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Picture of Belfast Punk. Warzone Centre 1997-2003

Publisher's Description

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.

Publisher: Damiani

85 pages, 176 illustrations

Ricky Adam
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.
£27.00

Picture of Magnum Contact Sheets

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

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


An extraordinary record of great photographs being captured, edited and made, reissued to mark Magnum’s 70th anniversary
£26.96

Picture of Shout It Loud, Shout It Clear

Publisher's Description

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

John Comino-James
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.
£22.50

Picture of  Terra Nostra (Signed)

Publisher's Description

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

128 pages

Mimi Mollica
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.
£35.00

Picture of Dzhangal

Publisher's Description

'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.

Publisher: GOST

Size: 225 x 280 mm

80 pages

ISBN 978-1-910401-15-6

Gideon Mendel
'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
£25.00

Picture of Harrodsburg (unsigned)

Glasgow-born, London-based Dougie Wallace has had a rapid rise to prominence as a street photographer. His Stags, Hens and Bunnies revelled in the riotous nightlife of Blackpool. Shoreditch Wild Life did much the same for East London – stupidly I didn’t keep a collector’s edition for myself when they were affordable. Now Harrodsburg comes up close – often very close – to the super-rich shoppers of London’s famous department store. The grotesque caricatures bring to mind the great US street photographers Jeff Mermelstein and Bruce Gilden. Wallace’s Harrodsburg is the subject of a BBC documentary to be broadcast in March 2017.

Publisher's Description

In Harrodsburg, Dougie Wallace looks at the excessive wealth and consumerism that can be found around the Knightsbridge area close to the world famous department store, Harrods.

From the mid-1970s onwards, Gulf millionaires began coming to the area. They were later joined by the Oligarchs and the Hedgies, in a phenomenon that now involves all the various tribes of the global super-rich buying up London properties as if they were assets to appreciate in value rather than homes in which to live.

The work is a powerful, timely and stark exposé of the emergence of this ultra-affluent elite who are changing the face of the city, pricing out not just ordinary people but even the upper middle class natives of Central London, and marginalising old wealth from their time-honoured habitats. Employing his trademark wit and keen eye for the absurd, Wallace has produced an uncompromising and revealing series of pictures which draw attention to the excesses of the super rich in powerful and direct detail.

Harrodsburg is introduced by cultural commentator Peter York, perhaps best known for his best-selling 1970’s classic The Official Sloane Ranger Handbook. Most recently, in November 2016 he presented Peter York's Hipster Handbook on BBC4.

In less than three years Dougie Wallace has become recognised as one of UK’s leading photographers. He has published three successful books, Stags, Hens & Bunnies and Road Wallah (Dewi Lewis) and Shoreditch Wildlife (Hoxton Minipress) and has featured in major exhibitions in Europe, the United States and India. He continues to attract considerable press and media attention and his photographs feature regularly in leading international publications such as The Sunday Times Magazine.

In March 2017 BBC4 TV will screen a 30 minute documentary about Dougie Wallace, which focuses primarily on the Harrodsburg work and is part of the series ‘What Artists Do All Day’. The programme follows Dougie on the streets of Knightsbridge as he completes the photographs for the book.

Signed copies also available late February 2017

Publisher: Dewi Lewis

Size: 300 x 220 mm

96 pages

Dougie Wallace
In Harrodsburg, Dougie Wallace looks at the excessive wealth and consumerism that can be found around the Knightsbridge area close to the world famous department store, Harrods.
£27.00

Picture of Incoming (Signed)

In Infra and The Enclave, Irish photographer Richard Mosse used innovative techniques to depict the ongoing conflict in the Democratic Republic of Congo. This resulted in his being awarded the Deutsche Borse Photography Prize at the age of only 34. Now he has created a major video work on the subject of migration.

