Tenmei Kanoh came back to New York in the Summer of 2015, the city was overflowing with tourists. Kanoh felt transported back in time, to the windy rooftops of the World Trade Center. There are many ways to think about the change and the realities that occurred after 9/11. Photography can preserve a story for posterity, about events that will be buried in history.
Publisher: Akio Nagasawa Publishing
Size: 256 × 182 mm
Limited edition: 300 copies
Walker Evans shot the photographs collected in Labor Anonymous as an assignment for Fortune magazine, which published a small selection of 20 images in its November 1946 issue, under the title "On a Saturday Afternoon in Detroit." Until now, however, the entire series of 50 photographs has never been reproduced. Evans’ extraordinary serial studies of the facial expressions and postures of Detroit workers walking the city’s streets are fascinating both as portraiture and as a surprising dimension of his photographic style. Shooting passersby against a plywood backdrop as they crossed his field of vision from distant right to close left (some noticing him, most not), with the light striking and modeling their features, Evans found that what he was creating with these images was "the physiognomy of a nation." This book compiles the photographs, contact sheets, small-version printlets, Evans’ annotations to newspaper clippings, drafts for an unpublished text, telegrams and every available print Evans made, along with the Fortune spread as published. Labor Anonymous captures a long-vanished moment in American history, and a crucial project in Evans’ oeuvre.
Born in St. Louis, Missouri, Walker Evans (1903–75) took up photography in 1928. His book collaboration with James Agee, Let Us Now Praise Famous Men (1941), which portrayed the lives of three white tenant families in southern Alabama during the Depression, has become one of that era’s most defining documents. Evans joined the staff of Time magazine in 1945, and shortly after moved to Fortune magazine, where he stayed until 1965. That year, he became a professor of photography at the Yale University School of Art. Evans died at his home in Old Lyme, Connecticut, in 1975.
Size: 9.5 X 10"
170 pages, 50 duotone illustrations
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In 2012, the Eastman Kodak Company declared bankruptcy. That same year, a group of ten photographers from Magnum Photos—Jim Goldberg, Bruce Gilden, Susan Meiselas, Martin Parr, Paolo Pellegrin, Alessandra Sanguinetti, Alec Soth, Larry Towell, Alex Webb, and Donovan Wylie, plus Chien-Chi Chang, who documented the process in audio and video—established a temporary base of operations in Rochester, New York, former home to the once-dominant manufacturer of photographic film. Their goal: to create both a documentary archive of that city’s culture and landscape, and a photo-based experience engaging its residents; and to investigate a community of picture-makers comprised not only of Eastman Kodak, but also the Visual Studies Workshop, George Eastman House, Rochester Institute of Technology, and the citizensof Rochester. Over the course of almost three weeks, photographers, students, faculty, and residents worked together to create a visual record of the city and its people at a time of significant transition. Nathan Lyons, founding director of the Visual Studies Workshop, describes the resultas “not only a major documentary project, but a celebration of photography within the city that had for years been a center of imaging technologies.”
Upon arrival in Rochester, Martin Parr gave each photographer the task of assembling one hundred photographs to form the basis of an archive. Rochester 585/716 presents all one thousand images, together with commentary by poets Cornelius Eady and Marie Howe, art historian and photo theorist Laura Wexler, and photographer and educator Nathan Lyons. Five sets of the images were printed as a portfolio, each of which now resides in major private and public collections. Two artist proof sets were also created, one of which will be dispersed via the one thousand copies of this publication. Each individual copy contains a single loose print, selected at random from this additional set.
Postcards from America is an ongoing, collaborative project. Since 2011, a loose group of Magnum photographers—including the eleven featured in this volume— has periodically gathered in locations across America to experiment with the notion of working together to create a new documentary archive of the United States.
Publisher: Aperture (in collaboration with Pier 24)
Size: 8 1/2 x 11"
452 pages, 1000 four-color and black-and-white images
*Each individual copy contains a single loose print
Memento Mori, Peter Mitchell’s first publication, was published in 1990 and documents the dramatic impact of the Quarry Hill redevelopment project in Leeds.
