Hi guys, how are you doing today? I hope you are doing great and today I want to share with you some of my favorites book bout photography and from my favorites photographers.

Here we go.

Veneto: The photos were taken between 1984 and 1989, all with a Deardorff 8X10 large format camera, which Guidi was using for the first time for an entire photographic project.
Guido Guidi was born in 1941 in Cesena, where he lives and works. He mainly photographs rural and suburban landscapes in Italy and Europe and has taught photography in some Italian universities, including the Iuav University of Venice, where he has studied since 1959: it is precisely in the travels between Veneto and Emilia Romagna that he began to get to know the Venetian landscape shown in the book.

The author focuses on the central area of Veneto, with the intention of witnessing the change that is taking place in these places that he loves very much.

The huge rural area between the provinces of Vicenza, Padua and Venice, through a process of fragmentation known as urban diffusion, becomes, in fact, a highly uncertain, marginal landscape, devoid of hierarchies, as Guidi’s work documents.

Luckily there is Mack, the young London publishing house of art and photography, to promote photographers such as Guido Guidi on the international scene, treated with less attention than they should in Italy. In 2018, Per strada was released, three small volumes documenting the Via Emilia from Lombardy to the Adriatic. In June 2019, In Sardegna was released, again a triptych on two journeys separated by years that seem centuries, one in 1974, the other in 2011.

In October 2019 it is instead the turn of In Veneto 1984-89, in which Guidi explores the Central Veneto, far from the Venetian or Palladian beauties, to concentrate on the once rural suburbs and today transformed into urban sprawl that have grown over the years without a precise urban or architectural address, such as messy cracks, or mosses or mushrooms, spreading out from the bodies of Padua, Treviso and Venezia.

The views of these areas, once countryside and now no longer – yet not yet a city – are unable to find a precise identity, and fade into an anonymous and homologated characterization, as non-places on the plain.

About his attention to the margins, Guidi explained to Artribune in 2018: «I was born in the countryside. I also like the city, but I have always enjoyed working and being outside the center. I am interested, as I have already said, in the vernacular. He intuited about this my culture in the field of architecture, of an organic matrix, which in itself is far from the concept of centrality ».

The views of these areas, once countryside and now no longer – yet not yet a city – are unable to find a precise identity, and fade into an anonymous and homologated characterization, as non-places on the plain. About his attention to the margins, Guidi explained to Artribune in 2018: «I was born in the countryside. I also like the city, but I have always enjoyed working and being outside the center. I am interested, as I have already said, in the vernacular. He intuited about this my culture in the field of architecture, of an organic matrix, which in itself is far from the concept of centrality ».

Ghirri :Kodachrome is the first book of photographs published by Luigi Ghirri, an Italian photographer born in Scandiano (Reggio Emilia) on 5 January 1943 and died in Roncocesi (RE) on 14 February 1992 at the age of 49. The first edition of Kodachrome was self-produced by Luigi Ghirri in 1978, and published by the Punto e Virgola publishing house, which Ghirri himself had conceived and set up in Modena.

This reprint is basically a copy of the original, adopts the same layout, the same texts and the photographs of the first edition. It takes up both the cover, the introductory text by Piero Berengo Gardin and the preface by Luigi Ghirri.

It also includes an external file with a small essay by Francesco Zanot (critic and historian specializing in photography), which offers a contemporary perspective on the historical impact of Kodachrome. For the printing of this second edition, Ghirri’s original films were scanned.

Kodachrome collects Ghirri’s photographic work from 1970 to 1978, for a total of 92 color photographs. Ghirri presents the environment through cropped images, photographers of photographs, photographs Italians without including them in his photos, tells the landscape through his advertisements, postcards, potted plants, walls, windows.

He shoots metaphysical landscapes, suspended in space and time, he photographs fragments of places known but transfigured by his compositions.

Ghirri’s shots embody the poetics of amazement for simple, normal, ordinary and sometimes even banal and ordinary things.

As for the name of the book, Kodachrome, here is what Piero Berengo Gardin writes in the introduction: Kodachrome is the name of a sensitive material with variable gradation capable of providing color photographic reproductions through transparency.

The page reproduces about a hundred of these possible photographs, obtained with a material whose trademark indicates, par excellence, a work tool with which one can communicate to millions of people. Kodachrome is therefore not a market message, but a coded message.

The code of communication and representation of reality modified by its own representation. To understand this code, it is necessary to use a language whose analysis allows the author to trace every possible consideration, aesthetic or practical, on the meaning of his work.

Kodachrome is the trademark of a very famous film, the first in color to be patented. I therefore wanted to emphasize the work object. But it was, above all, an analysis of the images for public use, visible along the street, inside the shops, on the billboards.

Over the years I had broken them down, certainly alluding to the mechanism of photomontage, but with a precise attention to a particular problem, to a specific relationship: that of the image that becomes reality, of reality that becomes image, for which within reality it became a photomontage of reality itself. This book is a must have for anyone who loves Ghirri.


About 90 evocative color images by the photographers Antonio Barisani and Mino Piccolo document a world, that of the farmhouse, now radically changed, but which belongs indissolubly to the Po Valley and its history.

