История фотографии

A detailed insight into the lives and careers of the great photographers

In the history of photography, the lives of the major practitioners are as captivating and richly layered as the images they have left behind, many of which have become part of the cultural landscape. Yet the stories to be found behind the lens - of economic hardship, of personal tragedy, of fame won and lost - are all too often overlooked.

In Lives of the Great Photographers, thirty-eight of the most important and influential figures of the nineteenth and twentieth centuries, from Ansel Adams to Madame Yevonde, are profiled in bold and compelling detail. By examining the lives and backgrounds of these often complex personalities, as well as the social and political crucibles in which their world views were forged, author Juliet Hacking also casts new light on their work. Illustrated with a portrait or self-portrait of each photographer and notable examples of their oeuvre, this lively and original publication not only provides a greater, more nuanced understanding of the featured image-makers but also guides the reader through the key innovations, movements and developments in the story of photography itself.

The final volume in a series of books that presents a new and comprehensive history of photography through works in MoMA’s collection

Photography at MoMA: 1860–1920 is the final volume in a set of three books that together present a new and comprehensive history of photography through works in MoMA’s collection. Richly illustrated with over 400 reproductions, the book charts the medium from its invention through its participation in international art movements such as Pictorialism and modernism. It offers a fresh lens through which to appreciate works of exceptional significance, surprise, and influence, encouraging creative new readings. Beginning with an in-depth introduction, the book includes eight chapters of full-colour plates, each introduced by a short essay.

Masterworks by photographers such as Julia Margaret Cameron, Roger Fenton, Nadar, Frances Benjamin Johnston, Henry Fox Talbot, August Sander, Edward Steichen and Carleton Watkins appear alongside lesser-known gems and vernacular forms of photography.

The history of photography has been told many times, but never before through the incomparable collection of photographs at The Museum of Modern Art.

As the second volume in a set of three books that together present a new and comprehensive history of photography through works MoMA’s collection, this publication charts the medium during the height of the modernist period, from 1920 to 1960. The Museum’s significant role in the development of photography and its complicity in the construction of a canon that championed photography as an art form (but also eclipsed certain alternative or unfamiliar practices) requires a reconsidered history for the 21st century.

This book offers a fresh lens through which to appreciate works of exceptional significance, surprise and influence, encouraging creative new readings. The book begins with an in-depth introduction followed by seven chapters of full-colour plates, each introduced by a short essay. Masterworks by such photographers as Henri Cartier-Bresson appear alongside lesser-known gems, and diverse notions of modernism enrich classic interpretations so that the beautiful fictions and messy realities of photography are complicated, refreshed, and, above all, enjoyed.

The fifth edition of this indispensable survey of photography spans the history of the medium, from its early development to the latest advances in technology and social media platforms. Mary Warner Marien discusses photography from around the world and through the lenses of art, science, travel, war, fashion, the mass media and individual photographers.I Professional, amateur and art photographers are all represented, with ‘Portrait’ boxes devoted to highlighting important individuals and ‘Focus’ boxes charting particular cultural debates.

About the Author:

Mary Warner Marien is Professor Emerita in the Department of Fine Arts at Syracuse University, New York. She continues to lecture in the United States and Europe and in 2008 won an Andy Warhol Foundation Arts Writer award for her continuing work on the history and theory of documentary photography. She is the author of Photography and its Critics (Cambridge University Press, 1997) and 100 Ideas that Changed Photography (Laurence King, 2012) as well as numerous articles on photography.

The 50 years of artistic and mass photography taken into consideration in this volume are unquestionably the most important in the twentieth century. The acceleration of technological progress, the advent of the era of the machine and the metropolis, the epoch-making economic crisis, the dramatic aftermath of the collapse of the old nineteenth-century order in Europe with political upheavals, wars, revolutions and dictatorships, the first appearance of a mass society capable of expressing cultures and systems of communication in line with its needs: these are the most obvious stages of a history that was also recorded as it happened, in various forms and media. Among these, key importance certainly attaches to photography. It is evident that mankind had never before been in possession of an instrument capable of supplying such an enormous number of images of such universal accessibility as regards both visibility and creation. The Kodak camera, a device anyone could use, and the popular illustrated press are the two cornerstones of this aspect of the photographic history of the twentieth century. This richly illustrated book – complete with synoptic tables and a summary glossary – offers a wide-ranging survey of this era that will delight and inform a constantly growing audience.

A celebration of the most beautiful, meaningful and inspiring photographs that have arisen from this very modern medium

Photography: The Whole Story leads you through the world’s most iconic photographs – those images that have become key reference points in our conception of ourselves and the world around us.

