Publisher's Description

“What is "traditionally Japanese"? The quest for the answer to this question, led me to "Bonsai". In it, I found Japanese traditional aesthetics and nature being condensed in miniature form. I also realized that bonsai is one of the subjects that is closest to what I consider about photography.”

Size: 287 x 266 mm

SIGNED COPY

Signed copies

Publisher's Description

In 2011 Vanessa Winship was the recipient of the Henri Cartier Bresson Award which funds an artist to pursue a new photographic project. For over a year Winship travelled across the United States, from California to Virginia, New Mexico to Montana, in pursuit of the fabled ‘American dream’. she dances on Jackson presents a conversation, a lyrical and lilting interaction between landscape and portrait exploring the vastness of the United States and attempting to understand the link between a territory and its inhabitants. For Winship this relationship is inextricable; places accrue particular meanings according to the people she meets, what she sees, and by what's happening to her personally. Each human encounter, sound and smell adds extra dimensions to her work and the resulting photographs.

she dances on Jackson marks a progression. Stylistically similar to her previous work using black and white film and a large format camera, Winship’s portraits remain arresting and unnerving but this body of work reveals her to also be a skilled landscape photographer. For Winship photography is a process of literacy, a path by which she understands life. Her intimate approach enables the reader to glimpse the world as she sees it, if only for a moment.

See here for sample images and review.

Publisher: Mack Books

Size: 240 x 270 mm

144 pages, 64 tritone plates

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

Kenna's photographs of the Shinan region of Korea.  Due for publication Summer 2013.  If you wish to place an advance order and do not wish your card account to be debited until book is ready for despatch, please use Secure Trading payment option.

Watch a video of Kenna working in Shinan.

Browse Kenna Shinan image archive.  The images are not guaranteed to be the same as the contents of the book.  We have no information about the cover of the book so the image we have used to illustrate the item is just one chosen from Kenna's image archive.

Standard edition also available.

Publisher's Description

Having difficulty identifying a particular species of bird through her spotting scope, Carol E. Richards took a photograph through the lens to assist with her research. The resulting picture turned out to be far more than a tool for verification. It had a mood and visual content the artist was drawn to, and led to the creation of a series of beautiful, dream-like vignettes. “Unlike some photographs of wildlife that are clear and provide answers,” says Richards, “these soft visuals raise questions. It was a surprising discovery; as I spied on these birds, I could see their charm and individuality. Who knew?”

Publisher: Nazraeli Press

Size:5 1/2 x 7 1/4"

16 pages, 12 four-color plates, 1 original photograph.

Publisher's Description

“I was inspired to create a series showing a female perpetrator – a true femme fatale. As opposed to High Fashion Crime Scenes, which focused on the victim and was based entirely in reality, the Juliette series is a fantasy, and flips the model’s role to one in a position of power.  I approached Juliette Lewis with the idea and she became my muse for the series. I wrote scripts for each shot and she acted out the scenes. Each shot in essence is a film still. The only film still. The series was shot in Los Angeles in 2004.” — Melanie Pullen

Publisher: Nazraeli Press

Size:5 1/2 x 7 1/4"

16 pages, 7 four-color plates, 1 original photograph.

Publisher's Description

In Risaku Suzuki’s second contribution to our One Picture Book series, he zeroes in on the building blocks that form the snow pictures for which he has become renowned: the individual snowflake. Here, Suzuki presents twelve breathtaking photographs of individual snowflakes (or “letters sent from heaven”, as Ukichiro Nakaya described them) in a pitch perfect follow-up to his earlier monograph, “Yuki Sakura”.

Publisher: Nazraeli Press

Size:5 1/2 x 7 1/4"

16 pages, 11 four-color plates, 1 original photograph.

Publisher's Description

David Moore’s Pictures from the Real World was a forerunner of much that followed in British photographic history, yet the first and only showing of the photographs was in 1988 when they were selected by Martin Parr for a special edition of the magazine, Creative Camera.

The series is a powerful collection of colour documentary photographs of families on a council estate in Moore’s home city of Derby, UK, made between 1987 and 1988. At the time, few serious documentary photographers were working in colour and Moore’s choice was in many ways a rebellion against the prevalent aesthetic. It was also a crtical response to the new political and social realities imposed by Margaret Thatcher’s Conservative government from 1979. As David Chandler comments in a new essay commissioned for the book; 'Pictures from the Real World presents working class life as a strange blend of physical mayhem and inertia, the abrasive square frames of Moore’s camera cut into bodies and objects, much as the rooms themselves seem to struggle to contain them’. 

The work retains a visceral energy 25 years after the event and documents a very particular time in British social and photographic history. One might also argue that the subsistence level living encountered connects the content of the work to current times.

