{"title":"Photo books","description":null,"products":[{"product_id":"jussi-aalto-kohteena-ihminen-muotokuvauksen-opas","title":"Jussi Aalto - Kohteena ihminen - Muotokuvauksen opas","description":"\u003cp\u003eSB, 175 sivua\u003cbr\u003e\nTaide, 1999\u003cbr\u003e\nKlassikoksi muodostuneen muotokuvausoppaan toinen, päivitetty painos.\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eIhmisten kuvaaminen on aina ollut suosituin mutta samalla haastavin valokuvauksen laji. Kohteena ihminen -oppaassa on hyödyllisiä neuvoja ihmisten valokuvaamisesta kiinnostuneille, niin harrastajille kuin ammattilaisillekin. Tekijän ottamat lähes 300 valokuvaa välittävät kirjan runsaan tietoaineksen helposti omaksuttavassa ja havainnollisessa muodossa. Jussi Aalto on toiminut vuosikymmeniä valokuvaajana ja valokuvauksen opettajana, pitänyt kuvanäyttelyitä ja osallistunut kirjojen tekemiseen. Kohteena ihminen on uudistettu laitos hänen 1984 ilmestyneestä ensimmäisestä perusteellisesta suomalaisesta muotokuvauksen oppaastaan. Jussi Aallon Kohteena ihminen on niin hyvä alansa opas kuin toivoa saattaa. Se esittelee kuvauksen eri näkökohdat selkeästi, mutta ei suistu tekniikan suohon.” “Kaikki Suomen näppäilijät, lukekaa tämä kirja ennen kuin haaskaatte seuraavan filminne!” Näin kirjoitti Seppo Heikinheimo Kohteena ihminen -teoksen ensimmäisen painoksen arvostelussaan Helsingin Sanomissa 2.3.1985.\u003c\/p\u003e","brand":"Jussi Aalto","offers":[{"title":"Default Title","offer_id":55041928298823,"sku":"9516080383","price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/kohteena-ihminen_0512_14e_1.jpg?v=1789560982"},{"product_id":"jouko-leskela-vapaat-hetket","title":"Jouko Leskelä - Vapaat hetket","description":"\u003cp\u003eSB, 30 sivua.\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003ePublished 1986 “VALPPAANA KADULLA Street photography on pohjimmiltaan vapaata näppäilyä. Mahdollisuuksien paljoudessa katukuvaaja kohdistaa huomionsa valikoidusti. Oma tavoitteeni on esittää kuvia, joissa samanpariset tai eripariset henkilöt tai rakennetun ympäristön yksityiskohdat toisintuvat tai rinnastuvat keskenään. Katukuvani ovat järjestämättömiä tilanteita. En pyydä ketään tekemään jotakin näkemääni tapahtumaa tai liikettä uudestaan kuvaani varten. Katuvalokuvauksen koordinaatit: Katukuvauksella tarkoitetaan vapaata yhdistelyä sisältävää etukäteen järjestelemätöntä valokuvausta julkisilla paikoilla. Kuvien aiheina ovat pääasiassa ihmiset ja heidän välilleen syntyvät yhteensattumat. Katukuvaaja on nimetön toimija, joka kuvaa useimmiten itselleen tuntemattomia ihmisiä. Katukuvaaja ei piiloudu, mutta ei myöskään yleensä esittäydy ja kysy lupaa kuvaamiseen. Kiinnostavat katukuvat sisältävät pieniä merkitseviä yksityiskohtia, joita katsojan täytyy lukea kuvasta. Katuvalokuvaus on myönteishenkistä elämän tarkkailua. Pitkäjänteinen katuvalokuvaustyö voi saada dokumenttiluonteisen ajankuvamerkityksen, usein vasta vuosia kuvauksen päättymisen jälkeen. Dokumenttivalokuvauksesta katukuvaus eroaa siinä, että dokumentaristi yleensä toimii yhteistyössä kuvattaviensa kanssa. Hän on saanut kuvaamiseen luvan. Se on mahdollista kysyä, koska kuvauksen kohteena on rajattu määrä henkilöitä, ei koko kaupungin väestö. Taidevalokuvauksesta katukuvaus eroaa siinä, että näppäilijän havainnot eivät ole valokuvauksen vuoksi rakennettuja tilanteita. Katukuvat harvoin näyttävät etäännytetyiltä. Elämän merkkejä ei niissä ole eristetty alkuperäisiltä tapahtumapaikoiltaan. Lehtikuvauksesta katukuvaus eroaa siinä, etteivät kuvatut tilanteet ole suuria ja tärkeitä tapahtumia, uutisia. Kuvat voivat olla suurten järjestettyjen asioiden liepeiltä, mutta pääasian vierestä tehtyjä huomioita. Lehtien nykyisen nopean selausrytmin vuoksi lehtikuvan pääsanoma harvoin on pieni yksityiskohta. Tämän vuoksi katukuvia ei juuri julkaista lehdissä. Historian mustavalkoiset siivet: Henri Cartier-Bresson ja Garry Winogrand Vuonna 2004 elokuun toisena päivänä 95-vuotiaana kuollut ranskalainen reportaasikuvaaja Henri Cartier-Bresson oli myös katukuvauksen vaikuttaja. Hän nimesi oivaltavan huomion ratkaisevaksi hetkeksi. Hänen harmonisesti sommitellut, maailmaa eri puolilta näyttävät tilannekuvansa