In 1956, Inge Morath (1923-2002) traveled to the Middle East for Holiday magazine. She wore the traditional chador and traveled alone most of the time. "It was difficult to photograph there as a woman," she later recorded. In this body of work, Morath's subjects range from politics and religion to work and commerce, from the shah's palace to the nomad's tent to Zoroaster's sacred shrine. She photographed Iran with the keen vision of an anthropologist, examining religious rituals, costuming, work, sport, music, art and theater in order to document "the continuity--or lack of it--between past and present," as she later put it. Morath's work in Iran presaged her later work in Spain, China and Russia, creating an extensive document of the clash between modernity and tradition in the postwar Middle East. Retrospectively, Inge Morath: Iran recalls a land and a culture that have been profoundly transformed since the Iranian Revolution of 1979. It is a window into the past that provides a singular and timely perspective on Iran in the present.

Inge Morath: Iran

Arts & Photography

AZAR NAFISI

Monika Faber

John P. Jacob

Individual Artists

Steidl Photography International

Like many of her colleagues, Inge Morath carried one camera loaded with black-and-white film and another loaded with color. Possibly influenced by the legendary hostility of Henri Cartier-Bresson (her mentor) to color photography, Morath's own ambivalence is reflected in the contradiction between the sheer volume of color film that she exposed during her lifetime and its complete absence from her exhibited and published works. Following Morath's death in 2002, more than 10,000 hitherto unknown and uncataloged color originals were recovered from storage in Paris, where Morath had been based from 1954 until 1962. As this volume demonstrates, Morath's color vision matured around 1958, while documenting the Danube River; by the late 1960s and during the 1970s, when she worked extensively in Russia and China, Morath's color production would at times exceed her work in black and white, and several projects done late in her life were made exclusively in color.

Inge Morath: First Color

Steidl & Partners

"A Handbook on Post Harvest Management of Fruits and Vegetables" deals with the scientific approach to post harvest management of fresh fruits and vegetables with the intention to minimize the post harvest losses. It is a compilation of informations on various aspects of post harvest technology in to a simple handbook. Separate chapters on the importance of harvesting indices of various fruits and vegetables, methods of harvesting, importance of washing and various techniques and types of machines used for washing are coverd in the earlier chapters with tables and pictures. Importance of packing fresh fruits and vegetables, its comparative merits and demerits of each material, pre-treatments of fruits and vegetables, different storage techniques and hazards during transportation are covered in the later chapters. This is a brief and valid handbook highly suitable for the students and research workers in the field of Horticulture, Agriculture and Food Science and Technology who are doing post harvest aspect of fruit and vegetables and also those who are engaged in fresh fruits and vegetable handling, packaging and marketing.

A Handbook on Post Harvest Management of Fruits and Vegetables

Science & Math

Biological Sciences

Daya Pub. House

Unconcerned But Not Indifferent is one of the most beautifully produced and revelatory monographs on Man Ray ever published. It draws exclusively on one of the largest Man Ray archives, that of the Man Ray Trust, which has remained largely unexcavated since it was brought to the U.S. in the late 1990s, and whose full scope has never before been published. The book is structured chronologically across the four phases of Man Ray's working life, in New York, Paris, Los Angeles and Paris again. Works reproduced here range from typographic studies done in 1908, through paintings, objects and sculptures to Man Ray's pioneering photography, from the "Rayographs" (abstract photographs produced from found objects) and "Solarizations" (a procedure of tonal reversion developed by Man Ray and Lee Miller), to his fantastic portraits of André Derain, Erik Satie, Juan Gris, Pablo Picasso, Jean Cocteau, Hans Bellmer, Joyce Mansour and many others--plus many rare images from his L.A. years. It also features supplementary materials to works and a useful chronology. As an object, Unconcerned But Not Indifferent is unmistakably a labor of love, from its contents to its binding (the cloth front board features an embossed emblem of the artist's bowler hat, and the paper for both plates and text is especially fetching), and a model of what a monograph can be. The artist known as Man Ray was born Emmanuel Radnitzky in Philadelphia, in 1890. A nomadic soul, like his lifelong friend Marcel Duchamp, Man Ray relocated many times throughout his life, and likewise stopped short of joining the ranks of either Dada or Surrealism, though he was informally close to both movements. He died in 1976 and was buried in in the Cimetière du Montparnasse in Paris. His epitaph reads: "unconcerned, but not indifferent."

Man Ray: Despreocupado Pero No Indiferente / Unconcerned But Not Indifferent (English and Spanish Edition)

Noriko Fuku

La Fábrica

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Books by John P. Jacob