Rebecca Norris Webb's meditation on fathers and daughters, one's first landscape, caretaking of the land and its inhabitants, and on history that divides us as much as heals us Rebecca Norris Webb (born 1956) first came across W. Eugene Smith's "Country Doctor," his famous Life magazine photo essay, while studying at the International Center of Photography in New York. She was immediately drawn to the subject of Smith's essay, Dr Ernest Ceriani, a Colorado country doctor who was just a few years older than her father. She wondered: How would a woman tell this story, especially if she happened to be the doctor's daughter? In light of this, for the past six years Norris Webb has retraced the route of her 99-year-old father's house calls through Rush County, Indiana, the rural county where they both were born. Following his work rhythms, she photographed often at night and in the early morning, when many people arrive into the world--her father delivered some one thousand babies--and when many people leave it. Accompanying the photographs, lyrical text pieces addressed to her father create a series of handwritten letters told at a slant.

In 2005, Rebecca Norris Webb set out to photograph her home state of South Dakota, a sparsely populated frontier state on the Great Plains with more buffalo, pronghorn, mule deer and prairie dogs than people. South Dakota is a land of powwows and rodeos, corn palaces and buffalo roundups; a harsh and beautiful landscape dominated by space, silence, brutal wind and extreme weather. The next year, however, everything changed for Norris Webb, when her brother died unexpectedly of heart failure. "For months," she writes in the introduction to this volume, "one of the few things that eased my unsettled heart was the landscape of South Dakota. For each of us, does loss have its own geography?" My Dakota is a small intimate book about the west and its weathers, and an elegy for a lost brother.

In this series, Aperture Foundation works with the world's top photographers to distill their creative approaches, teachings, and insights on photography-offering the workshop experience in a book. Our goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Each volume is introduced by a well-known student of the featured photographer. In this book, internationally acclaimed color photographers Alex Webb and Rebecca Norris Webb, offer their expert insight into street photography and the poetic image. Through words and photographs-their own and others'-they invite the reader into the heart of their artistic processes. They share their thoughts about a wide range of practical and philosophical issues, from questions about seeing and being in the world with a camera, to how to shape a complete body of work in a way that's both structured and intuitive.

Review The images - rich in color and visual rhythm - span 30 years and several continents. Of course, Haiti and the Mexican border are well represented, locales that opened up a new way to see. He has been able to render Haiti - a place often depicted for its chaos - with a precise eye, finding personal moments that are as still as they are complex. He can use shadows as skillfully as a be-bop musician to set the tempo. The people in his frames can look like dwarfs being stomped on by giant, disembodied feet. He can make an American street seem far more foreboding than any Third World slum. (David Gonzalez The New York Times 2011-12-18) A 30-year retrospective of a great, and often overlooked, American pioneer of colour photography who pays scant regard to genre boundaries, merging art photography, photojournalism and often complex street photographs. (Sean O'Hagan The Guardian 2011-12-13) In far-flung corners of the globe, Webb captures glimpses of beauty in impoverished lives and stoicism in the face of strife. (Jack Crager American Photo 2011-12-01).

"A multi-layered visual work exploring the Black experience of driving in America. Challenging preconceived ideals of the classic road trip, this thought-provoking book layers pages from the historical Negro Motorist Green Book with found images, pictures from the family archives, and new photographs. It questions how long the road will continue to be a site of violence and oppression for Black people in American society." --

Dairy Character is a loose chronicle of Odette England's experience growing up on a rural dairy farm in southern Australia. Combining recent photographs, family snapshots, archival images, and autobiographical short stories, England examines the male-dominant farming community in which she was raised and the gendered repression that rural females experience. Her images and texts evoke a girl introduced to reproductive labor at an early age. A girl who wanted a pink room. A girl fenced in by interconnecting forms of vulnerability. A girl who had a cow named after her.

Scenes from the Mexican American lowrider life: a clothbound photobook documenting a vibrant LA car culture Known for her quiet portraits of American cultural movements, Los Angeles-based photographer Kristin Bedford's new work, Cruise Night, is an intimate and unstaged exploration of Los Angeles' Mexican American lowrider car culture. From 2014 to 2019 Bedford attended hundreds of lowrider cruise nights, car shows, quinceañeras, weddings and funerals. Her images offer a new visual narrative around the lowrider tradition and invite outsiders to question prevalent societal stereotypes surrounding this urban Mexican American culture. Bedford's photos explore the nuances of cars as mobile canvases and the legendary community that creates them. With bright color photography and a unique female vantage point, Cruise Nightis an original look at a prolific American movement set against the Los Angeles cityscape.