softcover. Washington DC, Giles, 1st, 2015, Book: Very Good, Dust Jacket: None, Softcover, 80 pages. Beautiful and poignant photographs by African American and other photographers (selected from the large and growing photography collection of the Smithsonian National Museum of African American History and Culture), accompanied by three short, insightful essays, reveal the rich and significant contributions African Americans have made to to our great American heritage.

Hardcover. New Mexico, Museum of New Mexico Press, 1st, 2009, Book: Very Good, Dust Jacket: Very Good, Hardcover, 276 pages. Combining images from early masters and well-known fine art photographers with text and observations from noted writers, this is one of a kind book. It provides stimulating perspectives on Santa Fe's transformation over the last 160 years, presenting a historical and contextual perspective on the important role photography has played in documenting and shaping Santa Fe's image. Includes selected images from more than one hundred noted photographers.

Softcover. NY, Knopf, 1st, 1983, Book: Very Good, Dust Jacket: None, Softcover, 117 pages. Introduction by William Shawcross. Text and photographs by Tim Page, a photo-journalist. Cover is a photograph of soldier with rifle in a rice paddy with yellow lettering. Rear cover is white with black lettering, states price of $14.95, and shows date of 3/83. Last page of book has list of photographs. Almost all photographs are in color. Book is square and tight.

Hardcover. NY, powerHouse, 1st, 2002, Book: Very Good, Dust Jacket: Very Good, Hardcover, 112 pages. Time Frames, Michael Spano's long-awaited first monograph, catalogues the artist's exploration of spatial and temporal dimensions in photography. The book is divided into five chapters: Panoramas, Grids, Portraits, Multi-Exposures, and Diptychs; each employs a distinctive technical process to provide a new way of looking at life in New York City. Panoramas (1977-1983) show interacting urbanites moving through elongated frames as the lens of an extremely wide field camera pans during exposure. Grids (1980-1990) captures eight moments on a single negative as Spano moves through a sequence of events, pre-determinedly exposing a portion of the grid every four seconds. Portraits (1984-1990) focus on individual inhabitants transformed and etched out from their settings through the solarization and blurring forms into an atmospheric world. Multi-Exposures (1985-1998) combine solarizations with multiple perspectives. These single-negative layered compositions orchestrate and compress selected intervals of time and space into one image. Diptychs (1998-1999) fuse two distinct moments on one negative where scale, focal planes, and perspectives shift and comprise a dual image of urban spaces.

Hardcover. Santa Fe, NM, Twin Palms Publishers, 1st, 1997, Book: Very Good, Dust Jacket: None, 96 pages. Hardcover with no dust jacket. Very clean. like new copy in publisher's shrink-wrap. 78 full-page, black and white photographs. Limited to 3000 copies. Tight copy. A look at the black experience in late-20th-century America with powerful documentary images that will remain with the viewer long after the books are closed. Mauskopf presents a quiet collection of images made in one part of the South, the most isolated black communities of the Mississippi Delta, where time seems to have stopped in midcentury. The photographs are full of love, joy, and religious faith and are richly reproduced here as sheet-fed gravures. Mauskopf portrays the poorest Americans, who are nonetheless rich in family, church, and community bonds. He documents the unifying and dominant role of religion as well as the joys and sustenance provided by music, dance, romance, family life, and the land itself. These images capture a sense of place so powerfully that captions aren't necessary, though a brief and poetic essay by novelist Kenan nicely complements the photographs.

Hardcover. St. Ann's Press, 1st, 2002, Book: Very Good, Dust Jacket: Very Good, Hardcover, 172 pages. On May 25, 1961, Bruce Davison joined a group of Freedom Riders traveling by bus from Montgomery, Alabama to Jackson, Mississippi. The actions of these youths challenged and disobeyed federal laws allowing for integrated interstate bus travel. These historic episodes, which ended in violence and arrests, marked the beginning of Davidson's exploration into the heart and soul of the civil rights movement in the United States during the years 1961-1965. In 1962, Davidson received a Guggenheim Fellowship and continued documenting the era, including an early Malcolm X rally in Harlem, steel workers in Chicago, a Ku Klux Klan cross burning near Atlanta, farm migrant camps in South Carolina, cotton picking in Mississippi, protest demonstrations in Birmingham, and the heroic Selma March that led to the Voting Rights Act of 1965, which was instrumental in changing the political power base in the segregated Southern states. In the 140 photographs collected here, many of which have never before been published, we see intimate and revealing portraits of Dr. Martin Luther King Jr., John Lewis, and other leaders made by Davidson during those turbulent times. These images describe the mood that prevailed during the civil rights movement with a lyrical imagery that is both poignant and profound. As Davidson bears witness to these historical events, and documents the degradation and segregation that were endured, he gives testimony to the struggle for freedom, equality, justice, and human dignity.

