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Picture of Deep Sea Diver - An American Photographer's Journey in Shanxi, China (Limited Edition)
Publisher's Description
A limited edition facsimile of Danny Lyon’s original photobook/diary compiled after his six trips to Shanxi Province in northeast China

With his vintage Leica and accompanied by a young translator named Lolly Pop, American photographer Danny Lyon traveled across Shanxi Province in northeast China six times between 2005 and 2009. The result of Lyon’s unfailing enthusiasm for immersing himself in local banter and customs is an extraordinary portrait of China and the Chinese, one seldom seen by foreigners. Lyon’s unparalleled photographic findings and discoveries are presented in this limited edition photobook alongside his handwritten annotations and commentary, as well as his ever-inquisitive and non-judgmental prose.

Shanxi was once the Middle Kingdom and its border to the north with Inner Mongolia is marked by the Great Wall and Fire Towers. Lyon’s China is a portrait of what is gone, not just in China but in all of the advanced world. The images hark back to simpler times and look like they could have been made in the 1940s and 1950s: mechanics are covered with grease and flat tyre repair shops line the highways, people ride bicycles, play cards in their pajamas and railroad workers work in gangs with picks, while a foreman blows a whistle. We see almost nothing of this century’s technological advances in Lyon’s pictures and the relationships between people are close and affectionate. An homage to Lyon’s own childhood in1950s America and a China that is quickly vanishing, this portrayal reveals a uniquely personal and human perspective. Eighty-five black and white photographs are accompanied by the photographer’s own writings, handwritten notes and travel ephemera, including business cards, scrap papers, taxi receipts and tickets.

A travel journal and artist’s book in one, this is a must for anyone with an interest in the curiosities of foreign discovery, photography and the myriad elements that go into welding the two together for reflection and reminiscences.

Publisher: Phaidon
Size: 280 x 330 mm
136 pages, 85 black and white illustrations

Publisher's Price: £ 125
Danny Lyon
Publisher's Description
A limited edition facsimile of Danny Lyon’s original photobook/diary compiled after his six trips to Shanxi Province in northeast China

With his vintage Leica and accompanied by a young translator named Lolly Pop, American photographer Danny Lyon traveled across Shanxi Province in northeast China six times between 2005 and 2009. The result of Lyon’s unfailing enthusiasm for immersing himself in local banter and customs is an extraordinary portrait of China and the Chinese, one seldom seen by foreigners. Lyon’s unparalleled photographic findings and discoveries are presented in this limited edition photobook alongside his handwritten annotations and commentary, as well as his ever-inquisitive and non-judgmental prose.

Shanxi was once the Middle Kingdom and its border to the north with Inner Mongolia is marked by the Great Wall and Fire Towers. Lyon’s China is a portrait of what is gone, not just in China but in all of the advanced world. The images hark back to simpler times and look like they could have been made in the 1940s and 1950s: mechanics are covered with grease and flat tyre repair shops line the highways, people ride bicycles, play cards in their pajamas and railroad workers work in gangs with picks, while a foreman blows a whistle. We see almost nothing of this century’s technological advances in Lyon’s pictures and the relationships between people are close and affectionate. An homage to Lyon’s own childhood in1950s America and a China that is quickly vanishing, this portrayal reveals a uniquely personal and human perspective. Eighty-five black and white photographs are accompanied by the photographer’s own writings, handwritten notes and travel ephemera, including business cards, scrap papers, taxi receipts and tickets.

A travel journal and artist’s book in one, this is a must for anyone with an interest in the curiosities of foreign discovery, photography and the myriad elements that go into welding the two together for reflection and reminiscences.

Publisher: Phaidon
Size: 280 x 330 mm
136 pages, 85 black and white illustrations

Publisher's Price: £ 125
£112.50

Picture of Direction - Space!
Publisher's Description
Fifty years ago, on April 12th 1961, Yuri Gagarin became the first man in space. His orbit of the Earth made him a celebrity worldwide. His name is still synonymous with the Space Race and with Russian space exploration.

Half a century after the legendary flight, Direction–Space! looks at two of the sites that were key to the Soviet Space programme: Star City and Baikonur.

Cosmonauts have lived and trained in Star City since the 1960s. In the Soviet era, it was a top secret location. Now also known as ‘The Yuri Gagarin Russian State Science Research Cosmonauts Training Centre’ it is still a military research centre and consists of a training facility and a residential area for the cosmonauts and their families as well as the military and civilian personnel serving the facility.

Baikonur, situated in Kazakhstan, was the world’s first space launch facility and it is still the largest. Nowadays, the site is rented and administered by Russia.

Direction–Space! is a fascinating study of Star City and Baikonur. Incorporating unique archive materials, it explores the reality of the space community at first hand, investigating the physical and psychological space as well the routine and lives of its residents. It offers a new insight into a subject central to the Cold War history of the Soviet Union, and raises questions over attitudes and perceptions that have been formed over past decades.

Maria Gruzdeva is a young Russian photographer. Based in London for the past three years, she is able to offer a unique perspective on her country of origin, its post-Soviet history and aesthetics. She held her first major solo exhibition in Moscow in 2010 and has shown her work in several group exhibitions as well as at art fairs such as VOLTA6 in Basel and Art Moscow.

Publisher: Dewi Lewis Publishing
Size: 247 x 310 mm
112 pages, 120 colour photos & illustrations

Publisher's Price: £ 30.00
Maria Gruzdeva
Publisher's Description
Fifty years ago, on April 12th 1961, Yuri Gagarin became the first man in space. His orbit of the Earth made him a celebrity worldwide. His name is still synonymous with the Space Race and with Russian space exploration.