olivat kohteliaan herrasmiehen huomioita. Henrin kuvissa ihmiset näyttivät ilmeikkäiltä mutta silti arvokkailta. Yli 30 valokuvakirjaa julkaissut Cartier-Bresson on vaikuttanut tyylillään lukemattomiin myöhemmin syntyneisiin valokuvaajiin. Huomaamatta ilman salamaa toiminut mestari myönsi hänestä tehdyssä dokumentissa, että hän joskus tunsi itsensä taskuvarkaaksi, kun kuvasi henkilöitä heitä häiritsemättä. Keväällä 2003 Pariisissa avattiin mestarin nimeä kantava säätiö ja museo. Amerikan street photographyn uudistaja oli vuonna 1984 56-vuotiaana keuhkosyöpään äkillisesti kuollut Garry Winogrand. Hän nosti kuvissaan pääasioiksi pienet merkitsevät yksityiskohdat. Sommittelullisesti hänen usein vinoon käännetyt kuvansa näyttivät pikemminkin hallittua kaaosta kuin Cartier-Bressonin kaltaista geometrista tasapainoa. Winograndin levottomissa kuvissa elämä näyttäytyi myös monta pykälää rosoisempana, hän ei kaihtanut näyttämästä surkuhupaisiakaan tilanteita. Vauhdikas Garry jätti jälkeensä 2500 kuvattua kehittämätöntä 135-koon filmirullaa, 6500 kehitettyä rullaa ilman pinnakkaisia ja 3000 rullaa pinnakkaisineen, mutta pääosin ilman merkintöjä kuvavalinnoista. Garryn tätä aiempi, parhaiden päivien tuotanto on Arizonan yliopiston kokoelmissa, joista valitut näyttelyt kiertävät parhaillaan maailmaa. Tyylit ja tittelit uudistuvat Viime vuosituhannen lopulla street photography koki suosionsa aallonpohjan. Suora näkymä ja pysäytetty hetki valokuvissa olivat harvoin esillä näyttelyissä ja kirjoissa. Kiinnostuksen lisääntymisen ja ilmaisun muuttumisen hyvä esimerkki on Jeff Mermelsteinin SideWalk kirjan julkaisu vuonna 2000. Teoksen värikuvat ovat New Yorkin katujen elämästä. Näyttävien kokoaukeaman havaintojen tunnelma on tuokionomainen, hetket eivät ole toiminnan huippukohtia. Tärkeät täplät ovat kuvissa usein selkeästi aivan etualalla. Katukuvauksen perinteestä on jäljellä lämminhenkinen elämän monimuotoisuuden esittäminen. Jeffin toinen kirja, No Title Here, on vuodelta 2003. Korostetusti kinoruudun muotoisessa teoksessa on valikoima tilanteita New Yorkin lisäksi muualtakin USA:sta. Nyt merkitseviä yksityiskohtia on katsojan usein itse etsittävä eri puolilta kuvaa. Huolimatta ilmeikkäistä, salaman pysäyttämistä tapahtumista, kirjan esipuheen otsikko kuuluu: Ei ratkaisevia hetkiä. Kuraattorin teksti kertoo, kuinka elämän olosuhteiden tallentamiseen sitoutuneet kuvaajat siirtyvät katujen sijasta toimimaan kauppa- ja mukavuuskeskuksissa, stadioneilla, messuilla ja erikoistapahtumissa. Paikoissa, jotka nykyään kokoavat ihmisiä yhteen. Kansilehden sisätaitteessa kriitikko kirjoittaa Jeffin tittelin: näppäilytaiteilija, snapshot artist. Internetistä löytyy runsaasti lisää esimerkkejä uudistuneesta katuvalokuvauksesta. Erityisesti www.in-public.com sivuston tekijät näyttävät ja kertovat mielenkiintoista uutta street photographyn alueelta.” Tämä artikkeli julkaistiin Kamera-lehdessä 10\/2004 Arkienkelit-näyttelyn kuvieni kanssa. Jouko Leskelä “ALERT ON THE STREET Street photography is at the end of the day free snapping. In the abundance of possibilities the street photographer focuses his attention selectively. My own goal is to show images, where similar or mismatched people or elements of manmade environment reoccur or juxtapose with each other. My street pictures are unarranged situations. I don’t ask anyone to repeat anything I saw for a photograph. The coordinates of street photography: Street photography means freely composed unarranged photography in public places. The subject is mainly people and coincidences between them. The street photographer mostly photographs people he doesn’t know. A street photographer doesn’t hide but neither does he usually introduce himself or ask for permission. Interesting street images entail small meaningful detail, which the viewer has to read from the picture. Street photography is observation of life with a positive spirit. Over time, a long span street photography may gain a zeitgeist-like meaning of a documentaristic nature, often years after the work has ended. Street photography differs from documentaristic photography with the fact that a documentarist usually works together with