"Following the publication of Chromes in 2011 and Los Alamos Revisited in 2012, the reassessment of Eggleston's career continues with the publication of The Democratic Forest, his most ambitious project. This ten-volume set containing more than a thousand photographs is drawn from a body of twelve thousand pictures made by Eggleston in the 1980s. Following an opening volume of work in Louisiana, which serves as a visual preface, the remaining books cover Eggleston's travels from his familiar ground in Memphis and Tennessee to Dallas, Pittsburgh, Miami, Boston, the pastures of Kentucky, and as far as the Berlin Wall. The final volume leads the viewer back to the South of small towns, cotton fields, the Civil War battlefield of Shiloh and the home of Andrew Jackson, the President from Tennessee. The democracy of Eggleston's title refers to his democracy of vision, through which he represents the most mundane subjects with the same complexity and significance as the most elevated. The exhaustive editing process of The Democratic Forest--a rarely shown body of work of which only a fraction has been published to date--has taken over three years, and was guided by the belief that only on this large scale can the magnitude of Eggleston's achievement be represented. With no precedent in American art, Eggleston's photography seen as a whole has all the grandeur of an epic piece of fiction.--Publisher's Web site.

Delving into critical and familiar themes of William Eggleston’s work, his recently revisited body of photographs, The Outlands, goes on a journey with him through the mythic and evolving southern landscape. Vibrant colors and a profound nostalgia echo throughout Eggleston’s breathtaking oeuvre. His motifs of signage, cars, and roadside scenes create an iconography of American vistas that inspired a generation of photographers. His experimental composition peers through layered scenes—an orange sunset dips into an abandoned diner as we observe from the cracked parking lot—expanding the boundaries of interior and exterior. These idiosyncratic moments are emblematic of Eggleston’s curated yet innovative practice.

Born and raised in Mississippi and Tennessee, William Eggleston began taking pictures during the 1960s after seeing Henri Cartier-Bresson's The Decisive Moment. In 1966 he changed from black and white to color film, perhaps to make the medium more his own and less that of his esteemed predecessors. John Sarkowski, when he was curator of photography at the Museum of Modern Art, called Eggleston the "first color photographer, " and certainly the world in which we consider a color photograph as art has changed because of Eggleston. From 1966 to 1971, Eggleston would occasionally use a two and one quarter inch format for photographs. These are collected and published here for the first time, adding more classic Eggleston images to photography's color canon.

A social history of New Mexico’s “Atomic City” Los Alamos, New Mexico, birthplace of the Atomic Age, is the community that revolutionized modern weaponry and science. An “instant city,” created in 1943, Los Alamos quickly grew to accommodate six thousand people—scientists and experts who came to work in the top-secret laboratories, others drawn by jobs in support industries, and the families. How these people, as a community, faced both the fevered rush to create an atomic bomb and the intensity of the subsequent cold-war era is the focus of Jon Hunner’s fascinating narrative history. Much has been written about scientific developments at Los Alamos, but until this book little has been said about the community that fostered them. Using government records and the personal accounts of early residents, Inventing Los Alamos, traces the evolution of the town during its first fifteen years as home to a national laboratory and documents the town’s creation, the lives of the families who lived there, and the impact of this small community on the Atomic Age.

This book is the story of the creation of the Los Alamos National Laboratory from the point of view of the people who helped build it - the technicians, engineers, trades people, and many others. The book is a distillation of 150 interviews from people 25 different communities of Northern New Mexico sharing their personal experiences.

When William Eggleston's second artist's book Morals of Visions was first published in 1978 in a limited edition of fifteen, only a handful of lucky people were able to obtain it; it has since become a collectible rarity. That is now to change with this new Steidl edition, which re-imagines Morals of Visions as a trade book for the general public. The original Morals of Vision contains eight color coupler prints of Eggleston's archetypal still lifes, landscapes and portraits which glorify the banal and have since changed the history of color photography. "There is no particular reason to search for meaning," Eggleston has said of his work in general, a sentiment in contrast with the title Morals of Vision which suggests that there are indeed principles of a kind to be learnt from the images in this book. Yet the lessons in photos including those of a broom leaning again a wall, green grain silos in the fading light, and an off-center electric candle complete with fake wax, remain Eggleston's own ironic secret. 'I don't have a burning desire to go out and document anything. It just happens when it happens. It's not a conscious effort, nor is it a struggle.' -William Eggleston

In April 1979, a book of fifteen colour photographs by William Eggleston was published in a limited edition of twenty. The photographs were taken from the second chapter of an unpublished larger work entitled Wedgewood Blue. Amidst his publications Chromes (2011), Los Alamos Revisited (2012), and the upcoming Democratic Forest (2014) and Election Eve (2016), all documenting his lifetime work, At Zenith constitutes a calm and experimental intermezzo from Egglestons familiar loudness and intensity of colours. The photographer pointed his camera at the sky to focus on the clouds rolling by.