Publisher's Description

The major humanitarian and political issue of our time is migration and with his latest video work, Irish artist Richard Mosse has created a searing, haunting and unique artwork. Projected across three 8 meter wide screens, the film is accompanied by a loud dissonant soundtrack to create an overwhelming, immersive experience. Moving from footage of a live battle inside Syria, in which a US aircraft strafes Daesh positions on the ground, to a scene showing pathologists extracting DNA from the bones of unidentified corpses of refugees drowned off the Aegean island of Leros, the film opens a testimonial space of historical document – bearing witness to significant chapters in recent events – mediated through an advanced weapons-grade camera technology. Narratives of the journeys made by refugees and migrants across the Middle East, North Africa, and Europe, are captured using an extremely powerful thermal camera not generally available to the public. This super-telephoto military camera can perceive the human body beyond 50km day or night, reading the biological trace of human life. The camera translates the world into a heat signature of apparent temperature difference, producing a dazzling monochrome halo-image which alludes literally and metaphorically to hypothermia, climate change, weapons targeting, border surveillance, xenophobia, and the ‘bare life’ of stateless people.

The book version recreates the immersive nature of the film, combining still images from the entire sequence over nearly 600 pages to represent the harsh and compelling narrative in a full bleed layout.

Incoming was made in collaboration with cinematographer Trevor Tweeten and composer Ben Frost and was co-commissioned by Barbican Gallery and National Gallery of Victoria, Melbourne. The book is published alongside an installation of Mosse’s 3-screen video work in the Curve Gallery of the Barbican Art Gallery. 

Richard Mosse was born in 1980 in Ireland. He earned an MFA in Photography from Yale University, a PG Dip in Fine Art from Goldsmiths, London, an MRes in Cultural Studies from the London Consortium, and a first class BA in English Literature from King’s College London. Mosse represented Ireland at the 55th Venice Biennale with The Enclave, for which he was awarded the Deutsche Borse Photography Prize (2014). He is also a recipient of a Guggenheim Fellowship, a Leonore Annenberg Fellowship, the B3 Award from the Frankfurt Biennale, Yale’s Poynter Fellowship in Journalism, an ECAS Commission, a Pulitzer Center on Crisis Reporting publication grant, the Perspective Award, a Visual Arts Bursary from the Irish Arts Council, a Culture Ireland facilitation grant, the Künstlerhaus Bethanien Residency, and a residency at the International Artists Workshop in Ramallah. A body of works related to the video piece and titled Heat Maps has been shortlisted for the 2017 Prix Pictet. Mosse has exhibited widely. The list of museums that have shown his work include Louisiana Museum of Contemporary Art, the Nasher Museum, MIT, MCA, MoCP, Montreal Museum of Fine arts, Irish Museum of Modern Art, Portland Art Museum, Kunsthalle Munich, Nelson Atkins Museum of Art, Palazzo Strozzi, Reykjavik Art Museum, Bass Museum, the Kemper, FOAM, the Photographers Gallery, Akademie der Künst Berlin, National Gallery of Victoria, and the University of New South Wales. He lives in New York City.

OTA-bound paperback with metallic silkscreen cover image and black painted edges.

Metallic tritone printing throughout.

Texts by Giorgio Agamben and Richard Mosse.

576 pages, 280 tritone plates

17.5 cm x 19.7 cm             

Richard Mosse

In Infra and The Enclave, Irish photographer Richard Mosse used innovative techniques to depict the ongoing conflict in the Democratic Republic of Congo. This resulted in his being awarded the Deutsche Borse Photography Prize at the age of only 34. Now he has created a major video work on the subject of migration.

