The high school prom is an American tradition, a rite of passage, and one of the most important rituals of youth in this country. The internationally recognized documentary photographer Mary Ellen Mark took on the extraordinary challenge of working with the Polaroid 20x24 Land camera to produce this fascinating look at dozens of young people from a diverse range of backgrounds on this memorable night in their lives.
Traveling across the United States to complete the project from 2006 to 2009, Mark photographed prom-goers at thirteen schools from New York City to Charlottesville, Virginia, to Houston to Los Angeles. Mark’s husband, the filmmaker Martin Bell, collaborated with her on the project to produce and direct a film, also called Prom, featuring interviews with the students about their lives, dreams, and hopes for the future. A DVD of the film is packaged with the book.
The 127 large-format photographs are reproduced in rich detail, and quotations from the student interviews punctuate the book. Some of the students’ statements are comical, while others are deeply touching. The result is a captivating and revealing document of American youth at the beginning of the twenty-first century.
This beautifully illustrated monograph accompanies a full retrospective on the acclaimed Dutch photographer and filmmaker Ed van der Elsken.
Known for his unconventional technique and gritty, evocative images of people and places, Ed van der Elsken was a self-taught photographer whose work documented his own life and travels. This book offers a definitive overview of van der Elsken’s entire oeuvre, including his groundbreaking photo novel, “Love on the Left Bank” and his paean to 1950s Amsterdam, “Once Upon a Time”. On display at Amsterdam’s famed Stedelijk Museum, the exhibition at the center of this book focuses on the museum’s extensive collection of van der Elsken’s prints, and on the renowned installations he mounted there during his lifetime. Essays reveal the photographer’s early influences, including Weegee, Henri Cartier-Bresson, and Robert Capa, while also showing how his confident, unorthodox, and self-expressionist style paved the way for late 20th-century photographers, including Larry Clark, Nan Goldin, and Wolfgang Tillmans.
Exhibition at Stedelijk Museum Amsterdam, February 4 - May 28, 2017
Size: 240 x 300 mm
288 pages, 50 colour illustrations, 150 b/w illustrations
‘Henderson knew how to turn a street into his own theatre. He understood the simple strength of documenting the streets of London, with their players, dramas and characters. This beautiful book really brings his photographs to life.’ Martin Parr
An evocative view of the post-war East End including stunning photography from the Tate Archive, much of which has never been published before.
In 1943, recovering from the trauma of his experiences as a pilot in the Second World War, artist Nigel Henderson (1917– 85) began experimenting with photography. While living in Bethnal Green, east London, he created an extraordinary archive of photography documenting life in the area between 1949 and 1953. This book showcases 150 of these newly digitised photographs which capture the heart of working- class life. From hop- scotching children to a funeral cortège, Henderson’s unique view of the streets documents the resilience and character of the local people, and a way of life that would soon disappear, as Britain moved into the 1960s.
Edited by Clive Coward, head of Tate’s picture library, Tate Images.
Publisher: Tate Publishing
Size: 285 x 285 mm
120 pages, 150 duotone illustrations
In his new book Berlin Noir, Miron Zownir documents the timeless urban melancholy and the wild life of Berlin in all its facets thanks to urban landscapes and portraits. At the same time, the publication is a retrospective of Zownir's photographs, which were created between 1978 and 2016.
In 1978, Berlin was more than ever the mecca of nonconformists and artists. An urban oasis of the unsuitable, which promised unrestricted development. A city that has always hovered over the magic of transformation, then as now. Zownir's works from West Berlin, which has been littered with death, drastically documents the rebellious world pain of the punks, the social lack of perspective of dropouts, drug addicts, casual workers or the homeless. His recent works, however, show examples of the "Anything goes" in the Berlin clubs, the celebrated body cult of the Love Parade or commercial sex events, which in turn testify to a seemingly boundless freedom. But here, too, the gloomy abstraction of the black and white breaks the surface and reveals the rushing escape into pleasure and pain, solitude in the mass, a depressing premonition of the "morning after". One thing, however, seems to have remained the same: Berlin is still the longing destination for freaks and slender birds of paradise from all over the world. From the very beginning Zownir gave this extraordinary human being and their "otherness" his attention. Also a number of Berlin originals such as Bruno S., the thickest whore of Germany, Molly Luft, Ben Becker or Iris Berben find their appearance in BERLIN NOIR. His portraits do not remain silent. They are relentlessly expressive and emotional and create a force field in which the individuals become visible with their cultivated passions, in everyday situations, exceptional circumstances or even at the abyss.
