landscapes photography

Hardcover. San Francisco, Chronicle Books, 1st, 2006, Book: Very Good, Dust Jacket: Very Good, Hardcover, 120 pages, color photos. Terry Falke's wry, lyrical photographs center on the terrain of the American Southwest and the ubiquity of humanity s imprint on it. The images in Observations in an Occupied Wilderness both honor and subvert the grand tradition of western landscape photography, conveying the bleak splendor of the land and Falke's sheer love of looking. Gorgeous, sardonic, and playful, Falke's work emphasizes beauty and incongruity, and is as much about human nature as it is about the land. Shot with a large-format camera, the resultant images are personal and provocative, raising as many questions than they answer. This remarkable debut monograph is a shrewd exploration of our last wild places.

Hardcover. New Haven CT, Yale University Press, 1st, 2018, Book: Very Good, Dust Jacket: None, Hardcover, 156 pages, no dj issued. An insightful new look at two renowned photographers, their interconnected legacies, and the vital documents of urban transformation that they created. In this comprehensive study, Kevin Moore examines the relationship between Eugene Atget (1857-1927) and Berenice Abbott (1898-1991) and the nuances of their individual photographic projects. Abbott and Atget met in Man Ray's Paris studio in the early 1920s. Atget, then in his sixties, was obsessively recording the streets, gardens, and courtyards of the 19th-century city--old Paris--as modernization transformed it. Abbott acquired much of Atget's work after his death and was a tireless advocate for its value. She later relocated to New York and emulated Atget in her systematic documentation of that city, culminating in the publication of the project Changing New York.

Hardcover. New Haven CT, Yale University Press, 1st, 2018, Book: Very Good, Dust Jacket: None, Hardcover, 156 pages, no dj issued. An insightful new look at two renowned photographers, their interconnected legacies, and the vital documents of urban transformation that they created. In this comprehensive study, Kevin Moore examines the relationship between Eugene Atget (1857-1927) and Berenice Abbott (1898-1991) and the nuances of their individual photographic projects. Abbott and Atget met in Man Ray's Paris studio in the early 1920s. Atget, then in his sixties, was obsessively recording the streets, gardens, and courtyards of the 19th-century city--old Paris--as modernization transformed it. Abbott acquired much of Atget's work after his death and was a tireless advocate for its value. She later relocated to New York and emulated Atget in her systematic documentation of that city, culminating in the publication of the project Changing New York.

Hardcover. NY, Norton, 1st , 1999, Book: Very Good, Dust Jacket: Very Good, Hardcover. Color photos. Introduction by Kathleen Norris. 130 pages. Clean, unmarked copy with only minor wear to dust jacket. This is an excellent collection of 77 photos taken 1985-1995 across the high plains states from Montana to Texas. All are in richly captured color, and all manage to bring the panorama of this wide open country within the viewfinder of the still camera. Brown's achievement is to show the suggestive and telling details that transform these "empty" landscapes into spaces that are filled with drama and atmosphere.

Softcover. Albuquerque, University of New Mexico Press, 1st, 1999, Book: Very Good, Dust Jacket: None, Softcover, oblong format, color photos. The end of the twentieth century represents an unsettled time, and the contemporary Southwest, as seen by Virgil Hancock III in these fifty-two exquisite color photographs, is a strange place full of omens and signs. His images peer beyond the scenery, beyond the tourism-council view of this region as a storied land of golf courses and climate-controlled shopping centers. He gets at the soul of the Southwest, of the nation, and, in his best photographs, at the human condition itself, seizing on the accidental symbols that speak to our yearnings and shortfalls: skyward-pointing arrows and crosses and dreams just beyond reach at Indian casinos, failed department stores, retirement cities. He photographs signs of the violence that has been endemic to the region and shows us ruins, not of the Anasazi or Spanish missions, but of commercialization, scarcely twenty years old, already gone belly-up.

Hardcover. New York , Harmony Books, 1st US, 1989, Book: Very Good, Dust Jacket: Very Good, Hardcover, 70 pages, nicely reproduced b&w landscape photography by McCullin. Introduction by John Fowles. Very good in a similar unclipped dust jacket. Everyone in their 50's and over will remember Don McCullin's emotive, highly charged documentary photography of the Vietnam, Biafran, Middle-eastern wars of the '60's, 70's and 80's. Here is another side to this thoughtful, insightful, deep thinking man, a book of technically superb but rather melancholy works on his local Somerset area. Beautifully observed photographs, wonderfully printed.

