Our latest newsletter, out today, includes titles by Hiroshi Sugimoto, Alexander Gronsky, Xiaxiao Xu and Nobuyoshi Araki. There's also Martin Rosswog following in the Hebridean footsteps of Paul Strand, Soren Ronholt's take on Nordic landscapes and cultures, and extraordinary photographs - nearly a century old - of the Lost Tribes of Tierra del Fuego.
Wilson Centre for Photography
Salt prints are the very first photographs on paper that still exist today. Made in the first twenty years of photography, they are the results of esoteric knowledge and skill. Individual, sometimes unpredictable, and ultimately magical, the chemical capacity to ‘fix a shadow’ on light sensitive paper, coated in silver salts, was believed to be a kind of alchemy, where nature drew its own picture.
Salt and Silver brings together over 100 plates drawn from the Wilson Centre for Photography, accompanied by two roundtable discus- sions with curators, academics, historians and collectors from world renowned institutions. Encompassing many of the great works of the period, the publication includes prints by Edouard Baldus, Louis Blanquart-Evrard, Mathew Brady, Charles Clifford, Louis De Clercq, Maxime Du Camp, Roger Fenton, Jean-Baptiste Frenet, Charles Hugo, David Octavius Hill, Robert Adamson, Calvert Richard Jones, Gustave Le Gray, Henri Le Secq, Charles Marville, Felix Nadar, Charles Negre, Felice Beato, Auguste Salzmann, William Henry Fox Talbot, Felix Teynard and Linnaeus Tripe.
Participants in roundtable conversations include: Simon Baker, Tate; Martin Barnes, V&A; Elisabeth Edwards, De Montfort University; Carol Jacobi, Tate Britain; Hope Kingsley, WCP; Hans Kraus, Hans P. Kraus Jr Inc; Anne de Mondenard, Mediatheque de l’architecture et du patrimoine, Paris; Lori Pauli, National Gallery of Canada; Michael G. Wilson, WCP.
Introduction by Simon Baker (Curator, Tate Modern)
120 colour plates
28 cm x 23.5 cm
Embossed Softcover with flaps
Publication date: February 2015;
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
Dayanita Singh's Museum of Chance is a book about how life unfolds, and asks to be recorded and edited, along and off the axis of time. The inscrutably woven photographic sequence of Singh’s Go Away Closer has now grown into a labyrinth of connections and correspondences. The thread through this novel-like web of happenings is that elusive entity called Chance. It is Chance that seems to disperse as well as gather fragments or clusters of experience, creating a form of simultaneity that is realized in the idea and matter of the book, with its interlaced or parallel timelines and patterns of recurrence and return. The eighty-eight quadratone images in the book will also appear on the front and back covers in random pairs, transforming each copy of the book into a distinct piece of work by the author.
Size: 280 x 325 mm
Paolo Pellegrin and Alex Majoli
Overseas deliveries Please note that, as this is an exceptionally heavy item, overseas postage will be charged at thre times our standard rates.
In this sumptuously printed, large-format publication, distinguished Magnum photographers Paolo Pellegrin and Alex Majoli present a collaborative document of the Congo and its people. Bringing together the best of each photographer’s personal styles as well as experimental forays into abstraction and collage, this volume captures what Alain Mabanckou describes as a full range of the landscape, “from urban scenes to great forests and back, reflecting the way it is in most African societies today.” With no captions or individual photo credits, the densely printed images—presented on full-bleed pages, as gatefolds, or as double-spread gatefolds—become wholly immersive. Mabanckou writes in his introduction that, “for the duration of this project [the photographers] must have become full-time ‘Congolese,’ living with the people in cities and in villages, sharing their joys and sorrows, crossing rivers and floods, stepping over public garbage bins, mingling with crowds of wildly excited children, roaming the banks of tributaries and streams, watching the endurance of the river dock workers.” The outcome is a profound study of Congo, and the resulting object exemplifies the expressive possibilities of contemporary documentary photography. Congo is available in a limited run of 500 copies in the English Language.
Size: 15.25 x 11.5"
260 pages, 202 duotone and 56 four-color images;
In this series of stunning photographs, Mikiya Takimoto expresses a fascination with the sea and its movements. Abstract fields of frothing water, glimmering expanses of ripples, and cresting waves like snow-capped mountains are all portrayed in a palette of icy whites and blues. Often it is as if the viewer is peering down at the surface of our planet from high above, able to observe immense, frozen landscapes with their tectonic swirls, upheavals and rifts. Captivating and sublime work from this Japanese master.
