Our latest newsletter, out today, features new and forthcoming titles by Paul Graham (signed), Jungjin Lee, Simon Chaput, Ragnar Axelsson, Thomas Ruff, Kikuji Kawada, Beth Moon and many more. Also an extended list of secondhand books.
New York in Photobooks gathers and studies a selection of images of the capital of the twentieth century, the most photogenic and most photographed city in history. In these images from the books selected (only a fraction of those in existence), the city of skyscrapers is captured from construction thereof in the 1930s to the destruction of the World Trade Center in 2001, alongside the urban life of the New Yorkers themselves, recorded in a model style of street photography. Many of the books are the work of European and Japanese photographers, who discovered multiple perspectives (human, cultural, social, economic…) from which to view the city that shaped the twentieth century.
New York in Photobooks is the catalogue of a traveling exhibition curated by Horacio Fernández, who is also the editor of the book: a collaborative effort in which, in addition to the many images, there are texts by numerous photography scholars.
The photographers represented include Berenice Abbott, Nobuyoshi Araki, Cecil Beaton, Mario Bucovich, Roy DeCarava, Bruce Davidson, Raymond De-pardon, Juan Fresán, Bruce Gilden, György Lörinczy, Lewis Hine, Evelyn Hofer, Karol Kallay, André Kertész, William Klein Helen Levitt, Danny Lyon, Daido Moriyama, Ugo Mulas, Robert Rauschenberg, Kees Scherer, Aaron Siskind, Weegee, Kojima Yasutaka, Ruiko Yoshida, among others.
Texts: Horacio Fernández, Iñigo García Urueta y Jeffrey Ladd
J H Engstrom
In 2004, I made the book Trying to Dance, designed by Patric Leo and published by Journal. Since then, it has lived a life of its own, just as books should do.
For me, Trying to Dance is more than a book – the photographs on which it was based constitute an image universe of its own. Photography then had a liberating effect on me as a visual artist. I lived mostly in
To start with, I was not at all certain when Gösta Flemming at Journal, Patric Leo and Christian Caujolle, suggested going back to the Trying to Dance negatives. But when I started looking through the files – so many images, so many that were not used in Trying to Dance, and so many new combinations that hit me; it was then that I decided that we should publish Revoir.
Revoir is a completely new book, a revision, a revisit to that period between the mid-90s and the early 2000s. The book has been made in close and enjoyable collaboration with all the people that I worked with on Trying to Dance. Around two thirds of the photographs have not been published before. For the first time I have scanned the negatives, together with Ewa-Teréz Gölin, and allowed the present to guide me in the printing for Revoir. JH Engström;
When the Italian photographer Enzo Barracco decided to stage a photographic expedition to Antarctica, inspired by the example of Sir Ernest Shackleton, he had much more to contend with than extreme cold. With their merciless winds, treacherous seas and vast sheets of ice, the snowy lands at the South Pole are a challenge for the most seasoned explorer. In order to reach the continent, Barracco had to endure a perilous sea crossing from southern Argentina through the notoriously rough Drake Passage. The Noise of Ice: Antarctica explores what drove him to embark on his journey, and tells the story of the expedition in astonishing photographs, many taken in hazardous conditions. In his gripping text, Barracco details how even his journey to Antarctica required the help of an experienced ice pilot, to spot and avoid icebergs that a ship’s radar may miss. He describes how the waves on that first voyage threw him to the deck and impressed on him the hostility of such an environment. He also recounts his constant battle to protect his photographic equipment and all-important memory cards from the excessive cold. Most importantly, Barracco explains that, in capturing these beautiful landscapes, his intention was to remind us of the environmental threats to this part of the world, the last empty continent. As Sir Ranulph Fiennes asserts in his foreword to the book, ‘witnessed by only a few, Antarctica should be enjoyed by many and protected by all’.
A compelling photographic account of a journey to the end of the world.
Fully illustrated with powerful images by Enzo Barracco, and with a foreword by the celebrated explorer Sir Ranulph Fiennes.