Publisher's Description

The major humanitarian and political issue of our time is migration and with his latest video work, Irish artist Richard Mosse has created a searing, haunting and unique artwork. Projected across three 8 meter wide screens, the film is accompanied by a loud dissonant soundtrack to create an overwhelming, immersive experience. Moving from footage of a live battle inside Syria, in which a US aircraft strafes Daesh positions on the ground, to a scene showing pathologists extracting DNA from the bones of unidentified corpses of refugees drowned off the Aegean island of Leros, the film opens a testimonial space of historical document – bearing witness to significant chapters in recent events – mediated through an advanced weapons-grade camera technology. Narratives of the journeys made by refugees and migrants across the Middle East, North Africa, and Europe, are captured using an extremely powerful thermal camera not generally available to the public. This super-telephoto military camera can perceive the human body beyond 50km day or night, reading the biological trace of human life. The camera translates the world into a heat signature of apparent temperature difference, producing a dazzling monochrome halo-image which alludes literally and metaphorically to hypothermia, climate change, weapons targeting, border surveillance, xenophobia, and the ‘bare life’ of stateless people.

The book version recreates the immersive nature of the film, combining still images from the entire sequence over nearly 600 pages to represent the harsh and compelling narrative in a full bleed layout.

Incoming was made in collaboration with cinematographer Trevor Tweeten and composer Ben Frost and was co-commissioned by Barbican Gallery and National Gallery of Victoria, Melbourne. The book is published alongside an installation of Mosse’s 3-screen video work in the Curve Gallery of the Barbican Art Gallery. 

Richard Mosse was born in 1980 in Ireland. He earned an MFA in Photography from Yale University, a PG Dip in Fine Art from Goldsmiths, London, an MRes in Cultural Studies from the London Consortium, and a first class BA in English Literature from King’s College London. Mosse represented Ireland at the 55th Venice Biennale with The Enclave, for which he was awarded the Deutsche Borse Photography Prize (2014). He is also a recipient of a Guggenheim Fellowship, a Leonore Annenberg Fellowship, the B3 Award from the Frankfurt Biennale, Yale’s Poynter Fellowship in Journalism, an ECAS Commission, a Pulitzer Center on Crisis Reporting publication grant, the Perspective Award, a Visual Arts Bursary from the Irish Arts Council, a Culture Ireland facilitation grant, the Künstlerhaus Bethanien Residency, and a residency at the International Artists Workshop in Ramallah. A body of works related to the video piece and titled Heat Maps has been shortlisted for the 2017 Prix Pictet. Mosse has exhibited widely. The list of museums that have shown his work include Louisiana Museum of Contemporary Art, the Nasher Museum, MIT, MCA, MoCP, Montreal Museum of Fine arts, Irish Museum of Modern Art, Portland Art Museum, Kunsthalle Munich, Nelson Atkins Museum of Art, Palazzo Strozzi, Reykjavik Art Museum, Bass Museum, the Kemper, FOAM, the Photographers Gallery, Akademie der Künst Berlin, National Gallery of Victoria, and the University of New South Wales. He lives in New York City.

OTA-bound paperback with metallic silkscreen cover image and black painted edges.

Metallic tritone printing throughout.

Texts by Giorgio Agamben and Richard Mosse.

576 pages, 280 tritone plates

17.5 cm x 19.7 cm             

£35.00

Picture of Valparaiso

Publisher's Description

Chilean photographer Sergio Larrain (1931–2012) published very few books during his lifetime, but perhaps the most fêted among them was Valparaíso. He photographed this Chilean seaport throughout his career, but it was in the early 1960s, when he returned to his homeland after travelling the world for many years as a Magnum photographer, that it became a focus for his attention. He saw it as ‘a rather sordid yet romantic city’, standing between the Andes and the Pacific Ocean, falling into a slow decline as its trading importance faded away, yet still retaining hints of beauty and magic.

Now published in English for the first time with an introduction by Agnès Sire as well as a specially written text by Nobel laureate Pablo Neruda, this new edition of Valparaíso is based on a layout that Larrain designed in 1993, in response to the original French edition of 1991. It also includes a selection of previously unpublished photographs taken between 1952 and 1992, expanding the original 36 images to a total of 120.

This intimate book features handwritten notes and texts by the artist himself, allowing us to share his singular vision of the world and its moments of grace.

