Walker Evans (1903-1975) was one of the most important and influential artists of the twentieth century, producing a body of photographs that continues to shape our understanding of the modern era. He worked in every genre and format, in black & white and colour, but two passions were constant: literature and the printed page. While his photographic books are among the most influential in the medium’s history, Evans’s more ephemeral pages remain largely unknown. From small avant-garde publications to mainstream titles such as Harper’s Bazaar, Vogue, Architectural Forum, Life and Fortune he produced innovative and independent journalism, often setting his own assignments, editing, writing and designing his pages. Presenting many of his photo-essays in their entirety Walker Evans: the Magazine Work assembles the unwritten history of this work, allowing us to see how he protected his autonomy, earned a living and found audiences far beyond the museum and gallery.
Publisher: Steidl
Size: 290 x 220 mm
144 pages, 120 photographs
Publisher's Description
Walker Evans (1903-1975) was one of the most important and influential artists of the twentieth century, producing a body of photographs that continues to shape our understanding of the modern era. He worked in every genre and format, in black & white and colour, but two passions were constant: literature and the printed page. While his photographic books are among the most influential in the medium’s history, Evans’s more ephemeral pages remain largely unknown. From small avant-garde publications to mainstream titles such as Harper’s Bazaar, Vogue, Architectural Forum, Life and Fortune he produced innovative and independent journalism, often setting his own assignments, editing, writing and designing his pages. Presenting many of his photo-essays in their entirety Walker Evans: the Magazine Work assembles the unwritten history of this work, allowing us to see how he protected his autonomy, earned a living and found audiences far beyond the museum and gallery.
Publisher: Steidl
Size: 290 x 220 mm
144 pages, 120 photographs
“It is impossible to travel alone in North Korea. As soon as you arrive, two guides pick you up. In reality, they act like policemen. They look at each of your actions, each of your movements; you are not allowed to do anything without them. They prevent you from speaking with anybody. As my two guards said it was forbidden to take any photographs, I decided to photograph them and to write their comments.” Patrick Swirc
DPKR is an unusual travelogue, depicting Patrick Swirc’s difficult journey through North Korea. Whilst it appears to depict only that constricted version of the country he was ‘allowed’ to see, his photographs in fact offer a seering insight into a country little documented by Western photographers.
Publisher: Steidl
Size: 295 x 243 mm
68 pages, colour photographs throughout
Publisher's Description
“It is impossible to travel alone in North Korea. As soon as you arrive, two guides pick you up. In reality, they act like policemen. They look at each of your actions, each of your movements; you are not allowed to do anything without them. They prevent you from speaking with anybody. As my two guards said it was forbidden to take any photographs, I decided to photograph them and to write their comments.” Patrick Swirc
DPKR is an unusual travelogue, depicting Patrick Swirc’s difficult journey through North Korea. Whilst it appears to depict only that constricted version of the country he was ‘allowed’ to see, his photographs in fact offer a seering insight into a country little documented by Western photographers.
Publisher: Steidl
Size: 295 x 243 mm
68 pages, colour photographs throughout
This stunning collection showcases this legend’s most famous works as well as some recently re-discovered images. Born in Budapest in 1913, the self-schooled Robert Capa is considered the father of photo-journalism.
A fervent anti-war campaigner, it was his powerful record of the Spanish Civil War that brought him global fame. On moving to the USA in 1939, he became a war correspondent for Life magazine and the US military and co-founded the Magnum photo agency. His fearless chronicle of the Allied landings gained critical and public acclaim. Capa’s untimely death in 1954 came after a serious landmine injury in Vietnam.
You can view images from this book on the teNeues website.
Publisher: teNeues
Size: 10 5/8 x 14 1/6"
96 pages, 60 colour and black & white photographs
Publisher's Description
This stunning collection showcases this legend’s most famous works as well as some recently re-discovered images. Born in Budapest in 1913, the self-schooled Robert Capa is considered the father of photo-journalism.
A fervent anti-war campaigner, it was his powerful record of the Spanish Civil War that brought him global fame. On moving to the USA in 1939, he became a war correspondent for Life magazine and the US military and co-founded the Magnum photo agency. His fearless chronicle of the Allied landings gained critical and public acclaim. Capa’s untimely death in 1954 came after a serious landmine injury in Vietnam.
You can view images from this book on the teNeues website.