David Moore has published several books and exhibited widely. His first solo exhibition, The Velvet Arena, was at The Photographers’ Gallery, London in 1994 and was also published as a book. His most recent book The Last Things (Dewi Lewis Publishing, 2008) documented a never before photographed, government bunker in central London. David Moore lives in London and is currently Course Leader on MA Photography at Central Saint Martins, London. A major survey show of his work is planned for 2015.

Publisher: Dewi Lewis

Size: 270 x 210 mm

32 pages, 18 colour photographs

Signed copies

Publisher's Description

Recognised as one of the UK’s most important photographers of the last forty years, Brian Griffin grew up near Birmingham amongst the factories of the Black Country. His parents were factory workers and from birth Griffin seemed set to follow in their footsteps. And so, on leaving school at the age 16, he began working in a factory, just like everyone else around him. A year later he moved to British Steel working as a trainee pipework engineering estimator in a job that involved costing systems for the nuclear power stations that were then being built. He remained there four years before escaping the tedium of the office by enrolling to study photography at Manchester College of Art.

The Black Kingdom is a visual autobiography of Brian Griffin’s life during the 1950s and 60s where everything surrounding him seemed to emanate from the factory. The book is a dissection of life in industrial England after the Second World War and shows the influences that would inspire the creative output of this highly successful photographer. For Griffin, those first 21 years, living in a warren of terraced streets set amongst factories and continually polluted by their smells and noise, remain indelibly printed on him and have shaped the person he is.

Griffin has exhibited and published widely. In 1989 he had a one-man show at the National Portrait Gallery, London. The same year The Guardian newspaper selected him as ‘The Photographer of the Decade’ and LIFE magazine used his photograph ‘A Broken Frame’ as the covershot for their feature ‘Greatest Photographs of the Eighties’. During the 1990s Brian Griffin retired from photography and focused on directing advertising, pop videos and short films. He returned to photography in 2001, reestablishing himself once again at the pinacle of British Photography.

The Black Kingdom is introduced by Pete James, Head of Photographs at Birmingham Libraries.

Publisher: Dewi Lewis

Size: 340mm x 250mm

108 pages, 112 colour and b&w photographs

Publisher's Description

"I have taken pictures of my homeland Fukushima since my student’s years. But I felt afraid that I couldn’t photograph the place as in the past on account of the Tohoku Earthquake and Fukushima nuclear disaster on March 11, 2011. I was at a loss what to do, and came my parents’ house ten days after. They live at Nakadori where there were no damage of tsunami except for some roads and houses destroyed by the earthquake. Rural scenery nearby looks seemingly unchanged. However, even if scenery itself remains unchanged it is obvious that many things were completely changed.

When I was taking a dog out for a work along a familiar path between rice fields with my camera, what my mentor had said several years ago crossed my mind. He said, “Photography is this…,” and then his index finger described a square in the air to a glass of whiskey and water. As I was too drunk to make out his words, I replied vaguely. He smiled as usual puffing on a sweet-smelling cigarette.

Photographs of Fukushima will inevitably remind people of the earthquake and nuclear disaster. That’s why I wandered around inside the prefecture in order to know present-day Fukushima. But there was a widening gap between my thought and photographs.

While I went back to my hometown several times, I realized that to photograph Fukushima as a stricken area was not one and only right answer. And so I decided to take pictures in Fukushima for me.

To continue to photograph Fukushima is to focus on anything in front of me and think it over; for photography everything seems to be equivalent. All I need is a strong will to take a picture of my native place.

Even now I don’t understand the meaning of my mentor’s phrase “Photography is this…,” but I keep on taking pictures of my birthplace Fukushima."

Each image is given a full page measuring approx 240*350 mm.  Copies are signed and in a limited edition of 400.  See http://www.plumpwormfactory.com/en/photographs/ for sample images

Publisher: Plump Worm Factory

Size: 263 ×370 mm

96pages, 46 images

Publisher's Description

AVAILABLE FOR PRE-ORDER, EXPECTED SPRING 2013. Following 'Secret City', Jason Langer’s sold-out, debut monograph, comes 'Possession', a volume of 42 images made between 1990 and 2012. Over the past two decades, Langer has established a reputation for his masterful black and white photography representing contemporary urban life. Evoking the lustrous style of the symbolist photographers, his carefully crafted images, rich with lush, black tones, exude an air of vintage, timeless mystery – “as much Hopper and Raymond Chandler as Steichen” (Bomb Magazine). Langer follows in the tradition of the flâneur-photographer. His images are, as he puts it, the product of “walking the streets alone as a stranger in a strange land.” To shadow Langer on his walks is to visit the haunts of amusement parks, lonely bars, nighttime streets and alleys, beautiful women and their chaperones, gardens, hotels, and supper clubs. Both the still life and the intimate figure study are frequent objects of his quiet gaze. Regardless of their subject, Langer's images return us to a place where what happens in front of the lens is unanticipated and distinctly photographic. 'Possession' is printed in an oversized 11"x14" format on uncoated paper and bound in cloth. This first printing is limited to 1,000 casebound copies.