Size: 220 x 280 mm
'In No Great Hurry' is a fascinating documentary on one of the twentieth century's most beloved street photographers, Saul Leiter (1923–2013). Leiter could have been celebrated as the great pioneer of colour photography long ago, but he was never driven by the lure of conventional success. Instead he preferred to drink coffee and photograph in his own way, amassing an archive of gorgeous work piled high in his New York City apartment. 'In No Great Hurry' follows Leiter as he deals with the triple burden of clearing a houseful of memories, becoming world-famous in his eighties, and fending off a pesky filmmaker.
Publisher: Zeitgeist Films
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
'The Neighbors', the latest project from photographer Arne Svenson (born 1952), began when he inherited a telephoto bird-watching lens from a friend and began to record the quotidian activities of his neighbours in the glass-walled apartment building across the street from his Manhattan studio. Completely unstaged and taken without his subjects' knowledge, the images capture them, framed by the structure of their own windows, in their unguarded moments. Simultaneously tender and voyeuristic, Svenson's carefully composed photographs have been compared to scenes from Vermeer and Edward Hopper, but the series has also sparked controversy and debate since it was first exhibited in August 2013, at a moment of acute national anxiety over surveillance and privacy.
Publisher: Julie Saul Gallery
Size: 290 x 270 mm
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
More than 40 engrossing images make up this series of grainy, black-and-white photographs by Daisuke Yokota, the first to feature his nude photography. Through a visual expression that mixes reality and fiction, an indecipherable tangle of human limbs and torsos is made eerily yet sensually tangible within the close quarters of a nondescript bedroom space. Deep shadows threaten to engulf the writhing, fleshy bodies of what seem to be a man and a woman, even as the suggested intimacy of their interaction is negated by the extreme proximity in which Yokota places the viewer.
Size: 260 x 340 mm
The work is shot across the whole of London through the windows of buses.
This project is designed to look at the topography and migrations of London: To explore the increasing diversity of a major Western City as the movement of people continues to change both the urban landscape and the community within it.
See here for sample images and more detail of this project.
Edition of 950 books
Size: 200 × 160 mm
176 pages, 78 photographs;
Overseas deliveries Please note that, as this is an exceptionally heavy item, overseas postage will be charged at three times our standard rates.
Devils Gate, Devils Canyon, Bumpass Hell, Hells Half Acre, Dirty Devil River: photographer Mark Ruwedel visited all of these places and more while creating the series Pictures of Hell. This book is the culmination of the journey he began in 1995, and brings together virtually every image in the artist’s brilliant interpretation of the American West. Ruwedel, 2014 winner of a Guggenheim Fellowship and the prestigious Canadian Scotiabank Award, is inspired by the 19th-century photographers whose photo albums revealed the glories of the West. In Pictures of Hell, he layers history with a contemporary investigation of technology, anthropology and colonization. Ruwedel’s work has been exhibited at TATE Modern, Yale University Art Gallery, SFMoMA, LACMA and other important venues. 132 meticulously reproduced tritone plates are complemented with essays by Simon Baker and Chiara Siravo. With intellect and wit, Ruwedel investigates what the West means today, and how its mythology and culture affect our current sensibilities.
Publisher: RAM Publications
Size: 9 1/2 x 11 3/4"
352 pages, 132 b&w tritones;
Publisher: Izu Photo
Size: 210 x 280 mm
In these modern times, we still find a variety of reasons for spending time in the forest. For the photographer Simon Fröhlich, it was a logical continuation of his photographic oeuvre to want to work in this analog environment using only analog technologies. Rather than acting as a restriction, this decision had the effect of freeing him from the multitude of technical possibilities of today’s photography. He thus set off on a quest for his own past, for those faded moments that had become blurred and sometimes consisted only of a fragment of a vague memory. To reproduce this feeling in his images, he used only instant photographs for the book, ruling out any possibility of subsequent manipulation and thus ensuring the uniqueness of each moment.
The rediscovery of the slowness of photography, trying the photographer’s patience as he grappled with technical setbacks, became the precondition for a fascinating book.
Publisher: Kehrer Verlag
Size: 200 x 240 mm
136 pages, 87 colour illustrations;
Glenn Rand, Jane Alden Stevens, Garin Horner
The photographic community is rife with talented and creative practitioners and artists. But making great photographs does not always translate into an ability to teach effectively. This new edition of Teaching Photography approaches photographic education from a point of view that stresses the how and why of the education. It includes the resources that will inspire new and seasoned teachers to help students expand their technical and aesthetic abilities and techniques, as well as their visual literacy and the way photography fits into the wider world. Fully updated to include the online/hybrid classroom environment, collaborative learning, rubrics, and using digital technology, plus techniques for inspiring conversations and critiques.