“I photograph dying buildings and Quarry Hill was terminal by the time I got to it. Times change and I know there was no point in keeping Quarry Hill Flats. But what it stood for might have been worth remembering.”
Peter Mitchell (1943) is a British photographer who has documented Leeds and its surrounding area for more than 40 years. His work is an essential part of the colour documentary scene of the 1970s and ‘80s.
Facsimile edition of the first edition of 1990 with a new afterword by Peter Mitchell.
Publisher: RRB Publishing
Size: 230 x 210 mm
Award-winning photographer Stuart Franklin's exploration of how we, as humans, are driven to visually document our experiences and the world around us.
Stuart Franklin took one of the most powerful photographs of the twentieth century - the 'tank man' in Tiananmen Square, Beijing, 1989. From his insightful position as a photographer, Franklin explores why we are driven to visually document our experiences and the world around us. He focuses on photography but traces this universal need through art, literature and science.
Looking at photojournalism, war photography and work recording our culture, Franklin identifies some of its driving impulses: curiosity, outrage, reform and ritual; the search for evidence, for beauty, for therapy; and the immortalization of memory.
As our understanding of 'documentary' continues to expand, Franklin considers photographic staging - where, perhaps, the future of the genre may lie: in search of truth over fact.
"This book traces what I shall call the documentary impulse. Here I mean the passion to record, with fidelity, the moments we experience and wish to preserve, the things we witness and might want to reform; or simply the people, places or things we find remarkable... Photography (and journalism) practised respectfully has the power to educate us all towards a greater understanding and empathy towards others." —Stuart Franklin
Size: 203 x 137 mm
216 pages, 18 colour illustrations, 17 black and white illustrations
In 1980 Raymond Depardon fulfils an order for the Sunday Times Magazine, but the reportage will never be published. The pictures will wait in the photographer's boxes until the exhibition Un moment si doux (Such a sweet moment) at the Grand Palais (14th November 2013 - 10th February 2014), where the audience discovers a sample of the Glasgow series and goes into raptures about it. Depardon grasps the light of Scotland as never before and sublimes the end of a working world. Glasgow's cloudy skies and soaked ground give an extraordinary beauty to the wanderings of working people, hanging around in front of the shops, walking towards the factories' walls and even playing about ruined houses. William Boyd, who is of Scottish descent and was educated in Glasgow, writes the preface of the book, which is bilingual (English-French). Here we publish the complete reportage: 72 colour photographs. The pictures will appear without captions, and only a short bilingual text by Depardon will introduce the reportage, behind Boyd's foreword.
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"Steve McCurry has given us the world through his iconographic image-making. He has been relentless in his pursuit of images that not only inform but sensitize us to places and people from faraway that are the D.N.A. of our planet. That he risks his life for us is of no concern to him. It is his way, an aspect of his pursuit of enduring art. That he is generous, compassionate, and humble is what drives this award-winning photographer and is what underlies his strength and the potency of his image-making.
McCurry is one of the best-known artists of the twentieth and twenty-first centuries, and one of the most influential. His images have helped connect us to parts of the world we have never been to, humanizing our perceptions of people throughout the world.
But there is one image of McCurry’s that almost everyone knows, even if they don’t know who made it. We are referring, of course, to Sharbat Gula, Afghan Girl (1984).
It is not too much to say that Afghan Girl has changed the world, “searing the heart” of viewers, owing to its power to inform our perception of humanity. For over thirty years, it has enabled millions of people to connect with another person across wide gulfs of cultural difference. It is this sense of connectedness, achieved through photography, that is McCurry’s great and rare gift to humanity."
