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Picture of Anders Petersen

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

Publisher's Description

Anders Petersen is one of Europe's most beloved documentary photographers. His black-and-white portraits, often of persons at the fringes of society-prostitutes, transvestites, drunks and drug addicts-evince a rare compassion and warmth, or of lovers (one famous example of which adorns the cover of Tom Waits' Rain Dogs) have come to constitute recurrent motifs throughout his oeuvre, expressing his "exaltation of humanity" (as a recent exhibition was titled). The 30 or so books Andersen has published over the course of his career have become an important part of the photo-book canon-most famously the 1978 book Café Lehmitz, which depicted Hamburg's seedy Reeperbahn in the late 1960s and 70s. This magnificent volume, by far the largest monograph on Anders Petersen to date, reproduces more than 250 of Petersen's most celebrated photographs. In addition, Hasse Persson, former head of the Hasselblad Center and former director of the Borås Art Museum in Sweden, contributes a concise biography of Petersen's life and methodology. An essay by Urs Stahel-curator, art critic and director of the Fotomuseum Winthertur in Zürich-further illuminates Petersen's photography from an international perspective.

Publisher: Max Strom

Size: 9 x 13"

384 pages, 264 black & white images

Anders Petersen
Anders Petersen is one of Europe's most beloved documentary photographers. His black-and-white portraits, often of persons at the fringes of society-prostitutes, transvestites, drunks and drug addicts-evince a rare compassion and warmth.
£40.50

Picture of Field Trip

Publisher's Description

Between November 2009 and January 2011, Slovakian photographer Martin Kollar spent extended periods of time working and living in Israel, building a photographic dossier on one of the most contentious geographical zones of modern history.

Kollar’s past, a childhood spent behind the Iron Curtain, echoed unexpectedly during his time in Israel. The delineated territories of today’s Israel mirror the partition walls of Communist Czechoslovakia during ‘normalisation’. Random police searches and detentions piqued Kollar’s sense of constantly being under surveillance and the subject of suspicion.

Field Trip establishes an opaque representation of the life and landscape of Israel. Military presence looms heavily and the images are punctuated with anxiety. Butchered animals combine with uncertain portraits of Israeli residents and leave the viewer unclear where the military landscape ends and the civilian land begins.

The work in Field Trip is just that – the result of a trip, an investigative and inquisitive one, tinged with paranoia, the result being a beautiful, stark, often humorous and complex photographic diary of a well-trodden land. This traumatic album epitomizes frontline photography.

Publisher: MACK

Size: 200 x 250 mm

76 pages

Martin Kollar
Between November 2009 and January 2011, Slovakian photographer Martin Kollar spent extended periods of time working and living in Israel, building a photographic dossier on one of the most contentious geographical zones of modern history.
£31.50

Picture of Minutes to Midnight

First printing already sold out.  Only taking orders for reprint due in September 2014

Publisher's Description

In 2003 Trent Parke began a road-trip around his native Australia, a monumental journey that was to last two years and cover a distance of over 90,000 km. Minutes to Midnight is the ambitious photographic record of that adventure, in which Parke presents a proud but uneasy nation struggling to craft its identity from different cultures and traditions. Minutes to Midnight merges traditional documentary techniques and imagination to create a dark visual narrative portraying Australia with a mix of nostalgia, romanticism and brooding realism. This is not a record of the physical landscape but of an emotional one. It is a story of human anxiety and intensity, which although told from Australia, represents a universal human condition in the world today.

Publisher: Steidl

96 pages

Trent Parke
First printing already sold out. Only taking orders for reprint due in September 2014
£27.00

Picture of Letters from Utopia

Publisher's Description

Letters from Utopia is a documentary photographic research that studies groups who wish to extend the human life span extremely or even aim to become immortal. For this project Daan Paans visited five different movements and their key players who have a shot at an utopian world order. The stories range from an occult belief of the past to a scientific outlook for the future.

