Our lastest newsletter has info on new and forthcoming titles signed by Mark Steinmetz, Onorato & Krebs, Jan Brykczynski, Chris Dorley-Brown and Martin Parr. Also two new titles from Mack Books by Ben Burbridge and Kikuji Kawada; Lee Miller; Bernard Plossu in Italy; Paolo Marchetti in Brazil; David Duchemin, and Mary Warner Marien on photography visionaries. And more.
For a decade, Ken Schles watched the passing of time from his Lower East Side neighborhood. His camera fixed the instances of his observations, and these moments became the foundation of his “invisible city.” Friends and architecture come under the scrutiny of his lens and, when sorted and viewed in the pages of this book, a remarkable achievement of personal vision emerges.
Twenty-five years later, Invisible City still has the ability to transfix the viewer. A penetrating and intimate portrayal of a world few had entrance to - or means of egress from — Invisible City stands alongside Brassai’s Paris de Nuit and van der Elsken’s Love On The Left Bank as one of the twentieth century’s great depictions of nocturnal bohemian experience. Documenting his life in New York City’s East Village during its heyday in the tumultuous 1980s, Schles captured its look and attitude in delirious and dark honesty. Long out of print, this “missing link” in the history of the photo book is now once again made available. Using scans from the original negatives and Steidl’s quadratone technique to bring out nuance and detail never seen before, this new edition transcends the original of this underground cult classic.
Size: 173 x 232 mm
Twenty-five years after his seminal 1988 book, Invisible City, Ken Schles revisits his archive and fashions a narrative of lost youth: a delirious, peripatetic walk in the evening air of an irretrievable Downtown New York as he saw and experienced it. Night Walk is a substantive and intimate chronicle of New York’s last pre-Internet bohemian outpost, a stream-of-consciousness portrayal that peels back layers of petulance and squalor to expose the frisson and striving of a life lived amongst the rubble. Here Schles embodies the flâneur as Susan Sontag defines it, as a “connoisseur of empathy ... cruising the urban inferno, the voyeuristic stroller who discovers the city as a landscape of voluptuous extremes.” We see in Night Walk a new and revelatory Ulysses for the twenty-first century: a searching tale of wonder and desire, life and love in the dying hulk of a ruined American city.
Size: 173 x 232 mm
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
Gorgeous and wide-ranging, this collection of works by established and up-and-coming photographers showcases new developments in erotic photography.
The invention of photography gave artists a new means of expression—and a new way of depicting the human body. This elegant, compelling collection of images from new and established photographers demonstrates how technology has altered the genre—not only in terms of technique, but also composition, theme, and content. This incredibly diverse collection features the works of more than 30 artists from around the world, including Evan Baden’s explorations of the ways youth culture views sex, intimacy, and privacy; Noritoshi Hirakawa’s erotic and intimate portraits, which challenge mainstream conceptions of sexuality and heterosexual desire; David Bellemere’s dreamlike works, which are inspired by 1970s aesthetics, nature, light and the female body shape; and Ana Kraš’s surreal photographs that seem like they were taken coincidentally. At once cutting-edge and tasteful, this compelling volume presents a wide range of erotic photography.
Size: 210 x 280 mm
280 pages, 220 colour illustrations, 20 b/w illustrations;
Overseas deliveries Please note that, as this is a particularly heavy item, overseas postage will be charged at three times our standard rates.
With his Bay Bridge: The New East Span images, photographer Tom Paiva has richly documented the latest chapter in the history of spanning California’s East Bay. In the late 1920s, economic and social changes in the Bay Area, including the increasing popularity of automobiles, prompted the California legislature to establish the California Toll Bridge Authority and charged it with connecting San Francisco and Alameda County. The groundbreaking ceremony for the longest bridge in the world at that time took place on July 9, 1933, and presaged a nearly three-and-a-half-year project at a cost of $77 million. When it opened on November 12, 1936, the Bay Bridge caused “the greatest traffic jam in the history of San Francisco.” During its first year of operation, the Bay Bridge was crossed by nine million vehicles.
