The Adventures of Guille and Belinda and The Illusion of an Everlasting Summer

An inspirational collection of the world's most beautiful scenic runs, selected by the editors of cult independent running magazine Like the Wind. Trail running is as simple as it sounds: just put one foot in front of the other, somewhere unpaved and outdoors. The opportunities it presents are endless, with a wide variety of routes that stretch over mountains, forests and deserts, in hot climates and frigid ones, through some of the most wild and beautiful places on Earth. Targeted at both novice and experienced runners, this book presents the finest trail-running locations around the world. From the heights of the Alps to the snowy expanses of the Arctic to the jungles of Latin America and the outback Down Under, each destination is brought to life by a different trail runner, showcasing exactly what makes each location so spectacular, as well as providing practical information to keep you moving on the ground. Compiled by the editors of Like the Wind, the first independent running magazine, each run offers an unparalleled experience, while the foreword was written by renowned American ultramarathon runner Dean Karnazes. As trail-running events assume the popularity and buzz of music festivals - tens of thousands of people run in some of the world's toughest endurance races - this book offers a passport to exotic places and experiences, on and off the trail, at a time when getting off-grid and alone with yourself has never been more important.

‘Looking back at my work, I see that fashion has always been there,’ Annie Leibovitz observes in the preface to Wonderland. ‘Fashion plays a part in the scheme of everything, but photography always comes first for me. The photograph is the most important part. And photography is so big that it can encompass journalism, portraiture, reportage, family photographs, fashion ... My work for Vogue fueled the fire for a kind of photography that I might not otherwise have explored.’ Includes 350 extraordinary images (many of them previously unpublished) featuring a wide and diverse range of subjects: Nicole Kidman, Serena Williams, Pina Bausch, RuPaul, Cate Blanchett, Lady Gaga, Matthew Barney, Kate Moss, Natalia Vodianova, Rihanna, Chimamanda Ngozi Adichie, Karl Lagerfeld, Nancy Pelosi. With a foreword by Anna Wintour.

Di sguincio – meaning aslant, asquint, or seen from the corner of an eye – brings together more than a hundred black-and-white photographs made by Guido Guidi with small-format cameras between 1969 and 1981. These images record experimental early dialogues between Guidi and his camera: made without looking through the viewfinder and lit with a bright flash, they capture people, bodies, gestures, minor events, and fragments of space in moments of sudden and even abrasive encounter. While formally stark and even verging on the abstract, they document people and places close at hand – his family home in Cesena; friends with whom he shared an apartment in Treviso; colleagues at the Institute of Architecture at the University of Venice – forming affectionate personal works which explore the performative tension at the heart of images. This book reproduces Guidi’s own prints from the period, with their high contrast, unusual blurring and definition, and oblique, occasionally indiscernible handwritten annotations. Evoking the joys of invention and collaboration early in an artistic career, these fragments equally reflect the psychological, social, and political turmoil of Italy in an era of crisis and contestation of social values, metabolising the influences of neorealism and postmodernism in the search for new forms. The fundamental photographic theme of time – as it is recorded, experienced, and manipulated – is their elusive constant. With Di sguincio, we discover a set of anti-documents or anachronistic records – stamped, annotated, and sometimes artificially aged – which comment wryly on photography’s claims to truth and reveal the foundations of a lifelong engagement with the possibilities of the medium.

"I went to Central Park to find the place behind the Metropolitan Museum of Art where Jennifer Levin had been killed. It was bewildering to find a scene so beautiful ... to see the same sunlight pour down indifferently on the earth. As I showed the photograph of this site to friends, I realized that I was not alone in thinking of her when walking by the Met. It occurred to me that I held something within: a list of places that I cannot forget because of the tragedies that identify them, and I began to wonder if each of us has such a list. I set out to photograph sites that were marked during my lifetime. Yet, there was something else that drew me to this work. I think of it as the question of knowability. Experience has taught me again and again that you can never know what lies beneath a surface or behind a facade. Our sense of place, our understanding of photographs of the landscape is inevitably limited and fraught with misreading." --Joel Sternfeld. Between 1993 and 1996, Joel Sternfeld photographed 50 infamous crime sites around the US. On This Site contains images of these unsettlingly normal places, ordinary landscapes left behind after tragedies, their hidden stories disturbingly invisible. Each photograph is accompanied by a text describing the crime that took place at the location. This is the first Steidl edition of On This Site, originally published in 1996 to great acclaim.

A full-career retrospective on the work of Vivian Maier, bringing together a selection of key works from throughout her life and career. When Vivian Maier’s archive was discovered in Chicago in 2007, the photography community gained an immense and singular talent. Maier lived in relative obscurity until her death in 2009, but is now the subject of films and books, and recognized as one of the great American photographers of the 20th century. Born in New York in 1926, she worked as a nanny in New York and Chicago for much of her adult life. It was during her years as a nanny that she took many of the photographs that have made her posthumously famous. Maier’s incredible body of work consists of more than 150,000 photographic images, Super 8 and 16 mm films, various recordings and a multitude of undeveloped films. Working primarily as a street photographer, Maier’s work has been compared with such luminaries as Helen Levitt, Robert Frank, Diane Arbus and Joel Meyerowitz. Drawing on previously unpublished archives and recent scientific analyses, this retrospective sheds new light on Maier’s work. With texts by Anne Morin and Christa Blumlinger, this thorough look at Maier’s entire archive is organized thematically in sections that cover self-portraits, the street, portraits, gestures, cinematography, children, colour work and forms. A valuable addition to the continuing assessment of Maier’s work, this book is a one-volume compendium of her most enduring images.