For Martin Parr fans in the London area, The Art of Dining brings you Say Cheese: a unique photo-culinary experience combining a photography exhibition with a pop-up restaurant and bar inspired by the world of Martin Parr. "The world of Martin Parr in five courses". 19-29 March.
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
After beginning his career as a photojournalist for a daily newspaper in southern California, Dan Winters moved to New York to begin a celebrated career that has since led to more than one hundred awards, including the Alfred Eisenstaedt Award for Magazine Photography. An immensely respected portrait photographer, Dan is well known for an impeccable use of light, color, and depth in his evocative images.
In Road to Seeing, Dan shares his journey to becoming a photographer, as well as key moments in his career that have influenced and informed the decisions he has made and the path he has taken. Though this book appeals to the broader photography audience, it speaks primarily to the student of photography—whether enrolled in school or not—and addresses such topics as creating a visual language; the history of photography; the portfolio; street photography; personal projects; his portraiture work; and the need for key characteristics such as perseverance, awareness, curiosity, and reverence.
By relaying both personal experiences and a kind of philosophy on photography, Road to Seeing tells the reader how one photographer carved a path for himself, and in so doing, helps equip the reader to forge his own.
Machiguchi Satoshi 1000 presents (over) 1000 pages of full-framed, close-cropped photographs of some of the most influential photo-books of the past seven decades. A resource and a treasure, it is authored by art director Satoshi Machiguchi, an individual referred to as “the son of a photo-book” and known for his work as a designer of photo- and art-books with photographers such as Daido Moriyama.
Flipping through the pages of semi-blurred extracts and details feels like watching time pass by. Commencing with 'Snowland' by Hiroshi Hamaya and Robert Frank's 'The Americans' – two titles that Machiguchi received as a child in the '70s – the book moves chronologically through publications by Diane Arbus, Joel Meyerowitz and Kishin Shinoyama before concluding with the 2011 title 'Everything happens for the first time' – which Machiguchi himself designed
Size: 147 x 105 mm
Lois Conner, Gerald R. Barme
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
In three decades of visits to China, celebrated photographer Lois Conner has witnessed firsthand the monumental physical transformation of the country. Nowhere is this change more dramatic than in the capital city of Beijing, the'subject of Conner's remarkable new book Beijing: Contemporary and Imperial . Conner's breathtaking black-and-white panoramas reveal an ancient city in thrall to change, where the lingering splendor of a dynastic past is cast into shadow by rising concrete and steel. Juxtaposed against the ancient ruins from the Gardens of Perfect Brightness, the ultra modern "Bird's Nest" National Olympic Stadium embodies all the ambitions of a rapidly ascending China. And yet, amid all the bustle and spectacle, quietly contemplative images of city life emerge, as if rescued from another era. Rich in tone and flawless in detail, Conner's photographs capture all the complexities and contradictions of this fascinating modern metropolis.
Publisher: Princeton Architectural Press
Size: 381 x 191 mm
156 pages, 91 duotones;
In How Photographs Are Sold, author and fine art photographer Alain Briot has compiled stories and examples of how several successful photographers market and sell their work. The book features information from photographers who earn a living from their artwork, as well as from others who sell their artwork to further their passion rather than as their main source of income. It also includes examples from Alain's personal experience selling his fine art photographs.
The featured photographers come from a variety of backgrounds and use a broad range of techniques for selling their artwork. They share information about their personal styles, what has worked for them and what hasn't, where they have sold their work, and more. Also included are images of each photographer's selling environment and examples of the marketing materials they use.
This book is designed to meet the needs of both amateur and professional fine art photographers. Whether you're just getting started in the fine art photography business or have been working at it for years, this book will prove to be a valuable resource.
This book differs from Alain's previous marketing book, Marketing Fine Art Photography, in that this is not a manual but a collection of stories and examples. While Alain's first marketing book tells you how to sell your work, this second book shows you how to sell your work.
Publisher: O'Reilly Media
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
The much-awaited new monograph from Roger Ballen, one of the most revered and original image-makers of today
This new body of work extends the artistic trajectory charted across Roger Ballen’s three previous books – Outland, Shadow Chamber and Boarding House.
The black-and-white images were photographed within the confines of a house in a Johannesburg suburb, the location of which remains a mystery. The inhabitants of the house, both people and animals, and most notably, the ever-present birds, are the cast who perform within a sculptural and decorated theatrical interior that Roger Ballen creates and orchestrates.
