Böcker utgivna av Steidl Publishers

In one of his last acts as mayor of New York City, Rudy Giuliani signed an order permitting the High Line, that beloved elevated railroad ruin which snaked down the west side of Manhattan, to be torn down. Everyone who had managed to climb up onto the High Line loved it: the wildflowers growing through disused tracks, the birds that followed the path north in spring, and south again in fall-that rural feeling magically flowing through the city like an unbidden river. Who didn't love the High Line? Those who owned the land beneath it and longed to erect high-rise buildings on the site, if only the High Line wasn't blocking their way. And so when Giuliani signed that order, the Friends of the High Line, the small community organization led by Robert Hammond and Joshua David, sprang into legal action, seeking an injunction.For over a year, Joel Sternfeld had already been photographing this hidden jewel in every season, so New Yorkers could visually climb up and see it too. In October 2001, while the rubble of the World Trade Center was still smoldering, Gerhard Steidl accepted Sternfeld's urgent request to make a book and flew to New York: together they designed Walking the High Line and just seven weeks later it was delivered, a vision for the wildly successful park that today hosts over two million visitors a year. Now in a new edition with nine additional photos, a larger format and an updated timeline, this is the book that made walking the High Line possible.

In Kings Road Mona Kuhn lyrically reconsiders the realms of time and space within the architectural elements of the Schindler House in Los Angeles. Built by Austrian architect Rudolph M. Schindler in 1922, the house was both a social and design experiment and an avant-garde hub for intellectuals and artists in the 1920s and '30s.For this project Kuhn collaborated with the Department of History of Art and Architecture at UC Santa Barbara, and gained access to Schindler's private archives including blueprints, letters and notes. Alongside reproducing some of these for the first time in this book, Kuhn reinterprets the dichotomy between memory and record in a series of color photos, and solarized gelatin silver prints, a technique favored by the Surrealists. The enigmatic subject of her solarized pictures is a fictional, ethereal figure inspired by a letter from Schindler to a mysterious woman. Kuhn's impressionistic photos render this female presence physical, even as it seems to be dematerializing: fleeting images that question the very nature of photography as record.

Please Please Return Polaroid is Miles Aldridge's ongoing love letter to Polaroid, a process once integral to the craft of many photographers but now more or less extinct, apart from the rare and out-of-date material traded on eBay for exorbitant prices. The sequel to Aldridge's Please Return Polaroid of 2016, this book presents new and vintage Polaroids from his more than 20-year archive in a seemingly random sequence shaped by a dreamlike logic and surprising juxtapositions.Please Please Return Polaroid explores Aldridge's dedication to analogue processes where cut-and-paste is still a manual process, made with scissors, gaffer tape, intuition and not a little patience. Aldridge continues to use Polaroids as part of his work-in-progress "sketches," often scratching, tearing and taping them together, even drawing over them; each mark part of the creative act. Known for creating immaculate photos of a less than perfect world, Aldridge revels in these unpolished images, transforming some into extreme enlargements filling double pages with their re-worked and damaged surfaces. Long live Polaroid!

With ATACAMA, Jamey Stillings again shares his distinctive aerial perspective to examine dramatic large-scale renewable energy projects, the visual dynamic of enormous mining operations and the stark beauty of the Atacama Desert, so often scarred by human activity. Chile produces a third of the world's copper and has the largest known lithium reserves, and we utilize these resources daily in our cars, computers and smartphones. The country's mining industry has traditionally been dependent on imported coal, diesel and natural gas for its energy. Yet the Atacama Desert has excellent solar and wind potential: new renewable energy projects there now supply significant electricity to the northern grid, transmit power to population centers in the south, and are reducing mining's dependence on fossil fuel.Stillings' aesthetic interest in the human-altered landscape and concerns for environmental sustainability are principal pillars of his work. His photography elicits a critical dialogue about meeting our needs and desires while seeking equilibrium between nature and human activity. ATACAMA, the latest chapter in his ongoing project "Changing Perspectives," shows how photography can concurrently be a source of inspiration, motivation and information, and reminds us that a carbon-constrained future is crucial to a responsible approach to life on earth.

