Tiane Doan na Champassak
In addition to his personal photographic practice, the French artist of Asian origin, Tiane Doan na Champassak, carries out a reflection about anonymous photography, collected via various sources such as Internet, family albums, or again periodicals. His work often translates into bookmaking and publishing and he has already released over a dozen books. Siam's Guy is his first book blending together his own photography and his re-appropriation practice.
Publisher: RVB Books
Size: 180 × 259 mm
Looking for the Masters in Ricardo’s Golden Shoes is a collaboration between a photographer intrigued by the evolution of photography and her friend Ricardo, who became both her muse and her model. Begun in July 2013 at the Rencontres d’Arles Photography Festival as a joyful celebration of the photographers exhibited that year, it quickly developed into a deeper, more challenging project.
Balet became profoundly interested in what it is that gives a photograph its iconic status, particularly in today’s frenetic communications world in which vast flows of images are consumed. Fascinated by the way in which the internet has both decontextualized images and has diminished our ability to pay attention to what we view online, she began to closely investigate the images that have built the foundations of our photographic visual culture.
Complicit in the process, and with an extraordinary elegance and naturalness, Ricardo steps into the skin of a woman or a young boy. Together, he and Balet revisit landmark photographs in a way that not only respects the original authors but also searches for the essence of photography. The task is also to translate the beauty of the grain and to discover what is essential in the original print.
Through the work Balet questions the dematerialisation of the photograph as well as the nature of authorship in the process of re-creation. She also explores the vast repertoire of advanced image processing technologies in a way that questions the medium itself.
Starting with a 1839 self-portrait the series seeks to make sense of the 21st Century’s photographic landscape by both examining its past and by identifying some of the latest photographic trends.
Ricardo’s golden shoes walk from one world to another tracing a considered and thoughtful route through 176 years of photographic history to create a subjective overview of an imaginary museum.
Publisher: Dewi Lewis Publishing
Size: 215 x 167 mm
256 pages, 120 duotone & colour plates;
Josef Sudek (1896–1976) was Prague’s Atget. From the mid-1920s until his death in 1976, Sudek photographed everything—the Gothic and Baroque architecture, the streets and objects—usually leaving the frame free of people. Because he was reclusive, a large portion of Sudek’s work was captured through his studio window: he was particularly fond of how the glass refracted light. The Window of My Studio series, spanning from the beginning of the Second World War to the first half of the 1950s, presents the series, which was of fundamental importance to Sudek, for it caused his work to move further into a surreal or Magic Realist style, with blurred images and strong shadows. Photography historian Anna Fárová contributes an introduction and an extensive biographical chronology to this volume—now back in print—which also includes a complete bibliography of portfolios, books and catalogues of Sudek’s work.
Text by Anna Fárová.
Size: 8.5 x 11"
88 pages, 73 colour images;
Alexander Gronsky and Ksenia Babushkina
The authors Alexander Gronsky and Ksenia Babushkina present their book as an exciting play on the perception of space and time. Its nature is exceptionally photographic and feeds on the history of photography and peculiarities of contemporary digital picture-taking. The book consists of diptychs and triptychs shot between 2005 and 2015 in different countries across the world, including Russia, Japan and Azerbaijan.
Limited edition of 700 copies
Size: 154 x 220 mm
Karen Knorr’s Gentlemen, published this September by STANLEY/BARKER in collaboration with Eric Franck Fine Art, takes us inside the hallowed halls of the most venerable private gentlemen’s clubs of 1980s London, and considers the patriarchal values of the English upper classes with beautifully precise photographs and texts constructed out of speeches of parliament and the news at that time.
The complete series of 26 images and texts investigate the values that ally these classes to conservative aristocratic values where primogeniture (the right by law of the rstborn son to inherit his parent’s estate, in preference to daughters) is still an issue. Until the early 1970’s a married women still needed her husband’s endorsement for any household purchases. Whilst women now have full property rights, they still remain under-represented in key positions of governance and in nancial and academic worlds. It is still a boys club in which some women are honorary members.
