Within the canon of European photography books it would be difficult to find one more famous, revered and influential as Henri Cartier-Bresson's The Decisive Moment, wrote Jeffrey Ladd in Time LightBox, in a feature on Steidl's new edition of this ultimate photobook classic. Originally published in 1952, this collection of Cartier-Bresson's best work from his early years was embellished with a collage cover by Henri Matisse. The book has since influenced generations of photographers, while its English title defined the notion of the famous peak in which all elements in the photographic frame accumulate to form the perfect image--not the moment of the height of the action, necessarily, but the formal, visual peak. This new publication--the first and only reprint since the original 1952 edition--is a meticulous facsimile of the original book that launched the artist to international fame, with an additional booklet on the history of The Decisive Moment by Centre Pompidou curator Clément Chéroux.
Henri Cartier-Bresson (1908-2004) was born in Chantelou-en-Brie, France. He initially studied painting and began photographing in the 1930s. Cartier-Bresson cofounded Magnum in 1947. In the late 1960s he returned to his original passion, drawing. In 2003 Cartier-Bresson established the Fondation Henri Cartier-Bresson in Paris, one year before his death.

The Rebel is an essay on artistic, historical, and metaphysical rebellion, in which he lays out the difference between revolution and revolt.
Camus sees revolt as a peaceful, evolutionary process that requires leadership but not violence. He criticizes Hegel's work, accusing it of glorifying power and the state over social morality and ethics, and he accuses Marx of co-opting Hegelian philosophy to allow "any means to an end". Camus prefers Mediterranean humanism, a philosophy grounded in nature and moderation, to the violence and historicism he sees as part and parcel to what he calls the "Absolutist" philosophies. The attacks on Hegel, Marxism and nihilism in The Rebel had a profound effect on Camus' peers.
The book was described as intellectual treason by leftist critics, and a review by Francis Jeanson in Les Temps Modernes accused Camus of being a traitor to the left. After Camus attempted to defend himself in a letter to the publication, Jean-Paul Sartre, the editor of Les Temps Modernes at the time, published an open letter in response that tallied 19 pages. The letter included personal attacks, and marked the end of the two philosophers' friendship.