Libros de fotografía, página 17 de 628

Walker Evans (190375) is now considered perhaps the finest documentary photographer ever and his images have had considerable influence on other artists, and not only in the field of photography. He is well known for his 1930s work for the Farm Security Administration, documenting the effect of the Great Depression on a section of the rural population. He also took many photographs of shopfronts, billboards and the seemingly inconsequential details of urban life.

Walker Evans (1903-1975) is best known for documenting the people and living conditions of the American South during the Great Depression. But his photographic accomplishments were much broader than these famous images: modernist views of New York City, such as his Flatiron Building, New York (1928-29) and Brooklyn Bridge (1929); architectural studies of Victorian homes and other buildings in Boston, Cape Cod, Saratoga Springs, and small towns in upstate New York; a series of spontaneous and surreptitious portraits taken on the Manhattan subway; scenes from Cuba in the 1930s; and his commercial assignments as a staff photographer and writer for Fortune magazine. The familiar work from his Farm Security Administration project is also here-views of the rural South immortalized in his collaborative book with James Agee, Let Us Now Praise Famous Men, along with urban images from New Orleans and Savannah. Essays by Christian A. Peterson, associate curator of photography at The Minneapolis Institute of Arts, describe Evans''s photographic vision and include fascinating information about the acquisition history of many of the photographs in this book. Illustrated with almost one hundred high-quality black-and-white photographs, Walker Evans presents the full breadth of Evans''s expansive and varied photographic art. Distributed for The Minneapolis Institute of Arts.

Walker Evans, more than any other photographer in the thirties and forties, defined the documentary aesthetic. For over four decades he used his camera precisely and lucidly to record the American experience. He is generally acknowledged as America''s finest documentary photographer of this century. He attempted to show both the beauty of his subjects and the horror of the social situations in which they lived. During the Depression, from 1935 to 1937, Evans took part in the most extensive photographic project ever carried out in the United States-the pictorial survey of the Farm Security Administration. The now-legendary collaboration with James Agee that resulted in the masterpiece Let Us Now Praise Famous Men documents his dedication to photographing the country he knew. Evans''s talented eye and sensitive heart make him one of the great photographers of this century. This volume contains many of his best-known images.

In 1930 a disaffected young photographer in New York pointed his camera at two workers shoving a huge sign reading DAMAGED into a truck. With that image, Walker Evans gave birth to the quirky, edgy genre of street photography. Yes, this is the same Walker Evans famous for eye-level photographs of Alabama sharecroppers, rural churches and roadside signs. The special appeal of Walker Evans is that—in addition to nearly 200 classic photographs—it offers new images and fresh assessments of his work, based on diaries, letters, field notes and unpublished negatives acquired a decade ago by the Metropolitan Museum of Art in New York. The engagingly written essays by four specialists all bump up against the contradictory impulses of this meticulous, aloof yet curiously passionate artist. A self-described "gray man," he hated color photography. Yet the photographs from his final years--he died in 1975--include strikingly offbeat Polaroids of the glum or startled faces of friends and acquaintances. Four decades earlier, too inhibited to confront strangers directly, he hid a camera in his coat to capture the slack faces of subway riders. Despite the unadorned power of his images of people, Evans had a deeper connection to vernacular architecture and roadside signs. He photographed these everyday subjects straight on, at eye level, deliberately opting for the most deadpan approach. Yet the images are imbued with Evans' unique sensitivity to subtle visual rhythms. Influenced by Surrealism, he freely cropped photographs to shift the viewer's perspective. Despite his ardent scrutiny of the American scene in the 1930s, Evans stood apart from politics and disdained both sentimentality and social criticism. His omnivorous appetite for the culture of his time was tempered by the sober documentary influence of nineteenth century photographers Eugène Atget and Matthew Brady. For all its shrewd commentary, this beautifully produced book discusses Evans' life only insofar as it illuminates the story of the photographs. More detailed accounts are available in biographies by James R. Mellow and Belinda Rathbone

El libro más completo del mítico fotógrafo, W. Eugene Simth, el maestro del fotoensayo, con las imágenes que dieron la vuelta al mundo en la revista “Life”. Incluye textos inéditos de W. Eugene Smith

W. Eugene Smith revolucionó el campo del ensayo fotográfico con sus trabajos publicados en la revista "Life" entre 1948 y 1956. Este libro reproduce las imágenes de sus seis reportajes emblemáticos:

The decade from 1993 to 2003 was the period during which hip-hop rose from an urban subculture to a multi-billion-dollar industry, whose styles and sound have affected every aspect of worldwide popular culture. One magazine led the way in chronicling this hip-hop revolution: VIBE. Launched by Quincy Jones in 1993, VIBE soon became the fastest-growing music magazine in history. Envisioning a multicultural future that has since become a reality, VIBE ushered in a new kind of celebrity: stars who challenged showbiz conventions and spoke to issues of race and identity. VIBE was the first magazine to profile future megastars like Snoop Doggy Dogg, Puff Daddy, and Mary J. Blige, while continuing to embrace pop royalty like Michael Jackson, Prince, Britney Spears, and Destiny''s Child. The magazine also connected hip hop to the larger tradition of black music and the broader culture that informed it, with revealing profiles of figures like Al Green, Jennifer Lopez, movie stars like Will Smith, comedians like Chris Rock and Richard Pryor, sports figures like Shaquille O''Neal, and cultural icons like Oprah Winfrey and Louis Farrakhan.As part of the celebration of VIBE''s 10th anniversary, the magazine''s editors have gathered together some of the most powerful and compelling images ever to appear in the magazine, along with a selection of never-before-seen shots and outtakes. These photos showcase the work of some of the best contemporary photographers, and include images from Tupac Shakur in a straight jacket and the members of TLC in firemen''s outfits (for an article in which Lisa "Left-Eye" Lopes admitted to burning down her boyfriend''s mansion) to candid shots of a porn star clutching a teddy bear and a resident of Watts, L.A. just getting through the day. VX: Ten Years of VIBE Photography will be the definitive photography book for the hip-hop generation.

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En el marco de una residencia
 de creación en Diaphane, pôle photographique en Hauts-de-France,
 el fotógrafo Israel Ariño recorrió, entre junio del 2017 y diciembre del 2018, el territorio de Clermo