The 50th anniversary of the completion of the Bay Bridge, which actually includes both a suspension bridge and a truss bridge, took place in 1986. Three years later, the Loma Prieta earthquake damaged the East Span, even though the epicenter of the 7.1 earthquake lay nearly 90 miles south. After 53 years and many millions of vehicles safely transported, the bridge was showing its age, prompting plans to create a more enduring structure.
In 2002, the 11-year construction project on the new Bay Bridge began, involving a complete retrofit of the suspension bridge and the replacement of the truss bridge with the world’s longest self-anchored suspension span. Photographer Tom Paiva, on an aerial assignment in the Bay Area, happened upon the initial phase of the project and knew that he had to become part of it Assigning himself the task of recording the creation and the construction of this monumental structure from his vantage point, Paiva believed that his unique vision would offer a valuable, yet complementary, view of the $6 billion enterprise. His quest was to contribute a lasting document that would honor the visionaries—past and present—who could imagine and create these imposing, yet beautiful, man-made spans.
With “Bay Bridge: The New East Span”, Tom Paiva has produced a masterful body of work, documenting one of the most daunting, and finally triumphant, engineering feats of our generation. This beautifully produced, oversized monograph pays fitting homage to its subject, and all of those who were involved in its creation.
Size: 430 x 355 mm
124 pages, 78 four-colour plates;
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
Angola Cinemas honors the fantastic, unique and little-known architecture of movie theaters in Angola, built in the decades before the end of Portuguese colonial rule in 1975. “Initially designed as traditional closed spaces, later in the 1960s open air cinemas with terrace bars became the order of the day, so much better adapted to the tropical climate. The arrival of these cinemas brought elegance to the business of going to the movies.” (Miguel Gomes, “Cinema from way back when...”)
Yet it is not only this exceptional architecture which impresses us and mirrors the experimental spirit of its ambitious and visionary builders. Visiting the cinema was a communal act—it was a crucible where young met old, where people fell in love and where liberation from colonialism was a feasible option. Examining the architectural history of these buildings, Walter Fernandes’s photographs are documents of urban organization in the twentieth century, and of the changing mentalities of a society living within the possibility of its foreseen independence. What has changed since then, and what is the future of these urban cathedrals? Angola Cinemas poses such questions, both preserving these architectonic treasures and reflecting on their cultural, social and affective heritage.
Co-published with the Goethe-Institut Angola
Size: 297 x 210 mm
Editor(s): Elizabeth Edwards, Christopher Mort
The status of photographs in the history of museum collections is a complex one. From its very beginnings the double capacity of photography - as a tool for making a visual record on the one hand and an aesthetic form in its own right on the other - has created tensions about its place in the hierarchy of museum objects. While major collections of 'art' photography have grown in status and visibility, photographs not designated 'art' are often invisible in museums. Yet almost every museum has photographs as part of its ecosystem, gathered as information, corroboration or documentation, shaping the understanding of other classes of objects, and many of these collections remain uncatalogued and their significance unrecognised.
This volume presents a series of case studies on the historical collecting and usage of photographs in museums. Using critically informed empirical investigation, it explores substantive and historiographical questions such as what is the historical patterning in the way photographs have been produced, collected and retained by museums? How do categories of the aesthetic and evidential shape the history of collecting photographs? What has been the work of photographs in museums? What does an understanding of photograph collections add to our understanding of collections history more broadly? What are the methodological demands of research on photograph collections?
The case studies cover a wide range of museums and collection types, from art galleries to maritime museums, national collections to local history museums, and international perspectives including Cuba, France, Germany, New Zealand, South Africa and the UK. Together they offer a fascinating insight into both the history of collections and collecting, and into the practices and poetics of archives across a range of disciplines, including the history of science, museum studies, archaeology and anthropology.