Hardcover. University Park, Pennsylvania State University , 1st, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover with black cloth boards in dust jacket, oblong quarto, 265 pages, illustrated in b&w. Book near fine with handsome boards and tight binding, text clean and unmarked.

Hardcover. New York , Penguin Putnam Inc, 1st, 1993, Book: Very Good, Dust Jacket: Very Good, Hardcover, 158 pages, illustrated throughout with photos in b&w. Clean, unmarked copy with only minor wear to dust jacket. Elie Wiesel provides the preface to a master photographer's record of eastern Europe's Jewish communities in the years just before World War II with 160 photographs that capture the ordinary lives of Jews before the Holocaust.

Hardcover. New York, Aperture, 1st, 1989, Book: Very Good, Dust Jacket: Very Good, 176 pages. Hardcover. Features 136 black & white photographs by Robert Adams. Poem by Cid Corman and an essay by Adams. Beautifully reproduced landscape images. Very good in very good, unclipped dust jacket. Clean, unmarked pages.

Hardcover. London, Phaidon Press, 1st, 1997, Book: Near Fine, Dust Jacket: Near Fine, Hardcover, photographs and afterword by Ferdinando Scianna. 124 pages; full-page duo-toned b&w plates throughout; 10 x 12.5 inches. Biography, bibliography. Since he began taking photographs in the 1960s, journalist and Magnum photographer Ferdinando Scianna has been fascinated by the sight of sleepers. Over four decades Scianna has captured thousands of images of people and animals sleeping in the countryside, in cities, in deserts, on street corners, in moving trains, and in their own homes.

Hardcover. Stockbridge MA, Prospecta Press, 1st, 2014, Book: Very Good, Dust Jacket: Very Good, Hardcover, pictorial boards, 144 pages. INSCRIBED BY PHOTOGRAPHER on title page. Essay by Anna Gyorgy. This collection of vivid photographs tells the story of citizens who spoke up against the nuclear power industry, who refused to be nuclear neighbors, and who fought for years to stop construction or to close reactors in their backyards. The photographs also introduce us to the victims of nuclear power, among them the children who developed cancer and other grave health problems, even generations after the 1986 explosion at Chernobyl. Through Lionel Delevingne's record, we can see for ourselves the tragedies of the worst accident sites: Three Mile Island in the United States, Chernobyl in Russia, and Fukushima in Japan.

Softcover. Minnesota Historical Society, reprint, 2009, Book: Very Good, Dust Jacket: None, Softcover, oblong format, 309 pages. A collection of b&w seasonal photos from Minnesota's past with excerpts from letters and journals from each season. The book is broken up into the four seasons of the year and the author wrote captions giving available information about each photo. A fun look into Minnesota's past. Clean copy.

Softcover. Charlottesville, University of Virginia Press, 1st, 1996, Book: Very Good, Dust Jacket: None, Softcover, 94 pages, b&w photos. In publisher's shrinkwrap. n an evocative blending of words and images, painter-photographer Carol Burch-Brown and poet David Rigsbee offer a depiction of trailers and their inhabitants. The understated imagery of Burch-Brown's 48 photos implies rather than proclaims the living conditions of these mobile-home dwellers, while Rigsbee's meditative, autobiographical essay parallels and illuminates the subjects and chronicles family histories with trailers.

Hardcover. Alabama, University of Alabama Press, 1st, 1985, Book: Very Good, Dust Jacket: Very Good, 299 pages. Hardcover with dust jacket. Illustrated with black & white photographs. Clean, bright copy.

Softcover. NY, Grove Press, reprint, 2000, Book: Very Good, Dust Jacket: None, Softcover, 64 pages. When it first appeared in 1971, Larry Clark's groundbreaking book Tulsa sparked immediate controversy across the nation. Its graphic depictions of sex, violence, and drug abuse in the youth culture of Oklahoma were acclaimed by critics for stripping bare the myth that Middle America had been immune to the social convulsions that rocked America in the 1960s. The raw, haunting images taken in 1963, 1968, and 1971 document a youth culture progressively overwhelmed by self-destruction -- and are as moving and disturbing today as when they first appeared.