Size: 305 x 245 mm
Mike Mandel grew up in the San Fernando Valley, and as an kid in the 1950s could walk just about everywhere he needed to go: to school, or later down the street to the open field to collect rocks or catch lizards. All of his friends lived on his block, so he didn’t think too much about the time he spent in cars. But by the time he reached twenty in 1970, he realised how large a role the car would play in his life, and so began to photograph the inhabitants of 1970s California in their cars.
"On a late afternoon with the light low in the west I’d regularly find my spot on the corner of Victory Blvd. and Coldwater Canyon Ave. in Van Nuys (ironically, so close to home I could easily walk there). It was a busy intersection with a wealth of cars pulling my way to make a right turn. I was using a 28mm wide angle lens on my 35mm camera, which meant that I had to get in pretty close to the window to get my shot, and when I did there would inevitably be a reaction: surprise, amusement, and on some few occasions, annoyance."
"In contrast to how this project might play out today, it seemed then that people enjoyed being recognised by the camera and readily participated in the playfulness of the moment. It was warm outside, the car windows were open. It was the window that framed and instilled these portraits with the language of the automobile environment." - Mike Mandel
Publisher: Stanley / Barker
Size: 210 x 297 mm
72 pages, black/white illustrated throughout
No other photographer has caught the sensations, scandals and catastrophes of the 1930s and 1940s in New York City with his camera as captivatingly as Weegee. He was always directly on the spot when it happened and documented the events and the onlookers. All the works come from the N.E.A. agency archive, which was only rediscovered in 2012; most of the vintage prints are being published for the very first time in this volume.
Weegee (1899–1968) was the first photographer to receive official permission in 1938 to listen in live to the New York police radio. From then onwards he sometimes even arrived at the trouble spot before the police and took countless photographs. From the hardened police officer to the loud-mouthed crook; from the midnight boozer to the dancing jazz musician; from a dramatic conflagration to the celebrations at the end of the Second World War: Weegee immortalised all these moments in unforgettable pictures. The volume also shows a hitherto unknown side of the famous photographer – happy people enjoying themselves. The works are complemented by the exciting story of the rediscovery of the archive, which was missing for decades.
Publisher: Hirmer Verlag
Size: 300 x 240 mm
336 pages, 361 illustrations
This celebration of contemporary street photography—in all its edgy, strange, beautiful, haunting, colourful, and humorous glory—brings together the work of a new generation of talented artists.
Over the past few decades, the long tradition of street photography has been wholly transformed by the proliferation of digital cameras, the Internet, and smartphones. A new generation of photographers have embraced this modern technology to capture the world around us in a way that is un-staged, of-the-moment, and real. Exploring this rich seam of emergent and exciting street photography, the 100 photographs featured in this book—the majority of which are previously unpublished and taken in the last few years—are presented on double-page spreads along with commentary about the work and its creator. Curated by David Gibson, a street photographer and expert in the genre, this stunning book offers a truly global collection of images. Gibson’s insightful introduction gives an insider’s overview of street photography, illuminating its historic importance and its renaissance in the digital age.
Size: 230 x 250 mm
208 pages, 100 colour illustrations
Publishing Sept 2017 - advance ordering recommended as only 50 copies available worldwide.