Half a century after the legendary flight, Direction–Space! looks at two of the sites that were key to the Soviet Space programme: Star City and Baikonur.

Cosmonauts have lived and trained in Star City since the 1960s. In the Soviet era, it was a top secret location. Now also known as ‘The Yuri Gagarin Russian State Science Research Cosmonauts Training Centre’ it is still a military research centre and consists of a training facility and a residential area for the cosmonauts and their families as well as the military and civilian personnel serving the facility.

Baikonur, situated in Kazakhstan, was the world’s first space launch facility and it is still the largest. Nowadays, the site is rented and administered by Russia.

Direction–Space! is a fascinating study of Star City and Baikonur. Incorporating unique archive materials, it explores the reality of the space community at first hand, investigating the physical and psychological space as well the routine and lives of its residents. It offers a new insight into a subject central to the Cold War history of the Soviet Union, and raises questions over attitudes and perceptions that have been formed over past decades.

Maria Gruzdeva is a young Russian photographer. Based in London for the past three years, she is able to offer a unique perspective on her country of origin, its post-Soviet history and aesthetics. She held her first major solo exhibition in Moscow in 2010 and has shown her work in several group exhibitions as well as at art fairs such as VOLTA6 in Basel and Art Moscow.

Publisher: Dewi Lewis Publishing
Size: 247 x 310 mm
112 pages, 120 colour photos & illustrations

Publisher's Price: £ 30.00
£27.00

Picture of This Is Not A House
Publisher's Description
The US subprime mortgage crisis, which had its roots in the closing years of the twentieth century, exposed pervasive weaknesses in the regulation of the financial industry and the global financial system. At the end of 2008, as the fall-out from the crisis became increasingly widely felt, Edgar Martins was commissioned by the New York Times Magazine to photograph across the US in eight separate states and across sixteen different locations. These carefully researched sites exposed the extent and impact of the crisis on the US construction industry.

Martins approached the project as a photographic intervention into a crisis and the resulting images go beyond pure formal investigation or documentation. His interest lay in summoning a disquieting conjunction of realism and fiction by ‘cutting into the real’. As the writer Jacques Ranciére states, the real can only be unravelled and understood if it is first fictionalised. And so the real must be transformed to be understood. The houses depicted in this series do not refer to just the particular. They are images of spatial assemblages, of kinds of stages on which a number of quite different (and perhaps incompatible) narratives might be enacted. These images, these houses, these ruins, reflect back at us the human constructs that we project and impose on them.

This Is Not A House emerges precisely at that juncture where clear words falter, where language is disturbed. The meaning of the world is no longer carried on its surface, if indeed it ever was.

Internationally recognised, Edgar Martins has won several awards for his work including Portugal’s BES Photography Award, The UK’s National Media Museum Terry O’Neil Award, and a Jerwood Photography Prize. He has exhibited throughout Europe and the United States and has published several books, the two most recent being Topologies, (Aperture), and When Light Casts No Shadow, (Dewi Lewis Publishing).

Publisher: Dewi Lewis Publishing
Size: 265 x 335 mm
108 pages, 65 colour photographs

Publisher's Price: £ 35.00
Edgar Martins
Publisher's Description
The US subprime mortgage crisis, which had its roots in the closing years of the twentieth century, exposed pervasive weaknesses in the regulation of the financial industry and the global financial system. At the end of 2008, as the fall-out from the crisis became increasingly widely felt, Edgar Martins was commissioned by the New York Times Magazine to photograph across the US in eight separate states and across sixteen different locations. These carefully researched sites exposed the extent and impact of the crisis on the US construction industry.

Martins approached the project as a photographic intervention into a crisis and the resulting images go beyond pure formal investigation or documentation. His interest lay in summoning a disquieting conjunction of realism and fiction by ‘cutting into the real’. As the writer Jacques Ranciére states, the real can only be unravelled and understood if it is first fictionalised. And so the real must be transformed to be understood. The houses depicted in this series do not refer to just the particular. They are images of spatial assemblages, of kinds of stages on which a number of quite different (and perhaps incompatible) narratives might be enacted. These images, these houses, these ruins, reflect back at us the human constructs that we project and impose on them.

This Is Not A House emerges precisely at that juncture where clear words falter, where language is disturbed. The meaning of the world is no longer carried on its surface, if indeed it ever was.

Internationally recognised, Edgar Martins has won several awards for his work including Portugal’s BES Photography Award, The UK’s National Media Museum Terry O’Neil Award, and a Jerwood Photography Prize. He has exhibited throughout Europe and the United States and has published several books, the two most recent being Topologies, (Aperture), and When Light Casts No Shadow, (Dewi Lewis Publishing).

Publisher: Dewi Lewis Publishing
Size: 265 x 335 mm
108 pages, 65 colour photographs

Publisher's Price: £ 35.00
£31.50

Picture of Tropical Gift - The Business of Oil and Gas in Nigeria
Publisher's Description
Christian Lutz continues his photographic study of power structures with “Tropical Gift”. He took portraits in Nigeria of people who live by and with the economic force that dominates everything there, the oil and gas industry. The photographs observe the protagonists’ everyday lives and professional world from very close up, the rich profiteers in the capital and the indigenous population in the oil region, the Niger delta. The pictures tell their own story of business with these coveted raw materials subtly, but highly expressively.

To view images from this series visit Christian Lutz's page on the Agence VU website.

Publisher: Lars Muller Publishers
Size: 304 x 244 mm
96 pages, 50 illustrations

Publisher's Price: £ 35.00
Christian Lutz
Publisher's Description
Christian Lutz continues his photographic study of power structures with “Tropical Gift”. He took portraits in Nigeria of people who live by and with the economic force that dominates everything there, the oil and gas industry. The photographs observe the protagonists’ everyday lives and professional world from very close up, the rich profiteers in the capital and the indigenous population in the oil region, the Niger delta. The pictures tell their own story of business with these coveted raw materials subtly, but highly expressively.