With equality on the agenda and calls for more to be done, the timely release of Gentlemen — the follow up to the critically acclaimed Belgravia (Published November 2015) uses humour to explore attitudes amongst the English establishment in the 1980’s. Knorr noted that despite being Prime Minister and head of the Conservative party, Margaret Thatcher as a woman was not then, nor would be now, allowed full membership at the Conservative Gentlemen’s club ‘The Carlton’. Old Etonians, like the former British Prime Minister prime minister David Cameron, have belonged to such Gentlemen’s clubs. It is in these clubs that behind the scenes influence is still used to influence politics and business today.
Size: 350 × 280 mm
58 pages, 26 duotone images
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
Coming of age in the 1960s, the photographer Danny Lyon (b. 1942) distinguished himself with work that emphasized intimate social engagement. In 1962 Lyon traveled to the segregated South to photograph the civil rights movement. Subsequent projects on biker culture, the demolition and redevelopment of lower Manhattan, and the Texas prison system, and more recently on the Occupy movement and the vanishing culture in China’s booming Shanxi Province, share Lyon’s signature immersive approach and his commitment to social and political issues that concern those on the margins of society. Lyon’s photography is paralleled by his work as a filmmaker and a writer.
Danny Lyon: Message to the Future is the first in-depth examination of this leading figure in American photography and film, and the first publication to present his influential bodies of work in all media in their full context. Lead essayists Julian Cox and Elisabeth Sussman provide an account of Lyon’s five-decade career. Alexander Nemerov writes about Lyon’s work in Knoxville, Tennessee; Ed Halter assesses the artist’s films; Danica Willard Sachs evaluates his photomontages; and Julian Cox interviews Alan Rinzler about his role in publishing Lyon’s earliest works. With extensive back matter and illustrations, this publication will be the most comprehensive account of this influential artist’s work.
Publisher: Yale University Press
Size: 9 3/4 x 12”
288 pages, 50 colour and 200 black & white illustrations;
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
This new monograph captures the life and work of a Magnum great, Werner Bischof, and features his most iconic images, as well as insight into his life as a photojournalist and artist. Known for his postwar social documentary work, Bischof was inspired to become a journalist after the ruin of World War II left him unable to be a passive observer. He traveled documenting both the suffering of the postwar world and the day-to-day life within traditional cultures affected by industry and technology. This expansive collection, edited by the photographer’s son, brings together these photographs, organized geographically—Europe, India, Japan and Korea, Hong Kong, Indochina, and North and South America. Accompanying the photographs are the contact sheets, letters, diaries, and sketches that give an intimate glimpse into his creative process, revealing the highlights, struggles, and his vulnerability. The book encapsulates Bischof’s far-reaching search for human connection through storytelling and is a testament to his relentless obsession to find harmony and beauty. In the words of Simon Maurer, “his photographs open up worlds.” And true to this quote, this book provides a time capsule of the postwar world, opened up by the compelling and profound story of the life of this adventurous artist.
Size: 10 x 11 7/8”
311 pages, 210 duotone, 180 four-colour images;
Karolin Klüppel (*1985 in Kassel) can already look back at a body of creative work that enjoys a wide range of enthusiastic reviews and awards. This extraordinary resonance is due to the elegant alternation of her photographs between documentation and composition as well as her marked sense of impressive subjects. The pictures in the Kingdom of Girls series stand out not only due to their powerful and contemplative aesthetic, they also tell a story. The girls’ faces reveal the lifeworld and culture of the Khasi, an indigenous people in the Indian state of Meghalaya with a matrilineal social system: the youngest daughter is given preference in the order of succession. When she marries, her husband moves into her family’s home, the children receive the mother’s name. Only the birth of a daughter guarantees the continuity of the clan. Between 2013 and 2015, the photographer spent a total of ten months in the Khasi village of Mawlynnong, where she captured these magical images.