Publisher: Bloomsbury Academic
Size: 234 x 156 mm
304 pages, 20 colour and 52 black & white illustrations;
Hellen van Meene
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
Over the last twenty years, Hellen van Meene has produced a complex body of work, offering a contemporary take on photographic portraiture. Characterized by her exquisite use of light, formal elegance, and palpable psychological tension, her depictions of girls and boys on the cusp of adulthood demonstrate a clear aesthetic lineage to seventeenth-century Dutch painting. Van Meene captures the intimacy in the photographer/subject relationship, bringing out a sense of honesty and vulnerability from within her models and highlighting the beauty of imperfection. She carefully poses her subjects in their environments to emphasize their fragility, adding a palpable tension to the photographs. At the same time, she captures them at deeper, more introspective moments—masterfully moving between the staged nature of the portraits and the real experiences of her subjects. The combination of van Meene’s instinctive understanding of the universality of adolescent experience and the highly intimate collaboration between photographer and model makes for powerful portraits that resonate long after viewing. This book brings together more than 250 images, for the most comprehensive presentation of the artist’s work to date.
Size: 8 3/4 x 11"
256 pages, 250 four-colour images;
"In a hidden and cramped atelier in an unknown, possibly non-existent city, we discover naked women. The bodies of these women are palpable, humid, breathing. They are not abstract, not modern, they are real. And the women are not alone. There is always the camera, and they know it is there, though it seems that they are not entirely certain why it is there. They appear to be contemplative, at ease, but is it truly ease, or is it the mellow resignation of women caged by their own flesh, made captive by the heavy shadows that embrace them and sculpt them? The only escape for them is through the windows of mirrors and painted images that surround them - and, of course, the lens of the camera. It is a delusional escape. And then suddenly we are released, we are out in the world: Paris, Halifax, London, New York, Rimini. The brutal juxtaposition makes us question the reality of the streets: are we really there? Are these classics of street photography the dreams of the women in the atelier? Dreams of freedom, of bodies released into structured social space? These photographs are so compelling, so beautiful, we think we have seen them before, but we have not. They are timeless in the sense of "not of our time", like the women in the atelier."
Peter Suschitzky started his career as a cameraman at twenty-one, in documentary films destined for German television, in Latin America. When he returned to London, good fortune brought him his first feature film, aged twenty-two. Thereafter, Suschitzky's luck endured and he has been the director of photography on around fifty films, including The Rocky Horror Picture Show, Star Wars Episode V - The Empire Strikes Back, Crash, Naked Lunch, A Dangerous Method, Cosmopolis, Mars Attacks, and Maps to the Stars. His most recent work can be admired in Tale of Tales, directed by Matteo Garrone. His many accolades include the New York critics award for cinematography (for John Boorman's Where The Heart Is), the 2009 ISFF Manaki Brothers Life Achievement Award, and seven Genie awards for Best Cinematography, all of them for movies he shot with David Cronenberg.
Publisher: Schilt Publishing
Size: 305 x 320 mm
108 pages with 63 photos in tritone;
"First, I would like to express my deepest gratitude to all of those who stood before me and taught immature me about the splendor of living, the seemingly momentary sparkle of evanescence, the power of life with its ability to disentangle everything, and so many other things.
We become afterimages that are constantly passing each other somewhere and small enough to be buried in our memories.
One person is returning a movie they've rented,
one is accompanying their parents on an errand,
one is walking their pet,
one was drenched in the rain,
one has a habit of going to the same place at the same time every day,
and one is just sitting there resting.
There are people who are enjoying something with friends, helping with the housework, going to cram school or some other kind of class, out on a date with their lover, working, shopping on the way home from dinner, suffering from an injury or accident, drunk, going wild, worrying, rejoicing, and distraught with loneliness.
One person talks about someone they like,
one expresses their dissatisfaction with their parents,
one is canvassing for a religious,
one is taking about their experiences in the war,
and one is telling a story that seems like a dream.
One person is a child, one is an adult, one is a man, one is a woman, and one could be either.
Everything is fantastic, everything is ordinary, everyone is inside each person, and they are living each life heartily. Within in an instant, a wave approaches and returns. When I'm standing there, all I can do is click the shutter as I tremble.
Something beyond my own will is captured in a photograph. Although I know that, as I talk and think about photography I am immersed in a lofty sensation, as if this was something that was always mine. But all of this is just an afterthought. It was really only an encounter with a photograph that could have involved that person in that place at that time. That's all.
