Our latest newsletter, out today, has new and forthcoming titles by Ren Hang, Carlos Saura, Mayumi Hosokura, Masahisa Fukase, Daido Moriyama, Hidoyuki Ishibashi, Christine Osinski and more. It also has a new selection of remainders at around a third of their published price including Eugene Richards, Lee Friedlander, Magnum Landscape, Magnum Ireland and the Phaidon collection on Family.
This highly original book of photographs interweaves images of landscapes, interiors and people with commentary on craft skills and belief systems encountered in the east of England and the Scottish Western Isles, commonly known as the Outer Hebrides. Significantly, both places sit on the edges of the United Kingdom. Richard Denyer has been investigating relationships between land and water throughout his career, beginning with photographic commissions for the Norfolk and Suffolk Broads Authority in the 1980s. The introduction by Professor David Matless traces the antecedents to this new collection and situates Denyer’s practice in a tradition of documentary photography going back to PH Emerson. A desire to complement the photographs with an imaginative text led to the essay by Will Self. To begin with the writing seems to have little connection to Denyer’s images, but the author imperceptibly draws the written and visual elements together by foregrounding his own life experiences and travels to inform a commentary which is as idiosyncratic and colourful as the photographs.
Size: 297 x 310 mm
128 pages, 97 colour plates;
Jamie M. Allen
To celebrate the centennial of America’s National Park Service, Picturing America’s National Parks brings together some of the finest landscape photography in the history of the medium, from America’s most magnificent and sacred environments. Photography has played an integral role in both the formation of the National Parks and in the depiction of America itself, through this natural resource. From Yosemite to the most recent 2013 addition of Pinnacles National Park in California, America’s National Parks have been enjoyed through photographs for over 150 years. This book traces that history and delights readers with stunning photographs of the best American landscapes. An informative essay from curator Jamie M. Allen unfolds the role of photography in promoting America’s national heritage, land conservation, and wildlife preservation. Featuring the historic work of masters such as Ansel Adams, Imogen Cunningham, William Henry Jackson, Edward Weston, and Minor White, as well as contemporary greats such as Lee Friedlander, Stephen Shore, and Joel Sternfeld, this volume offers a powerful look at America’s National Parks and pays homage to a practice that has defined the way we see America, particularly the American West.
Publisher: Aperture (Co-published with George Eastman Museum)
Size: 9 5/8 x 11 3/4"
160 pages, 120 black-and-white and four-color images;
The results of the World Press Photo contest, described by the British Journal of Photography as ‘the premier competition for photojournalism and reportage’
‘Some of the very best work being done around the world today’ – News Photographer
‘Will amuse, sadden, console and ultimately teach you much about this world of ours’– Popular Photography
Since 1955, the annual World Press Photo contest has set the standard in visual journalism. The competition is universally recognized as the definitive competition for photographic reportage.
Publishing the results of the latest annual World Press Photo Contest, this exceptional book contains the very best press photographs from 2015 – pictures submitted by photojournalists, picture agencies, newspapers and magazines throughout the world. Selected from thousands of images, these prizewinning photos capture the most powerful, moving and sometimes disturbing images of the year.
Publisher: Thames & Hudson
Size: 245 x 190 mm
240 pages, illustrated in colour and black and white throughout
Perhaps best known as a collaborator on the legendary Beatles album cover for Sgt Pepper’s Lonely Hearts Club Band, Vandenberg’s first monograph brings together his London street portraits from the 1970-80’s, and will be released to coincide with Photo London at Somerset House, 19-22 May 2016, where a specially curated selection of original prints from the book will be exhibited by Eric Franck Fine Art.
‘On a Good Day’ captures the style, mood and tone of 70-80s London and features appearances from Motorhead’s Lemmy and Jordan (Pamela Rooke) the infamous shop assistant at Vivienne Westwood and Malcolm McLaren's shop SEX.
In his afterward for the book Martin Barnes, Senior Curator of Photographs at the V&A, notes that ‘Vandenberg sees all this with a sincere and perceptive eye and a sensitive understanding of character, regardless of social standing and cultural background. Vandenberg enthuses: ‘"It’s a great time being young, with your whole life ahead of you. It’s a time for love, hope, dreaming, great creativity. It’s a time away from home, breaking free from parents, home, creating freedom. You feel you can be anything and do anything. The future looks very positive." Every picture in this book is imbued with a positive, uplifting intention.... He was gifted with somehow being able to strike a rapport with, and feel empathy for, his subjects almost instantly.
