A landmark photography book, presenting the never-before-seen original vintage prints of this enigmatic and eccentric portrait photographer, whose prized and rare images are collected by museums and galleries around the world. Disfarmer's studio portraits present the people of the American heartland during the turbulent and troubled times of the early 20th century. The culmination of a two-year historical reclamation project in which researchers scoured thousands of albums, Disfarmer is a truly unique, original and important collection.

"This is the first publication presenting the vintage prints of Mike Disfarmer (1884-1959), one of America's greatest portraitists. For a half century Disfarmer was the people's photographer of Heber Springs, Arkansas. He made studio portraits at pennies a picture to satisfy his rural clients, yet he was an odd genius who created a style of portraiture all his own. Until now Disfarmer has been known to the world only through prints made from negatives found years after his death. Now, with the discovery of his vintage prints, we get to see the pictures as he made them."--BOOK JACKET.

From the collections of Peter Miller and Julia Scully. Essay by Julia Scully.

Mike Disfarmer, an eccentric local recluse, photographed the residents of Heber Springs, Arkansas, in his studio on Main Street in the 1930s and 1940s. His glass-plate negatives were discovered fifteen years after his death. When she first saw an exhibit of Mike Disfarmer's portraits, Toba Tucker was intrigued by their raw honesty. Her curiosity drew her to Heber Springs, where she lived for two years, making portraits of some of the same people Disfarmer photographed and of many of their relatives and descendants who still live there. This unusual book is a rephotographic study. Toba Tucker used Disfarmer's portraits as the starting point for the project, but she brought her own personal vision to the images. She shows how life in small-town America has changed since the 1940s, and how it has remained the same. In his essay, Alan Trachtenberg examines the conversation between then and now, between Disfarmer and Tucker and observes that the strength, the individuality and vitality of the people in both sets of portraits make this book affecting and resonant.

Becoming Disfarmer uses over 100 images to tell the story of Mike Disfarmer's vernacular portraiture and its transformation into art. This is the first monograph on Disfarmer to feature his vintage prints along with a selection of enlargements made from his negatives in the 1970s. Disfarmer's postcard size vintage photographs are reproduced in full color to convey their varied surfaces and most are shown in the condition in which they were found, rather than as restored images. The backs of numerous vintage photographs are reproduced and transcriptions of the handwritten notes that appear on the objects are provided. In addition, the monograph has high quality reproductions of newspaper pages in which Disfarmer's images appeared, locally produced historical journals that include images by other photographers who worked in the same time and region as Disfarmer and album pages like those for which Disfarmer's photographs were originally made. Complete with three scholarly essays on the artist's work, a bibliography and exhibition history, this monograph qualifies as the most comprehensive Disfarmer publication to date.

A memoir in which Julia Scully recalls the time she spent living in an orphanage with her sister following her father's suicide, and discusses how her life changed when her mother leased a roadhouse and moved them to the tiny settlement of Taylor, Alaska, which quickly became a boomtown when thousands of American troops were sent there following the outbreak of World War II.

Timing, skill, and talent all play an important role increating a great photograph, but the most primaryelement, the photographer's eye, is perhaps the mostcrucial. In The Eyes of the City, Richard Sandlershowcases decades' worth of work, proving his eye forstreet life rivals any of his generation. From 1977 to just weeks before September 11, 2001,Richard regularly walked through the streets of Bostonand New York, making incisive and humorous picturesthat read the pulse of that time.After serendipitously being gifted a Leica camera in1977, Sandler shot in Boston for three productive years and then moved back home to photograph in an edgy,dangerous, colicky New York City. In the 1980s crime and crack were on the rise and theireffects were socially devastating. Times Square, Harlem,and the East Village were seeded with hard drugs, whilein Midtown Manhattan, and on Wall Street, the richflaunted their furs in unprecedented numbers, and "greedwas good." In the 1990s the city underwent drastic changes to lurein tourists and corporations, the result of which was rapidgentrification. Rents were raised and neighborhoods weresanitized, clearing them of both crime and character.Throughout these turbulent and creative years Sandlerpaced the streets with his native New Yorker's eye forcompassion, irony, and unvarnished fact. The results are presented in The Eyes of the City,many for the first time in print. Overtly, they capture acomplex time when beauty mixed with decay, yet belowthe picture surface, they hint at unrecognized ghosts inthe American psyche.