Since time humans have been fascinated by the idea of an infinite life, with the ultimate goal of overcoming (one’s own) mortality. First, a distinction should be made between the immortality of the soul and the immortality of the body. Leaving all forms of religious pre-occupations with the ‘afterlife’ aside, a fascinating domain remains within which the extension of life is thought about and experimented with in diverse manners. This is where the fascination of Daan Paans begins.

For Letters from Utopia, Paans has entered a world of individuals and organisations that are each in different ways obsessed with their desire to extend life, if not immortality. Driven by his inquisitive mind, his limitless sense of wonder and boundless curiosity, Paans visited five divergent movements and their protagonists who take a shot at an utopian world order. He came into contact with the remnants of the Cross-Correspondences (contact with those livingin an ‘afterlife’), the Aumists (a polytheistic community with a once supposedly immortal leader), FM-2030 (a transhumanist movement, wherein the laws of human existence bound by nature are stretched or even surpassed), the Cryonicists (whose members are frozen after their death in the hope of later being revived) and the Life Extension Institute (a physiological prevention of the ageing process).

As a leitmotiv Paans has been lead by the question that he and those he portrayed ceaselessly pose: long live immortality?!

Publisher: The Eriskay Connection

Size: 150 x 193 mm

160 pages, 70 illustrations, 65 in colour

Daan Paans
Letters from Utopia is a documentary photographic research that studies groups who wish to extend the human life span extremely or even aim to become immortal.
£26.50

Picture of Behind the Mountains

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

Publisher's Description

Every autumn, Icelandic farmers travel into the country’s interior to collect their sheep from the summer pastures. This process has remained unchanged for centuries and the search is still conducted primarily by horse or on foot. For the past 25 years, Icelandic photographer Axelsson (born 1958) has observed farmers on their roundups in one of the most difficult but also magnificent grazing terrains of the Icelandic wilderness. Axelsson has been a staff photographer for Iceland’s largest newspaper since 1976, and his stunning iconic images of the Arctic have earned him a worldwide reputation as a skilled documentary photographer. The photographs in Behind the Mountains, of sheep roundups in ravines and mountain hills, in wild snowstorms and rain, near glaciers and across rugged lava, paint a realistic and compelling picture of traditional farming and its interaction with the harsh landscape.

See here for sample images.

Publisher: Crymogea

Size: 12 x 11.5"

220 pages, 7 colour /95 duotone.

Ragnar Axelsson
For the past 25 years, Icelandic photographer Axelsson (born 1958) has observed farmers on their roundups in one of the most difficult but also magnificent grazing terrains of the Icelandic wilderness.
£35.10

Picture of Karambolage

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Publisher's Description

With thoroughness and a meticulous attention to detail, Arnold Odermatt photographed automobile accidents on the streets of the Swiss canton of Nidwalden between 1939 and 1993. For 40 years, the Swiss police office recorded the wrecked cars left in the wake of excessive speed, drunk driving, right-of-way errors, and plain foolishness, in poignant, sometimes funny, and always strange atmospheric photographs. Though Odermatt was not formally trained as a photographer, he made images that evidence a studied appreciation for romantic landscape scenes and a simultaneous attention to the clinical detail of an accident of police procedure. He created them as a personal corollary to the documentary photographs that typically accompany police and accident reports in his picturesque Alpine country. Art historically, they call to mind such diverse sources as Weegee's scene-of-the-crime pictures from the 1930s and 40s, and Andy Warhol's interest in the banal spectacle of disaster and accident in the 1960s. Wholly original and surprising, beautiful and haunting, Odermatt's pictures were only recently introduced to the art world-when Harald Szeeman exhibited them at the 49th Venice Biennale, they were virtually unknown.