Publisher: Hatje Cantz;
Edited by Sophie Hackett and Jim Shedden
Idealists, outsiders, and those brave enough to be themselves, as depicted by visionary photographers and filmmakers including Diane Arbus and Nan Goldin, reveal another America. A visual tour through life at the margins in the United States from the late 1950s to the early 1980s, Outsiders highlights the work of iconic photographers and filmmakers who profoundly changed the image of American culture. Kenneth Anger, Diane Arbus, Shirley Clarke, Nan Goldin, Danny Lyon, Garry Winogrand, and their contemporaries challenged rigid postwar society with their powerful films and photographs. Lyon’s travels with Chicago biker gangs and Arbus’s swordswallowers form a dramatic counterpoint to a trove of midcentury images from Casa Susanna, a community of cross-dressers enjoying country life en femme. Outsiders captures diverse and significant subcultures and interests, united by each subject’s will to determine his or her own identity. Accompanying the images, essays by curators and critics explore American underground cinema, street photography, the distinct countercultures of New York and Los Angeles, and the spectacle of everyday living in a time of political and cultural turmoil.
Publisher: Skira Rizzoli
Size: 6 1/2 x 9";
Chris Steele-Perkins & Rchard Smith
1956, sixty years ago, was a watershed year for Teds. In September that year the Bill Haley film Rock Around The Clock arrived in the UK. With five records in the top twenty, Haley was a major star and the film screened at some three hundred cinemas across the country. It wasn’t long before the riots started. At London’s Elephant and Castle Trocadero seats were slashed, and when the police attempted to disperse a throng of jiving, singing teenagers, bottles and fireworks were thrown; four shop windows were smashed. Two police were injured and nine Teds arrested. There was further trouble in many other cities including Manchester and London whilst in Birmingham, Blackpool, and Belfast the film was banned.
Whilst the appearance of Teds can be traced back a couple of years earlier, 1956 was the true ’Year of The Ted’ – the year in which they became central to youth culture in the UK and could no longer be ignored.
Originally published in 1979 The Teds looks at this phenomenon. A classic of British documentary photography, it is a vivid and absorbing book combining image and text to tell a fascinating story that spans some three decades.
Chris Steele-Perkins joined Magnum Photos in 1979. An award-winning photographer, he exhibits regularly throughout the world and continues to publish in major magazines worldwide. Alongside extensive work in the developing world he has continued to document Britain, with his 40 year overview, England, my England, being published in 2009 and A Place in the Country, his tenth book, which was published by Dewi Lewis in 2014.
Publisher: Dewi Lewis Publishing
Size: 290 x 220mm
128 pages, 72 duotone photographs
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
Matter is culled from nine years of picture making, a tightly woven sequence conjuring elements of the supernatural across multiple terrains. Carrying a metaphoric visual trope throughout the photographs depart from the confines of the descriptive landscape. Rendering cultural and natural transformations democratically, Matter reveals an unaccountable world where water seeps red, cement cubes fall from the sky and green foxes are unearthed.
Size: 14 x 11"
80 pages, includes 40 x 50-inch fold-out pocketed insert
32 colour images , 12 black & white images;
Elliott Erwitt: Home Around the World offers a timely and critical reconsideration of Erwitt’s unparalleled life as a photographer. Produced alongside a major retrospective exhibition, the book features examples of Erwitt’s early experiments in California, his intimate family portraits in New York, his major magazine assignments and long-term documentary interests, and his ongoing personal investigations of public spaces and their transitory inhabitants. Essays by photography experts based on extensive new interviews with the photographer consider less-studied aspects of Erwitt’s work: his engagement with social and political issues through photojournalism, the humanist qualities of his very early photographs, and his work as a filmmaker. Home Around the World traces the development and refinement of Erwitt’s unique visual approach over time. With over two hundred photographs, and ephemera including magazine reproductions, advertisements, and contact sheets, this volume is the first to offer a comprehensive historical treatment of Erwitt’s body of work and position in the field. - See more at: http://aperture.org/shop/erwitt-home-around-the-world?