An important statement on the beauty of our planet and our duty to protect it
Size: 240 x 305 mm
144 pages, 120 colour illustrations;
Written by Pierre Commoy, Gilles Blanchard and Éric Troncy
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
On the fortieth anniversary of Pierre Commoy and Gilles Blanchard’s romantic union, this volume traces four decades of artistic collaboration between the photographer and painter known as Pierre et Gilles. This year-by-year retrospective of their vast oeuvre, accompanied by an incisive essay by art critic Éric Troncy, showcases the genesis and development of their sublime, audacious, and explicitly confected fusion of photography and painting.
Highly sophisticated and shamelessly sexy, their art—stylized, idealized painted photographs—synthesizes tropes drawn from celebrity and mainstream gay culture with timeless themes of religion, mythology, and beauty, and many works feature international stars including Madonna, Naomi Campbell, Dita Von Teese, Kylie Minogue, Karl Lagerfeld, Mick Jagger, and Iggy Pop.
Size: 9-3/8 x 11-3/4";
Justine Kurland, known for her utopian photographs of American landscapes and their fringe communities, has spent the better part of the last twelve years on the road. Following in the photographic lineage of Robert Frank, Stephen Shore, and Joel Sternfeld, Kurland's work examines the story of America—and the idea of the American dream juxtaposed against the reality. Her deep interest in the road, the western frontier, escape, and ways of living outside mainstream values pervade this stunning and important body of work. Since 2004, Kurland and her young son, Casper, have traveled in their customized van, going south in the winter and north in the summer, her life as an artist and mother finely balanced between the need for routine and the desire for freedom and surprise. Casper's interests-particularly in trains, and later in cars—and those he befriends along the way often determine Kurland's subject matter. He appears at different ages in the work, against open vistas and among the subcultures of train-hoppers and drifters around them. Kurland's vision is in equal parts raw and romantic, idyllic and dystopian. From highly symbolic pictures of trains moving across epic landscapes to allegorical depictions of mechanics and muscle cars, this book features the full scope of her road work-from her series This Train is Bound for Glory, to her most recent, Sincere Auto Care.
Size: 9 1/8 x 11 1/4"
160 pages, 85 four-colour images;
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
From the ground, New York City can feel like a chaotic jumble of traffic, pedestrians, one-way streets, parks, and buildings of every shape and size. But above the city, away from the cacophony and the commotion, New York can be tranquil and awe-inspiring. The city that never sleeps also never stops changing, which is why this phenomenal collection of historic maps and aerial photos is a fascinating way to explore New York’s evolution. The book opens with maps of 17th-century Manhattan, a quiet settlement with a ragged shoreline.
A series of chronological illustrations show the city’s northward expansion, the establishment of its grid system, and the creation of Central Park. The next three chapters include aerial photographs that chart the city’s unbelievable expansion in every direction, including skyward. As buildings rise, as the shoreline expands with ports and landfills, and as more sophisticated photographic techniques allow for breathtaking views of New York’s unmistakable skyline, this lush, oversized book captures a city that is truly alive. Author Peter Skinner’s commentaries on the photographs and maps will guide readers through what is certain to become a treasured book for all who love New York.
240 pages, 24,0x32,5, 160 color illustrations, 20 b/w illustrations;
Peter Lindbergh and Garry Winogrand
The catalogue presents more than 60 works of two world famous photographers. For the first time this catalogue puts together photographs by Peter Lindbergh and Garry Winogrand, who are setting apart with ‘women’ and ‘street photography’.
Next to works from the world famous series, Women are Beautiful by Winogrand, this catalogue presents partially unpublished works by Lindbergh, which he has shot on the street during some fashion shootings.
The photographs perform a substantive discourse on the truthfulness of street photography, centred around the major themes ‘directing’, ‘authenticity’ and ‘reality’. A further highlight is the publication of a few very rare colour photographs by Winogrand shot between 1958-1964.
Garry Winogrand (who died in 1984), ranks among the most important exponents of street photography and, from the mid-1970s, he played a decisive role in establishing photography in the context of contemporary art. His frequently falling lines, a direct and intuitive approach to his subject and an insightful view of the cosmos of the street are the features of his distinctive style.