Publisher: Steidl

408 pages

Arnold Odermatt
Odermatt was a Swiss police officer who photographed the scenes of car crashes between 1939 and 1993.
£43.20

Picture of Reading Magnum

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

Publisher's Description

The Magnum Photos archive—a collection of more than 200,000 photographs by some of the twentieth and early twenty-first centuries’ greatest image makers—is the most comprehensive accumulation of prints made by the distinguished photo cooperative. Consistently and with striking artistry, Magnum’s photographers have done more than simply document the far reaches of the globe; they have helped shape generations’ understanding of the world around them. While many of its photographs have been widely published, until now no one has examined the Magnum archive itself. In Reading Magnum, experts from several fields investigate this visual archive, now residing at the Harry Ransom Center at the University of Texas at Austin, to discover how a select, influential group of visual authors has used the camera for an ambitious project of cultural interpretation and social commentary.

>The chapters in Reading Magnum are devoted to themes generated by a close reading of the archive—war and conflict, portraiture, geography, cultural life, social relations, and globalization. These themes are further developed by evocative portfolios of images, which suggest something of the depth and range of the photo agency, and by tracing the trajectory of several iconic images from annotated press print to distribution to eventual publication. Volume editor Steven Hoelscher provides an overview of the Magnum enterprise, and Alison Nordström offers an appreciation of the Magnum archive as a material record of information about the making and disseminating of photographs that is being lost as images on paper are replaced by images on screen. As a whole, the book’s unique reading of the Magnum archive reveals patterns of intention, aesthetic vision, and political perspective that become legible only by viewing both the physical objects and the recorded images that constitute this remarkable collection.

Publisher: Texas University Press

Size: 9.5 x 10.5"

352 pages, 275 photographs


This first reading of the vast Magnum Photos archive as a body of work presents an astonishingly rich survey of life and death in the second half of the twentieth and the early twenty-first centuries.
£46.80

Picture of To Belong

Publisher's Description

On May 20th, 2012, at 4:03:52, a crack opened in the earth's crust under a village near Modena called Finale Emilia, where for more than a thousand years the territory of Emilia has ended and the rest has begun. Two huge blocks of land overlapped, sliding and crashing against each other, trying to steal each other's space, like fiery, claustrophobic giants. Sixty thousand and three hundred meters above, on the surface, the ground rose by 15 centimeters. The buildings' foundations began to swing, cracks made their ways through the plaster walls. It lasted for twenty seconds. Then the streets quickly filled with men and women in their pajamas, scared to death. All but seven, who would never come out.

In the following weeks, the earthquake rattled Bondeno, Mirabello, Medolla, San Possidonio and Novi. It reverberated everywhere in the provinces of Modena, Reggio Emilia, Ferrara, Mantova, Rovigo, Bologna. Over two months, 2,300 aftershocks left almost thirty people dead and a society in shock. Cars were smashed by the debris of the buildings under which they had been parked. Entire factories crumpled, and looked suddenly fragile. Jackals stole uniforms from rescue teams in order to pillage the evacuated houses. Those who had been evacuated screamed at the other jackals: the TV crews. Palaces without facades, whose furniture could be seen from the street. Castles and bells towers torn down without dignity with dynamite. Everywhere, barriers and dust.

A people that wakes every morning on a broken land can have only one goal left: pull it together. So week after week, doctors went back to heal their patients, factory workers to cast their girders, cheese makers to sell their cheese and builders to erect houses.
Studio Blanco contributed with what they do best: a visual story to join together Emilia's faces and places, as if to ward off the possibility that the crumbling of the land could be followed by the crumbling of the people who lived on it.

To tell this story, they invited Swedish photographer Anders Petersen, a man who has nothing to do with these places, but who has made raw and moving reportages about vulnerability for more than forty years. Over eight days in November 2012, Studio Blanco brought Petersen to toll roads and museums, riversides and devastated squares, letting him photograph wherever, whomever, however he liked, with the idea that only an outsider could find and capture the spirit that keeps these lands together.

