PHOTOGRAPHER MONOGRAPHS

PUBLISHER
Steidl

BOOK FORMAT
Hardcover, 11 x 9 in. / 176 pgs / illustrated throughout.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2014

PRODUCT DETAILS
ISBN 9783869304441 TRADE
List Price: $64.00 CDN $75.00

AVAILABILITY
In stock

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STEIDL

James Karales

Edited by Howard Greenberg, Bob Shaims.

James Karales (1930–2002) was big-time in the best time but is not as well-known as he should be, argues photographic historian Vicki Goldberg. This book will change that. Early in his career, Karales began a photo-essay documenting Rendville, Ohio, an important stop on the Underground Railroad during the Civil War and one of the few racially integrated communities in America in the late 1950s. These pictures demonstrate his striking ability to capture the essential qualities of a community, are reminiscent of images made for the Farm Security Administration in the 1930s, and reflect Karales' state of mind as he grappled with the racial issues that were to preoccupy him and America for many years to come. Karales worked for Look from 1960 until it ceased publication in 1971. Among many important assignments for the magazine, Karales documented Martin Luther King and the fifty-mile, five-day Selma (Alabama) march in 1965. Fifteen minutes before the end of the march, the sky darkened and Karales' wide-angle shot of the protesters silhouetted against the horizon has since become an emblem of the march and has insured the photographer's place in this tumultuous period of American history. In this new publication we discover that Karales' stature as a photojournalist and social documentary photographer par excellence is based on much more than one iconic image.
PRAISE AND REVIEWS

The Wall Street Journal

Mary Kate McDevitt

The work inside reveals a master storyteller. Karales (1930-2002) made photo-essays of Rendville, Ohio, a depressed mining town, from 1953 to ’57; of people waiting for news of survivors from the sinking liner Andria Doria in 1956; of Vietnam in 1963, where a somber GI holds a dead Vietnamese child in his arms; of New York’s Lower East Side in 1969, when it was a sociological sinkhole. Karales worked with W. Eugene Smith for two years and learned from that master printer how to produce luxuriously dark prints.

James Karales

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