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Publisher's Description
'Denver' and 'What We Bought', together with 'The New West', form a loose trilogy of Robert Adams' work exploring the rapidly developing landscape of the Denver metropolitan area from 1968 through 1974. In the former two books, Adams created a comprehensive document that was resolute in its avoidance of romantic notions of the American West and dispassionately honest about man's despoliation of the land. Both books demonstrate the artist at the height of his powers as a documentary photographer and a poetic sequencer of images. The photographs featured in 'Denver' and 'What We Bought' show tract housing with mountain ranges in the distance, trailer lots devoid of people, suburban streets through generic windows, shopping mall interiors, and parking lots: subjects distinctly unspectacular, familiar, and banal.Adams' compositions are straightforward and democratic, and it is this precise turn from sentimentality that has made Adams one of the most influential figures in the history of American photography. These exquisite new editions, printed in rich tritones, celebrate this landmark work. 'Denver' also includes new and previously unpublished photographs from the project, chosen and sequenced by Adams himself.
Publisher: Yale University Press
Size: 191 x 248 mm
208 pages, 193 tritone illustrations
Usually dispatched within 10 working days
Robert Adams
Publisher's Description
'Denver' and 'What We Bought', together with 'The New West', form a loose trilogy of Robert Adams' work exploring the rapidly developing landscape of the Denver metropolitan area from 1968 through 1974. In the former two books, Adams created a comprehensive document that was resolute in its avoidance of romantic notions of the American West and dispassionately honest about man's despoliation of the land. Both books demonstrate the artist at the height of his powers as a documentary photographer and a poetic sequencer of images. The photographs featured in 'Denver' and 'What We Bought' show tract housing with mountain ranges in the distance, trailer lots devoid of people, suburban streets through generic windows, shopping mall interiors, and parking lots: subjects distinctly unspectacular, familiar, and banal.Adams' compositions are straightforward and democratic, and it is this precise turn from sentimentality that has made Adams one of the most influential figures in the history of American photography. These exquisite new editions, printed in rich tritones, celebrate this landmark work. 'Denver' also includes new and previously unpublished photographs from the project, chosen and sequenced by Adams himself.
Publisher: Yale University Press
Size: 191 x 248 mm
208 pages, 193 tritone illustrations
Usually dispatched within 10 working days
£35.00
Publisher's Description
'Denver' and 'What We Bought', together with 'The New West', form a loose trilogy of Robert Adams' work exploring the rapidly developing landscape of the Denver metropolitan area from 1968 through 1974. In the former two books, Adams created a comprehensive document that was resolute in its avoidance of romantic notions of the American West and dispassionately honest about man's despoliation of the land. Both books demonstrate the artist at the height of his powers as a documentary photographer and a poetic sequencer of images. The photographs featured in 'Denver' and 'What We Bought' show tract housing with mountain ranges in the distance, trailer lots devoid of people, suburban streets through generic windows, shopping mall interiors, and parking lots: subjects distinctly unspectacular, familiar, and banal.Adams' compositions are straightforward and democratic, and it is this precise turn from sentimentality that has made Adams one of the most influential figures in the history of American photography. These exquisite new editions, printed in rich tritones, celebrate this landmark work. 'Denver' also includes new and previously unpublished photographs from the project, chosen and sequenced by Adams himself.
Publisher: Yale University Press
Size: 191 x 248 mm
136 pages, 117 tritone illustrations
Usually dispatched within 10 working days
Robert Adams
Publisher's Description
'Denver' and 'What We Bought', together with 'The New West', form a loose trilogy of Robert Adams' work exploring the rapidly developing landscape of the Denver metropolitan area from 1968 through 1974. In the former two books, Adams created a comprehensive document that was resolute in its avoidance of romantic notions of the American West and dispassionately honest about man's despoliation of the land. Both books demonstrate the artist at the height of his powers as a documentary photographer and a poetic sequencer of images. The photographs featured in 'Denver' and 'What We Bought' show tract housing with mountain ranges in the distance, trailer lots devoid of people, suburban streets through generic windows, shopping mall interiors, and parking lots: subjects distinctly unspectacular, familiar, and banal.Adams' compositions are straightforward and democratic, and it is this precise turn from sentimentality that has made Adams one of the most influential figures in the history of American photography. These exquisite new editions, printed in rich tritones, celebrate this landmark work. 'Denver' also includes new and previously unpublished photographs from the project, chosen and sequenced by Adams himself.
Publisher: Yale University Press
Size: 191 x 248 mm
136 pages, 117 tritone illustrations
Usually dispatched within 10 working days
£30.00
Publisher's Description
“In 1997 I had what I refer to as my oil epiphany. It occurred to me that the vast, human-altered landscapes that I pursued and photographed for over twenty years were only made possible by the discovery of oil and the mechanical advantage of the internal combustion engine. It was then that I began the oil project. Over the next ten years I researched and photographed the largest oil fields I could find. I went on to make images of refineries, freeway interchanges, automobile plants and the scrap industry that results from the recycling of cars. Then I began to look at the culture of oil, the motor culture, where masses of people congregate around vehicles, with vehicle events as the main attraction. These images can be seen as notations by one artist contemplating the world as it is made possible through this vital energy resource and the cumulative effects of industrial evolution.” (Edward Burtynsky)
Publisher: Steidl
Size: 375 x 295 mm
140 pages, 100 colour plates
Usually dispatched within 10 working days
“In 1997 I had what I refer to as my oil epiphany. It occurred to me that the vast, human-altered landscapes that I pursued and photographed for over twenty years were only made possible by the discovery of oil and the mechanical advantage of the internal combustion engine. It was then that I began the oil project. Over the next ten years I researched and photographed the largest oil fields I could find. I went on to make images of refineries, freeway interchanges, automobile plants and the scrap industry that results from the recycling of cars. Then I began to look at the culture of oil, the motor culture, where masses of people congregate around vehicles, with vehicle events as the main attraction. These images can be seen as notations by one artist contemplating the world as it is made possible through this vital energy resource and the cumulative effects of industrial evolution.” (Edward Burtynsky)
Publisher: Steidl
Size: 375 x 295 mm
140 pages, 100 colour plates
Usually dispatched within 10 working days
Edward Burtynsky
Publisher's Description
“In 1997 I had what I refer to as my oil epiphany. It occurred to me that the vast, human-altered landscapes that I pursued and photographed for over twenty years were only made possible by the discovery of oil and the mechanical advantage of the internal combustion engine. It was then that I began the oil project. Over the next ten years I researched and photographed the largest oil fields I could find. I went on to make images of refineries, freeway interchanges, automobile plants and the scrap industry that results from the recycling of cars. Then I began to look at the culture of oil, the motor culture, where masses of people congregate around vehicles, with vehicle events as the main attraction. These images can be seen as notations by one artist contemplating the world as it is made possible through this vital energy resource and the cumulative effects of industrial evolution.” (Edward Burtynsky)
Publisher: Steidl
Size: 375 x 295 mm
140 pages, 100 colour plates
Usually dispatched within 10 working days
Publisher's Description
“In 1997 I had what I refer to as my oil epiphany. It occurred to me that the vast, human-altered landscapes that I pursued and photographed for over twenty years were only made possible by the discovery of oil and the mechanical advantage of the internal combustion engine. It was then that I began the oil project. Over the next ten years I researched and photographed the largest oil fields I could find. I went on to make images of refineries, freeway interchanges, automobile plants and the scrap industry that results from the recycling of cars. Then I began to look at the culture of oil, the motor culture, where masses of people congregate around vehicles, with vehicle events as the main attraction. These images can be seen as notations by one artist contemplating the world as it is made possible through this vital energy resource and the cumulative effects of industrial evolution.” (Edward Burtynsky)
Publisher: Steidl
Size: 375 x 295 mm
140 pages, 100 colour plates
Usually dispatched within 10 working days
£87.00
Publisher's Description
Thomas Joshua Cooper’s exhibition of pictures made at the polar extremes is titled True. This is the fourth exhibition of works made during various stages of Cooper’s epic undertaking The World’s Edge – The Atlantic Basin Project, begun in 1990, to map the extremities of land and islands that surround the Atlantic Ocean.
From 1969 Cooper has worked with a 19th century field camera, mapping the modern landscape in exquisite black and white photographs with which he makes silver prints including layers of selenium and gold chloride.
Each work begins as a location found on a map, researched, tracked down and then the picture is made. Each site is the subject of a single frame.
Published alongside an exhibition at Haunch of Venison, London (April – May 2009).