Publisher: teNeues
Size: 10 5/8 x 14 1/6"
96 pages, 60 colour and black & white photographs
Publisher's Description
Contrasting the human (male and female) nude against the textures of rock, grass, sand, wood and water, the black-and-white photographs of American fashion and portrait photographer Cliff Watts envisage bodies as “human fossils.” Watts describes this volume as “a collaboration between myself and six willing friends who volunteered to go through extreme heat, freezing cold and various uncomfortable conditions.”
See Cliff Watts' website for sample images.
Publisher: Damiani
Size: 10 x 13"
200 pages
Publisher's Description
Contrasting the human (male and female) nude against the textures of rock, grass, sand, wood and water, the black-and-white photographs of American fashion and portrait photographer Cliff Watts envisage bodies as “human fossils.” Watts describes this volume as “a collaboration between myself and six willing friends who volunteered to go through extreme heat, freezing cold and various uncomfortable conditions.”
See Cliff Watts' website for sample images.
Publisher: Damiani
Size: 10 x 13"
200 pages
Sixty-four newly discovered images by the distinguished photographer Arthur Tress capture a uniquely American time and place. Best known for dreamlike staged imagery of people, places, and things, Tress is an accomplished photographer whose career spans more than fifty years. This monograph presents for the first time a collection of pictures the photographer took in 1964 as a young man newly arrived in San Francisco. That summer the city was ground zero for a historic culture clash as the site of both the 28th Republican National Convention and the launch of the Beatles’ first North American tour. The resulting photographs reveal a theme familiar to Tress’s many fans: the intersection of the absurd and the mundane. Formally posed portraits on the streets of San Francisco as well as candid views of shop windows, signs, and other idiosyncrasies of the local landscape capture the vibrant scene in the Bay Area at the dawn of a chaotic era. An introductory essay discusses the historical context of the works while an interview with Tress illuminates the making and rediscovery of these brilliant images.
Publisher: Prestel
Size: 240 x 260 mm
112 pages
Publisher's Description
Sixty-four newly discovered images by the distinguished photographer Arthur Tress capture a uniquely American time and place. Best known for dreamlike staged imagery of people, places, and things, Tress is an accomplished photographer whose career spans more than fifty years. This monograph presents for the first time a collection of pictures the photographer took in 1964 as a young man newly arrived in San Francisco. That summer the city was ground zero for a historic culture clash as the site of both the 28th Republican National Convention and the launch of the Beatles’ first North American tour. The resulting photographs reveal a theme familiar to Tress’s many fans: the intersection of the absurd and the mundane. Formally posed portraits on the streets of San Francisco as well as candid views of shop windows, signs, and other idiosyncrasies of the local landscape capture the vibrant scene in the Bay Area at the dawn of a chaotic era. An introductory essay discusses the historical context of the works while an interview with Tress illuminates the making and rediscovery of these brilliant images.
Publisher: Prestel
Size: 240 x 260 mm
112 pages
The photograph found a home in the book before it won for itself a place on the gallery wall. Only a few years after the birth of photography, the publication of Henry Fox Talbot’s The Pencil of Nature heralded a new genre in the history of the book, one in which the photograph was the primary vehicle of expression and communication, or stood in equal if sometimes conflicted partnership with the written word. In this book, practicing photographers and writers from different fields of scholarship share a range of new approaches to reading the photobook, developing fresh ways of understanding how meaning is shaped by an image’s interaction with its text and context and engaging with the visual, tactile and interactive experience of the photobook in all its dimensions. Through close studies of individual works, from the Victorian aestheticism and indulgent production of Talbot’s literary-inspired images to the fragile, disposable yet paradoxically enduring creations of Ruscha, the photobook in all its manifestations – from fetishised objet d’art to cheaply-printed booklet – is explored and its unique creative and cultural contributions celebrated.
International in scope and encompassing the history of the photobook until the present day, The Photobook demonstrates a variety of critical approaches accessible to academic scholars, the art world and the general reader alike.
Publisher: I. B. Tauris
Size: 234 x 156 mm
288 pages
Publisher's Description
The photograph found a home in the book before it won for itself a place on the gallery wall. Only a few years after the birth of photography, the publication of Henry Fox Talbot’s The Pencil of Nature heralded a new genre in the history of the book, one in which the photograph was the primary vehicle of expression and communication, or stood in equal if sometimes conflicted partnership with the written word. In this book, practicing photographers and writers from different fields of scholarship share a range of new approaches to reading the photobook, developing fresh ways of understanding how meaning is shaped by an image’s interaction with its text and context and engaging with the visual, tactile and interactive experience of the photobook in all its dimensions. Through close studies of individual works, from the Victorian aestheticism and indulgent production of Talbot’s literary-inspired images to the fragile, disposable yet paradoxically enduring creations of Ruscha, the photobook in all its manifestations – from fetishised objet d’art to cheaply-printed booklet – is explored and its unique creative and cultural contributions celebrated.
