Peeking over the American fence, I found myself in China in 2004 as the nation was transitioning from its quaint 1980s/90s self into the futuristic “China 2.0” we know it today. My occupation, like many expats, was small-town English teacher. I later departed for a two-year backpacking sojourn across the country. I took a bunch of snapshots along the way with a little point-and-shoot camera. 800 of those images became my first book. Photography – be it travel, documentary, street or reportage – is my passion. The following are but five of five hundred books I’d love to recommend.
I wrote...
China: Portrait of a People
By
Tom Carter,
What is my book about?
From the jungles of Yunnan to the frozen wastes of Heilongjiang; across the deserts of Xinjiang and beneath Hong Kong's neon blur. Tramping through China by train, bus, boat, motorcycle, or hitching on the back of anything that moved. On a budget so scant that he drew sympathetic stares from peasants. Backpacker Tom Carter somehow succeeded in circumnavigating 35,000 miles (56,000 kilometers) across all 33 Chinese provinces during a 2-year period, the first foreigner on record ever to do so. What Carter’s photographs reveal is that China is not just one place one people, but 33 distinct geographical regions populated by 56 different ethnicities, each with their own languages, customs, and lifestyles.
Shepherd is reader supported.
We may earn an affiliate commission
when you buy through links on our website. This is how we fund the project for readers and authors (along with our membership program).
Prior to her death in 2015, photojournalist Mary Ellen Mark had published over 20 collections of her work spanning her storied career, but few hit the reader in the gut like her debut Falkland Road. Taken during visits to Mumbai (Bombay) in the 1970s, Mary was able to gain the trust of sex workers being pimped out in the Indian city’s notorious red-light district. The images are dark, disturbing, and bleak, but their intimacy and tenderness are what separates Mary from her peers.
Mark's extended photo essay on the prostitution district of Bombay is one of the landmarks of color photojournalism. Small half-inch tear at base of spine. Slight scuffing and fading to cover. Interior and photographs are clean and unmarked.
Legendary travel photog Steve McCurry has developed a bad reputation over the decades for reportedly mistreating his subjects (notably “Afghan Girl” Sharbat Gula), for allegedly staging and digitally manipulating images (as opposed to the candid shots he claims they are), and for profiting handsomely from it all. But gosh dang if his photographs aren’t gorgeous! In light of his purported misdeeds, I do not intend on dropping any more money on his newest retrospective books, but 2000’s South Southeast – based on his early work in Asia – will always remain on my bookshelf.
This is a portfolio of the best of Steve McCurry's photography, showing classical, magical and powerful images from South and Southeast Asia.
McCurry takes photographs all over the world, for National Geographic magazine and his own projects, but it is the people, places, colours and forms of South and Southeast Asia that Steve has found most inspiring. It is in Afghanistan, India, Sri Lanka, Cambodia and Mynamar (Burma) that McCurry has captured his most sublime photographs to create images that transcend their original editorial purpose to become timeless classics of our era.
South Southeast features 69 photographs, each one with…
In my opinion, there are no more accomplished travel photographers than the Föllmis. This couple has been on the road continuously since the 1980s, spending years at a time in the countries and continents they photograph, including Asia, Africa, and Latin America. Together they have put out dozens of books as part of their ongoing Wisdom project. These are not gritty, candid photos; they are works of art and jaw-droppingly beautiful. Perhaps not an entirely accurate representation of those places, but sometimes it’s nice just to gaze at pretty pictures.
More than 350 full-color photographs accompany a thought-provoking collection of wisdom, insights, knowledge, and spiritual advice that celebrates the spiritual heritage of the peoples of Africa and captures the rich oral traditions and cultural values of people from the Namibian deserts to the Cameroon savannah and beyond.
In the 1940s, a young American woman named Mariana Yampolsky came to Mexico to study and never looked back. Throughout the 1960s, she wandered around the country taking shots of the rural and indigenous people she met. Her lens conveyed the poorest aspects of Mexican culture with empathy and artistry that no other photographers of the time demonstrated. Inexplicably, for all its vast and varied geography, ethnicities, and societal classes, rivaling even China in terms of its photogenic diversity, there are very few photography books on Mexico, making The Edge of Timea timeless literary benchmark.
