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Picture of Lovin’ It
Publisher's Description
These photographs from Shanghai explore the new culture rapidly developing in China as it expands its domestic market at breakneck speed. As elsewhere in the world, the appeal of modern consumer goods and the benefits they bring is there for all to see. But such rapid change has its dark side. As the not-so-old cultural structures become increasingly irrelevant there are threats to social cohesion as communal identity gives way to individuality and alienation. What we are seeing now is a new Cultural Revolution, a capitalist Cultural Revolution that is more complete, more total, and no less ideological than the Cultural Revolution that was instigated by Chairman Mao in the 1960s.

Lovin’ It is introduced by John Gittings, for many years foreign leader-writer and East Asia editor at The Guardian. Gittings first visited China in 1971 during the Cultural Revolution and in 2001 he opened the Guardian’s first staff bureau on the Chinese mainland, in Shanghai.

The book also includes an interview with Hinton by writer and cultural critic Nigel Warburton.

Publisher: Dewi Lewis
Size: 240 x 180 mm
112 pages, 100 colour photographs

Usually dispatched within 10 working days
Adam Hinton
Publisher's Description
These photographs from Shanghai explore the new culture rapidly developing in China as it expands its domestic market at breakneck speed. As elsewhere in the world, the appeal of modern consumer goods and the benefits they bring is there for all to see. But such rapid change has its dark side. As the not-so-old cultural structures become increasingly irrelevant there are threats to social cohesion as communal identity gives way to individuality and alienation. What we are seeing now is a new Cultural Revolution, a capitalist Cultural Revolution that is more complete, more total, and no less ideological than the Cultural Revolution that was instigated by Chairman Mao in the 1960s.

Lovin’ It is introduced by John Gittings, for many years foreign leader-writer and East Asia editor at The Guardian. Gittings first visited China in 1971 during the Cultural Revolution and in 2001 he opened the Guardian’s first staff bureau on the Chinese mainland, in Shanghai.

The book also includes an interview with Hinton by writer and cultural critic Nigel Warburton.

Publisher: Dewi Lewis
Size: 240 x 180 mm
112 pages, 100 colour photographs

Usually dispatched within 10 working days
£16.99

Picture of French Kiss
Publisher's Description
Swedish born, Anders Petersen is a world renowned photographer, noted for his intimate and personal documentary-style black-and-white photographs.

Petersen explores the fringes of society and his images depict a raw, and sometimes disturbingly brutal, social portrait. Taken in the South of France, French Kiss is characteristic Petersen, exuding the poetic sadness, restlessness and sense of urgency that runs through all his work. When the work was first shown at Arles Photography Festival the response was astounding:

‘They made everything else on display at the huge photography festival pale in comparison. They became the ‘buzz’ in Arles. And everyone realized that Anders Petersen (that wildly energetic 62-year-old guy) is still making some of the most arresting personal documentary photographs today - Jim Casper, Lenswork.

Petersen first became known for his series Café Lehmitz, a daily chronicle of the regulars – transvestites, prostitutes, drug addicts and harbour workers – of a Hamburg bar in the Reeperbahn, the city’s once notorious red-light district. Starting in 1967, Petersen continued the project for three years. The photobook of the same name was published eight years later, in 1978, first in Germany, and then in France (1979) and Sweden (1982). Café Lehmitz has since become regarded as a seminal book in the history of European photography.

Anders Petersen has published more than 20 books and his work has been exhibited widely.

Publisher: Dewi Lewis
Size: 245 x 162 mm
120 pages, 90 duotone photographs

Usually dispatched within 10 working days
Anders Petersen
Publisher's Description
Swedish born, Anders Petersen is a world renowned photographer, noted for his intimate and personal documentary-style black-and-white photographs.

Petersen explores the fringes of society and his images depict a raw, and sometimes disturbingly brutal, social portrait. Taken in the South of France, French Kiss is characteristic Petersen, exuding the poetic sadness, restlessness and sense of urgency that runs through all his work. When the work was first shown at Arles Photography Festival the response was astounding:

‘They made everything else on display at the huge photography festival pale in comparison. They became the ‘buzz’ in Arles. And everyone realized that Anders Petersen (that wildly energetic 62-year-old guy) is still making some of the most arresting personal documentary photographs today - Jim Casper, Lenswork.

Petersen first became known for his series Café Lehmitz, a daily chronicle of the regulars – transvestites, prostitutes, drug addicts and harbour workers – of a Hamburg bar in the Reeperbahn, the city’s once notorious red-light district. Starting in 1967, Petersen continued the project for three years. The photobook of the same name was published eight years later, in 1978, first in Germany, and then in France (1979) and Sweden (1982). Café Lehmitz has since become regarded as a seminal book in the history of European photography.