International in scope and encompassing the history of the photobook until the present day, The Photobook demonstrates a variety of critical approaches accessible to academic scholars, the art world and the general reader alike.
Publisher: I. B. Tauris
Size: 234 x 156 mm
288 pages
The photograph found a home in the book before it won for itself a place on the gallery wall. Only a few years after the birth of photography, the publication of Henry Fox Talbot’s The Pencil of Nature heralded a new genre in the history of the book, one in which the photograph was the primary vehicle of expression and communication, or stood in equal if sometimes conflicted partnership with the written word. In this book, practicing photographers and writers from different fields of scholarship share a range of new approaches to reading the photobook, developing fresh ways of understanding how meaning is shaped by an image’s interaction with its text and context and engaging with the visual, tactile and interactive experience of the photobook in all its dimensions. Through close studies of individual works, from the Victorian aestheticism and indulgent production of Talbot’s literary-inspired images to the fragile, disposable yet paradoxically enduring creations of Ruscha, the photobook in all its manifestations – from fetishised objet d’art to cheaply-printed booklet – is explored and its unique creative and cultural contributions celebrated.
International in scope and encompassing the history of the photobook until the present day, The Photobook demonstrates a variety of critical approaches accessible to academic scholars, the art world and the general reader alike.
Publisher: I. B. Tauris
Size: 234 x 156 mm
288 pages
Publisher's Description
The photograph found a home in the book before it won for itself a place on the gallery wall. Only a few years after the birth of photography, the publication of Henry Fox Talbot’s The Pencil of Nature heralded a new genre in the history of the book, one in which the photograph was the primary vehicle of expression and communication, or stood in equal if sometimes conflicted partnership with the written word. In this book, practicing photographers and writers from different fields of scholarship share a range of new approaches to reading the photobook, developing fresh ways of understanding how meaning is shaped by an image’s interaction with its text and context and engaging with the visual, tactile and interactive experience of the photobook in all its dimensions. Through close studies of individual works, from the Victorian aestheticism and indulgent production of Talbot’s literary-inspired images to the fragile, disposable yet paradoxically enduring creations of Ruscha, the photobook in all its manifestations – from fetishised objet d’art to cheaply-printed booklet – is explored and its unique creative and cultural contributions celebrated.
International in scope and encompassing the history of the photobook until the present day, The Photobook demonstrates a variety of critical approaches accessible to academic scholars, the art world and the general reader alike.
Publisher: I. B. Tauris
Size: 234 x 156 mm
288 pages
Cecil Beaton was a man of dazzling charm and style and his talents were many. He loved Vogue, and his contributions testify to the wit, imagination and professionalism that the man and the magazine always had in common. Beaton in Vogue selects articles, drawings and photographs by Beaton dating from the 1920s to the 1970s.
In his twenties Beaton recorded London and New York society in needle-sharp words and drawings. Condé Nast, the owner of Vogue, compelled him to abandon his pocket Kodak, and his resulting photographic work earned him a place among the great chroniclers of fashion.
Witty and inventive, he designed settings for plays and films – and for himself – and as a writer he was an eloquent champion of stylish living. His accounts of travel made the most luscious places seem tantalizingly vivid and close.
The turning point in his career was the challenge of working as an official photographer in the Second World War. He travelled the world, no longer in luxury but in uniform, and the photographs, drawings and writings that revealed the face of war, from bombed London to China and the North African Desert, testified to a new maturity of vision.
Cecil Beaton remained triumphantly active to the end of his long life. He became a superb portrait photographer, of royal and other famous faces and forms, and designed the costumes for My Fair Lady (both on stage and on film) and for Gigi. Almost incredibly, when a stroke paralysed his right hand he turned himself into a left-handed draughtsman; and he carried out two marathon photo assignments for French Vogue only a few months before he died.
Publisher: Thames & Hudson
Size: 284 x 240 mm
240 pages, 293 Illustrations, 32 in colour
Publisher's Description
Cecil Beaton was a man of dazzling charm and style and his talents were many. He loved Vogue, and his contributions testify to the wit, imagination and professionalism that the man and the magazine always had in common. Beaton in Vogue selects articles, drawings and photographs by Beaton dating from the 1920s to the 1970s.