Size: 9 x 10”
300 pages, 250 images;
The Last Stop does far more than capture the remarkable, effective design of our nation’s road stops. It preserves a moment in time that is quickly fading, a unique period in the American travel experience when the journey was just as important as the destination. It’s clear these modest structures did far more than provide picnic tables, they shaped our collective experience of golden-age car travel across the vast United States.
While driving in 2007 on a solo road trip from California to central Texas, photographer Ryann Ford was struck by a recurring sight: humble, solitary rest stops. A nondescript blur outside the car window to most, the quirky rest stops on Ford’s journey seized her attention – mock adobe dwellings in New Mexico, depression-era stone houses in Arizona, faux oil rigs in Texas. What was the story behind these playful pieces of Americana?
After doing some research, Ford was alarmed to learn that these rest areas were currently being closed and demolished all over the country. With countless commercial options at nearly every highway exit, and states needing to cut expenses, many felt that these old rest stops were no longer necessary. Upon learning the news, she immediately felt an urgency to capture as many as she could before they were gone forever.
Ford spent years on the road ducking under fences, stepping over fallen trees, and hiking through snow to reach some of these iconic rest stops; in doing so, she learned that they are so much more than toilets and tables – for the past several decades they have given millions of travelers from around the world rest, relief, hospitality and nostalgia.
States Ryann visited and featured in the book are: New Mexico, Texas, California, Arizona, Utah, Nevada, Oklahoma, Missouri, Illinois, Minnesota, Iowa, Kansas, South Dakota, and Louisiana.
Publisher: powerHouse Books
Size: 10 x 12”
Edited by Julian Rothenstein, Mel Gooding
The blind photographer cannot see a butterfly perched perfectly still on a flower, a bowl of sweet-smelling fruit, or a child's rattle on a darkened floor, but the mind's eye is sharply focused. How then, do blind or partially sighted people capture such extraordinary images? The photographs in this revelatory book suggest a deeper truth: that blindness is itself a kind of seeing, and that those who can see are often blind to the strangeness and beauty of the world around them. As the blind photographer Evgen Bavcar writes, "Photography must belong to the blind, who in their daily existence have learned to become the masters of camera obscura." Through the photographs of more than fifty blind or partially sighted people from around the world, this exhilarating book---the first to explore this phenomenon in all its vibrancy and diversity---will make you see differently.
Publisher: Princeton Architectural Press
Size: 229 x 318 mm
160 pages, 144 colour illustrations, 15 b/w illustrations;
A Few Points Regarding the Shanghai Shoot
Beginnings: In the past thirty years, China, Shanghai in particular, has seen great development, one of the greatest shifts in thousands of years. But one must never forget why he set out in the first place, simply because he went too far. In this large scale urban reconstruction, many things have been lost, to the point that many people have begun to ask, where did we come from? What are we doing? Where are we going? Thus, we need to use artistic methods to connect those disappeared memories of the city, to explore those meaningful tangents in this cultural rift.
Concept: I have always wanted to seek out a certain philosophical relationship between the majority and the minority. This relationship seems to figure importantly in modern Chinese history. Our photo shoot this time is split into three historical phases: the black-and-white Republican era, the red classic era and the golden contemporary era. During the black-and-white Republican era, a minority of foreigners and Chinese compradors influenced the majority through their modern lifestyle. In the red classic era, the ideals of a minority were realized through the majority, and the foundation was laid for today’s soaring growth. The golden contemporary era is one where minorities and majorities influence each other and depend on each other, realizing the Chinese dream of economic strength.
