Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
Lens-Based Sculpture shows the relation between sculpture and photography for the first time from the perspective of the history of sculpture.
The overview with 200 works, spanning the twentieth century and beyond, from more than 70 international artists shows how modern sculpture detached itself from the millennial principle of statuary sculpture and evolved into a new artistic praxis where the whole of reality with its diverse tactile, spatial, and media phenomena is sculptural material.
The photo camera serves as sculpture's primary tool, as a sketchbook and facilitator for spatial and structural representation in mass and form.
Featuring the work of Umberto Boccioni, Marcel Duchamp, Tony Cragg, Valie Export, Rebecca Horn, Ron Mueck, Bruce Nauman, Giuseppe Penone, and Kiki Smith, among many others.
Publisher: Walther Koenig
Size: 295 x 240 mm
432 pages, 300 colour illustrations;
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
This is the largest retrospective book of Sune Jonsson's life's work ever made. He is regarded as one of Sweden's most important documentary photographers. The ingress and sedate portraits moves everyone who sees them. People who may seem remote populate his visual world, but they are only a few decades away. The pictures are important documents but also timeless poetry.
Sune Jonsson (1930-2009) worked for nearly his entire life in the county of Västerbotten. He took as his life's work to document the agricultural life he saw disappeared when an increasingly large scale and urban society replaced the old agricultural landscape.
The monograph Life And Work spans most of Sune Jonsson's work, from his debue with the book Byn med det blå huset via Bilder från den stora flyttningen to Och tiden blir ett förunderligt ting. The text is written by Val Williams, Professor of History and Culture of Photography at the University of the Arts London and former curator at the Hasselblad Center . Sune Jonsson's own writings provide inputs to his various projects.
The book is published in cooperation with Sune Jonsson Center for Documentary Photography at the Museum of Västerbotten.
Publisher: Max Strom
Size: 250 x 310 mm;
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
With impressive comprehensiveness, this book documents more than 600 Spanish photographers working in genres and idioms from classical to contemporary photography, reportage to fashion and advertising, press, architecture, landscape and portraiture.
Publisher: LA FÁBRICA
8.25 X 11.25”
672 pages, illustrated throughout;
In the late 50s after an unsuccessful stint in college, master photographer Larry Fink dropped out and began an odyssey of hitchhiking through America. Starting out in Cedar Rapids, Iowa, and moving on to Chicago, Larry travelled eastward through Cincinnati and finally back to his native soil on Long Island where his family waited with dismayed but open arms.
Clearly Long Island was not an optimal place for young Fink to remain. Striking out on his own once again, but this time for nearby Beat mecca, New York City, Fink settled down on Minetta Lane with a chap who fancied himself a poet.
Larry was quick to hit MacDougal Street where he met Turk, Mary, Bobbie, Motha, Ambrose, Randy, and Mike Stanley, not to mention Hugh Romney (a.k.a Wavy Gravy), LeRoi Jones, and so many more. Photographing, singing, and smoking weed scored in small brown paper bags on the avenues of the Village, Fink was living with internal rage, infernal optimism, and oh so many new freedoms. Just a kid, Larry yearned to get out and fight the revolution and to photograph while doing so.
The crew lived all together in the sub-basement of the Sullivan Street Theatre. Being next to the Village Gate, a now legendary jazz club, they dug their way to the rear of the club brick by brick to listen to their princes of expressive freedom: John Coltrane, Charles Mingus, and Art Blakey.
Fink, a Marxist and red diaper baby, didn’t immediately fit in with Turk’s crew, but they needed a young, drug-fueled, jazz-loving (and playing) photographer to document their visionary plight. So, it was decided that Larry sign on—they soon left New York to cross America for Mexico—in search of the soul of the Aztecs, the freedoms of the road, the compulsion of speed, the needy thrust of exaggerated adolescence. They moved fast and hysterically forward…
“It was my fate to be aligned with the Beats because of my propensity for drugs, anger, and poetry. Since they were second generation, without the same sense of immortal obsession such as the like of Kerouac and Ginsberg, they had a distinct need to be documented. Perhaps that is why they tolerated me. We were not a happy marriage and got our divorce in Mexico City. The pictures, made in 1958 and 1959, come from MacDougal Street in New York City all the way down to Mexico, and on the road in America.” —Larry Fink
Size: 9.7 x 12.25"
In the history of art, there are abundant nudes of all types, but from a contemporary perspective they have become less numerous, their innocence almost entirely disappeared. With photography’s establishment as an art form, other ways of seeing have emerged that look at the body beyond its sexual, sensual, or even aesthetic connotations. The pictures in this edition break through the stereotypes to rediscover real beauty, where the idea of the photographer and model is an anachronism. With an essay by Sergio Rubira, portfolios by Jorge Fuembuena, Naomi Harris, Paul Kooiker, Malerie Marder and Cheryl Sourkes, and contributions by more than fifteen exemplary artists.