Publisher: Haunch of Venison
Size: 298 x 230 mm
178 pages, 82 b&w illustrations
Usually dispatched within 10 working days
Thomas Joshua Cooper’s exhibition of pictures made at the polar extremes is titled True. This is the fourth exhibition of works made during various stages of Cooper’s epic undertaking The World’s Edge – The Atlantic Basin Project, begun in 1990, to map the extremities of land and islands that surround the Atlantic Ocean.
From 1969 Cooper has worked with a 19th century field camera, mapping the modern landscape in exquisite black and white photographs with which he makes silver prints including layers of selenium and gold chloride.
Each work begins as a location found on a map, researched, tracked down and then the picture is made. Each site is the subject of a single frame.
Published alongside an exhibition at Haunch of Venison, London (April – May 2009).
Publisher: Haunch of Venison
Size: 298 x 230 mm
178 pages, 82 b&w illustrations
Usually dispatched within 10 working days
Thomas Joshua Cooper
Publisher's Description
Thomas Joshua Cooper’s exhibition of pictures made at the polar extremes is titled True. This is the fourth exhibition of works made during various stages of Cooper’s epic undertaking The World’s Edge – The Atlantic Basin Project, begun in 1990, to map the extremities of land and islands that surround the Atlantic Ocean.
From 1969 Cooper has worked with a 19th century field camera, mapping the modern landscape in exquisite black and white photographs with which he makes silver prints including layers of selenium and gold chloride.
Each work begins as a location found on a map, researched, tracked down and then the picture is made. Each site is the subject of a single frame.
Published alongside an exhibition at Haunch of Venison, London (April – May 2009).
Publisher: Haunch of Venison
Size: 298 x 230 mm
178 pages, 82 b&w illustrations
Usually dispatched within 10 working days
Publisher's Description
Thomas Joshua Cooper’s exhibition of pictures made at the polar extremes is titled True. This is the fourth exhibition of works made during various stages of Cooper’s epic undertaking The World’s Edge – The Atlantic Basin Project, begun in 1990, to map the extremities of land and islands that surround the Atlantic Ocean.
From 1969 Cooper has worked with a 19th century field camera, mapping the modern landscape in exquisite black and white photographs with which he makes silver prints including layers of selenium and gold chloride.
Each work begins as a location found on a map, researched, tracked down and then the picture is made. Each site is the subject of a single frame.
Published alongside an exhibition at Haunch of Venison, London (April – May 2009).
Publisher: Haunch of Venison
Size: 298 x 230 mm
178 pages, 82 b&w illustrations
Usually dispatched within 10 working days
£40.00
Publisher's Description
The landscape of Scotland is one of dramatic contrasts. The high, rugged peaks of the Cairngorms look down on the rounded hills of the southern uplands. Wild moorlands run into fertile flood-plains. The coastline ranges from soft sandy beaches and crystal-clear waters to jagged cliffs battered by the fierce waves of the Atlantic.
Aerial photography provides unique and striking perspectives on how the people of Scotland have lived, worked, fought over, worshipped, developed and changed this land, leaving no part untouched or unaltered by human activity.
RCAHMS holds the national collection of aerial photography for Scotland with millions of images dating from the 1920s to the present day. These photographs – many of which have never been seen before by the public – tell the remarkable story of a changing nation, from stone circles, Roman remains and ruined castles, to the growth of villages, towns and cities, the rise and fall of heavy industry, the country at war and the proud engineering and architecture of the modern landscape.
For the first time in one volume, RCAHMS has brought together the finest images from its collection in a stunning illustration of Scotland’s past, present and future.
Publisher: RCAHMS Publications
Size: 216 x 279 mm
224 pages, 200 illustrations
Usually dispatched within 2 days
The landscape of Scotland is one of dramatic contrasts. The high, rugged peaks of the Cairngorms look down on the rounded hills of the southern uplands. Wild moorlands run into fertile flood-plains. The coastline ranges from soft sandy beaches and crystal-clear waters to jagged cliffs battered by the fierce waves of the Atlantic.
Aerial photography provides unique and striking perspectives on how the people of Scotland have lived, worked, fought over, worshipped, developed and changed this land, leaving no part untouched or unaltered by human activity.
RCAHMS holds the national collection of aerial photography for Scotland with millions of images dating from the 1920s to the present day. These photographs – many of which have never been seen before by the public – tell the remarkable story of a changing nation, from stone circles, Roman remains and ruined castles, to the growth of villages, towns and cities, the rise and fall of heavy industry, the country at war and the proud engineering and architecture of the modern landscape.
For the first time in one volume, RCAHMS has brought together the finest images from its collection in a stunning illustration of Scotland’s past, present and future.
Publisher: RCAHMS Publications
Size: 216 x 279 mm
224 pages, 200 illustrations
Usually dispatched within 2 days
Dave Cowley
Publisher's Description
The landscape of Scotland is one of dramatic contrasts. The high, rugged peaks of the Cairngorms look down on the rounded hills of the southern uplands. Wild moorlands run into fertile flood-plains. The coastline ranges from soft sandy beaches and crystal-clear waters to jagged cliffs battered by the fierce waves of the Atlantic.
Aerial photography provides unique and striking perspectives on how the people of Scotland have lived, worked, fought over, worshipped, developed and changed this land, leaving no part untouched or unaltered by human activity.
RCAHMS holds the national collection of aerial photography for Scotland with millions of images dating from the 1920s to the present day. These photographs – many of which have never been seen before by the public – tell the remarkable story of a changing nation, from stone circles, Roman remains and ruined castles, to the growth of villages, towns and cities, the rise and fall of heavy industry, the country at war and the proud engineering and architecture of the modern landscape.
For the first time in one volume, RCAHMS has brought together the finest images from its collection in a stunning illustration of Scotland’s past, present and future.
Publisher: RCAHMS Publications
Size: 216 x 279 mm
224 pages, 200 illustrations
Usually dispatched within 2 days
Publisher's Description
The landscape of Scotland is one of dramatic contrasts. The high, rugged peaks of the Cairngorms look down on the rounded hills of the southern uplands. Wild moorlands run into fertile flood-plains. The coastline ranges from soft sandy beaches and crystal-clear waters to jagged cliffs battered by the fierce waves of the Atlantic.
Aerial photography provides unique and striking perspectives on how the people of Scotland have lived, worked, fought over, worshipped, developed and changed this land, leaving no part untouched or unaltered by human activity.
RCAHMS holds the national collection of aerial photography for Scotland with millions of images dating from the 1920s to the present day. These photographs – many of which have never been seen before by the public – tell the remarkable story of a changing nation, from stone circles, Roman remains and ruined castles, to the growth of villages, towns and cities, the rise and fall of heavy industry, the country at war and the proud engineering and architecture of the modern landscape.
For the first time in one volume, RCAHMS has brought together the finest images from its collection in a stunning illustration of Scotland’s past, present and future.
Publisher: RCAHMS Publications
Size: 216 x 279 mm
224 pages, 200 illustrations
Usually dispatched within 2 days
£25.00
Publisher's Description
In the American west during the last 35 years, the number of fires increased by a factor of four; the average fire went from lasting one week to lasting five; the total area burned increased by six-and-a-half times; and the average fire season increased by 78 days. All of which is to say, as Bill McKibben points out in his introduction to Wildfire, we really shouldn’t be calling them wildfires any more. Sasha Bezzubov has gained wide recognition for his photographs of natural disasters in his ongoing project “Things Fall Apart.” Wildfire, the artist’s first monograph, is comprised of 32 large-scale photographs of the aftermath of forest fires in California. Using the genre of landscape photography, a tradition born with, and used to celebrate, industrial expansion, these photographs evidence the fragility of the man-made as it is transformed into dreamscapes of apocalyptic proportions.
“The cycle of destruction and regeneration, of death and birth, is a reality that is not subject to human contravection. Despite the muted palette, these pictures present stunning vistas of natural wreckage that mirror man-made war zones. The vastness of the devastation is at once appalling and breathtaking.” — Mary Hrbacek, New York Art World
Publisher: Nazraeli Press
Size: 12 x 13'
64 pages, 32 four-color plates
In the American west during the last 35 years, the number of fires increased by a factor of four; the average fire went from lasting one week to lasting five; the total area burned increased by six-and-a-half times; and the average fire season increased by 78 days. All of which is to say, as Bill McKibben points out in his introduction to Wildfire, we really shouldn’t be calling them wildfires any more. Sasha Bezzubov has gained wide recognition for his photographs of natural disasters in his ongoing project “Things Fall Apart.” Wildfire, the artist’s first monograph, is comprised of 32 large-scale photographs of the aftermath of forest fires in California. Using the genre of landscape photography, a tradition born with, and used to celebrate, industrial expansion, these photographs evidence the fragility of the man-made as it is transformed into dreamscapes of apocalyptic proportions.