A young contortionist, a knotty tree trunk, two elderly people dancing in a ballroom. One year after the earthquake, Petersen's photos create a small poem about Emilia, which sews up that deep crack and returns this land, whole, to the humanity that has always belonged here.
— Cosimo Bizzarri

Publisher: Studio Blanco

Publisher's price: €42
Anders Petersen

Publisher's Description

On May 20th, 2012, at 4:03:52, a crack opened in the earth's crust under a village near Modena called Finale Emilia, where for more than a thousand years the territory of Emilia has ended and the rest has begun. Two huge blocks of land overlapped, sliding and crashing against each other, trying to steal each other's space, like fiery, claustrophobic giants. Sixty thousand and three hundred meters above, on the surface, the ground rose by 15 centimeters. The buildings' foundations began to swing, cracks made their ways through the plaster walls. It lasted for twenty seconds. Then the streets quickly filled with men and women in their pajamas, scared to death. All but seven, who would never come out.

In the following weeks, the earthquake rattled Bondeno, Mirabello, Medolla, San Possidonio and Novi. It reverberated everywhere in the provinces of Modena, Reggio Emilia, Ferrara, Mantova, Rovigo, Bologna. Over two months, 2,300 aftershocks left almost thirty people dead and a society in shock. Cars were smashed by the debris of the buildings under which they had been parked. Entire factories crumpled, and looked suddenly fragile. Jackals stole uniforms from rescue teams in order to pillage the evacuated houses. Those who had been evacuated screamed at the other jackals: the TV crews. Palaces without facades, whose furniture could be seen from the street. Castles and bells towers torn down without dignity with dynamite. Everywhere, barriers and dust.

A people that wakes every morning on a broken land can have only one goal left: pull it together. So week after week, doctors went back to heal their patients, factory workers to cast their girders, cheese makers to sell their cheese and builders to erect houses.
Studio Blanco contributed with what they do best: a visual story to join together Emilia's faces and places, as if to ward off the possibility that the crumbling of the land could be followed by the crumbling of the people who lived on it.

To tell this story, they invited Swedish photographer Anders Petersen, a man who has nothing to do with these places, but who has made raw and moving reportages about vulnerability for more than forty years. Over eight days in November 2012, Studio Blanco brought Petersen to toll roads and museums, riversides and devastated squares, letting him photograph wherever, whomever, however he liked, with the idea that only an outsider could find and capture the spirit that keeps these lands together.

A young contortionist, a knotty tree trunk, two elderly people dancing in a ballroom. One year after the earthquake, Petersen's photos create a small poem about Emilia, which sews up that deep crack and returns this land, whole, to the humanity that has always belonged here.
— Cosimo Bizzarri

Publisher: Studio Blanco

Publisher's price: €42
£35.10

Picture of Pierdom

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

Publisher's Description  Simon Roberts has travelled the coastline of Britain to create a comprehensive and fascinating photographic record of the country’s remaining pleasure piers, in homage to these monuments of Victorian engineering and eccentricity.

The pleasure pier follows the story of Britain’s relationship to the seaside, from the early links with the Romantics, to the engineering feats and technical advancement of the Industrial Revolution. They bear witness to the growth of the coast as a pleasure destination for a monied elite, as well as the working class enthusiasm for the seaside brought on by the development of the railways and the introduction of bank holidays. Britain’s piers trace our changing economic fortunes too, from post-war boom to economic downturn, and now a slow re-awakening of our appreciation of these cultural and historic landmarks.

At the turn of the last century, almost a hundred piers existed; now only half remain and several face an uncertain future. Whilst some are modest structures, others are elegant and exotic, thrusting out into the sea with characteristic Victorian aplomb. Loosely following in the footsteps of Francis Frith, whose company made the last major photographic survey of these peculiarly British structures, Roberts documented the remaining piers using his signature landscape style, echoing the aesthetic and tone of his acclaimed book We English

See here for sample images.

