Nathalie Herschdorfer

Timeless, evocative and hauntingly beautiful: a retrospective monograph by a truly innovative image maker whose female gaze transformed fashion photography. American photographer Deborah Turbeville defies classification. She belongs to no school or movement. Her unique visual signature has been recognizable since her emergence as a major talent in the 1970s. Her images are evocative, difficult to date at first glance, and seem dreamlike to our 21st-century eyes. Turbeville stands apart from her male contemporaries, whose hard-edged, highly sexualized photographs of women now seem to be of their time in comparison with Turbeville’s very different representation of beauty. This book focuses on the area of Turbeville’s practice where her genius as an artist can be found: photocollage. In contrast to her contemporaries in fashion photography, she was deliberately playful with her images: xeroxing, cutting, scraping and pinning prints together, writing in the margins and creating narrative sequences. Her work is located far from single, glossy images. It inhabits a liminal zone between art and commerce. Built upon extensive research in the Deborah Turbeville archive, the work shown spans commercial and personal projects, with many images published for the first time. With texts by Vince Aletti, Anna Tellgren and Felix Hoffmann, this book brings into the spotlight the ways in which Turbeville redefined fashion photography, moving away from the sexual provocation and stereotypes assigned by male photographers to an idea of femininity on her terms. Deborah Turbeville: Photocollage will be an essential publication with modern relevance for all with a passion for fashion photography.

The ultimate guide to the magic and mystery of photography, featuring the landmark photographs, inventions, innovations, exhibitions and publications that changed the way we see the world. Photography has not simply changed how we capture the world: it has changed how we view it, structuring our very ways of seeing. This ambitious publication, timed to coincide with the 200th anniversary of the first-ever photograph, brings together photographs from leading image-makers – including Zanele Muholi, Andreas Gursky, Man Ray, Sebastião Salgado, Hannah Höch, Barbara Kruger and Edward Steichen – alongside unexpected selections. From the earliest 19th-century experiments in fixing light on paper, photography has blossomed and proliferated to a point where some 1.9 trillion photographs are snapped annually. Photographs are now at the core of our image-dominated culture. This is Photography: The First 200 Years carves a cohesive, compelling path through this dizzying mass of information. Presented chronologically, the book showcases key photographs and objects year by year, each one accompanied by a short text entry offering historical, technical or critical context. Interleaved throughout are longer thematic texts by contributing writers, as well as extracts from the writings of photographers and major thinkers on the subject, bringing a depth of understanding to the principal genres and developments in photography. Alongside pivotal and instantly recognizable photographic works – from Eadweard Muybridge’s motion studies to Rosalind Franklin’s DNA imaging, and from the documentary work of Robert Frank to Cindy Sherman – This is Photography records the objects, cameras, technical developments, exhibitions and publications that have shaped the medium, making this an essential resource for anyone interested in photography.

Published in connection with an exhibition opening at Photo Elysée in spring 2024, this book presents more than 150 of Man Ray’s portraits, primarily from the 1920s and 30s. Man Ray (1890–1976) was a man both of and ahead of his time. With his conceptual approach and innovative techniques, he liberated photography from previous constraints and opened the floodgates to new ways of thinking about the medium. A close friend of Marcel Duchamp and André Breton, he was one of the few photographers to be mentioned among the Dada artists and Surrealists. He also worked as a fashion photographer, first for Vogue, and later for Harper’s Bazaar and Vanity Fair. Renowned as the creator of Ingres’ Violin – a photograph from 1924 that broke records when it was sold for $12.4 million in 2022 – Man Ray remains an influential figure in the worlds of art, fashion and pop culture, with many other artists referencing his work. Published in connection with an exhibition at Photo Elysée and in the centenary year of the publication of André Breton’s Surrealist Manifesto, this book presents more than 150 of Man Ray’s portraits, primarily from the 1920s and 30s. It includes portraits of the leading lights of the Paris art scene, among them Marcel Duchamp, Robert Delaunay, Georges Braque, Alberto Giacometti and Pablo Picasso, as well as a selection of his fashion work. As an innovator of photographic techniques and compositional form, Man Ray found the studio portrait – be it of the artists and writers with whom he had longstanding friendships, or of the objects and sculptures he collected – to be the playground in which he could express the visual wit and experimentation for which he is renowned.

