In 1974 the young Timm Rautert travelled to Pennsylvania to photograph those who would normally not allow themselves to be photographed: the Amish, a group of Anabaptist Protestant communities. Four years later Rautert returned to America, this time to the Hutterites who live so stringently by the Ten Commandments and the bible's restrictions on images that they have their identity cards issued without photographs. Both these two series were influential on Rautert's later work and No Photographing brings them together for the first time.

Timm Rautert has been an experimental photographer, a photojournalist, a portraitist and, since 1993, a professor. Following his 1974 book, Deutsche in Uniform, recently reissued, he has continued to photograph his countrymen, devoting much of his time to extensive series, including one from the Frankfurt Stock Exchange in 2000. When We Don't See You You Don't See Us Either refers in title to the portraitist's vocation of seeing and being seen, and offers Rautert's career for the same defining scrutiny, a portrait of its own. This definitive portfolio spans more than 35 years of distinguished work, much of which has never before been published for English-language audiences

A photographic celebration of German typographer Otto "Otl" Aicher Photographs by Timm Rautert (born 1941) taken between 1972 and 1991 celebrate the renowned German graphic designer and typographer Otto "Otl" Aicher, who developed the popular Rotis font family. Accompanying texts by design historians examine the role of Rotis within the cultural history of West Germany.

"Timm Rautert met Josef Sudek for the first time on a study trip to Prague in the spring of 1967. The photography student and the seventy-one-year-old Sudek instantly took to each other, and Rautert began photographing the artist at his studio and home. He accompanied him on his strolls in parks in Little Prague on the left bank of the Vltava river as he searched for adequate perspectives, and documented his work process in and outside the darkroom. The Sudek series is an extraordinary chronicle of a fascinating personality and place in the run-up to the Prague Spring, and marks the beginning of Rautert's career during which the portrait and people at work were always of major importance to him." -- publisher's description

Offers tips and techniques for setting up and executing a boudoir photography shoot, covering topics ranging from preparing a subject and arranging lighting to post-processing, as well as providing advice for male photographers.

A massive, long-overdue retrospective on the multimedia image critique of Hito Steyerl, influential artist and author of Duty-Free Artand The Wretched of the Screen Over the past 30 years, through video and installation, the immensely influential German artist and writer Hito Steyerl (born 1966) has been tracking the ways that images have mutated--from the analogue image and its manifold possibilities for montage to the fluidity of the split digital image--and the implications these mutations have had for the representation of wars, genocides and the flow of capital. "We are no longer dealing with the virtual but with a confusing and possibly alien concreteness that we are only beginning to understand," writes Brian Kuan Wood of the digital visual worlds that the artist presents. At nearly 500 pages, this book--the first substantial overview on Steyerl--looks at multimedia installations and film projects of the past ten years, as well as earlier works, all of which are united by the artist's unflagging interrogation of the politics of the image.

This volume presents and describes 50 of the artist's works with essays by leading Richter experts. It also includes personal testimonials in previously unpublished letters as well as a conversation between Gerhard Richter and Richter expert Uwe Schneede. This book provides new insight into the complexity of Richter's imagery in which banality and evil confront one another: the dreams and aspirations of the times, fast cars and new travel possibilities; personal memories; the oppressive past; contemporary politics; and both trivial and meaningful everyday objects. The cycle 18 Oktober 1977 (1988), which deals with the death of members of the Red Army Faction ('Baader-Meinhof gang') plays an important role in our understanding of the evocative power of these pictures from the 1960s. Richter's intense preoccupation with this event concludes this group of paintings from photographs. This cycle, which was loaned to the Bucerius Kunst forum in Hamburg by the New York Museum of Modern Art, has led to a new interpretation and positioning of Richter's work.

John Gossage, the renowned American photographer and photography book-maker, presents two companion volumes and his first ever books in color. Engaged in a dance, neither book comes first, there is no hierarchy or sequence to the pair of volumes. Gossage is one of the most literary of photographic book authors and in The Thirty-Two Inch Ruler, the narrative, whilst not autobiographical, is about a neighborhood in which he lives; one that is singular in the United States. At the same time provincial and international, it is a neighborhood populated by ambassadorial residences, embassies, and the lavish private homes of those who are in positions of power and influence in Washington. A project he began with the arrival of a new neighbor, the Secretary of Defense Donald Rumsfeld and made over a full years cycle of seasons, these are images from the drift of privilege. The streets, cars, homes and yards of this neighborhood are photographed on perfect spring or autumn days, with sparklingly clear blue skies, and flowers or foliage accenting the order. These are photographs about how one might wish the world to be, how beauty might be seen as desire. In the same year Gossage made the Map of Babylon, photographing digitally from Washington, to Germany, to China and places in-between. This look away, to places beyond the immediate and local, is a classic exploration of particulars of the outside world.

Known for his photographic portrayals of celebrity relics, Leutwyler offers a peek into Frank Sinatra's private pocket phone book. From what today seems like the quaintness of analogue-era 1970s, we come to know Sinatra's circle and speculate on the meaning of those relationships.