Publisher: Dewi Lewis

Size: 246 x 305mm

160 pages, 81 colour plates

Simon Roberts
Simon Roberts has travelled the coastline of Britain to create a comprehensive and fascinating photographic record of the country’s remaining pleasure piers, in homage to these monuments of Victorian engineering and eccentricity.
£31.50

Picture of Sketch of Paris: Photographs by JH Engström

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

Publisher's Description

For over twenty years, Swedish photographer JH Engström has lived and worked in Paris, a city that, like New York, has a long photographic pedigree; countless photographers have been inspired by its iconic architecture and busy streets. Sketch of Paris, however, is hardly a catalog of classic Parisian scenes, offering instead a raw yet lyrical portrayal of the artist’s misadventures, loves, and random encounters in its streets, bars, and artist lofts—an entirely personal Paris. Engström brings us on a gritty, no-holds-barred guided tour of life in his adopted city. The photographs provide a type of homage to Paris, a city that has greatly influenced and inspired Engström—as a photographer and as a person. Beautifully produced in a slipcased volume, the book brings together 250 color and black-and-white photographs all made between 1991 and 2012, tracing a critical time during the development of the artist’s own voice and vision.

Publisher: Aperture

Size: 8 1/ 2 x 11 2 ⁄ 3"

314 pages, 250 four-colour and black-and-white images

JH Engström
Sketch of Paris, however, is hardly a catalog of classic Parisian scenes, offering instead a raw yet lyrical portrayal of the artist’s misadventures, loves, and random encounters in its streets, bars, and artist lofts—an entirely personal Paris.
£40.50

Picture of Dennis Hopper: On the Road

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

Publisher's Description

Director, actor, photographer, artist and art collector, Dennis Hopper was a man of diverse talents who intersected with countless key moments in American culture--particularly, and most famously, in the 1960s. Hopper’s great gifts as a photographer are well established, with many of his images having entered public consciousness. This handsomely produced volume looks at Hopper’s photography throughout its glory years, from 1961 to 1967. In these years, Hopper carried a camera everywhere, from bars to marches, art openings to freeways. Conceived as a kind of road trip across America, the book runs the gamut of 1960s counterculture and film culture, taking in Warhol’s Factory (where Hopper spent much time), film shoots, street scenes, road trips and of course the classic portraits of movie stars, musicians, artists, bikers and activists, from Martin Luther King to Allen Ginsberg and James Brown. The result of exhaustive research into the artist’s archives at the Dennis Hopper Art Trust, and with a wealth of previously unpublished images, Dennis Hopper: On the Road offers a first-hand, collective portrait of an era.

Publisher: FUNDACION MUSEO PICASSO MALAGA/LEGADO PAUL, CHRISTINE Y BERNARD RUIZ-PICASSO

Size: 9.75 x 12.5"

273 pages, 16 color and 158 tritone images

Publisher's price: $55

Dennis Hopper
Hopper’s great gifts as a photographer are well established, with many of his images having entered public consciousness. This handsomely produced volume looks at Hopper’s photography throughout its glory years, from 1961 to 1967.
£38.75

Picture of Bound for Glory: America in Color 1939-43

Publisher's Description

The photographs of the Farm Security Administration (FSA), which recorded American life in the late 1930s and early 1940s, remain among the most moving and famous documentary images from the first half of the 20th century. Yet few people know that, along with thousands and thousands of black-and-white photographs, the FSA photographers also took color pictures. Here, for the first time, is a selection of the best of the FSA color photographs—introduced by National Book Award finalist Paul Hendrickson and assembled to create a vivid portrait of America as it emerged from the Great Depression to fight World War II. Covering countryside and city, farm and factory, work and play, the images in this book open a window onto our national experience from 1939 to 1943, revealing a world that we have always seen in our mind's eye exclusively in black and white. Never before has there been a book that paints this picture in full color.

Publisher: Abrams

Size: 11 1/2 x 8"

192 pages

Introduction by Paul Hendrickson
Here, for the first time, is a selection of the best of the FSA color photographs, assembled to create a vivid portrait of America as it emerged from the Great Depression to fight World War II.
£19.76

Picture of Pierdom (Signed)

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

Publisher's Description  Simon Roberts has travelled the coastline of Britain to create a comprehensive and fascinating photographic record of the country’s remaining pleasure piers, in homage to these monuments of Victorian engineering and eccentricity.