• Organized chronologically, it traces the evolution of photography period by period, while detailed timelines provide historical and cultural context
• The works of key photographers – such as Henri Cartier-Bresson, Richard Avedon, Annie Leibovitz and Andreas Gursky – are assessed to reveal what motivated them, who influenced whom and what each was striving to achieve
• Illustrated focal points single out such aspects as use of colour and visual metaphor, quirks of composition and technical innovation
• Includes a diverse and international roster of contemporary practitioners

If you love photography and would like to know more, Photography: The Whole Story is for you.

About the Author:

Juliet Hacking has been Programme Director of the MA in Photography (contemporary and historical) at Sotheby’s Institute of Art since 2006. She is also the author of Lives of the Great Photographers (Thames & Hudson, 2015).

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In a world where billions of snapshots are taken every year, why are some photographers and their works considered so significant?

People have always tried to capture moments as images and over the centuries it was the task of artists to select subjects and set them down, but in 1839 a new medium appeared: photography. Originally messy and time-consuming, the photograph rapidly evolved to become a means of capturing the world 'in the blink of an eye.

If you love photography and would like to know more, Photography: The Whole Story is a celebration of the most inspiring photographs that have come from this very modern medium. Illustrated, in-depth essays cover every photographic genre, from early portraits and tableaux to digital montages, split-second sports images and conceptual photographs of today.

The book begins with a succinct overview of photography, placing it in the context of the social and cultural developments that have taken place since its arrival. The book then traces chronologically the rapid evolution of photographic style, period by period and movement by movement.

The ideas and works of key photographers are assessed to reveal what motivated them and what each was striving to achieve. Detailed cultural and individual artist timelines clarify the historical context.

Supporting each essay are close analyses of key works that single out the characteristics of each period – such as the use of colour and visual metaphor, quirks of composition and technical innovations – enabling us to grasp each work’s full meaning. Here are the tiny but telling details of social portraits; the stark, graphic qualities of urban landscapes; the erotic, or the undertones of nude studies; and the humour, anger or pathos of conceptual works.

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Книга «Photography: The Whole Story» ответит на вопрос, почему в мире, где каждый год делаются миллиарды снимков, некоторые фотографы и их работы являются такими значимыми, и пользуются особенной популярностью.

Огромная жажда человека, в малейших деталях, запомнить моменты жизни привела к созданию одного из самых невероятных изобретений – фотографии. Каким бы талантом не обладал художник, не всегда удастся запечатлеть секундное мгновение. Да и носить с собой художника не очень удобно) Поэтому далекий 1839 год мы с удовольствием символизируем с изобретением фотографии. Хоть вначале снимки давались не легко и занимали много времени (необходимо было долго сидеть неподвижно), искусство фотографии быстро развивалось и, в один миг, заполонило весь мир.

«Photography: The Whole Story» станет увлекательной энциклопедией для всех, кто интересуется фотографией или уже является опытным фотографом. Тут можно не только увидеть огромное количество легендарных снимков разных эпох, но еще и ознакомится с особенностями жанров этого искусства.

Книга «Photography: The Whole Story» начинается с краткого обзора фотографии, связывая ее с различными социальными и культурными событиями, еще со времен ее появления. Затем, в хронологическом порядке, прослеживается стремительная эволюция фотографического стиля, период за периодом. Далее рассматриваются отдельно идеи и работы ключевых фотографов, чтобы выявить, что было для них мотивацией и чего удалось достичь.

Каждое эссе содержит в себе тщательный анализ ключевых работ, характеризующих разные периоды. Это красноречивые детали разно-жанровых портретов, от графических городских ландшафтов и строгих портретов – до эротики в стиле ню, юмора, гнева или пафоса современных концептуальных фотографий.

For the past 50 years, the covers of Rolling Stone have depicted the icons of popular culture — from John Lennon, Bob Dylan, the Rolling Stones, Madonna, and Steve Martin to Rihanna, Louis C.K., Adele, Radiohead, and Barack Obama — cementing their legendary and influential status. No other magazine has the illustrious history and prestige of having defined popular culture from the birth of rock and roll to the present.

This fantastic collection is newly revised and updated to include the covers from all 50 years of Rolling Stone history. With an updated introduction by Jann S. Wenner as well as new excerpts from the magazine and quotes from photographers and their celebrity subjects, this nostalgic journey down the memory lane of music, entertainment, and politics is irresistible.

About the Author:

Rolling Stone was founded by publisher Jann S. Wenner and music critic Ralph J. Gleason in 1967. It has a circulation of more than one million readers in the United States and widespread international circulation. Wenner is also the head of Wenner Media and the publisher of Us Weekly and Men’s Journal. In 2005, he was inducted into the Rock and Roll Hall of Fame. Rolling Stone and Wenner are based in New York City.