In his twenties Beaton recorded London and New York society in needle-sharp words and drawings. Condé Nast, the owner of Vogue, compelled him to abandon his pocket Kodak, and his resulting photographic work earned him a place among the great chroniclers of fashion.
Witty and inventive, he designed settings for plays and films – and for himself – and as a writer he was an eloquent champion of stylish living. His accounts of travel made the most luscious places seem tantalizingly vivid and close.
The turning point in his career was the challenge of working as an official photographer in the Second World War. He travelled the world, no longer in luxury but in uniform, and the photographs, drawings and writings that revealed the face of war, from bombed London to China and the North African Desert, testified to a new maturity of vision.
Cecil Beaton remained triumphantly active to the end of his long life. He became a superb portrait photographer, of royal and other famous faces and forms, and designed the costumes for My Fair Lady (both on stage and on film) and for Gigi. Almost incredibly, when a stroke paralysed his right hand he turned himself into a left-handed draughtsman; and he carried out two marathon photo assignments for French Vogue only a few months before he died.
Publisher: Thames & Hudson
Size: 284 x 240 mm
240 pages, 293 Illustrations, 32 in colour
Publisher's Description
It was not so long ago that one would have been hard pressed to find a single Czech name in most West European or American books on the history of photography. Today, things are very different: photographers like Josef Sudek, Frantiek Drtikol, Jaromír Funke, Josef Koudelka, Jan Saudek and Antonín Kratochvíl enjoy international acclaim, and as Czechoslovakia emerged from over half-century of totalitarian rule, the rest of the world was astounded to discover that such a small nation could boast so many talented and original photographers. Nonetheless, entire chapters of the history of Czech photography remain largely neglected. Czech Photography of the 20th Century is the first volume to survey the main trends, figures and masterpieces of Czech photography from the beginning to the end of the last century. Its 517 plates include not only the most historically important photographs and photomontages, but also works that have lain buried in archives and rare publications, or photographs published for the first time. The book is arranged in 17 chapters, supplemented with chronologies of the most important events in twentieth-century Czech photography and history. A guaranteed delight for photobook connoisseurs and neophytes alike, Czech Photography of the 20th Century lifts the lid on this hidden world.
Publisher: Kant
Size: 9.5 x 11"
396 pages, 251 colour and 36 black & white 266 tritone
Publisher's Description
It was not so long ago that one would have been hard pressed to find a single Czech name in most West European or American books on the history of photography. Today, things are very different: photographers like Josef Sudek, Frantiek Drtikol, Jaromír Funke, Josef Koudelka, Jan Saudek and Antonín Kratochvíl enjoy international acclaim, and as Czechoslovakia emerged from over half-century of totalitarian rule, the rest of the world was astounded to discover that such a small nation could boast so many talented and original photographers. Nonetheless, entire chapters of the history of Czech photography remain largely neglected. Czech Photography of the 20th Century is the first volume to survey the main trends, figures and masterpieces of Czech photography from the beginning to the end of the last century. Its 517 plates include not only the most historically important photographs and photomontages, but also works that have lain buried in archives and rare publications, or photographs published for the first time. The book is arranged in 17 chapters, supplemented with chronologies of the most important events in twentieth-century Czech photography and history. A guaranteed delight for photobook connoisseurs and neophytes alike, Czech Photography of the 20th Century lifts the lid on this hidden world.
Publisher: Kant
Size: 9.5 x 11"
396 pages, 251 colour and 36 black & white 266 tritone
You can view images from this book on the 5B4 blog.
Publisher:
Size: 210 x 290 mm
100 pages
Sitting closely to the tradition of a photo novel, A Criminal Investigation follows a police detective in 1958 Tokyo as he investigates a gruesome crime - the discovery dismembered body near Sembaku Lake in Ibaraki Prefecture. Accompanying the detective was the photographer Watabe Yukichi who seems to have documented the progress of the case as thoroughly as the investigators did to the crime. Shooting in black and white 35mm, the results play out like a film noir, complete with the detective looking more and more like a Japanese Humphrey Bogart as the story develops. In fact, as one becomes drawn into the filmic quality of every detail of the pictures and sequence, it is easy to overlook that this was an actual criminal investigation was of something so sinister. A Criminal Investigation has a near perfect form and tone for such an essay with Japanese folded pages and a deep gravure-like printing. Jeff Ladd (5B4)
You can view images from this book on the 5B4 blog.