"This is my country." Mariana Yampolsky knew it the moment she opened her window and saw a bougainvillea blooming against a white wall on her first morning in Mexico City in 1944. Her empathy for the Mexican people and their land has guided her work for more than fifty years, finding expression in books of dramatic black-and-white photographs ranging from her early La casa en la tierra and La casa que canta to The Traditional Architecture of Mexico.
The Edge of Time presents a retrospective of Yampolsky's photographic work since 1960. Reflecting her lifelong concerns, the images capture rural Mexico…
We often think of travel photography as limited to exotic overseas locales, but Matthew Christopher set out to show that the United States has fallen into just as much decay and deterioration as any third-world nation. Part of his Abandoned America book series, Dismantling the Dream follows up on his debut, The Age of Consequence, with evocative scenery of properties and venues – malls, factories, schools, farms, homes – forsaken by their original inhabitants. Anyone who has not deluded themselves into disbelieving that the U.S. is in a permanent state of demise will appreciate these apocalyptic yet nonetheless lovely photographs.
If the creation of a structure represents the values and ideals of a time, so too does its subsequent abandonment and eventual destruction. In Abandoned America: Dismantling the Dream, internationally acclaimed photographer Matthew Christopher continues his tour of the quiet catastrophes dotting American cities, examining the losses and failures that led these ruins to become forsaken by communities that once embraced them. From the heartbreaking story of a state school that would become home to one of the country's worst cases of fatal neglect and abuse to the shattered remains of what was once the largest mall in the United…
My interest in photography began as a student at Pratt Institute, a preeminent art school, and I have worked in the field my entire adult life, not as a photographer but as a picture editor and photography critic. I was the Page One Picture Editor of The New York Times and wrote regularly about photography for the paper. I have published two biographies: one on Richard Avedon, among the more significant artists of the 20th century, and another on Sam Wagstaff, one of the earliest collectors who established the art market for photography; a book of collected reviews and essays called Photography After Frank; and essays on individual photographers for museum catalogues and artist’s monographs. I produced the 2011 documentary, Bill Cunningham New York.
Discover why each book is one of Philip's
favorite books.
Why did Philip love this book?
As a photography critic for The New York Times, Grundberg was present when a generation of artists began to take apart the photographic image and transform its meaning in society. He wrote about post-modern practice in the present tense, as it was happening. This book is a collection of his reviews and essays from the 1980s when the medium was at a crossroads; the factual veracity of photography was enduring challenges at every turn and the valuation of the photograph as an art object was under critical scrutiny.
A leading critic's inside story of "the photo boom" during the crucial decades of the 1970s and 80s
"Grundberg . . . is a vibrant, opinionated, authoritative guide to the medium's past and present."-Jackie Wullschlager, Financial Times, "Best Books of 2021: Visual Arts"
When Andy Grundberg landed in New York in the early 1970s as a budding writer, photography was at the margins of the contemporary art world. By 1991, when he left his post as critic for the New York Times, photography was at the vital center of artistic debate. Grundberg writes eloquently and authoritatively about photography's "boom years,"…
I'm currently an Honorary Fellow in Social Theory at the University of York, U.K. For more than five decades I've been working to promote more reflexive perspectives in philosophy, sociology, social theory, and sociological research. I've written and edited many books in the field of social theory with particular emphasis upon questions of culture and critical research in the expanding field of visual culture. Recent projects include Interpreting Visual Culture(with Ian Heywood), The Handbook of Visual Culture, and an edited multi-volume textbook to be published by Bloomsbury,The Bloomsbury Encyclopedia of Visual Culture. The passion to understand the thought and visual culture of both the ancient and modern world continues to inform my work.
Discover why each book is one of Barry's
favorite books.
Why did Barry love this book?