This stunning limited edition of 50 copies includes a print numbered and signed by Martin Parr. The image is entitled Gourock Lido, 2004 , and features the Gourock Outdoor Pool, which is a salt water public lido in Gourock, Renfrewshire, Scotland. It is the oldest heated swimming pool in Scotland. Ian Galt, the swimmer in the print of Gourock lido says about Martin Parr’s photograph: “It must have been a particularly wild night – there’d obviously just been a rainstorm. The colours work beautifully – that grey against that aquamarine – and the photograph captures something of our Scottish eccentricity: the storm clouds and the rain, and the eccentric local who decided to go swimming when no one else would.”
For over 25 years Martin Parr has been taking photographs in Scotland. From the streets of Glasgow, to an island agricultural show in Orkney, Parr has built a huge archive of photographs. This body of work is Parr’s largest archive that has remained unpublished and weaves together some of the expected visual iconography of Scotland such as highland games and stunning landscapes, but all given the Parr twist that makes the expected look so unfamiliar.
"Being an exile insists that you must build your life from scratch. You are given this opportunity." Josef Koudelka
Eternal wanderer, Josef Koudelka has traveled through Europe and the world since his exile from Czechoslovakia in 1970 and for over 20 years going to fairs, carnivals and pilgrimages.
La Fabrique d'Exils presents for the first time, Koudelka's own image associations of the series along with unpublished photographs including several self-portraits. A text by Michel Frizot, resulting of hours of interviews with the photographer, with many archival documents, shed light on the positions, commitments and lifestyle that led to the iconic series.
Publisher: Éditions Xavier Barral (Co-published with Éditions du Centre Pompidou)
Size: 240 x 300 mm
160 pages, 90 black & white photographs, 50 archival documents
This classic color series by legendary Magnum photographer George Rodger introduced the Western world to the Nuba peoples of Sudan.
In 1949 the photographer and co-founder of Magnum Photos, George Rodger, learned of the Nuba tribe while traveling in the Kordofan region of the Sudan. Remarkably, he was granted permission by the Sudanese government to take pictures of these striking people, who lived as their ancestors had centuries before. After publication in National Geographic magazine, these pictures—as well as Rodger’s fascinating journal entries from the shoot—have not been available to the wider public. Now, Rodger’s rare softly colored Kodachrome images are gathered in a sumptuous volume, and introduced in an essay by photographer Chris Steele-Perkins. Beautifully reproduced, Rodger’s photographs emphasize the muted colors of the Sudanese landscape as well as the Nuba’s penchant for vivid body paint, clothing, and jewelry. They are a superb example of early color photography, and a stunning celebration of a little-known tribe that lives in one of the world’s harshest environments.
Size: 240 x 280 mm
112 pages, 45 color illustrations
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
This career-spanning collection of both iconic and rarely seen images celebrates the work of Pulitzer Prize–winning photojournalist Eddie Adams, whose potent visual storytelling ran the gamut from the horrors of war to the lives of the famous and powerful.
Best-known for Saigon Execution, his Pulitzer Prize–winning photograph that forever shaped how the world views the horrors of war, Eddie Adams was a renowned American photojournalist who won more than five hundred awards, including the George Polk Award for News Photography three times and the Robert Capa Gold Medal. During his fifty-year career, he worked as a staff photographer for the Associated Press, Time, and Parade, and his photos appeared on more than 350 magazine covers. Adams is also famous and deeply respected for founding the Eddie Adams Workshop, an intensive photography seminar whose graduates include twelve Pulitzer Prize–winners and many others who have achieved illustrious careers in journalism, commercial photography, and media.
Eddie Adams presents a career-spanning selection of the photographer’s finest work from the 1950s through the early 2000s, drawn from the Eddie Adams Photographic Archive at the Dolph Briscoe Center for American History at the University of Texas at Austin. In addition to his much-praised Vietnam War photography, the book includes images that uncannily reflect world and domestic issues of today, including immigration, conflict in the Middle East, and the refugee crisis. All of them attest to Adams’s overwhelming desire to tell people’s stories. As he once observed, “I actually become the person I am taking a picture of. If you are starving, I am starving, too.” Accompanying the images are an essay by internationally acclaimed photography curator Anne Wilkes Tucker, a personal remembrance by Adams’s widow Alyssa Adams, a foreword by Briscoe Center director Don Carleton, who provides a concise history of Adams’s career, and a timeline.