To view images from this series visit Christian Lutz's page on the Agence VU website.

Publisher: Lars Muller Publishers
Size: 304 x 244 mm
96 pages, 50 illustrations

Publisher's Price: £ 35.00
£31.50

Picture of Ground
Publisher's Description
Bruno Steven's book about the llast 10 years of Palestinian conflict. With forewords by Robert Fisk and Gideon Levy. To view images from this book visit Bruno Steven's website.

Publisher: Lannoo
Size: 300 x 300 mm
208 pages

Publisher's Price: £ 45.00
Bruno Stevens
Publisher's Description
Bruno Steven's book about the llast 10 years of Palestinian conflict. With forewords by Robert Fisk and Gideon Levy. To view images from this book visit Bruno Steven's website.

Publisher: Lannoo
Size: 300 x 300 mm
208 pages

Publisher's Price: £ 45.00
£40.50

Picture of Paul Graham - Beyond Caring (Books on Books #9)
Publisher's Description
Paul Graham's Beyond Caring published in 1986 is now considered one of the key works from Britain's wave of 'New Color' photography that was gaining momentum in the 1980s. While commissioned to present his view of 'Britain in 1984,' Graham turned his attention towards the waiting rooms, queues and poor conditions of overburdened Social Security and Unemployment offices across the United Kingdom. Photographing surreptitiously, his camera is both witness and protagonist within a bureaucratic system that speaks to the humiliation and indignity aimed towards the most vulnerable end of society. Books on Books #9 presents every page spread of Graham's controversial book along with a contemporary essay by writer and curator David Chandler.

Publisher: Errata Editions
Size: 9.5 x 7'
104 pages, 50 Color illustrations

Publisher's Price: £ 32.50
Essays by David Chandler, Jeffrey Ladd
Publisher's Description
Paul Graham's Beyond Caring published in 1986 is now considered one of the key works from Britain's wave of 'New Color' photography that was gaining momentum in the 1980s. While commissioned to present his view of 'Britain in 1984,' Graham turned his attention towards the waiting rooms, queues and poor conditions of overburdened Social Security and Unemployment offices across the United Kingdom. Photographing surreptitiously, his camera is both witness and protagonist within a bureaucratic system that speaks to the humiliation and indignity aimed towards the most vulnerable end of society. Books on Books #9 presents every page spread of Graham's controversial book along with a contemporary essay by writer and curator David Chandler.

Publisher: Errata Editions
Size: 9.5 x 7'
104 pages, 50 Color illustrations

Publisher's Price: £ 32.50
£29.25

Picture of Zdenek Tmej - Alphabet of Spiritual Emptiness (Books on Books #10)
Publisher's Description
Zdenek Tmej's Abeceda Dusevniho Prazdna (The Alphabet of Spiritual Emptiness) published in 1946 enables a rare look, from a captive's perspective, inside a Nazi forced labor camp in Breslau, Poland during World War II. It is remarkable that Tmej, a Czech citizen made to work for the Nazi war effort for three years, was allowed to photograph at all, let alone describe the psychological stasis of his experience with the poetic voice that these portraits and still-lifes convey. Books on Books #10 presents every page spread from this extremely rare and fragile document including the original texts by Alexandra Urbanova translated for the first time into English.

Publisher: Errata Editions
Size: 9.5 x 7'
172 pages, 105 Duotone illustrations

Publisher's Price: £ 32.50

Publisher's Description
Zdenek Tmej's Abeceda Dusevniho Prazdna (The Alphabet of Spiritual Emptiness) published in 1946 enables a rare look, from a captive's perspective, inside a Nazi forced labor camp in Breslau, Poland during World War II. It is remarkable that Tmej, a Czech citizen made to work for the Nazi war effort for three years, was allowed to photograph at all, let alone describe the psychological stasis of his experience with the poetic voice that these portraits and still-lifes convey. Books on Books #10 presents every page spread from this extremely rare and fragile document including the original texts by Alexandra Urbanova translated for the first time into English.

Publisher: Errata Editions
Size: 9.5 x 7'
172 pages, 105 Duotone illustrations

Publisher's Price: £ 32.50
£29.25

Picture of Love on the Left Bank
Publisher's Description
This is a facsimile edition of one of the ‘classic’ photography books of the 20th century. Originally published in 1956, the book focuses on the Left Bank of Paris at the time when the area was a centre of creative ferment and the home of the artists, writers and aesthetes who would determine the cultural agenda of a generation. With its unconventional, gritty, snapshot-like technique the work was widely acclaimed as expanding the boundaries of documentary photography.

Born 1925, in Amsterdam, Ed van der Elsken is recognised as one of the great photographers of the 20th century. During his lifetime he published over 20 books. In recent years his work has been exhibited widely throughout the world. Ed van der Elsken died in 1990.

Vali Myers, who features as ‘Ann’, was born 1930 in Sydney, Australia. A dancer and artist, she arrived in Paris in 1949. During the post-war years, living in the streets and cafés of St. Germain des Prés, she continued to dance and to draw – her drawings feature in the book. She later travelled extensively, becoming internationally known as an artist. Vali Myers died in 2003.

Publisher: Dewi Lewis Publishing
Size: 275 x 195 mm
112 pages, 200 duotone photographs

Publisher's Price: £ 24.00
Ed Van Der Elsken
Publisher's Description
This is a facsimile edition of one of the ‘classic’ photography books of the 20th century. Originally published in 1956, the book focuses on the Left Bank of Paris at the time when the area was a centre of creative ferment and the home of the artists, writers and aesthetes who would determine the cultural agenda of a generation. With its unconventional, gritty, snapshot-like technique the work was widely acclaimed as expanding the boundaries of documentary photography.