Peter Lindbergh is regarded as one of the best living photographers and a star of fashion photography. In the 1990s, with his photographs of Naomi Campbell, Linda Evangelista, and Cindy Crawford he coined the term ‘supermodel’. Yet, over and over again, he has demonstrated something untypical for the fashion world, as the focus of his attention is the individual behind the model.
Published on the occasion of the Düsseldorf Photo Weekend 2017 exhibition, Peter Lindbergh / Garry Winogrand: Women on Street at Kulturzentrum NRW-Forum, Düsseldorf (3 February – 30 April 2017).
Publisher: Walther Koenig
Size: 220 x 230 mm
140 pages, 62 colour illustrations
English and German text.;
During the 1980s Siberian artist Nikolay Bakharev worked as a mechanic and communal services factory photographer in the USSR. To supplement his income he would solicit work as a black market portrait photographer on the public beaches of Eastern Russia. If the shoot went well, he would invite his subjects to make further images in a more intimate setting, compelling his subjects over several hours into contorted, erotically charged poses, which at the time was highly illegal.
After the the fall of the Iron Curtain, Bakharev began to work more openly as an artist, although often being admonished as a pornographer. His photographs from this time reveal more than just the bodies of his subjects, but the longing and dampened dreams of the inhabitants of an industrial town and the desires of an unrelenting artist.
"It would be easy to misinterpret these images as simply the pornographic imaginings of a manipulative and dirty old man, yet there is something else within them – in the subjects’ eyes, in their frankness, in their curiosity and collusion, as well as in their surroundings – that suggests that much more is going on here, and that what is both at stake and in evidence stretches far beyond the realms of explicit sexuality, voyeurism and mere titillation." - Aaron Schuman
Publisher: Stanley Baker (in collaboration with Grinberg Gallery and Julie Saul Gallery)
Size: 240 x 270 mm
120 pages + 8 page booklet;
Sven-Olof Lindblad and Elizabeth Warner
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
Some of the most stunning photography of the Arctic ever published--before it vanishes. Inspired by the success and critical acclaim of Ice: Portraits of Vanishing Glaciers, Sven-Olof Lindblad focuses on documenting the Arctic at the most critical period for the region in history--as it faces global warming and expanding international exploration. Unlike other photography books on this region that focus on a singular aspect, The Arctic documents imagery of the wildlife, people, and landscapes.Stunning scenery, magnificent wildlife, and native cultures bring the Arctic to life in this unparalleled collection of photography. In never-before-seen photos from the world’s finest nature photographers, The Arctic introduces the reader to this region in three sections—the land and sea, the rich biodiversity, and the native peoples—and explores the challenges facing each in its rapidly changing environment. While celebrated in this volume, these stunning images are a dramatic and timely demonstration of the constant transformation of the Arctic at a most critical time. With accompanying essays based on real-time experiences by a National Geographic explorer, The Arctic celebrates the region’s beauty—inspiring dreams of travel—while simultaneously sounding a call to action to save this distant world that affects each of us in countless ways. These photo-filled pages capture not only the massive sheets of ice glowing under the midnight sun, but also the Arctic’s rich variety of other wildlife. Also featured are the many indigenous Inuit communities who maintain their traditional way of life amid this stunning and harsh natural setting.
Publisher: Welcome Books
2.54 cms H x 27.18 cms L x 33.78 cms W (2.13 kgs) 224 pages;
The luminous and compelling photographs in New York in the 1970s capture the essence of a city in a way best described as “place portraiture.” Trager’s images present the architecture of Manhattan with time-defiant clarity and beauty. Although Trager selected his subjects for aesthetic and visual reasons—rather than from an historical or documentary point of view—with the passage of time his distinctly imaginative photographs have also acquired value as historical documents. The negatives for the images in this book, only recently rediscovered, had originally been archived for printing but Trager began other projects before any prints were made.
The photographs in New York in the 1970s were taken at the same time as Trager’s timeless Philip Trager: New York, published by Wesleyan University Press in 1980, in which the photographer depicts the city “as a solitary figure, always aware of the ‘enveloping sky’.” New York in the 1970s reveals Trager’s more concentrated attention to the interaction between the city’s architecture and the dynamics of the street.