Photographs always start talking to me in these situations, "Isn't this what you're looking for?" But I can't really say for sure - and probably never will be able to."
Ryuichi Ishikawa (from the postscript)
Throughout 2014, Niall photographed the residents and commuters passing through this rapidly changing neighbourhood. The images are primarily centred on the bus station and bus routes.
Size: 248 x 220 mm
72 pages, 45 colour images
Edition of 350
40 years ago, Phillip Toledano’s sister died in an accident. He was six years old at the time. Although she was almost never spoken of again, Claudia was a constant but unknown presence in his life. After his parents died, he found boxes of her things, things he’d never seen before, neatly packed away, a museum of sorts, created by his mother.
‘This work was a way of getting to know my sister. But it was also a way of getting to know my parents and their relationship with her. It gave me a glimpse into the pain and courage it took to stay together as husband and wife, as mother and father, to give me the beautiful life they gave me. I have no memories of my life after my sister’s death for a few years, other than an obsession with space, planets, and distant universes. Perhaps it was a way of being somewhere else, distant. Half of the images in the book are of the imagined landscapes that saved me, when I was a child that needed saving. The other half, of things that belonged to my sister. Things that explain who she was, how she loved my parents, and what happened after her death.’
Exquisitely designed by leading Dutch designer Teun van der Heijden of Heijdens Karwei, the book is published as a limited edition of 500 numbered copies. Bound in cloth with two colour foil stamping to the cover, it is printed on two contrasting papers, Chromolux 300 and Munken Polar Rough, and incorprates two different page sizes. Beautifully produced, it is a unique and moving book.
Recognised as one of the most innovative and inventive photographers currently working on the international stage, Phillip Toledano has exhibited worldwide and his work is in many public and private collections. In June 2015 a major retrospective of his work will be shown at Deichtorhallen, Hamburg. When I Was Six is his sixth photography book.
Published as a Limited Edition of only 500 Numbered copies.
Publisher: Dewi Lewis Publishing
Size: 220 x 300 mm
78 pages, 42 colour plates
Greg Girard and Ian Lambot
Though demolished 20 years ago, fascination in Kowloon Walled City just continues to grow, fired in part by the many urban legends that forever swirl around this extraordinary community. Designed and edited by Greg Girard and Ian Lambot – the team behind City of Darkness: Life in Kowloon Walled City – City of Darkness Revisited aims to question those myths and explore the reality behind the Walled City’s extraordinary development. With the benefit of new photographs, drawings and documents, many previously unpublished, the true story is revealed to be every bit as fascinating.
First published in April 1993, City of Darkness: Life in Kowloon Walled City remained in print for almost 20 years, an extraordinary record for book of this kind. And so it might have remained but in 2013, with interest in the Walled City continuing to grow, another reprint seemed inappropriate. It was time, we decided, to produce an all-new edition and bring the story up to date.
Size: 270 x 273 mm
356 pages, over 320 photographs;
Ciarán Óg Arnold
I went to the worst of bars hoping to get killed but all I could do was to get drunk again is a diary of sorts, following invisible men, down piss alleyways and into empty bars. The photographer accompanies the seekers of oblivion, their lopsided faces caught between ecstasy and apathy, their mouths chasing the numbness of inebriation.
This is Ballinasloe, a sandstone town on the River Suck in the easternmost corner of Galway in Ireland, seen through the eyes of a native, Ciarán Óg Arnold. Within the rabble, Arnold trails after the cast-offs, invisible men who spend their time in murky corners, choosing to do nothing but drift and drink. Ballinasloe is a mouth; in Irish, mouth of the ford, mouth of the crowds. “We claim to hate it here”, writes Arnold, “but the truth is that we choose to stay, hiding from reality, drowning in drink and wanting to be left alone as we await whatever fate is in store.”