Sample images

Publisher: Thames & Hudson

Size: 235 x 165 mm

210 pages, illustrated in black and white throughout

Sergio Larrain
The first publication in English of Sergio Larrain’s much-prized book Valparaíso
£36.00

Picture of Passport

The photos in Passport show the very shabby interiors of many of the Ukrainian homes of vulnerable people forced to meet a deadline for new passport photos. Some commentators have viewed these images as exploitative or voyeuristic but I find them very tender and empathic.

Publisher's Dsecription

After the collapse of the Soviet Union, it became necessary in the newly independent Ukraine to replace the old Soviet passports with new Ukrainian ones. There was a rush to accomplish this, with all Ukrainians being required to get a new passport within a year. In 1994-1995, in Luhansk in southeast Ukraine, social services began employing photographers to take passport photos in the homes of those who were elderly or ill, and could not themselves afford to pay a photographer. Alexander Chekmenev was one of the photographers commissioned for this extraordinary task.

Witnessing how people were living out their final years made a very strong impression on him. One day he took nearly 60 portraits, mainly of elderly people. The very next day, he was shocked to discover that one of the men he had photographed had died. In one house he discovered an old woman who had a coffin prepared for herself. She lived in one room, with the coffin in the other. He also came across a 92-year-old man who had made similar arrangements, acquiring a coffin, and waiting for his death. He had placed it in his shed and whenever he finished off a bottle of vodka, he would put the empty bottle into the coffin. When it was full, he passed the coffin on to somebody else saying that it was a sign that his time had not yet come. When they came to take his photo, the old man sat at a table with his nephew, a bottle of vodka and two full shot glasses standing in front of them.

Chekmenev also took photos of people who were mentally confused. They did not know what was going on, why they were being seated, or why he was taking pictures of them. One person, unable to move, had to be lifted from his bed. Two social workers held him in an upright position, whilst two others held the backdrop. Evidently, he too needed a new passport.

Born in Eastern Ukraine, Alexander Chekmenev’s early work focused on people affected by the collapse of the Soviet Union. His is an intimate and unique insider view of the painful transition of what was once a major coal mining region. In 1997, he moved to Kiev, where he currently works as photojournalist. He has been published in magazines worldwide and has exhibited widely in Europe including shows at Side Gallery, Newcastle, and Third Floor Gallery, Cardiff. His first USA show was shown recently at Blue Sky Gallery, Portland.

Publisher: Dewi Lewis

Size: 225 x 300 mm 

156 pages, 74 colour plates
ISBN: 9781911306061

Alexander Chekmenev
After the collapse of the Soviet Union, it became necessary in the newly independent Ukraine to replace the old Soviet passports with new Ukrainian ones. There was a rush to accomplish this, with all Ukrainians being required to get a new passport within a year. In 1994-1995, in Luhansk in southeast Ukraine, social services began employing photographers to take passport photos in the homes of those who were elderly or ill, and could not themselves afford to pay a photographer. Alexander Chekmenev was one of the photographers commissioned for this extraordinary task.
£31.50

Picture of Harrodsburg (Signed)

Sold out but expecting more signed copies in February.

Publisher's Description

In Harrodsburg, Dougie Wallace looks at the excessive wealth and consumerism that can be found around the Knightsbridge area close to the world famous department store, Harrods.

From the mid-1970s onwards, Gulf millionaires began coming to the area. They were later joined by the Oligarchs and the Hedgies, in a phenomenon that now involves all the various tribes of the global super-rich buying up London properties as if they were assets to appreciate in value rather than homes in which to live.

The work is a powerful, timely and stark exposé of the emergence of this ultra-affluent elite who are changing the face of the city, pricing out not just ordinary people but even the upper middle class natives of Central London, and marginalising old wealth from their time-honoured habitats. Employing his trademark wit and keen eye for the absurd, Wallace has produced an uncompromising and revealing series of pictures which draw attention to the excesses of the super rich in powerful and direct detail.