"Trager has definitively taken New York, twice." Stephen C. Pinson
Size: 250 x 290 mm
“Hell On Wheels” – Photographs from the New York Underground 1977 – 1984 – is a joyous and soulful trip in the bygone era of the New York subway system. Swiss photographer Willy Spiller, living in New York at the time, documented his underground travels with the curiosity of a foreigner, fascinated by the rush and the madness of its time. It’s the period of the first rap music, graffiti, The Warriors in the cinema, Guardian Angels on the trains and Ed Koch in charge of a broke and crime-riddled city. Willy Spiller’s images are as much a visual document of this incomparable realm as they are a syncopated, colorful poem to the city of New York and its people.
With a foreword by Tobia Bezzola.
First edition 2016
Publishers: Sturm & Drang publishers
Size: 240 x 320 mm
"A short story. A love story. A dialogue. Love on the left bank meets Before sunrise. Playful, delightful, sad and heartfelt. Wonderful text and wonderful images work so wonderfully well in the cinematic lay-out." Stefan Vanthuyne
"A Short Story is a really strong example of text and image working together and it's probably (...) one of my favourites." Colin Pantall
"If you got a good photobook about it, about love, you know you got something special." Jörg Colberg
Size: 220 x 310 mm
2nd edition, 380 copies;
Everybody carries some psychological pain in their mind or heart, some more of it, some less. There are many who cannot escape from it.
For me, there is nothing I can do but take their photos. I cannot save them, and I cannot be saved. This is a story about the pain of my mother, my sister, my girlfriend, of my pain and that of the women I have encountered. — Takamoto Yamauchi
Using two types of black ink, the photos that make up this work as well as the cover surrounding it have been printed on Japan’s finest ultra high-gloss paper. The end paper has been printed in three colors (two types of black ink, one silver), on jet-black paper even darker than the ink, giving the impression of a tonally inversed print. The book was bound traditionally, using EVA (ethylene vinyl acetate). As a result, the pages can never quite be fully opened, with opposite pages reflecting the content of each other, hopefully pulling their reader even deeper into Takamoto’s work.
Publisher: Case Publishing
Size: 297 x 210 mm
112 pages, 60 images
Limited Edition 700
In the late 50’s, New York’s Washington Square was a place of rebellion, nicknamed junkie row and described by Simone de Beauvoir as "A cosmopolitan chorus of tourists, ‘intellectuals’, students and a dubious collection of beatniks, hippies and bohemians who gather while in the dimly lit night clubs and coffee houses, blues and folk singers perform.”
As a young man, the American photographer Dave Heath, created deeply expressive, candid portraits of the young people who populated the square, as well as venturing into the 7 Arts Coffee Gallery, where the infamous Beat poets: Allen Ginsberg, Gregory Corso and Jack Kerouac (who appear in the book), spent their nights giving readings of their latest works such as Ginsberg's influential poem Howl, which is included as an introduction to the book.
This special book began it's journey shortly before Heath sadly passed away in 2016 on his 85th birthday.
Publisher: Stanley Barker
Ren Hang is an unlikely rebel. Slight of build, shy by nature, prone to fits of depression, the 28-year-old Beijing photographer is nonetheless at the forefront of Chinese artists’ battle for creative freedom. Like his champion Ai Weiwei, Ren is controversial in his homeland and wildly popular in the rest of the world. He says, "I don't really view my work as taboo, because I don't think so much in cultural context, or political context. I don't intentionally push boundaries, I just do what I do."
Why? Because his models, friends, and increasingly, fans, are naked, often outdoors, high in the trees or on the terrifyingly vertiginous rooftops of Beijing, stacked like building blocks, heads wrapped in octopi, body cavities sprouting phone cords and flowers, whatever enters his mind at the moment. He denies his intentions are sexual, and there is a clean detachment about even his most extreme images: the urine, the insertions, the many, many erections. In a 2013 interview VICE magazine asked, “there are a lot of dicks … do you just like dicks?” Ren responded, “It’s not just dicks I’m interested in, I like to portray every organ in a fresh, vivid and emotional way.” True though that may be, the penises Ren photographs are not just fresh and vivid, but unusually large, making one wonder just where he meets his friends.