Over the years, Ballinasloe has become a ghost town, its immobile economy holding back only the indifferent. Its empty clubs are the ordinary voids of an orthodox escapism, the unvarying nightly vocation that is also creeping annihilation. The town is haunted by the absence of those unseeable others, who have also departed – the suicide kids of Charles Bukowski’s poem, from which the book’s title is taken.
Winner of the First Book Award 2015
Size: 160 x 220 mm
76 pages, 43 colour plates;
A new collection of photographs from award-winning photographer, Steve McCurry, featuring previously unpublished images taken while on assignment to coffee-growing communities around the world.
From the foothills of the Andes to the slopes of Kilimanjaro, vibrant full-colour images document the realities of life for the people working at the source of this familiar commodity.
Far-ranging photographs from Colombia, Honduras, Peru, Brazil, Ethiopia, Tanzania, India and Vietnam include portraits of children, workers and everyday community life, alongside stunning natural landscapes.
Steve McCurry is one of Phaidon’s best-selling photographers and one of the most admired and well-represented photojournalists working today. This book will be a widely sought-after addition to his popular body of work.
Size: 214 x 290 mm
144 pages, 70 colour illustrations;
Over the past three decades, Mark Ruwedel has examined the intersections of representation, cultural memory, and the shifting perceptions of space. His work is an epic account of North American civilization, extending from topologies of urban architecture to large-scale projects such as “The Ice Age” and “Westward the Course of Empire.
”Ruwedel represents landscape as a site where radically different scales of time intertwine. Picturing the earth as an enormous historical archive, he describes his work as “an inquiry into the histories, cultural and natural, of places that reveal the land as both a field of human endeavor and an agent of historical processes.” Ruwedel spotlights traces of human activity—whether an ancient footpath in Death Valley or a rotting wooden trestle abandoned after the failure of the Vancouver, Victoria and Eastern Railroad—in relation to geographic and geological upheavals that have shaped the earth’s surface. Ruwedel thus historicizes nature’s transformation of human structures into relics on their way to obliteration.
Size: 297 x 242 mm
228 Pages, 170 Photographs;
"Though they were ceded to the federal government in 1821, it was not until the beginning of the twentieth century that the Everglades were systematically depicted in photographs. Imaging Eden presents an overview of the pictures that have formed our understanding of the Everglades, one of the most contested and unique environments on the planet, and new approaches to photographing the vast wetlands system. Using vernacular images as well as works by such celebrated photographers as Walker Evans, Marian Post Wolcott, Eliot Porter, James Balog and Clyde Butcher, Imaging Eden provides a framework to contextualize four contemporary commissioned projects. Amsterdam-based artist Bert Teunissen, American photographer and artist Gerald Slota, Korean-American Jung Jin Lee and Magnum photographer Jim Goldberg working in collaboration with Jordan Stein have been tasked with discovering the Everglades on their own terms, through their widely differing sensibilities and with their unique visual vocabularies." Text by Tim B. Wride, Scott Eyman
Publisher: Daylight Books;
Published alongside a major exhibition, Revelations explores a radical expansion of the visual field brought about by early scientific photography, and the ways this informed and inspired photography's applications within modern and contemporary art.
Early scientific imagery such as X-Ray, photomicrography and experimental high-speed photography exposed and surpassed the limits of human vision. In doing so, it revealed important formal possibilities to artists, and spoke to them in clear and articulate terms about man’s changing relationship to science and technology. Drawing on the National Collections held in Bradford and London, and further international collections, a selection of photographs, book spreads and other documents demonstrate new modes of representation established by early scientific photography and their profound impact on the histories of photographic art.