Publisher:
Size: 210 x 290 mm
100 pages
Elger Esser’s dreamlike photographs seem to originate in a world long gone, to exude a yearning for lost places. His latest series captures the beauty and the magic of Claude Monet’s famous garden in Giverny. Interestingly enough, Esser portrays the plants and ponds in mostly black-and-white pictures taken at night or at dawn, oscillating between reality and illusion, the past and the present.
Publisher: Schirmer/Mosel
Size: 310 x 260 mm
48 pages, 15 plates (13 duotone, 2 colour)
Publisher's Description
Elger Esser’s dreamlike photographs seem to originate in a world long gone, to exude a yearning for lost places. His latest series captures the beauty and the magic of Claude Monet’s famous garden in Giverny. Interestingly enough, Esser portrays the plants and ponds in mostly black-and-white pictures taken at night or at dawn, oscillating between reality and illusion, the past and the present.
Publisher: Schirmer/Mosel
Size: 310 x 260 mm
48 pages, 15 plates (13 duotone, 2 colour)
The second book in Freeman Patterson's internationally acclaimed series of instructional books on photography and visual design, Photography and the Art of Seeing has now been updated and expanded to include technical guidelines adapted for both digital and film photographers. The jargon-free text provides techniques and innovative exercises for breaking with traditional concepts of design, enabling the photographer to develop a keen awareness of subject matter and a direction for composing the picture.
Photography and the Art of Seeing also offers a workshop for all visual artists that includes lessons on the fundamentals of perception and overcoming obstacles in their work.
This edition features several never-before-published photographs from Freeman Patterson's personal collection and extended captions that include valuable technical information and personal commentary.
You can view images from this book on the Firefly Books website.
Publisher: Firefly Books
Size: 8.5 X 8.5"
156 pages, colour photographs throughout
Publisher's Description
The second book in Freeman Patterson's internationally acclaimed series of instructional books on photography and visual design, Photography and the Art of Seeing has now been updated and expanded to include technical guidelines adapted for both digital and film photographers. The jargon-free text provides techniques and innovative exercises for breaking with traditional concepts of design, enabling the photographer to develop a keen awareness of subject matter and a direction for composing the picture.
Photography and the Art of Seeing also offers a workshop for all visual artists that includes lessons on the fundamentals of perception and overcoming obstacles in their work.
This edition features several never-before-published photographs from Freeman Patterson's personal collection and extended captions that include valuable technical information and personal commentary.
You can view images from this book on the Firefly Books website.
Publisher: Firefly Books
Size: 8.5 X 8.5"
156 pages, colour photographs throughout
Publisher's Description
A stunning and unusual exhibition catalog – five pamphlets in a slipcase – suits the remarkable photography of film- and photo-based artist Darren Almond. The British artist makes his images using only the light of the full moon, suffusing his work with an intensely personal atmosphere. Almond makes sculptures, films, photos and works on paper, often based on his extensive travels to destinations like China and Tibet. These new works supplement a recurrent serial of time exposures of various landscapes under the full moon. Interested in time, place, personal history and collective memory, Almond has developed his own lexicon in photography. He was a finalist for the Turner Prize in 2005, and has exhibited at the Venice Biennale, the Berlin Biennale, K21 in Dusseldorf, and the Tate Britain.
Publisher: RAM publications
Size: 12 x 12"
64 pages, 40 colour illustrations
A stunning and unusual exhibition catalog – five pamphlets in a slipcase. Publication delayed till late May 2012. Advance orders taken.
Publisher's Description
In 1905, a young sociologist named Lewis Hine Wickes decided to pursue photography as the medium with which to denounce injustice and poverty. Hine was one of the first photographers to document the wave of mass immigration from an impoverished Europe to an economically booming America, and his portraits of immigrants at Ellis Island offered a more positive image of this influx. Later, while working with the National Child Labor Committee, Hine compiled a vast corpus of images that showed how American industry was making use of child labor, helping to bring about changes in U.S. child labor law. But as he wearied of photographing poverty, Hine developed an idealized vision of the worker that emphasized the dignity of labor--a vision that culminated in his legendary Men at Work series, first published in 1932 and today a classic American photobook. “We call this the Machine Age,” he wrote in its introduction, “But the more machines we use, the more do we need real men to make and direct them.” This beautifully produced volume, which includes a complete facsimile of Men at Work, is compiled from the collection of the George Eastman House, to whom Hine’s son bequeathed his archive after his death. It includes both well-known series and recently discovered early works, plus rare family photographs, ephemera and a detailed chronology. The works are arranged in thematic groupings: “Ellis Island,” “Tenements,” “Child Labor,” “Chicago and New York,” “Pittsburgh,” “Europe,” “Black America,” “Empire State Building” and “New Deal.”