In the same piece, Hang also stated, “Gender isn’t important when I’m taking pictures, it only matters to me when I’m having sex,” putting him at the forefront of gender inclusiveness. Young fans eagerly follow his website, Facebook, Instagram, and Flickr accounts. His photographs, all produced on film, have been the subject of over 20 solo and 70 group shows in his brief five-year career, in cities as disparate as Tokyo, Athens, Paris, New York, Copenhagen, Frankfurt, Vienna, and yes, even Beijing. He has self-published eight monographs, in tiny print runs, that now sell for up to $ 600. TASCHEN’s Ren Hang will be his first international collection, covering his entire career, with well loved favorites and many never-before-seen photos of men, women, Beijing, and those many, many erections.
Size: 225 x 300
Multilingual Edition: English, French, German;
In the early 1990s various trips took Jungjin Lee into the endless expanse of America, where she captured archaic, primal images of deserts, rocks, undergrowth, and cactuses. Drawing on her South Korean heritage, the artist developed a highly unique pictorial language in series such as Ocean, On Road, Pagodas, Things, and Wind, in which her fundamental interest in nature and culture is expressed in a space of poetic resonance. In her work, Jungjin Lee taps her profound understanding for materiality, texture, and craftsmanship. Working with Liquid Light, she applies photosensitive emulsion onto rice paper with a coarse brush. The publication presents eleven groups of works, commentated and contextualized in essays by Lena Fritsch, Hester Keijser, and Liz Wells–providing, for the very first time, an overview of an oeuvre spanning two decades. Jungjin Lee: Echo is published on the occasion the exhibition at Fotomuseum Winterthur, September 17, 2016 till January 29, 2017.
Publisher: Spector Books
Size: 220 x 305 mm
124 pp., with 8 fold-out pages with numerous illustrations
Alessandro Laita + Chiaralice Rizzi
Live in the house and it will not fall down is a gallery of fragments, a collection of memories, the story of one and more people, of a house, of a city. Compiled by Italian artists and recipients of the first Lewis Baltz Research Fund, Alessandro Laita and Chiaralice Rizzi, the book was built from an archive of images collected over four decades by the late Venetian artist Bruno Rizzi, who died in 2004. Spending long days in the artist’s Venice studio, Laita and Rizzi intervened in the delicate geology that underlies such piles of papers, postcards and photographs sedimented over the years. Set free from their previous binds and rebound in a new order, the images serve as traces of the artist's life in sync with the gentle currents of the floating city.
Winner of the inaugural Lewis Baltz Research Fund
Size: 200 x 250 mm
136 pages, 105 colour plates, 114 black & white plates
Moon’s exquisite photographs radiate awe. -- Booklist, Starred Review
A project with weight and lasting beauty...Ancient Trees provides the kind of thorough and thoughtful portrait that each of these majestic long-lived survivors deserves. -- Christian Science Monitor
In our age of mass species extinctions, we never know from where, if anywhere, consolation may come. Try looking at Beth Moon's new book, "Ancient Trees: Portraits of Time." -- San Francisco Chronicle
Holiday Gift Guide Selection -- San Francisco Chronicle
Beth Moon’s fourteen-year quest to photograph ancient trees has taken her across the United States, Europe, Asia, the Middle East, and Africa. Some of her subjects grow in isolation, on remote mountainsides, private estates, or nature preserves; others maintain a proud, though often precarious, existence in the midst of civilization. All, however, share a mysterious beauty perfected by age and the power to connect us to a sense of time and nature much greater than ourselves. It is this beauty, and this power, that Moon captures in her remarkable photographs.
This handsome volume presents sixty of Moon’s finest tree portraits as full-page duotone plates. The pictured trees include the tangled, hollow-trunked yews—some more than a thousand years old—that grow in Englishchurchyards; the baobabs of Madagascar, called “upside-down trees” because of the curious disproportion of their giant trunks and modest branches; and the fantastical dragon’s-blood trees, red-sapped and umbrella-shaped, that growonly on the island of Socotra, off the Horn of Africa.