Harrodsburg is introduced by cultural commentator Peter York, perhaps best known for his best-selling 1970’s classic The Official Sloane Ranger Handbook. Most recently, in November 2016 he presented Peter York's Hipster Handbook on BBC4.

In less than three years Dougie Wallace has become recognised as one of UK’s leading photographers. He has published three successful books, Stags, Hens & Bunnies and Road Wallah (Dewi Lewis) and Shoreditch Wildlife (Hoxton Minipress) and has featured in major exhibitions in Europe, the United States and India. He continues to attract considerable press and media attention and his photographs feature regularly in leading international publications such as The Sunday Times Magazine.

In March 2017 BBC4 TV will screen a 30 minute documentary about Dougie Wallace, which focuses primarily on the Harrodsburg work and is part of the series ‘What Artists Do All Day’. The programme follows Dougie on the streets of Knightsbridge as he completes the photographs for the book.

Publisher: Dewi Lewis

Size: 300 x 220 mm

96 pages

Dougie Wallace
Sold out but expecting more signed copies in February. In Harrodsburg, Dougie Wallace looks at the excessive wealth and consumerism that can be found around the Knightsbridge area close to the world famous department store, Harrods.
£30.00

Picture of Believing Is Seeing: Observations on the Mysteries of Photography

Publisher's Description

Academy Award–winning director Errol Morris turns his eye to the nature of truth in photography.

In his inimitable style, Errol Morris untangles the mysteries behind an eclectic range of documentary photographs. With his keen sense of irony, skepticism, and humor, Morris shows how photographs can obscure as much as they reveal, and how what we see is often determined by our beliefs. Each essay in this book is part detective story, part philosophical meditation, presenting readers with a conundrum, and investigates the relationship between photographs and the real world they supposedly record. Believing Is Seeing is a highly original exploration of photography and perception, from one of America’s most provocative observers.

Publisher: Penguin Books

Size: 7 1/4 x 9 1/8"

336 pages

Errol Morris
Was $50 > Now £6.99 Academy Award–winning director Errol Morris turns his eye to the nature of truth in photography.
£6.99

Picture of At Mirrored River

Publisher's Description

The project titled At Mirrored River was inspired by the Gaelic word Teannalach (pron. “chann-ah-lack”). Teannalach is a Gaelic word used in the West of Ireland which means awareness. In particular, it is awareness of that which is intangible and hushed; of being aware of the quietness and presence of people and the spaces they inhabit. With this in mind, l sought to capture the teannalach of stories and dreams within a singular town.

The project is entirely made in an ordinary small industrial town although it is not a literal documentation about the town. The chosen space is deliberately reflective of other similar industrial towns across the world.

It was important for me to construct an unrecognizable geographical picture of a town which didn’t have recognizable iconic images, to avoid the obvious. I wanted to look at the ordinary every day spaces we inhabit and our ordinary daily lives because for me, the ordinary is where all the of the universal beauty, magic and possibilities lye. As the late influential writer John McGahern said, “ the ordinary is the most precious thing in life”.

In focusing the work and containing the project within one town and it’s inhabited spaces, my personal challenge was to find the light and the beauty in the ordinary, the hope and the optimism where others might only initially see the mundane and the routine.

As the project unfolded, it became less about the location of the project and more about mapping the feelings contained within the town. At Mirrored River is about the awareness of who we are, the questions we ask and the dreams we project. It is about the teannalach of a place.

Printed in an edition of 800

Publisher: Blue Swallow

Size: 8¾ x 10¾"

64 pages

Enda Bowe

Publisher's Description

The project titled At Mirrored River was inspired by the Gaelic word Teannalach (pron. “chann-ah-lack”). Teannalach is a Gaelic word used in the West of Ireland which means awareness. In particular, it is awareness of that which is intangible and hushed; of being aware of the quietness and presence of people and the spaces they inhabit. With this in mind, l sought to capture the teannalach of stories and dreams within a singular town.