Publisher: D.A.P.
Size: 8.75 x 10"
264 pages, 230 duotone illustrations
Publisher's Description
In 1905, a young sociologist named Lewis Hine Wickes decided to pursue photography as the medium with which to denounce injustice and poverty. Hine was one of the first photographers to document the wave of mass immigration from an impoverished Europe to an economically booming America, and his portraits of immigrants at Ellis Island offered a more positive image of this influx. Later, while working with the National Child Labor Committee, Hine compiled a vast corpus of images that showed how American industry was making use of child labor, helping to bring about changes in U.S. child labor law. But as he wearied of photographing poverty, Hine developed an idealized vision of the worker that emphasized the dignity of labor--a vision that culminated in his legendary Men at Work series, first published in 1932 and today a classic American photobook. “We call this the Machine Age,” he wrote in its introduction, “But the more machines we use, the more do we need real men to make and direct them.” This beautifully produced volume, which includes a complete facsimile of Men at Work, is compiled from the collection of the George Eastman House, to whom Hine’s son bequeathed his archive after his death. It includes both well-known series and recently discovered early works, plus rare family photographs, ephemera and a detailed chronology. The works are arranged in thematic groupings: “Ellis Island,” “Tenements,” “Child Labor,” “Chicago and New York,” “Pittsburgh,” “Europe,” “Black America,” “Empire State Building” and “New Deal.”
Publisher: D.A.P.
Size: 8.75 x 10"
264 pages, 230 duotone illustrations
Publisher's Description
Enrico Natali was born in Utica, New York and raised in the town of Carthage, a village located in the foothills of the Adirondack Mountains. In 1951 he entered the United States Coast Guard Academy, where he developed an interest in photography. Leaving the academy in 1954, he moved to New York and began working as an apprentice to photographer Anton Bruehl. In 1960, Natali began photographing in New York's subways, taking black and white candid shots of people on the trains and waiting in the underground stations. The Subway photographs, which comprise Natali's first major series, significantly transcended his previous work and convinced him that photography was his vocation and America his subject. From that time on he lived and photographed in various parts of the country, including New Orleans, Chicago and Detroit, and eventually produced a series of portraits published as New American People. Some fifty years after the Subway photographs were made, we are proud to present them, finally, in book form. “New York Subway, 1960” is published to coincide with an exhibition at the Santa Barbara Museum of Art. This beautifully produced monograph is printed in duotone on matt art paper, bound in black Japanese cloth, and printed in a first edition of 1,000 copies.
Publisher: Nazraeli Press
Size: 8 x 11"
56 pages, 22 duotone plates
Publisher's Description
Enrico Natali was born in Utica, New York and raised in the town of Carthage, a village located in the foothills of the Adirondack Mountains. In 1951 he entered the United States Coast Guard Academy, where he developed an interest in photography. Leaving the academy in 1954, he moved to New York and began working as an apprentice to photographer Anton Bruehl. In 1960, Natali began photographing in New York's subways, taking black and white candid shots of people on the trains and waiting in the underground stations. The Subway photographs, which comprise Natali's first major series, significantly transcended his previous work and convinced him that photography was his vocation and America his subject. From that time on he lived and photographed in various parts of the country, including New Orleans, Chicago and Detroit, and eventually produced a series of portraits published as New American People. Some fifty years after the Subway photographs were made, we are proud to present them, finally, in book form. “New York Subway, 1960” is published to coincide with an exhibition at the Santa Barbara Museum of Art. This beautifully produced monograph is printed in duotone on matt art paper, bound in black Japanese cloth, and printed in a first edition of 1,000 copies.
Publisher: Nazraeli Press
Size: 8 x 11"
56 pages, 22 duotone plates
In the footsteps of George Brassaï and with a beautiful model on her side, French photographer Véronique Vial leads us through Paris at night. The contrast between nocturnal shadows and imperial illuminations, between the architecture in stone and the flesh of the body creates a mesmerizing play of voyeurism and exhibitionism, with Paris as the fitting, magical stage.
