"Carrying out this photograph project is because of the inspiration after reading the novel River of the North written by Zhang Chengzhi. Attracted by the powerful words in this novel, I decided to take a walk along the Yellow River to experience and feel the father-like broad and wide brought from this river, so that I could find the root of my soul .while along the way, the river from my mind was inundated by the stream of reality. The river, which once was full of legends, had gone and disappeared. That is kind of my profound pessimism. Nevertheless, as a vast country with a long history, its future is always bright. There is a descent in the matrix; there is her own nutrition to feed her babies; there is the power of creation to cultivate them strongly. The weak moaning finally will be drowned by the shout for joy. From this point of view, it seems, all shall be optimistic."
- STATEMENT by Zhang Kechun
Published by Jiazahi Press
Size: 250 x 250 mm
120 pages, 55 color pictures
First Edition: 500, all numbered
First published in 1992 to wide critical acclaim, Pictures From Home is Larry Sultan’s pendant to his parents. Sultan returned home to Southern California periodically in the 1980s and the decade-long sequence he presents moves between registers, combining contemporary photographs with film stills from home movies, fragments of conversation, Sultan’s own writings and other memorabilia. The result is a narrative collage in which the boundary between the documentary and the staged becomes increasingly porous.
“What drives me to continue this work is difficult to name,” wrote Sultan. “It has more to do with love than with sociology. With being a subject in the drama rather than a witness. And in the odd and jumbled process of working, everything shifts: the boundaries blur, my distance slips, the arrogance and illusion of immunity falters. I wake up in the middle of the night, stunned and anguished. These are my parents. From that simple fact, everything follows.”
This new edition – the first released since 1992 – offers a new edit of Sultan’s work and includes previously unpublished images.
Publisher: Mack Books
Size: 230 x 270 mm
196 pages, 140 colour plates
Bill Brandt was the preeminent British photographer of the twentieth century and a founding father of photography’s modernist tradition. Published in conjunction with an exhibition at The Museum of Modern Art, Bill Brandt: Shadow and Light presents the photographer’s entire oeuvre, with special emphasis on his investigation of English life in the 1930s and his innovative late nudes. It is the first full scale examination of Brandt’s work that attempts to trace a coherent trajectory across the photographer’s multifaceted career.
Rich tritone illustrations highlight the special characteristics of Brandt’s prints, and an essay by Sarah Hermanson Meister, Curator in the Department of Photography at MoMA, sets Brandt’s life and work in the context of twentieth-century photographic history. Lee Ann Daffner, the Museum’s Andrew W. Mellon Foundation Conservator of Photographs, contributes an illustrated glossary of Brandt’s retouching techniques, enhancing the appreciation of his printing processes. The book also includes a generously illustrated appendix of Brandt’s photo-stories published during the Second World War, clarifying the photographer’s career as never before.
Size: 10.5 x 9"
"In Louisiana, the threat of hurricanes arrives annually, but the storm around the poorest people is felt daily. I think of permanent vigilance, or recovery, and the constant need to start over. Memories that never have the luxury of time to heal. Anger springs from fear, a dam against chaos. In the storm with all the destructive power, the people I met were like pillars in the water, holding up the houses. Hurricane Season, deals with the transient nature of life and how people deal with impermanence – this theme is common to all of my work." - Hannah Modigh
Size: 261 x 295
This luxurious, silk-bound limited edition presents highlights from Sugimoto’s beloved Theaters series
Published in an edition of 400 signed and numbered copies, Snow White is a unique collector’s edition book containing 75 artworks by Hiroshi Sugimoto (born 1948). All of the photographs in Snow White are from his Theaters series and include many of his well-known photographs of classic movie palaces and drive-ins, along with new photographs of Italian opera houses and abandoned theaters. Sugimoto began the Theaters series four decades ago. To make these images, he opens the shutter inside the dark theater (or in the case of the drive-ins, outside at night) for the duration of the movie. The running movie is the only source of light bringing out the architectural details of these spaces. The Disney movie Snow White was running when Sugimoto photographed “Palace Theater, Gary (2015), one of the abandoned theaters that is reproduced here.
In this book, Sugimoto reveals for the first time the movies that were screened when he took these photographs and the exposure time of each photograph. Each artwork in Snow White is accompanied by the name of the movie, its running time and a short text about each written by Sugimoto. The black-and-white photographs are hand-tipped onto the pages and the book is bound in silk cloth. Each copy contains a numbered colophon signed by Sugimoto.