The project is entirely made in an ordinary small industrial town although it is not a literal documentation about the town. The chosen space is deliberately reflective of other similar industrial towns across the world.

It was important for me to construct an unrecognizable geographical picture of a town which didn’t have recognizable iconic images, to avoid the obvious. I wanted to look at the ordinary every day spaces we inhabit and our ordinary daily lives because for me, the ordinary is where all the of the universal beauty, magic and possibilities lye. As the late influential writer John McGahern said, “ the ordinary is the most precious thing in life”.

In focusing the work and containing the project within one town and it’s inhabited spaces, my personal challenge was to find the light and the beauty in the ordinary, the hope and the optimism where others might only initially see the mundane and the routine.

As the project unfolded, it became less about the location of the project and more about mapping the feelings contained within the town. At Mirrored River is about the awareness of who we are, the questions we ask and the dreams we project. It is about the teannalach of a place.

Printed in an edition of 800

Publisher: Blue Swallow

Size: 8¾ x 10¾"

64 pages

£33.25

Picture of The Eyes of the City

Publisher's Description

Timing, skill, and talent all play an important role in creating a great photograph, but the most primary element, the photographer’s eye, is perhaps the most crucial. In The Eyes of the City, Richard Sandler showcases decades’ worth of work, proving his eye for street life rivals any of his generation.

From 1977 to just weeks before September 11, 2001, Richard regularly walked through the streets of Boston and New York, making incisive and humorous pictures that read the pulse of that time. After serendipitously being gifted a Leica camera in 1977, Sandler shot in Boston for three productive years
and then moved back home to photograph in an edgy, dangerous, colicky New York City.

In the 1980s crime and crack were on the rise and their effects were socially devastating. Times Square, Harlem, and the East Village were seeded with hard drugs, while in Midtown Manhattan, and on Wall Street, the rich flaunted their furs in unprecedented numbers, and “greed was good.”

In the 1990s the city underwent drastic changes to lure in tourists and corporations, the result of which was rapid gentrification. Rents were raised and neighborhoods were sanitized, clearing them of both crime and character. Throughout these turbulent and creative years Sandler paced the streets with his native New Yorker’s eye for compassion, irony, and unvarnished fact.

The results are presented in The Eyes of the City, many for the first time in print. Overtly, they capture a complex time when beauty mixed with decay, yet below the picture surface, they hint at unrecognized ghosts in the American psyche.

Publisher: powerHouse

Size: 11.25 x 10.5"

180 pages

Richard Sandler
From 1977 to just weeks before September 11, 2001, Richard regularly walked through the streets of Boston and New York, making incisive and humorous pictures that read the pulse of that time.
£35.09

Picture of Across the Bridge

Publisher's Description

“The sound of the Öland Bridge expansion joints against the tires. The first years, when the bridge was new, islanders would come out in droves along the road to look at the invasion of the mainlanders. They don’t anymore. Apart from that most things have kept the same, time runs slower here. I see friendship, happiness, love, a breakup and a sorrow. There is so much ugliness here. So much beauty.” — Simon Johansson

Publisher: Journal

Size: 8¾ x 9¾"

108 pages, 56 black-and-white illustrations

Simon Johansson.

Publisher's Description

“The sound of the Öland Bridge expansion joints against the tires. The first years, when the bridge was new, islanders would come out in droves along the road to look at the invasion of the mainlanders. They don’t anymore. Apart from that most things have kept the same, time runs slower here. I see friendship, happiness, love, a breakup and a sorrow. There is so much ugliness here. So much beauty.” — Simon Johansson

Publisher: Journal

Size: 8¾ x 9¾"

108 pages, 56 black-and-white illustrations

£33.00

Picture of Winogrand / Lindbergh: Women on Street

Publisher's Description

The catalogue presents more than 60 works of two world famous photographers. For the first time this catalogue puts together photographs by Peter Lindbergh and Garry Winogrand, who are setting apart with ‘women’ and ‘street photography’.