Publisher: Focal Press
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at three times our standard rates.
Hassink commenced working on a multipart, enticingly beautiful series in which she examines how the interior and exterior spaces of individual structures permeate or face one another. She took photographs of the surrounding traditional Japanese gardens from within the buildings, placing equal weight on both areas. In two of the temples she was allowed to move sliding rice-paper screens for the purpose of creating new, enormous spatial entities. The moss gardens of Saiho-ji and the cherry blossoms in Haradani-in constitute a further focus of the series. These scenes, which change with the seasons—Hassink calls them “living sculptures”— reflect Japanese aesthetics, which see both an artificial likeness of nature as well as representations of paradise in arranged gardens.
Publisher: Hatje Cantz
Size: 289 x 354mm
204 pages, 311 illustrations;
By a series of fortunate events, Mark Power was present at the fall of the Berlin Wall in 1989.
To mark the 25th anniversary, this new production (self-published under his new imprint, Globtik Books) is bound as a pastiche of a newspaper Power purchased in Berlin the morning after, embossed into heavy-duty cardboard.
While the early pages read as news-based photojournalism, as the book unfolds Power retreats away from the epicentre of the event to re-camp over the border in an almost desolate East Berlin. From there he views the story from another perspective, before embarking on a (frankly rather pointless) search for Bertolt Brecht’s grave.
The book is both a record of a major 20th century news event and a piece of critical soul-searching about the lessons learnt from the experience as, in the accompanying essay, Power recounts his fascinating tale of chance and choice.
Published by Globtik Books (2014)
Designed by Ania Nalecka / Tapir Book Design
Edition of 1,000
96 pages (44 double page plates) printed in tritone on Munken 170gm
Hardback 380 x 282mm cover with 315 x 235mm pages;
We are familiar with her photographs without being aware of it. They have appeared on the front pages of daily newspapers and the covers of magazines, and have influenced our image of crises and wars. Anja Niedringhaus (1965–2014) documented military conflicts, political disputes, and social hardship with haunting imagery. She began working for the Associated Press in 2002, primarily in Afghanistan, Libya, Iraq, and the Gaza Strip. In April 2014, while reporting on the presidential election in Afghanistan, Niedringhaus fell victim to an assassination. The publication shows life in times of war, exhausted soldiers, desperate prisoners, but also laughter and a zest for life in the midst of suffering. The out-of-print volume from 2011 is now being republished with a new foreword. Texts on the subject of the war image as well as reflections on visual theory and extensive captions make it an important contemporary document.
Publisher: Hatje Cantz
Size: 217 x 312 mm
180 pages, 78 illistrations in duotone;
For the last three years, photographer Doug Rickard has been immersed in YouTube videos uploaded by Americans from their cellphones. These videos, documenting a dizzying array of activities, from seemingly criminal or semilegal acts to comic antics, allowed Rickard to witness scenarios he otherwise would never have seen-"right from the hands and eyes of other people," he writes, "hijacking their own device to give me very special views and intimate situations." Reveling in this vicariousness, he found that he could be "riding in a car full of teens through Detroit at night with a camera phone hanging out the window … or witnessing, from their own lens, someone who is paying a drug addict to dance for a dollar to later get 'View,' 'Comments' and 'Likes' on YouTube." Rickard then selected and appropriated specific images by pausing the footage and advancing through it second by second. The resulting volume expands on his previous and critically lauded monograph A New American Picture, offering a darker and more dynamic portrait of America's urban underbelly, and engaging with themes of race, politics, technology, surveillance and our cultural shift toward an ever-present camera. Rickard explains the title: "[It] has always been 'N.A.,' coming for 'National Anthem' … it also could be interpreted to mean 'Not Applicable,' a common statistical check box on government forms here in the US, [or] 'North America.'" Visceral and intense, this volume offers an extraordinary inventory of America today.
Doug Rickard (born 1968) studied history and sociology at the University of California, San Diego. He is the founder of American Suburb X (www.americansuburbx.com) and These Americans (www.theseamericans.com), aggregating websites for essays on contemporary photography and historical photographic archives. His previous monograph, A New American Picture (2010, 2012), which offered a view of America through Google Street View, was widely acclaimed, and (in its first edition by White-Press, Helge Schlaghecke, 2010) was voted "best book" of 2010 by Photo-Eye magazine and is reproduced on the last spread of Phaidon's The Photobook Vol. III by Martin Parr and Gerry Badger.