Publisher: Damiani/Matsumoto Editions
Size: 10.5 x 14"
160 pages, 75 images
French photographer Antoine d’Agata departed his homeland in 1983 to begin a series of travels. He has since gained notoriety with a body of work that deals with addiction, sex, personal obsessions, darkness, prostitution, and other topics widely considered taboo. D’Agata studied photography at the International Center of Photography of New York City in 1990, under the tutelage of Larry Clark and Nan Goldin. This publication offers a personal visual reflection of that time. Designed as a 48-page leporello with an insert containing 20 pages of text, including a letter written in 1991, it includes self-portraits, scratched out journal snippets, and grainy photographs of drug use.
Publisher: André Frère
Size: 135 x 180 mm
62 colour photographs, and black & white
The Warzone Collective began in 1984 in Belfast, Northern Ireland, when a few local punks decided to consolidate their efforts and find their own venue, practice, and social space. In 1986, the Collective opened Giros, its first premises in Belfast, which contained a vegetarian cafe, practice space, and screen printing facilities. It soon became a focal point for anarchists and punks.
In 1991 the Collective moved Giros to a larger and more ambitious venue, the spot where all of the photographs in this book were taken. Over the years, thousands of people passed through Giros’ doors. A strong D.I.Y. ethic defined the way gigs and events were organized. It didn’t have an alcohol license, and it was an all ages venue. The Warzone Centre, or The Centre as it was called by some, became the countercultural hub for the greater Belfast area and beyond. Bands from all over the world played there, and it was famous for being one of the best in Europe for D.I.Y. punk.
The photographs in this book were taken between 1997 and 2003. Toward the end of 2003, the Centre closed, leaving a huge gap in radical Belfast culture. It reopened in 2011, in a different venue on the opposite side of town and is still going strong today.
85 pages, 176 illustrations
"As dusk approaches, roadside vending machines light up in cities and in the outskirts. These scenes of vending machines, ordinarily standing on the roadside, are particular to Japan.
The vending machines downtown or in the wilderness, placed to stand in solitude, are an image of loneliness. They work tirelessly, whether it is day or night. But once their sales drop, they are taken away. If they do not glow and shine, they will stop existing. There might be something human about them."
― statement by the artist
Publisher: Zen Foto Gallery
Size: 206 x 300 mm
New, two different covers
While it’s been more than twenty years since moving to Tokyo, I’ve never grown tired of how, day by day, the city fluctuates and grows. But on the other hand, it has become hard to see the embodiment of our true humanity - perhaps this loss is a consequence of our unchecked modern urban proliferation.
Years ago, while I was photographing and living among nomads in Tibet I was struck by the way in which those there live and coexist powerfully with the earth. I honed this feeling through making portraits of the people I encountered. Compared with my experiences there I felt that, as photographic subjects, through the convenience of modern life the citizens of Tokyo lacked something that those in Tibet naturally possessed.
But was this really so?
Making an effort to observe Tokyo well, one should be able to discover those living strongly with the same radiance of human nature coexisting within the city. This belief led me to begin a daily attempt to seek out with my camera those who exist and thrive within their natural, yet urban, habitat.
Indeed, ten years have passed and in my eyes the dense sprawl of Tokyo is an ecosystem with magnificent circulation.
― Statement from the artist
Publisher: Zen Foto Gallery
Size 302 x 373 mm
Limited Edition: 1,000 (black cover: 500 / silver cover: 500)
An extraordinary record of great photographs being captured, edited and made, reissued to mark Magnum’s 70th anniversary
This exceptional book, published here in an accessibly priced paperback format, comes out just as the shift to digital photography threatens to render the contact sheet obsolete. It celebrates the contact sheet as a fascinating way of accompanying great photographers as they work towards, and capture, the most enduring images of our time.
139 contact sheets, representing 69 photographers, are featured, as well as zoom-in details, selected photographs, press cards, notebooks and spreads from contemporary publications, including Life magazine and Picture Post.
Further insight is provided by texts written by the photographers themselves or by experts chosen by members’ estates. It includes many greats of photography, among them Henri Cartier- Bresson, Elliott Erwitt and Inge Morath, as well as Magnum’s latest generation, such as Jonas Bendiksen, Alessandra Sanguinetti and Alec Soth. These photographers cover over 70 years of history, from the D-Day landings by Robert Capa and the Paris riots of 1968 by Bruno Barbey to images of Che Guevara by René Burri, Malcolm X by Eve Arnold and classic New Yorkers by Bruce Gilden.
Publisher: Thames & Hudson
Size: 293 x 240 mm
524 pages, 446 illustrations
In the twentieth century, any American driver or passenger would stop at gas stations at least weekly, and not just for gas. Gas stations were also oases offering food and drink, car repairs, directions, maps and, importantly, bathrooms. Yet, beyond their appreciation as roadside novelties, their offerings to American culture, landscape and history have been little photographed.
