Wayne Levin, Decompressing Divers and Galapagos Sharks, Laysan
Wayne Levin has added some work from the remote Papahanaumokuakea Marine National Monument (North West Hawaiian Islands) to his website. While a fair amount of this new work is black and white underwater (the genre that he is most known for) he has also included black and white above-water pictures and even a selection of color above-water pictures. The work is from this past summer, when he was invited to accompany a NOAA (National Oceanic and Atmospheric Administration) scientific expedition aboard the Hi'Ialakai.
I published a portfolio of Wayne's work in Photo Techniques a few circuits around the sun ago.
He also has two new books scheduled to come out next year. Akule, a book of his images of the amazing schooling fish, published by Editions Limited, with essays by Frank Stewart and Tom Farber, is set to come out in May of 2010. A new book of the Hansen's Disease Settlement of Kalaupapa, published by the Arizona Memorial Museum Association, with text by Anwei Skinsnes Law and Valerie Monson, is scheduled for later in 2010. I was pleased to discover that his previous book
Mother and Baby Spinner Dolphins and Sea Cucumbers
Mike
(Adapted from Wayne's press release)
(it's the size of a small phone book—despite which, the reproduction quality is quite good) is the single best one-volume book on the subject, and for a limited time he's offering copies signed by John Dominis for $70 each. 
. The book is only available in the U.K. so far—that's where this link goes—but I am awaiting its release in the U.S. with great anticipation, and will alert U.S. readers once it's available. None of her other books are in print.
. Which leads in turn to a recommendation for Ian Frazier's fascinating and entertaining 
and from there to Frazier's best book, the lyrical, searching 
.
of the work we cited as among the best of 2007.
is one of the better-selling and certainly more significant books of photography of the past two years (
), at least among fine-art (as opposed to pop and how-to) titles.
—here's the 
(here's the 
) gives an excellent introductory overview of his work, a brief biography, and useful information about architectural photography in general. For a more
forthrightly nuts-and-bolts approach, there's a reprint available in the U.S. of his classic 1962 instructional book 
. The latter deserves a place in the library of any aspiring architectural photographer, but it's no longer a good basic introduction to techniques and it won't be the place to go for things like advice on lighting equipment. Mined for more of a holistic approach to a career and a subject by those who wish to know more about Shulman's thinking and methods, however, the title still has a lot to offer, even to generalists. Those who want a more comprehensive survey of Shulman's work will want to seek out Taschen's three-volume Modernism Rediscovered, a treasury of pictures selected from the quarter-million negatives Shulman donated to the Getty Research Institute when he retired in 2004. The book is 
but doesn't seem to be in print in the U.S. (It shouldn't be that hard to find if you dig a bit, though.)
, was published only a few weeks ago in June (the link is to Amazon U.K.; Amazon U.S. doesn't seem to have this title sorted yet). 
, it's only available for pre-order at the moment. The new book, says the publisher, will have "more than 140 of her best images reproduced in stunning tritone, including many never published before and others not seen since they appeared in the pages of the legendary Harper's Bazaar of the 1950s." Much anticipated by fans of fashion photography, Lillian Bassman: Women is expected by October 1st. 
now.
) that showed a lot of the composite parts, but of course lacking one unifying sensibility. Anyway, Damion Berger's "In the Deep End" is the first time I've ever seen anybody actually pull it off. Great set. Don't miss the slideshow—this is work that really coheres as a set, and each of these pictures is better in the context of all the others.
"? Turns out that somehow, somewhere along the line, the name of the photographer, Nicholas Jbara, got misspelled on the album cover! An error we, too, perpetuated. I heard from Nick this morning, who said, "nothing like losing all my potential contacts."