Generously illustrated with photographs from early twentieth-century reformers to contemporary artists, this collection of essays re-examines the genre of social documentary photography through the shifting lens of photographic objectivity, modes of dissemination, and the passions animating documentary projects.

While the public’s acceptance of photographs as visual evidence made documentary photography possible, canny interventions employed by image makers and their editors alternately exploit and dismantle assumptions of the medium’s transparency, testing our wish to see pictures inspire social change.

Among the photographers included in the exhibition and book are Berenice Abbott, Max Alpert, William Castellana, Walker Evans, Larry Fink, LaToya Ruby Frazier, Lewis Hine, Boris Ignatovich, Dorothea Lange, Igor Moukhin, Gordon Parks, Alexander Rodchenko, Arthur Rothstein, Sebastião Salgado, Arkady Shaikhet, Aaron Siskind, W. Eugene Smith, Weegee et al.

 - Beautifully illustrated survey of photography in the social sphere
 - First time the Zimmerli's photography collection is the subject of a book
 - Combines American, European, and Soviet and Russian photographers in one volume

The Bitter Years celebrates some of the most iconic photographs of the 20th century and provides a whole new insight into Edward Steichen’s impact on the history of documentary photography.

The Great Depression of the 1930s was still a vivid memory in 1962 and The Bitter Years was the title of a seminal exhibition held that year at The Museum of Modern Art, New York, curated by Edward Steichen. 2012 marked its 50th anniversary. No proper catalogue was produced of the exhibition in 1962 so this book provides a unique opportunity to see all the photographs in a structure and sequence that reflect those devised by Steichen for the original show.

The exhibition featured more than 200 images by photographers who worked under the US Farm Security Administration (FSA) in 1935–41 as part of Roosevelt’s New Deal. The FSA, set up to combat rural poverty, included an ambitious photography project that launched many photographic careers, most notably those of Walker Evans and Dorothea Lange.

The exhibition featured their work as well as that of ten other FSA photographers, including Ben Shahn, Carl Mydans and Arthur Rothstein. Their images are among the most remarkable in documentary photography – testimonies of a people in crisis, hit by the full force of economic turmoil and the effects of drought and dust storms.

This book is published in association with the Centre National de l’Audiovisuel and the Ministry of Culture in Luxembourg. It accompanies a permanent display at the Château d’Eau in Dudelange of the original exhibition, given by Steichen, who was born in Luxembourg. No proper catalogue was produced of the exhibition in 1962 so this book provides a unique opportunity to see all the photographs in a structure and sequence that reflect those devised by Steichen for the original show.

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'The Bitter Years' was a seminal exhibition curated by Edward Steichen in 1962 at the Museum of Modern Art, New York. The show featured 208 images by photographers who worked under the aegis of the US Farm Security Administration (FSA) in 1935-41 as part of Franklin Roosevelt's New Deal.

The Great Depression of the 1930s defined a generation in modern American history and was still a vivid memory in 1962. The FSA, set up to combat rural poverty, included an ambitious photography project that launched many photographic careers, most notably those of Walker Evans and Dorothea Lange. The exhibition featured their work as well as that of ten other FSA photographers, including Ben Shahn, Carl Mydans, and Arthur Rothstein. Their images are among the most remarkable in documentary photography - testimonies of a people in crisis, hit by the full force of the economic turmoil and the effects of drought and dust storms.

'The Bitter Years' was the last exhibition curated by Steichen, who was not only a distinguished photographer in his own right, but also a celebrated director of the photography department at MoMa, in which role he had won international acclaim in 1955 for 'The Family of Man' exhibition.

Jean Back, Director of the Centre National de l'Audiovisuel, contributes an introduction to the book and the four essays by international writers and teachers on photography discuss the FSA, its place in the history of 20th-century photography and the continuing role of its archive, Steichen and the origins, impact and legacy of the exhibition, and its new location in Luxembourg.

About the Author:

Françoise Poos is a curator at the National Audio Visual Centre, Luxembourg. Ellen Handy is Chair of the Photography Department, City College of the City University, New York. Gabriel Bauret is the author of books on Colour Photography, Alexey Brodovitch and Peter Knapp. He has been artistic director of Le Mois de la Photo, Paris. Ariane Pollet wrote her doctorate at the University of Lausanne on Steichen’s work at MoMA, New York. Antoinette Lorang received her doctorate at the University of Heidelberg.