Publisher: Stanley Barker
Size: 180 x 280 mm
50 duotone photographs
3/4 wrapped cover / foil stamped in black or white / index cut pages / rounded corners / screen printed text.;
In 2015, Peter Bialobrzeski returned to his hometown, Wolfsburg, to document the changes the city has undergone since his leaving many years previous.
“In the 80’s, I always felt that Wolfsburg was a socialist dream. It felt like everybody was participating. Now the picture has changed”.
Wolfsburg Diary is the 3rd book in the City Diaries series.
Peter Bialobrzeski is a world renowned photographer and the recipient of several awards including the prestigious “World Press Photo Award” in 2003 and 2010. He is also the author of over ten photobooks, including “Neon Tigers”, “Heimat”, “Lost in Transition” and “Paradise Now”.
Publisher: The Velvet Cell (Published in conjunction with Kunst Museum, Wolfsburg)
Size: 210 x 140 mm
Limited Edition of 800
This is the story of the tragic relationship between two bodies: a critical narration of the long and failed relationship between a society and a river. Although today it is a long and winding sarcophagus, in the past the city depended on the abundance of its stream. Centuries later, with Monterrey transformed into a regional industrial enclave, the Santa Catarina River served as border between social classes: the employers on the north side, the laborers on the south. The first hydraulic engineering works were carried out at the beginning of the 20th century. In 1909, wells and dikes were routed through pipes. That same year the river overflowed and caused the catastrophic flood that took over 5 thousand lives. Entire families disappeared. Since then, the river has been serving a sentence, receiving the treatment of a beast, with its future in peril. This fear, built based on ignorant speeches, created in American universities and reproduced with strict fidelity in Monterrey, was capitalized by governments eager to make their power known. The domination of the uncontrollable body of nature is a necessary rite of passage in any industrial society. In this way, the political apparatus decided to display its strength against the Santa Catarina River, whose clamor still resonated in the city’s memory, with the inauguration of the works that channeled it to protect Monterrey and utilize the water as raw material. The prolonged engineering works were nothing short of a marvel of modernity. After the ribbon was cut, in the mid-20th century, a subconscious link was broken and a period of aridity began, not only in the landscape, but also in morality. It broke the scale. The river was a line drawn on a technical plan. In 1988, Hurricane Gilberto hit the city of Monterrey. The city once again trembled before the torrential power of its currents, which tore up houses, markets, Ferris wheels and merry-go-rounds. Leaving over 300 people dead, the destruction served as a reminder to the following generation: this is not a dead river, but a captive one. The tragedy had no end point until the year 2004 when another large-scale work of civil engineering was inaugurated, known as the Rompepicos dam or grout curtain, whose purpose was to curb the water level from its source, in the Sierra Madre Oriental. But in the year 2010 it again broke through with all its might: stoked by Hurricane Alex, the body of water managed to burst the pipes to escape, fugitive and enraged, bellowing across the entire length of the city. Those of us who heard it cannot forget that enthralling and harrowing cry of freedom. Its spirit took shape, returned to it. Faced with human pain, we hid our joy as we acknowledged its resurrection. Standing on the devastated riverbanks, we contemplated the water, enraptured by a sensual revolution. The frenzied cry of fertility of a body faced with its captor. Then we watched the same entrepreneurs build business opportunities out of the destruction. We stood witness to the engineering works that managed to bury the river once again. We were not able to stop them, or resist, because the speed of the expressways rushing along the riverside hampers any considered thought. They plundered the stone and sand of its sepulcher to use as construction materials. Today we stand thirsty as the withered body of the river is scattered throughout the city.
