Fans pick 30 books like The Last Roll

I have loved this book of black & white photographs for nearly 5 decades and still look at it often. It’s like a book of poetry, meant to be lived with rather than simply looked at one or twice. What I like is how quiet these images are while at the same time being incredibly compelling. I see something new in these images almost every time I look at them.  What could be better in a book of photographs? What I’ve learned is that photographs embrace poetry more naturally than narrative storytelling. Yes—it's a picture of a parsnip—but is that an eye in the middle of it looking back at me? 

When my wife and I met in 1975, one of the things we had in common was that we both owned a copy of Growing Up Female. And the bindings on both copies were pretty worn out. This is a deeply personal journal of compelling photographs and eloquent text about women—from a feminist’s point of view.  What I love about this book is how deeply moving it is and how well it demonstrates a narrative approach to taking, editing, and sequencing first-person photographs. Not to mention that this book sold 25,000 copies (unheard of for books of photography) and had a significant impact on the view of a woman’s place in our culture.  

There’s an image of a large white horse standing above a man who’s kneeling in front of him, gesturing toward the horse’s face with one hand. He is having a conversation with this horse, trying to convince him of something. It’s one of the most beautiful photographs ever! On another page is a fully feathered chicken being dried out, hanging upside down from a clothesline in what appears to be a field of wheat.  It’s astonishing how beautiful this image is. Josef Koudelka is one of the great masters of photography who has taught us all how to see the mystery and awe in places we walk by every day. Through his work, Koudelka has shown me the breadth and depth that photography embraces.

This book cemented my commitment to being a photographer. The images are stunning jewels frozen in silver from ancient places in countries like India, Ireland, Egypt, & Tibet. Printed beautifully in warm black and white tones along with inspiring quotes, every image speaks to me: slow down, pay attention to what you see and feel. And focus on the light and the shadow.

The Yangtze River is only how outsiders know it: to Chinese it is simply ‘Changjiang’ or ‘Long River’. Flowing through the heart of the country from the Tibetan Plateau to Shanghai it is central to the lives and imagination of countless generations of Chinese. Kander, better known for his advertising and commercial work, brings a sedate and contemplative approach to this huge subject. The silt-laden river and the smoggy air around it present a challenge to any photographer as shapes and shadows melt into the yellow and grey. Here they provide a palette of otherworldly views, anchored by careful placement of the human elements we can identify with.

On Photography is 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… show more.

This book is the perfect antidote to all the stereotypes written about Japan’s subcultures. Nothing annoys me more than coverage that labels Japan as weird, quirky, or bizarre when really it just has different elements to the culture of those who use such labels. 

That kind of othering ignores that beneath the surface, there’s much that unites Japanese with Americans or Brits or anyone else. We all laugh, cry, and experience a similar raft of emotions from birth to death. What I love about this book, beyond Wong’s superb photography, is how his interviews humanize the cosplayers, gyaru and varied otaku he meets, while also offering insights into their passions and lifestyles. 

This book presents hundreds of photographs taken by Agence France Presse around the world in the first 18 months of the COVID pandemic. The images span the full range from the mundane (people exercising at home) to the bizarre (weird home-made face masks) to those that are frightening and tragic (mass coffins and graves). Over 150 countries are represented in these images, which are arranged chronologically, thereby presenting a visual global timeline of the major events occurring during this crucial early period of the continuing pandemic, when this disease was still a mysterious threat. This book helps us to remember the feelings of urgency, confusion, panic, and fear that were part of this period, as people came to terms with the upheavals wrought by the pandemic.

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… show more.

I love photography books but, my hands-down favorite is Humans of New York. New York City is truly America’s melting pot, a gourmet stew of nationalities, personalities, fragile seniors, young billionaires, paupers, and everything in between. The city has much of what’s right with the world and its burst of humanity can all be seen in this book.

Unlike many photo books, this one has no excess verbiage. Stanton lets the pictures or their subjects tell the stories. There are hairstylists, hipsters, mommies, cute kids, teens with tattoos and purple hair, and a guy busking in the park with his viola while wearing a pink gorilla suit. The caption reads: “Damn liberal arts degree.” The author created this as a summer project and ended with 300 pages of delight.