“The cycle of destruction and regeneration, of death and birth, is a reality that is not subject to human contravection. Despite the muted palette, these pictures present stunning vistas of natural wreckage that mirror man-made war zones. The vastness of the devastation is at once appalling and breathtaking.” — Mary Hrbacek, New York Art World
Publisher: Nazraeli Press
Size: 12 x 13'
64 pages, 32 four-color plates
Publisher's Price: £30.00
Sasha Bezzubov
Publisher's Description
In the American west during the last 35 years, the number of fires increased by a factor of four; the average fire went from lasting one week to lasting five; the total area burned increased by six-and-a-half times; and the average fire season increased by 78 days. All of which is to say, as Bill McKibben points out in his introduction to Wildfire, we really shouldn’t be calling them wildfires any more. Sasha Bezzubov has gained wide recognition for his photographs of natural disasters in his ongoing project “Things Fall Apart.” Wildfire, the artist’s first monograph, is comprised of 32 large-scale photographs of the aftermath of forest fires in California. Using the genre of landscape photography, a tradition born with, and used to celebrate, industrial expansion, these photographs evidence the fragility of the man-made as it is transformed into dreamscapes of apocalyptic proportions.
“The cycle of destruction and regeneration, of death and birth, is a reality that is not subject to human contravection. Despite the muted palette, these pictures present stunning vistas of natural wreckage that mirror man-made war zones. The vastness of the devastation is at once appalling and breathtaking.” — Mary Hrbacek, New York Art World
Publisher: Nazraeli Press
Size: 12 x 13'
64 pages, 32 four-color plates
Publisher's Description
In the American west during the last 35 years, the number of fires increased by a factor of four; the average fire went from lasting one week to lasting five; the total area burned increased by six-and-a-half times; and the average fire season increased by 78 days. All of which is to say, as Bill McKibben points out in his introduction to Wildfire, we really shouldn’t be calling them wildfires any more. Sasha Bezzubov has gained wide recognition for his photographs of natural disasters in his ongoing project “Things Fall Apart.” Wildfire, the artist’s first monograph, is comprised of 32 large-scale photographs of the aftermath of forest fires in California. Using the genre of landscape photography, a tradition born with, and used to celebrate, industrial expansion, these photographs evidence the fragility of the man-made as it is transformed into dreamscapes of apocalyptic proportions.
“The cycle of destruction and regeneration, of death and birth, is a reality that is not subject to human contravection. Despite the muted palette, these pictures present stunning vistas of natural wreckage that mirror man-made war zones. The vastness of the devastation is at once appalling and breathtaking.” — Mary Hrbacek, New York Art World
Publisher: Nazraeli Press
Size: 12 x 13'
64 pages, 32 four-color plates
Publisher's Price: £30.00
£27.00
Publisher's Description
'To us Japanese, issues concerning “the emperor” are not solely matters of politics and history, but are also deeply, if subtly, connected to our everyday lives and spirit . . . How many people have gone to Hachioji, just outside of Tokyo, to visit the Musashino Imperial Mausoleum where the Showa Emperor is buried? How many people know what kind of scene has been created there? I too, of course, watched the broadcast of the imperial funeral, but I have never actually been to the mausoleum.' — from the Introduction by Ryuichi Kaneko. In Emperor of Japan, Eiji Ina presents photographs of the misasagi, or burial mounds, of all 124 Japanese emperors since the Kofun period, reaching back some 1,600 years. The scenes that Ina has captured – not of the tombs themselves, but rather the places for worshipping at the tombs, and the surrounding gardens and landscapes – were created by the emperor system, with its claim of an unbroken line of sovereigns, that served as the foundation of the modern nation state of Japan. Our second monograph on the work of Eiji Ina, Emperor of Japan is printed in an oversized format on matt art paper, bound in Japanese cloth and limited to 1,000 casebound copies.
Publisher: Nazraeli Press
Size: 12 x 15'
132 pages, 145 duotone plates
'To us Japanese, issues concerning “the emperor” are not solely matters of politics and history, but are also deeply, if subtly, connected to our everyday lives and spirit . . . How many people have gone to Hachioji, just outside of Tokyo, to visit the Musashino Imperial Mausoleum where the Showa Emperor is buried? How many people know what kind of scene has been created there? I too, of course, watched the broadcast of the imperial funeral, but I have never actually been to the mausoleum.' — from the Introduction by Ryuichi Kaneko. In Emperor of Japan, Eiji Ina presents photographs of the misasagi, or burial mounds, of all 124 Japanese emperors since the Kofun period, reaching back some 1,600 years. The scenes that Ina has captured – not of the tombs themselves, but rather the places for worshipping at the tombs, and the surrounding gardens and landscapes – were created by the emperor system, with its claim of an unbroken line of sovereigns, that served as the foundation of the modern nation state of Japan. Our second monograph on the work of Eiji Ina, Emperor of Japan is printed in an oversized format on matt art paper, bound in Japanese cloth and limited to 1,000 casebound copies.
Publisher: Nazraeli Press
Size: 12 x 15'
132 pages, 145 duotone plates
Publisher's Price: £40.00
Eiji Ina
Publisher's Description
'To us Japanese, issues concerning “the emperor” are not solely matters of politics and history, but are also deeply, if subtly, connected to our everyday lives and spirit . . . How many people have gone to Hachioji, just outside of Tokyo, to visit the Musashino Imperial Mausoleum where the Showa Emperor is buried? How many people know what kind of scene has been created there? I too, of course, watched the broadcast of the imperial funeral, but I have never actually been to the mausoleum.' — from the Introduction by Ryuichi Kaneko. In Emperor of Japan, Eiji Ina presents photographs of the misasagi, or burial mounds, of all 124 Japanese emperors since the Kofun period, reaching back some 1,600 years. The scenes that Ina has captured – not of the tombs themselves, but rather the places for worshipping at the tombs, and the surrounding gardens and landscapes – were created by the emperor system, with its claim of an unbroken line of sovereigns, that served as the foundation of the modern nation state of Japan. Our second monograph on the work of Eiji Ina, Emperor of Japan is printed in an oversized format on matt art paper, bound in Japanese cloth and limited to 1,000 casebound copies.
Publisher: Nazraeli Press
Size: 12 x 15'
132 pages, 145 duotone plates
Publisher's Description
'To us Japanese, issues concerning “the emperor” are not solely matters of politics and history, but are also deeply, if subtly, connected to our everyday lives and spirit . . . How many people have gone to Hachioji, just outside of Tokyo, to visit the Musashino Imperial Mausoleum where the Showa Emperor is buried? How many people know what kind of scene has been created there? I too, of course, watched the broadcast of the imperial funeral, but I have never actually been to the mausoleum.' — from the Introduction by Ryuichi Kaneko. In Emperor of Japan, Eiji Ina presents photographs of the misasagi, or burial mounds, of all 124 Japanese emperors since the Kofun period, reaching back some 1,600 years. The scenes that Ina has captured – not of the tombs themselves, but rather the places for worshipping at the tombs, and the surrounding gardens and landscapes – were created by the emperor system, with its claim of an unbroken line of sovereigns, that served as the foundation of the modern nation state of Japan. Our second monograph on the work of Eiji Ina, Emperor of Japan is printed in an oversized format on matt art paper, bound in Japanese cloth and limited to 1,000 casebound copies.
Publisher: Nazraeli Press
Size: 12 x 15'
132 pages, 145 duotone plates
Publisher's Price: £40.00
£36.00
Publisher's Description
Mark Ruwedel (b. 1954) has photographed the American West for the past twenty-five years, revealing the narratives—both geological and human—contained within the landscape. This stunning book presents more than 70 prints from Ruwedel’s ongoing series Westward the Course of Empire, an inventory of the residual landforms created by the scores of railroads built in the American and Canadian West since 1869.
The grades, cuts, tunnels, and trestles depicted in Ruwedel’s photographs speak to a past triumph of technology over what was often perceived as hostile terrain, as well as to the desire and struggle to create wealth and power from the land. Long abandoned (and in some cases never completed), the railroads also evoke the futility of the enterprise. This book is thus a sublime yet restrained elegy to the land and to the follies and wonders of human ambition.
Publisher: Yale University Press
Size: 279 x 356 mm
180 pages, 72 tritone illustrations
Usually dispatched within 10 working days
Mark Ruwedel (b. 1954) has photographed the American West for the past twenty-five years, revealing the narratives—both geological and human—contained within the landscape. This stunning book presents more than 70 prints from Ruwedel’s ongoing series Westward the Course of Empire, an inventory of the residual landforms created by the scores of railroads built in the American and Canadian West since 1869.