Moon’s narrative captions describe the natural and cultural history of each individual tree, while Todd Forrest, vice president for horticulture and living collections at the New York Botanical Garden, provides a concise introduction to the biology and preservation of ancient trees. An essay by the critic Steven Brown defines Moon’s unique place in a tradition of tree photography extending from William Henry Fox Talbot to Sally Mann, and explores the challenges and potential of the tree as a subject for art
Publisher: Abbeville Press
Size: 11" x 11",
104 pages, 60 duotones;
The great South African photographer's first major project beyond his own continent: portraits, nudes - and food - in contemporary Beijing
Limited edition of 500 copies, the small gem is 220 x 170 mm , printing in Italy by the best definetely printer in italy, UV varnishon top of the pictures, Hot Foil in the cover with debossing.
Publisher: Editions Bessard
Size: 220 170 mm;
During the terrorist attacks on Paris in November 2015, photographer Paul Graham took refuge in an apartment in the city with his partner and young child. In response to the suffocating tension on the city's streets, he made this series. Looking at the images you would never know of the traumatic events unfolding outside, but suffusing the photographs is an inscrutable longing for the safe, the everyday, the known.
Paul Graham was born in 1956 in Stafford, England. He is has been the recipient of numerous awards and fellowships including the Deutsche Börse Photography Prize, a Guggenheim Fellowship, the Hasselblad Award and the Paris Photo-Aperture Foundation Photo Book Awards prize for best photographic book of the past 15 years. His publications include The Whiteness of the Whale (MACK, 2015), Does Yellow Run Forever? (MACK, 2014), The Present (MACK, 2012), 1981 & 2011 (MACK, 2012), a shimmer of possibility (MACK, 2007), Films (MACK, 2011), American Night (MACK, 2003) and End of an Age (Scalo, 1999). He has exhibited at Tate Gallery, MoMA, Whitney Museum of American Art, Deichtorhallen and Fotomuseum Winterthur amongst many others.
Size: 180 x 260 mm
88 pages, 30 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 twenty-first calendar featuring his work. The 2017 Michael Kenna Wall Calendar is printed on an exclusive, uncoated, natural Japanese paper using Daido black ink. It features thirteen photographs: Hilltop Trees, Study 4, Teshikaga, Hokkaido, Japan. 2016; Thirty One Snow Fences, Bihoro, Hokkaido, Japan. 2016; Flying Bird, Kongobuji, Koyasan, Honshu, Japan. 2006; Si Ma Tai Great Wall, Beijing, China. 2007; Tree and Ladder, Capestrano, Abruzzo, Italy. 2016; Mamtaʼs Lotus, Ban Viengkeo, Luang Prabang, Laos. 2015; Chateau Lafite Rothschild, Study 18, France. 2012; Sydney Harbour Bridge, New South Wales, Australia. 2013; Mekong River Sunset, Luang Prabang, Laos. 2015; Oak and Olive Trees, Abruzzo, Italy. 2015; October Clouds, Kagawa, Shikoku, Japan. 2003; Poplar Trees, Fucino, Abruzzo, Italy. 2016; Kussharo Lake, Study 11, Hokkaido, Japan. 2016
Publisher: Nazraeli Press
Size: 14 x 17"
13 duotone plates
Forty years ago, two men went missing in southwest Iceland. The facts of their disappearances are scarce, and often mundane. An 18-year-old set off from a nightclub, drunk, on a 10-kilometre walk home in the depths of Icelandic winter. Some months later, a family man failed to return from a meeting with a mysterious stranger. In another time or place, they might have been logged as missing persons and forgotten by all but family and friends. Instead, the Gudmundur and Geirfinnur case became the biggest and most controversial murder investigation in Icelandic history.
In the 1970s theories about the disappearances fixated on Iceland’s anxieties over smuggling, drugs and alcohol, and the corrupting influence of the outside world. The country’s highest levels of political power were drawn into the plot. But ultimately, a group of young people on the fringes of society became its key protagonists. All made confessions that led to convictions and prison sentences. Yet none could remember what happened on the nights in question.