A revised and updated edition of Phaidon's bestselling book, which brings this landmark work fully up-to-date with new additions covering the latest developments in photography

The Photography Book is an unsurpassed collection of more than 550 superb images that represent the world's best photographers from the mid-nineteenth century to today. Arranged alphabetically by photographer, it showcases pioneers such as Gustave Le Gray and Daguerre, icons like Robert Capa and contemporary names such as Richard Wentworth and Carolee Schneemann.

The selection encompasses fashion, sport, natural history, reportage, society portraiture, documentary and art, with concise text providing useful insight into each work and its creator.

Also included are extensive cross-references and glossaries of technical terms and movements.

William Eggleston's Guide was the first one-man show of color photographs ever presented at The Museum of Modern Art, New York, and the Museum's first publication of color photography. The reception was divided and passionate.

The book and show unabashedly forced the art world to deal with color photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren't some average American's Instamatic pictures from the family album. These photographs heralded a new mastery of the use of color as an integral element of photographic composition.

For this edition of William Eggleston's Guide, The Museum of Modern Art has made new color separations from the original 35 mm slides, producing a facsimile edition in which the color will be freshly responsive to the photographer's intentions.

Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the Guide contained 48 images edited down from 375 shot between 1969 and 1971 and displayed a deceptively casual, actually super-refined look at the surrounding world. Here are people, landscapes, and odd little moments in and around Eggleston's hometown of Memphis — an anonymous woman in a loudly patterned dress and cat's eye glasses sitting, left leg slightly raised, on an equally loud outdoor sofa; a coal-fired barbecue shooting up flames, framed by a shiny silver tricycle, the curves of a gleaming black car fender, and someone's torso; a tiny, gray-haired lady in a faded, flowered housecoat, standing expectant, and dwarfed in the huge dark doorway of a mint-green room whose only visible furniture is a shaded lamp on an end table. Includes 48 color illustrations.

A glimpse through the keyhole of history. From the earliest nude daguerrotypes to experimental nude photography

The history of nude photography is the history of people’s fascination with the topic. Indeed, the photographic depiction of the human body is the only subject that has enthralled photographers, theoreticians and consumers over such a long period – more than 150 years. No other motif is as prevalent as this one during all the phases of development comprising the history of photography, no other is present, whatever the technique, and is a subject of discussion within the context of nearly all aesthetic movements. Nor has any other pictorial topic produced such a variety of specialities as the nude: from the ethnological interpretation of the body to the glamour shot, from nudist photography to the pin-up of today. No other photographic field of application has inspired as much desire as it has awakened official wrath.

1000 Nudes offers a cross-section of the history of nude photography, ranging from the earliest nude daguerrotypes and ethnographic nude photographs to experimental nude photography. The period of time spanned by this work is from 1839 to roughly 1939, from the medium’s infancy to the end of the classic modernist period. Content-wise, the book pays tribute to the full range of pictorial approaches, from the manually elaborated artistic nudes of the turn of the century, enveloped in layers of theory, to the “obscene” postcard motifs which had not the slightest artistic pretension and were intended to exert a maximum effect on the buyer’s wallet.

All the pictures shown are taken from the late Uwe Scheid’s collection, one of the world’s largest and most important collections of erotic photography.

About the series:

Bibliotheca Universalis — Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price!

Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together more than 100 of our all-time favourite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.

Bookworm’s delight — never bore, always excite!

Книга 1001 фотография, которую нужно увидеть – бесценный, захватывающий гид в историю и практику фотографии

Фотографии представлены в хронологическом порядке. Открывшийся калейдоскоп изображений покажется вам одновременно захватывающим и неожиданным. Содержательный текст раскроет подробности создания каждой работы, позволив оценить ее визуальную, эстетическую и историческую значимость.

Как появилась эта фотография? С какой целью? Как на нее отреагировали зрители?

Здесь вы найдете работы Роджера Фентона и Уильяма Эглстона, Уильяма Генри Фокса Тальбота и Ника Найта, Анри Картье-Брессона и Доротеи Ланж.

1001 фотография, которую нужно увидеть – источник развлечения, информации, образования и сюрпризов, уникальный гид для всех любителей фотографии.

This is a superbly illustrated exploration of a crucial period in the development of photography. "19th-century British Photographs" is gloriously illustrated volume that showcases the depth and variety of photographs from the National Gallery of Canada's permanent collection, and places them in their social and historical context. Featuring a number of iconic works from some of the medium's earliest practitioners - inc. Julia Margaret Cameron, William Henry Fox Talbot, Frederick H. Evans, Roger Fenton and Henry Peach Robinson - and an insightful analysis of the various photographic processes in use at the time, such as salted paper prints, daguerreotypes, albumen silver prints, collotypes and carbon prints, "19th-Century British Photographs" provides readers with a complete overview of the crucial period in the development of photography.