Anders Petersen has published more than 20 books and his work has been exhibited widely.

Publisher: Dewi Lewis
Size: 245 x 162 mm
120 pages, 90 duotone photographs

Usually dispatched within 10 working days
£19.99

Picture of Alexandr Hackenschmied
Publisher's Description
Born in 1907, Alexandr Hackenschmied is one of the founders of modern Czech photography and film. He is better known here as Sasha Hammid, the name he took upon becoming a United States citizen in 1947, having fled Nazi persecution in his native Czechoslovakia in 1939. Since then he and his wife, Maya Deren, have played a key role in American avantgarde film. Both by himself and in collaboration with other artists, Hackenschmied made a number of important documentaries--including the 1964 film To Be Alive!, made with Francis Thompson, which was awarded an Oscar for Best Documentary in 1967. His photographic work, though less well known here, is equally worthy of praise. In it we see his dynamic conception of space--honed with years of experience as a cameraman and editor--and the combination of formal perfection with deep emotional resonance, the meeting of the artist's mind with the mind of the audience.

Publisher: Torst
Size: 6.25 x 7'
140 pages, 99 duotone

Usually dispatched within 14 working days
Alexandr Hackenschmied
Publisher's Description
Born in 1907, Alexandr Hackenschmied is one of the founders of modern Czech photography and film. He is better known here as Sasha Hammid, the name he took upon becoming a United States citizen in 1947, having fled Nazi persecution in his native Czechoslovakia in 1939. Since then he and his wife, Maya Deren, have played a key role in American avantgarde film. Both by himself and in collaboration with other artists, Hackenschmied made a number of important documentaries--including the 1964 film To Be Alive!, made with Francis Thompson, which was awarded an Oscar for Best Documentary in 1967. His photographic work, though less well known here, is equally worthy of praise. In it we see his dynamic conception of space--honed with years of experience as a cameraman and editor--and the combination of formal perfection with deep emotional resonance, the meeting of the artist's mind with the mind of the audience.

Publisher: Torst
Size: 6.25 x 7'
140 pages, 99 duotone

Usually dispatched within 14 working days
£13.00

Picture of A Few Streets, A Few People
Publisher's Description
In Our Man in Havana Graham Greene wrote that ‘to each man a city consists of no more than a few streets, a few houses, a few people. Remove those few and the city no longer exists except as a pain in the memory, like the pain of an amputated leg no longer there.’

In this, his third book, John Comino-James shows us the world that is contained within just a few streets in the very ordinary neighbourhood of Cayo Hueso in Havana, Cuba. Through portraits and candid observation he builds an honest and intimate record of a small and tight-knit community. This is not the Havana of the tourist, but a city in which people go about their daily lives, dealing with the everyday realities that have resulted from decades of political isolation.

In a powerful and beautifully written afterword Comino-James intersperses his experiences of several vists to the area, with fascinating information on the history of Cuba and the city of Havana.

Publisher: Dewi Lewis Publishing
Size: 225mm x 245mm
156 pages, 121 duotone photographs

Usually dispatched within 2 working days

We will be hosting an event at Stills Gallery with John Comino-James on Thursday 16 November. For more information see the events section of this website.
John Comino-James
Publisher's Description
In Our Man in Havana Graham Greene wrote that ‘to each man a city consists of no more than a few streets, a few houses, a few people. Remove those few and the city no longer exists except as a pain in the memory, like the pain of an amputated leg no longer there.’

In this, his third book, John Comino-James shows us the world that is contained within just a few streets in the very ordinary neighbourhood of Cayo Hueso in Havana, Cuba. Through portraits and candid observation he builds an honest and intimate record of a small and tight-knit community. This is not the Havana of the tourist, but a city in which people go about their daily lives, dealing with the everyday realities that have resulted from decades of political isolation.

In a powerful and beautifully written afterword Comino-James intersperses his experiences of several vists to the area, with fascinating information on the history of Cuba and the city of Havana.

Publisher: Dewi Lewis Publishing
Size: 225mm x 245mm
156 pages, 121 duotone photographs

Usually dispatched within 2 working days

We will be hosting an event at Stills Gallery with John Comino-James on Thursday 16 November. For more information see the events section of this website.
£19.99

Picture of Common Sense (Signed)

Signed copy

Publisher's Description
Internationally recognised as a brilliant satirist of contemporary life Martin Parr has led the development of the British documentary tradition with wit, style, and intelligence in a career that boasts numerous publications and exhibitions. His work is held by major galleries and museums worldwide.

Common Sense combines extravagantly lurid and luscious colour with Parr’s trademark sense of irony. Though hilariously funny – as always with Parr’s work – there is a sharp and biting edge to the humour.