Publisher: Nazraeli Press

Size: 11 x 14"

52 pages, 42 duotone plates.

Publisher's Description

AVAILABLE FOR PRE-ORDER, EXPECTED SPRING 2013. “Paris in my time”, Mark Steinmetz’s long-awaited new monograph, presents work culled from several extended trips that the artist made to Paris over a twenty-five year period. Paris was where his mother was born and raised, giving Steinmetz a special connection to, and familiarity with, the city. In the streets, parks, and along the Seine, Steinmetz plays with the conventions of the Paris photographic tradition, from Atget to Kertész. The work is classical, but with a modern feel that both updates the tradition and follows the path Steinmetz has set with his other books. Beautifully printed on uncoated Japanese stock with our exclusive “Daido black” ink, “Paris in my time” is printed in a first edition of 1,000 casebound copies.

Publisher: Nazraeli Press

Size: 12 x 15"

54 pages, 43 duotone plates

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

Publisher's Description

Jeff Chien-Hsing Liao, born in Taiwan and based in New York, is well-known for his large-scale panoramic photographs that capture magnificent detail of the urban and social environment of New York City. Liao received broad critical acclaim for his Habitat 7 series, published in book form by Nazraeli Press in 2007 and now an out-of-print, sought-after first monograph. We are pleased to follow up with the artist’s second oversized monograph, “Coney Island”. In 2010, Liao began photographing Coney Island during a period of transition, for both the place and the artist. A new incarnation of Luna Park opened to the public, the municipal government actively engaged in redevelopment, and the area visibly transformed. At the same time, Liao’s approach to picture making changed as he experimented with new strategies and techniques. He started the project working with traditional transparency film. Although he had always used digital technology to transform the film images into a finished image, he slowly introduced digital picture-making technology to the process of recording the scenes. The resulting large-scale prints have a visual sweep often associated with cinema, encompassing the viewer and providing a strong sense of place. Jeff Liao’s work is widely exhibited and collected, and is included in the permanent collections of such institutions as the Bronx Museum of the Arts; The J. Paul Getty Museum, Los Angeles; and the Museum of Fine Arts, Houston. Opening with an introduction by Sean Corcoran, “Coney Island” is printed in an edition of only 500 copies, printed on Japanese art paper in an oversized, 24 x 12 inch format and bound in cloth. Each book comes with its own carrying case.

Publisher: Nazraeli Press

Size:24 x 12"

52 pages, 22 four-colour plates

Publisher's Description

Archard's first book, 'almost', is an enigmatic exploration of beauty and decay both in the physical and metaphysical form. Abstracted images take the viewer on a poetic meander through relationships with loved ones past and present, accompanied by pondering day-dream fixations on everyday objects.

Archard applies various modes of reproduction in his work, projecting his own manipulation on physical objects, transforming what exists in physicality in to artifacts and signifiers of his own world of contemplation. Sometimes he retains clear documentation of immediate vision, which anchor his place in the recognisable state of being. The images integrate with each other as if Archard is drifting between reality and unconsciousness, vivid memories appear within the mist of translucent recollections and ongoing struggles between the self and other.

Although the work is a personal creation, the story is open. The book has been laid out in such a way that invites the viewer to reflect on their own sense of self, and conceive their own relationships between images. There is no text to direct the viewer in the book, encouraging you to write a completely original narrative from the material provided.

The psychoanalytical interpretation of authenticity comes to mind when looking at Archard's work. The idea that subjective intervention in what we recognise as 'reality' is the most effective transportation of one's deepest truths.

The book itself is bound in soft Japanese cloth, and beautifully printed on Japanese paper, with a tipped image on the front, and silver foil blocked titling on the cover and spine.

Publisher: Bemojake

Size: 200 x 250 mm

48 pages + gatefold, 40 colour illustrations

Signed Copy

Publisher's Description

Martin Boyce is known for his large installation work in sculpture, creating angular replications of the world around him, finding meaning in everyday surroundings and working steel structures into amplifications of these moments in space and time.

“It's all about landscape, I’m interested in the psychological landscape, the physical landscape, the built environment, the things we pass through everyday and then occasionally catch a glimpse of and maybe see something that has a meaningful resonance.”