The two Cremonese photographers approached that world with great respect, without violating it. Entering the walls of the farmhouses they found objects abandoned on the fireplaces, old work tools that seem rudimentary tools of archaeological value, crumbling stairs, necklaces for horses worn by time, dark cellars with mysteriously shaped glass, chairs left next to windows open to the countryside, bedrooms still partially furnished.

The result is an extraordinary reportage that documents multiple aspects related to this world that is gradually disappearing, such as the history of agriculture practiced in the area between the provinces of Cremona and Mantua and the types of rural architecture.

Barisani and Piccolo have also masterfully grasped the aspect linked to religiosity and popular devotion: among the subjects of their images there are statues, frescoes, inscriptions, bas-reliefs, country shrines and religious buildings.

cascine Antonio barisani https://www.unilibro.it/libro/barisani-antonio-piccolo-mino-ruggeri-liliana/cascine-percorsi-memoria-civilta/9788890494604

Antonio Barisani and Mino Piccolo, Cremonese photographers united by a passion for the naturalistic image, have a rich archive of slides.

Birds and the Po Valley environment are the undisputed protagonists of their photographic shots. In recent years they have participated in numerous competitions and have held various exhibitions in Italy and abroad, winning prestigious prizes.

Members of the FIAF Nature National Team, in 1999 in Kuusano in Finland they received the honorable mention, while in 2001 in Johannesburg in South Africa, they won the Nature World Cup, as well as the Odette Bretcher trophy.

Having the Italian national team, FIAF Nature, won in 2003 in Adelaide for the third consecutive time, the World Cup of nature photography, the prestigious Odette Bretcher trophy is now in Italy, in Turin, also thanks to the contribution of Cremonese photographers.

Vivian Dorothea Maier was born in 1926 in New York, Bronx, but spent several years in France before returning to the United States. She trained as a self-taught while working as a nanny between New York and Chicago and specialized in the genre of so-called street photography, the development of which was favored by the spread of new cameras that were more comfortable to carry and easier to use.

Today she is considered one of the most important exponents of street photography of the twentieth century, although her works have been unknown for decades and then discovered, evaluated and appreciated only in recent times, after her death in 2009 in Chicago, where she had moved to the 1956.She began to photograph life in the streets of the cities, without ever making his work known, and she put aside a lot of material: she left an immense archive, with more than 150,000 negatives, thousands of undeveloped films, prints, super films 8 or 16 millimeters, records, notes and other documents of various kinds that she accumulated in the rooms where she lived.

The material was then discovered by John Maloof, a Chicago real estate agent fond of collectors who in 2007 bought the contents of a box that had been rented by Vivian Maier for a few years, and in which he found tens of thousands of negatives of undeveloped photos.

Vivian Maier. Color, curated by Colin Westerbeck, is Vivian Maier’s first collection of color photographs. The book presents a foreword by world-famous photographer Joel Meyerowitz and a preface by Westerbeck himself, followed by a sequence of more than 150 images, many of them unpublished, which tell the American newspaper between the 1950s and the mid-1970s, all coloured.
At a time when color in photography was viewed with distrust, using it was courageous: Vivian Maier, whose fame came only after death and by chance, once again confirms her high degree of professionalism and experimentalism.

The texts by Meyerowitz and Westerbeck analyze the nature of these works by comparing them to those in black and white and to the images of similar photographers, such as Eugene Atget and Lee Friedlander, shedding light on style and beauty. The Chicago street photographer, long considered the nanny with a passion for photography, whose talent has often been relegated to the amateur ranks, demonstrates with the choice of color that she is a true pioneer of the genre. These photographs are “memorable gems”, as Meyerowitz calls them, they speak of a lively America full of colorful details that stand out and break the dull routine.

Vivian Maier. In color she shows us a photographer with a sharp and always counter-current gaze, with her manner and her stylistic code. The irony, the human warmth, the urban landscape, the portraits, the children: Maier has the gift of being the invisible target on the streets of Chicago and New York, composing a story that has the character of a revelation.

Photography is unpredictable, evocative, born from a look, from a detail, from a shape of water, from a torn dress, from a tangle of hands, from a decorated window, from a mirror. Vivian Maier’s photography stems from curiosity and an eye trained to capture the essence of the feelings spread through the streets of Chicagoland.

“One of the truths of photography is that the best street photographers learn to be invisible, or at least to convince themselves they are.”

In the introduction, Joel Meyerowitz expresses this concept well by giving the example of Vivian Maier who makes her appearance in the history of street photography in 2009. The framing, the play of self-portraits in mirrors and shadows, the audacity in the choice of people to photograph and the uninhibited closeness from which he shot, irony and humor are few of the ingredients that characterize the art of Vivian Maier.

Vivian Maier’s existence is shrouded, however, in mystery. How much is known about this exceptionally talented woman? Little if you think that there are about 140,000 photographs to tell us about her. Vivian Maier was born in New York in 1926, in 1951 she began to take a serious interest in photography and was a nanny by profession. Few essential information for extraordinary photographs that explore “different genres, from portraits to architectural or landscape photography”.


Those were some of my absolute favorites photography books and I am going to build my personal collection year by year ,letting me be influenced by these amazing artist and photographer ,hoping someday to may be have my own book.

Thank you so much for your time as always and I will see you soon folks.

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