The grades, cuts, tunnels, and trestles depicted in Ruwedel’s photographs speak to a past triumph of technology over what was often perceived as hostile terrain, as well as to the desire and struggle to create wealth and power from the land. Long abandoned (and in some cases never completed), the railroads also evoke the futility of the enterprise. This book is thus a sublime yet restrained elegy to the land and to the follies and wonders of human ambition.
Publisher: Yale University Press
Size: 279 x 356 mm
180 pages, 72 tritone illustrations
Usually dispatched within 10 working days
Mark Ruwedel
Publisher's Description
Mark Ruwedel (b. 1954) has photographed the American West for the past twenty-five years, revealing the narratives—both geological and human—contained within the landscape. This stunning book presents more than 70 prints from Ruwedel’s ongoing series Westward the Course of Empire, an inventory of the residual landforms created by the scores of railroads built in the American and Canadian West since 1869.
The grades, cuts, tunnels, and trestles depicted in Ruwedel’s photographs speak to a past triumph of technology over what was often perceived as hostile terrain, as well as to the desire and struggle to create wealth and power from the land. Long abandoned (and in some cases never completed), the railroads also evoke the futility of the enterprise. This book is thus a sublime yet restrained elegy to the land and to the follies and wonders of human ambition.
Publisher: Yale University Press
Size: 279 x 356 mm
180 pages, 72 tritone illustrations
Usually dispatched within 10 working days
Publisher's Description
Mark Ruwedel (b. 1954) has photographed the American West for the past twenty-five years, revealing the narratives—both geological and human—contained within the landscape. This stunning book presents more than 70 prints from Ruwedel’s ongoing series Westward the Course of Empire, an inventory of the residual landforms created by the scores of railroads built in the American and Canadian West since 1869.
The grades, cuts, tunnels, and trestles depicted in Ruwedel’s photographs speak to a past triumph of technology over what was often perceived as hostile terrain, as well as to the desire and struggle to create wealth and power from the land. Long abandoned (and in some cases never completed), the railroads also evoke the futility of the enterprise. This book is thus a sublime yet restrained elegy to the land and to the follies and wonders of human ambition.
Publisher: Yale University Press
Size: 279 x 356 mm
180 pages, 72 tritone illustrations
Usually dispatched within 10 working days
£40.00
Signed Copies Available
Publisher's Description
A new book of black & white pinhole landscape photographs by Steve Gosling. All the photographs in it were taken with a handmade wooden and brass pinhole camera. This book is a high quality, casebound edition in a limited print run that is destined to become as collectible as his exhibition prints. Each copy will be numbered and signed by the photographer.
Publisher: Papero Publsihing
Size: 250 x 250mm
64 pages, 50 images
Usually dispatched within 2 working days
Publisher's Description
A new book of black & white pinhole landscape photographs by Steve Gosling. All the photographs in it were taken with a handmade wooden and brass pinhole camera. This book is a high quality, casebound edition in a limited print run that is destined to become as collectible as his exhibition prints. Each copy will be numbered and signed by the photographer.
Publisher: Papero Publsihing
Size: 250 x 250mm
64 pages, 50 images
Usually dispatched within 2 working days
Steve Gosling
Signed Copies Available
Publisher's Description
A new book of black & white pinhole landscape photographs by Steve Gosling. All the photographs in it were taken with a handmade wooden and brass pinhole camera. This book is a high quality, casebound edition in a limited print run that is destined to become as collectible as his exhibition prints. Each copy will be numbered and signed by the photographer.
Publisher: Papero Publsihing
Size: 250 x 250mm
64 pages, 50 images
Usually dispatched within 2 working days
Signed Copies Available
Publisher's Description
A new book of black & white pinhole landscape photographs by Steve Gosling. All the photographs in it were taken with a handmade wooden and brass pinhole camera. This book is a high quality, casebound edition in a limited print run that is destined to become as collectible as his exhibition prints. Each copy will be numbered and signed by the photographer.
Publisher: Papero Publsihing
Size: 250 x 250mm
64 pages, 50 images
Usually dispatched within 2 working days
£35.00
Signed Copies Available
Publisher's Description
'The depth of the forest was filled with an uncanny air For something seemed to be lurking there.'
This series of photographs is an expression of my search for the soul of the deep forests.
One day in early autumn in 2001, just as twilight was setting in, I had lost track of the mountain paths. I happened to wander into a shady forest, where I found myself suddenly seized with a strong desire to take photographs. The following day, I set out once again, carrying my camera with me this time, and searched for the same forest. This experience made me realize that I was not taking photographs of the forest out of my own will, but that the forest was inducing me to take its photographs.
Looking back in retrospect, I have a feeling that this might have all begun with my decision to build a mountain lodge with my own hands. In order to clear a plot of land for constructing a lodge inside a small forest, I had to fell Japanese red pine trees some eighty years old. Although many years have elapsed since then, I still vividly remember the sensation I had as I sat astride the felled down trees, stripping them of their barks. The trees collapsed onto the ground with a huge thud, making my entire body tremble; I looked up and remained motionless for a while, totally overwhelmed by the vastness of the sky. Almost as if stained by the blood rushing from another person's wound, I was covered with splashes of tree sap spurting from the edge of the blade of my hatchet. This made me acutely aware of the living energy of the trees, and I immediately decided to make the most of this power in the lodge I was about to build.
It took me some ten years to finish constructing the lodge. Thirty-six Japanese red pine trees growing in that forest were used for the ground sills, the central pillar and the beams. This probably explains why it is so very cozy and comfortable inside my mountain lodge. While continuously handling wood for building my lodge, I believe that I have come to feel things I could neither see nor hear before. And it could well be that, lured by this strange power, I started to travel all over Japan visiting the depth of forests.
The Silent Respiration of Forests is a collection of photographs which I was able to take, inspired by this power of the forest.
Takeshi Shikama
Publisher: TOSEI-SHA Publishing Co
Size: 270 x 380 mm
64 pages
Publisher's Description
'The depth of the forest was filled with an uncanny air For something seemed to be lurking there.'
This series of photographs is an expression of my search for the soul of the deep forests.
One day in early autumn in 2001, just as twilight was setting in, I had lost track of the mountain paths. I happened to wander into a shady forest, where I found myself suddenly seized with a strong desire to take photographs. The following day, I set out once again, carrying my camera with me this time, and searched for the same forest. This experience made me realize that I was not taking photographs of the forest out of my own will, but that the forest was inducing me to take its photographs.
Looking back in retrospect, I have a feeling that this might have all begun with my decision to build a mountain lodge with my own hands. In order to clear a plot of land for constructing a lodge inside a small forest, I had to fell Japanese red pine trees some eighty years old. Although many years have elapsed since then, I still vividly remember the sensation I had as I sat astride the felled down trees, stripping them of their barks. The trees collapsed onto the ground with a huge thud, making my entire body tremble; I looked up and remained motionless for a while, totally overwhelmed by the vastness of the sky. Almost as if stained by the blood rushing from another person's wound, I was covered with splashes of tree sap spurting from the edge of the blade of my hatchet. This made me acutely aware of the living energy of the trees, and I immediately decided to make the most of this power in the lodge I was about to build.
It took me some ten years to finish constructing the lodge. Thirty-six Japanese red pine trees growing in that forest were used for the ground sills, the central pillar and the beams. This probably explains why it is so very cozy and comfortable inside my mountain lodge. While continuously handling wood for building my lodge, I believe that I have come to feel things I could neither see nor hear before. And it could well be that, lured by this strange power, I started to travel all over Japan visiting the depth of forests.
The Silent Respiration of Forests is a collection of photographs which I was able to take, inspired by this power of the forest.
Takeshi Shikama
Publisher: TOSEI-SHA Publishing Co
Size: 270 x 380 mm
64 pages
Publisher's Price: £ 50.00
Takeshi Shikama
Signed Copies Available
Publisher's Description
'The depth of the forest was filled with an uncanny air For something seemed to be lurking there.'
This series of photographs is an expression of my search for the soul of the deep forests.
One day in early autumn in 2001, just as twilight was setting in, I had lost track of the mountain paths. I happened to wander into a shady forest, where I found myself suddenly seized with a strong desire to take photographs. The following day, I set out once again, carrying my camera with me this time, and searched for the same forest. This experience made me realize that I was not taking photographs of the forest out of my own will, but that the forest was inducing me to take its photographs.