Size: 230 x300 mm
Limited Edition 490 copies;
“Although we have seen this work before, what a pleasure to see how this selfpublished project, so cleverly combines the photos of the passing open plan trucks with their passengers laid out flat, but also the skies and scenes that can be viewed from the truck itself” —MARTIN PARR for Time Magazine Best Photobooks 2014
“Carpoolers is a deceptively powerful photobook, so well constructed that we’re suddenly eager to see more of something we had previously ignored”. — LORING KNOBLAUCH for Collector Daily
“It’s useless to comment now on the impact that this series by Alejandro had last year and how effective his neutral approach to the subject was. In the book (brilliantly designed by him, by the way) he leaves some room to certain aspects that might have gotten lost in the transition from the camera to the wall, and that is why this book is great! The hypnotic repetitive beginning, respectful to the series as we’ve known it so far, slowly gets more and more interrupted by frames and pieces of frames that drive you into a new kind of hypnotic state but this time almost as if you were inside the car yourself looking at and experiencing the road not from above anymore”. —CRISTINA DE MIDDEL for Best Books of 2014 Photoeye
“…It feels and looks like one of the books of the year, a classic in the making”.— COLIN PANTALL for Photoeye
“Carpoolers is essentially a fascinating group of still-life photographs taken from a highway overpass — a ‘typology’ (of sorts) of pickup-trucks, day laborers and commuting. Interesting design and a well thought package”. —JEFFREY LADD for Best books 2014 photoeye
“One time, apparently, Alejandro rode in the back of a truck himself. To get the vibe. He made photographs with the camera pointed up, documenting the view, which often featured helicopters. Ferrying Monterrey’s wealthy elite? Or perhaps a cartel jefe? Who knows? But this is one book that will give you a peek into a world you couldn’t possibly know. And I was happy to see it, even if it distracted me from thinking about those 43 stolen boys. RIP”. JONATHAN BLAUSTEIN for aPhotoEditor
“Brilliant design animates a series that could have been monotonous in book form. Instead, it is full of life and movement”.—SARAH BRADLEY for Best books of 2014 Photoeye
“Inside Cartagena’s tightly framed photographs, only thin clouds, visible as reflections, hint at the complex environment in which this scenario plays out day after day for the carpoolers. To get a sense of their perspective as this project neared completion, Cartagena climbed into the bed of a pickup truck with his camera one Sunday morning. With their disorienting, diagonal lines and indistinct, partial glimpses, the images he made contrast starkly with the controlled uniformity characteristic of the principal series”.—CLAUDI CARRERAS
Post-Script revisits Laura El-Tantawy’s journey through Cairo’s iconic Tahrir Square five years from Egypt’s momentous revolution and one year after the release of her self-published monograph, In the Shadow of the Pyramids.
The pocket-sized publication features previously unpublished images and written reflections where El-Tantawy takes readers behind the photographs and into the thoughts and emotions that went into making them. It can be considered a reflection on the act of photography itself.
The publication is released to coincide with the Deutsche Börse Photography Foundation Prize 2016, for which In the Shadow of the Pyramids is nominated. The series goes on show at The Photographer’s Gallery in London from April 15-July 3, 2016.
Publisher: RRB Publishing
SIze: 110 x 150 mm
32 pages, 15 plates, 1700 words
Limited edition of 750
Signed and numbered by Laura El-Tantawy
Essay by Lisa Hostetler
In the late 1970s, the George Eastman Museum approached a group of photographers to ask for their favorite recipes and food-related photographs to go with them, in pursuit of publishing a cookbook. Playing off George Eastman’s own famous recipe for lemon meringue pie, as well as former director Beaumont Newhall’s love of food, the cookbook grew from the idea that photographers’ talent in the darkroom must also translate into special skills in the kitchen. The recipes do not disappoint, with Robert Adams’s Big Sugar Cookies, Ansel Adams’s Poached Eggs in Beer, Richard Avedon’s Royal Pot Roast, Imogen Cunningham’s Borscht, William Eggleston’s Cheese Grits Casserole, Stephen Shore’s Key Lime Pie Supreme, and Ed Ruscha’s Cactus Omelet, to name a few. The book was never published, and the materials have remained in George Eastman Museum's collection ever since. Now, forty years later, this extensive and distinctive archive of untouched recipes and photographs are published in The Photographer’s Cookbook for the first time. The book provides a time capsule of contemporary photographers of the 1970s—many before they made a name for themselves—as well as a fascinating look at how they depicted food, family, and home, taking readers behind the camera and into the hearts, and stomachs of some of photography’s most important practitioners.