From 1978 to 1981, David Freund analyzed the culture, architecture and landscape of gas stations in more than forty states. The photographs show customers and workers in postures and actions peculiar to gassing up, or just hanging out. Architecture and signage, both corporate and vernacular, beckon passing drivers. Regional landscapes hold and surround gas stations, each with its own landscape of designed plantings or scrappy volunteers. Stations were also outposts for American networks other than petroleum, seen in telephone booths, mailboxes and powerlines. These and all that surrounds them spark recognition and recollection, accruing as elements of a nonlinear American narrative.
While Freund’s primary concern is for his photographs to engage and surprise, he acknowledges nostalgia and uses it to imbue his subjects with a compelling sense of belonging. Of more than 200,000 gas stations in the United States at the time of this project, today they and their roles are mostly gone, existing now in memory and in this work.
Four hardcover books housed in a slipcase
Size: 280 x 220 mm
720 pages, 574 images
Every year at Christmas for the past ten years, Todd Hido has traveled to Ohio to visit his parents. During his annual trip home, Hido makes photographs along the small road that serves as the namesake for this book.
The signed, original photographic print included with each copy of the book was shot on a 126 Instamatic camera.
Publisher: Nazraeli Press
Size: 5 1/2 x 7 1/4"
16 pages, 7 four-color plates, 1 original signed photograph
Over the last two years John Comino-James has photographed demonstrations across many parts of the UK – from those associated with the 2015 General Election right through to the 2016 EU Referendum.
In his new book, Shout It Loud, Shout It Clear, he shows the astonishing breadth of causes that are embraced by protestors including climate change, the replacement of Trident, the refugee crisis, the government’s austerity policies, the ongoing detention of prisoners at Guantanamo Bay, Israeli policy towards the Palestinian people, the Chinese repressions in Tibet, Saving the Bee, or Fracking. The list seems endless and whether the protest involves small groups of campaigners or marches numbering tens of thousands, the anger and indignation of the protesters brings passion and commitment to the streets of the UK. Yet all too often many of these protests pass unremarked in the mainstream media.
We may pride ourselves that it is the mark of a civilized community that it can accommodate protests and demonstrations, but, as Comino-James suggests, we must never forget that there are societies in which any form of protest carries the certainty of draconian penalties. We must also remember that while the protests on our streets may be permitted – even facilitated – they are also closely monitored by the authorities. There is no room for us to be complacent.
Accompanying the photographs are reflective texts which explore the nature of these protests. Quoting from the banners and placards carried by protesters, Comino-James weaves together a powerful and deeply moving commentary on what is an important, though often overlooked, backdrop to our democracy.
Publisher: Dewi Lewis
Size: 298 x 220 mm
168 pages, 95 duotone plates
In Terra Nostra, Sicilian born photographer Mimi Mollica explores the effects of the Mafia on his homeland. He document the scars inflicted by Cosa nostra on both the physical and social landscape of the island as a result of a system strongly rooted in both fear and corruption.
Mollica began shooting Terra Nostra in 2009. For him the biggest challenge was to convey the legacy that Cosa nostra has imposed both on the Sicilian people and on the land itself, with its coastline blighted by illegal speculative building. Here is a system based on extortion and the corruption of public office, and an unsustainable economy overseen by the capitalist monopoly of the crime families. For Mollica there is an overwhelming sense of claustrophobia, and a lack of freedom that seems to permeate every aspect of Sicilian life.
Terra Nostra is introduced by the respected Sicilian judge, Roberto Scarpinato who, since 1989, has been involved in some of the most important trials against the Mafia. He has been under police protection for over twenty years.
Sean O’Hagan, photography critic at The Guardian and The Observer, also contributes an insightful text which looks at the context of Mollica’s work.
Introduction by Roberto Scarpinato
Afterword by Sean O'Hagan
Publisher: Dewi Lewis
Size: 235 x 170 mm
Essays on Photography, Artmaking, and Personal Expression in the Digital Age by Brooks Jensen
And many more!
Reproduces sixty of the 500 interviews conducted by Brooks Jensen with many of today’s leading photographers. Its 426 pages include interviews with Bruce Barnbaum, Mitch Dobrowner, Josef Hoflehner, David Hurn, Michael Kenna, Howard Schatz, Linda Butler, Joan Myers and John Sexton.
“I’ve now (as of 2016) had the pleasure and honor to interview some 500 photographers for the pages of LensWork and as audio supplements to LensWork Extended. In every interview — without exception — there is at least one nugget of wisdom that makes the experience worth the time. In the art life, learning never stops — at least if we are lucky and pay attention. And the lessons we learn surely have some application for others. The 60 photographers included in this book prove that beyond any doubt.” From the Preface
60 Photographers On Photography and Their Creative Process
And many more!
Since the early 1990s, Wolfgang Tillmans has established himself as one of the most exciting and innovative artists working today. The first photographer to win the Turner Prize (in 2000), his practice is characterized by constant investigation into the boundaries of the photographic medium and a preoccupation with the process of photography itself.
