On Being an Angel takes its title from a caption the artist inscribed on two of her photographs—self-portraits with her head thrust back and her chest thrust forward. Typical of Woodman’s work in the way they cast the female body as simultaneously physical and immaterial, these photographs and the evocative title they share are apt choices to encapsulate the work of an artist whose legacy has been unavoidably colored by her tragic personal biography and her death, at age 22, of suicide. In less than a decade, Woodman produced a fascinating body of work — in black-and-white and in color — exploring gender, representation, sexuality and the body through the photographing of her own body and those of her friends. Since her death, Woodman’s influence continues to grow: her work has been the subject of numerous in-depth studies and exhibitions in recent years, and her photographs have inspired artists all over the world. Published to accompany a traveling exhibition of Woodman’s work, Francesca Woodman: On Being an Angel offers a comprehensive overview of Woodman’s oeuvre, organized chronologically, with texts by Anna Tellgren, Anna-Karin Palm and the artist’s father, George Woodman.
Publisher: Moderna Museet
Size: 170 x 235 mm
232 pages, 105 illustrations;
The photographs in this book were taken all over the world, and later archived, stored, and then finally unpacked and furiously edited over a period of several years in a breathless, hopeful search for great images. Compiled in this book for the first time, and appearing as if from a series of dreams, they reveal the narrative of a life unfolding. A pool party in Memphis…women wrestling in a chair, one in a leather skirt…time moving slowly in Dar es Salaam…a vase of flowers on a desk distressed almost to the point of abstraction….a watery jungle in London’s Hyde Park.
Work prints were created for editing purposes, which were stacked and grouped together, pored over, shuffled, piled, boxed, put away and pulled out again and again. Some prints were inadvertently damaged during this process -- they were stained, torn, sometimes even scorched. This final, furious editing phase gave the prints a unique “patina”, and added artifacts to the images themselves, and was an intense, and serendipitous, last stage of creation for the work, just as important to finishing the images as their original subject matter, composition, color, and light.
Huger Foote was born in 1961, in Memphis, Tennessee, and has held numerous solo exhibitions in London, New York, Paris, and other cities, including his hometown of Memphis. His work hangs in many public and private collections. This is his second monograph since “My Friend from Memphis”, published by Booth Clibborn Editions in 2001. He resides in NYC and upstate NY.
23.5 cm x 23.5 cm
Edition 1000 copies
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
From February 6 to June 5, 2016, the Fondation Cartier pour l’art contemporain in Paris will present a solo exhibition of Daido Moriyama, a legendary figure in Japanese photography.
Daido Moriyama (born 1938 in Ikeda) invented a new visual language in his work from the mid-1960s onwards. Frenetic and tormented, it depicts a reality that is grainy, blurry, and out-of-focus. Witness to the spectacular changes that transformed postwar Japan, his photographs express the contradictions in a country where age-old traditions persist within a modern society. Often blurred, taken from vertiginous angles, or overwhelmed by close-ups, they show a proximity to and a particular relationship with the subject. Daido Moriyama’s photographs of Tokyo, in particular of the narrow streets of Shinjuku District—where all sections of the population live—, provide a harsh, crude vision of city life, the chaos of everyday existence, strange worlds, and unusual characters. Considering books as the best means to spread his work, Daido Moriyama has published more than 150 monographs so far. His work was shown in major solo exhibitions at the SFMoMA in San Francisco (1999), the Tokyo Metropolitan Museum of Photography (2008), the Philadelphia Museum of Art (2009), and the Tate in London (2012–13). It is also part of the collections of prestigious international institutions, including the MoMa in New York, the Getty Museum of Los Angeles, the Museum of Fine Arts in Boston and the Centre Pompidou in Paris, as well as the Fondation Cartier pour l’art contemporain in Paris. Twelve years after the organization of a landmark solo exhibition of Daido Moriyama, the Fondation Cartier pour l’art contemporain will present the exhibition Daido Moriyama, Daido Tokyo featuring a large selection of color photographs by the artist, shedding light on this lesser-known yet ubiquitous aspect of his photographic practice over the last two decades. The Fondation Cartier has also commissioned a slide show of 291 black-and- white photographs, which will plunge viewers into the unrelenting urban hustle and bustle of Tokyo.
The catalogue published in conjunction with the exhibition will include these images as well as a text by the artist, providing a unique occasion to discover Daido Moriyama’s recent work and to rediscover the subjects that are omnipresent in the artist’s work and his penchant for textures and shaky compositions.