A Partial Eclipse brings together photographs from an on-going private library of images which feeds into Boyce’s work. The images adopt a sombre and darkened palette, as if the light has been stolen from each photograph creating the illusion of a mythical perma-dusk allowing us to see the world as Boyce sees it. Images of trees and foliage permeate the collection, ellipses and perforations reoccur, patterns of cracks, fractures and spider webs repeat and thresholds appear in the form of windows and doorways.

Hundreds of photographs were edited down until the shape of a book emerged. The series creates the feeling of stillness and distance between the viewer and photograph. Printed on double sided paper, the photographs reflect blurrily in the coated page opposite it’s matte brother. The book as an object extends the experience of distance through its design, keeping the darkened images enclosed and projected between the folds of paper.

Publisher: Mack Books

Size: 210 x 320 mm

60 pages, 25 colour plates

Signed Copy Available

Foglia photographs groups of people who have left cities and suburbs to live off-grid in the rural southeastern United States, motivated by a variety of concerns, environmental, religious and economic. Foglia clearly empathises with his subjects and if, again the representation is idealized, his camera does not shy away from the bloodier aspects of living off the land (click here for images).

Publisher's Description

In the summer of 2006, Lucas Foglia set out to photograph a network of people who had left cities and suburbs to live off the grid in the rural southeastern United States. Many were motivated by environmental concerns, others were driven by religious beliefs or predictions of economic collapse. While everyone he photographed was working to maintain self-sufficiency, none lived in complete isolation from the mainstream. Instead, they chose which parts of the modern world to embrace and which to leave behind. The body of work, made over a five-year period, is gathered together in the artist’s first book, A Natural Order – a stunning collection that explores a human relationship with wilderness and the persistent libertarianism of the American psyche. Foglia's photographs, at once iconic and intimate, provoke us to take a candid look at individuals whose chosen lifestyles seem both exotic and unnervingly close to home. Lucas Foglia exhibits and publishes his photographs internationally. His work is in the permanent collections of the Museum of Fine Arts Houston, the Pilara Foundation and the Rhode Island School of Design Museum of Fine Art, and has been published in Aperture Magazine, the New York Times Magazine, the Washington Post Magazine, British Journal of Photography, Contact Sheet, and PDN's 30.

Publisher: Nazraeli

Size: 11 x 15"

80 pages

45 four-color plates

Signed Copy

Publisher's Description
In association with its original Japanese publisher, Treville, we are pleased to announce a new printing of Michael Kenna: A Twenty Year Retrospective. The Nazraeli Press edition features a larger format than previous editions, with high fidelity tritones printed 1:1 from original prints. It will serve as a companion book to Kenna’s Volume Two, to be published by Nazraeli Press in 2004. Born in the industrial north of England, Michael Kenna has lived in San Francisco since 1980. His mysterious photographs, often made at dawn or in the dark hours of night, concentrate on the interaction between natural landscape and man-made structures. His work has been shown throughout the United States, Europe, Australia and Japan, and is in such permanent collections as The Bibliothèque Nationale, Paris; The Museum of Decorative Arts, Prague; The National Gallery of Art, Washington; and The Victoria and Albert Museum, London. In her foreword, Ruth Bernhard describes Kenna’s prints as “exquisitely seductive, spiritual experiences, akin to poetry and music.” An essay by Peter C. Bunnell considers Kenna’s background and development, providing a thoughtful introduction to the 130 images that represent the twenty-year period from 1974 to 1994.

Publisher: Nazraeli Press

Size: 12 x 13'

168 pages, 130 duotone plates.

Customers who bought books by Michael Kenna also showed an interest in books by Josef Hoflehner.

Publisher's Description

“Winters, like ice ages, are Janus faced, for after the freeze comes thaw and flood, as water is returned to life and movement. Freeze, thaw, flood: the great climatic cycles that created the topography of the northern hemisphere, and which continue to shape the idea of winter that lies deep in our cultural imagination.”
Richard Hamblyn

In November 2010, after a photographic lull of half a year, Jem Southam took a photograph which became the first in this series, The River  Winter and which spurred him to make one of the most concentrated bodies of work in his career. From late autumn through to the earliest signs of spring, along the banks of the river Exe in Devon, Southam chose locations and took photographs, returning at regular intervals. This pattern continued for the next five months with Southam documenting the subtle agencies of change transforming the landscape. By the end of January 2011 he realized this had become a new work, one that caught the effects of the Earth’s turn on film, one which followed the passage of a single winter.