The pleasure pier follows the story of Britain’s relationship to the seaside, from the early links with the Romantics, to the engineering feats and technical advancement of the Industrial Revolution. They bear witness to the growth of the coast as a pleasure destination for a monied elite, as well as the working class enthusiasm for the seaside brought on by the development of the railways and the introduction of bank holidays. Britain’s piers trace our changing economic fortunes too, from post-war boom to economic downturn, and now a slow re-awakening of our appreciation of these cultural and historic landmarks.

At the turn of the last century, almost a hundred piers existed; now only half remain and several face an uncertain future. Whilst some are modest structures, others are elegant and exotic, thrusting out into the sea with characteristic Victorian aplomb. Loosely following in the footsteps of Francis Frith, whose company made the last major photographic survey of these peculiarly British structures, Roberts documented the remaining piers using his signature landscape style, echoing the aesthetic and tone of his acclaimed book We English

See here for sample images.

Publisher: Dewi Lewis

Size: 246 x 305mm

160 pages, 81 colour plates

Simon Roberts
Signed copies. Simon Roberts has travelled the coastline of Britain to create a comprehensive and fascinating photographic record of the country’s remaining pleasure piers, in homage to these monuments of Victorian engineering and eccentricity.
£35.00

Picture of Non-Conformists, The

Publisher's Description

The Non-Conformists features Martin Parr’s first major body of work from the mid-1970s, published here for the first time in book form. A wonderful and charming surprise for Parr enthusiasts and fans of traditional reportage, this body of black-and-white imagery predates the cutting color work that earned him his fame in the 1980s. In 1975, fresh out of art school, Martin Parr found poor footing in the London photography scene, so he moved to the picturesque Yorkshire Pennine mill town of Hebden Bridge. Over a period of five years, he documented the town in photographs, showing in particular the aspects of traditional life that were beginning to decline. Susie Parr, whom he had met in Manchester, joined him in documenting a year in the life of a small Methodist chapel, together with its farming community.


In words and pictures, the Parrs vividly and affectionately document cobbled streets, flat-capped mill workers, hardy gamekeepers, henpecked husbands, and jovial shop owners. The best Parr photographs are interleaved with Susie Parr’s detailed background descriptions of the society they observed.

Publisher: Aperture

Size: 8 x 9 3/8"

168 pages, ca. 90 duotone images

Martin Parr
The Non-Conformists features Martin Parr’s first major body of work from the mid-1970s, published here for the first time in book form.
£27.00

Picture of Untold: The Stories Behind the Photographs

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

Publisher's Description

Steve McCurry Untold: The Stories Behind the Photographs takes an unprecedented look at the work of Steve McCurry, one of today’s finest and most daring imagemakers. This is the first book to fully explore how the world-renowned photographer finds, takes and develops his uniquely iconic photographs. Presenting a personal archive of material, Steve McCurry Untold features the very best of McCurry’s most beautiful and powerful photo stories, taken from around the world over the last thirty years. Each story is illustrated with never-before-seen notes, images and ephemera – saved by McCurry from his extensive travels – and over 100 lavish, full-colour photo plates of McCurry’s most significant work. Brought to life by newly commissioned essays, the stories offer a critical narrative and give new insight and ideas into the background, experience and ideas behind McCurry’s unparalleled photography. Together, these fascinating documents reveal a new and exciting view of the story behind the story.

Tracing the narrative behind 14 of McCurry’s most important assignments, each story provides a behind-the-scenes look at McCurry’s adventures, from first publication to their afterlife in the world, creating a documentary record of his remarkable career. The featured work covers his entire oeuvre and focuses on a broad range of themes, such as rail travel in India (1983), the plight of the Tibetan people (2000–6), the effects of the Monsoon (1984) and the events of September 11th (2001), alongside his lesser-known bodies of work on the Hazara Tribe in Afghanistan (2007), Yemen (1999), and the environmental fallout from the Gulf War in Kuwait (1991). Richly illustrated and explained, this book provides an inside perspective on Steve McCurry, creating a living biography and archive of one of photography’s greatest legends.