Methods: This photography project mainly employs three methods. The first is capture photography. What is capture photography? In this method, we have our actors and extras randomly play out their assigned roles in a chosen setting, and when they reach the desired effect, we order them to freeze. We then make slight adjustments in positioning for greatest effect, repeating the process several times until we are satisfied enough to take the picture. This method allows for a union between people and place, creating a vivid image rather than a dull, arranged effect. The second is the living news drama method. The “living news drama” is a dramatic form with its roots in Shanghai opera. It arose in the years of Japanese occupation, when Shanghai leftists, aware that much of their audience was illiterate, produced plays to promote the resistance against Japan. Today, we use this method to act out the stories in their various settings and to interact with audiences to effect a passage to history, creating a cultural image of Shanghai past and present. The third method is both real and virtual, akin to the regular, cursive and wild scripts of Chinese calligraphy. Global photography today always pursues super-realism and fineness, like the regular script of Chinese calligraphy. We use varying speeds and actors to create photographic images that rest somewhere between the real and virtual, much like the cursive script of calligraphy, in an expression of our pursuit of history and the memories of a city.
Publisher: EDITIONS BESSARD
Size: 240 x 365 mm
Limited Edition of 600 copies;
"This book was born at the beginning of the Showa era—a chaotic period encompassing rebuilding after the devastating Great Kanto Earthquake in 1923, traumatic defeat in World War II and the death of the Showa Emperor in 1989—and it still continues, always moving along a road called history... While riding around on my bike photographing Tokyo for this book, I was unable to glimpse any vast rice fields in Tokyo as they have all vanished. Akibahara, or should I say AKB, no longer shows me a view of its vast former wetlands. Nor are there any nighthawks soaring in the darkening sky, to listen to at the end of the day."
Publisher: Little Big Man
Size: 295 × 244 mm
In the summer of 1970, Gabriele Basilico set off from Milan in a Fiat 124, nominally heading for Kabul. The journey towards India was a rite of passage for the flower children generation, and Basilico had plans to take a series of photos to then sell on to some magazine. The journey didn’t quite turn out as planned, but in his personal archive, those shots were carefully stored away, and on more than one occasion, the Milanese photographer thought about turning them into a book. As Luca Doninelli writes in the introduction, this is “Basilico pre-Basilico”, a reportage stretching from Yugoslavia through to Turkey and Iran – which turned out to be the final destination of the trip – in which we may note the inklings of his vocation-to-be. The afterword by Giovanna Calvenzi, Gabriele’s travelling companion on that journey, tells the story of that adventure in an era of unprecedented freedom. +booklet
Publisher: Humboldt Books
Size: 170 × 210 mm
Language: Italian | English;
Notebooks, post-its, facades, dustbins, cars… And people. The eye of the photographer who arrives in London as a foreigner captures an entire universe of insignificant things (trifles) which, however, can mean a lot to the newcomer. Nominated for World Press Photo and a finalist for the Gran Prix Fotofestival, in The Observation of Trifles the Madrid-born photographer Carlos Alba suggests a unique, random guide through the conventionalisms of a London seen through objects found on its streets.
This London is a far cry from postcards and is defined by both these everyday objects (which are therefore forgotten in the routine) and the look of the people that Alba photographed in the neighbourhoods of Hackney and Tower Hamlets, which make up a panoply of stories which may be analytical or superficial but are always poetic.
Publisher: La Fabrica
Size 23x30 cm
110 pages, 100 images
Language: Spanish / English;
Dagmar Keller and Martin Wittwer
People behind the windows of public buses — at the end of a working day in the centre of Paris, they wait for the bus to bring them back to the banlieue. They seem introspective, engrossed in thought, their gaze directed towards an inner landscape. The camera’s view of the subjects it portrays is frequently refracted by mirrorings and iridescent light reflections. As a counterpoint to these photographs are the ephemeral traces of human presence; scratches scored into the glass, fingerprints, and other deposits left on the bus windows. In the pictures they come across as abstract gestures of the light, cloud formations, or clusters of stars. It is as if the viewer is looking into an incubator in which the matrix of human existence is assembling itself from tiny particles.