Publisher: Fondation Cartier pour l’art contemporain
Size: 180 × 270 mm
248 pages, 377 color and black-and-white reproductions
Bilingual French-English Hardback, Text by Daido Moriyama ISBN: 978-2-86925-122-9 Price: £26; $40 Publication date: February 2016 Distribution: Thames & Hudson;
Loose Joints is proud to present Preston Bus Station, the first individual publication of work by British photographer Jamie Hawkesworth. Preston Bus Station is a body of photographs produced during sustained engagement with a site of key significance in the development of Hawkesworth’s practice.
A civic space with listed status, Preston Bus Station in Lancashire, North-West England is often characterised as an icon of Brutalist architecture. Although the building has recently been subject to revere and contention at a national level, the focus here is predominantly directed from a distance at the architectural structure, discounting the public service function that it provides. More importantly for Hawkesworth, the Bus Station continues to exist as a place for people; here we see a space for waiting, passing through, arriving and departing.
In Preston Bus Station, Hawkesworth does not concern himself directly with the political and social concerns of precast concrete. Rather, attention is given to the myriad of people that turn structure into place.
Publisher: Loose Joints
Size: 240 x 280 mm
68 pages, 29 colour plates
Edition of 1000
Edited with Adam Murray;
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
This resplendent volume is the most comprehensive study of Walker Evans’s work ever published, containing masterful images accompanied by authoritative commentary from leading photography historians.
The name Walker Evans conjures images of the American everyman. Whether it’s his iconic contributions to James Agee’s depression-era classic book, "Let Us Now Praise Famous Men", his architectural explorations of antebellum plantations, or his subway series, taken with a camera hidden in his coat, Evans’s accessible and eloquent photographs speak to us all. This comprehensive book traces the entire arc of Evans’s remarkable career, from the 1930’s to the 1970’s. The illustrations in the book range from his earliest images taken with a vest pocket camera, to his final photos using the then new SX-70 because his regular equipment became too heavy to carry around. The book includes commentary from three of Evans’s longtime friends, photographers Alan Trachtenberg, Jerry Thompson and John T. Hill. Their insight and first-hand experience give depth to their critical writings on Evans’s work. In addition to offering a broad perspective on Evans’ work, the book also clarifies the photographer’s “anti-art” philosophy. Eschewing aesthetic hyperbole, Evans wanted his pictures to resonate with a wide audience. At the same time, his natural curiosity made him one of the most inventive photographers of all time. What these photographs and writings attest to is a huge and timeless talent, which came not from a camera, but from Evans’s uniquely hungry eye.
Size: 255 x 270 mm
408 pages, 350 black & white illustrations;
Size: 245 x 210 mm
128 pages, 54 colour illustrations;
"In 2013 I traveled from the continent of Antarctica to Barrow, Alaska, 320 miles north of the Artic Circle, through seventeen countries in the Americas. I documented dwellings, how human habitation responds to and reflects harsh landscapes, and the means with which societies adapt to changing climates, both cultural and physical. During the journey I was drawn to subjects which were both a departure from my work yet still felt like a familiar target: organic and inorganic structures succumbing to the effects of a warming planet." — Magda Biernat
Adrift is a sequenced series of photographs that occilates between icebergs 'adrift' on the ocean and manmade structures submerged in snow. They are hauntingly silent images that might arise out of a frozen dream of a forgotten world and culture. The accordian fold of the book lends itself to a sense of floating from one image to the next.
Publisher: Ink & Bellows LTD
Size: 6 x 8"
48 pages, 26 colour accordion fold illustrations;
When photographer Boris Becker showed his first monograph "Photographs 1984-2009", it showed 25 years of photography. For the 1961 born artists "a quarter century of suffering" how he commented with a wink. But Boris Becker started taking photographs before he studied from 1984-1990 at the academy of fine arts in Düsseldorf in the class of Bernd & Hilla Becher. The book "Berlin 1978-1987" shows the photographers early work, shot on 35mm and medium format, that gained importance through the course of history and changes of our perception. Boris Becker photographed in a divided Berlin. In his images we can see the war and the seperation of the city and what it caused in both parts. The book is arranged in chapters that form image-groups and also testify of the political sensitivity of the artist: The east- and westsector of the city, the wall and border installations, the desolate diplomatic-district, the subway reduced to empty wooden wagons and deserted stations, and a series of bunkers that will become Beckers most extensive series later on with over 700 images of World War II bunkers. Gallery Heinz Holtmann, Cologne showed 46 of the works in an exhibition in 2014. "Berlin 1978-1987" now shows the complete series with 55 color- and 34 black & white plates.