Publisher: Idea Books
SIze: 210 x 260 mm
176 pages, illustrated in colour & bw,
For more than fifteen years, French photographer Bernard Plossu took extended trips to Mexico to photograph people, landscapes, and a culture in flux. ¡Vámonos! Bernard Plossu in México captures the bohemian adventure of this traveler’s four journeys, the first in 1965–66 and the last in 1981. His black-and-white and color images have transfixed generations of young people in France, who cherish him in the way young Americans celebrate Jack Kerouac. Plossu’s romantic vision encompasses coquettish women, peasants at work, fog-wrapped trails in the jungle, and waves lapping at sandy beaches. Yet Plossu is also aware of poverty and the challenges facing a modernizing society, and his photographs capture the nobility of all his subjects. Along with more than three hundred photographs, organized into chapters representing each of his Mexican journeys, this first compilation of Plossu’s Mexican work includes an essay by prominent French photo editor Claude Nori that highlights Plossu’s vagabond spirit. Additional commentaries are provided by renowned writers, including the book’s editor, Salvador Albiñana, and Emmanuel Guigon, Francisco Salinas, Alfonso Morales, and José Agustín.
Size: 11 3/8 x 12 5/8"
336 pages, 330 duotone and four-colour images;
Woodlands is the title of a series of 50 landscape photographs, which are presented here on full-page plates.
They were taken over the past three years in Upper Austria, Bernhard Fuchs' home region near Linz, which he left in the 1990s in order to study under Bernd Becher at the Kunstakademie Düsseldorf.
No other photographer is as far removed from today's zeitgeist as Bernhard Fuchs. In their peace and tranquillity, in their patience and discretion, his pictures are as beautiful as nature itself.
Publisher: Koenig Books
Size: 270 x 280 mm
104 pages, 50 colour illustrations;
This catalogue reproduces 150 colour photographs taken by the acclaimed photojournalist Nick Danziger during a visit to the North Korea in 2013.
Travelling with the writer Rory MacLean, and Andrea Rose, Director of Visual Arts at the British Council, Danziger was able to record the everyday life in the DPRK and was given rare access to cities outside Pyongyang.
The photographs are accompanied by commentary on the DPRK’s customs and rituals by Andrea Rose. Exceptionally, all the Korean text in the photographs has been translated, giving a vivid sense of the political exhortation that surrounds citizens in the country.
The catalogue includes 12 Profiles, written by MacLean based on interviews held in the DPRK. These provide fascinating glimpses into the everyday lives of individuals in various walks of life.
Publisher: British Council
Size: 270mm x 243mm
206 pages, 137 colour illustrations;
#SANDY is a book of iPhone photos of Hurricane Sandy by acclaimed photographers including Benjamin Lowy • Stephen Wilkes • Ed Kashi/VII • Hank Willis Thomas • Richard Renaldi • Lyle Owerko • Wyatt Gallery • Michael Christopher Brown • Ruddy Roye • Craig Wetherby • 13th Witness • Sam Horine • Andrew Quilty • Giles Clarke • Erica Simone • Yosra El-Essawy • Duffy Higgins • Brent A. Bartley • Dylan Chandler • Nicole Sweet
In October 2012, Hurricane Sandy devastated communities in the New York City, New Jersey, and Connecticut areas. In response, Foley Gallery and photographer Wyatt Gallery organized an exhibition of iPhone photographs of the storm by the photographers listed above. Hundreds of people attended the one night event and almost 400 photographs were purchased. Over a year later many residents are still struggling to regain normal living conditions.
Size: 8 x 8"
94 color photographs;
Over the last few years, the Architecture Photographer Giovanni Presutti has photographed many of the most important buildings in major European cities, placing a special focus on constructions built in the last decade. The methodical research and surveys which he carries out before each trip have led him to the conclusion that the majority of these buildings have two key aspects in common. The first is their very prominence; their devotion to aesthetics. It is clear that the works are produced by contemporary society, with even those featuring complicated internal structures increasingly characterized by attention to exteriority. It is important to note, however, that these buildings do not lack functionality. The second is the uniformity of style and planning. Presutti encountered similar ideas and materials in every country he visited which were often completely unconnected to local traditions. This frequently made it difficult to place a certain building in a given country. It is as though the European Union, having not yet achieved political or social unity, has somehow succeeded at an architectural level. Giovanni Presutti explores these issues in Contemporanea, emphasizing the aesthetic qualities his subjects have in common; the lines, materials and reflections, as seen from different perspectives. In the process, he has sought out pureness of form, and created a unique context; one that is representative of our time . A foreword by Antonio Belvedere, and an introduction by the Parisian-born curator, critic and photography historian Gabriel Bauret, provide a critical perspective on this collection of images.
