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Nadav Kander is a recipient of the renowned Prix Pictet and one of today’s most successful photographers. When he learned of the existence of two “closed” cities on the border between Kazakhstan and Russia, he knew that he would have to visit them. For Dust he photographed the desolated landscapes of the Aral Sea and captured fascinating images of the restricted military zones of Priozersk and Kurtchatov, which did not appear on any map until well after the end of the Cold War. Long-distance missiles were tested in Priozersk under great secrecy. Hundreds of atomic bombs were detonated in the so-called Polygon near Kurchatov until the program ended in 1989. The bombs were exploded in a remote but still populated area, and covert studies were made of the effects of the radiation on the unsuspecting inhabitants. Kander writes how the ticking of the Geiger counter on his belt while he photographed reminded him that he should not become too enthralled with the aesthetic and painterly allure of the crumbling ruins.
Publisher: Hatje Cantz
Size:340 x 270 mm
120 pages, 48 illustrations
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… everything is possible and everything is watched and noted, for here on the West Bank of the River Jordan every inch of land is known, recorded, and potentially a source of conflict.
Nick Waplington lived in Jerusalem between 2008 and 2013, visiting over 350 distinct Jewish settlements in the region, from populous cities like Ariel to tiny outposts made up of a few caravans. This book’s title, Settlement, refers to the Jewish communities built in the region of the former state of Palestine known as the West Bank, an area of approximately 2,173 square miles, between the Jordan River and Jerusalem. The area was occupied by Israel in 1968, in the aftermath of the Six-Day War; Israel's right to govern is not recognised by the United Nations, which deems any Israeli building in this area to be a violation of international law.
The book investigates the topography of Jewish identity in the West Bank, which is in conflict not only with the Palestinian majority but also with mainstream Israeli society: While all the settlers are Jewish, and almost all are Israeli citizens, many are not natives of Israel. Most of the men and women photographed by Waplington are immigrants who arrived in the West Bank from the United States, South Africa, Australia, the UK, the former Soviet Union, and other parts of the wider Jewish diaspora. The exact number of settlements cannot be determined with accuracy, as both construction and demolition take place regularly throughout the region. In general, however, the presence of Jewish settlers in the West Bank is entrenched, and their building projects continue with the support of the state of Israel.
Nick Waplington is a British photographer born in Aden, Yemen. His work is held in collections of the Guggenheim Museum, MoMA, and London’s Victoria and Albert Museum. Settlement is part of a project entitled This Place, which explores the complexity of Israel and the West Bank through the eyes of twelve internationally acclaimed photographers.
145 colour plates
30 cm x 27 cm
Hardcover with tipped-in image
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‘Simply wonderful’ – Black & White Photography
‘Matchless perfection … a really inspired and insightful line of attack into a well-covered subject’ – The Daily Telegraph
Henri Cartier-Bresson was taken prisoner by the Germans in 1940. After two unsuccessful attempts, he managed to escape in 1943. During this time, The Museum of Modern Art in New York, assuming that the photographer had died in the war, started preparing what they thought was a posthumous exhibition of his work.
When he reappeared, Cartier-Bresson was delighted to learn of the exhibition, and decided to review his entire work and curate it himself. In 1946 he travelled to New York with about 300 prints in his suitcase, bought a scrapbook, glued each one in, and brought that album to MoMA’s curators. His first exhibition, a celebration of his survival, opened on 4 February 1947.
In the 1990s, Cartier-Bresson once again returned to this scrapbook. Following his death in 2004, the Fondation Henri Cartier-Bresson, the present owner of the prints, finished restoring them, making it possible to bring a large body of extraordinary, hitherto unpublished work to the public, images that have finally become a memorial collection after all.
Agnès Sire is the President of the Foundation Henri Cartier-Bresson.
Michel Frizot is a French historian of photography.
First Steidl printing sold out. Orders are being taken for the second printing.
The Decisive Moment, originally called Images à la Sauvette, is one of the most famous books in the history of photography, assembling Cartier-Bresson's best work from his early years. Published in 1952 by Simon and Schuster, New York, in collaboration with Editions Verve, Paris, it was lavishly embellished with a collage cover by Henri Matisse. The book and its images have since influenced generations of photographers. Its English title has defined the notion of the famous formal peak in which all elements in the photographic frame accumulate to form the perfect image. Paired with the artist's humanist viewpoint, Cartier-Bresson's photography has become part of the world's collective memory. This new publication is a meticulous facsimile of the original book. It comes with an additional booklet containing an essay on the history of The Decisive Moment by Centre Pompidou curator Clément Chéroux.