Looking back in retrospect, I have a feeling that this might have all begun with my decision to build a mountain lodge with my own hands. In order to clear a plot of land for constructing a lodge inside a small forest, I had to fell Japanese red pine trees some eighty years old. Although many years have elapsed since then, I still vividly remember the sensation I had as I sat astride the felled down trees, stripping them of their barks. The trees collapsed onto the ground with a huge thud, making my entire body tremble; I looked up and remained motionless for a while, totally overwhelmed by the vastness of the sky. Almost as if stained by the blood rushing from another person's wound, I was covered with splashes of tree sap spurting from the edge of the blade of my hatchet. This made me acutely aware of the living energy of the trees, and I immediately decided to make the most of this power in the lodge I was about to build.
It took me some ten years to finish constructing the lodge. Thirty-six Japanese red pine trees growing in that forest were used for the ground sills, the central pillar and the beams. This probably explains why it is so very cozy and comfortable inside my mountain lodge. While continuously handling wood for building my lodge, I believe that I have come to feel things I could neither see nor hear before. And it could well be that, lured by this strange power, I started to travel all over Japan visiting the depth of forests.
The Silent Respiration of Forests is a collection of photographs which I was able to take, inspired by this power of the forest.
Takeshi Shikama
Publisher: TOSEI-SHA Publishing Co
Size: 270 x 380 mm
64 pages
Signed Copies Available
Publisher's Description
'The depth of the forest was filled with an uncanny air For something seemed to be lurking there.'
This series of photographs is an expression of my search for the soul of the deep forests.
One day in early autumn in 2001, just as twilight was setting in, I had lost track of the mountain paths. I happened to wander into a shady forest, where I found myself suddenly seized with a strong desire to take photographs. The following day, I set out once again, carrying my camera with me this time, and searched for the same forest. This experience made me realize that I was not taking photographs of the forest out of my own will, but that the forest was inducing me to take its photographs.
Looking back in retrospect, I have a feeling that this might have all begun with my decision to build a mountain lodge with my own hands. In order to clear a plot of land for constructing a lodge inside a small forest, I had to fell Japanese red pine trees some eighty years old. Although many years have elapsed since then, I still vividly remember the sensation I had as I sat astride the felled down trees, stripping them of their barks. The trees collapsed onto the ground with a huge thud, making my entire body tremble; I looked up and remained motionless for a while, totally overwhelmed by the vastness of the sky. Almost as if stained by the blood rushing from another person's wound, I was covered with splashes of tree sap spurting from the edge of the blade of my hatchet. This made me acutely aware of the living energy of the trees, and I immediately decided to make the most of this power in the lodge I was about to build.
It took me some ten years to finish constructing the lodge. Thirty-six Japanese red pine trees growing in that forest were used for the ground sills, the central pillar and the beams. This probably explains why it is so very cozy and comfortable inside my mountain lodge. While continuously handling wood for building my lodge, I believe that I have come to feel things I could neither see nor hear before. And it could well be that, lured by this strange power, I started to travel all over Japan visiting the depth of forests.
The Silent Respiration of Forests is a collection of photographs which I was able to take, inspired by this power of the forest.
Takeshi Shikama
Publisher: TOSEI-SHA Publishing Co
Size: 270 x 380 mm
64 pages
Publisher's Price: £ 50.00
£45.00
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
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
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
Reprinting Spring 2013 - advance orders taken
Publisher's Description
Michael Levin’s award-winning and extraordinarily beautiful photographs have a very painterly quality. In a recent feature profile, the American fine art magazine Focus declared “Michael Levin’s captivating images are soulful and evocative; he is truly one of the rising stars in photography.”
Using long exposures Levin reduces the landscape to elemental shapes. Each image has a simplicity and purity capturing the essence of the landscape. Many of his photographs feature water and clouds, and show what has been described as ‘the smooth skin of light’, yet it is the architectural intrusions into these clean spaces that most engage him. Wooden posts, concrete barriers, weathered rocks, dilapidated jetties, even the elegant shape of French topiaries introduce elements which seem to haunt the landscape and introduce a human presence.
Michael Levin has won a number of awards including the prestigious ‘Photographer of the Year’ award at the 2006/07 International Photography Awards in New York. Previous honorees include Henri Cartier-Bresson, William Klein and Larry Clark. Levin also won a further ‘Photographer of the Year’ Award at the 2007 Prix de la Photographie in Paris.
Born in Winnipeg and presently living in Vancouver, Canada, Levin travels extensively to capture his sharply-observed black and white photographs.
Publisher: Dewi Lewis
Size: 295 x 295 mm
96 pages, 46 duotone photographs
Publisher's Price: £ 25.00
Michael Levin
Reprinting Spring 2013 - advance orders taken
Publisher's Description
Michael Levin’s award-winning and extraordinarily beautiful photographs have a very painterly quality. In a recent feature profile, the American fine art magazine Focus declared “Michael Levin’s captivating images are soulful and evocative; he is truly one of the rising stars in photography.”
Using long exposures Levin reduces the landscape to elemental shapes. Each image has a simplicity and purity capturing the essence of the landscape. Many of his photographs feature water and clouds, and show what has been described as ‘the smooth skin of light’, yet it is the architectural intrusions into these clean spaces that most engage him. Wooden posts, concrete barriers, weathered rocks, dilapidated jetties, even the elegant shape of French topiaries introduce elements which seem to haunt the landscape and introduce a human presence.
Michael Levin has won a number of awards including the prestigious ‘Photographer of the Year’ award at the 2006/07 International Photography Awards in New York. Previous honorees include Henri Cartier-Bresson, William Klein and Larry Clark. Levin also won a further ‘Photographer of the Year’ Award at the 2007 Prix de la Photographie in Paris.
Born in Winnipeg and presently living in Vancouver, Canada, Levin travels extensively to capture his sharply-observed black and white photographs.
Publisher: Dewi Lewis
Size: 295 x 295 mm
96 pages, 46 duotone photographs
Publisher's Price: £ 25.00
£22.50
Publisher's Description
'For the Korean people, pines are foundations for their soul.' (Bae, Bien-U)
Bae, Bien-U (*1950 in Yosu) is regarded as one ofKorea’s most important artists, a photographer who has influenced generations of students through his many years as a teacher. He became known in his native country for his meditative landscape photographs, which have an almost calligraphic quality. His most popular works to date are photographs of the famous pine forests near the shrine of the kings of the Silla dynasty at Gyeongju. Pine trees have singular symbolic importance in Korean culture.
Starting with this series of works, this large-format clothbound volume assembles the master’s photographs of pines and pine groves from over twenty-five years. A selection of the most impressive pictures is shown in which Bae, Bien-U approaches the spirit of the places and landscapes with a contemplative, Korean-influenced visual vocabulary that even fascinates eyes schooled by Western aesthetics.
Publisher: Hatje Cantz
Size: 340 x 280 mm
156 pages, 70 illustrations, 20 in colour
'For the Korean people, pines are foundations for their soul.' (Bae, Bien-U)
Bae, Bien-U (*1950 in Yosu) is regarded as one ofKorea’s most important artists, a photographer who has influenced generations of students through his many years as a teacher. He became known in his native country for his meditative landscape photographs, which have an almost calligraphic quality. His most popular works to date are photographs of the famous pine forests near the shrine of the kings of the Silla dynasty at Gyeongju. Pine trees have singular symbolic importance in Korean culture.
Starting with this series of works, this large-format clothbound volume assembles the master’s photographs of pines and pine groves from over twenty-five years. A selection of the most impressive pictures is shown in which Bae, Bien-U approaches the spirit of the places and landscapes with a contemplative, Korean-influenced visual vocabulary that even fascinates eyes schooled by Western aesthetics.
Publisher: Hatje Cantz
Size: 340 x 280 mm
156 pages, 70 illustrations, 20 in colour
Publisher's Price: £ 55.00
Bae, Bien-U
Publisher's Description
'For the Korean people, pines are foundations for their soul.' (Bae, Bien-U)
Bae, Bien-U (*1950 in Yosu) is regarded as one ofKorea’s most important artists, a photographer who has influenced generations of students through his many years as a teacher. He became known in his native country for his meditative landscape photographs, which have an almost calligraphic quality. His most popular works to date are photographs of the famous pine forests near the shrine of the kings of the Silla dynasty at Gyeongju. Pine trees have singular symbolic importance in Korean culture.
Starting with this series of works, this large-format clothbound volume assembles the master’s photographs of pines and pine groves from over twenty-five years. A selection of the most impressive pictures is shown in which Bae, Bien-U approaches the spirit of the places and landscapes with a contemplative, Korean-influenced visual vocabulary that even fascinates eyes schooled by Western aesthetics.