Publisher: Phaidon

Size: 345 x 245 mm

264 pages, 500 colour illustrations

Steve McCurry
An unprecedented look at the work of Steve McCurry, one of today’s finest and most daring imagemakers.
£35.96

Picture of Tractor Boys

Publisher's Description

Youngsters meet up on the village outskirts, racing their tractorcars, burning tyremarks into the warm summer asphalt. The smell of rubber, oil and souped-up engines fills the air when the engines speed. The cars form into a circle as the boys take turns in the middle. It is a game – showing their skills – showing off to the girls. Strength is measured and proved – as if in a strange ritual mating dance.

The car of choice is known as an EPA tractor, a Swedish term for an older car converted for use as an agricultural machine. These became common in the 1930s and were previously called ‘car-tractors’. During the 1950s EPAs had almost died out as new tractors had come down in price and become more available. The EPAs were almost forgotten until youths discovered that the EPA law offered them a way to drive, even as 15 year-olds – and so during the 1960s and 1970s they became increasingly popular in rural areas. Tough rules are in force to restrict the gearing on the cars and their speed is supposed to be limited to 30 km per hour. There is also no suspension on the rear wheels, making them extremely uncomfortable to drive at high speed. However, the boys are skilled with cars and very creative when it comes to finding ways to bypass these legal and physical restrictions that limit the power and speed of the engines. The solutions they come up are numerous and are closely guarded secrets.

Sample images.

Publisher: Dewi Lewis

Size: 190 x 248 mm

60 pages, 39 duotone photographs

Martin Bogren
Youngsters meet up on the village outskirts, racing their tractorcars, burning tyremarks into the warm summer asphalt.It is a game – showing their skills – showing off to the girls. Strength is measured and proved – as if in a strange ritual mating dance.
£22.50

Picture of Love and War

Publisher's Description

Love and War chronicles Guillaume Simoneau’s on-off relationship with Caroline Annandale. They first met at the Maine Photographic Workshop in 2000. Both in their early twenties, they began a feverish relationship and travelled the world together just prior to September 11, 2001. After the terrorist attacks on the United States, Annandale enlisted in the US army and was sent to Iraq. The two grew apart, Annandale eventually marrying someone else, but they reunited several years later upon her return from war to begin a tumultuous second chapter in their relationship.

Using a variety of images, including pictures he took when they first met, photographs Caroline emailed home from Iraq, text messages, and handwritten notes, Simoneau charts the couple’s love affair and its attendant ups and downs, but not in chronological order. Sequenced to mimic the disjointed nature of memory and identity, the project reveals how our perceptions of ourselves and our loved ones are always a blend of past and present. As the photographs progress, they expose Caroline’s loss of innocence and her transformation into a toughened war veteran. Ultimately, Simoneau reveals the lasting impact- – the invisible, indelible, and often irreversible effects that both love and war have on people’s lives.

Publisher: Dewi Lewis

Size: 210 x 295 mm

80 pages, 38 colour plates

Guillaume Simoneau
Love and War chronicles Guillaume Simoneau’s on-off relationship with Caroline Annandale. They first met at the Maine Photographic Workshop in 2000. Both in their early twenties, they began a feverish relationship and travelled the world together just prior to September 11, 2001.
£27.00

Picture of Don McCullin

Publisher's Description

Don McCullin has been making photographs for more than 50 years, first capturing the small dramas of everyday life in 1950s London, then travelling to the world’s most dangerous conflict zones, and more recently exploring the landscapes of Somerset in England. Published to accompany an exhibition of his work at the National Gallery of Canada, this book includes more than 130 works drawn from all of McCullin’s major series – his social documentary work in England, his Berlin Wall series, his award-winning work on war and famine, his anthropological expeditions, and his still lifes and landscapes.

Publisher: Archive of Modern Conflict in association with the National Gallery of Canada

Size: 239 x 310 mm.