his subjects. He has been given permission to photograph. It has been possible to acquire permission because the subject includes a certain number of subjects, not for example the entire population of a city. It differs also from photographic art, as the observations of the street snapper are not created for photography. The street photos rarely look estranged. The signs of life have not been isolated from their original scenes. From photojournalism, or editorial photography, street photography differs by the subjects not being big or important events, news. The images might be taken around arranged events, but they remain observations beside the point. Due to the fast rhythm of news, the main item in news photography is rarely a small detail. This is why street photography is not often published in papers. The black and white wings of history: Henri Cartier-Bresson and Garry Winogrand Passed away at the age of 95, on the 2nd of August in 2004, the French reportage photographer Henri Cartier-Bresson, had also an influence on street photography. He named the insightful observation as the decisive moment. His harmonically composed images, viewing the world from different angles, were the observations of a polite gentleman. In his photographs people looked expressive, but yet dignified. With over 30 published photographic books, Cartier-Bresson has with his style influenced countless photographers after him. Working unnoticeably, without a flash, the master did admit in a documentary of his work, that he sometimes did feel like a pickpocket, when photographing people without disturbing them. In the spring of 2003, there was a foundation and a museum, carrying the master’s name, opened in Paris. Garry Winogrand, who was in 1984 suddenly lost to lung cancer at the age of 56, was the transformer of the American street photography. In his images he gave a lead role to small meaningful detail. Compositionally, his often tilted images likened more a managed chaos, than a Cartier-Bresson style geometrical balance. In Winogrand’s restless images, life appeared also several degrees rougher. He didn’t shy away from showing melodramatic situations either. The speedy Garry left behind 2500 rolls of exposed but undeveloped 35 mm film, 6500 developed rolls without contact sheets and 3000 rolls with contacts, but mainly without any indication of selections. His earlier, best, work remains in the collections of the Arizona University, where selected exhibitions are now travelling around the world. Styles and titles transform At the end of the last century street photography reached a low point in popularity. A straight view and a halted moment were rarely seen in exhibitions or books. A good example of the increased interest and the change in expression is Jeff Mermelstein’s book SideWalk, which was published in 2000. The colour images in the book are from the streets of New York. The flashy full-page-spreads of observations of street life have a momentary feel to them. They are not high points of action. The important spots of the images are clearly at the front. The tradition of street photography has left behind a positive spirit in which the diversity of life is portrayed. Jeff’s second book, No Title Here, was published in 2003. In the book, which takes the form of a 35 mm frame, there is a selection of situations from different parts of the United States alongside New York. This time the viewer often has to look for the meaningful detail from all over the pictures. In spite of the expressive, flash-lit events, the prologue of the book is titled: No decisive moments. The curator’s text explains how the photographers committed to recording the conditions of life have moved from the streets to work in shopping malls, stadiums, fairs and other special events. In all the places that now gather people together. In the cover fold, a critic writes Jeff’s title as: snapshot artist. There are a great number of examples of the renewed street photography to be found on the internet. Especially the keepers of www.in-public.com show and tell interesting news in street photography.” Published in Kamera-lehti 10\/2004, with photos presented at my exhibition Arctic Angel. Text by Jouko Leskelä\u003c\/p\u003e","brand":"Jouko Leskelä","offers":[{"title":"Default Title","offer_id":55041932820807,"sku":"9519979727","price":12.