Here are 72 books that Pools From Above fans have personally recommended if you like
Pools From Above.
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When I was young, my passions were flying and art. I became a pilot at age 17. Later, I became an architect, and much later, in 2000, I decided to become a fine art photographer. After ten years of shooting from the ground, I decided to take to the air again and began shooting aerial photographs, primarily of cities. I now have three aerial books published: LA NY, Thames & Hudson, Paris From the Air, Rizzoli, and London From the Air, Rizzoli. My aerial photographs are exhibited and collected throughout the world.
I like this book because it is a large format, beautifully printed book illustrating the history of aerial photography.
It begins with the earliest Nadar photos taken in France from hot air balloons and chronologically goes through all the different kinds of aerial photography, including satellite images and iconic photographers who shot aerials. It explains the various techniques and ends with photographers who use more recent drone technology.
Since the birth of photography, photographers have been taking images of the earth from the air - with spectacular visual results. Celebrating over 150 years of these incredible images, this book tells the fascinating story of how these pictures were created and the photographers that have propelled image-taking to bold new heights.
Taking advantage of the amazing sense of perspective that aerial photography offers, this incredible collection of images also offers a unique overview of the events, challenges, and changes of the past 150 years of human history.
When I was young, my passions were flying and art. I became a pilot at age 17. Later, I became an architect, and much later, in 2000, I decided to become a fine art photographer. After ten years of shooting from the ground, I decided to take to the air again and began shooting aerial photographs, primarily of cities. I now have three aerial books published: LA NY, Thames & Hudson, Paris From the Air, Rizzoli, and London From the Air, Rizzoli. My aerial photographs are exhibited and collected throughout the world.
If you could only have one book featuring the world from above this would be it.
It’s oversize and gorgeous. Yann is the photographer who pioneered this kind of socially conscious photography. If you only looked at the pictures it would be satisfying enough, but Yann is an environmentalist, and the chapters highlight the beauty and fragility and danger of the planet we all share.
Both low- and high-level aerial photographs document places around the world and form the starting point for discussions of ecology, sustainable development, and the current state of the world.
When I was young, my passions were flying and art. I became a pilot at age 17. Later, I became an architect, and much later, in 2000, I decided to become a fine art photographer. After ten years of shooting from the ground, I decided to take to the air again and began shooting aerial photographs, primarily of cities. I now have three aerial books published: LA NY, Thames & Hudson, Paris From the Air, Rizzoli, and London From the Air, Rizzoli. My aerial photographs are exhibited and collected throughout the world.
George Steinmetz is a pioneer in a risky type of aerial photography.
He uses a motorized paraglider that uses a small gas engine driving a propellor strapped to his back, while a parachute-like fabric wing provides the lift. I am in awe of how he has traveled the world with this setup, getting photographs from low altitudes that are truly amazing. He has traveled to every continent, going to seemingly impossible places. The book features incredible photos of the natural landscape as well as the man-made landscape. Some of my favorites are the pyramids of Egypt, the indigenous architecture and animal migrations in Africa, the deserts of Saudi Arabia, the camel salt caravans, and the amazing Brazil dune-scape.
I cannot overstate the value of this book if you want to see the world in a way you have never seen. I am amazed by the photos. These were taken before…
A dynamic aerial exploration of our changing planet, published on the 50th anniversary of Earth Day
The Human Planet is a sweeping visual chronicle of the Earth today from a photographer who has circled the globe to report on such urgent issues as climate change, sustainable agriculture, and the ever-expanding human footprint. George Steinmetz is at home on every continent, documenting both untrammeled nature and the human project that relentlessly redesigns the planet in its quest to build shelter, grow food, generate energy, and create beauty through art and architecture. In his images, accompanied by authoritative text by renowned science…
When I was young, my passions were flying and art. I became a pilot at age 17. Later, I became an architect, and much later, in 2000, I decided to become a fine art photographer. After ten years of shooting from the ground, I decided to take to the air again and began shooting aerial photographs, primarily of cities. I now have three aerial books published: LA NY, Thames & Hudson, Paris From the Air, Rizzoli, and London From the Air, Rizzoli. My aerial photographs are exhibited and collected throughout the world.
I love the huge size (12.5”x17”) and gorgeous printing of this book.
Of course, the photos are amazing. This book was published by Abrams during the years when they were known for their exquisite art books. There are not many publishers who would put out a book like this today, including Abrams. The photos of New York City in this book are the work of a photo genius.
I get immense pleasure holding this book and going through the pages which show all of New York in beautiful late sun and night light, and so large you can feel like you are right there.
Aerial photographs of the famous landmarks, historic buildings, and local neighborhoods of New York provide a birds-eye-view of one of America's major cities
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.
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.
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.
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.
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…
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.
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.
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…
'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
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.
As the legendary curator of photography at the Museum of Modern Art, John Szarkowski was instrumental in elevating photography’s stature to an equal among the fine arts. He is eloquent in his explanation about the meaning of photography and illuminating in his descriptions of each of the one hundred photographs published in this book from MoMA’s sterling collection of photographs. There is no better guide to an awakening of your own eye than Szarkowski.
`This is a picture book, and its first purpose is to provide the material for simple delectation', wrote curator John Szarkowski in this first survey of The Museum of Modern Art's photography collection. Since 1930, when the Museum accessioned its first photograph, it has assembled an extraordinary and wide-ranging collection of pictures for preservation, study and exhibition. A visually splendid album, Looking at Photographs is both a treasury of remarkable photographs and a lively introduction to the aesthetics and the historical development of photography. This reissue, with new digital duotones, enhances a classic volume and makes it available to a…
I am a hopeless photographer. But I have a passion for looking at photographs, for trying to understand how good ones work. They are not just momentary slices of life but structured artefacts, sometimes technically interesting, that in myriad ways reflect the society that produced them. I studied aspects of US cultural history at three universities. After devoting the first part of my academic career to American literature, in the second half – during which, supported by wonderful fellowships, I spent much time rooting in archives – I gave myself up to American photography. I have learnt much from each of the books I commend here.
Women photographers have all too often been overlooked or forgotten. (This happened to the subject of my own book choice, Helen Post.) But Helen Levitt – who really flourished from the 1940s through the 1960s and is now undergoing something of a renaissance – has always had devotees. Steichen invited her to contribute to The Family of Man and one of her most notable admirers, James Agee, the novelist, poet, film critic, and documentarian, was pleased to write the insightful essay to A Way of Seeing. Levitt’s quirky pictures of street life – especially those featuring children, often at play – document quite ordinary customs at a particular moment. Despite never seeming intrusive, they get up close, reveal the photographer’s rapport with her subjects, and present them, so to speak, on the level. Ultimately, these images are so expressive that they become universal, transcending the period in which they…
Taken over a number of years beginning in the early 1940s, the 51 photographs in this book -- many of them of children and of the poor, many taken in Harlem -- reveal the face of the city as it was and are an enduring image of existence as this artist sees it. The accompanying essay by James Agee is both a commentary on the pictures and an eloquent statement of the nature of the creative act and what it means or the art of photography.