More people than ever before live in the city, which critic Susan Sontag once described as ‘a landscape of voluptuous extremes’.
The energetic, ever-changing pace of the metropolis has long lured photographers to capture, often candidly, the chaos, character and incident of modern urban life. Its theatre of the everyday and the ordinary continues to inspire extraordinary art and holds up a mirror to our public world.
Including classic documentary street photography as well as images of urban landscapes, portraits and staged performances, The World Atlas of Street Photography focuses on an abundance of photography that has been created on street corners around the globe including:
Daido Moriyama as he roams the cramped, winding back alleys of Tokyo
Joel Meyerowitz’s extraordinary archive of New York’s Ground Zero in the days after the 9/11 attacks
Alexey Titarenko as he uses long exposures to recast his home town of St Petersburg as a haunting city of shadows
Remarkable beach scenes of Rio de Janeiro with Julio Bittencourt
Katy Grannan's portraits of the hustlers and strutters on Hollywood Boulevard
New York’s hip-hop culture seen by Nikki S. Lee, artfully disguised to expose preconceptions on race and identity
Sample images here.
Publisher: Thames & Hudson
Size: 235 x 220 mm
Blackpool has an unenviable reputation for its stag and hen parties. Every weekend marauding packs of brides and grooms, close friends and family, overflow its streets on a mission to consume dangerous, liver-crushing levels of alcohol. This, their rite of passage acted out on the last night of freedom, before the conventions and responsibilities of marital life, mortgage, children.
Dougie Wallace has captured a town heaving with everything from bunnygirls to banana men. Girls dressed in togas, all matching gold handbags and neatly-done hair, giving it the ‘when in Rome’ treatment, devil girls, pink ladies, Brownies, guys in drag, stuffed into nuns’ and nurses’ outfits, wearing salacious T-shirts with ‘Johnny’s Last Night of Freedom’ or ‘Up the Anus Ashley’ – each group with the same singular objective, to get as ‘fucked up’ as possible.
London-based photographer Dougie Wallace grew up in Glasgow. He is recognised for his expressive social documentary and a distinct and direct style of street photography. As he says; ‘Human behaviour motivates my pictures. People, their interactions and emotions fascinate me… Translating this, through my lens, into social wit, criticism and humorous vignettes is what stimulates me.’
Largely self-taught, he took up photography seriously after having served four years in the army. Often known as ‘Glasweegee’, Wallace believes that his Glasgow upbringing has helped shape his style, which has been described as ‘hard edged’ and ‘visually exaggerated’, conveying a personalised point of view that is both believable and absurd. His work has featured in many publications including commissions for The New York Timesand Stern Magazine, Germany.
See here for sample images.
Like a proper ‘Weedgie’ Dougie Wallace doesn’t patronise but sees humanity and pathos in the carnage that is Blackpool.
– Irvine Welsh
Dougie Wallace has captured Blackpool in all its profligate glory.
– Alan McGee
Publisher: Dewi Lewis
Size: 240 x 300 mm
96 pages, 72 colour photographs
With dramatic and exciting stories, Carlos Miller reveals the secrets behind successful citizen journalism.
Whether you’re planning a publicity blitz for your cause, you’re interested in the down-and-dirty practices of the police, or just want to be prepared for the moment you’re the first on the scene, this book has everything you’ll need to know to take newsworthy pictures and get them in front of a wide audience.
You don’t need a DSLR camera – though they can be useful – what is essential for citizen journalism is a cool head, an eye for a great angle, and the initiative to capture the moment: let Carlos Miller show you how.
Size: 152 x 202 mm
176 pages, full colour throughout
“Man does not need society at all, it’s the society that needs man. Society is a forced measure of protection and survival. Unlike a gregarious animal, man must live alone - in nature among animals, plants and in contact with them.” - Andrey Tarkovsky
Strong words that the young Russian photographer Danila Tkachenko uses to start his book "Escape". As indeed most people all over the world live in community with others and arrange themselves in work and family life with the demands of society. But it is no secret, that many suffer under the constraints, break or drop out.