The shift in seasons is presented through a sequence of ten by eight colour contact prints, with which an essay by Richard Hamblyn explores how, since the last ice-age, winter has embedded itself into our cultural psyche.

Jem Southam (b. 1950) is a key figure in British landscape photography, working across twenty-five years. His work is included in many important collections including Rijksmuseum, Museum Folkwang, and the Yale Centre for British Art. He has been the subject of numerous solo shows including Tate St. Ives in 2004 and The Victoria & Albert Museum in 2006.

Publisher: MACK Books

Size: 330 x 277 mm

96 pages, 40 colour plates

Publisher's Description

The response to why he robbed banks "That's where the money is" often misattributed to renowned bank robber Willie "the actor" Sutton provides the backdrop for this series of photographs of saving institutions by John Gossage. A book of view camera, photographs of banks from 1975, presented these many years after they were shot. For Gossage 2012 provides a perfect moment to review the conceits of vernacular bank architecture and the concept of thievery. A book dedicated to the artist's father.
 
This book made from the original 4 x 5 inch B&W contact prints, has been printed on yellow pages. John Gossage is a 2012 recipient of a Guggenheim Memorial Fellowship.

Publisher: Loosestrife Editions

Size: 10 x 8"

96 pages, 43 duotone images

Edition of 1,000

Publisher's Description

Paul Graham, winner of the 2012 Hasselblad Foundation International Award in Photography, is a vital figure in contemporary photography, working for over thirty years and continually challenging different genres of photographic practice. His work has been widely embraced, with exhibitions at the Tate and the Museum of Modern Art, and published in more than 12 monographs. The Hasselblad Award is considered photography's highest prize for lifetime achievement and the list of past winners is a roll call of photography's greatest masters.

In honour of the 2012 award, the Hasselblad Centre in Gothenburg, Sweden is showing an exhibition, together with this book 1981 & 2011, which unites Graham’s first published work A1 - The Great North Road (1981) and his latest The Present (2011). Edited by Paul Graham in collaboration with Dragana Vujanovic and Louise Wolthers from The Hasselblad Foundation, the book links this thirty-year span, together with an essay written by David Campany, author, curator and artist.

At the beginning of the 1980’s Graham was among the first photographers to unite contemporary colour practice with the classic ‘social documentary’ genre. In 1981/2 he completed A1 – The Great North Road, a series of colour photographs from the length of the British A1 road, which forged a dramatic challenge to the black and white tradition that dominated British photography to that point. This work, along with his other photographs of the 1980’s, were pivotal in reinvigorating and transforming photographic practice in the UK and abroad.

In 2011 Paul Graham released The Present, which embraces street photography, a genre unique to photography where the artist works with the ceaseless flow of life. These images break with the traditional approach of locking the world into frozen instants and instead brings us each scene together with its double, the briefest fraction of time apart, so that we glimpse the continuum, the before/after and coming/ going of life's dazzling dance.

Designed by Paul Graham and MACK, printed in colour throughout, 1981 & 2011 aligns these two bodies of Graham's work across the 3 decades spanning his career. With David Campany's incisive essay, we can piece together and explore the concerns that link and bind an artist over the years making this a salient book on the passage of creativity in the observable world.

Publisher: Mack

Size: 205 x 255 mm

104 pages

Tom Hunter’s Woman Reading a Possession Order is one of the most recognizable British photographs of recent times. His empathic portrayal of life in London’s East End and the frequent references to art history are superbly displayed in Hatje Cantz’s mid-career retrospective. We have signed copies, but they’re limited so don’t wait too long. Sample images here.

Publisher's Description

The meticulously composed, painterly tableaux of Tom Hunter (*1965 in Dorset) operate on various levels: for one, he references important paintings from art history; for another, he tells us stories of our time—stories that all take place in the London borough of Hackney, where Hunter lives. What is perhaps his best-known photograph is of a young woman in a setting that alludes to Vermeer’s Girl Reading a Letter at an Open Window. However, Hunter’s photo portrays a Woman Reading a Possession Order—a neighbor from the squatter’s scene who has just received an eviction notice. The work attracted so such attention from the media that the eviction ultimately never took place.

With his eye for the unusual and exotic in everyday life, Hunter succeeds in capturing striking, remarkable snapshots of life in Great Britain today.

Customer Ali O'Brien writes: "A beautiful and generous book which will not gather dust on my shelf. The images taken over a 25 yr period convey such humility and empathy in regards  the shifts and changes within his home community of Hackney. Achingly tender, celebratory and melancholic with witty twists.  Artistic influences, career and concerns are also wonderfully described in his introductory essay."

Publisher: Hatje Cantz

Size: 250 x 300m

192 pages, 160 illustrations