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/leskela_kansi_0806_8d8_1.jpg?v=1789560991"},{"product_id":"antti-nyln-peel-apart","title":"Antti Nylén - Peel - apart","description":"\u003cp\u003eLuova Photo Books Book No. 2\u003c\/p\u003e\n\u003cp\u003eFirst edition\u003cbr\u003eIncludes signed limited edition print: Narkissos\u003c\/p\u003e\n\u003cp\u003e0.9 × 16.5 × 21.5 cm\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eANTTI NYLÉNIN \u003cem\u003ePeel-apart\u003c\/em\u003e on kokoelma pikafilmikuvia päättyvältä vuosikymmeneltä. Jo lakkautetuilla filmimateriaaleilla tehdyissä kuvissa puhtaasti esteettiset piirteet ja täysin yksityiset merkitykset muodostavat jännitteitä. Tekijän jälkisanat.\u003c\/p\u003e\n\u003cp\u003e”Välineeni on aina läsnä valokuvissani. Sitä ei niissä useinkaan nähdä, mutta ilman sitä ei mitään nähtäisi. Jos kirjallani olisi alaotsikko, se olisi Rakkaustarina.” – Antti Nylén\u003c\/p\u003e\n\u003cp\u003eLUOVA PHOTO BOOKS on valokuvakirjasarja, jossa julkaistaan taiteilijoiden pienimuotoisia teoskokonaisuuksia. Kirjat kustantaa ja tuottaa Luova.fi. Kluuttikantiset valokuvateokset toteutetaan digipainotekniikalla. Lisäksi jokaiseen niteeseen sisältyy museolaatuiselle paperille tehty signeerattu pigmenttivedos, jonka voi halutessaan irrottaa kirjan välistä. Editiot on rajattu 300 kirjaan.\u003c\/p\u003e\n\u003cp\u003e© Antti Nylén 2019 for reproduced works and text\u003c\/p\u003e\n\u003cp\u003e© Luova 2019. Published by Luova. Design Juha Nenonen. Production Mikko Raatikainen. Paper Scandia 2000 Smooth White 150 g. Typefaces Dolly \u0026amp; Auto by Underware. Printed \u0026amp; bound in Helsinki. www.luova.fi\u003c\/p\u003e","brand":"Antti Nylén","offers":[{"title":"Default Title","offer_id":55041934033223,"sku":"9789525755060","price":48.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/Peel_apart_kansi27.jpg?v=1789561006"},{"product_id":"martti-jamsa-ruutinkoski","title":"Martti Jämsä - Ruutinkoski","description":"\u003cp\u003eLuova Photo Books Book No. 3\u003c\/p\u003e\n\u003cp\u003eFirst edition\u003cbr\u003eIncludes signed limited edition print Ruutinkoski #10\u003c\/p\u003e\n\n\u003cp\u003e16.5 × 21.5 cm\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eMartti Jämsä: Ruutinkoski. 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Each copy of the Limited Edition includes one of five original silver gelatin prints measuring eleven by fourteen inches, printed and hand-signed by Arno Rafael Minkkinen.\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eSaga. The Journey of Arno Rafael Minkkinen. Photographs by Arno Rafael Minkkinen. Introduction by Alan Lightman. Essay by A.D. Coleman. Afterword by Arthur Danto. Saga is the first major monograph of the work of Arno Minkkinen, published to accompany a series of exhibitions in the U.S. and Europe. Offering a comprehensive retrospective of this vital photographer’s work, Saga gives new meaning to the self-portrait.\u003c\/p\u003e","brand":"Arno Rafael Minkkinen","offers":[{"title":"Default Title","offer_id":55041936458055,"sku":"9780811851466","price":1860.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/bk-saga-mini2.jpg?v=1789561043"},{"product_id":"frostbite-arno-rafael-minkkinen-signed","title":"Arno Rafael Minkkinen - Frostbite (Signed)","description":"\u003cp\u003eSB. Arnon ensimmäinen kirja vuodelta 1978,\u003cbr\u003e\nensimmäinen painos.\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eMorgan \u0026amp; Morgan, Dobbs Ferry, 1978. Unpaged, 59 duotone illustrations, 9×10½”. Arno Minkkinen’s first monograph, published in 1978, established him as one of the foremost photographers of the self-portrait nude. His images are filled with unparalleled humor and intelligence, and often play on his Finnish homeland and its abundant lakes.