The first major monograph on the leading Magnum photographer, Elliott Erwitt.

Published on the occasion of an exhibition of works from the Harry Ransom Center, University of Texas at Austin, held there, August 15, 2016-January 1, 2017.

At their best, the pictures add to our understanding of the surface event documented and reveal something profound about the people pushing that history forward. — The Los Angeles Times Available for the first time in an accessible paperback edition, this groundbreaking book presents a remarkable selection of contact sheets and ancillary material, revealing how the most celebrated Magnum photographers capture and edit the very best shots. Addressing key questions of photographic practice, the book illuminates the creative methods, strategies, and editing processes behind some of the world’s most iconic images. Featured are 139 contact sheets from sixty- nine photographers, as well as zoom-in details, selected photographs, press cards, notebooks, and spreads from contemporary publications including Life magazine and Picture Post. Further insight into each contact sheet is provided by texts written by the photographers themselves or by experts chosen by the members’ estates. Many of the acknowledged greats of photography are featured, including Henri Cartier- Bresson, Elliott Erwitt, and Inge Morath, as well as such members of Magnum’s latest generation as Jonas Bendiksen, Alessandra Sanguinetti, and Alec Soth. The contact sheets cover over seventy years of history, from Robert Capa’s Normandy landings and the Paris riots of 1968 via Bruno Barbey, to images of Che Geuvara by René Burri, Malcolm X by Eve Arnold, and portraits of classic New Yorkers by Bruce Gilden.

A reissue of Stock's 1970 release California Trip.

"This account of photography and cinema shows how the two media are not separate but in fact have influenced each other since their inception. David Campany explores photographers on screen, photographic and filmic stillness, photographs in film, the influence of photography on cinema, and the photographer as a filmmaker"--OCLC

Like his earlier volume Son of Bitch, this work is devoted to his ongoing observation of the canine species and the light its behavior sheds on the human species. Indeed, these portraits of a variety of breeds in their native settings of London, Paris, New York, and Rio reveal a remarkable correlation between hound and human manners. 90 duotone reproductions.

Includes previously unpublished photographs of Pittsburgh by acclaimed photographer Elliot Erwitt taken between 1949 and 1950. These photographs, capturing the humanity and spirit of the architecture and people of the city of Pittsburgh, were thought lost until the negatives were recently located in the Pittsburgh Photographic Library.

Many different, often contradictory, things have been written about Marilyn Monroe, but one truth remains constant -- the camera loved her. Whether posing kittenishly in a pinup shot or dramatically for a classic portrait, this shy, vulnerable, enormously insecure woman was transformed by the lens. Marilyn posed for nearly every major photographer of her day, and this pictoral chronicle of her affair with the camera, featuring shots from Richard Avedon, Cecil Beaton, Henri Cartier-Bresson, Alfred Eisentaedt, Elliott Erwitt, Philippe Halsman, Weegee, and thirty other artists, brings together the most beautiful and unusual images available. From her early days as a "fashion model" for ads and pinup calendars, through the film stills that follow her career as a minor actress and then major starlit, to the now-famous portraits by Avedon, and Cecil Beaton, as well as the paparazzi shots from the hordes of photographers who trailed her every move -- Marilyn emerges in all her many moods: girlish and gay, sexy and serious, glamorous and girl-next-door. And, in a fascinating and revealing interview with French writer George Belmont, Marilyn sets the record straight about much of her early life, and about her ambitions, fears, and dreams. Jane Russell, Marilyn's friend and costar in Gentlemen Prefer Blondes, enhances this portrait with an affectionate foreword that describes what it was like to work with the young actress. Although we will never know the "real" Marilyn, this sumptuous volume goes a long way toward preserving the memory of an utterly unforgettable woman.

Elliott Erwitt’s eye for humor catches at the same time the subtle hint of tragedy. Seeing what few others see, and capturing it for all of us, is the essence of Personal Exposures. For this volume Elliott painstakingly culled the work of a lifetime, rediscovering prints he had not seen in years and creating a unified whole that reflects a consistent, mature vision of photography and humanity. Here are men, women, and children in off-guard moments; old people; little girls hamming it up; and even various dogs, who have their own preoccupations. The pictures reflect a lifetime of humorous, ironic observation and sensitivity to the human condition.

An extraordinary book celebrating the unique connection between the House of Dior and the United States. Published on the occasion of the retrospective staged at the Brooklyn Museum, this new title chronicles the history of the House of Dior from 1947, when Chris-tian Dior heralded the birth of a new era of elegance with his revolutionary New Look, to the present day, with a special focus on the House’s legacy in America. Featuring a sophisticated Swiss binding, this book presents the exhibition’s highlights with creations by Christian Dior and the artistic directors who succeeded him: Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons, and Maria Grazia Chiuri. Captured by artist Katerina Jebb, some of the House’s most legendary designs are displayed in highly unique images. A portfolio of iconic photographs by American masters—including Richard Avedon, Cass Bird, Henry Clarke, Louise Dahl-Wolfe, Zoë Ghertner, Ethan James Green, Tyler Mitchell, Irving Penn, and many more—underscores Dior’s undeniable cultural influence.