The resulting images exist in a space between painting, drawing, installation and photography. They are timeless, psychologically powerful and masterfully composed. In a world in which photographers seek to avoid definition, Roger Ballen’s photographs defy classification and genres: his world stands out as one of a kind.
Publisher: Thames & Hudson
Size: 300 x 280 mm
144 pages, 90 Illustrations;
This lavishly illustrated monograph – published to accompany France’s first major retrospective since the photographer’s death in 2004 – traces Cartier-Bresson’s development as a photographer, activist, journalist and artist. In addition to some of his best-known photographs, here are many seldom seen or unpublished images, and some rarities in colour as well as black and white.
Henri Cartier-Bresson’s work embraced art, politics, revolution and war. But more powerful than any of these overarching themes was his evident concern for the human individual at every social level. Cartier-Bresson’s observations of the effects of poverty and revolution around the world led directly to his pioneering photojournalism, and his co-founding of Magnum Photos. He also became renowned for his penetrating portraits ofthe most prominent figures of his time: Cartier-Bresson’s biographer Pierre Assouline called him ‘the eye of the century’.
This is an indispensable work for lovers of photography and admirers of Henri Cartier-Bresson, whose influence continues to endure so powerfully today.
Publisher: Thames & Hudson
Size: 295 x 234 mm
416 pages, with over 500 illustrations in colour & black and white;
The portraits in this book have been personally selected by Bailey from the wide range of subjects and groups that he has captured so brilliantly over the last five decades: actors, writers, musicians, politicians, film-makers, models, artists and people encountered on his travels to Australia, India, Sudan and Papua New Guinea; many of them famous, some unknown, all of them engaging and memorable. Bailey’s Stardust will be accompanied by a major exhibition at the National Portrait Gallery, London, in spring 2014, which will then tour to venues on four continents. The book, like the exhibition, is structured thematically, with iconic image presented alongside many lesser-known and previously unseen portraits, and includes an illuminating introduction by the art historian Tim Marlow.
Initially engaged as an assistant to John French in 1959, Bailey was contracted by British Vogue the following year. He has since worked for the French, Italian and American editions of the magazine, created album sleeves for major recording artists such as the Rolling Stones, directed television commercials, and made documentary films, including in-depth studies of Cecil Beaton, Luchino Visconti and Andy Warhol. Bailey’s photographs helped to define the cultural and social scene of the 1960s, and immortalising figures from the worlds of fashion, music, film and art soon elevated Bailey to the status of celebrity himself. Antonioni’s cult film Blow-up (1966), about a London fashion photographer, was inspired by Bailey, whose life was also dramatised recently in the BBC film We’ll Take Manhattan (2012), which tells the story of his 1962 New York fashion shoot with the model Jean Shrimpton.
Size: 330 x 254 mm
272 pages, 300 colour and tritone illustrations;
Born into a working-class family in London’s East End in 1938, David Bailey became the best-known photographer of his generation and has led a life that most people can only dream of. His iconic portraits of some of the world’s most famous figures helped to define the fashionable London scene of the 1960s, and soon propelled him into the centre of that world.
Drawing on numerous interviews, some previously unpublished, and illustrated with many iconic photographs as well as previously unpublished images from Bailey’s private archive, this book explores the man behind the camera. His outspoken and irreverent observations on life, death, women, style, fashion, sex, class, the movies, the sixties, photography and Hitler are as thought-provoking as they are revealing.
The book also contains the reflections of some of the illustrious figures Bailey has worked with, among them Angelica Huston, Paul Smith, Jerry Hall, Catherine Deneuve, Mary Quant, Kenneth Williams, Jean Shrimpton, Penelope Tree, Damien Hirst and Diana Vreeland, as well as fellow photographers Cecil Beaton, Terence Donovan and Brian Duffy. In their interviews and writings over the years, these figures have provided some fascinating insights into the experience of being the focus of Bailey’s lens.
Size: 160 x 125mm
160 oages, 60 b/w and colour illustrations;
Go where we may, rest where we will, Eternal London haunts us still.
– Thomas Moore
Giacomo Brunelli has been commissioned by The Photographers Gallery, London to produce a body of work about the capital. The result is Eternal London which is to be exhibited at the gallery throughout March and April 2014. In the photographs Brunelli uses his distinct film-noir style to create a unique and evocative view of the city. The images are framed around the silhouettes of people and animals. Though many London landmarks feature including Tower Bridge, Trafalgar Square, St. Paul’s Cathedral and the statue of Winston Churchill depicted alongside Big Ben, they are presented in a surprising and very particular way.