120 pages

Don McCullin
This book includes more than 130 works drawn from all of McCullin’s major series – his social documentary work in England, his Berlin Wall series, his award-winning work on war and famine, his anthropological expeditions, and his still lifes and landscapes.
£35.00

Picture of Northern Ireland: 30 Years of Photography

Publisher's Description

Since the 1980s Northern Ireland has produced a distinctive body of photographic work, by photographers from within and outside Northern Ireland. This book brings together significant works by key photographers to examine the phenomenon of new photographic practices in Northern Ireland. Many of the photographers included have established global reputations, but have not previously been considered in a sustained way as group of photographers interacting with each other’s work.

Taking a historical and thematic approach, the book begins with the media imagery of the Troubles that compelled photographers and artists to intervene in the flow of press photography that dominated a global, visual portrayal of Northern Ireland in the 1970s. From this response, and influenced by wider, international trends in contemporary photography, an engaged and often polemic aesthetic emerged, individual to each photographer but also shared across diverse photographic practices. With the Peace Process in the 1990s a new dynamic entered the scene which required photographers to think about the social and political past and future of Northern Ireland, and which also offered new opportunities for exhibiting and publishing work.

While presenting an analysis of its broad aesthetics, the book also questions the extent to which the theme of conflict has dominated our view of Northern Irish photography. Through the inclusion of work by photographers with a keen sense of trends and debates in the wider contexts of contemporary photography and art, the book considers photography in and from Northern Ireland as a reflection of place in the broadest possible sense.

Features photographs by Abbas, Craig Ames, Sylvia Grace Borda, Adam Broomberg and Oliver Chanarin, Ursula Burke, John Byrne, Garrett Carr, Gerry Casey, Malcolm Craig Gilbert, John Davies, Victoria J. Dean, Willie Doherty, John Duncan, David Farrell, Paul Graham, Stuart Griffiths, Anthony Haughey, Kai-Olaf Hesse, Sean Hillen, Claudio Hils, Daniel Jewesbury, Philip Jones Griffiths, Bill Kirk, Peter Marlow, Brendan Murphy, Gareth McConnell, Patrick McCoy, Sean McKernan, Mary McIntyre, Moira McIver, Eoghan McTigue, Les Levines, Anthony Luvera, Jonathan Olley, Martin Parr, Adam Patterson, Mark Power, Paul Quinn, Paul Seawright, Victor Sloan, Hannah Starkey, Chris Steele-Perkins, Nick Stewart, Donovan Wylie and Patrick Zachmann.

Publisher: Belfast Exposed in partnership with the MAC

288 pages

Colin Graham
This book brings together significant works by key photographers to examine the phenomenon of new photographic practices in Northern Ireland. Many of the photographers included have established global reputations, but have not previously been considered in a sustained way as group of photographers interacting with each other’s work.
£27.00

Picture of Photojournalists on War: The Untold Stories from Iraq

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

Publisher's Description

With previously unpublished photographs by an incredibly diverse group of the world’s top news photographers, Photojournalists on War presents a groundbreaking new visual and oral history of America’s nine-year conflict in the Middle East. Michael Kamber interviewed photojournalists from many leading news organizations, including Agence France-Presse, the Associated Press, the Guardian, the Los Angeles Times, Magnum, Newsweek, the New York Times, Paris Match, Reuters, Time, the Times of London, VII Photo Agency, and the Washington Post, to create the most comprehensive collection of eyewitness accounts of the Iraq War yet published. These in-depth interviews offer first-person, frontline reports of the war as it unfolded, including key moments such as the battle for Fallujah, the toppling of Saddam’s statue, and the Haditha massacre. The photographers also vividly describe the often shocking and sometimes heroic actions that journalists undertook in trying to cover the war, as they discuss the role of the media and issues of censorship. These hard-hitting accounts and photographs, rare in the annals of any war, reveal the inside and untold stories behind the headlines in Iraq.

Publisher: Texas University Press

Size:10 x 12"

300 pages, 164 b&w and colour illustrations


With previously unpublished photographs by an incredibly diverse group of the world’s top news photographers, Photojournalists on War presents a groundbreaking new visual and oral history of America’s nine-year conflict in the Middle East.
£42.30

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