The photographer Boris Becker describes himself as an imagefinder. The master-class pupil of Düsseldorfs Becher-class, 1961 born in cologne (germany), is one oft the most influential photo-artists. Less the symbolic power of the motive rather than the visual impact of the buildings and landscapes are the mainfocus of his work.
Size: 170 x 215 mm
128 Pages, 55 color plates, 34 duotone plates
Essays by: Gerhart Baum (Federal Minister of the Interior from 1978-1982) and Roswitha Haring;
A visual investigation of the author’s family history, The Longest Way Round is a construct of historical images woven together with new photographs. Uncovering a treasure trove of archive material not intended for the family album, Dorley-Brown’s book presents a multi-layered alternative narrative for the course of events that shaped the late 20th century.
Two Londoners born in 1920 embark on a series of journeys shaped by war, romance, and subsequent settlement in a seaside paradise. Unable and unwilling to recall their most traumatic experiences for their five children, a box of photographs, film negatives and letters was bequeathed to the youngest child ‐ a photographer. He attempts to form a new narrative with the archive, integrating his own pictures made in the UK and on travels through Europe that follow in the footsteps of his mother and father.
During World War II Dorley-Brown’s parents Peter and Brenda were not yet married, but had known each other as childhood friends. At age 19 Peter volunteered as a heavy artillery sergeant and survived the Battle of Crete, four years as a prisoner of war in German stalag camps, and a death march of more than 500 miles in extreme weather near the end of the war. Some of his photographs that were confiscated while a POW appear in this book. While captive at Stalag VIIA near Munich, Peter befriended a guard – Conrad Barnack – the son of Oskar Barnack who invented the Leica 35mm camera. Peter and Conrad would later reconnect after the war was over.
Chris Dorley-Brown’s contemporary images resonate the effects of his family history on his own outlook decades later. This intimate book addresses subjects of personal identity and memory, and offers potential for a sense of closure for the author.
Size: 270 × 215 mm
The book before you contains five of the seventeen essays that make up Life on the Wrong Side of Town: Sports Edition, which orginally appeared as a series in the magazine Mondai Shosetsu ("Problem Novels", published by Tokuma Shoten) in 1975 and was then published as a single volume by Shinyosha in 1982, the year before Terayama passed away. By adding Moriyama-san's photographs to the text we have constructed a new edition.
While putting this project together, I went back to Terayama's words as expressed in many literary forms - haiku, tanka, poetry, ruminations, essays, novels, scripts, theatrical productions and dramas. The enormous volume and quality of his output was overwhelming, but I eventually settled on this work, Life on the Wrong Side of Town: Sports Edition. The reason lay in this passage form the Afterword.
"This book is a kind of rear window view of the life of what we call sportsmen. From the rear window you can see the river. Sometimes you can see people saying goodbye. But however miserable the view is, you have to keep the rear window open."
-Excerpt from Satoshi Machiguchi's afterword The Spell Moves On, published in Daido Moriyama: Terayama (2015)
Publisher: bookshop M
Size: 200 × 135 mm
Kou INOSE, Contribution: Daido MORIYAMA
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
Born 1960 in Saitama. Started his career after studying photography under Seiryu Inoue while still enrolled at Osaka University of Arts. While having numerous devoted fans, he doesn’t present new works very often, as his extremely persistent approach is reflected in every single print that he finishes in up to one month of highly concentrated work. Charged with astonishing density and intensity, his works have been awarded a New Photographer Prize at the Higashikawa International Photo Festival in 1993. Photo books include deja-vu #11: Inose Kou (’93) and Inose Kou Visions of Japan (‘98). Solo exhibitions include the “Inose Kou Photo Exhibition” at Space Kobo & Tomo in 2001. He also participated in the group exhibition “Lonely Planet” at Art Tower Mito in 2004, and is presently one of those artists whose exhibitions are most anticipated.
250 pages, 140 images
263 x 187 mm;
Japan in the late sixties was the time when Daido Moriyama published "Nippon Gekijo" in Camera Mainichi magazine, and the first issue of Provoke was released. The exhibition "New Documents", curated by John Szarkowski, was held at MoMA in New York. Living in such an era, "for me, after all, photography is no more than a tool for ripping up and protesting against the times", said Kanoh.