Publisher: Aperture (Copublished with George Eastman Museum)
Size: 6 3/8 x 8 1/2"
160 pages, 50 black-and-white and four-color images;
This project presents a unique collaboration between photographer Richard Misrach and composer and performer Guillermo Galindo. Misrach has been photographing the two-thousand mile border between the U.S. and Mexico since 2004, with increased focus since 2009—the latest installation in his ongoing series Desert Cantos, a multi-faceted approach to the study of place and man’s complex relationship to it. Misrach and Galindo have been working together to create pieces that both document and transform the artifacts of migration. Using water bottles, clothing, backpacks, Border Patrol “drag tires,” spent shotgun shells, ladders, and sections of the border wall itself, most of which were collected by Misrach, Galindo fashions instruments to be performed as unique sound-generating devices. He also imagines graphic musical scores, many of which also use Misrach’s photographs as points of departure.
A unique melding of the artist as documentarian and interpreter, the book will include several suites of photographs drawn from a number of distinct series, or Cantos—some made with a large-format camera as well as an iPhone. The book will also contain a compilation of two dozen sculpture-instruments, graphic scores, instrument designs, and links to videos of performances by Galindo on the image-inspired instruments.
Size: 13 1/4 x 10 3/4"
274 pages , 257 four-color images;
Tomasz Gudzowaty became established as a wildlife documentary photographer in 1999, when he won the first of his World Press Photo awards in the nature category with a remarkable image of two cheetah cubs just about to take down their first prey. He has since traveled extensively through- out sub-Saharan Africa, amassing thousands of images of elephants, lions, cheetahs, wildebeest, zebras and other species. In 2008 Gudzowaty documented a remote emperor penguin colony in the Weddell Sea, a project he continued through his work on South Georgia and the South Sandwich Islands.
Gudzowaty’s wildlife photography is characterized by a technical and aesthetic sophistication that is particularly visible in his depictions of large-scale natural spectacles, such as the annual wildebeest migration in Tanzania or the breeding season on the penguin rookeries. This book captures Gudzowaty’s passion and deep knowledge of his subject: keenly observing both general patterns and minute details, he brings the viewer closer to nature’s inner workings and beauty.
Size: 290 x 370 mm
256 pages, 250 images;
It’s no surprise that some of the world’s finest photographers have worked in and around a bicycle race at some point in their careers. Cycling provides the perfect subject for reportage, social documentary and street photography because it happens in real time and real life.
It isn’t a traditional stadium or circuit sport: the action happens on the street outside your house, in city centres where people live or in the mountains where people go to escape. The accessibility of cycling and photography means they share interesting parallels, culturally and historically. The Magnum archive contains work that is exceptional on both counts.
Thematic chapters each feature one ‘story’ of an iconic moment, event or scene: the Tour de France, track racing in the velodrome, winter training and the revelry of the fans and crowds. Images are by a variety of iconic photographers, including Henri Cartier-Bresson, Robert Capa, Guy Le Querrec and Harry Gruyaert.
Publisher: Thames & Hudson
Size: 260 x 260 mm
256 pages, with more than 200 illustrations in colour and black and white;
For Elger Esser Combray, a fictional place in Marcel Proust’s In Search of Lost Time, is every place where France might still look as it did in Proust’s time: enchanted villages, riverside farms, Monet’s garden in Giverny, old monasteries and church ruins. Shot in black and white, he produced heliogravures from the negatives, an outdated method that highlights the beauty and latent melancholy of his vision.
Size: 322 x 280 mm
224 pages, 102 duotone plates
German edition with English and French text inlay.;
Thomas Struth draws the viewer into the semidarkness of forests and jungles, the impenetrable yet bright green of trees, bushes, and tropical plants. With 11 new pictures, the expanded new edition of his Paradise book contains the entire series taken in China, Japan, Australia, Brazil, Germany, Peru, Florida, and Hawaii.
Size: 413 x 324 mm
80 pages, 36 colour plates
Carl De Keyzer
Magnum photographer Carl De Keyzer went to Cuba and came back with surprising, often tragicomical pictures of a split country. Fidel Castro on a wall poster, while a man on the same picture wears a T-shirt that spells FBI. Four Cubans withdrawing money in a bank, while Che Guevara watches them from a portrait above their heads.