Publisher: Texas University Press
Size: 9.5 x 10.5"
53 color photographs, 198 black & white photographs
The venue of his first photographs, Tibet holds a particular place in Chinese artist Gao Bo’s work. This monograph gathers for the first time his entire body of work on Tibet taken over five journeys between 1985 and 1995, immortalizing the ancient rites of buddhist monks and the spiritually-infused everyday life in a spectacular landscape between earth and sky.
Ten years after these images were taken, the artist went back to these photographs and reworked them by using his blood as ink in an automatical calligraphy he refers to as "language of the soul". With this process, Gao Bo highlights the limits of language and strives to overcome the incommunicability of his experience in Tibet. For him, it is less of a sacrifice than an offering.
Publisher: Editions Xavier Barral
Size: 170 x 233 mm
304 pages, 346 black & white photographs
Mistakenly listed in a newsletter as signed but they're not - sorry. Great book though!
Fyodor Telkov is a young Russian photographer whose 36 Views has recently won the first Fotocanal Photography Book Competition. The views in question are of two giant mountains of waste on the outskirts of the copper-mining town of Degtyarsk. These black-and-white images of a bleak landscape are possessed of a chilly beauty.
36 views goes back to the renowned series of prints of the Japanese artist Katsushika Hokusai: 36 views of Mount Fuji. Telkov has captured thirty-six images of the small mining town of Degtyarsk, in the Russian región of Sverdlovsk, at each end of which we find two huge waste heaps. The two mountains of dead rock are visible from all angles, an environmental catastrophe that is the daily horizon for the inhabitants of Degtyarsk. The city grew with copper mining – an activity that left its mark on the landscape – and its consequences.
This Project is the winner of the First Fotocanal Photography Book Competition, organized by the Comunidad de Madrid and Ediciones Anómalas.
Fyodor Telkov (Russia, 1986) is member of the Union of Photo Artists of Russia and lives and Works in Ekaterinburg. He has participated in numerous exhibitions including Photo Biennial Foto Fest 12 (Houston, USA, 2012) Festival di Cortona (Cortona, Italy, 2013), Pingyao International Photography Festival (Pingyao, China, 2013), Young Photo 1/2” See (Sant Petersburg, Russia, 2013) among others.
Publisher: Ediciones Anómalas
Size: 320 x 215 mm
A classic photobook. Paul Strand's Tir a'Mhurain is usually subtitled 'The Outer Hebrides of Scotland' though most of images are of one island, South Uist, where Strand stayed for three months in the early 1960s. The book perfectly sequences black-and-white landscapes and portraits of the islanders. This new edition by Edinburgh publishers Birlinn is the first edition since Aperture's of 2005. It was part of a loose trilogy of Strand projects on rural communities in Europe (the others being in France and Italy).
'Paul Strand is one of those photographers who have established not just a body of work but a way of seeing. His prints encourage the eye to take an apparently endless journey' – The Times Literary Supplement
Tir a’Mhurain is a collection of photographs that reflects the impressions gathered by Paul Strand and his wife Hazel during their 3-month visit to the Hebrides in 1945. Juxtaposing people and landscape, Strand’s beautifully sequenced photographs depict the perfect complicity he saw between nature and habitation in their wild terrain. Whether it is a view of the rocks and the sea or a grinning shepherd boy; scuddling clouds hanging over seaside house or the wrinkled face of an old lady framed by a knitted shawl, Strand’s images transcend the ephemeral. This extended portrait captures the essence and complexity of a singular place. This is a true masterpiece of photography.