Brunelli photographs during daily early morning walks, randomly choosing a person to follow before focusing his camera on them. Working discreetly, he often uses a removable viewfinder, to be able to photograph his subjects from waist height and other unusual angles, such as directly from behind or using extreme close-up. He protects their anonymity by obscuring their faces whilst exploiting light, shadow and contrast to imbue his images with a dramatic atmosphere and a deep sense of mystery.
Publisher: Dewi Lewis
Size: 270 x 220mm
56 pages, 32 tritone plates;
Internationally renowned photographer Bill Henson is a passionate and visionary explorer of twilight zones, between day and night, nature and civilization, youth and adulthood, male and female. Bill Henson's photographs of landscapes at dusk, of the industrial no-man's land at the outskirts of our cities, of androgynous girls and boys adrift in the nocturnal turmoil of adolescence are painterly tableaux that continue the traditions of romantic literature and painting. Bill Henson lives in Melbourne and is represented by national and international galleries and has regular exhibitions in Australia and overseas. The first edition of lux et nox published by Scalo five years ago was a sellout success and this long awaited new edition is sure to be greeted with great enthusiasm by his many admirers and those who missed out the first time.
Publisher: Thames & Hudson
Size:285 x 425 mm
192 Pages, 125 colour images;
Catalogue of exhibition at White Cube Bermondsey, January to April 2014
White Cube Bermondsey is pleased to present ‘To Leave a Light Impression’, an exhibition of new work by Darren Almond. This exhibition will include photographs from the ‘Fullmoon’ and ‘Present Form’ series as well as a group of small-scale bronze sculptures.
The ‘Fullmoon’ series of photographs, which have taken Almond to every continent over a period of 13 years, are taken under the light of a full moon using long exposure, enabling details undetectable to the human eye to be revealed. For works in this show he has traveled to Patagonia, Tasmania, Cape Verde and the Outer Hebrides. While depicting disparate lands, the works all embody Almond's interest in time, both as an actual, lived experience as well as a cultural and historical construct. They acknowledge his deep connection to particular landscapes, and map the artist’s personal interest in its geology, myth and history.
The Patagonia pictures employ classical compositions – referencing Romantic landscape painting – and are bathed in a supernatural light, the result of the lack of airborne pollution in this pristine, almost untouched land. Almond’s tripartite photograph of the surface of the Perito Moreno Glacier is compressed to the point of abstraction: emphasising both the painterly quality of its celadon-coloured ice as well as its formidably dense formation and scale. Attesting to geological decay, the blue colour signifies its prehistoric date and is only revealed at the moment the ice breaks, a common occurrence due to man’s impact on the environment.
In the large-scale, expansive photographs of Cape Verde, rough black stones emerge from the Atlantic Ocean. The rocks are solidified lava, and this seemingly diabolic, remote landscape, that bears the evidence of its own formation so vividly, played a key role in Darwin’s book 'On the Origin of the Species’ (1859). Almond’s interest in what the landscape reveals is echoed in his ‘Present Form’ photographs of standing stones on the Isle of Lewis in the Outer Hebrides installed at the centre of the exhibition. These photographs of individual upright stones, wrought out of the oldest known rocks in the British Isles, ravaged and partially covered with vegetation, form part of a stone circle dating from 3,000 BC, and are thought to have been used as an astronomical observatory to measure 18.6-year moon cycles. Almond has photographed the stones as evidence of our primal need to measure and quantify the passing of time.
Shown alongside the stones are six pairs of bronze sculptures which act as displaced measures since each one represents the relative weight of one of the astronauts that walked on the moon. Contrasting with the expansive scale of the photographs, these small hand-polished columns of bronze are filled with lead and engraved with the astronaut’s initials, identifying the individual. Like the standing stones, these works represent a sculptural connection between man and moon, and a method of mapping visible and invisible space. A meditation on the space between the visible and invisible, the landscape and the skies, is explored in Laurentia (2012) a work in which a quotation by Nan Shepherd is written over 11 train-plates. The title refers to both the ancient supercontinent and the small indigo blossom, this work interweaves the relationships between the macro and the micro, between nature and man, between the infinite and the finite.