Publisher: Schirmer/Mosel
Size: 240 x 290 mm
112 pages, 78 duotone plates
Publisher's Description
In the footsteps of George Brassaï and with a beautiful model on her side, French photographer Véronique Vial leads us through Paris at night. The contrast between nocturnal shadows and imperial illuminations, between the architecture in stone and the flesh of the body creates a mesmerizing play of voyeurism and exhibitionism, with Paris as the fitting, magical stage.
Publisher: Schirmer/Mosel
Size: 240 x 290 mm
112 pages, 78 duotone plates
The unfolding events in the run up to the Iraq war had given Tom Hurndall, a 21-year-old British photojournalist, an increased curiosity and desire to journey to the Middle East. In February 2003, initially as an observer alongside the Human Shields, he left with a passion to make a difference, to record and photograph the truth for himself.
We follow his journey first from Baghdad, then to Amman and the Al-Rweished refugee camp in Jordan, and finally on to the town of Rafah in Gaza close to the Egyptian border, where US peaceworker Rachel Corrie had been killed just weeks previously.
On April 11th, unarmed and wearing an internationally recognizable orange peacekeeper jacket, he was severely wounded while carrying Palestinian children to safety. He died nine months later in a London hospital.
The book follows Tom’s life and thoughts in the final weeks leading up to the shooting. Motivated by a sense of injustice and striving to remain objective we are drawn into his increasingly serious photographs and words, through extracts from his diary, emails and poems.
It is realised through collaboration with the Hurndall family on the eighth anniversary of that fateful day, and follows the 2008 Channel 4 film-documentary ‘The Shooting of Thomas Hurndall’
You can view images from this book on the Trolley Books website.
Publisher: Trolley Books
Size: 190 x 260 mm
224 pages, 100 colour and b/w illustrations
Publisher's Description
The unfolding events in the run up to the Iraq war had given Tom Hurndall, a 21-year-old British photojournalist, an increased curiosity and desire to journey to the Middle East. In February 2003, initially as an observer alongside the Human Shields, he left with a passion to make a difference, to record and photograph the truth for himself.
We follow his journey first from Baghdad, then to Amman and the Al-Rweished refugee camp in Jordan, and finally on to the town of Rafah in Gaza close to the Egyptian border, where US peaceworker Rachel Corrie had been killed just weeks previously.
On April 11th, unarmed and wearing an internationally recognizable orange peacekeeper jacket, he was severely wounded while carrying Palestinian children to safety. He died nine months later in a London hospital.
The book follows Tom’s life and thoughts in the final weeks leading up to the shooting. Motivated by a sense of injustice and striving to remain objective we are drawn into his increasingly serious photographs and words, through extracts from his diary, emails and poems.
It is realised through collaboration with the Hurndall family on the eighth anniversary of that fateful day, and follows the 2008 Channel 4 film-documentary ‘The Shooting of Thomas Hurndall’
You can view images from this book on the Trolley Books website.
Publisher: Trolley Books
Size: 190 x 260 mm
224 pages, 100 colour and b/w illustrations
Clarence King's Survey, undertaken between 1867 and 1872, covered a vast swath of terrain, from the border of California eastward to the edge of the Great Plains. It was the first survey to include a full-time photographer—Timothy O'Sullivan—who produced about 450 finished photographs in large-format and smaller-format stereographs. O'Sullivan's images convey a distinct individual quality of perception, at once direct and laconic, as well as a perfect union of objective fact and personal interpretation. As such, O'Sullivan remains the most admired, studied, and debated photographer who worked on the great western surveys of the 19th century.
This handsome and enlightening book aims to enrich and enlarge our understanding of O'Sullivan's pivotal body of western photographs by emphasizing the idea of context. This ambition encompasses several frames of reference: O'Sullivan's best-known images in relation to his larger body of survey work; the function his photographs served in relation to the survey's overall goals and methodologies; and the King Survey itself as a logical part of a complex and prolonged expeditionary endeavor. The volume also includes an essential catalogue raisonné of O'Sullivan's King Survey work.
Publisher: Yale University Press
Size: 11 x 11"
252 pages, 384 colour + b/w illustrations
Publisher's Description
Clarence King's Survey, undertaken between 1867 and 1872, covered a vast swath of terrain, from the border of California eastward to the edge of the Great Plains. It was the first survey to include a full-time photographer—Timothy O'Sullivan—who produced about 450 finished photographs in large-format and smaller-format stereographs. O'Sullivan's images convey a distinct individual quality of perception, at once direct and laconic, as well as a perfect union of objective fact and personal interpretation. As such, O'Sullivan remains the most admired, studied, and debated photographer who worked on the great western surveys of the 19th century.
