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ISBN 978-0-500-41091-2
· 47/8" x 71/2"
· 79 illustrations in color and duotone · 144 pages · PHOTOGRAPHY
ISBN 978-0-500-41084-4 · 47/8" x 71/2"
· 63 duotone illustrations · 144 pages · PHOTOGRAPHY
André Kertész is one of the figures who shaped modern photography. From the First World War onwards, his independent spirit led him to practice an art based on spontaneity and sincerity, seeking out the chance moments that "capture the true nature of things." Tender, nostalgic, modest, he forged a new path for photography, a kind of poetic realism that was neither forced nor showy. "I never document," he said. "I give my own interpretation."
ISBN 978-0-500-41063-9 · 47/8" x 71/2"
· 58 duotone illustrations · 144 pages · PHOTOGRAPHY
War photography is not a profession; it is a way of getting at the truth of the human condition, as close as possible
to man, to his hopes and fears, his ignorance and his beliefs. This closeness may be because showing the death of
others means risking one's own life. Don McCullin always understood that war is hell. His images from Vietnam, Northern Ireland, and other scenes of conflict have the beauty of classical tragedies: they speak of horror and absurdity.
ISBN 978-0-500-41089-9 · 47/8" x 71/2"
· 64 duotone illustrations · 144 pages · PHOTOGRAPHY
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There are some adjectives one hesitates to use: exceptional and unclassifiable are among them. Nonetheless, they
apply to Nobuyoshi Araki, who has turned photography into the very essence of his existence. Prolific to an
astonishing degree, he has spent over thirty years building up an "autobiophotography" that displays the fundamentals
of his daily life without modesty or restraint. Fascinated by women and by the city—particularly Tokyo, which he
documents in all its frenetic moods—he is the leader in a new school and the role model for a younger generation
that goes beyond aesthetics to seek the truth in every moment.
"The real thing that I'm talking about has purity and a certain severity, rigor, simplicity, directness,clarity, and it is without artistic pretension in a self-conscious sense of the word." Walker Evans himself provided this perfect definition of his own work. He photographed Depression-era America with a constant striving for objectivity, a kind of documentary neutrality. Nevertheless, the sculptural subtlety of his images and the close attention he pays to both people and things marked an entire generation of artists.