Next to works from the world famous series, Women are Beautiful by Winogrand, this catalogue presents partially unpublished works by Lindbergh, which he has shot on the street during some fashion shootings.

The photographs perform a substantive discourse on the truthfulness of street photography, centred around the major themes ‘directing’, ‘authenticity’ and ‘reality’. A further highlight is the publication of a few very rare colour photographs by Winogrand shot between 1958-1964.

Garry Winogrand (who died in 1984), ranks among the most important exponents of street photography and, from the mid-1970s, he played a decisive role in establishing photography in the context of contemporary art. His frequently falling lines, a direct and intuitive approach to his subject and an insightful view of the cosmos of the street are the features of his distinctive style.

Peter Lindbergh is regarded as one of the best living photographers and a star of fashion photography. In the 1990s, with his photographs of Naomi Campbell, Linda Evangelista, and Cindy Crawford he coined the term ‘supermodel’. Yet, over and over again, he has demonstrated something untypical for the fashion world, as the focus of his attention is the individual behind the model.

Published on the occasion of the Düsseldorf Photo Weekend 2017 exhibition, Peter Lindbergh / Garry Winogrand: Women on Street at Kulturzentrum NRW-Forum, Düsseldorf (3 February – 30 April 2017).

Publisher: Walther Koenig

Size: 220 x 230 mm

140 pages, 62 colour illustrations 

English and German text.

Peter Lindbergh and Garry Winogrand
The catalogue presents more than 60 works of two world famous photographers. For the first time this catalogue puts together photographs by Peter Lindbergh and Garry Winogrand, who are setting apart with ‘women’ and ‘street photography’.
£28.80

Picture of New York in the 1970s

Publisher's Description

The luminous and compelling photographs in New York in the 1970s capture the essence of a city in a way best described as “place portraiture.” Trager’s images present the architecture of Manhattan with time-defiant clarity and beauty. Although Trager selected his subjects for aesthetic and visual reasons—rather than from an historical or documentary point of view—with the passage of time his distinctly imaginative photographs have also acquired value as historical documents. The negatives for the images in this book, only recently rediscovered, had originally been archived for printing but Trager began other projects before any prints were made.

The photographs in New York in the 1970s were taken at the same time as Trager’s timeless Philip Trager: New York, published by Wesleyan University Press in 1980, in which the photographer depicts the city “as a solitary figure, always aware of the ‘enveloping sky’.” New York in the 1970s reveals Trager’s more concentrated attention to the interaction between the city’s architecture and the dynamics of the street.

"Trager has definitively taken New York, twice." Stephen C. Pinson

Publisher: Steidl

Size: 250 x 290 mm


112 pages

Philip Trager
The luminous and compelling photographs in New York in the 1970s capture the essence of a city in a way best described as “place portraiture.”
£36.00

Picture of Hell On Wheels

Publisher's Description

“Hell On Wheels” – Photographs from the New York Underground 1977 – 1984 – is a joyous and soulful trip in the bygone era of the New York subway system. Swiss photographer Willy Spiller, living in New York at the time, documented his underground travels with the curiosity of a foreigner, fascinated by the rush and the madness of its time. It’s the period of the first rap music, graffiti, The Warriors in the cinema, Guardian Angels on the trains and Ed Koch in charge of a broke and crime-riddled city. Willy Spiller’s images are as much a visual document of this incomparable realm as they are a syncopated, colorful poem to the city of New York and its people.

With a foreword by Tobia Bezzola.