Publisher: Hatje Cantz
Size: 340 x 280 mm
156 pages, 70 illustrations, 20 in colour
Publisher's Description
'For the Korean people, pines are foundations for their soul.' (Bae, Bien-U)
Bae, Bien-U (*1950 in Yosu) is regarded as one ofKorea’s most important artists, a photographer who has influenced generations of students through his many years as a teacher. He became known in his native country for his meditative landscape photographs, which have an almost calligraphic quality. His most popular works to date are photographs of the famous pine forests near the shrine of the kings of the Silla dynasty at Gyeongju. Pine trees have singular symbolic importance in Korean culture.
Starting with this series of works, this large-format clothbound volume assembles the master’s photographs of pines and pine groves from over twenty-five years. A selection of the most impressive pictures is shown in which Bae, Bien-U approaches the spirit of the places and landscapes with a contemplative, Korean-influenced visual vocabulary that even fascinates eyes schooled by Western aesthetics.
Publisher: Hatje Cantz
Size: 340 x 280 mm
156 pages, 70 illustrations, 20 in colour
Publisher's Price: £ 55.00
£54.00
Publisher's Description
Jason Langer’s first monograph is a journey through damp-lit streets of anonymous cities, an experience that could be frightening – alone, in the dark – but is here infused with poetic sensibility and intrigue. His subjectivity and privateness seem to harken back to the symbolist photographers such as Alvin Langdon Coburn and Steichen in his early years. The beauty and romanticism are a lure, asking questions and probing one’s psyche. There is a strong feeling that Langer finds adventure exploring a side of the world that many would choose to avoid: a world of shadows and portents, where he openly faces and challenges the powers of the night. In Secret City, the viewer can choose to travel with him as he guides us to our own underworld, or be content with looking over his shoulder. Either way, these pictures are a reminder of the place within ourselves that is solitary, private and has a touch of fearlessness and yearning. Superbly printed in Japan on uncoated natural paper, Secret City is limited to 1,000 casebound copies. The book opens with an introduction by Michael Kenna, for whom Langer apprenticed some 15 years ago.
Publisher: Nazraeli Press
Size: 11 x 13'
64 pages, 44 duotone plates
Jason Langer
Final few signed copies. Introduction by Michael Kenna, for whom Langer apprenticed some 15 years ago.
Final few signed copies. Introduction by Michael Kenna, for whom Langer apprenticed some 15 years ago.
£45.00
Publisher's Description
Joachim Brohm was among the first of a younger generation of German photographers who discovered in color photography a new medium of self-expression. At the end of the 1970s serious artistic photography was still supposedly only made in black and white, despite major developments such as William Eggleston’s controversial 1976 show at the Museum of Modern Art in New York. Brohm’s Ohio photographs were made in 1983 and 1984 whilst he was living in the state as a student and Fulbright scholar. His pictures show cluttered yards and houses and focus on apparently trivial and banal scenes of everyday American life. At the time such mundane quotidien scenarios were considered unworthy of a photograph. This, combined with his use of color photography, made the Ohio series a significant experiment in search of a new pictorial language.
Publisher: Steidl
Size: 295 x 250 mm
120 pages, 40 colour plates
Joachim Brohm was among the first of a younger generation of German photographers who discovered in color photography a new medium of self-expression. At the end of the 1970s serious artistic photography was still supposedly only made in black and white, despite major developments such as William Eggleston’s controversial 1976 show at the Museum of Modern Art in New York. Brohm’s Ohio photographs were made in 1983 and 1984 whilst he was living in the state as a student and Fulbright scholar. His pictures show cluttered yards and houses and focus on apparently trivial and banal scenes of everyday American life. At the time such mundane quotidien scenarios were considered unworthy of a photograph. This, combined with his use of color photography, made the Ohio series a significant experiment in search of a new pictorial language.
Publisher: Steidl
Size: 295 x 250 mm
120 pages, 40 colour plates
Publisher's Price: £ 30.00
Joachim Brohm
Publisher's Description
Joachim Brohm was among the first of a younger generation of German photographers who discovered in color photography a new medium of self-expression. At the end of the 1970s serious artistic photography was still supposedly only made in black and white, despite major developments such as William Eggleston’s controversial 1976 show at the Museum of Modern Art in New York. Brohm’s Ohio photographs were made in 1983 and 1984 whilst he was living in the state as a student and Fulbright scholar. His pictures show cluttered yards and houses and focus on apparently trivial and banal scenes of everyday American life. At the time such mundane quotidien scenarios were considered unworthy of a photograph. This, combined with his use of color photography, made the Ohio series a significant experiment in search of a new pictorial language.
Publisher: Steidl
Size: 295 x 250 mm
120 pages, 40 colour plates
Publisher's Description
Joachim Brohm was among the first of a younger generation of German photographers who discovered in color photography a new medium of self-expression. At the end of the 1970s serious artistic photography was still supposedly only made in black and white, despite major developments such as William Eggleston’s controversial 1976 show at the Museum of Modern Art in New York. Brohm’s Ohio photographs were made in 1983 and 1984 whilst he was living in the state as a student and Fulbright scholar. His pictures show cluttered yards and houses and focus on apparently trivial and banal scenes of everyday American life. At the time such mundane quotidien scenarios were considered unworthy of a photograph. This, combined with his use of color photography, made the Ohio series a significant experiment in search of a new pictorial language.
Publisher: Steidl
Size: 295 x 250 mm
120 pages, 40 colour plates
Publisher's Price: £ 30.00
£27.00
Publisher's Description
Stuart Franklin’s pictures express a deep ecological concern
They create a stunning yet ominous photographic document of Europe’s changing landscape. From the arctic north of Russia to the arid coast of southern Spain, from the glaciers of Spitsbergen to the baked concrete of Athens, the extremes of the European landscape are captured with an eye for both natural and unnatural processes.
Change is documented in beautiful, disturbing detail: the effects of pollution on trees and tundra; the extent of floods and rising sea levels; the shrinking and recession of once vast glaciers. Franklin’s photographs also depict evolving scenes of contemporary life, such as industrial floriculture in the Netherlands and artificial beaches in city centres.
With essays by Heike Strelow, editor of italic(Ecological Aesthetics), Tanja Pföhler, Stuart Franklin’s photographic assistant, and Andrew Goudie, Professor of Geography at Oxford University, this book is a profound testament to fragility and change in the landscape.
Publisher: Thames & Hudson
Size: 216 x 295 mm
144 pages, 99 colour illustrations
Usually dispatched within 2 working days
Stuart Franklin’s pictures express a deep ecological concern
They create a stunning yet ominous photographic document of Europe’s changing landscape. From the arctic north of Russia to the arid coast of southern Spain, from the glaciers of Spitsbergen to the baked concrete of Athens, the extremes of the European landscape are captured with an eye for both natural and unnatural processes.
Change is documented in beautiful, disturbing detail: the effects of pollution on trees and tundra; the extent of floods and rising sea levels; the shrinking and recession of once vast glaciers. Franklin’s photographs also depict evolving scenes of contemporary life, such as industrial floriculture in the Netherlands and artificial beaches in city centres.
With essays by Heike Strelow, editor of italic(Ecological Aesthetics), Tanja Pföhler, Stuart Franklin’s photographic assistant, and Andrew Goudie, Professor of Geography at Oxford University, this book is a profound testament to fragility and change in the landscape.
Publisher: Thames & Hudson
Size: 216 x 295 mm
144 pages, 99 colour illustrations
Usually dispatched within 2 working days
Stuart Franklin
Publisher's Description
Stuart Franklin’s pictures express a deep ecological concern
They create a stunning yet ominous photographic document of Europe’s changing landscape. From the arctic north of Russia to the arid coast of southern Spain, from the glaciers of Spitsbergen to the baked concrete of Athens, the extremes of the European landscape are captured with an eye for both natural and unnatural processes.
Change is documented in beautiful, disturbing detail: the effects of pollution on trees and tundra; the extent of floods and rising sea levels; the shrinking and recession of once vast glaciers. Franklin’s photographs also depict evolving scenes of contemporary life, such as industrial floriculture in the Netherlands and artificial beaches in city centres.
With essays by Heike Strelow, editor of italic(Ecological Aesthetics), Tanja Pföhler, Stuart Franklin’s photographic assistant, and Andrew Goudie, Professor of Geography at Oxford University, this book is a profound testament to fragility and change in the landscape.