If one had to choose a single series that summed up Koto Bolofo's unconventional approach to fashion photography, it could well be Say Cheese-pictures brimming with light and delight which defy the often stilted, glum or over-dramatized images of the industry. These photos were originally published in 2000 in Vogue Italia, then under the legendary Franca Sozzani, whom Bolofo first met in 1984 and worked with over more than 25 years. He fondly remembers the exceptional creative freedom she gave him and other photographers at the magazine-Sozzani provided the clothes, they did the rest.And so it was with Say Cheese: Bolofo was given a wardrobe of female swimwear, and with the help of his frequent stylist Nicoletta Santoro, he shunned professional models, instead enlisting a vibrant squad of real synchronized swimmers, California's Riverside Aquettes. The resulting images show a variety of female bodies at ease and play-floating and twirling in sparkling, sun-filled water, clad in retro looks, from Great Gatsby flair to flowered 1950s bathing caps, and each wearing Bolofo's favorite accessory: a genuine smile.

This is a new edition of Lead Belly: A Life in Pictures, the rich visual biography of legendary American folk musician Lead Belly, originally published by Steidl in 2007. Here is a treasure trove of rare photographs, news clippings, concert programs, personal correspondence (including letters from Woody Guthrie), record albums, awards and other memorabilia, some of which was discovered in a basement trunk in Brooklyn, safely stored by Lead Belly's wife Martha-"My wife is half my life; my guitar is the other half," he once said.Born Huddie William Ledbetter (1889-1949), Lead Belly was an influential Louisiana bluesman who wrote and performed some of the best-loved songs of the twentieth century, including "The Midnight Special," "Cotton Fields," "Rock Island Line," "Where Did You Sleep Last Night?" and his signature "Goodnight, Irene." Notable for his strong vocals and virtuosity on the twelve-string guitar, he could also play the piano, mandolin, harmonica, violin, concertina and accordion. In 1934 Library of Congress folk music anthropologist John A. Lomax discovered Lead Belly serving time for assault in the infamous Louisiana State Penitentiary at Angola. Lomax, traveling through the South in search of American folk songs, immediately recognized Lead Belly as a walking anthology of African-American music and arranged for him to come to New York, where he soon created a sensation. Lead Belly's ongoing legacy is significant: Bob Dylan cited him as his earliest influence in his Nobel Prize acceptance speech in 2016 while other musicians shaped by him include Van Morrison, Kurt Cobain, Keith Richards, Jimi Hendrix, Robert Plant, Dan Zanes, Bonnie Raitt and Beck.

"The most beautiful summers are often also the most painful. We rarely feel more alive. And at the end of those summers, we're reminded all the more strongly that everything passes. Looking at Philipp Keel's new works in Last Summer there is the absence-apart from a single nude-of people. Instead, there are still lifes and above all pictures of palms, pools, drinks, initially seeming cool and summery, as well as many captured moments and incidental poetry. Common to them all is Keel's eye for specific details and moods, and yet on closer inspection melancholy permeates many of his works. At times, the moment has already passed or is only visible on the blurred margins of our consciousness. What remains is a feeling of transience, perhaps even a faint touch of loneliness.One of the great strengths of Keel's works is that they stay subtle and reserved. We each find in them what we wish to find. In some, the melancholy is light-hearted, little more than a gentle, not unpleasant tug at a taut string somewhere deep inside us. In others there is more to it. Last Summer takes us to a threshold: evening has set in, a solitary view from a veranda with a drink in hand, friends laughing in the background as the day's last light fades. In our mind play the images of a day that passed far too quickly, some flickering, some clear. Perhaps we feel briefly wistful, or perhaps we turn around and go back to the others." Benedict Wells

Hank O'Neal met Berenice Abbott in 1972 at the coffee shop of a Holiday Inn on 57th Street in New York City. After a two-hour meeting Abbott suggested he should visit her if he was ever near Moosehead Lake in northern Maine. In the fall of 1973 O'Neal did just that, spending a long weekend with Abbott at her circa 1810 stagecoach inn. They hit it off and at the end of the stay she said, "If you ever get a real camera come up here and I'll teach you how to use it." In early 1974 he bought an 8 × 10 Deardorff camera and in the summer of that year headed back to Maine. The first and only lesson lasted about 30 minutes and Abbott told him to photograph the antique doorknocker on her front door. After almost an hour she returned to check on his progress and said, "You've got to do a damn sight better than that, buster"-not only sound advice but a great title for a book.Abbott and O'Neal became close friends and worked together on books, exhibitions, catalogues, films, lectures, portfolios, the sale of her collection, and even social gatherings, with Abbott as maid of honor at his wedding. You've Got to Do a Damn Sight Better than That, Buster is an informal, rollicking memoir based on 19 years of personal observations by O'Neal of one of the most accomplished American artists of the twentieth century.