No matter how overused the term of the dropout is, Danila Tkachenko in this series portrayed the most radical of their kind and calls them "Escapers". Men who have turned their backs on society to live alone as hermits in the wilderness of Russian and Ukrainian forests. Confronted with this disturbing work the questions regarding our own personal freedom and the consequences arise anew.
With good reason "Escape" won a first prize at the "World Press Photo Contest 2014"
Size: 295 x 235 mm
120 Pages, 44 colour images
This is the largest retrospective book of Sune Jonsson's life's work ever made. He is regarded as one of Sweden's most important documentary photographers. The ingress and sedate portraits moves everyone who sees them. People who may seem remote populate his visual world, but they are only a few decades away. The pictures are important documents but also timeless poetry.
Sune Jonsson (1930-2009) worked for nearly his entire life in the county of Västerbotten. He took as his life's work to document the agricultural life he saw disappeared when an increasingly large scale and urban society replaced the old agricultural landscape.
The monograph Life And Work spans most of Sune Jonsson's work, from his debue with the book Byn med det blå huset via Bilder från den stora flyttningen to Och tiden blir ett förunderligt ting. The text is written by Val Williams, Professor of History and Culture of Photography at the University of the Arts London and former curator at the Hasselblad Center . Sune Jonsson's own writings provide inputs to his various projects.
The book is published in cooperation with Sune Jonsson Center for Documentary Photography at the Museum of Västerbotten.
Publisher: Max Strom
Size: 250 x 310 mm
In the late 50s after an unsuccessful stint in college, master photographer Larry Fink dropped out and began an odyssey of hitchhiking through America. Starting out in Cedar Rapids, Iowa, and moving on to Chicago, Larry travelled eastward through Cincinnati and finally back to his native soil on Long Island where his family waited with dismayed but open arms.
Clearly Long Island was not an optimal place for young Fink to remain. Striking out on his own once again, but this time for nearby Beat mecca, New York City, Fink settled down on Minetta Lane with a chap who fancied himself a poet.
Larry was quick to hit MacDougal Street where he met Turk, Mary, Bobbie, Motha, Ambrose, Randy, and Mike Stanley, not to mention Hugh Romney (a.k.a Wavy Gravy), LeRoi Jones, and so many more. Photographing, singing, and smoking weed scored in small brown paper bags on the avenues of the Village, Fink was living with internal rage, infernal optimism, and oh so many new freedoms. Just a kid, Larry yearned to get out and fight the revolution and to photograph while doing so.
The crew lived all together in the sub-basement of the Sullivan Street Theatre. Being next to the Village Gate, a now legendary jazz club, they dug their way to the rear of the club brick by brick to listen to their princes of expressive freedom: John Coltrane, Charles Mingus, and Art Blakey.
Fink, a Marxist and red diaper baby, didn’t immediately fit in with Turk’s crew, but they needed a young, drug-fueled, jazz-loving (and playing) photographer to document their visionary plight. So, it was decided that Larry sign on—they soon left New York to cross America for Mexico—in search of the soul of the Aztecs, the freedoms of the road, the compulsion of speed, the needy thrust of exaggerated adolescence. They moved fast and hysterically forward…
“It was my fate to be aligned with the Beats because of my propensity for drugs, anger, and poetry. Since they were second generation, without the same sense of immortal obsession such as the like of Kerouac and Ginsberg, they had a distinct need to be documented. Perhaps that is why they tolerated me. We were not a happy marriage and got our divorce in Mexico City. The pictures, made in 1958 and 1959, come from MacDougal Street in New York City all the way down to Mexico, and on the road in America.” —Larry Fink
Size: 9.7 x 12.25"
For more than fifteen years, French photographer Bernard Plossu took extended trips to Mexico to photograph people, landscapes, and a culture in flux. ¡Vámonos! Bernard Plossu in México captures the bohemian adventure of this traveler’s four journeys, the first in 1965–66 and the last in 1981. His black-and-white and color images have transfixed generations of young people in France, who cherish him in the way young Americans celebrate Jack Kerouac. Plossu’s romantic vision encompasses coquettish women, peasants at work, fog-wrapped trails in the jungle, and waves lapping at sandy beaches. Yet Plossu is also aware of poverty and the challenges facing a modernizing society, and his photographs capture the nobility of all his subjects. Along with more than three hundred photographs, organized into chapters representing each of his Mexican journeys, this first compilation of Plossu’s Mexican work includes an essay by prominent French photo editor Claude Nori that highlights Plossu’s vagabond spirit. Additional commentaries are provided by renowned writers, including the book’s editor, Salvador Albiñana, and Emmanuel Guigon, Francisco Salinas, Alfonso Morales, and José Agustín.