Publisher: Thames & Hudson
Size: 216 x 295 mm
144 pages, 99 colour illustrations
Usually dispatched within 2 working days
Publisher's Description
Stuart Franklin’s pictures express a deep ecological concern
They create a stunning yet ominous photographic document of Europe’s changing landscape. From the arctic north of Russia to the arid coast of southern Spain, from the glaciers of Spitsbergen to the baked concrete of Athens, the extremes of the European landscape are captured with an eye for both natural and unnatural processes.
Change is documented in beautiful, disturbing detail: the effects of pollution on trees and tundra; the extent of floods and rising sea levels; the shrinking and recession of once vast glaciers. Franklin’s photographs also depict evolving scenes of contemporary life, such as industrial floriculture in the Netherlands and artificial beaches in city centres.
With essays by Heike Strelow, editor of italic(Ecological Aesthetics), Tanja Pföhler, Stuart Franklin’s photographic assistant, and Andrew Goudie, Professor of Geography at Oxford University, this book is a profound testament to fragility and change in the landscape.
Publisher: Thames & Hudson
Size: 216 x 295 mm
144 pages, 99 colour illustrations
Usually dispatched within 2 working days
£29.95
Publisher's Description
Thomas Joshua Cooper’s overall aim is to circumnavigate the entire Atlantic Basin by land, compiling a visual inventory of artworks of all the major cardinal terrestrial points from all five continental landmasses surrounding the Atlantic Basin, into an investigative and exploratory visual entitled An Atlas of Emptiness and Extremity. This project began in 1990, and continues on in Ojo de Agua’s extreme coastal Atlantic works from the furthest continental North and East to “The End of the World” in works from the farthest South of South America. There are two more large sections to complete before An Atlas of Emptiness and Extremity is finally concluded.
Publisher: Pace Wildenstein
Size: 300 x240 mm
126 pages, 61 illustrations
Usually dispatched within 2 working days
Thomas Joshua Cooper’s overall aim is to circumnavigate the entire Atlantic Basin by land, compiling a visual inventory of artworks of all the major cardinal terrestrial points from all five continental landmasses surrounding the Atlantic Basin, into an investigative and exploratory visual entitled An Atlas of Emptiness and Extremity. This project began in 1990, and continues on in Ojo de Agua’s extreme coastal Atlantic works from the furthest continental North and East to “The End of the World” in works from the farthest South of South America. There are two more large sections to complete before An Atlas of Emptiness and Extremity is finally concluded.
Publisher: Pace Wildenstein
Size: 300 x240 mm
126 pages, 61 illustrations
Usually dispatched within 2 working days
Thomas Joshua Cooper
Publisher's Description
Thomas Joshua Cooper’s overall aim is to circumnavigate the entire Atlantic Basin by land, compiling a visual inventory of artworks of all the major cardinal terrestrial points from all five continental landmasses surrounding the Atlantic Basin, into an investigative and exploratory visual entitled An Atlas of Emptiness and Extremity. This project began in 1990, and continues on in Ojo de Agua’s extreme coastal Atlantic works from the furthest continental North and East to “The End of the World” in works from the farthest South of South America. There are two more large sections to complete before An Atlas of Emptiness and Extremity is finally concluded.
Publisher: Pace Wildenstein
Size: 300 x240 mm
126 pages, 61 illustrations
Usually dispatched within 2 working days
Publisher's Description
Thomas Joshua Cooper’s overall aim is to circumnavigate the entire Atlantic Basin by land, compiling a visual inventory of artworks of all the major cardinal terrestrial points from all five continental landmasses surrounding the Atlantic Basin, into an investigative and exploratory visual entitled An Atlas of Emptiness and Extremity. This project began in 1990, and continues on in Ojo de Agua’s extreme coastal Atlantic works from the furthest continental North and East to “The End of the World” in works from the farthest South of South America. There are two more large sections to complete before An Atlas of Emptiness and Extremity is finally concluded.
Publisher: Pace Wildenstein
Size: 300 x240 mm
126 pages, 61 illustrations
Usually dispatched within 2 working days
£36.00
Click here for more images.
Publisher's Description
The Li River is a 270 mile long waterway in Guangxi, southern China. It is surrounded by thousands of limestone hills, making the river an unique place - and maybe the most beautiful landscape on our planet. Josef Hoflehner has photographed this dreamlike landscape over a period in the past two years. Twenty-Seven photographs are superbly printed in duotone. The book itself is bound in deep black chinese cloth.
Publisher: Most Press
Size: 240 x 250 mm
Usually dispatched within 2 working days
Publisher's Description
The Li River is a 270 mile long waterway in Guangxi, southern China. It is surrounded by thousands of limestone hills, making the river an unique place - and maybe the most beautiful landscape on our planet. Josef Hoflehner has photographed this dreamlike landscape over a period in the past two years. Twenty-Seven photographs are superbly printed in duotone. The book itself is bound in deep black chinese cloth.
Publisher: Most Press
Size: 240 x 250 mm
Usually dispatched within 2 working days
Josef Hoflehner
Click here for more images.
Publisher's Description
The Li River is a 270 mile long waterway in Guangxi, southern China. It is surrounded by thousands of limestone hills, making the river an unique place - and maybe the most beautiful landscape on our planet. Josef Hoflehner has photographed this dreamlike landscape over a period in the past two years. Twenty-Seven photographs are superbly printed in duotone. The book itself is bound in deep black chinese cloth.
Publisher: Most Press
Size: 240 x 250 mm
Usually dispatched within 2 working days
Click here for more images.
Publisher's Description
The Li River is a 270 mile long waterway in Guangxi, southern China. It is surrounded by thousands of limestone hills, making the river an unique place - and maybe the most beautiful landscape on our planet. Josef Hoflehner has photographed this dreamlike landscape over a period in the past two years. Twenty-Seven photographs are superbly printed in duotone. The book itself is bound in deep black chinese cloth.
Publisher: Most Press
Size: 240 x 250 mm
Usually dispatched within 2 working days
£32.00
Publisher's Description
Namibia, on the south-west coast of Africa, is sandwiched between two vast deserts – to the east is the Kalahari and to the west, the Namib, which runs along the entire coastline of this large and sparsely populated country. It is a land of amazing beauty and, quite literally, hidden gems, being one of the world’s primary sources of diamonds. Much of Namibia is desert, and the sand dunes, shaped by the winds, are colored by the prevailing light. It is a photographer’s dream of a place, so much so that it is hard to imagine a series of Namibian pictures that are as arrestingly fresh – and frankly interesting – as these by Richard Ehrlich. A renowned surgeon, he has taken many photographs in his working life, as a way of keeping records during surgery. The melding of his clinical precision with his artistic sensibilities has produced an incredible body of work. Concentrating mostly on an abandoned diamond mine, and the deserted mining village that housed its workers, Ehrlich – who obtained special permission to enter the area – has captured not only the breathtaking landscape but also the insides of homes occupied now only by piles of drifting sand. The colors, the shapes, the patterns, and the small signs of former inhabitants are meticulously and beautifully recorded in this gorgeous new book.
Publisher: Nazraeli Press
Size: 14 x 11'
56 pages, 51 four-colour plates
Namibia, on the south-west coast of Africa, is sandwiched between two vast deserts – to the east is the Kalahari and to the west, the Namib, which runs along the entire coastline of this large and sparsely populated country. It is a land of amazing beauty and, quite literally, hidden gems, being one of the world’s primary sources of diamonds. Much of Namibia is desert, and the sand dunes, shaped by the winds, are colored by the prevailing light. It is a photographer’s dream of a place, so much so that it is hard to imagine a series of Namibian pictures that are as arrestingly fresh – and frankly interesting – as these by Richard Ehrlich. A renowned surgeon, he has taken many photographs in his working life, as a way of keeping records during surgery. The melding of his clinical precision with his artistic sensibilities has produced an incredible body of work. Concentrating mostly on an abandoned diamond mine, and the deserted mining village that housed its workers, Ehrlich – who obtained special permission to enter the area – has captured not only the breathtaking landscape but also the insides of homes occupied now only by piles of drifting sand. The colors, the shapes, the patterns, and the small signs of former inhabitants are meticulously and beautifully recorded in this gorgeous new book.