In his new photobook, with an introduction by curator and publicist Gabriela Salgado, Carl De Keyzer captures Cuba’s duality in pictures. With a master’s eye, he paints the picture of a country that is still rooted in communism, while reaching for Western capitalism.
Size: 22cm x 31cm
Takuma Nakahira's Adieu A X is the third edition of the original 1989 publication to be released by Kawade Shobo Shinsha. The celebrated works by the iconic photographer is once again made available through this reprint allowing viewers to further engage with Nakahira’s photographic perspective within a world which sought to break the boundaries between sign and meanings through the photographic gaze of both subject and photographer.
Publisher: KAWADE SHOBO SHINSHA
Size: 215 x 300 mm
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
For over thirty years, Patrick Zachmann has traveled across China, a country he discovered in 1982 while reporting on the Chinese film industry. From Hong Kong triads in the 1980’s to the mutation of the city of Beijing through Tiananmen Square protests, this book brings together around 350 B&W and colour photographs, in which the small and the great history meet in a changing country. The underlying theme of this long-term work is the issue of identity, that becomes for the new generations in loss of marks of identity, a major concern.
In an intimate format, this book recalls the travel diary punctuated with excerpts from Patrick Zachmann’s travel log written during his travels. These quotes bring new light on these photographs, as well as on the work of a photographer in a society where censorship and state manipulations prevail.
Publisher: Editions Xavier Barral
Size: 170 x 230 mm
592 pages, 345 black & white and colour photographs
Texts (in French): Patrick Zachmann;
Hideyuki Ishibashi held his first solo exhibition in Tokyo in 2013. Entitled ‘Présage’, it focused on the dilemma produced by today’s plethora of digital images and its impact, most noticeably in the shortened attention we give individual images. Ishibashi used photographs found at antique markets, random postcards, shots from Google Street View, and anonymous online images, carefully disassociating them from previous meanings and combining them to create new images as a platform for the act of viewing itself. Part collage, part conceptual sketch, fully phantasmagorical, the photobook with its many foldout pages offers a wealth of visual stimulation and hidden meaning.
Size: 210 x 260 mm
Hibi literally comprises a series of street photographs by renowned Japanese photographer Masahisa Fukase. Each of the black and white images painstakingly attend to the road’s surface – the worn road-markings, the fading lines and arrows eroded by the city’s innumerable inhabitants, a web of fissures in the asphalt. In 1992, Fukase printed and painted the works for a solo exhibition, 'Private Scenes ‘92', held at Nikon Salon in Tokyo. He overlaid a set of bromide prints with fluid drawings in brightly coloured inks and on every image the physical presence of the artist is traced, a shadow-presence which seems to offer a reading, an interpretation but one that can never be fully resolved.
Publisher: Mack Books
Size: 160 x 260 mm
240 pages, 111 colour plates;
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
What kind of gaze does the city license? What kind of gaze does it induce, determine, inform, program, organise? What is the nature of the city as reality, as image and as symbol? What is this object of desire, at once near and ungraspable, fascinating and repulsive, attractive and intractable, necessary and unbearable, intimate and impenetrable, available and inaccessible, that it is for itself as well as for the man of the crowd, for the man in the street, for the man of the city, for those who inhabit it and those merely passing through it, for anyone who knows that it is a labyrinth but nonetheless allows himself to remain trapped in it?
Takashi Homma uses fragments collected in camera obscura constructed in metropolitan areas of Japan and the US to build a city image by image. Homma does not seek to index any particular city but to render a shadow world, a city's unconscious caught in a dark chamber, suspended in the camera’s box. The camera obscura offers a repetition, like the reflection shimmering in Narcissus’s pool. The narcissistic city is a city transfixed upon its own image – a mirror city, laced with repetition (modular) and reflections (glass). A city looking at its reflection, a city caught in a dark chamber, a city observing its camera obscura inversion – flickering inside the camera’s box.
Takashi Homma is a Japanese photographer. His monograph, Tokyo Suburbia (Korinsha,1998) won the Kimura Ihei Award in 1999.