Publisher: Verlag Kettler
Size: 12.5 x 9.5"
128 pages, 96 colour illustrations;
This publication reissues a beloved photobook classic—acknowledged as such by Martin Parr and Gerry Badger in the third volume of The Photobook: A History—that has been out of print since the hardcover edition was published in 2010. As photographer Jason Fulford (born 1973) recently learned firsthand, mushrooms have a way of growing and spreading wherever they touch ground. It all started when a friend of Fulford's gave him a box, found at a flea market, full of photos of mushrooms—unassuming pictures taken by an unknown but almost certainly amateur photographer, apparently as notes for some mycological studies. Fulford's art photographs (aside from his well-known book Dancing Pictures, which depicted people getting down to their favorite songs) are usually of staid, quasi-mute objects: a smashed Dorito chip overrun with ants, two bronzed doorknobs spooning, the blank back of a street sign. Yet these mushroom images got stuck in Fulford's mind, like a bad song sometimes does, and they started to grow in his own work. The Mushroom Collector combines some of the original flea-market mushroom pictures with his own images and text by the artist about the project.
It's hard to find a straight representation of the new edition online but, if you look here and click on 'The Mushroom Collection', that will give you a flavour of Fulford's evolving project.
Pocket paperback of 2500, Oct 2014
Adam Broomberg & Oliver Chanarin
Dodo is the catalogue of an exhibition of the same name by artists Adam Broomberg and Oliver Chanarin. The exhibition originated with the discovery of unreleased material from the motion picture Catch-22 (1970) in the storerooms of Paramount Picture.
Filmed on a coastline in Mexico, which more closely resembled the Sicily of 1944 than the Sicily of 1968 did, these images show the coastal landscape and fauna of the Sea of Cortez at time when it had emerged from its previous isolation but before its subsequent urban development. Broomberg and Chanarin have reedited the material of the film, set in Italy during the Second World War, creating a nature documentary about Mexico in 1968, the traces of a pristine landscape that no longer exists.
In the course of research, it was discovered that one of the eighteen airplanes used in the motion picture –the largest fleet of B-25s assembled since World War II– had been buried on location. Together with a team of archeologists from the UNAM, Broomberg and Chanarin organized an expedition to San Carlos, on the outskirts of Guaymas, to dig up the “Mexican plane.” What they found, however, was something else.
Publisher: RM + Fundación Jumex Arte Contemporáneo
Size: 7.8 x 12.5"
160 pages, 147 images
Design: Maricris Herrera
An intimate portrait of Russian women in their private spaces.
Andy started to travel to Russia in 2010; there he spent a considerable amount of time working as a freelance photographer. During this time he covered several stories in different places. The book Russian Interiors, however, sees the light as side job to cover his expenses while staying in Moscow; he challenged local professional competitors, accustomed to work in dedicated environments, by offering low cost portraits to single women in their apartments. Quickly this expedient bloomed into a hefty body of work. This obtained women’s archive takes all kinds including photos he shot for his customers and photos he kept for himself. The core of this work though is deeper than what the commercial shot he was paid for portrays. Soon this method developed into a key to get access to private spaces and stories, to better understand an intimate side of Russian women.
2nd printing of 700 copies
Size: 155 x 215 mm
125 pages, 70 photos, colour offset;
In the beginning of 2012, photographer Thomas Kellner received a surprising E-Mail from Yekaterinburg in the Russian Urals, to form a project with exhibition and book for the city’s anniversary in 2013, because Yekaterinburg was founded almost 300 years ago, by Georg Wilhem Henning, a Siegen Citizen. This was barely known and Thomas Kellner started his research and is now finalizing genius loci.
During the years of study Thomas Kellner began to work with pinhole cameras in the subject of art which built the basis for his approach he is following to the present day. In his early works experimenting with material, photographic methods and contents was crucial. It included building pinhole cameras himself in order to adopt them to the purpose he was aiming at. The results reflect a diversity of styles and subjects. They range from multiple perspectives within one photograph over documentary to photograms. In this period he always printed full editions so that today there is a large number of a vintage print for later exhibitions.
At the end of the nineties then Thomas focused on the analogue camera and 35 mm film. He developed a visual language and method that deconstructs and constructs objects at the same time. Now, since already 15 years, he is working in a worldwide unique style of contactsheets, photographing the object in numerous singular shots until in the end the object is visible in its entirety again. The film-material Thomas is using is transparent for the recipient as well because the single shots are assembled together as negatives. Therefore perforation, codification and numbers of the film-material are part of the positive.
Was £35 > Our Price £20;
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
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.
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.