Peter Mitchell’s groundbreaking show was first presented at the Impressions Gallery of Photography York in November 1979, and more recently at Arles. Now, only 38 years overdue, it will be published as a book for the first time.
In the mid-seventies, the Viking Landers were the first to land on planet Mars. Though the alien landscape was magnificent, there were no canals or skeletons or wind-blown ruined dwellings. Today, not a single trace remains of Viking Landers 3 and 4. But myth (and conspiracy theories) have it that an alien survey was commissioned of planet Earth.
Peter Mitchell’s A New Refutation of the Viking 4 Space Mission features photos and portraits, taken in Leeds in the 1970s. The pictures show the traditional urban landscape presented on a background of space charts, the concept being that an alien has landed from Mars and is wandering around Leeds with a degree of surprise and puzzlement.
In the Earthly vernacular these photographs are of Nowheresville. Yet, for some people, they are the centre of the universe. Usually they call it Home.
“The full charm of Mitchell’s work is embodied in images of shops and factories with owners or work force standing proudly in front of their businesses. Quite why our alien visitors to Leeds never stayed, we’ll never know.” Martin Parr
With an essay by Val Williams
Publisher: RRB Photobooks
Size: 240 x 240 mm
The Warzone Collective began in 1984 in Belfast, Northern Ireland, when a few local punks decided to consolidate their efforts and find their own venue, practice, and social space. In 1986, the Collective opened Giros, its first premises in Belfast, which contained a vegetarian cafe, practice space, and screen printing facilities. It soon became a focal point for anarchists and punks.
In 1991 the Collective moved Giros to a larger and more ambitious venue, the spot where all of the photographs in this book were taken. Over the years, thousands of people passed through Giros’ doors. A strong D.I.Y. ethic defined the way gigs and events were organized. It didn’t have an alcohol license, and it was an all ages venue. The Warzone Centre, or The Centre as it was called by some, became the countercultural hub for the greater Belfast area and beyond. Bands from all over the world played there, and it was famous for being one of the best in Europe for D.I.Y. punk.
The photographs in this book were taken between 1997 and 2003. Toward the end of 2003, the Centre closed, leaving a huge gap in radical Belfast culture. It reopened in 2011, in a different venue on the opposite side of town and is still going strong today.
85 pages, 176 illustrations
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
An extraordinary record of great photographs being captured, edited and made, reissued to mark Magnum’s 70th anniversary
This exceptional book, published here in an accessibly priced paperback format, comes out just as the shift to digital photography threatens to render the contact sheet obsolete. It celebrates the contact sheet as a fascinating way of accompanying great photographers as they work towards, and capture, the most enduring images of our time.
139 contact sheets, representing 69 photographers, are featured, as well as zoom-in details, selected photographs, press cards, notebooks and spreads from contemporary publications, including Life magazine and Picture Post.
Further insight is provided by texts written by the photographers themselves or by experts chosen by members’ estates. It includes many greats of photography, among them Henri Cartier- Bresson, Elliott Erwitt and Inge Morath, as well as Magnum’s latest generation, such as Jonas Bendiksen, Alessandra Sanguinetti and Alec Soth. These photographers cover over 70 years of history, from the D-Day landings by Robert Capa and the Paris riots of 1968 by Bruno Barbey to images of Che Guevara by René Burri, Malcolm X by Eve Arnold and classic New Yorkers by Bruce Gilden.
Publisher: Thames & Hudson
Size: 293 x 240 mm
524 pages, 446 illustrations
Over the last two years John Comino-James has photographed demonstrations across many parts of the UK – from those associated with the 2015 General Election right through to the 2016 EU Referendum.
In his new book, Shout It Loud, Shout It Clear, he shows the astonishing breadth of causes that are embraced by protestors including climate change, the replacement of Trident, the refugee crisis, the government’s austerity policies, the ongoing detention of prisoners at Guantanamo Bay, Israeli policy towards the Palestinian people, the Chinese repressions in Tibet, Saving the Bee, or Fracking. The list seems endless and whether the protest involves small groups of campaigners or marches numbering tens of thousands, the anger and indignation of the protesters brings passion and commitment to the streets of the UK. Yet all too often many of these protests pass unremarked in the mainstream media.