Born 1925, in Amsterdam, Ed van der Elsken is recognised as one of the great photographers of the 20th century. During his lifetime he published over 20 books. In recent years his work has been exhibited widely throughout the world. Ed van der Elsken died in 1990.

Vali Myers, who features as ‘Ann’, was born 1930 in Sydney, Australia. A dancer and artist, she arrived in Paris in 1949. During the post-war years, living in the streets and cafés of St. Germain des Prés, she continued to dance and to draw – her drawings feature in the book. She later travelled extensively, becoming internationally known as an artist. Vali Myers died in 2003.

Publisher: Dewi Lewis Publishing
Size: 275 x 195 mm
112 pages, 200 duotone photographs

Publisher's Price: £ 24.00
£21.60

Picture of Street Photography Now
Publisher's Description
Everyday life at 1/125 of a second!

High-rollers, street vendors and dog walkers, sidewalks and back alleys, comedy, kindness and unexpected beauty, a witty billboard, a woman dressed as an angel, a businessman sprinting through the crowd …

Street Photography Now presents 46 contemporary image-makers noted for their candid depictions of everyday life in our streets. Included are Magnum masters such as Bruce Gilden, Martin Parr and Alex Webb, along with an international cast of emerging photographers whose biographies illuminate the stories behind their pictures of New York, Tokyo, Delhi or Dakar.

Thought-provoking essays and a global conversation between leading street photographers explore the often controversial issues in the genre.

Includes a select bibliography and a resource section for aspiring street photographers.

'Extraordinary: beautiful, dramatic or just plain comical … human life in all its forms’ Mail on Sunday

Brings what many thought a tired genre bang up to date. Truly international,it will become the new defining guide to street photography’ – Martin Parr

‘A must-have book for anyone remotely interested in the genre. In fact, it’s highly recommended for anyone remotely interested in photography’ – Hot Shoe

Publisher: Thames & Hudson
Size: 240 x 268 mm
240 pages, over 300 illustrations in colour and black-and-white

Publisher's Price: £ 19.95
Sophie Howarth & Stephen McLaren
Publisher's Description
Everyday life at 1/125 of a second!

High-rollers, street vendors and dog walkers, sidewalks and back alleys, comedy, kindness and unexpected beauty, a witty billboard, a woman dressed as an angel, a businessman sprinting through the crowd …

Street Photography Now presents 46 contemporary image-makers noted for their candid depictions of everyday life in our streets. Included are Magnum masters such as Bruce Gilden, Martin Parr and Alex Webb, along with an international cast of emerging photographers whose biographies illuminate the stories behind their pictures of New York, Tokyo, Delhi or Dakar.

Thought-provoking essays and a global conversation between leading street photographers explore the often controversial issues in the genre.

Includes a select bibliography and a resource section for aspiring street photographers.

'Extraordinary: beautiful, dramatic or just plain comical … human life in all its forms’ Mail on Sunday

Brings what many thought a tired genre bang up to date. Truly international,it will become the new defining guide to street photography’ – Martin Parr

‘A must-have book for anyone remotely interested in the genre. In fact, it’s highly recommended for anyone remotely interested in photography’ – Hot Shoe

Publisher: Thames & Hudson
Size: 240 x 268 mm
240 pages, over 300 illustrations in colour and black-and-white

Publisher's Price: £ 19.95
£17.96

Picture of American Modern - Documentary Photography by Abbott, Evans, and Bourke-White
Publisher's Description
American Modern, the beautifully illustrated companion volume to the exhibit of the same name, explores the reinvention of documentary photography in the 1930s, focusing on the work of three iconic figures: Berenice Abbott, Walker Evans, and Margaret Bourke-White. More broadly, the book maps the formation of what we now identify as “documentary style,” showing how a marginalized genre associated with Progressive reform politics was transformed into a major component of modern art and public culture in America. The essays by Sharon Corwin, Jessica May, and Terri Weissman describe how each of these three photographers developed a different model of photography--as well as a particular understanding of modernism and modernity--which each believed would set the standard for future generations of artists. American Modern identifies the points where Abbott, Evans, and Bourke-White connected, diverged, and competed, and demonstrates how commercial and governmental commissions, the influence of mass media, the establishment of public institutions of modern art, and international theories of photography all intersected to establish the now-dominant documentary style.

Publisher: University of California Press
Size: 231 x 229 mm
213 pages

Publisher's Price: £ 27.95
Sharon Corwin, Jessica May, and Terri Weissman
Publisher's Description
American Modern, the beautifully illustrated companion volume to the exhibit of the same name, explores the reinvention of documentary photography in the 1930s, focusing on the work of three iconic figures: Berenice Abbott, Walker Evans, and Margaret Bourke-White. More broadly, the book maps the formation of what we now identify as “documentary style,” showing how a marginalized genre associated with Progressive reform politics was transformed into a major component of modern art and public culture in America. The essays by Sharon Corwin, Jessica May, and Terri Weissman describe how each of these three photographers developed a different model of photography--as well as a particular understanding of modernism and modernity--which each believed would set the standard for future generations of artists. American Modern identifies the points where Abbott, Evans, and Bourke-White connected, diverged, and competed, and demonstrates how commercial and governmental commissions, the influence of mass media, the establishment of public institutions of modern art, and international theories of photography all intersected to establish the now-dominant documentary style.