Publisher: Mack Books
Size: 170 x 223 mm
216 pages, 152 colour plates
“I was born at the beginning of the Showa Era. There was a great war during my boyhood and then I lived during the period of re-construction and growth and now I slowly approach the evening of life. Through these photographs the cosmology is an illusion of the firmament at the same time it includes the reality of an era and also the cosmology of a changing heart.” Kikuji Kawada
Astrology, once a scholarly tradition, binds astronomical phenomena to events of the human world. The Last Cosmology reveals Kikuji Kawada’s preoccupation with the cosmos, and his fleeting empathy for the abating custom of divination. Inspired by the apocalyptic sky-scapes of the painter Emil Nolde, Kawada photographed abnormal and calamitous weather conditions – gales that configure coiling cloud-patterns, electrical storms, or rain striking glass. Captured between 1980 and 2000, the work is part of ‘The Catastrophe Trilogy’, a chronicle which ties together the dramas of the skies with the end of two historical eras on earth: the Showa Era in Japan, ending with the death of the Emperor in 1989, and 20th century’s close. Kawada says, “I imagine the era and myself as an implicitly intermingling catastrophe... I want to spy on the depths of a multihued heart that is like a Karman vortex.”
Publisher: Mack Books
Size: 240 x 320 mm
86 pages, 67 tritone plates
Chris Dorley-Brown spent two summers in the mid 1980s photographing drivers stuck in traffic jams in and around East London. This series was his first on colour film and was created when he intended to document the privitisation of Rolls Royce but instead became fascinated by the faces in the traffic caused by the sell-off in the city. The cars, colours, haircuts and expressions of frustration capture the mood and tone of a unique era in Thatcher's Britain.
The images, all shot on film of course, have aged like a fine wine and are now ready to be consumed by the discerning connoisseur.
Collector's Editions are limited to 250 copies per title.
Edition numbers allocated from lowest to highest as orders are processed.
Publisher: Hoxton Mini Press;
Every year since 1958 an international jury has convened in Holland under the auspices of the World Press Photo Foundation to choose the finest press photographs of the year. Universally recognized as the definitive competition for photographic reporting, it draws submissions from photojournalists, newspapers, and magazines throughout the world.
Publishing the results of the most recent competition, this book contains the most haunting and inspiring photographs from 2014—some 150 pictures selected from more than 100,000 images submitted. These prize-winning works are extraordinary not only for their technique but also because they capture the most powerful, moving, and sometimes disturbing moments of the year.
Publisher: Thames & Hudson
Size: 287 x 230 mm
Signed copies, 2nd printing, available April 2015
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 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.
Shinan, an archipelago of 1,004 exquisite and unspoiled islands situated in the South West of Korea, is also known as “The Island of Angels”. Michael Kenna photographed there over a period of two years. The resulting monograph, “Shinan”, is comprised of sixty-two black and white images in which the artist emphasizes suggestion rather than description; sparce and graphic elements evoke a whole world. Elegantly printed with our special Daido black ink and tinted spot varnish on Japanese matte art paper, this first printing of Shinan is limited to 3,000 slipcased copies. A special edition of 250 signed and numbered copies, presented in a custom clamshell box, is also available. “Breathtakingly beautiful” – it sounds like a cliché, but the phrase encapsulates the feeling that echoed in my mind the moment I saw Michael Kenna’s work... It is as if Mother Nature is trying to show off her creation through the medium of these images. – Lee Chuyoung, Curator of National Museum of Contemporary Art, Korea.
Watch a video of Kenna working in Shinan.
Browse Kenna Shinan image archive. The images are not guaranteed to be the same as the contents of the book.
All copies of the limited edition have been sold.
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
'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
Huangshan is the name given to a whole range of mountains in Anhui province in eastern China. Also called Yellow mountain, the range is particularly known for its uniquely-shaped granite peaks, ubiquitous pine trees that literally grow out of the rock faces, and the ever changing configurations of flowing clouds as seen from above. Huangshan has been a source of inspiration and a muse for Chinese painters and poets throughout history. It continues to inspire artists today, including Michael Kenna. These forty-six photographs, which Kenna made over a period of three years, capture both the sublimity and grandeur of these peaks, and quietly reflect on our human interaction with nature. Kenna has written a brief introduction which describes some of his experiences on Huangshan. Arguably the most influential photographer of his generation, Michael Kenna is the subject of over 35 monographs. Beautifully printed in our special Daido black ink on uncoated art paper, this second printing of Huangshan is limited to 2,000 casebound copies.
Publisher: Nazraeli Press
Size: 12 x 13"
72 pages, 46 duotone plates.