We may pride ourselves that it is the mark of a civilized community that it can accommodate protests and demonstrations, but, as Comino-James suggests, we must never forget that there are societies in which any form of protest carries the certainty of draconian penalties. We must also remember that while the protests on our streets may be permitted – even facilitated – they are also closely monitored by the authorities. There is no room for us to be complacent.
Accompanying the photographs are reflective texts which explore the nature of these protests. Quoting from the banners and placards carried by protesters, Comino-James weaves together a powerful and deeply moving commentary on what is an important, though often overlooked, backdrop to our democracy.
Publisher: Dewi Lewis
Size: 298 x 220 mm
168 pages, 95 duotone plates
In Terra Nostra, Sicilian born photographer Mimi Mollica explores the effects of the Mafia on his homeland. He document the scars inflicted by Cosa nostra on both the physical and social landscape of the island as a result of a system strongly rooted in both fear and corruption.
Mollica began shooting Terra Nostra in 2009. For him the biggest challenge was to convey the legacy that Cosa nostra has imposed both on the Sicilian people and on the land itself, with its coastline blighted by illegal speculative building. Here is a system based on extortion and the corruption of public office, and an unsustainable economy overseen by the capitalist monopoly of the crime families. For Mollica there is an overwhelming sense of claustrophobia, and a lack of freedom that seems to permeate every aspect of Sicilian life.
Terra Nostra is introduced by the respected Sicilian judge, Roberto Scarpinato who, since 1989, has been involved in some of the most important trials against the Mafia. He has been under police protection for over twenty years.
Sean O’Hagan, photography critic at The Guardian and The Observer, also contributes an insightful text which looks at the context of Mollica’s work.
Introduction by Roberto Scarpinato
Afterword by Sean O'Hagan
Publisher: Dewi Lewis
Size: 235 x 170 mm
'Dzhangal' a new book by photographer Gideon Mendel provides an alternative portrait of residents of the Jungle refugee camp in Calais, France, by presenting a series of photographs of discarded items such as toothbrushes, playing cards, worn-out trainers, teargas canisters and children’s dolls. The book coincides with an exhibition of large-scale photographs from the series together with an installation of the found objects, on display at Autograph ABP, London, from 6 January – 11 February 2017.
Between May and October 2016 Mendel traveled to Calais several times, tasked to teach photography to refugees as part of a collaborative documentary project. He discovered, however, that many of the camp’s residents were hostile towards the camera; fearing identification could undermine their asylum claims and lead to deportation. They were skeptical that photography would help their situation and Mendel came to share their reservations, feeling that excessive photographic coverage was potentially more exploitative than helpful. Despite being a photographer over 30 years, he began to question whether photography was failing in the face of the enormity of the refugee crisis, reinforcing stereotypes about refugees and further stigmatising them.
His response was to turn his attention to lost objects on the ground to evoke the residents’ humanity through what was discarded. From the social disorder he derived structure by performing a type of contemporary ethno-archaeology. Some objects evidenced the daily violence many experienced; others reflected the banality and domesticity of life at the camp, including the plight of women and children. Visible ingrained dirt and ashes allow the viewer to sense the refugees’ struggle to live ordinary lives under the most extraordinary circumstances.
Mendel’s alternative portraits of the Jungle residents are representative of the plight of displaced people across the globe. He has titled the project ‘Dzhangal’, a Pashto word meaning ‘This is the forest’, the origin of the contentious term the ‘Jungle’.
The book will include over 40 photographs with writing by residents of the Jungle camp – community organiser 'Africa', student and writer Babak Inaloo, artist 'Mani', and teacher Shaheen Ahmed Wali – as well as texts by author and broadcaster Paul Mason and art historian Dominique Malaquais.
Size: 225 x 280 mm