Hardcover. Flammarion, 1st, 2009, Book: Very Good, Dust Jacket: Very Good, Hardcover, 204 pages. The century that spanned from the 1850-1950 witnessed the golden age of travel and the exposure of an increasing number of Westerners to foreign cultures. The Maghreb became a source of exotic fascination and people grew particularly enchanted by the landscapes, peoples, and cultures of countries such as Morocco, Tunisia, and Algeria. Orientalist Photographs pays homage to the ultimate travel dream of that era. This collection of over 100 autochrome, sepia, and black and white photographs captures delicate, lost details: the dusty, labyrinthine walls of the casbah; the dappled sunlight on the market stall of a souk; the intricate metal work of traditional jewelry. Each image is accompanied by an informative text that situates the photograph in its historical reality, revealing how, for example, the richness of Algerian embroidery is not the product of hermetic tradition, as once perceived, but rather that of an innovative fusion of Spanish, Turkish, and native cultures. This book's haunting photographs and incisive texts vividly render all the mystery, the beauty, and the naivete of the West's encounter with a culture it found so radically different from its own.

Hardcover. Jackson MS, University Press of Mississippi, 1st, 2014, Book: Very Good, Dust Jacket: None, Like new in publisher's shrink-wrap. Hardcover, 168 pages. In The Origins of Comics: From William Hogarth to Winsor McCay, Thierry Smolderen presents a cultural landscape whose narrative differs in many ways from those presented by other historians of the comic strip. Rather than beginning his inquiry with the popularly accepted "sequential art" definition of the comic strip, Smolderen instead wishes to engage with the historical dimensions that inform that definition. His goal is to understand the processes that led to the twentieth-century comic strip, the highly recognizable species of picture stories that he sees crystallizing around 1900 in the United States. Featuring close readings of the picture stories, caricatures, and humoristic illustrations of William Hogarth, Rodolphe Topffer, Gustave Dore, and their many contemporaries, Smolderen establishes how these artists were immersed in a very old visual culture in which images--satirical images in particular--were deciphered in a way that was often described as hieroglyphical. Across eight chapters, he acutely points out how the effect of the printing press and the mass advent of audiovisual technologies (photography, audio recording, and cinema) at the end of the nineteenth century led to a new twentieth-century visual culture. In tracing this evolution, Smolderen distinguishes himself from other comics historians by following a methodology that explains the present state of the form of comics on the basis of its history, rather than presenting the history of the form on the basis of its present state. This study remaps the history of this influential art form.

Hardcover. Gottingen, Steidl, 1st, 2010, Book: Very Good, Dust Jacket: None, Outside Inside is a gorgeous three-volume box set of 800 photographs drawn from this master photographer's immense archive. Chosen by Davidson himself, the selection spans a 60-year career, and features such seminal bodies of work as Circus (1958), Brooklyn Gang (1959), East 100th Street (1966-1968), The Civil Rights Movement (1961-1965), Subway (1980) and Central Park (1992-1995), as well as his two most recent works in progress--a series of urban landscapes made in Paris (2007) and Los Angeles (2009)--and many unpublished photographs. Each volume with the following format: Hardcover. Fine cloth, with tipped-in tritone plate on cover and title stamped in black on cover and spine; no dust jacket as issued. All three volumes are contained in a custom paper-covered slipcase with title stamped in silver. Photographs and text by Bruce Davidson. Edited by Bruce Davidson, with the assistance of Amina Lakhaney. Designed by Bernard Fischer and Gerhard Steidl. Volume I: 1954-1961, 300 pp., with 264 tritone plates; Volume II: 1961-1966, 272 pp., with 228 tritone plates; Volume III, 1966-2009, 372 pp., with 342 tritone plates. Scans by Steidl's digital darkroom; production and printing by Steidl, Gottingen. Each volume 11-5/8 x 12 inches.

Softcover. Washington, Smithsonian Institution Press, 1st, 1993, Book: Very Good, Dust Jacket: None, Softcover with light wear to paper wrappers. Clean, tight copy. Landscape images made with a large format panorama camera. Photographs by Lois Conner, with an interview; afterword by Richard Woodward. 61 pages; 31 duo-toned b&w plates; 10 x 8.5 inches. Technical information. From the Smithsonian's Photographers at Work series, edited by Constance Sullivan.