Taking off from the U.S. military's Kadena Air Base in Okinawa, Boeing B-52 bombers repeatedly flew over North Vietnam for air raids. The world saw the break-up of the Beatles, and Mick Jagger, with his uniquely curling upper lip, bouncing around the stage in Hyde Park. The younger generation, whether students or non-students, were then very socially active, and they chose to resist authority. The “anger of youth” underlay their daily lives and thought.— Tenmei Kanoh
At the time, the outbreak of the Narita protest movement (also known as the Sanrizuka struggle) drew Kanoh’s attention when he was 28 years old. Being one of the angry young men, he put himself in the site with his camera. During that time, there were already a number of photographers who had featured Sanrizuka. Yet, Kanoh intelligently captured the uncertainty of information and the disorderly atmosphere that pervaded the Japanese youth.
Through his experiences working as a cameraman, Kanoh gazed at society with his unique perspective. Furthemore, although circumstances are different between then and now, the essence of social phenomena seen through his photography remains unchanged.
Forty three years have passed since then, and yet one plot of land remains intact in the middle of the airport, showing that the protest has passed to the next generation. Kanoh expresses that, with such deep attachment to the land and tenacity of ownership, he knows the profound desire and great fortitude of human beings. “Decades have past and I wonder what the young of today have in their minds. I wonder whether I will witness their action and intellect in response to the crucial issue of the amendments to the 9th Article of the Constitution of Japan.” We invite you to see these works on the Sanrizuka struggle by Tenmei Kanoh.
Publisher: Zen Foto Gallery
Size: 257 x 182 mm
144 pages, 131 images
Luigi Ghirri (1942–1992) started writing about photography from the moment he became a photographer: for his own publications, for Italian magazines and newspapers, as well as private reflections committed to paper, where his thoughts might settle and then depart in new directions.
Published for the first time in English, The Complete Essays, 1973–1991 comprises sixty-eight texts, mostly only one or two pages long. The exercise of writing always accompanied Ghirri’s photographic practice, and he approached the same subjects at the core of his photographs, only distilled through a different medium – themes of identity, time, memory, vision, representation, and sense of place. At the same time, as a voracious reader with a particular taste for the eclectic, Ghirri also reaches outwards from his own practice, as he considers the work of Jacques-Henri Lartigue, Walker Evans, William Eggleston, Robert Adams and John Gossage, weaving in references to musicians, writers and painters alike. As themes and ideas overlap, the compilation of texts create a sort of dialectic chamber of curiosities that includes Gulliver, Van Gogh’s yellow house, Aldo Rossi’s pale pink and blue architecture, Cézanne, Morandi’s studio, Mallarmé, the fireworks above Trani Cathedral and the multicoloured lights on Ponza, neo-realist films, Blade Runner, lots of music (Bob Dylan, Lucio Dalla, Prince, Jimi Hendrix, Miles Davis), Francis Bacon, Schopenhauer, McLuhan’s global village, Pessoa, poetry. Together, the essays offer an unintentional yet comprehensive treatise on the history and theory of photography, and above all, they constitute a special form of autobiography.
Born in Scandiano in 1942, Luigi Ghirri spent his working life in the Emilia Romagna region, where he produced one of the most open and layered bodies of work in the history of photography. He was published and exhibited extensively both in Italy and internationally and was at the height of his career at the time of his death in 1992. His first book, Kodachrome (1978), an avant-garde manifesto for the medium of photography and a landmark in his own remarkable oeuvre, was re-published by MACK in 2012.
Size: 140 x 228 mm
240 pages, 50 colour plates
Shelter Island comprises a body of work made by Roe Ethridge during a summer stay in Long Island, New York. Renting an all-American kit house, Ethridge and his family discovered objects stowed in the garage, things discarded by a different family and from a different moment in time. The faded objects, which are leitmotifs of an Americana of the past, speak of a lifetime of childhood summers: dusty Cola bottles, a plastic bat or fallen kite. In Ethridge’s work, the passage of time, and youth itself, is both acutely personal and stylised, in images that are at once synthetic and spontaneous, laden with familiar photographic tropes which are shown to us askance.
Size: 238 x 323 mm
32 pages, 15 colour plates;
Brian David Stevens
As an island race we have always looked out; to find food from the sea, to find opportunity to trade, to find adventure, and to find ourselves. Brighter Later is a journey around the coastal counties of Britain. It is a portrait of the island, looking out rather than in.