The launch of this extraordinary book was celebrated by simultaneous exhibitions in more than 40 different cities world-wide including making it probably the largest exhibition of work ever held by one artist – a truly global project.

Publisher: Dewi Lewis
Size: 206mm x 300mm
160 pages, 158 colour photographs

Usually dispatched within 2 working days

Martin Parr

Signed copy

Publisher's Description
Internationally recognised as a brilliant satirist of contemporary life Martin Parr has led the development of the British documentary tradition with wit, style, and intelligence in a career that boasts numerous publications and exhibitions. His work is held by major galleries and museums worldwide.

Common Sense combines extravagantly lurid and luscious colour with Parr’s trademark sense of irony. Though hilariously funny – as always with Parr’s work – there is a sharp and biting edge to the humour.

The launch of this extraordinary book was celebrated by simultaneous exhibitions in more than 40 different cities world-wide including making it probably the largest exhibition of work ever held by one artist – a truly global project.

Publisher: Dewi Lewis
Size: 206mm x 300mm
160 pages, 158 colour photographs

Usually dispatched within 2 working days

£25.00

Picture of After the Flood
Publisher's Description
In late September 2005, Robert Polidori traveled to New Orleans to record the destruction caused by Hurricane Katrina and by the city’s broken levees. He found the streets deserted, and, without electricity, eerily dark. The next day he began to photograph, house by house: 'All the places I went in, the doors were just open. They had been opened by what I collectively call ‘the army,’ of maybe 20 National Guards from New Hampshire, 15 policemen from Minneapolis, 20 firefighters from New York... On maybe half of them or a third of them that I went in, I think that the occupants had been there prior. And some of them did leave certain funeral-like mementos before they left. Maybe right after the waters receded they had the chance to just--to go back to their place and just see, and realize there’s nothing worth saving.' Amidst all this, Polidori has found something worth saving, has created mementos for those who could not return, documenting the paradoxically beautiful wreckage. In classical terms, he has found ruins. The abandoned houses he recorded were still waterlogged as he entered and as he learned (by trial and error, a process that including finding a dead body) the language of signs and codes in which rescue workers had spray-painted each house’s siding. He sees the resulting photographs as the work of a psychological witness, mapping the lives of the absent and deceased through what remains of their belongings and their homes.

Publisher: Steidl
Size: 38.5 cm x 30 cm
320 pages, 300 colour plates

Usually dispatched within 2 working days
Robert Polidori
Publisher's Description
In late September 2005, Robert Polidori traveled to New Orleans to record the destruction caused by Hurricane Katrina and by the city’s broken levees. He found the streets deserted, and, without electricity, eerily dark. The next day he began to photograph, house by house: 'All the places I went in, the doors were just open. They had been opened by what I collectively call ‘the army,’ of maybe 20 National Guards from New Hampshire, 15 policemen from Minneapolis, 20 firefighters from New York... On maybe half of them or a third of them that I went in, I think that the occupants had been there prior. And some of them did leave certain funeral-like mementos before they left. Maybe right after the waters receded they had the chance to just--to go back to their place and just see, and realize there’s nothing worth saving.' Amidst all this, Polidori has found something worth saving, has created mementos for those who could not return, documenting the paradoxically beautiful wreckage. In classical terms, he has found ruins. The abandoned houses he recorded were still waterlogged as he entered and as he learned (by trial and error, a process that including finding a dead body) the language of signs and codes in which rescue workers had spray-painted each house’s siding. He sees the resulting photographs as the work of a psychological witness, mapping the lives of the absent and deceased through what remains of their belongings and their homes.

Publisher: Steidl
Size: 38.5 cm x 30 cm
320 pages, 300 colour plates

Usually dispatched within 2 working days
£50.00

Picture of England / Scotland 1960 (New Edition)

Publisher's Description

In 1960, after an intense year photographing a notorious Brooklyn street gang “The Jokers”, Bruce Davidson decided to remove himself from the tension and depression of that work. He received an assignment to photograph Marilyn Monroe during the making of John Houston’s The Misfits in the Nevada desert, and then travelled to London on commission for Queen magazine. Published by Jocelyn Stevens, Queen was devoted to British lifestyle and Davidson was charged, with no specific agenda, to spend a couple of months touring England and Scotland to create a visual portrait of the two countries.

England / Scotland 1960 offers a poetic insight into the heart of English and Scottish cultures. Reflecting a post-war era in which the revolutions of the 1960s had not quite yet entered the mainstream, Davidson’s photographs reveal societies driven by difference – the extremes of city and country life, of the landed gentry and the common people. Published for the first time in its entirety in 2005, this new edition has a larger ideal format chosen by Davidson initially for his Black & White (2012), and now the standard size for his future publications with Steidl.