Publisher: Mack Books
Size: 240 cm x 315 mm
112 pages, 62 colour plates
Signed copies, 2nd printing
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 twentieth calendar featuring his work. The 2016 Michael Kenna Wall Calendar is printed on an exclusive, uncoated, natural Japanese paper using Daido black ink. It features thirteen photographs: Eloquent Trees, Kussharo Lake, Hokkaido, Japan. 2013; Mountain Snow Storm, Okushunbetsu, Japan. 2013; Two Hundred and Seven Sheep, New Zealand. 2013; The Matterhorn, Pennine Alps, Switzerland. 1994; Eleven Hours, Te Kaha, Eastlands, New Zealand. 2014; Solar Eclipse, Tokyo, Honshu, Japan. 2012; Eighteen Hedges, Versailles, France. 1998; Crumbling Boardwalk, Shiga, Honshu, Japan. 2003; Ten Balloons, Albuquerque, New Mexico, USA. 1993; Early Morning Storm, Calais, France. 1998; Clouds, Fence and Snow, Nakafurano, Japan. 2013; Chateau Lafite Rothschild, Study 27, France. 2012; Snow Covered Forest, Heilongjiang, China. 2012.
Publisher: Nazraeli Press
Size; 430 x 350 mm
13 duotone plates
Michael Kenna’s intimate, exquisitely crafted black-and-white photographs reﬂect a sense of refinement, respect for history, and thorough originality. We are pleased to present our eighteenth calendar featuring his work. The 2014 Michael Kenna Wall Calendar is printed on an exclusive, uncoated, natural Japanese paper using “Daido black” ink. It features thirteen photographs: Two Leaning Trees, Kussharo Lake, Hokkaido, Japan. 2013; Yuanyang, Study 1, Yunnan, China. 2013; Alley of Trees, Damyang, Jeollanamdo, South Korea. 2012; Skyline, Shanghai, Study 5, China. 2011; Bamboo and Tree, Qingkou Village, Yunnan, China. 2013; Three Posts and Island, Jangsan-do, Shinan, South Korea. 2013; Chateau Lafite, Study 5, Bordeaux, France. 2012; Sand Dune, Wooi-do, Shinan, South Korea. 2012; Baby Elephant, Phuket, Thailand. 2011; Moai, Study 50, Ahu Tongariki, Easter Island. 2001; Pont Neuf, Study 3, Paris, France. 2011; Sadakichi‘s Docks, Otaru, Hokkaido, Japan. 2012; and Snow Clad Trees, Heilongjiang, China. 2012.
Publisher: Nazraeli Press
Size: 14 x 18"
13 duotone plates
We have signed copies of the first printing only. A decision has yet to be made on a second printing. Remaining copies have slight imperfections on the cover or in the printing. We will send you the best copy we have.
Jan Tove's first published work for several years, Silent Landscape represents a significant maturation in his vision. If, in Riverside, the relatively traditional nature photography of Beyond Order coexisted with work influenced by contemporary American landscape photographers, here they are successfully integrated. Photographs mostly from Sweden but also from Norway, Denmark and Scotland. See here for all the spreads from the book.
Please note this is the 2013 calendar.
Michael Kenna’s intimate, exquisitely crafted black-and-white photographs reﬂect a sense of refinement, respect for history, and thorough originality. We are pleased to present our seventeenth calendar featuring his work. The 2013 Michael Kenna Wall Calendar is printed on an exclusive, uncoated, natural Japanese paper using “Daido black” ink. The subject of this year's calendar is France: Homage to Atget, Parc de Sceaux, France. 1988; Intra Muros, St. Malo, France. 1993; Dawn Mist, Mont St. Michel, France. 1994; Fontaine du Palmiere, Study 2, Paris, France. 2007; Sunrise, St. Valery sur Somme, France. 2009; Printemps, Bargeme, France. 2011; Pebbles and Beach House, Cayeaux sur Mer, France. 2009; Tidal Pool and Posts, Berck Plage, France. 2003; La Trappa, Vielle Ville, Nice, France. 1996; Abbey Façade and Star Trails, Hautvillers, France. 2001; Night Shadows, Saint Malo, France. 2000; Ciel d’Orage, Bargème, France. 1996; In-Between, Courances, France. 1997.
'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
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
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
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