I compared this 2011 "Revised and Expanded Edition" with the first edition of 2005. As with the first edition, the stated goal of this edition is to "explore the diverse subjects, styles and methods of the leading practitioners" of art photography. After a 12-page Introduction, the book is divided into seven sections: Portrait, Landscape, Narrative, Object, Fashion, Document, and City. A three-page essay introduces each section, which covers about 10 photographers with 1-4 pages devoted to each photographer. In these 1-4 pages are photo(s), a paragraph by the author in ALL CAPS, and a quotation from the photographer up to a few paragraphs in length. The photographers given more than two pages are AES&F, Tina Barney, Gregory Crewdson, Katy Grannan, Rut Blees Luxemburg, Susan Meiselas, Richard Misrach, Allen Sekula, Hannah Starkey, Joel Sternfeld, Larry Sultan, and Jeff Wall.
The major differences between this edition and the first edition are: (1) it's published by Thames & Hudson, not Aperture; (2) it has 240 pages and 275 illustrations, as opposed to 224 pages and 261 illustrations; (3) it's paperback, not hardcover; (4) there are new selections of photos and/or new quotations for Gregory Crewdson, Bill Henson, Candida Höfer, Justine Kurland, Boris Mikhailov, Gabriel Orozco, Mario Sorrenti, Hannah Starkey, Wolfgang Tillmans, Hellen van Meene, and Jeff Wall; and (5) there is a new "Transitions" section (pages 218-231) with subsections "Photography About Photography," "Documentary Drive," and "New Directions." Overall, then, the book is slightly improved from its predecessor.
The book is certainly well-printed and nicely laid out. However, I think it spends too much space on some photographers who are not very noteworthy, such as Camille Vivier and Jonathan De Villiers. The book could have covered photographers such as Stephen Gill, Anthony Goicolea, Rinko Kawauchi, An-My Lê, Barbara Probst, Alec Soth, and Jules Spinatsch instead. Furthermore, in order to "explore... diverse subjects, styles and methods" it would have been better for one photo from each of several of a photographer's different series to be presented instead of several photos from one series. Take Sam Taylor-Wood on pages 30-31; although she is known for many series, such as "Crying Men," "Soliloquy," and "Bram Stoker's Chair," the book contains only five rather repetitive photos from her 2004 "Self-Portrait Suspended" series. Four of Richard Misrach's "On the Beach" photos appear on pages 56-59, possibly leaving the reader to wonder what his much more famous "Desert Cantos" photos look like.
With its limitations in mind, buy this book from Amazon.com!
BTW, unlike a reviewer of the first edition, I didn't miss the exclusion of artists using photography such as Gerhard Richter. Also, I disagree with another reviewer who wrote that "the work doesn't vary much from artist to artist... [and it is] trendy, elitist, high-priced commodity under the guise of art." Finally, the book gives us more than "a potpourri of unrelated photographs" as a third reviewer wrote.