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This volume, created during preparations for several international survey exhibitions, offers both the photographer and the viewer the opportunity to consider the photographer's life work in a fresh light. The author has returned to his contact sheets from the past five decades, selecting previously known images as well as ones never before published. The pages offer reproductions of original contact sheets; sequences of new contact sheets made from recombined negative strips, which juxtapose images from the 1950s with those from the past ten years; and selections of individual images, both familiar and newly discovered. Together, these offer a compact and omprehensive assembly of the artist's oeuvre, tracing recurring motifs and proposing startling new interpretations of some of his most iconic images.

After World War II, the American road trip began appearing prominently in literature, music, movies and photography. As Stephen Shore has written, "Our country is made for long trips. Since the 1940s, the dream of the road trip, and the sense of possibility and freedom that it represents, has taken its own important place within our culture." Many photographers purposefully embarked on journeys across the U.S. in order to create work, including Robert Frank, whose seminal road trip resulted in "The Americans." However, he was preceded by Edward Weston, who traveled across the country taking pictures to illustrate Walt Whitman's "Leaves of Grass"; Henri Cartier-Bresson, whose 1947 trip through the American South and into the West was published in the early 1950s in "Harper's Bazaar"; and Ed Ruscha, whose road trips between Los Angeles and Oklahoma formed the basis of "Twentysix Gasoline Stations." Hundreds of photographers have continued the tradition of the photographic road trip on down to the present, from Stephen Shore to Taiyo Onorato, Nico Krebs, Alec Soth and Ryan McGinley. "The Open Road" considers the photographic road trip as a genre in and of itself, and presents the story of photographers for whom the American road is muse. The book features David Campany's introduction to the genre and 18 chapters presented chronologically, each exploring one American road trip in depth through a portfolio of images and informative texts. This volume highlights some of the most important bodies of work made on the road, from "The Americans" to the present day.

Photography deepens our connections to the world around us, to ourselves, and to one another. In this new and innovative series, Aperture works with the world's top photographers, many of whom also teach, to publish their core thinking on photography making their experience, insight, and knowledge accessible to a wider audience, including students. Each title in the series will provide an essential primer on the photographers area of expertise and creative process. The key points of their practi ce are presented in the photographers own words, and will answer the questions they are asked most frequently. The commentary will accompany a selection of fifty photographs, iconic images by each featured photographer, as well as key images by others that have influenced their thinking and work.

When Diane Arbus died in 1971 at the age of 48, she was already a significant influence--even something of a legend--for serious photographers, although only a relatively small number of her most important pictures were widely known at the time. The publication of "Diane Arbus: An Aperture Monograph" in 1972--along with the posthumous retrospective at The Museum of Modern Art--offered the general public its first encounter with the breadth and power of her achievements. The response was unprecedented. The monograph, composed of 80 photographs, was edited and designed by the painter Marvin Israel, Diane Arbus' friend and colleague, and by her daughter Doon Arbus. Their goal in producing the book was to remain as faithful as possible to the standards by which Arbus judged her own work and to the ways in which she hoped it would be seen. Universally acknowledged as a photobook classic, "Diane Arbus: An Aperture Monograph" is a timeless masterpiece with editions in five languages, and remains the foundation of her international reputation. A quarter of a century has done nothing to diminish the riveting impact of these pictures or the controversy they inspire. Arbus' photographs penetrate the psyche with all the force of a personal encounter and, in doing so, transform the way we see the world and the people in it.

When Diane Arbus died in 1971 at the age of forty-eight, she was already a significant influence-even something of a legend-among serious photographers, although only a relatively small number of her most important pictures were widely known at the time. The publication of Diane Arbus: An Aperture Monograph in 1972- along with the posthumous retrospective at The Museum of Modern Art-offered the general public its first encounter with the breadth and power of her achievements. The response was unprecedented. The monograph of eighty photographs was edited and designed by the painter Marvin Israel, Diane Arbus's friend and colleague, and by her daughter Doon Arbus. Their goal in making the book was to remain as faithful as possible to the standards by which Diane Arbus judged her own work and to the ways in which she hoped it would be seen. Universally acknowledged as a classic, Diane Arbus: An Aperture Monograph is a timeless masterpiece with editions in five languages and remains the foundation of her international reputation. Nearly half of a century has done nothing to diminish the riveting impact of these pictures or the controversy they inspire. Arbus's photographs penetrate the psyche with all the force of a personal encounter and, in doing so, transform the way we see the world and the people in it. This is the first edition in which the image separations were created digitally; the files have been specially prepared by Robert J. Hennessey using prints by Neil Selkirk.

With one foot in art history and the other firmly in his own time, Dan Winters has produced many of the most classic celebrity portraits of the past 15 years. Sometimes the poses are familiar from early Renaissance portraiture--the profile or three-quarter profile view of the subject beginning from the chest up, the eyes raised skyward, the background a murky monochrome. In other portraits, Winters conjures early photography, and in yet others, one finds entirely contemporary backdrops of freeways or industrial interiors. He excels in lighting, shrouding his subjects in shadow (Morrissey) or very slightly bleaching them (Kate Winslet) to produce a strange remoteness. Winters is responsible for the definitive portraits of Hollywood's most photographed A-listers (Gwyneth Paltrow, Angelina Jolie, Denzel Washington, Nicole Kidman, Johnny Depp, Leonardo DiCaprio) and music superstars (Bono, Eminem, Willie Nelson), as well as scientists, architects and everyday, extraordinary Americans. This long-awaited first monograph from this top editorial photographer provides an overview of his assignment work as a contributor to some of America's most prestigious magazines, including New York, Esquire, Rolling Stone and The New York Times Magazine, with an emphasis on his portraiture. Designed by Scott Dadich, award-winning Creative Director of Wired magazine, it showcases a photographer at the top of his game.Dan Winters, born in Ventura, California, in 1962, lives in Austin and Los Angeles. He is the recipient of more than 100 awards, including the Alfred Eisenstadt Award for Magazine Photography and a First Place World Press Photo Award. His work is included in the collections of The Museum of Fine Arts, Houston, and the Harry Ransom Humanities Research Center, University of Austin, Texas.

In this, Plachy's most complex and personal book to date, we are asked to reconsider ideas of self-portraiture and going home again. In 1956, in the wake of the Hungarian Revolution, Plachy and her parents escaped into Austria carrying only a small valise. She returned to Hungary eight years later, this time with a camera in hand. Through the gently subversive images gathered here, her life is revealed via clues, fragments of words, and pictures as if by someone looking into a mirror and seeing her life pass before her eyes-not linearly like a film, but rather in layers.

The intimate ache of the dollhouse and its air of manipulation (whether as consumer object or ventriloquist dummy) has become as identified with pioneering photographer Laurie Simmons as with Ibsen. She's even designed a dollhouse for a toy company. Mostly self-taught, Simmons began working in the 1970s, when color and staged tableaux were first being explored by fine-art photographers, and has since mapped out a world all her own, mostly in haunting miniature. Over the past 25 years, her photographs have conveyed a bittersweet nostalgia for the 1950s, while edgily commenting on consumerism, feminism and other fraught aspects of postwar American culture. The accompanying essay by Kate Linker concentrates on selected series that cover the artist's entire oeuvre--from Ventriloquism, Walking Objects and Lying Objects to the 1997 Self-Portraits and Cafe of the Inner Mind--and so is essential reading for any photography aficionado.