Born in 1971 in Wigan, United Kingdom, Darren Almond lives and works in London. He graduated from Winchester School of Art in 1993 and held his first solo exhibition in 1995. His solo exhibitions include Art Tower Mito (2013); Frac Haute-Normandie, Rouen and FRAC Auvergne, Clermont Ferrand (2011); Parasol Unit (2008); SITE Santa Fe (2007); Museum Folkwang, Essen (2006); K21, Düsseldorf (2005); Kunsthalle Zürich (2001); Tate Britain (2001); De Appel, Amsterdam (2001) and The Renaissance Society, Chicago (1999). He has participated in group exhibitions including ‘Sensation’ (1997-1999); Berlin Biennale (2001); Venice Biennale (2003); The Busan Biennale (2004); The Turner Prize, Tate Britain (2005); Moscow Biennale (2007); and the Tate Triennial, Tate Britain (2009).
Text by T. J Demos
Designed by Jonathan Hares
Hardback, 104pp, Illustrated
350mm x 230mm
White Cube 2013
The enormously successful deluxe New York, New York, updated with new photography and reformatted for an affordable price point. In addition to the classic storied neighborhoods and buildings previously showcased in New York, New York, Richard Berenholtz has photographed several new architectural marvels, like the striking Gehry IAC building, a Chelsea residence building by Jean Nouvel, and the new World Trade Tower, to name only a few. This book wonderfully captures the duality of New York in grand style-that timeless yet ever-changing characteristic that makes the city so captivating-and is the perfect gift for those who love New York.
Size: 12 3/4 x 8 1/2";
When the British Photographer Nick Knight, known to all for his portrait and advertising photography, discovered the collection of pressed flowers in the British Natural History Museum in London, he was so thrilled that he dedicated himself totally to this subject. In his second book he collects fifty of his most beautiful photographs of plant specimens. The pictures emanate a breathtaking beauty and elegance previously unseen in the history of photography.
See here for a presentation on Flora.
Size: 235 x 365 mm
80 pages, 46 colour plates;
One year after the success of The Invisibile City, Irene Kung is back with another amazing book.
Fascinated by the trees, their shape, and their symbolic meaning, Kung focuses her lens on Mother Nature's creations, making an effort to catch the spirit of plants and places, and to transmit it, pure, intact, and free, in her photographs.
Size: 9.50 x 11.63"
Edited by Tom Persinger
Photography is not dying and has not died. It has been an ever-changing medium since its earliest days, and while near-obsession with the technology of the day may have defined photography over the course of its existence, photography is so much more than hardware and software. Photography is communication, whether chemical or digital, tangible or ephemeral in form.
Photography Beyond Technique is a compelling selection of essays and images that reveal the thoughts and methods of some of today’s most exciting contemporary photographers. These artists employ alternative, historical, or handmade processes and techniques, and they share a comprehensive view of the medium: that the choice of photographic process is just as important as the selection of subjects. While other books concentrate solely on process, or theory, or artistic intent, none focus on photography in which these decisions are considered inseparable.
These 20 essays, originally presented at the annual F295 symposium and seminar series, provide a thought-provoking read for anyone interested in photography as an art form and as a medium through which to view the world. Includes:
Publisher: Focal Press
Martin Parr and Gerry Badger
Following the success of volumes I and II of The Photobook: A History (published in 2004 and 2009 respectively), this is the third volume bringing this study of the photobook fully up to date, with specific exploration of the contemporary, postwar photobook. It covers key themes including the globalization of photographic culture, the personalization of photobooks, the self-publishing boom and the new 'layered' photobook approach.
While the history of photographs is a well-established canon, less critical attention has been directed at the phenomenon of the photobook, which for many photographers is perhaps the most significant vehicle for the display of their work and the communication of their vision to a mass audience. Volume III, co-edited by Martin Parr and Gerry Badger, expands this study and history of the photobook further. It explores the symbiotic relationship between the contemporary propaganda book vs. the protest photobook, sex and youth culture, photographers examining their own environments and the impact of the Internet and social media on the nature of the photobook, among much else.
The book is divided into 9 thematic chapters, each featuring general introductory text providing background information and highlighting the dominant political and artistic influences on the photobook in the period, followed by more detailed discussion of the individual photobooks. The introductory chapter texts are followed by spreads and images from over 200 books, which provide the central means of telling the history of the photobook. Chosen by Parr and Badger, these illustrations show the most artistically and culturally important photobooks in three dimensions, with the cover or jacket and a selection of spreads from the book shown.