- John Stauffer, from the introduction to Humanity
Publisher: 21st Editions
Size: 11 x 14"
Edition of fifty copies
9 bound and 3 free-standing platinum prints, each signed*
Handcrafted in New England
*This is the first time McCurry's work has been presented in platinum
A boxed collection of 100 postcards featuring the work of more than 65 Magnum greats, curated from the bestselling book Magnum Magnum
Thames & Hudson has enjoyed exceptional success and critical acclaim in its collaborative ventures with Magnum Photos, the world’s most prestigious photo agency.
Now, with its 70th anniversary approaching in 2017, Magnum Photos has combined forces with Thames & Hudson once more on a range of gifts. Each product is aimed at either active photographers or those who simply love great photography, and will connect the Magnum brand with a greater audience than ever before.
Publisher: Thames & Hudosn
Size: 148 x 105 mm
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From February 6 to June 5, 2016, the Fondation Cartier pour l’art contemporain in Paris will present a solo exhibition of Daido Moriyama, a legendary figure in Japanese photography.
Daido Moriyama (born 1938 in Ikeda) invented a new visual language in his work from the mid-1960s onwards. Frenetic and tormented, it depicts a reality that is grainy, blurry, and out-of-focus. Witness to the spectacular changes that transformed postwar Japan, his photographs express the contradictions in a country where age-old traditions persist within a modern society. Often blurred, taken from vertiginous angles, or overwhelmed by close-ups, they show a proximity to and a particular relationship with the subject. Daido Moriyama’s photographs of Tokyo, in particular of the narrow streets of Shinjuku District—where all sections of the population live—, provide a harsh, crude vision of city life, the chaos of everyday existence, strange worlds, and unusual characters. Considering books as the best means to spread his work, Daido Moriyama has published more than 150 monographs so far. His work was shown in major solo exhibitions at the SFMoMA in San Francisco (1999), the Tokyo Metropolitan Museum of Photography (2008), the Philadelphia Museum of Art (2009), and the Tate in London (2012–13). It is also part of the collections of prestigious international institutions, including the MoMa in New York, the Getty Museum of Los Angeles, the Museum of Fine Arts in Boston and the Centre Pompidou in Paris, as well as the Fondation Cartier pour l’art contemporain in Paris. Twelve years after the organization of a landmark solo exhibition of Daido Moriyama, the Fondation Cartier pour l’art contemporain will present the exhibition Daido Moriyama, Daido Tokyo featuring a large selection of color photographs by the artist, shedding light on this lesser-known yet ubiquitous aspect of his photographic practice over the last two decades. The Fondation Cartier has also commissioned a slide show of 291 black-and- white photographs, which will plunge viewers into the unrelenting urban hustle and bustle of Tokyo.
The catalogue published in conjunction with the exhibition will include these images as well as a text by the artist, providing a unique occasion to discover Daido Moriyama’s recent work and to rediscover the subjects that are omnipresent in the artist’s work and his penchant for textures and shaky compositions.
Publisher: Fondation Cartier pour l’art contemporain
Size: 180 × 270 mm
248 pages, 377 color and black-and-white reproductions
Bilingual French-English Hardback, Text by Daido Moriyama ISBN: 978-2-86925-122-9 Price: £26; $40 Publication date: February 2016 Distribution: Thames & Hudson
This resplendent volume is the most comprehensive study of Walker Evans’s work ever published, containing masterful images accompanied by authoritative commentary from leading photography historians.
The name Walker Evans conjures images of the American everyman. Whether it’s his iconic contributions to James Agee’s depression-era classic book, "Let Us Now Praise Famous Men", his architectural explorations of antebellum plantations, or his subway series, taken with a camera hidden in his coat, Evans’s accessible and eloquent photographs speak to us all. This comprehensive book traces the entire arc of Evans’s remarkable career, from the 1930’s to the 1970’s. The illustrations in the book range from his earliest images taken with a vest pocket camera, to his final photos using the then new SX-70 because his regular equipment became too heavy to carry around. The book includes commentary from three of Evans’s longtime friends, photographers Alan Trachtenberg, Jerry Thompson and John T. Hill. Their insight and first-hand experience give depth to their critical writings on Evans’s work. In addition to offering a broad perspective on Evans’ work, the book also clarifies the photographer’s “anti-art” philosophy. Eschewing aesthetic hyperbole, Evans wanted his pictures to resonate with a wide audience. At the same time, his natural curiosity made him one of the most inventive photographers of all time. What these photographs and writings attest to is a huge and timeless talent, which came not from a camera, but from Evans’s uniquely hungry eye.