Publisher: University of California Press
Size: 231 x 229 mm
213 pages

Publisher's Price: £ 27.95
£25.16

Picture of Retrospective

Publisher's Description
For more than 30 years now, the photographer Roger Ballen has been shooting portraits of the impoverished white population of rural South Africa, of day labourers, security guards and workers who eek out a wretched existence in the so-called Platteland. Ballen portrays his subjects against the theatrical backdrop of their own humble homes, whose Spartan interiors he transforms into claustrophobic stage sets on which the actors play their parts with extraordinary expressiveness.

The selected props include wire and dilapidated furniture, which shot in conjunction with the subjects themselves develop a surrealistic life of their own. There is something almost absurdly grotesque about these documentary-style compositions and at the same time something worryingly oppressive. They show a hermetically sealed world that can be read as a deeply troubling image of psychotic energy.

Publisher: Kerber Verlag
Size: 300 × 300 mm
144 pages

Publisher's Price: £ 40.00
Roger Ballen

Publisher's Description
For more than 30 years now, the photographer Roger Ballen has been shooting portraits of the impoverished white population of rural South Africa, of day labourers, security guards and workers who eek out a wretched existence in the so-called Platteland. Ballen portrays his subjects against the theatrical backdrop of their own humble homes, whose Spartan interiors he transforms into claustrophobic stage sets on which the actors play their parts with extraordinary expressiveness.

The selected props include wire and dilapidated furniture, which shot in conjunction with the subjects themselves develop a surrealistic life of their own. There is something almost absurdly grotesque about these documentary-style compositions and at the same time something worryingly oppressive. They show a hermetically sealed world that can be read as a deeply troubling image of psychotic energy.

Publisher: Kerber Verlag
Size: 300 × 300 mm
144 pages

Publisher's Price: £ 40.00
£36.00

Picture of Engaged Observers -Documentary Photography Since the Sixties
Publisher's Description
In the decades following World War II, an independently minded, critically engaged form of photography began to flourish. Situated between journalism and art, its practitioners created extended photographic essays that delve deeply into subjects and present distinct personal visions of the world. Engaged Observers: Documentary Photography Since the Sixties looks in depth at projects by a selection of the most vital figures who have contributed to this documentary approach. Passionately committed to their subjects, these photographers captured both meditative and searing images, from the Deep South in the civil rights era, to the war in Iraq, to the contemporary scene of American popular culture. Disseminated beyond traditional media outlets, their evocative bodies of pictures transcend the realm of traditional photojournalism.

Engaged Observers begins with an essay that follows the development of socially aware photography, setting work since the 1960s within a rich tradition that extends back to the nineteenth century. Surveyed in depth in subsequent pages are Leonard Freed's Black in White America project (released around 1968), Philip Jones Griffiths's Vietnam Inc. (1971), W. Eugene and Aileen M. Smith's Minamata (1975), Susan Meiselas's Nicaragua, June 1978-July 1979 (1981), Mary Ellen Mark's Streetwise (1988), Lauren Greenfield's Fast Forward: Growing Up in the Shadow of Hollywood (1997) and Girl Culture (2002), Larry Towell's The Mennonites (2000), Sebastião Salgado's Migrations: Humanity in Transition (2000), and James Nachtwey's The Sacrifice (2007). These powerful visual reports, often published as books, explore aspects of life that are sometimes difficult and troubling but are worthy of attention. Each section opens with a focused essay that grounds the project within its evolving historical context and the photographer's larger body of work.

Publisher: J. Paul Getty Museum
Size: 11 x 11'
256 pages, 70 color and 175 duotone illustrations

Publisher's Price: £36.00
Brett Abbott
Publisher's Description
In the decades following World War II, an independently minded, critically engaged form of photography began to flourish. Situated between journalism and art, its practitioners created extended photographic essays that delve deeply into subjects and present distinct personal visions of the world. Engaged Observers: Documentary Photography Since the Sixties looks in depth at projects by a selection of the most vital figures who have contributed to this documentary approach. Passionately committed to their subjects, these photographers captured both meditative and searing images, from the Deep South in the civil rights era, to the war in Iraq, to the contemporary scene of American popular culture. Disseminated beyond traditional media outlets, their evocative bodies of pictures transcend the realm of traditional photojournalism.

Engaged Observers begins with an essay that follows the development of socially aware photography, setting work since the 1960s within a rich tradition that extends back to the nineteenth century. Surveyed in depth in subsequent pages are Leonard Freed's Black in White America project (released around 1968), Philip Jones Griffiths's Vietnam Inc. (1971), W. Eugene and Aileen M. Smith's Minamata (1975), Susan Meiselas's Nicaragua, June 1978-July 1979 (1981), Mary Ellen Mark's Streetwise (1988), Lauren Greenfield's Fast Forward: Growing Up in the Shadow of Hollywood (1997) and Girl Culture (2002), Larry Towell's The Mennonites (2000), Sebastião Salgado's Migrations: Humanity in Transition (2000), and James Nachtwey's The Sacrifice (2007). These powerful visual reports, often published as books, explore aspects of life that are sometimes difficult and troubling but are worthy of attention. Each section opens with a focused essay that grounds the project within its evolving historical context and the photographer's larger body of work.

Publisher: J. Paul Getty Museum
Size: 11 x 11'
256 pages, 70 color and 175 duotone illustrations

Publisher's Price: £36.00
£32.40

Picture of Writing the Picture
'This book is among the most critically and financially risky of enterprises: a combination of the work of a well-known photographer with that of an equally well-known poet. Collaborators over the decades, David Hurn and John Fuller insist that neither of their work is intended to illustrate the other. Presumably, its role is to create a fresh synthesis that amounts to more than a sum of the parts, while acknowledging that both image and verse can stand alone. Much is down to how the combination works on the page. The format is traditional: each double-spread awards the verso to the poem and the recto to the photo, following the journalistic idiom that the reader's eye is always first drawn to the right-hand image.