This handsome and enlightening book aims to enrich and enlarge our understanding of O'Sullivan's pivotal body of western photographs by emphasizing the idea of context. This ambition encompasses several frames of reference: O'Sullivan's best-known images in relation to his larger body of survey work; the function his photographs served in relation to the survey's overall goals and methodologies; and the King Survey itself as a logical part of a complex and prolonged expeditionary endeavor. The volume also includes an essential catalogue raisonné of O'Sullivan's King Survey work.
Publisher: Yale University Press
Size: 11 x 11"
252 pages, 384 colour + b/w illustrations
Publisher's Description
Saul Leiter (b. 1923 in Pittsburgh) has only in recent years finally received his due as one of the great pioneers of color photography. This can perhaps be attributed to the fact that Leiter saw himself for a long time mainly as a painter. After coming to New York in 1946, he exhibited alongside Abstract Expressionists like Willem de Kooning before beginning in the late 1940s to take black and white photographs. Like Robert Frank or Helen Levitt, he found his motifs on the streets of New York, but at the same time was visibly interested in abstraction. Edward Steichen was one of the first to discover Leiter’s photography, showing it in the 1950s in two important exhibitions at New York’s MoMA. Back then color photography was regarded as »low art,« fit only for advertising. Leiter accordingly worked primarily as a fashion photographer, for magazines such as Esquire and Harper’s Bazaar. Nearly 40 years would go by before his extraordinary artistic color photography was rediscovered. This book, published to mark the first major retrospective of Leiter’s work anywhere in the world, features for the first time, in addition to his early black and white and color images, his fashion photography, the overpainted nudes, as well as his paintings and sketchbooks.
You can view images from this book on the Kehrer website.
Publisher: Kehrer Verlag
Size: 220 x 264 mm
296 pages, 155 colour and b/w illustrations
Publisher's Description
Saul Leiter (b. 1923 in Pittsburgh) has only in recent years finally received his due as one of the great pioneers of color photography. This can perhaps be attributed to the fact that Leiter saw himself for a long time mainly as a painter. After coming to New York in 1946, he exhibited alongside Abstract Expressionists like Willem de Kooning before beginning in the late 1940s to take black and white photographs. Like Robert Frank or Helen Levitt, he found his motifs on the streets of New York, but at the same time was visibly interested in abstraction. Edward Steichen was one of the first to discover Leiter’s photography, showing it in the 1950s in two important exhibitions at New York’s MoMA. Back then color photography was regarded as »low art,« fit only for advertising. Leiter accordingly worked primarily as a fashion photographer, for magazines such as Esquire and Harper’s Bazaar. Nearly 40 years would go by before his extraordinary artistic color photography was rediscovered. This book, published to mark the first major retrospective of Leiter’s work anywhere in the world, features for the first time, in addition to his early black and white and color images, his fashion photography, the overpainted nudes, as well as his paintings and sketchbooks.
You can view images from this book on the Kehrer website.
Publisher: Kehrer Verlag
Size: 220 x 264 mm
296 pages, 155 colour and b/w illustrations
Over the past decade the renowned photographer Robert Adams (b. 1937) has turned his attention to the woods and shores near his home on the Oregon coast. Sea Stories is a sequence of three visual narratives that follow Adams and his wife, Kerstin, as they walk among alder and maple trees, along the beach to observe the annual migration of shorebirds, and back eastward through meadows and what remains of the inland forest. Featuring many previously unpublished photographs, this book describes the cycles of nature with a new naturalism.
Publisher: Yale University Press
Size: 8.25 x 9.5"
124 pages, 106 tritones
Publisher's Description
Over the past decade the renowned photographer Robert Adams (b. 1937) has turned his attention to the woods and shores near his home on the Oregon coast. Sea Stories is a sequence of three visual narratives that follow Adams and his wife, Kerstin, as they walk among alder and maple trees, along the beach to observe the annual migration of shorebirds, and back eastward through meadows and what remains of the inland forest. Featuring many previously unpublished photographs, this book describes the cycles of nature with a new naturalism.
Publisher: Yale University Press
Size: 8.25 x 9.5"
124 pages, 106 tritones