In contrast to John Berger’s Marxist aesthetic, Barthes’s approach to visual experience and photographic images draws upon the tradition of semiotics and, to a degree, postmodern theories of text and intertextuality. Barthes leads his reader into the codes and conventions of the image. How images signify is thus made a central topic that provokes self-reflection and reflexive challenges to conventional image analysis. Where Berger’s work is expository and analytic, Barthes's book is exploratory and novelistic (Barthes would have his reader approach the work as a kind of intertextual fiction). As the title of the work suggests, this is Barthes at his most personal and reflective. His fascination remains with the photographic image which is presented as one of the defining aesthetic objects of modernity. But the act of photography is now itself complex, mediated, and open to a range of concrete experiential impulses.
Here the viewer of the photograph is central to image reception and this `viewing gaze’ is also historically grounded and phenomenologically complex. Photographs are frozen moments charged with emotion and affective resonances. This kind of complexity is revealed in Barthes’s own reflections on the intimate significance of personal photographs. The image of his own recently deceased mother occupies a central part of the text. Barthes leaves the reader considering how a scratched image can be a consolatory object in the face of indescribable grief.
This personal, wide-ranging, and contemplative volume--and the last book Barthes published--finds the author applying his influential perceptiveness and associative insight to the subject of photography. To this end, several black-and-white photos (by the likes of Avedon, Clifford, Hine, Mapplethorpe, Nadar, Van Der Zee, and so forth) are reprinted throughout the text.
I'm currently an Honorary Fellow in Social Theory at the University of York, U.K. For more than five decades I've been working to promote more reflexive perspectives in philosophy, sociology, social theory, and sociological research. I've written and edited many books in the field of social theory with particular emphasis upon questions of culture and critical research in the expanding field of visual culture. Recent projects include Interpreting Visual Culture(with Ian Heywood), The Handbook of Visual Culture, and an edited multi-volume textbook to be published by Bloomsbury,The Bloomsbury Encyclopedia of Visual Culture. The passion to understand the thought and visual culture of both the ancient and modern world continues to inform my work.
Discover why each book is one of Barry's
favorite books.
Why did Barry love this book?
On Photographyis Sontag’s attempt to develop the thought of Barthes, Benjamin, and others and apply the resultant perspective to the critical understanding of the fundamental role of photography in modern life. The book is constructed as a series of interconnected essays, each of which explores the moral and dialectical character of photographic interventions. Photography embodies the moral ambiguity of human activity: the camera claims to deliver truth but is essentially selective and partial; photography reveals and conceals the real; the photograph is an artificial mode of representation but claims to provide a `picture’ of life that can only be captured through the camera.
This ambiguous ontology of the image impacts upon both the act of image-making and the interpretive task of reading and understanding the image. With modern photography the viewer is constituted in a dual movement of separation (and alienation) and connectivity (and communality). Photographic engagement constitutes, so to speak, the renewal of fascination and, perhaps, `aura’ in the mass-produced photographic image. Dealing with the analogue camera, Sontag stood on the lintel between the world of art and journalistic media and the revolutionary development of mass-produced digital imagery.
The connections she identified prefigure questions that are now being explicitly addressed by contemporary visual theorizing: the global character of contemporary image-making, the extreme gendered nature of photography and alternative practice, the Eurocentric logic of image-worlds, the capitalist exploitation and commercialization of visual culture, the morality of 'stolen’ photographic images and archives, and so on. Despite these historical and theoretical limitations her essays retain their relevance in the current global transformation of image-mediated reality construction.
'The most original and illuminating study of the subject.' The New Yorker
Photographs are everywhere. From high art to family albums to legal evidence, they capture and document the world around us. And whether we use them to expose, reveal or remember, they hold an enduring power.
In this essential and revelatory volume, Susan Sontag confronts important questions surrounding the power dynamics between photographer and subject, the blurred boundary between lived events and recreated images, and the desires that lead us to record our lives.
'Complex and contradictory... one of America's greatest public intellectuals' Observer