Publisher: Nazraeli Press
Size: 14 x 11'
56 pages, 51 four-colour plates
Publisher's Price: £35.00
Richard Ehrlich
Publisher's Description
Namibia, on the south-west coast of Africa, is sandwiched between two vast deserts – to the east is the Kalahari and to the west, the Namib, which runs along the entire coastline of this large and sparsely populated country. It is a land of amazing beauty and, quite literally, hidden gems, being one of the world’s primary sources of diamonds. Much of Namibia is desert, and the sand dunes, shaped by the winds, are colored by the prevailing light. It is a photographer’s dream of a place, so much so that it is hard to imagine a series of Namibian pictures that are as arrestingly fresh – and frankly interesting – as these by Richard Ehrlich. A renowned surgeon, he has taken many photographs in his working life, as a way of keeping records during surgery. The melding of his clinical precision with his artistic sensibilities has produced an incredible body of work. Concentrating mostly on an abandoned diamond mine, and the deserted mining village that housed its workers, Ehrlich – who obtained special permission to enter the area – has captured not only the breathtaking landscape but also the insides of homes occupied now only by piles of drifting sand. The colors, the shapes, the patterns, and the small signs of former inhabitants are meticulously and beautifully recorded in this gorgeous new book.
Publisher: Nazraeli Press
Size: 14 x 11'
56 pages, 51 four-colour plates
Publisher's Description
Namibia, on the south-west coast of Africa, is sandwiched between two vast deserts – to the east is the Kalahari and to the west, the Namib, which runs along the entire coastline of this large and sparsely populated country. It is a land of amazing beauty and, quite literally, hidden gems, being one of the world’s primary sources of diamonds. Much of Namibia is desert, and the sand dunes, shaped by the winds, are colored by the prevailing light. It is a photographer’s dream of a place, so much so that it is hard to imagine a series of Namibian pictures that are as arrestingly fresh – and frankly interesting – as these by Richard Ehrlich. A renowned surgeon, he has taken many photographs in his working life, as a way of keeping records during surgery. The melding of his clinical precision with his artistic sensibilities has produced an incredible body of work. Concentrating mostly on an abandoned diamond mine, and the deserted mining village that housed its workers, Ehrlich – who obtained special permission to enter the area – has captured not only the breathtaking landscape but also the insides of homes occupied now only by piles of drifting sand. The colors, the shapes, the patterns, and the small signs of former inhabitants are meticulously and beautifully recorded in this gorgeous new book.
Publisher: Nazraeli Press
Size: 14 x 11'
56 pages, 51 four-colour plates
Publisher's Price: £35.00
£31.50
Publisher's Description
In 1972, Stephen Shore left New York City and set out with a friend to Amarillo, Texas. He didn’t drive, so his first view of America was framed by the passenger’s window frame. He was taken aback by the fact that his experience of life as a New Yorker had very little in common with the character and aspirations of Middle America. Later that year he set out again, this time on his own, with a driver’s licence and a Rollei 35 – a point-and-shoot camera – to explore the country through the eyes of an everyday tourist. The project was entitled American Surfaces – referring to the superficial nature of his brief encounters with places and people and the underlying character of the images that he hoped to produce. With such an easy-to-use camera, he photographed relentlessly. ‘In American Surfaces, I was photographing almost every meal I ate, every person I met, every waiter or waitress who served me, every bed I slept in, every toilet I peed in. But also, I was photographing streets I was driving through, buildings I would see.’
Shore returned to New York triumphant, with hundreds of rolls of film spilling from his bags. In order to remain faithful to the conceptual foundations of the project, he followed the lead of most tourists of the time and sent his film to be developed and printed in Kodak’s labs in New Jersey. The result was hundreds and hundreds of exquisitely composed colour pictures, whose subject became the benchmark for documenting of our fast-living, consumer-orientated world – a body of work that followed on from Walker Evans and Robert Frank’s experiences of crossing America and that influenced reams of photographers such as Martin Parr and Bernd & Hilla Becher, who introduced a generation of students to Shore’s work.
Publisher: Phaidon
Size: 245 x 210 mm
pages, 313 colour photographs
This title is currently unavailable. It may be re-printing soon. If you would like to order you may do so and the book will be sent as soon as it is re-printed.
In 1972, Stephen Shore left New York City and set out with a friend to Amarillo, Texas. He didn’t drive, so his first view of America was framed by the passenger’s window frame. He was taken aback by the fact that his experience of life as a New Yorker had very little in common with the character and aspirations of Middle America. Later that year he set out again, this time on his own, with a driver’s licence and a Rollei 35 – a point-and-shoot camera – to explore the country through the eyes of an everyday tourist. The project was entitled American Surfaces – referring to the superficial nature of his brief encounters with places and people and the underlying character of the images that he hoped to produce. With such an easy-to-use camera, he photographed relentlessly. ‘In American Surfaces, I was photographing almost every meal I ate, every person I met, every waiter or waitress who served me, every bed I slept in, every toilet I peed in. But also, I was photographing streets I was driving through, buildings I would see.’
Shore returned to New York triumphant, with hundreds of rolls of film spilling from his bags. In order to remain faithful to the conceptual foundations of the project, he followed the lead of most tourists of the time and sent his film to be developed and printed in Kodak’s labs in New Jersey. The result was hundreds and hundreds of exquisitely composed colour pictures, whose subject became the benchmark for documenting of our fast-living, consumer-orientated world – a body of work that followed on from Walker Evans and Robert Frank’s experiences of crossing America and that influenced reams of photographers such as Martin Parr and Bernd & Hilla Becher, who introduced a generation of students to Shore’s work.
Publisher: Phaidon
Size: 245 x 210 mm
pages, 313 colour photographs
This title is currently unavailable. It may be re-printing soon. If you would like to order you may do so and the book will be sent as soon as it is re-printed.
Stephen Shore
Publisher's Description
In 1972, Stephen Shore left New York City and set out with a friend to Amarillo, Texas. He didn’t drive, so his first view of America was framed by the passenger’s window frame. He was taken aback by the fact that his experience of life as a New Yorker had very little in common with the character and aspirations of Middle America. Later that year he set out again, this time on his own, with a driver’s licence and a Rollei 35 – a point-and-shoot camera – to explore the country through the eyes of an everyday tourist. The project was entitled American Surfaces – referring to the superficial nature of his brief encounters with places and people and the underlying character of the images that he hoped to produce. With such an easy-to-use camera, he photographed relentlessly. ‘In American Surfaces, I was photographing almost every meal I ate, every person I met, every waiter or waitress who served me, every bed I slept in, every toilet I peed in. But also, I was photographing streets I was driving through, buildings I would see.’
Shore returned to New York triumphant, with hundreds of rolls of film spilling from his bags. In order to remain faithful to the conceptual foundations of the project, he followed the lead of most tourists of the time and sent his film to be developed and printed in Kodak’s labs in New Jersey. The result was hundreds and hundreds of exquisitely composed colour pictures, whose subject became the benchmark for documenting of our fast-living, consumer-orientated world – a body of work that followed on from Walker Evans and Robert Frank’s experiences of crossing America and that influenced reams of photographers such as Martin Parr and Bernd & Hilla Becher, who introduced a generation of students to Shore’s work.
Publisher: Phaidon
Size: 245 x 210 mm
pages, 313 colour photographs
This title is currently unavailable. It may be re-printing soon. If you would like to order you may do so and the book will be sent as soon as it is re-printed.
Publisher's Description
In 1972, Stephen Shore left New York City and set out with a friend to Amarillo, Texas. He didn’t drive, so his first view of America was framed by the passenger’s window frame. He was taken aback by the fact that his experience of life as a New Yorker had very little in common with the character and aspirations of Middle America. Later that year he set out again, this time on his own, with a driver’s licence and a Rollei 35 – a point-and-shoot camera – to explore the country through the eyes of an everyday tourist. The project was entitled American Surfaces – referring to the superficial nature of his brief encounters with places and people and the underlying character of the images that he hoped to produce. With such an easy-to-use camera, he photographed relentlessly. ‘In American Surfaces, I was photographing almost every meal I ate, every person I met, every waiter or waitress who served me, every bed I slept in, every toilet I peed in. But also, I was photographing streets I was driving through, buildings I would see.’
Shore returned to New York triumphant, with hundreds of rolls of film spilling from his bags. In order to remain faithful to the conceptual foundations of the project, he followed the lead of most tourists of the time and sent his film to be developed and printed in Kodak’s labs in New Jersey. The result was hundreds and hundreds of exquisitely composed colour pictures, whose subject became the benchmark for documenting of our fast-living, consumer-orientated world – a body of work that followed on from Walker Evans and Robert Frank’s experiences of crossing America and that influenced reams of photographers such as Martin Parr and Bernd & Hilla Becher, who introduced a generation of students to Shore’s work.
Publisher: Phaidon
Size: 245 x 210 mm
pages, 313 colour photographs
This title is currently unavailable. It may be re-printing soon. If you would like to order you may do so and the book will be sent as soon as it is re-printed.
£19.95
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