Size: 255 x 270 mm
408 pages, 350 black & white illustrations
Japan in the late sixties was the time when Daido Moriyama published "Nippon Gekijo" in Camera Mainichi magazine, and the first issue of Provoke was released. The exhibition "New Documents", curated by John Szarkowski, was held at MoMA in New York. Living in such an era, "for me, after all, photography is no more than a tool for ripping up and protesting against the times", said Kanoh.
Taking off from the U.S. military's Kadena Air Base in Okinawa, Boeing B-52 bombers repeatedly flew over North Vietnam for air raids. The world saw the break-up of the Beatles, and Mick Jagger, with his uniquely curling upper lip, bouncing around the stage in Hyde Park. The younger generation, whether students or non-students, were then very socially active, and they chose to resist authority. The “anger of youth” underlay their daily lives and thought.— Tenmei Kanoh
At the time, the outbreak of the Narita protest movement (also known as the Sanrizuka struggle) drew Kanoh’s attention when he was 28 years old. Being one of the angry young men, he put himself in the site with his camera. During that time, there were already a number of photographers who had featured Sanrizuka. Yet, Kanoh intelligently captured the uncertainty of information and the disorderly atmosphere that pervaded the Japanese youth.
Through his experiences working as a cameraman, Kanoh gazed at society with his unique perspective. Furthemore, although circumstances are different between then and now, the essence of social phenomena seen through his photography remains unchanged.
Forty three years have passed since then, and yet one plot of land remains intact in the middle of the airport, showing that the protest has passed to the next generation. Kanoh expresses that, with such deep attachment to the land and tenacity of ownership, he knows the profound desire and great fortitude of human beings. “Decades have past and I wonder what the young of today have in their minds. I wonder whether I will witness their action and intellect in response to the crucial issue of the amendments to the 9th Article of the Constitution of Japan.” We invite you to see these works on the Sanrizuka struggle by Tenmei Kanoh.
Publisher: Zen Foto Gallery
Size: 257 x 182 mm
144 pages, 131 images
Premier Padmini taxis, first introduced to the streets of Mumbai in the 1960s, have now all but disappeared following the introduction of laws to reduce pollution in the city. Locally known as 'Kaali-Peeli', there were once more than 60,000 of these iconic black and yellow cabs struggling through the chaos of Mumbai's streets.
Over a four year period Dougie Wallace documented these elaborate Bollywood disco bars on wheels. The crowded streets of Mumbai and the assortment of passengers provide a dynamic and intense backdrop, as do the cabs themselves. Many are pimped with large speakers in the boot that blast out Bollywood hits, or are colourfully decorated inside with posters of Bollywood actresses, upholstered in loud hypnotic patterns, or feature Hindu gods and goddess on the dashboard.
Over recent years London-based photographer Dougie Wallace has establised an enviable reputation as one of the leading street photographers not just in the UK but in the World. 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.’
Since 2014 Wallace has published two successful books, Stags, Hens & Bunnies (Dewi Lewis) and Shoreditch Wildlife (Hoxton Minipress). These have led to several important exhibitions in Europe, the United States and India where he was recently included in a British Council exhibition in Delhi. He also continues to attract considerable press and media attention for his work and his photographs feature regularly in many leading international publications.