Size: 11 3/8 x 12 5/8"
336 pages, 330 duotone and four-colour images
This catalogue reproduces 150 colour photographs taken by the acclaimed photojournalist Nick Danziger during a visit to the North Korea in 2013.
Travelling with the writer Rory MacLean, and Andrea Rose, Director of Visual Arts at the British Council, Danziger was able to record the everyday life in the DPRK and was given rare access to cities outside Pyongyang.
The photographs are accompanied by commentary on the DPRK’s customs and rituals by Andrea Rose. Exceptionally, all the Korean text in the photographs has been translated, giving a vivid sense of the political exhortation that surrounds citizens in the country.
The catalogue includes 12 Profiles, written by MacLean based on interviews held in the DPRK. These provide fascinating glimpses into the everyday lives of individuals in various walks of life.
Publisher: British Council
Size: 270mm x 243mm
206 pages, 137 colour illustrations
#SANDY is a book of iPhone photos of Hurricane Sandy by acclaimed photographers including Benjamin Lowy • Stephen Wilkes • Ed Kashi/VII • Hank Willis Thomas • Richard Renaldi • Lyle Owerko • Wyatt Gallery • Michael Christopher Brown • Ruddy Roye • Craig Wetherby • 13th Witness • Sam Horine • Andrew Quilty • Giles Clarke • Erica Simone • Yosra El-Essawy • Duffy Higgins • Brent A. Bartley • Dylan Chandler • Nicole Sweet
In October 2012, Hurricane Sandy devastated communities in the New York City, New Jersey, and Connecticut areas. In response, Foley Gallery and photographer Wyatt Gallery organized an exhibition of iPhone photographs of the storm by the photographers listed above. Hundreds of people attended the one night event and almost 400 photographs were purchased. Over a year later many residents are still struggling to regain normal living conditions.
Size: 8 x 8"
94 color photographs
Another Great Day at Sea chronicles Dyer’s experiences, with humour and everyday tender human stories, on the largest aircraft carrier in the world, the USS George H.W. Bush. Dyer navigates the carrier’s daily routines and protocols: from flight deck choreography through to kitchens serving meals for a crew of five thousand to the deafening complexity of catapult and arresting gear.
Another Great Day at Sea is a dazzling social experiment, complete with arresting, full-colour photography by award-winning Magnum photographer Chris Steele-Perkins, a definitive, boundary collapsing work written by an author whose books otherwise defy definition.
Publisher: Visual Editions
3rd printing March 2015
From the introduction by Martin Parr:
Consider these facts. In Italy the right to worship, without discrimination, is enshrined within the constitution. There are 1.35 million Muslims in Italy and yet, officially, only eight mosques in the whole country.
One consequence is that the Muslim population have accumulated a huge number of makeshift and temporary places of worship. These are housed in a variety of buildings including lock ups, garages, shops, warehouses and old factories.
This shortage of places to worship is particularly acute in north east Italy – where the photographer Nicolò Degiorgis lives – home to many anti-Islamic campaigns headed by the right wing party Lega Nord. The dull images of the many and diverse buildings that house the makeshift mosques are printed on folded pages. You open up the gatefold to reveal the scenes inside the mosques, shot in full colour. The size of the gatherings varies, from large crowds who sometimes pray outside to a small room full to bursting, or to intimate groups of two or three Muslims.
Degiorgis provides a fascinating glimpse of hidden world and leaves the conclusions about this project entirely in our own hands.
Author: Nicoló Degiorgis
Introduction: Martin Parr
Editing: Nicoló Degiorgis and Martin Parr
Design: Nicoló Degiorgis and Walter Hutton
Format: 90 pages / 45 gate folds, hardcover, 16x24cm
Publication date: May 2014
Photographer's website: www.nicolodegiorgis.com
Disco Night Sept. 11 is a chronicle of America's wars from 2006-2013. The photographs shift back and forth from the wars in Iraq and Afghanistan to the USA, unsparingly capturing the violent, ceaseless cost, but also the mystery and the madness, the beauty and absurdity at the core of each conflict. The narrative is complemented by nineteen gatefolds which elaborate on places and individuals.