Hurn, an Englishman living on the Welsh borders, has been documenting his adoptive homeland for the past 40 years. The majority of these beautifully reproduced black-and-white images date back to another Wales: that of miners, their faces stained black with coal, their teeth bared white as minstrels'; of the marching band that accompanied a rugby team, preceded by a shaggy dog and two kids racing a metal pram down the road; and a name-check of the most famed and favoured of Welsh poets, his curling photo-portrait in a café in the seaside village where Dylan Thomas wrote in his boathouse – as it were, a dual reference to both the poet and the photographer.

The words, provided by a poet who has spent long years as an Oxford academic, are often surprisingly populist and lyrical. The NUM banner on parade ('Mardy Lodge: Forward to Socialism') opens with a verse: 'I saw my valley taken/ For a bondman's wage./ When will we awaken?' The deliberate historicity of 'bondman' followed at once with the question, as much of the hymnal as a political slogan, could as well be sung. Lyricism abounds in another of Hurn's favourite subjects, a wild colt, arched white against the dark gorse, reframed by Fuller as: 'I dreamed a pony that could fly:/he suddenly looked up at me/With horizons in his eye'.

Deprivation, however, has less elegant aspects. The old sailor still squeezes his accordion, and is photographed with a bollard behind his shoulder, as if it were a lighthouse. But the young woman shooting up on bare floorboards beside a dirty lavatory bowl makes a clear statement: 'Don't any of you look at me./ I am not here'.

Perhaps the authors protest too much. After an initial discussion, included in the fascinating introduction, they concur that the specificity of a poem can only follow on that of the image, not the reverse. Either way, this brave volume offers a proud collaboration between two masters of their chosen arts.' As reviewed by Amanda Hopkinson for The Independent, August 2010

Publisher: Seren


Publisher's Price: £19.99
David Hurn & John Fuller
'This book is among the most critically and financially risky of enterprises: a combination of the work of a well-known photographer with that of an equally well-known poet. Collaborators over the decades, David Hurn and John Fuller insist that neither of their work is intended to illustrate the other. Presumably, its role is to create a fresh synthesis that amounts to more than a sum of the parts, while acknowledging that both image and verse can stand alone. Much is down to how the combination works on the page. The format is traditional: each double-spread awards the verso to the poem and the recto to the photo, following the journalistic idiom that the reader's eye is always first drawn to the right-hand image.

Hurn, an Englishman living on the Welsh borders, has been documenting his adoptive homeland for the past 40 years. The majority of these beautifully reproduced black-and-white images date back to another Wales: that of miners, their faces stained black with coal, their teeth bared white as minstrels'; of the marching band that accompanied a rugby team, preceded by a shaggy dog and two kids racing a metal pram down the road; and a name-check of the most famed and favoured of Welsh poets, his curling photo-portrait in a café in the seaside village where Dylan Thomas wrote in his boathouse – as it were, a dual reference to both the poet and the photographer.

The words, provided by a poet who has spent long years as an Oxford academic, are often surprisingly populist and lyrical. The NUM banner on parade ('Mardy Lodge: Forward to Socialism') opens with a verse: 'I saw my valley taken/ For a bondman's wage./ When will we awaken?' The deliberate historicity of 'bondman' followed at once with the question, as much of the hymnal as a political slogan, could as well be sung. Lyricism abounds in another of Hurn's favourite subjects, a wild colt, arched white against the dark gorse, reframed by Fuller as: 'I dreamed a pony that could fly:/he suddenly looked up at me/With horizons in his eye'.

Deprivation, however, has less elegant aspects. The old sailor still squeezes his accordion, and is photographed with a bollard behind his shoulder, as if it were a lighthouse. But the young woman shooting up on bare floorboards beside a dirty lavatory bowl makes a clear statement: 'Don't any of you look at me./ I am not here'.

Perhaps the authors protest too much. After an initial discussion, included in the fascinating introduction, they concur that the specificity of a poem can only follow on that of the image, not the reverse. Either way, this brave volume offers a proud collaboration between two masters of their chosen arts.' As reviewed by Amanda Hopkinson for The Independent, August 2010

Publisher: Seren


Publisher's Price: £19.99
£17.99

Picture of Mexican Suitcase
Publisher's Description
In late December 2007, three small cardboard boxes arrived at the International Center of Photography from Mexico City after a long and mysterious journey. These tattered boxes – the so-called Mexican Suitcase – contained the legendary Spanish Civil War negatives of Robert Capa, Gerda Taro, and David Seymour (known as “Chim”). Rumors had circulated for years of the survival of the negatives, which had disappeared from Capa’s Paris studio at the beginning of World War II. Together, these roles of film constitute an inestimable record of photographic innovation and war photography, but also of the great political struggle to determine the course of Spanish history and to turn back the expansion of global fascism.

The two-volume publication The Mexican Suitcase accompanies a major exhibition at the International Center of Photography opening in September 2010. The catalogue features essays by Paul Preston, Simon Dell, David Balsells i Solé, Michel Lefebvre, Bernard Lebrun, Brian Wallis, Cynthia Young, and Kristen Lubben, as well as a complete reproduction of the 4,500 negatives in the suitcase.