Publisher: Dewi Lewis Publishing
Size: 370 x 280 mm
96 pages, 65 colour photos
Danish-born Jacob A. Riis (1849-1914) found success in America as a reporter for the New York Tribune, first documenting crime and later turning his eye to housing reform. As tenement living conditions became unbearable in the wake of massive immigration, Riis and his camera captured some of the earliest, most powerful images of American urban poverty. This important publication is the first comprehensive study and complete catalogue of Riis's world-famous images, and places him at the forefront of early-20th-century social reform photography. It is the culmination of more than two decades of research on Riis, assembling materials from five repositories (the Riis Collection at the Museum of the City of New York, the Library of Congress, the New-York Historical Society, the New York Public Library, and the Museum of South West Jutland, Denmark) as well as previously unpublished photographs and notes. In this handsome volume, Bonnie Yochelson proposes a novel thesis-that Riis was a radical publicist who utilized photographs to enhance his arguments, but had no great skill or ambition as a photographer. She also provides important context for understanding how Riis's work would be viewed in turn-of-the-century New York, whether presented in lantern slide lectures or newspapers.
Publisher: Yale University Press
Size: 229 x 305 mm
336 pages, 25 color, 375 duotone + 210 b/w illustrations
Second printing now available
The photographs that Chris Killip made in Northern England between 1973 and 1985 were first published by Secker & Warburg in the book In Flagrante in 1988. The new oversized Steidl edition is a radically updated presentation, showing a single image on the right side of each double-page spread. In Flagrante Two is strident in its belief in the primacy of the photograph, embracing ambiguities and contradictions in an unadorned narrative sequence devoid of text.
Size: 364 x 288 mm
In 1980, Miron Zownir emigrated to the USA, where he lived for the next fifteen years; first in New York, then in Los Angeles, and Pittsburgh. In New York, back then arguably the world's most fascinating and permissive metropolis, Zownir's peculiar approach to cover the city's multiple-layered day-to-day lunacy was quickly recognised by the local scene as the TEUTONIC PHENOMENOGRAPHER (Village Voice). Shot in moody, expressionistic b/w, Zownir's pictures from that period give a penetrating insight to inner-city sub-cultural spheres, which, in their original local context, have since perished in the boom of the 90s. His lens captured the untamed lust at the gay-parties, just shortly before Aids massively claimed its victims; the futile protest of artists and offbeat performers; the hopelessness on the Bowery; the shadowy world of hookers or junkies. Zownir's photographs of the "Sex Piers" have become legendary documents by now. The shutdown and dilapidated port area located between the Westside Highway and the Hudson River, with its sunbathing section for nudists and the surrounding "halls of the anonymous lust", was a popular meeting place among the gay-scene. Zownir meanwhile has gained the reputation of being one of the most uncompromising contemporary photographers. Some critics claim that Zownir, in his own characteristic manner, ties on where Diane Arbus and Weegee had stopped. But when it comes to the basis of his artistic intention, Miron Zownir would rather point to a quote from Kafka's "The Castle" then being compared to other photographers: "If one has the strength to look at the things incessantly, more or less without ever closing the eyes, one sees much. But if one lessens the effort only once and closes the eyes, it all immediately vanishes into darkness."
Size: 240 x 300 mm
Doug DuBois was first introduced to a group of teenagers from the Russell Heights housing estate while he was an artist-in-residence at the Sirius Arts Centre in Cobh, on the southwest coast of Ireland. He was fascinated by the insular neighborhood, in which “everyone seems to be someone’s cousin, former girlfriend, or spouse. Little can happen there that isn’t seen, discussed, distorted beyond all reason, and fiercely defended against any disapprobation from the outside.” DuBois gained entry when Kevin and Erin (two participants of a workshop he taught) took him to a local hangout spot, opening his eyes to a world of not-quite-adults struggling—publicly and privately—through the last days of their childhood.
Over the course of five years, DuBois returned to Russell Heights. People came and left, relationships formed and dissolved, and babies were born. Combining portraits, spontaneous encounters, and collaborative performances, the images in My Last Day at Seventeen exist in a delicate balance between documentary and fiction. A powerful follow-up to DuBois’ acclaimed first book, All the Days and Nights, this volume provides an incisive examination ofthe uncertainties of growing up in Ireland today, while highlighting the unique relationshipsustained between artist and subject.