The definitive survey of contemporary photography of the human body.

Magnum Photos is arguably the most celebrated photographic cooperative ever created and these images represent the world’s most iconic photographers capturing the world’s most breathtaking peaks. Robert Capa portrays the glamour of skiing the Austrian Alps circa 1950; Chris Steele-Perkins offers a hallucinogenic view of Mt. Fuji; Steve McCurry shows us life and war in the shadow of Afghanistan’s Hindu Kush; Harry Gruyaert captures childhood in the Moroccan High Atlas; and Martin Parr contemplates Machu Picchu’s mysterious granite peaks. Unique views, dramatic lighting, and superb composition make this volume a master class in photography. From breathtaking heights and majestic ridge lines to panoramic landscapes and dramatic terrains—these pictures illustrate everything there is to love, fear, and respect about the world’s mountains.

The body remains a battleground. Politicized, conceptualized and increasingly shared, our often-paradoxical relationship with the human form is nothing new, but finds itself heightened in the digitised, virtualised era of the ‘post-industrial’ body. No longer a tool but a work-in-progress, our bodily expectations bound from fantasy to reality, beauty to tyranny, art to commerce and curiosity to obsession, leaving us dreaming of other bodies and alternate lives. Surveying a range of over 360 photographic re-presentations from the worlds of art, fashion, scientific and vernacular photography – including the work of Nobuyoshi Araki, Bettina Rheims, Lauren Greenfield, Viviane Sassen, Cindy Sherman, Wolfgang Tillmans, Daido Moriyama, Sally Mann, Pieter Hugo and Juergen Teller, Sølve Sundsbø and Daniel Sannwald – Body: The Photography Book explores what our imaging of the human form, and the ways in which those images have been used and shared, might reflect of our relationship to the body. Supporting the broad range of photography is a foreword by a cultural critic, and an essay by the acclaimed psychologist Professor David Sander, PhD., discussing the neurological representation of our own bodies.

In Laura Letinsky: Time’s Assignation the Polaroid—now an anachronistic format, a leftover of photographic history—is conjoined with the photographer’s trademark subject matter: the remains of meals and appetites never entirely sated. Chicago-based photographer Laura Letinsky (born 1962) used Polaroid Type 55 film as part of her working process until the film was discontinued in 2008, exploring focus, composition, exposure and light in black-and-white instant photographs as she worked up to the larger-scale color works for which she is best known. Like sketches, the photographs in this volume—small, slow and raw—reveal a process of asking. This way or that? More or less? Now or then? A Polaroid is a fugitive thing, beautiful in its decomposition, subject to change as much as the still life compositions of ripe fruits and nibbled foods that Letinsky arranges. Time’s Assignation collects Polaroids taken by the photographer in her studio between 1997 and 2008, now stabilized, their high-key tones slipping into white veils and darker tones metallized in hues of taupe, gold and gunmetal gray. These photographs offer a record of Letinsky’s working process, but are a compelling body of photographic work in their own right, exploring time’s unrelenting progression in their subject matter and materiality.

A powerful and thought-provoking international survey, this book presents the work of a select group of leading photographers whose concern is not to depict violence, disaster and suffering directly, but to examine its aftermath. Each body of work is displayed as self-contained sequences of photographs, with each sequence preceded by a brief artist’s statement about the work shown. Timeless, meditative yet psychologically intense, and including essays by a leading group of academics on how our emotional response to images functions, this book shows the possibility for contemporary photography to question what happens and continues to happen in our world, its potential to connect us emotionally with our fellow humans and for it to provide us with an opportunity, in time, to begin to understand and find answers.