Photographs are fragments, sometimes only loosely tied to important experiences. An extensive text records some of the missing pieces. The stories that precede and follow the moment of the photograph, conversations with soldiers, anonymous graffiti that's part confession, part boast.
Disco Night Sept. 11 is an expansive yet intimate account of this defining era of history.
See here for further details and selected images.
Dimensions: 8.5" x 10.5" | Pages: 276 including 19 Gatefolds | Photographs: 188 | Designer: Yolanda Cuomo Design
A hardback volume with Daido Moriyama's impressions of Paris from spells spent in the city 1988-1990 and 2003.
Size: 149 x 110 mm
In summer 1995 Miron Zownir traveled to Russia. Focused on street photography he took pictures of homeless, dying and dead people. According to Zownir, he experienced Moscow as "the most aggressive and dangerous city I've ever been to." Yet even Russian militia couldn't keep him away from depicting the blatant social and moral decline in the former Soviet Union. Zownir's images from Russia are bitter and brutal, and highly distressing to view. The human tragic of radical poverty, that they reveal, ultimately climaxes in the utterly undignified act of dying in public. "It was Dante's inferno," Zownir would state when he returned to Berlin after three months of a terrifying descend into the lower depths of the Post-Soviet society.
Since more than 30 years Miron Zownir is known as one of the most radical contemporary photographers. His images from the western cities like Berlin, New York and London or the post-communist east-europe were shown in several international shows like the Fotomuseum Winterthur in Switzerland. Miron Zownir's photographs were shown next to Nobuyoshi Araki, Nan Goldin, Robert Mapplethorpe, Weegee, Larry Clark, Robert Capa and many more.
Size: 22 x 26 cm
Edition of 500
Located in east London just north of The City, Hackney has a long history stretching back to Tudor times. During the 1980s when Berris Conolly took these photographs it was an area that had been in decline. This was a decade of turmoil in both national and local politics with issues of social justice never far from the headlines. Today the concerns increasingly revolve around the gentrification of areas of the borough and the disparities of wealth that this exemplifies.
Berris Conolly photographed the places that he knew and that formed his everyday environment. Using the A-Z, he walked, cycled or drove down every street, marking off the grid squares as he went. There was no conscious or formal theme to the project, other than to record mainly the streets and buildings rather than people, though inevitably people did start to appear in some of the images, either as figures in the landscape, or frequently at their own request. Often he would set up the tripod to take an empty scene and passers-by would ask to be photographed, possibly drawn by the sight of a large camera and tripod. “Are you from the local paper?” was a common question. The resultant archive comprises over 1500 images.
After many years in advertising photography Berris Conolly began focussing on documentary landscape in the early 1980s, leaving commercial photography completely by 1985. He moved from London to Sheffield at the end of 1988 to work on a commission for Untitled Gallery (now Site) to document the city, working as one of several photographers on a two-year Regeneration Project, which culminated in exhibitions across the city in 1991 to coincide with the World Student Games. He subsequently joined the management committee of Untitled, assisting with the exhibition and events programme through selection, commissioning and curating exhibitions. After setting up a landscape gardening company in 1994 he didn’t photograph for the following ten years, before picking up a camera again in 2004. By this time digital imaging had largely replaced film and traditional darkroom printing.
Hardback, 96 pages
300mm x 240mm
64 duotone photographs
Published in June 2014
“In this book there are portraits of girls whose destinies can still change if not the destiny of the area in which they are growing up. Annalisa was one of them. She kept a diary, in which she wrote that Naples was becoming too dangerous to live in and how she was dreaming to escape.”
- Valerio Spada
Gomorrah Girl tells two stories in one, the problems of growing up in a crime-ridden area and the murder of Annalisa Durante, a young woman caught in the crossfire of a Mafia shootout.
The stories are brought together through innovative, book within a book, design. Bound together are Spada’s photographs documenting adolescence in the land of Camorrah (the name for the Mafia in Naples) and pages detailing the police investigation.
9 x 13 Inches
57 Four-color Plates