Publisher: Steidl ICP
Size: 254 x 309 mm
750 pages
Publisher's Price £130
Cynthia Young (editor)
Publisher's Description
In late December 2007, three small cardboard boxes arrived at the International Center of Photography from Mexico City after a long and mysterious journey. These tattered boxes – the so-called Mexican Suitcase – contained the legendary Spanish Civil War negatives of Robert Capa, Gerda Taro, and David Seymour (known as “Chim”). Rumors had circulated for years of the survival of the negatives, which had disappeared from Capa’s Paris studio at the beginning of World War II. Together, these roles of film constitute an inestimable record of photographic innovation and war photography, but also of the great political struggle to determine the course of Spanish history and to turn back the expansion of global fascism.

The two-volume publication The Mexican Suitcase accompanies a major exhibition at the International Center of Photography opening in September 2010. The catalogue features essays by Paul Preston, Simon Dell, David Balsells i Solé, Michel Lefebvre, Bernard Lebrun, Brian Wallis, Cynthia Young, and Kristen Lubben, as well as a complete reproduction of the 4,500 negatives in the suitcase.

Publisher: Steidl ICP
Size: 254 x 309 mm
750 pages
Publisher's Price £130
£117.00

Picture of Wastelands
Publisher's Description
The nature of any society and its future can be read in its entrails - in what is left behind, what is discarded. Each creates, uses and casts aside its wastelands in very different ways and it seems that a proportion of every city is always wasteland. These neglected or abandoned places are fragile and ephemeral, a transient aspect of a changing, living city, yet development appears unable to clear them away for good, only to move them on to a different site. This book explores some of these wastelands that collectively form a sustained and permanent feature of the modern city.

Publisher: Dewi Lewis
Size: 290 x 290 mm
176 pages
Publisher's Price £36.00
Dan Dubowitz
Publisher's Description
The nature of any society and its future can be read in its entrails - in what is left behind, what is discarded. Each creates, uses and casts aside its wastelands in very different ways and it seems that a proportion of every city is always wasteland. These neglected or abandoned places are fragile and ephemeral, a transient aspect of a changing, living city, yet development appears unable to clear them away for good, only to move them on to a different site. This book explores some of these wastelands that collectively form a sustained and permanent feature of the modern city.

Publisher: Dewi Lewis
Size: 290 x 290 mm
176 pages
Publisher's Price £36.00
£32.40

Picture of Magnum on Set
Publisher's Description
Since the 1950s, Magnum photographers have regularly, and sometimes exclusively, accompanied movie productions. Twelve productions were selected for this book, with stunning pictures, summaries of the plots, and background information. Schirmer/Mosel. Edited by Isabel Siben and Andrea Holzherr. With texts by Hans Helmut Prinzler.

Publisher: Schirmer/Mosel
Size: 320 x 280 mm
140 pages, 128 duotones



Publisher's Price: £ 29.95

Publisher's Description
Since the 1950s, Magnum photographers have regularly, and sometimes exclusively, accompanied movie productions. Twelve productions were selected for this book, with stunning pictures, summaries of the plots, and background information. Schirmer/Mosel. Edited by Isabel Siben and Andrea Holzherr. With texts by Hans Helmut Prinzler.

Publisher: Schirmer/Mosel
Size: 320 x 280 mm
140 pages, 128 duotones



Publisher's Price: £ 29.95
£24.30

Picture of Miroslav Tichý
Publisher's Description
Steidl ICP Few stories in the history of photography are as astonishing and as compelling as that of the octogenarian Czech photographer Miroslav Tichý. With crude homemade cameras fashioned out of cardboard and duct tape, Tichý took several thousand pictures of the women of his Moravian hometown of Kyjov throughout the 1960s and ’70s. These pictures of women going about their daily business are at once banal and extraordinary, transforming the ordinary moments of work and leisure into small epiphanies. Blurred and off-kilter, his photographs have a striking contemporaneity, resembling the early paintings of Gerhard Richter or the photographs of Sigmar Polke. Printed imperfectly and deliberately battered, they evince a surprising retrograde or even antimodernist feeling, which, in the context of the Cold War atmosphere of provincial Czechoslovakia, just before and after the liberalizing moment of the Prague Spring (1968), undoubtedly constituted a kind of oblique political provocation, a nose-thumbing response to the progressive realist perfectionism of official Soviet culture. The catalogue Miroslav Tichý accompanies an exhibition of the same title at the International Center of Photography organized by Chief Curator Brian Wallis. Critical evaluations by Brian Wallis, Roman Buxbaum, Carolyn Christov-Bakargiev, and Richard Prince introduce more than 250 plates and illustrations.

Publisher: Steidl
Size: 216 x 324 mm
328 pages, 364 duotones

Usually dispatched within 10 working days


Publisher's Price £50
Miroslav Tichý
Publisher's Description
Steidl ICP Few stories in the history of photography are as astonishing and as compelling as that of the octogenarian Czech photographer Miroslav Tichý. With crude homemade cameras fashioned out of cardboard and duct tape, Tichý took several thousand pictures of the women of his Moravian hometown of Kyjov throughout the 1960s and ’70s. These pictures of women going about their daily business are at once banal and extraordinary, transforming the ordinary moments of work and leisure into small epiphanies. Blurred and off-kilter, his photographs have a striking contemporaneity, resembling the early paintings of Gerhard Richter or the photographs of Sigmar Polke. Printed imperfectly and deliberately battered, they evince a surprising retrograde or even antimodernist feeling, which, in the context of the Cold War atmosphere of provincial Czechoslovakia, just before and after the liberalizing moment of the Prague Spring (1968), undoubtedly constituted a kind of oblique political provocation, a nose-thumbing response to the progressive realist perfectionism of official Soviet culture. The catalogue Miroslav Tichý accompanies an exhibition of the same title at the International Center of Photography organized by Chief Curator Brian Wallis. Critical evaluations by Brian Wallis, Roman Buxbaum, Carolyn Christov-Bakargiev, and Richard Prince introduce more than 250 plates and illustrations.