This new publication, accompanying an exhibition at Tate Modern, will examine Tillmans’s evolving practice showcasing his photography but also his video, digital slide projections, publications, and recorded music. Mark Godfrey gives an overarching view of Tillmans’s practice, from the physical materiality of the work, to space and installation, to his use of abstraction. Tom Holert focuses on Tillmans’s relationship with politics and society, with particular emphasis on events of the last 15 years and the way Tillmans uses images and methods of distribution to examine global concerns such as migration and identity politics.
The book is designed by the artist, and has a strong visual identity with a collectible feel. Photography and video stills are beautifully reproduced in full color while, in keeping with the artist’s non-hierarchical approach to media, documentary material will also be highlighted.
Publisher: Tate Publishing
Size: 159 x 241 mm
300 colour images
Artist's edition of Karen Knorr's Belgravia, which includes a 28x35cm signed and numbered print from the series, presented alongside a copy of the book, in an elegant bespoke clamshell case.
Of the photograph Knorr recalls "In Belgravia, there are two photographs of the same very charming subject, a deb’s delight. One is on the cover, and the other inside the book accompanying the quote on the back cover of the book. Both photographs were taken on the same afternoon in 1979. He was confident of his charms and definitely a perfect “dish” or debs to bag. He appears in the first photograph the cover: tall, handsome, rosy cheeked gazing lovingly at his own reflection (emulating his hero, Brian Ferry) he poses legs apart, in the hall way of his parent’s 1960’s penthouse flat. In the other photograph (offered as a special edition print), taken in the dining area, he lounges back in his black bow tie, white smoking jacket and tuxedo trousers, striped socks peek above his loafers. He is almost pouting as he sits foot resting on the classic Eames chair. The penthouse was the perfect stage. Apparently it had been originally designed for Elizabeth Taylor, while filming Cleopatra in London in 1963."
The edition is strictly limited to 30, and sold on a first come first served basis.
Publisher: Stanley Barker
Size: 280 x 350 mm
Skateboarding photography does not, I suspect, feature very high on the list of our customers’ interests but I would strongly encourage you to take a look at the work of Fred Mortagne (aka French Fred). In Attraper au Vol, the skateboarders in these black-and-white images are dwarfed by the streets and buildings they operate around. The result is one of the most compelling and dynamic books of architectural photography I have seen in a long time.
Attraper Au Vol (Catch in the Air) is the photographic life’s work of one of the most respected skate film makers and photographers in the world, French artist Fred Mortagne, or better known as French Fred. This photographic essay culminates years of Fred’s work (2000-2015), offering a sublime lens on life. A feast of lines and angles, his deliberate compositions blend skaters into their environment; offering an abstract perspective on architecture and geometry. His work intrigues both skaters and non-skaters alike, slowing the blur of modern life just enough to expose what is below the surface. Fred's fluid style evokes the esthetic beauty of skate and the muse of urban culture rather than pure performance, although the raw talent of his subjects is readily apparent. Across settings, subjects and locales, Attraper Au Vol exposes Fred’s signature style in one beautiful hard cover book. Shot both on film and digital 35mm format, this collection of images is a canon for the world of skate, and a body of art all its own. Fred's photographs are framed by a foreword from world renowned photographer Anton Corbijn and an essay by Geoff Rowley, one of the greatest skateboarders of all-time whom Fred works with extensively.
Size: 9.25 x 11.75"
A collaboration between photographer Barbara Bosworth and writer Margot Ann Kelley who for ten years have focused their attention on a single meadow in Carlisle, Massachusetts. Beautifully printed by Radius, these images show the rewards of a photographer being willing to return to one location time after time and fully immerse themselves in it.
Emily Dickinson wrote that all it takes to make a prairie is “one clover, and a bee. / And revery.” It turns out that to know a prairie (or meadow) is a bit more complicated, as photographer Barbara Bosworth and writer Margot Anne Kelley have discovered. For more than a decade, Bosworth and Kelley have meandered in, studied and photographed a single meadow in Carlisle, Massachusetts. In addition to their own investigations, they have invited botanists, entomologists, naturalists and historians to consider the meadow with them. Also included are historic maps of the property dating to the 1800s, and a transcription of notes from a former owner whose family has continuously documented plant and bird life in the meadow from 1931 until the 1960s.
Part photo-essay, part journal and part scientific study, this book is a meditation on the shifting perspective that occurs when one repeatedly sees the same place through new eyes.
Photography by Barbara Bosworth
Poetry by Margot Anne Kelley
Publisher: Radius Books
Size: 10.25 x 12.75"
200 pages and booklet in back pocket, 60 colour images .
Text on short trim inserts.