SIGNED BY GERRY BADGER AND MARTIN PARR
290 x 250 mm
320 pages, 900 colour illustrations;
During the years, Gabriele Basilico had many occasions to talk about his photography and his photographs. Generously, he spoke, wrote and taught a lot. He often narrated his experiences, that had allowed him to reach a mature awareness. For his whole adult life photography had been his privileged interest, nourished by conversations, readings, meetings. However, when Livia Pomodoro in 2010 invited him in a theatre to narrate, in front of a public, his story as a photographer, Gabriele almost panicked. And he began to question himself, to write and re-write, read and read again, calculating the time, changing the rhythm of the sentences he had written or repeated many times. A new and unique experience, lived almost as an agony but at the same time exalting. It took many days to draft the text, days of rewriting and re-arrangement, of reading to friends and to those who had the occasion (or the audacity?) to visit his studio. Finally, the 8th and 9th of April 2010, with camera and tripod on his shoulder, Gabriele and his text Metropolitan Life went on stage at Nohma-Teresa Pomodoro Theatre in Milan. It has been a great success of public. For Gabriele, it has certainly been an amazing experience but, above all, an occasion to give shape and order to his reflections.
Ever since it was invented in the 19th Century, photography has been used by companies for the purposes of production, communication, identification and memory. Photography has also spurred changes in social processes by showing the inhumanity of certain jobs. Far removed from advertising, where images are conceptualised in advance, industrial photography relies above all on the photographers eye, creativity and perception of places and people. That is why great photographers have worked on specific projects. Through this book, the aim of MAST Foundation is to stimulate aesthetic and strategic reflection about the use companies make of photography and, with the collaboration of François Hébel, director of Les Rencontres de la Photographie dArles, they created the first Biennials of Industrial Photography. For this first international edition, seventeen photographers have been selected. They have done brilliant work for companies, making it a significant part of their output. Among the vast amount of material, photographic collections and noteworthy publications have been chosen, together with two photographers that, with an external eye, have documented different realities: David Goldblatt has concentrated himself on the work on the mines while Jacqueline Hassink on the places of business power. Catalogue of the first Biennials of Industrial Photography: the new event dedicated to corporate and industrial photography. 17 admission-free exhibitions in 11 historical venues from October 3rd to 20th, 2013 in Bologna, Italy. The Isabella Seràgnoli Foundation created the Foto Industria Bologna to stimulate thought about the aesthetic and strategic uses companies make of photography and collect quality images in connection with the photo gallery that Urs Stahel is setting up at MAST, its Arts, Experimentation and Technology exhibition space. The artistic director of the Biennials is François Hébel, director of Les Rencontres de la Photographie dArles.
Size: 176 x 176 mm
Ana Mendieta. She got love gathers a considerable number of works by the Cuban-American artist: more than 130 works created between 1972 and 1985, chosen from among the most significant works in the prolific production that the artist created during her brief life. The volume puts on view her extremely personal alphabet – visionary and material, magical and poetic, political and progressive. This is an effort to reinterpret Mendieta as a pioneer of performance, video, Body Art, photography, Land Art and sculpture in the twentieth century. One of Mendieta’s unique contributions is the synthesis of these forms in a fresh visual language that influenced a generation of young artists.
Constructing her own, extremely personal path without limiting herself to following in the footsteps of Land Art, Body Art or performance art and their protagonists, from Robert Smithson to Vito Acconci, from Joan Jonas to Rebecca Horn, from Marina Abramovic to Bruce Nauman. In just a short time – her art career lasted only thirteen years – she experimented with various media: performance, video, photography, drawing and sculpture, always putting herself into the work and looking for answers, not only in tradition but also in everything that ties human roots to spirituality.
Today she is considered a cornerstone of a historical period and it is also thanks to her work’s eclectic nature that many women artists, coming from different parts of the globe and from later generations, have in some way looked at her work.
Size:240 x 280 mm
248 pages, 281 colour images;
This is the latest book by British photographer Paul Wakefield. A long awaited monograph that includes photographs of both epic proportions and intimate detail. Natural landscape is presented through the five different sections : Shorelines, Rockscapes, Drylands, Woodlands, and Snowscapes.
Paul’s work combines a classic landscape tradition with a contemporary sensibility and reflects his life long passion for the natural world. Paul Wakefield was born and grew up in Hong Kong and has worked continuously on his own landscape projects while using his vision of landscape on advertising commissions. He has published four books previously, three of which were with Jan Morris, reknowned author of travel literature.
See here for selected images.
Publisher: Envisage books
Size: 290 x 365 mm
128 pages, 80 full-colour images;
“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
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.
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
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.