Now a public inquiry is uncovering another story, of how hundreds of days and nights in the hands of a brutal and inexperienced criminal justice system eroded the link between suspects’ memories and lived experience.
Jack Latham photographed the places and people that feature in various accounts of what happened to Gudmundur and Geirfinnur after they vanished. He spent time with the surviving suspects, as well as whistle blowers, conspiracy theorists, expert witnesses and bystanders to the case.
In ‘Sugar Paper Theories’, Latham’s photographs and material from the original police investigation files stand in for memories real and constructed. Professor Gisli Gudjónsson CBE, a former Reykjavik policeman and forensic psychologist whose expert testimony and theory of memory distrust syndrome helped free the Birmingham Six and Guildford Four – and are now central to the Gudmundor and Geirfinnur inquiry – provides a written account of the case.
Jack Latham is the recipient of the Bar Tur Photobook Award 2016.
Publisher: Here Press and The Photographers’ Gallery
Size: 310 x 230 mm
180 pages, 46 colour photographs, 37 black & white photographs
8 illustrations, 9 press cuttings
Colour photography by Jack Latham
Text by Professor Gisli Gudjónsson
Black & white archive photography sourced from original police files
Mountains and Waters is a photographic study of China in diptychs, shot on the outskirts of Shanghai, Chongqing and Shenzhen in China. The works focus on contemporary Chinese matters such as construction, infrastructure and development, while simultaneously alluding to traditional Chinese painting styles.
Alexander Gronsky is an Estonian photographer now based in Moscow, Russia. His work focuses on how geography influences the emotions and behaviours of its inhabitants. He is the holder of many photography awards, including the World Press Photo (2012) and the Foam Paul Huf Award (2010).
Publisher: The Velvet Cell
Size: 210 x 240 mm
Limited Edition of 750
All first printings sold out. Taking orders for second printing only.
[…] traditional American landscape photography has become a rather moribund photographic trope [...] a sanctified, cliched reverence has become the norm. In Halpern’s California work, I see him removing himself from the comforts of the past and endeavoring to strike out afresh, rethinking his conditioning and antecedents to break free of this particular mould. — Chris Killip
Beauty and its implication of promise is the metaphor that gives art its value. It helps us rediscover some of our best intuitions, the ones that encourage caring. — Robert Adams
The early settlers dubbed California The Golden State, and The Land of Milk and Honey. Today there are the obvious ironies – sprawl, spaghetti junctions and skid row—but the place is not so easily distilled or visualized, either as a clichéd paradise or as its demise. There’s a strange kind of harmony when it’s all seen together—the sublime, the psychedelic, the self-destructive. Like all places, it’s unpredictable and contradictory, but to greater extremes. Cultures and histories coexist, the beautiful sits next to the ugly, the redemptive next to the despairing, and all under a strange and singular light, as transcendent as it is harsh.
The pictures in this book begin in the desert east of Los Angeles and move west through the city, ending at the Pacific. This general westward movement alludes to a thirst for water, as well as the original expansion of America, which was born in the East and which hungrily drove itself West until reaching the Pacific, thereby fulfilling its “manifest” destiny.
The people, places, and animals in the book did exist before Halpern’s camera, but he has sewn these photographs into a work of fiction or fantasy—a structure, sequence and edit which, like Los Angeles itself, teeters on the brink of collapsing under the weight of its own strangely-shaped mass.
Size: 240 x 290 mm
128 pages, 77 colour plates
Ron Jude’s (b. 1965, American) Vitreous China is comprised of an archive of photographs he made while exploring areas of light industry in (primarily) Midwestern American cities. Rather than comment on the workings of industry itself, Jude depicts the ambient peripheral zones suffusing these environments: big rig parking lots, side exits, and other secondary spaces in which Jude imagines his grandfather might have daydreamed, or let his mind wander, during his many years as a kiln operator in vitreous china plants, first in the Midwest, and later in Southern California.
Supplanting the narrative inadequacies of photography with an alternate experience of atmospheric immersion, Jude exploits the seemingly factual, descriptive traits of the medium while also pursuing moments of subjective transcendence. Like the paradoxical relationship between the surface beauty of vitreous china (an enamel coating applied to porcelain) and its blunt, utilitarian function (strengthening toilets & sinks), the photographs, interwoven with a series of short texts by Mike Slack, attempt to tease out an experience that embraces both the physical crudeness of these spaces as well as the intangible complexes of memory and narrative encoded within them.