Publisher: Oscar Riera Ojeda
Size: 300 x 200 mm
208 pages, 150 photographs;
During his travels through China, Peter Bialobrzeski was fascinated by the so-called nail houses. Surrounded by tall, newly constructed buildings, these houses have been earmarked for demolition, but their owners resolutely refuse to vacate. In his thought-provoking series the artist photographs these isolated structures, often in the evening hours, when the brightly lit interiors convey the domestic comfort that these homes provide for their owners, despite all the cracks in the walls. Peter Bialobrzeski (* 1961 in Wolfsburg) uses his camera to offer these renitent structures moral support. Following the publication of Case Study Homes and Informal Arrangements, this striking series completing the Habitat trilogy poses uncomfortable questions to the viewer. It also emphatically underscores the fundamental right of every human being to a home and sense of security.
Publisher: Hatje Cantz
Size: 200 x 299 mm
116 pages, 63 illustrations
Nadav Kander is a recipient of the renowned Prix Pictet and one of today’s most successful photographers. When he learned of the existence of two “closed” cities on the border between Kazakhstan and Russia, he knew that he would have to visit them. For Dust he photographed the desolated landscapes of the Aral Sea and captured fascinating images of the restricted military zones of Priozersk and Kurtchatov, which did not appear on any map until well after the end of the Cold War. Long-distance missiles were tested in Priozersk under great secrecy. Hundreds of atomic bombs were detonated in the so-called Polygon near Kurchatov until the program ended in 1989. The bombs were exploded in a remote but still populated area, and covert studies were made of the effects of the radiation on the unsuspecting inhabitants. Kander writes how the ticking of the Geiger counter on his belt while he photographed reminded him that he should not become too enthralled with the aesthetic and painterly allure of the crumbling ruins.
Publisher: Hatje Cantz
Size:340 x 270 mm
120 pages, 48 illustrations;
The Genius of Photography sets out to explore – through some of the key events, personalities and images that have marked the development of the medium – what the essence of the part-art, part-science is. Six short chapters set the evolution of photography in its social context, but at the heart of the book is a quest to understand what makes a truly great photograph. And the twenty or so iconic images chosen to illustrate each chapter are examined and explained in essays that place them within the many unfolding stories of photography while illuminating the underlying issues the book addresses. Can we ‘believe’ what a photograph shows us? Why is a photograph more than the sum of its subject-matter? How does the photographer deal with history? Why is photography the melancholy art?
Provocative and enlightening by turns, Gerry Badger’s critical perspective and keen aesthetic sense will make this a landmark book for anyone who wants to know more about one of the most important artforms of the twenty-first century. The Genius of Photography was originally published to tie-in with a BBC series, produced by Wall to Wall Media'.
Size: 225 x 290 mm
256 pages, over 120 illustrations;
This book is the first English translation of a renowned collection of essays by Joan Fontcuberta, in which he considers the technological shift that photography has undergone in recent years. The medium finds itself torn between loss and hope, between the disappearance of the silver gelatin photograph and the possibilities of the digital medium. Fontcuberta uses the motif of Pandora’s box to conceptualise the capricious nature of photography, its fickle relationship to truth – employing the Greek myth concerning a large jar containing myriad forms of human unhappiness, or blessings, depending on the version you read. As Pandora’s camera, digital technology spells calamity to some and liberation to others; it is blamed for irretrievably discrediting veracity, but at the same time it introduces a new degree of truth.
In his signature ironic style and playful tone, Fontcuberta examines the new principles that have arisen within the digital ecosystem, in jocular essays such as ‘I Knew the Spice Girls’ or 'The Mystery of the Missing Nipple'. His critical reflections and poetic evocations are inspired by the hope that still remains in the notion of a postmodern Pandora’s camera – one that might not only describe our environment, but also bring transparency to it.
Publisher: Mack Books
Size: 150 x 228 mm
Joan Fontcuberta, in his original and multifaceted work Camouflages, impressively brings into question the concept of reality, exploring camouflage in all its aspects. The idea develops through ten thematic areas: independent, but strictly related as they represent as many viewpoints on the alteration of reality.
From the images of a fossil mermaid to virtual landscapes, created using famous artworks as moulds, passing through paradoxical miracles and fake botanical plates. The purpose is to spread “doubt” in the mind of the observer. The stars are midges and dust on the windscreen of a car, behind the terrorist hides an ordinary actor and an imaginary Russian astronaut disappears in space as well as in all documents and official photographs.
Through these images Fontcuberta, with an ironic and disillusioned eye, deals with broader subjects: the role of religion in society and politics, criticising superstition and irrational; the limitations connected with the idea of authorship, style, signature and authenticity of a work of art; a reflection upon realism conceived as “belief”, “faith” or conviction.