Publisher: Spector Books
136 pp. + 17 gate folded spreads, 84 colour images
17cm x 29,5 cm
German / English;
Out of print - final copy
The seventh title in our popular “Parr/Nazraeli Series of Ten” is Peter Mitchell’s long-overdue monograph, “Strangely Familiar”. In the 1970s, Mitchell was working as a truck driver in the English city of Leeds, and he photographed the city during his rounds. This work depicts the factories and small shop owners of Leeds, all photographed in a very formal manner with the aid of a stepladder. In 1979, the photographs were shown at Mitchell’s one-person exhibition at Impressions Gallery in York; this was the first landmark color photography exhibition in the UK. The work was later included in the seminal exhibition “How We Are: Photographing Britain” at Tate Britain in 2007. Despite being widely exhibited, collected and written since the 1970s, Peter Mitchell’s photographs of Leeds - where he continues to live and work - have never before been published as a monograph. Our collaboration with Martin Parr changes that, and we are pleased to announce the first edition of this important body of work in book form. “Strangely Familiar” presents 47 color plates, beautifully printed on matt paper and playing off of the artist’s accompanying texts. The book opens with an introduction by Martin Parr.
We are taking orders for unsigned copies only as all signed copies have now been sold.
Publisher: Nazraeli Press
Size: 12 x 13"
68 pages, 47 four-color plates.
Signed copies, 2nd printing
Known for his haunting portraits of solitary Americans in Sleeping by the Mississippi and Broken Manual, Alec Soth has recently turned his lens toward community life in the country. To aid in his search, Soth assumed the increasingly obsolescent role of community newspaper reporter. From 2012-2014, Soth traveled state by state while working on his self-published newspaper, The LBM Dispatch, as well as on assignment for the New York Times and others. From upstate New York to Silicon Valley, Soth attended hundreds of meetings, dances, festivals and communal gatherings in search of human interaction in an era of virtual social networks.
With Songbook, Soth has stripped these pictures of their news context in order to highlight the longing for connection at their root. Fragmentary, funny and sad, Songbook is a lyrical depiction of the tension between American individualism and the desire to be united.
Publisher: Mack Books
Size: 285 cm x 273 mm
144 pages, 75 tritone plates
Overseas deliveries Please note that, as this is an extremely heavy item, overseas postage will be charged at three times our standard rates.
SHIPPING OCTOBER 2014. Nazraeli Press is thrilled to announce Michael Kenna’s long-anticipated monograph on France. Kenna first visited France in 1973 and has been photographing there since the early 1980s. He has produced thousands of photographs on subjects such as Mont St Michel, Le Notre’s Gardens, the Calais Lace Factories and Chateau Lafite Rothschild. France encompasses work from these projects and many others. Comprising 275 duotone plates, this gorgeous new book was edited by the artist himself, who selected both well-known and previously unpublished material from his own archive. It coincides with an exhibition of his Paris studies at Le Musée Carnavalet opening October 2014.
Casebound in burgundy-dyed silk cloth and housed in an elegant gold-stamped black slipcase, France is printed in duotone on matt art paper. The book opens with an introduction in French and English by renowned historian and curator Jean-Claude Lemagny.
Michael Kenna is widely considered to be the most influential landscape photographer of his generation. The subject of some 50 monographs, Kenna’s work is included in the permanent collections of over 100 museums and institutions worldwide, and has been widely exhibited and written about internationally since the mid-1970s. Michael Kenna was presented with the prestigious Chevalier of the Order of Arts and Letters by the French Ministry of Culture in 2000.
312 pages, 275 images, 12 by 13 inches
“Winters, like ice ages, are Janus faced, for after the freeze comes thaw and flood, as water is returned to life and movement. Freeze, thaw, flood: the great climatic cycles that created the topography of the northern hemisphere, and which continue to shape the idea of winter that lies deep in our cultural imagination.”