First edition of 375 copies, numbered.
Size: 160 x 200 mm
54 pages. 1 fold-out. 29 color plates
Book 11 from the series 'East London Photo Stories' + PRINT
Freya Najade's photographs take us on a slow journey along the waterways of East London; from the Regent's Canal to the River Lea, discovering unexpected beauty and wilderness in the heart of the city.
A fully cloth-covered Collector's Edition of Along the Hackney Canal by Freya Najade presented in a bespoke cloth-covered clamshell box complete with signed and numbered limited edition print.
This Collector's Edition is limited to 150 copies.
Edition numbers allocated from lowest to highest as orders are processed.
Publisher: Hoxton Mini Press
Size: 145 x 205mm
Out of print almost immediately after it was published. We have one remaining copy.
“Afterword” is composed of photos used in the afterword ’Sasuke’s Diary’ from “Sasuke, My Dear Cat”, published by Seinen Shokan in 1978. In the small pocket-sized printing manuscript were instructions and numbering written by Fukase himself.
Sasuke the First went missing quite early on, but some time afterwards, someone who had seen the ‘missing’ posters delivered a kitten to Fukase thinking it was probably Sasuke. While they did indeed look alike, the kitten turned out not to be Sasuke after all.
Fukase, however, named this kitten Sasuke and ended up loving him like his own. To Harajuku, on express trains, and even to Ueno Zoo and the seaside - he took Sasuke out with him wherever he went. Referring to himself ‘papa’ while turning his camera upon Sasuke, the depth of Fukase’s affection for his cat can be felt through his photos of its charming visage.
A near-maddening amount of lovely scenes continue page turn after page turn in this wonderful photo book - a masterpiece that belongs on the shelf of a loved one.
1st edition of 900 copies
Publisher: Roshin Books
Size: 210mm x 231mm
104 pages, 80 black & white plates
Text: Japanese and English x 18mm roshin books 2016 ISBN 978-4-9907230-5-7
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
Understanding Photobooks is a user-friendly guide to engaging with the photographic book— or, as it is widely known, the photobook. Despite its importance as a central medium in which many photographers showcase their work today, there is surprisingly little information on the mechanics of the photobook: what exactly it does and how it does it. Written for makers and artists, this book will help you develop a better understanding of the images, concept, sequence, design, and production of the photobook. With an awareness of the connections between these elements, you’ll be able to evaluate photobooks more clearly and easily, ultimately allowing for a deeper and more rewarding experience of the work.
Publisher: Focal Press
The photographs in this book were made by Jungjin Lee in the Everglades for the Norton Museum of Art’s exhibition “Imaging Eden”. Bringing her unique meditative approach to this subject, Lee captured a sense of stillness in the constantly moving landscape – one inhabited by endangered species like the manatee, the American crocodile, and the elusive Florida panther. Her photography is imbued with elemental vastness and wonder. Using a multilayered process that integrates elements of painting, Lee’s photographs exude a materiality not often found in photography.
The Florida Everglades is one of the most extensive and complex wetlands on our planet. It has been declared an International Biosphere Reserve, a World Heritage Site, and a Wetland of International Importance. It is the third-largest national park in the lower 48 states
Beautifully printed on lush uncoated Japanese paper, Everglades is limited to 2,000 copies presented in a green cloth slipcase; both book and slipcase were designed by the artist herself. Jungjin Lee’s photography is imbued with elemental vastness and wonder. A former assistant of Robert Frank, she creates large scale landscapes employing a unique interplay between image and material. Jungjin Lee was born in South Korea in 1961. Her photographs have been widely published and exhibited internationally, and are housed in many important collections, including those of the Metropolitan Museum of Art; Whitney Museum of American Art; FNAC, Paris; the LA Museum of Art; and Houston Museum of Fine Art.
Publisher: Nazraeli Press
Size: 7.5 x 15"
52 pages, 25 duotone plates