230 x 155 mm
248 pages, 170 colour and b/w photographs;
Geoff Dyer and Chris Steele-Perkins
Another Great Day at Sea chronicles Dyer’s experiences, with humour and everyday tender human stories, on the largest aircraft carrier in the world, the USS George H.W. Bush. Dyer navigates the carrier’s daily routines and protocols: from flight deck choreography through to kitchens serving meals for a crew of five thousand to the deafening complexity of catapult and arresting gear.
Another Great Day at Sea is a dazzling social experiment, complete with arresting, full-colour photography by award-winning Magnum photographer Chris Steele-Perkins, a definitive, boundary collapsing work written by an author whose books otherwise defy definition.
Publisher: Visual Editions;
The images in this book are part of a project documenting small rural communities (1,000 inhabitants or less) in the Canadian West. As demographic changes – ‘rural drain, urban claim’ – persist, many would argue that the rural is becoming a redundant sidepiece in a world that is increasingly concerned with the urban. The project investigates how rural communities in the Canadian West struggle to hold onto their heritage despite the diminishing vitality of these towns.
Publisher: The Velvet Cell
Size: 148 x 210 mm
Limited Edition of 500;
Hans van der Meer
At the beginning of the 1995 football season, Hans van der Meer set out to take a series of football photographs that avoided the clichéd traditions of modern sports photography. In an attempt to record the game in its original form—a field, two goals and 22 players—he sought matches at the bottom end of the amateur leagues, the opposite end of the scale to the Champions’ League. And he avoided the enclosed environment of the stadium and tight telescopic details and hyperbole of action photography. Preferring neutral lighting, framing and camera angles, he chose instead to pull back from the central subject of the pitch, locating the playing field and its unfolding action within a specific landscape and context. He was heavily influenced by the old tradition of photography in which a wide view of the action often resulted in elements of the locality being present in the image.
Van der Meer began by focusing on sites within the Netherlands and in 1998 he published Dutch Fields, followed by a DVD, Flemish Fields, in 2000. His European odyssey has since taken him from small towns in the remote regions of Europe—from Bihariain in Romania to Björkö in Sweden, from Torp in Norway to Alcsóörs in Hungary, from Bartkowo in Poland to Beire in Portugal—and to the fringes of the major conurbations of Greece, Finland, England, France, Germany, Scotland, Switzerland, Holland, Slovakia, Denmark, Ireland, Wales, the Czech Republic, Belgium, Spain and Italy. These acute and subtle observations of the poetry and absurdity of human behavior connect the game of football to the basic futility of the human condition. The small tragicomedies are dwarfed by the serenity and permanence of the natural or manmade world that surrounds them but in their pathos can be found the original passion and humanity of the game.
Size: 268 x 380 mm
176 pages, 89 photos;
Henk Van Rensbergen
The best of Abandoned Places 1, 2 and 3 from a different point of view; each photo included has been chosen by the photographer
Showcases the beauty of decay and includes 80% new material
In Abandoned Places: The Photographer's Selection photographer Henk Van Rensbergen collects the most fascinating photographs of abandoned buildings from all over the world.
With Abandoned Place 1, Van Rensbergen earned his place amongst the major photographers. His photos of mysterious abandoned castles, factories and hospitals were internationally acclaimed. In the two other books in the series he discovered a whole range of abandoned places across the world. This photographer's choice shows the evolution of Van Rensbergen's art.
Publisher: Lannoo Publishers
Size: 270 x 340 mm
224 pages, 150 colour, 60 black & white;
"No two of the little houses are the same… carefully proportioned furnishings here are wildly contradicted with slapdash decorations over there. Everyone has thought about their buildings, brought materials, laid walls, used power drills, insulated, glued things, extended the previous tenant’s shed, retro-fitted a bigger window, added a television antenna. They are strange hybrid buildings, between tool sheds and dachas, gingerbread houses and orangeries." Ulf Erdmann Ziegler
Joachim Brohm rose to prominence in the early 1980s, one of the first photographers in Europe to take pictures exclusively in colour, connecting the everyday cultural landscape with the new possibilities of colour photography. This collection titled Typology 1979 is one of his very earliest series, depicting 35 allotment sheds from the Ruhr valley region of Germany, painterly images that are an everyday inventory – of garden structures, of human activity. Influenced by the great American photographers such as William Eggleston and Robert Adams, he also looked to his German contemporaries, Bernd and Hilla Becher, whose ‘typologies’ are heralded in the collection’s title.
Publisher: Mack Books
Size: 240 x 260 mm
104 pages, 35 colour plates;
“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.
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.
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
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
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
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.
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.