Hardcover. Paris, Editions de Lodi, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, Hardcover, glossy boards in a matching bright dust jacket. Large format, 484 pages, FRENCH TEXT. A collection of over 500 historical photos of old Paris printed in sepia tone. Around 1832 Parisian-born Charles-Francois Bossu (1813-1879) shed his unfortunate last name (bossu means hunchback in French) and adopted the pseudonym Marville. After achieving moderate success as an illustrator of books and magazines, Marville shifted course in 1850 and took up photography, a medium that had been introduced 11 years earlier. His poetic urban views, detailed architectural studies, and picturesque landscapes quickly garnered praise.By the end of the 1850s, Marville had established a reputation as an accomplished and versatile photographer. From 1862, as official photographer for the city of Paris, he documented aspects of the radical modernization program that had been launched by Emperor Napoleon III and his chief urban planner, Baron Georges-Eugene Haussmann. In this capacity, Marville photographed the city's oldest quarters, and especially the narrow, winding streets slated for demolition. Even as he recorded the disappearance of Old Paris, Marville turned his camera on the new city that had begun to emerge. Many of his photographs celebrate its glamour and comforts, while other views of the city's desolate outskirts attest to the unsettling social and physical changes wrought by rapid modernization. Taken as a whole, Marville's photographs of Paris stand as one of the earliest and most powerful explorations of urban transformation on a grand scale. Clean, bright copy.

Hardcover. NY, Aperture, 1st, 1967, Book: Very Good, Dust Jacket: Very Good, Hardcover in a lightly worn dust jacket with small closed tears. Photographs and statements by Caponigro; edited by Minor White. 62 pages; 48 full-page b&w plates; 8 x 9.25 inches. Chronology, bibliography through 1966, exhibition history, list of plates with captions. Clean copy.

Softcover. London, Phaidon, 1st, 1996, Book: Very Good, Dust Jacket: None, Softcover, 160 pages. Paul Graham's intense color photographs map a social and cultural landscape. This work brings together portraits, landscapes and interiors from his British, European and Japanese series. Graham has exhibited worldwide, including the Museum of Modern Art, New York and the Tate Gallery, London.

Hardcover. NY, Knopf, 2nd pr., 1991, Book: Very Good, Dust Jacket: Very Good, Hardcover, 170 Black & white photos., 244 pages + index. Remainder mark top edge. Top corner bumped. Illustrated with sepia-toned photographs throughout. Reproduced here for the first time are 170 images of everyday life in Montana from the 1890s through the 1920s. Included are photos of workers in the wheat fields, cattle ranchers, sheepherders, families in front of one room dwellings, wildlife, landscapes, town scenes, etc.

Hardcover. Carmel CA, Friends of Photography/Matrix, 1st, 1982, Book: Very Good, Dust Jacket: Very Good, Hardcover, 120 pages, 61 duotone photographs by Morris, beautifully reproduced. Limited to 500 copies SIGNED BY MORRIS. Dust jacket with fading to spine, price-clipped. In a lightly worn, rubbed cardboard slipcase.

Hardcover. Dial Press, 1st, 1980, Book: Very Good, Dust Jacket: Very Good, 216 pages. Hardcover. Color photographs. Clean, unmarked copy in excellent condition with minor wear to dust jacket. Sergei Prokudin-Gorskii was a chemist and photographer commissioned by Tzar Nicholas II to photograph as much of the Russian Empre as possible in color. Prokudin-Gorskii used three color separations for his photos and as a result some pictures are astoundingly sharp and brilliantly colored, and some the colors are out of register slightly. That's irrelevant, because the photos are spectacular and show the Russian Empire from end to end on the eve of its collapse.

Softcover. Bristol UK, Intellect, 1st, 2012, Book: Very Good, Dust Jacket: None, Softcover, 255 pages. With a focus on the settler societies of the United States and Australia, Photography and Landscape is a new critical account of landscape photography created through a unique collaboration between a photography writer and a landscape photographer. Beginning with the frontier days of the American West, the subsequent century-long popularity of landscape photography is exemplified by images from Carleton Watkins to Ansel Adams, the New Topographics to Richard Misrach, all of whose works are considered here. Along with discussions of other contemporary photographers, this extensively illustrated volume demonstrates the influence of settler societies on landscape photography, in which skilled photographers captured the fascination with and the appeal of the land and its expanse. Clean copy.