\u003c\/p\u003e","brand":"Arno Rafael Minkkinen","offers":[{"title":"Default Title","offer_id":55041936687431,"sku":"0871001438","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/frostbite_0512_44d_1.jpg?v=1789561053"},{"product_id":"arno-rafael-minkkinen-body-land-signed","title":"Arno Rafael Minkkinen - Body Land, Signed","description":"\u003cp\u003eHB, 48 pages\u003cbr\u003e\nSmithsonian Books, 1999\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eIn this collection of self-portraits Arno Rafael Minkkinen incorporates his own nude body into a range of isolated settings, emphasizing its bond to the natural world. Whether rooted to the ground like an aspen or emerging from a smooth bank of snow, he contorts himself to merge with the contours of the landscape. An essay that explores his relationship to the camera as both photographer and subject discusses how photography can merge past and future, as well as individual bodies with the earth, sea, and even air.\u003c\/p\u003e","brand":"Arno Rafael Minkkinen","offers":[{"title":"Default Title","offer_id":55041937932615,"sku":"9781560988809","price":26.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/arno_0710_5e5_1.jpg?v=1789561078"},{"product_id":"photography-in-advertising","title":"Photography in Advertising","description":"\u003cp\u003ePages: 240\u003cbr\u003e\nPublisher: Engeseth Publishing\u003cbr\u003e\nPublished: 2004\u003c\/p\u003e","brand":"Useita valokuvaajia","offers":[{"title":"Default Title","offer_id":55041939079495,"sku":"9789163120213","price":60.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/bildschirmfoto_2015-04-14_um_15-01-38.png?v=1789561113"},{"product_id":"martin-parr-postcards","title":"Martin Parr - Postcards","description":"\u003cp\u003eHB, 45 pages\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eA selection of 45 postcards from Martin Parr’s highly successful retrospective book published by Phaidon- A major photographer who bridges the gap between art and photojournalism, Parr’s provocative work is widely known throughout Europe and the United States- A range of colour and black-and-white photographs- Includes some of the most amusing and ironic images from Parr’s entire career- Box created to look like a mini version of the book- Martin Parr (b.1952) has been a member of Magnum since 1994\u003c\/p\u003e","brand":"Martin Parr","offers":[{"title":"Default Title","offer_id":55041939210567,"sku":"9780714843452","price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/parr_kansi_0605_c39_1.jpg?v=1789561121"},{"product_id":"leo-kandl-weinhaus","title":"Leo Kandl - Weinhaus","description":"\u003cp\u003eSB, 112 pages\u003cbr\u003e\nEdition Stemmle, 1999\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eSoftcover, there is also a hardcover edition (with dustjacket) titled „Wiener Runden“ (see “Leo Kandl, Wiener Runden, 1999”). „Austrian-born photographer Leo Kandl worked for twelve years on this project. He began with a Nikon F camera and later switched to a Rolleiflex. He developed and printed all the images himself. After fruitlessly searching for a publisher for fifteen years, his work was introduced to Swiss publisher Stemmle by author and curator Peter Weiermair. Stemmle published the book in 1999.“ (Andreas H. 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Edited and compiled by the distinguished writer Hans-Michael Koetzle, in close collaboration with Burri, this unprecedented retrospective is a historic book of the major political events and key personalities of the twentieth century – as seen through the eyes of one photographer. Nothing like this book on Burri has ever been published before, and it is a real coup for Phaidon to be the first to publish his entire career’s work. A member of the prestigious Magnum photo agency, Burri is a photographer whose curiosity and humanity as a photographer have afforded him almost unrestricted access to the major events and personalities of the last 50 years. In this way, Rene Burri Photographs is a fascinating personal account of the major artists, politicians and personalities that Burri has made a part of his life. First achieving international recognition with the seminal photography book on post-World War II Germany Die Deutschen in 1962, Burri has since become one of the most important figures in the history of photography: he is universally revered