Publisher: Steidl

Size: 23.5 cm x 27 cm

192 pages, 120 tritone plates

Bruce Davidson
Published for the first time in its entirety in 2005, this new edition has a larger ideal format chosen by Davidson initially for his Black & White (2012), and now the standard size for his future publications with Steidl.
£28.80

Picture of Vietnam Inc
Publisher’s Description
First published in 1971, Vietnam Inc. was crucial in changing public attitudes in the United States, turning the tide of opinion and ultimately helping to put an end to the Vietnam War. Philip Jones GriffithsEclassic account of the war was the outcome of three yearsEreporting and is one of the most detailed surveys of any conflict. Showing us the true horrors of the war as well as a study of Vietnamese rural life, the author creates a compelling argument against the de-humanizing power of the modern war machine and American imperialism. Rare and highly sought-after, the book has become one of the enduring classics of photo-journalism. It is now available in this new edition Ea careful recreation of the original with Philip Jones GriffithsEpersonal layouts and commentaries. A new introduction by US linguist and political critic Noam Chomsky discusses the book’s impact in changing public opinion.

Publisher: Phaidon Press
Size: 280 x 202mm
224 pages, 266 black & white photographs

Publisher's Price: £ 22.95
Philip Jones Griffiths
Publisher’s Description
First published in 1971, Vietnam Inc. was crucial in changing public attitudes in the United States, turning the tide of opinion and ultimately helping to put an end to the Vietnam War. Philip Jones GriffithsEclassic account of the war was the outcome of three yearsEreporting and is one of the most detailed surveys of any conflict. Showing us the true horrors of the war as well as a study of Vietnamese rural life, the author creates a compelling argument against the de-humanizing power of the modern war machine and American imperialism. Rare and highly sought-after, the book has become one of the enduring classics of photo-journalism. It is now available in this new edition Ea careful recreation of the original with Philip Jones GriffithsEpersonal layouts and commentaries. A new introduction by US linguist and political critic Noam Chomsky discusses the book’s impact in changing public opinion.

Publisher: Phaidon Press
Size: 280 x 202mm
224 pages, 266 black & white photographs

Publisher's Price: £ 22.95
£20.66

Picture of Boring Postcards paperback

Publisher's Description
Martin Parr is a key figure in the world of photography and contemporary art. Some accuse him of cruelty, but many more appreciate the wit and irony with which he tackles such subjects as bad taste, food, the tourist, shopping and the foibles of the British. Parr has been collecting postcards for twenty years, and here is the cream of his collection his boring postcards. With no introduction or commentary of any kind, Parr’s boring postcards are reproduced straight: they are exactly what they say they are, namely boring picture postcards showing boring photographs of boring places presumably for boring people to buy to send to their boring friends. All of them are shot in Britain, taking us on a boring tour of its motorways, ring roads, traffic interchanges, bus stations, pedestrian precincts, factories, housing estates, airports, caravan sites, convalescent homes and shopping centres. Some attempt to idealize their subjects, only to fail dismally. Others lack any apparent purpose or interest … but the resultant collection of photographic images is wholly compelling. Boring Postcards is multi-layered: a commentary on British architecture, social life and identity, a record of a folk photography which is today being appropriated by the most fashionable photographers (including Parr), an exercise in sublime minimalism and, above all, a richly comic photographic entertainment.

Publisher: Phaidon Press
Size: 150 x 210mm
176 pages, 120 colour & 35 b/w illustrations

Publisher's Price: £ 6.95
Martin Parr

Publisher's Description
Martin Parr is a key figure in the world of photography and contemporary art. Some accuse him of cruelty, but many more appreciate the wit and irony with which he tackles such subjects as bad taste, food, the tourist, shopping and the foibles of the British. Parr has been collecting postcards for twenty years, and here is the cream of his collection his boring postcards. With no introduction or commentary of any kind, Parr’s boring postcards are reproduced straight: they are exactly what they say they are, namely boring picture postcards showing boring photographs of boring places presumably for boring people to buy to send to their boring friends. All of them are shot in Britain, taking us on a boring tour of its motorways, ring roads, traffic interchanges, bus stations, pedestrian precincts, factories, housing estates, airports, caravan sites, convalescent homes and shopping centres. Some attempt to idealize their subjects, only to fail dismally. Others lack any apparent purpose or interest … but the resultant collection of photographic images is wholly compelling. Boring Postcards is multi-layered: a commentary on British architecture, social life and identity, a record of a folk photography which is today being appropriated by the most fashionable photographers (including Parr), an exercise in sublime minimalism and, above all, a richly comic photographic entertainment.

Publisher: Phaidon Press
Size: 150 x 210mm
176 pages, 120 colour & 35 b/w illustrations

Publisher's Price: £ 6.95
£8.06

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