Softcover. Munich , Prestel, 1st, 2012, Book: Very Good, Dust Jacket: None, Softcover, 192 pages. Chronologically arranged, each chapter focuses on a particular work or idea that changed the course of photography. Presented in beautiful spreads and with informative text, the book opens with photography's genesis in the form of the camera obscura. Centuries later, Daguerre, Niepce, and Talbot invented their own means of capturing light on paper. The book covers groundbreaking genres such as still life, landscape, portraiture, and nudes. Sections on the role of photography in journalism illustrate how the camera's presence on battlefields, on city streets, and in factories helped inform and reform the modern world. Fashion, animals, Surrealism, and staged portraits are also explored. Perfect for perusing or reading from cover to cover, this book illustrates how photography developed from a concept to a world-changing force--one that attempted to shed light on truth yet can also obscure and alter reality in dazzling ways. Clean copy.

Hardcover. Prestel Publishing, 1st, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 576 pages. Unlike many other artistic media, photographys origins are well documented, as are its ever-changing technologies and applications. Written by an international team of experts, this definitive history of photography looks at every step of the fields dynamic evolution, period by period and movement by movement. Each key genre is chronologically presented within its social, economic, and political context, along with close analysis of specially selected works that best exemplify the characteristics of the period. With more than 500 gorgeous examples in black and white and color, the book explores in-depth virtually every aspect of the medium since its first public demonstration in 1839 to the latest innovations: from early portraits and the birth of photojournalism to travel photography and the mapping of the world; from the Pictorialists to the avant-garde; from celebrity and fashion to documentary and landscape. Along the way readers will learn why some photographs are considered iconic, and why the medium as an art form continues to challenge and enthrall us. DUE TO WEIGHT, DOMESTIC SHIPPING ONLY.

Hardcover. Charlotte VT, Camden House Publishing, 1st, 1991, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 144 pages. Extensive color photography by Richard Brown throughout. Offers advice on photographing people, landscapes, and animals, discusses composition, light, and equipment, and discusses the background of a variety of photographs. Clean copy.

Hardcover. New York , Random House, 1st, 2011, Book: Very Good, Dust Jacket: Very Good, Remainder mark to bottom edge, else like new in publishers shrink-wrap. White cloth hardcover in the dust jacket and name band , 244 page book . With color and black & white photo illustrations by Annie Leibovitz .

Hardcover. New York , Random House, 1st, 2011, Book: Very Good, Dust Jacket: Very Good, Remainder mark to bottom edge, else like new in publishers shrink-wrap. White cloth hardcover in the dust jacket and name band , 244 page book . With color and black & white photo illustrations by Annie Leibovitz .

Hardcover. New York , Random House, 1st, 2011, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 244 page book with color and black & white photo illustrations by Annie Leibovitz. Lacks title band over dust jacket. Clean copy.

Hardcover. New York, Aperture , 1st, 2001, Book: Very Good , Dust Jacket: Very Good, Hardcover, 144 pages, B&W photos. In original shrink wrap. For almost sixty years Pirkle Jones has chronicled the people, politics, and landscape of Northern California-a "promised land" which has long held sway in the American cultural imagination. Within the confines of that locale, he has unearthed a universe of beauty and meaning, photographing everything from flea-market finds to some of the most important American social movements of the second half of the twentieth century. Operating primarily within a social-documentary framework, Jones has made images characterized by sensitivity and acute observation. With uncanny prescience, a sense of urgency, and a sympathetic eye, Jones often plays the dual roles of artist and witness, combining portraiture, landscapes, and architectural photographs to create thorough documents of social structure and upheaval. Among the photo-essays included in Pirkle Jones: California Photographs are a compassionate and controversial piece on the Black Panther Party in the San Francisco Bay Area, Jones's portraits of the Sausalito houseboat community known as Gate 5, and a notable 1956 photo-essay done in collaboration with Dorothea Lange photographing the destruction and dislocation of the Berryessa Valley before it was flooded on completion of the Monticello Dam. Produced as a single issue of Aperture magazine in 1960 under the name "Death of a Valley", this essay remains a powerful testament to the price of progress. The book also includes Jones's work from the last few decades, in which he shifted his focus to an extended series of elegant, contemplative landscapes. A biographical essay by curator Tim B. Wride frames Jones and his work within the context of photographic history, the people he collaborated with-including Ansel Adams as well as Lange-and the great scope of Californian life.