2nd printing, Aug 2013
Born in 1950 in Helsinki, Finland, from 1971 Sammallahti began to exhibit extensively in Finland and throughout the world. He is recognised as a master craftsman both in terms of the photographic print and also in mechanical printing methods. His own innovative printing techniques and his reintroduction of the portfolio form have been a major influence on published photographic art. Sammallahti taught at the University of Art and Design in Helsinki for 17 Years, until he received a 15-year artist's grant in 1991 from the Finnish government, an unusually long endowment. He had a solo exhibition at Paris for Mois de la Photographie in 1996 and another in 1998 at Houston Fotofest. In 2004, Henri Cartier-Bresson ranked Sammallahti amongst his favourite photographers in his Foundation's inaugural exhibition in Paris. In 2005 he was added to Robert Delpire's Photo Poche book series and also exhibited at the Arles International Photography Festival. As a teacher, Sammallahti has had an enormous influence on a whole generation of documentary photographers in Scandinavia and since 1979, he has published thirteen books and portfolios and has received innumerable awards. His work is in many major international collections including the V&A, London; Museum of Fine Arts, Houston; Bibliotheque Nationale, Paris; Stedelijk Museum, Amsterdam; Museum fur Kunst und Gewerbe, Hamburg; Moderna Museet / Fotografiska Museet, Stockholm; and The Finnish State Collections and the Photographic Museum of Finland.
The Guardian's selection of Sammallahti's finest shots.
Publisher: Dewi Lewis Publishing
Size: 300 x 242 mm
25th anniversary edition, with new foreword by David Muench
Mountain Light is the best-selling classic that captures the unique artistic vision of Galen Rowell, one of the world's most celebrated nature photographers. This remarkable collection offers 80 of Rowell's finest photographic images, as well as the stories behind them - what he was after and how he achieved it.
Rowell arranges the photographs, with details of their creation, in eight exhibits according to visual themes, reflecting his fascination with the infinitely varying qualities of light found in mountain landscapes. He recounts his development as a photographer, his philosophy and techniques for creating "dynamic landscapes," and his adventures in remote, dangerous, and beautiful places, from California's Yosemite Valley to almost inaccessible peaks in China.
Rowell also explains how film and the human eye see differently, how he selects and composes the content of his work, how to work with optical phenomena and natural light, and how equipment and adventure interact in the field.
"A splendid blend of autobiography, personal philosophy, and superb color photographs of high, wild places."
- The New York Times
Publisher: Sierra Club
Size: 236 x 304 mm
240 pages, 80 colour photographs
What is it about the way the sea moves, reflects, and glows that mesmerises and transfixes us? People are drawn to the sea, perhaps by the chaotic criss-cross of the waves, or the sense of power and force accompanied by the infinitely variable soundtrack. After all, an ocean wave is energy passing through water. Elemental and always in a state of flux, the sea changes colour depending on the weather or the light.
At heart I’m a coastal photographer drawn to the flow of the sea and the ever changing possibilities of shore, sea and sky. Coastal landscapes may often offer a simple geography of a beach, the sea and a cloudscape and as such there is a challenge to construct new and inventive interpretations.
Sea Fever is my interpretation of those seascapes and of the close affinity between sea and sky.
This A3+ soft back book is the first in the Triplekite Discover Series, featuring projects from today’s leading landscape photographers.
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.
Tony Ray Jones
American Colour 1962–1965 is a carefully edited selection of previously unpublished Tony Ray-Jones colour photographs from the earliest period of his work. Taken from the extensive archives held at the National Media Museum in Bradford by Liz Jobey, this book brings together the early experiments that would inform his later work.
Ray-Jones arrived in America in 1961 on a scholarship to Yale to study graphic art and he returned to England four years later. It was in America that he learned to be a photographer. Among New York’s street parades, on Fifth Avenue, in Times Square, Chinatown and Little Italy he learned to extract individual moments from a crowded backdrop and to find order in the chaos of the street. Based in New York, he made trips across the country – west to Detroit, south to Florida – all the time making colour pictures alongside the black and white images for which he would later became known.
Ray-Jones later referred to these early photographs as ‘isolated sketches’, and they were clearly a part of his formative experience. At the time colour was considered vulgar and not the medium of serious photography, but for Ray-Jones it expressed the excitement of America in a way that black and white could not.
'I found America a very colour-conscious country,' he said. 'Colour is very much part of their culture, and they use it in crazy ways. You look down Madison Avenue at lunchtime and the colours just vibrate.'
Size:200 x 200 mm
80 pages, 45 colour plates