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As exploited and colonized people, California farmworkers have attracted such massive, overwhelming photographic scrutiny that today their story cannot be told, studied, or understood without engaging the photographic dimension. Although the work of Dorothea Lange and other photographers from the 1930s often comes to mind, virtually every photographer of consequence at some time, for some reason, photographed in the fields of the Golden State. This includes such unlikely twentieth-century artists as fashion photographer Richard Avedon and commercial photographer Max Yavno, along with the nineteenth-century masters Carleton E. Watkins and Eadweard Muybridge. Their work, however, does not unfold along neat, predictable lines. While it has both obscured the place of field hands in modern agriculture and made a case against the farm labor system as an instrument of poverty and oppression, the best of these photographs goes far beyond advertising and expose, cutting through layers of ignorance and indifference and raising difficult moral questions that force us to reflect on the extent to which, as a society, we require the subservience of an entire class of people. This volume presents 249 of these important photographs.
(source: Nielsen Book Data)

• Introduction / Lisa McCarty A Time of Youth (Photographs) Bill Gedney: A Time of Youth / Philip Gefter Afterword / Lisa McCarty Chronology of William Gedney's Work in San Francisco / Lisa McCarty Acknowledgments Appendix: List of Images and Selected Reflections Index.
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A year before 1967's famed Summer of Love, documentary photographer William Gedney set out for San Francisco on a Guggenheim Fellowship to record "aspects of our culture which I believe significant and which I hope will become, in time, part of the visual record of American history." A Time of Youth brings together eighty-seven of the more than two thousand photographs Gedney took in San Francisco's Haight-Ashbury neighborhood between October 1966 and January 1967. In these photographs Gedney documents the restless and intertwined lives of the disenchanted youth who flocked to what became the epicenter of 1960s counterculture. Gedney lived among these young people in their communal homes, where he captured the intimate and varied contours of everyday life: solitude and companionship, joyous celebration and somber quiet, cramped rooms and spacious parks, recreation and contemplation. In these images Gedney presents a portrait of a San Francisco counterculture that complicates popular depictions of late 1960s youth as carefree flower children. The book also includes facsimiles of handwritten descriptions of the scenes Gedney photographed, his thoughts on organizing the book, and other ephemera.
(source: Nielsen Book Data)

Menuez hoped to photograph Steve Jobs as he built this new computer from conception to product launch, thereby capturing the spirit and substance of innovation through the world's top technology guru. In an amazing act of trust, Jobs granted Menuez unprecedented access to him and his team, and what Menuez thought would last only three years soon stretched into fifteen. Once Silicon Valley heard Jobs had granted him complete access, they all did. Over the years, Menuez photographed behind the scenes with John Warnock at Adobe, John Sculley at Apple, Bill Gates at Microsoft, John Doerr at Kleiner Perkins, Bill Joy at Sun Microsystems, Gordon Moore and Andy Grove at Intel, Mark Anderson at Netscape, and more than seventy other leading companies and innovator. By 2000, an era was ending, the Valley had crashed, and Steve Jobs was rising up, riding a blazing rocket back to glory. The growth of transformational technology during this singular era had led to the creation of more jobs and wealth than any time in human history. And Menuez was there, witness to a global revolution. In Fearless Genius, Menuez brings his experiences to print, showing, in 100 stunning photographs of scenes only he had access to, the human face of innovation and what it takes to transform the power of ideas into reality.
(source: Nielsen Book Data)

Contains 37 four-color offset reproductions of photographs, chiefly full-page (image 14 x 24 cm). Images are taken from the 2016 documentary film The Nine, directed by Katy Grannan; assistant director, Hannah Hughes. No text except for colophon