by his peers for his sympathetic eye and his capacity to capture larger-than-life personalities on film. Rene Burri Photographs comprises the culmination of years of scholarly research by distinguished writer Hans Michael Koetzle into Burri’s important contribution to reportage photography, resulting in an incisive introduction, a series of in-depth essays at the beginning of each chapter and in extended captions that accompany each image. The book is designed by prominent Swiss graphic designer Werner Jeker of ADN Design, Lausanne. In 21 thematically-organized chapters, we accompany Burri across Europe to the Middle East, Vietnam, Brazil, Cuba and beyond; we visit Picasso, Le Corbusier, Yves Klein and Giacometti in their studios; we witness political figures such as Che Guevara in repose, and Fidel Castro at the helm. 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His pictures of dog walkers, priests, nuns and shopkeepers reveal and empathy to rival that of Doisneau and Brassai. Equally intriguing are his depictions of human activity with the participants gone: a vanished vernacular of chalked-up children’s games, of graffitied messages of love or anger to the world, street signs, peeling walls, window shutters and shop-front banners – signals from another age. Revealed here is a far broader range of photography than that on which Deakin’s reputation has rested so far. But the creative souls and maverick talents that frequented the streets of Soho in its heyday – Francis Bacon and Lucian Freud among them – make their appearance along with anonymous figures and strong faces from Paris and Rome. Both friends and stars appear in Robin Muir’s introduction, which describes both Deakin the man and Deakin the artist. Following his death in 1972 his work lay neglected for a number of years and his reputation dwindled. 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Performers in the book include celebrities like Jenna Jameson (the leading porn star of our time), Ron Jeremy, and Nina Hartley, as well as fast-rising names like Sunrise Adams, Bella Donna and Chad Hunt. The book will also feature short essays on the intersection of pornography and culture by a wide range of distinguished writers, including Salman Rushdie, Francine du Plessix Gray, John Malkovich, Nancy Friday, and John Waters. 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She chronicles pregnancies and births, institutions and streets, and shows a community of inner-city families both full of life and still institutionalized by the welfare system. Her work is fully present, alive to the moment, realistic. 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Diane Arbus Revelations affords the first opportunity to explore the origins, scope, and aspirations of what is a wholly original force in photography. Arbus’s frank treatment of her subjects and her faith in the intrinsic power of the medium have produced a body of work that is often shocking in its purity, in its steadfast celebration of things as they are. Presenting many of her lesser-known or previously unpublished photographs in the context of the iconic images reveals a subtle yet persistent view of the world. The book reproduces two hundred full-page duotones of Diane Arbus photographs spanning her entire career, many of them never before seen. It also includes an essay, “The Question of Belief,” by Sandra S. Phillips, senior curator of photography at the San Francisco Museum of Modern Art, and “In the Darkroom,” a discussion of Arbus’s printing techniques by Neil Selkirk, the only person authorized to print her photographs since her death. A 104-page Chronology by Elisabeth Sussman, guest curator of the San Francisco Museum of Modern Art show, and Doon Arbus, the artist’s eldest daughter, illustrated by more than three hundred additional images and composed mainly of previously unpublished excerpts from the artist’s letters, notebooks, and other writings, amounts to a kind of autobiography. An Afterword by Doon Arbus precedes biographical entries on the photographer’s friends and colleagues by Jeff L. Rosenheim, associate curator of photographs at The Metropolitan Museum of Art. 