Size: 9 3/8 x 12 1/4"
56 pages, 79 four-color images
Includes a graphic novel component
In 1992, Dana Lixenberg travelled to South Central Los Angeles for a magazine story on the riots that erupted following the verdict in the Rodney King trial. What she encountered there inspired her to revisit the area, and led her to the community of the Imperial Courts housing project in Watts. Returning countless times over the following twenty-two years, Lixenberg gradually created a collaborative portrait of the changing face of this community with her 4x5 field camera. Over the years, some in the community were killed, while others disappeared or went to jail, and others, once children in early photographs, grew up and had children of their own. In this way, Imperial Courts constitutes a complex and evocative record of the passage of time in an underserved community. Design: Roger Willems. ISBN 9789491843426
Publisher: Roma Publications
Size: 240 x 310 mm
Hiroji Kubota Photographer, details the extraordinary life and world travels, spanning over fifty years, of a veteran Magnum photographer. This is the first comprehensive survey of a key Japanese photographer, and includes four hundred photographs.
Hiroji Kubota (born in Tokyo, 1939) began his career by assisting photographers René Burri, Burt Glinn, and Elliott Erwitt on their visit to Japan in 1961. In 1965 he joined Magnum Photos, producing major bodies of work, many in book form, on the United States, Japan, China, North and South Korea, and Southeast Asia. His numerous publications include From Sea to Shining Sea: A Portrait of America (1992) and Out of the East: Transition and Tradition in Asia (1999).
Size: 12 x 9"
512 pages, 400 duotone and four-color images
The book includes essays by Laura Noble and the eminent writer and broadcaster Jonathan Meades, an extract of which is quoted below:
"There was nothing special about Lion Farm Estate. It could have existed in more or less any British connurbation which was on the cusp of losing its raison d'etre. What is special is Clayton's humane rendering of it as a time capsule which emphasised ordinariness. This was how it was for millions of people in the early 90s. This was Britain between Thatcherism and, well, the smiley neo-Thatcherism of New Labour. A new political consensus was in place, an insidious consensus which blithely disregarded the sort of people who lived on such estates, the invisible people, the little people who had not the wherewithal to exercise their precious right to buy. Again Clayton leaves us to reach such conclusions. He has a broad and important socio-political point to make. It is all the more potent for being made so quietly." - Jonathan Meades
"Robert Clayton's images of ordinary modernism in the Black Country in the early 1990s are sharp, surprising and sad. They work as a vivid corrective to both sentimental nostalgia over the welfare state and the alarmist narratives of 'sink' estates - because here is neither hell nor utopia, but a depiction of a place and a people usually ignored or turned into cliche, rendered with visual intelligence and sensitivity" - Owen Hatherley Author and Journalist
"The way you've put it all together feels like a narrative too, as if you're following the story of those characters and that place. And the photos themselves are so beautifully framed and composed, creating a rather epic feel to these everyday moments. Anyone with an interest in postwar British social history, modernist architecture or street photography would really enjoy this book." - John Grindrod Author
Publisher: Stay Free Publishing
128 pages, 67 colour plates
240mm x Length 297mm
In May 1942, Sobibor became fully operational and began mass gassing operations. Himmelstrasse (Heaven Street) was a cynical Nazi joke used to describe the final journey to the gas chambers.
Brian Griffin has documented the railway tracks in Poland that transported approximately three million prisoners from around Europe to the Nazi extermination camps during WWII. From the railway leading to Hitler’s Eastern Front military headquarters at the Wolf’s Lair, to the State Rail System leading to the camps of Belzec, Chelmno, Sobibor, Stutthof and Treblinka. Griffin’s haunting landscapes are an emotional and personal photographic journey that represents the relentless brutality and inhumanity of the Holocaust.
Publisher: Browns Editions
Size: 297 x 232 mm
120 pages, 69 black and white images, 33 colour images
Edition of 500 hand numbered