This book is a facsimile of an album of Eggleston's Polaroids assembled by the photographer himself, and containing the only photos he made in this medium. Consisting of 56 images taken with the Polaroid SX-70 (the now cult camera produced between 1972 and 1981) and handmounted in a black leather album also produced by the company, Polaroid SX-70 is the fi rst publication of Eggleston's Polaroids. The gloriously mundane subjects of these photos--a Mississippi street sign, a telephone book, stacked crates of empty soda bottles--are familiar Eggleston territory, but fascinatingly all of these Polaroids were taken outdoors. They are rare records of Eggleston's strolls or drives in and around Mississippi, complement the majority of his work made with color negative fi lm or color slides, and show his ironic fl air for photo-sequencing in book form. Something new always slowly changes right in front of your eyes--it just happens. -- William Eggleston

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.

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.

Essays on a range of photographic topics by the recently appointed Joel and Anne Ehrenkranz Chief Curator of Photography at MoMA Since 1839... offers a selection of essays by the renowned photography historian Clément Chéroux. Appointed Joel and Anne Ehrenkranz Chief Curator of Photography at the Museum of Modern Art (MoMA) in New York in 2020, Chéroux takes on a variety of topics, from the history of vernacular photography to the influence of documentary photography on Surrealism. These texts, newly translated into English and published together in one volume for the first time, reflect the breadth of Chéroux’s thinking, the rigor of his approach, and his endless curiosity about photographs. In this strikingly designed and generously illustrated volume, Chéroux presents unique case studies and untold stories. He discusses ways of sharing images, from the nineteenth century to the digital age; considers the utopian ideals of early photography; and analyzes the duality of amateur photography. Among other things, he describes the appeal of photographs snapped from a speeding train and explains historical value of first-generation prints of photographs. Through an analysis of key photographs taken on 9/11, Chéroux shows that the same six images were seen again and again in the press. Widely ranging, erudite, and engaging, these essays present Chéroux's innovative investigations of the histories of photography.

Reference source for the care and preservation of photographs and motion picture film. Evaluates the light fading and dark fading/yellowing characteristics of color transparency films, color negative films, and color photographic papers, with recommendations for the longest-lasting products. High-resolution ink jet, dye sublimation, color electrophotographic, and other digital imaging technologies are discussed, as are conservation matting, mount boards, framing, slide pages, negative and print enclosures, storage boxes, densitometric monitoring of black-and-white and color prints in museum and archive collections, the care of color slide collections, the permanent preservation of color motion pictures, the preservation of cellulose nitrate films, and many other topics.

"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.