First edition 2016

Publishers: Sturm & Drang publishers

Size: 240 x 320 mm

120 pages

Willy Spiller
“Hell On Wheels” – Photographs from the New York Underground 1977 – 1984 – is a joyous and soulful trip in the bygone era of the New York subway system.
£49.75

Picture of Washington Square

Publisher's Description

In the late 50’s, New York’s Washington Square was a place of rebellion, nicknamed junkie row and described by Simone de Beauvoir as "A cosmopolitan chorus of tourists, ‘intellectuals’, students and a dubious collection of beatniks, hippies and bohemians who gather while in the dimly lit night clubs and coffee houses, blues and folk singers perform.”

As a young man, the American photographer Dave Heath, created deeply expressive, candid portraits of the young people who populated the square, as well as venturing into the 7 Arts Coffee Gallery, where the infamous Beat poets: Allen Ginsberg, Gregory Corso and Jack Kerouac (who appear in the book), spent their nights giving readings of their latest works such as Ginsberg's influential poem Howl, which is included as an introduction to the book.

This special book began it's journey shortly before Heath sadly passed away in 2016 on his 85th birthday.

Publisher: Stanley Barker

104 pages

1st edition

Dave Heath
As a young man, the American photographer Dave Heath, created deeply expressive, candid portraits of the young people who populated Washington Square
£31.50

Picture of Political Theatre

Publisher's Description

Over the past two years Mark Peterson has photographed American presidential candidates as they lead rallies, meet with voters and plead for votes. He started shortly before the government shutdown in 2013 at a Tea Party rally at the US Capitol, when politicians were railing against President Obama and the Affordable Care Act—a show to get a sound bite into the next news cycle.

Since then Peterson has followed the political spin as it approaches the November 2016 election. Donald Trump’s entrance into the race—taking control of TV talking heads and making the media his press agent—is true political theatre. In a similar gesture, Bernie Sanders raised an arm in a power salute to waiting photographers after giving a speech in New Hampshire.

Peterson pulls back the curtain on such performances to show these politicians as they really are. Although they are in plain sight, they hide behind words and carefully arranged imagery to project their vision of America. Peterson cuts through such staging and reveals the cold, naked ambition for power.

Publisher: Steidl

Size: 290 x 203 mm

120 pages, 120 images

Mark Peterson
Over the past two years Mark Peterson has photographed American presidential candidates as they lead rallies, meet with voters and plead for votes. Peterson pulls back the curtain on such performances to show these politicians as they really are. Although they are in plain sight, they hide behind words and carefully arranged imagery to project their vision of America. Peterson cuts through such staging and reveals the cold, naked ambition for power.
£25.20

Picture of Faces of the North

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

Introduction by Mary Ellen Mark. Text by Ragnar Axelsson.

Raised on an isolated farm in southern Iceland, Ragnar Axelsson (born 1958) became captivated early on by the brutal beauty of the North Atlantic and the delicate interactions between its inhabitants and their environment. Born of that fascination, Faces of the North, first published in a small print run in 2004, established Axelsson as one of the leading documentary photographers of our time. It contained about 100 lushly austere, powerful images of Greenland, Iceland and the Faroe Islands, taken over two decades. Long out of print, Faces of the North is now republished in a special anniversary edition that echoes the format of Axelsson's latest publications, Last Days of the Arctic and Behind the Mountains. Containing the original selection of photographs documenting the vanishing lifestyles of the North Atlantic, the new edition also includes previously unpublished photos, Axelsson's personal accounts of the journeys which led to the images' creation and the artist's sketches of the photographs, drawn nightly as he traveled through the Arctic. In the 2004 edition of Faces of the North, Axelsson collected the images of farmers, hunters and fishermen in the Arctic and the Atlantic that he became best known for; in the 2014 edition, his oeuvre comes full circle, as he looks back upon the foundation of his photographic passion and career.

Sample images

Publisher: Crymogea

Size: 12.25 X 11.5"

412 pages, 210 duotone images

Ragnar Axelsson
Long out of print, Faces of the North is now republished in a special anniversary edition that echoes the format of Axelsson's latest publications, Last Days of the Arctic and Behind the Mountains.
£44.10

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