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The text in addition, very atmospheric in the tradition of Steinbeck, makes the book an unusually successful and complete portrait of a way of life, and more than just a photography book. This definitive collection of Towell’s most important work – ten years in the making – has been eagerly anticipated by his followers. 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Robert Delpire, Koudelka’s longtime French publisher, collaborated with the artist in conceiving and producing this title. The other essayists in Koudelka each explore a different aspect of the artist’s work, illustrating his constant evolution and intensity. — Blackwell North Amer Presents photographs of avant-garde theatre, gypsies on the steppes of Eastern Europe, resistance to Soviet guns and tanks advancing on Prague, the environmental degradation of a crumbled empire, and more. 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His most important pictures in this genre were made in 1949-50 during intense sessions with artist’s models that were essentially an artistic antidote to the ephemeral fashion world. Charged with powerful, physical, and sexual energy, yet somehow chaste, the images are among the most ambitious and successful nudes ever made. Sequenced to reveal the artist’s progressive exploration of his theme, the photographs constitute a remarkable whole — a frieze of life based on a love affair with earthly goddesses.\u003c\/p\u003e","brand":"Irving Penn","offers":[{"title":"Default Title","offer_id":55042230190407,"sku":"0821227874","price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/earthly_bodies_0610_caa_1.jpg?v=1789562777"},{"product_id":"abelardo-morell-camera-obscura-1st-edition","title":"Abelardo Morell - Camera Obscura (1st Edition)","description":"\u003cp\u003eHB, 112 pages, \u003cbr\u003e\nFirst edition 2004\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eAbelardo Morell, author of last year’s award-winning A Book of Books, makes magical camera obscura images in darkened interiors. 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Several of these photographs first appeared in the Surrealist review Minotaure; others were first published in France and Germany in 1960, in a work entitled Graffiti, which accompanied an exhibition that visited New York, London, Milan, Baden-Baden, Frankfurt, Hannover, and Paris. The approach was hugely influential, both for the Surrealists and in the domain of Outsider Art. Accompanying the photographs are selections from previously unpublished writings, including extracts from Brassaï’s own notebooks, in which he noted the presence of elements of graffiti on the walls of Paris that he intended to photograph. The book also contains an interview with Picasso on the subject of graffiti as an art form. This first English language version of this classic title is a beautifully produced edition of what is undoubtedly a seminal work in the history of modern photography.\u003c\/p\u003e","brand":"Brassaï","offers":[{"title":"Default Title","offer_id":55042292515143,"sku":"9782080107138","price":48.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/brassai_graffiti_0612_13a_1.jpg?v=1789562960"},{"product_id":"juha-pekka-laakio-kitchen-works","title":"Juha - Pekka Laakio - Kitchen Works","description":"\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eKohde on katettu ateriaksi, mutta sitä ei ole tarkoitettu syötäväksi: ruokakuvia, mutta vain ulkoiselta olemukseltaan. Kuvien kattaus ja täydellinen herkullisuus saavat veden kielelle, mutta ne eivät ole sitä miltä ne näyttävät. Juha-Pekka Laakion Kitchen Works avautuu nurinkuriseen maailmaan, joka tukeutuu ruokakuvaukseen olematta sitä. Jaakko Heinimäki pohtii johdannossa kattauksen merkitystä aterian syntyprosessissa. Teksti suomi, englanti.\u003c\/p\u003e","brand":"Juha-Pekka Laakio","offers":[{"title":"Default Title","offer_id":55042313158983,"sku":"9529851596","price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/keittio_1.jpg?v=1789563014"}],"url":"https:\/\/luova.fi\/en-eu\/collections\/valokuvakirjat.oembed","provider":"Luova.fi","version":"1.0","type":"link"}