As novelist Melissa Harrison writes in her essay included in the book:
"Brian David Stevens’ simple seascapes require a slowing-down, a recalibrating of our usual demand for information, drama and resolution. More than just requiring it, in fact, they induce it: each pair of images leads us quietly out of our everyday world and stands us on a British beach somewhere, shielding our eyes against all that reflected light, that surfeit of sky."
Brighter Later features 68pp of full colour photographs, together with text from Brian David Stevens and Melissa Harrison, with design and layout by Wayne Ford.
Size: 290 x 155 mm
Nigel Shafran’s new book takes five interconnected series of photographs and weaves them together with the common thread of domestic scenes. There is a constant sense of forward movement that is sometimes overt, as in the photographs of supermarket checkouts or underground escalators; sometimes implicit and more emotionally charged, as when the photographer faces the inventory of possessions in his mother’s last house. But in each case these photographs deal as much with what has been left behind as with what lies ahead. They carry the inevitability of change and the psychological undertow of time passing moving forward.
Includes essays by David Chandler and Paul Elliman
Co-edited by Liz Jobey
Designed by Mevis & Van Deursen
91 colour plates
21 cm x 27.2 cm
Rosalind Fox Solomon
Part memoir and part fiction, Got To Go presents a collection of photographs from across Rosalind Fox Solomon’s life, contrasting a narrative of her own early years with other, urgent images that reveal a wider vision of the world, one outside of the rigid boundaries imposed by society and the home. If biography is a net cast upon us by family and shaped by social codes, Fox Solomon lays bare the limits of the net, as she negotiates the cusp between lived life and her imagination. Describing the work as a “tragicomedy”, full of both humour and pathos, Fox Solomon probes the limits we impose on ourselves, not only social codes but also the inherited tenets which are so difficult to escape.
Fox Solomon, an American artist based in New York City, is celebrated for her portraits and connection to human suffering, ritual, survival and struggle. Her work has been shown in nearly 30 solo exhibitions and 100 group exhibitions, and is in the collections of over 50 museums worldwide.
Size: 203 x 248 mm
144 pages, 79 black & white plates
Bertien van Manen
Taking advance orders for signed copies, available March 2016
In this new body of work, Beyond Maps and Atlases, Bertien van Manen turns to Ireland. Van Manen says, ‘At first, working in Ireland I wasn’t sure what I was looking for. My husband had died. I dispensed with the people and reflected on the atmosphere. I was guided by a feeling and a search, a longing for some kind of meaning in a place of myths and legends. There was mystery and endlessness at the edge of a land beyond which is nothing but a vast expanse.’
Where can it be found again,
An elswhere world, beyond
Maps and atlases,
Where all is woven into
And of itself, like a nest
Of crosshatched grass blades?
Van Manen rolled into photography almost by accident, taking pictures of her children with an old camera. As her work became more public she was soon drafted into the world of fashion photography. In 1977 she tired of the industry, and on discovering the documentary photography of Robert Frank and Josef Koudelka, van Manen began to explore the developing relationship between herself and her subjects, keeping a closeness and developing a personal, organic style of photography.
Publisher: Mack Books
Size: 260 x 290 mm
Jacob Aue Sobol
“The Chao Phraya River is the lifeblood of Thailand. It is born as the Ping and Nan rivers become one. From there its waters flow south to Bangkok.
These pictures are a recording of what I saw and the people I met along The River of Kings in Bangkok.”
Size: 210 x 280 mm
152 Pages, 110 Images (b/w)
Tritone Offset Fullcolor offset(cover)
Published in 2016
This series is rated as one of the most essential in Shomei Tomatsu’s entire body of work.
While Tomatsu’s photographs cover a wide variety of subjects, Okinawa is one particular theme that he has been going back to time and again throughout his life. Having been fascinated by that place’s strong and broad mental horizon resisting Americanization ever since his first visit to Okinawa in 1969, in this series Tomatsu energetically portrays the brave lives of the local people at the mercy of history until reversion to Japanese administration after decades of American occupation, with a focus on the rites and customs of the Yaeyama Islands and Miyako-jima.
These observations have been highly evaluated as a photographic investigation into the foundations of Southeast Asian island culture in the Pacific rim even beyond the confines of Japan.
The Pencil of the Sun 1975
The Pencil of the Sun 2015
Size: 257 × 227 mm
These 2 books come in a transparent slipcase;
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.
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
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