In November 2010, after a photographic lull of half a year, Jem Southam took a photograph which became the first in this series, The River Winter and which spurred him to make one of the most concentrated bodies of work in his career. From late autumn through to the earliest signs of spring, along the banks of the river Exe in Devon, Southam chose locations and took photographs, returning at regular intervals. This pattern continued for the next five months with Southam documenting the subtle agencies of change transforming the landscape. By the end of January 2011 he realized this had become a new work, one that caught the effects of the Earth’s turn on film, one which followed the passage of a single winter.
The shift in seasons is presented through a sequence of ten by eight colour contact prints, with which an essay by Richard Hamblyn explores how, since the last ice-age, winter has embedded itself into our cultural psyche.
Jem Southam (b. 1950) is a key figure in British landscape photography, working across twenty-five years. His work is included in many important collections including Rijksmuseum, Museum Folkwang, and the Yale Centre for British Art. He has been the subject of numerous solo shows including Tate St. Ives in 2004 and The Victoria & Albert Museum in 2006.
Publisher: MACK Books
Size: 330 x 277 mm
96 pages, 40 colour plates
Michael Kenna's intimate, exquisitely crafted black-and-white photographs reflect a sense of refinement, respect for history, and thorough originality. We are pleased to present our twentieth calendar featuring his work. The 2016 Michael Kenna Wall Calendar is printed on an exclusive, uncoated, natural Japanese paper using Daido black ink. It features thirteen photographs: Eloquent Trees, Kussharo Lake, Hokkaido, Japan. 2013; Mountain Snow Storm, Okushunbetsu, Japan. 2013; Two Hundred and Seven Sheep, New Zealand. 2013; The Matterhorn, Pennine Alps, Switzerland. 1994; Eleven Hours, Te Kaha, Eastlands, New Zealand. 2014; Solar Eclipse, Tokyo, Honshu, Japan. 2012; Eighteen Hedges, Versailles, France. 1998; Crumbling Boardwalk, Shiga, Honshu, Japan. 2003; Ten Balloons, Albuquerque, New Mexico, USA. 1993; Early Morning Storm, Calais, France. 1998; Clouds, Fence and Snow, Nakafurano, Japan. 2013; Chateau Lafite Rothschild, Study 27, France. 2012; Snow Covered Forest, Heilongjiang, China. 2012.
Publisher: Nazraeli Press
Size; 430 x 350 mm
13 duotone plates
Michael Kenna’s intimate, exquisitely crafted black-and-white photographs reﬂect a sense of refinement, respect for history, and thorough originality. We are pleased to present our eighteenth calendar featuring his work. The 2014 Michael Kenna Wall Calendar is printed on an exclusive, uncoated, natural Japanese paper using “Daido black” ink. It features thirteen photographs: Two Leaning Trees, Kussharo Lake, Hokkaido, Japan. 2013; Yuanyang, Study 1, Yunnan, China. 2013; Alley of Trees, Damyang, Jeollanamdo, South Korea. 2012; Skyline, Shanghai, Study 5, China. 2011; Bamboo and Tree, Qingkou Village, Yunnan, China. 2013; Three Posts and Island, Jangsan-do, Shinan, South Korea. 2013; Chateau Lafite, Study 5, Bordeaux, France. 2012; Sand Dune, Wooi-do, Shinan, South Korea. 2012; Baby Elephant, Phuket, Thailand. 2011; Moai, Study 50, Ahu Tongariki, Easter Island. 2001; Pont Neuf, Study 3, Paris, France. 2011; Sadakichi‘s Docks, Otaru, Hokkaido, Japan. 2012; and Snow Clad Trees, Heilongjiang, China. 2012.
Publisher: Nazraeli Press
Size: 14 x 18"
13 duotone plates
We have signed copies of the first printing only. A decision has yet to be made on a second printing. Remaining copies have slight imperfections on the cover or in the printing. We will send you the best copy we have.