Publisher: Steidl
Size: 216 x 324 mm
328 pages, 364 duotones

Usually dispatched within 10 working days


Publisher's Price £50
£45.00

Picture of SOUTH AFRICA
Publisher's Description
* A tribute to one of the world’s most dramatic countries as it prepares to host the 2010 World Football Championship * Certain to please all who enjoyed Poliza’s best-selling Africa and Eyes over Africa With its rugged coastline, national parks teeming with wildlife and vibrant metropolises, South Africa is one of the most fascinating countries in the world. On the occasion of the FIFA World Cup, best-selling author Michael Poliza returns to South Africa to capture this richly diverse land and its people. To create a fitting homage to his longtime adopted country, Poliza invited some of South Africa’s most famous photographers to contribute to this book. As a result, SOUTH AFRICA combines the high-quality photography familiar from Michael Poliza’s award-winning books AFRICA, EYES?OVER?AFRICA and ANTARCTIC with the images of Vanessa Cowling, Chris Fallows, Justin Fox, Craig Fraser, Chris Kirchhoff, Mandla Mnyakama, Obie Oberholzer and Thomas P. Peschak. SOUTH AFRICA is a breathtakingly beautiful coffee table book, as awe-inspiring and diverse as the Rainbow Nation itself.

Publisher: Teneus Publishing
Size: 370 x 290 mm
272 pages, 120 duotones

Usually dispatched within 10 working days


Publisher's Price £70
Michael Poliza & Friends
Publisher's Description
* A tribute to one of the world’s most dramatic countries as it prepares to host the 2010 World Football Championship * Certain to please all who enjoyed Poliza’s best-selling Africa and Eyes over Africa With its rugged coastline, national parks teeming with wildlife and vibrant metropolises, South Africa is one of the most fascinating countries in the world. On the occasion of the FIFA World Cup, best-selling author Michael Poliza returns to South Africa to capture this richly diverse land and its people. To create a fitting homage to his longtime adopted country, Poliza invited some of South Africa’s most famous photographers to contribute to this book. As a result, SOUTH AFRICA combines the high-quality photography familiar from Michael Poliza’s award-winning books AFRICA, EYES?OVER?AFRICA and ANTARCTIC with the images of Vanessa Cowling, Chris Fallows, Justin Fox, Craig Fraser, Chris Kirchhoff, Mandla Mnyakama, Obie Oberholzer and Thomas P. Peschak. SOUTH AFRICA is a breathtakingly beautiful coffee table book, as awe-inspiring and diverse as the Rainbow Nation itself.

Publisher: Teneus Publishing
Size: 370 x 290 mm
272 pages, 120 duotones

Usually dispatched within 10 working days


Publisher's Price £70
£63.00

Picture of Personal Best 50th Anniversary Edition
Publisher's Description
* A remarkable body of work in an accessible and extremely affordable format * A special paperback edition to mark teNeues’ 50th anniversary One of the all-time greats, Elliott Erwitt is a master whose photographs have defined the visual history of the 20th century—and the 21st. Although his work spans decades, continents and diverse subjects, it is always instantly recognizable. Spontaneous and original, Erwitt’s visions are imbued with true artistry and no trace of artifice. In this definitive collection, the master shares those works he considers his personal best. As you browse this carefully curated retrospective, you’ll feel nostalgia, wonder—and a lasting sense of life’s rich potential.

Publisher:Teneus Publishing
Size: 290 x 220 mm
448 pages, 343 duotones

Usually dispatched within 10 working days


Publisher's Price £34.99
Elliott Erwitt
Publisher's Description
* A remarkable body of work in an accessible and extremely affordable format * A special paperback edition to mark teNeues’ 50th anniversary One of the all-time greats, Elliott Erwitt is a master whose photographs have defined the visual history of the 20th century—and the 21st. Although his work spans decades, continents and diverse subjects, it is always instantly recognizable. Spontaneous and original, Erwitt’s visions are imbued with true artistry and no trace of artifice. In this definitive collection, the master shares those works he considers his personal best. As you browse this carefully curated retrospective, you’ll feel nostalgia, wonder—and a lasting sense of life’s rich potential.

Publisher:Teneus Publishing
Size: 290 x 220 mm
448 pages, 343 duotones

Usually dispatched within 10 working days


Publisher's Price £34.99
£31.49

Picture of David Goldblatt’s In Boksburg: Books on Books #7
Publisher's Description
David Goldblatt’s In Boksburg stands as one of the most important observations of a middle-class white community in South Africa during the apartheid years. Published in 1980, it presents an accumulation of everyday details from the community of Boksburg through which a larger portrait is revealed of white societal values within a racially divided state. Books on Books 7 reproduces all seventy-one black and white photographs as well as Goldblatt’s eloquent introduction to the work. The noted writer and editor, Joanna Lehan, contributes a contemporary essay written for this volume.

Publisher: Errata Editions
Size: 230 x 180 mm
112 pages, 41 duotones

Usually dispatched within 10 working days


Publisher's Price £31.95
David Goldblatt
Publisher's Description
David Goldblatt’s In Boksburg stands as one of the most important observations of a middle-class white community in South Africa during the apartheid years. Published in 1980, it presents an accumulation of everyday details from the community of Boksburg through which a larger portrait is revealed of white societal values within a racially divided state. Books on Books 7 reproduces all seventy-one black and white photographs as well as Goldblatt’s eloquent introduction to the work. The noted writer and editor, Joanna Lehan, contributes a contemporary essay written for this volume.

Publisher: Errata Editions
Size: 230 x 180 mm
112 pages, 41 duotones

Usually dispatched within 10 working days


Publisher's Price £31.95
£28.76

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