Jan Tove's first published work for several years, Silent Landscape represents a significant maturation in his vision. If, in Riverside, the relatively traditional nature photography of Beyond Order coexisted with work influenced by contemporary American landscape photographers, here they are successfully integrated. Photographs mostly from Sweden but also from Norway, Denmark and Scotland. See here for all the spreads from the book.
Please note this is the 2013 calendar.
Michael Kenna’s intimate, exquisitely crafted black-and-white photographs reﬂect a sense of refinement, respect for history, and thorough originality. We are pleased to present our seventeenth calendar featuring his work. The 2013 Michael Kenna Wall Calendar is printed on an exclusive, uncoated, natural Japanese paper using “Daido black” ink. The subject of this year's calendar is France: Homage to Atget, Parc de Sceaux, France. 1988; Intra Muros, St. Malo, France. 1993; Dawn Mist, Mont St. Michel, France. 1994; Fontaine du Palmiere, Study 2, Paris, France. 2007; Sunrise, St. Valery sur Somme, France. 2009; Printemps, Bargeme, France. 2011; Pebbles and Beach House, Cayeaux sur Mer, France. 2009; Tidal Pool and Posts, Berck Plage, France. 2003; La Trappa, Vielle Ville, Nice, France. 1996; Abbey Façade and Star Trails, Hautvillers, France. 2001; Night Shadows, Saint Malo, France. 2000; Ciel d’Orage, Bargème, France. 1996; In-Between, Courances, France. 1997.
'The depth of the forest was filled with an uncanny air For something seemed to be lurking there.'
This series of photographs is an expression of my search for the soul of the deep forests.
One day in early autumn in 2001, just as twilight was setting in, I had lost track of the mountain paths. I happened to wander into a shady forest, where I found myself suddenly seized with a strong desire to take photographs. The following day, I set out once again, carrying my camera with me this time, and searched for the same forest. This experience made me realize that I was not taking photographs of the forest out of my own will, but that the forest was inducing me to take its photographs.
Looking back in retrospect, I have a feeling that this might have all begun with my decision to build a mountain lodge with my own hands. In order to clear a plot of land for constructing a lodge inside a small forest, I had to fell Japanese red pine trees some eighty years old. Although many years have elapsed since then, I still vividly remember the sensation I had as I sat astride the felled down trees, stripping them of their barks. The trees collapsed onto the ground with a huge thud, making my entire body tremble; I looked up and remained motionless for a while, totally overwhelmed by the vastness of the sky. Almost as if stained by the blood rushing from another person's wound, I was covered with splashes of tree sap spurting from the edge of the blade of my hatchet. This made me acutely aware of the living energy of the trees, and I immediately decided to make the most of this power in the lodge I was about to build.
It took me some ten years to finish constructing the lodge. Thirty-six Japanese red pine trees growing in that forest were used for the ground sills, the central pillar and the beams. This probably explains why it is so very cozy and comfortable inside my mountain lodge. While continuously handling wood for building my lodge, I believe that I have come to feel things I could neither see nor hear before. And it could well be that, lured by this strange power, I started to travel all over Japan visiting the depth of forests.
The Silent Respiration of Forests is a collection of photographs which I was able to take, inspired by this power of the forest.
Publisher: TOSEI-SHA Publishing Co
Size: 270 x 380 mm
But I needed to find out for myself. Two weeks later I was gone, witnessing my new world wizz by, especially at dusk, then darkness as I watched the sum of all the city lights cast my silhouette across the pine trees of the Florida panhandle. This was it, I was riding my very first freight train. And soon, what would begin as mere natural curiosity and self-discovery would evolve into a casting call of sorts, taking photographs of my newfound friends.
— Mike Brodie
For sample images, see Mike Brodie's website
Publisher: Twin Palms
Size: 11 x 13 Inches
104 Pages, 60 Four-colour Plates