Consistently proclaimed as one of the most important photobooks in the history of the medium, Ravens by Japanese photographer Masahisa Fukase was first published in 1986 and the two subsequent editions were both short print runs that sold out immediately. This bilingual facsimile of the first edition contains a new text by founder of the Masahisa Fukase Archives, Tomo Kosuga. His essay locates Ravens in Fukase’s wider work and life, and is illustrated with numerous recently discovered photographs and drawings.
Fukase’s haunting series of work was made between 1975 and 1986 in the aftermath of a divorce and was apparently triggered by a mournful train journey to his hometown. The coastal landscapes of Hokkaido serve as the backdrop for his profoundly dark and impressionistic photographs of ominous flocks of crows. The work has been interpreted as an ominous allegory for postwar Japan.
Blind embossed clothbound hardback in a silkscreen printed carton slipcase includes the original afterword by Akira Hasegawa  and a new text by Tomo Kosuga [both bilingual].
South African photographer Guy Tillim photographed Beijing on a residency. In a 2 week period a series of new street photographs were shot and an initial edit shown to designer Syb Kuiper. The resulting book Edit Beijing, designed by SYB, skillfully presents this new material.
Quite different to the cityscape images of Tillim's work in African cities, Edit Beijing sees the photographer getting closer, as he noted, " I learned something valuable while making those 'cityscapes'. The more visible you are to people in the streets, the more invisible, in a certain sense, you become. So standing in plain sight with my tripod-mounted camera, I became instantly seen, assimilated, and ultimately, overlooked, which as you know, is often a desirable state of being for a street photographer." The photos in the book are placed side by side as if a continuous scene in a playful manner when in reality they are in fact single images.
Immaculately designed and presented new book. Slipcased numbered edition of 500 copies, each with a signed C-print, size 25cm x 16cm.
Thomas Hoepker, a member of Magnum Photos, had the opportunity to spend time with Cassius Clay aka Muhammad Ali and take photographs – in 1960, when he won the a gold medal at the Rome Olympics, in 1966, when Ali was world heavyweight champion already, in 1970, when he restarted his career and prepared himself for the "Fight of the Century" against Joe Frazier and years later, already weakened by Parkinson´s disease. Many of these pictures have become photographic icons. But many photographs in this book are lesser known or have been unpublished until now. They show Ali in private moments and public appearances outside of the ring.
Expanded 2nd edition.
Sealed copy but with one small bump to a corner - see photo
Peter Mitchell’s groundbreaking show was first presented at the Impressions Gallery of Photography York in November 1979, and more recently at Arles. Now, only 38 years overdue, it will be published as a book for the first time.
In the mid-seventies, the Viking Landers were the first to land on planet Mars. Though the alien landscape was magnificent, there were no canals or skeletons or wind-blown ruined dwellings. Today, not a single trace remains of Viking Landers 3 and 4.
But myth (and conspiracy theories) have it that an alien survey was commissioned of planet Earth.
Peter Mitchell’s A New Refutation of the Viking 4 Space Mission features photos and portraits, taken in Leeds in the 1970s. The pictures show the traditional urban landscape presented on a background of space charts, the concept being that an alien has landed from Mars and is wandering around Leeds with a degree of surprise and puzzlement.
In the Earthly vernacular these photographs are of Nowheresville. Yet, for some people, they are the centre of the universe. Usually they call it Home.
"At last we can see one of the most important bodies of work in the history of colour photography. Better late than never."- Martin Parr
Bilingual English/French edition with an essay by Val Williams.
Born and raised in Mississippi and Tennessee, William Eggleston began taking pictures during the 1960s after seeing Henri Cartier-Bresson’s The Decisive Moment. In 1966 he changed from black-and-white to color film, perhaps to make the medium more his own and less that of his esteemed predecessor. John Sarkowski, when he was curator of photography at the Museum of Modern Art, called Eggleston the ‘first color photographer,’ and the world in which we consider a color photograph as art has changed because of him.
As the sun fell in the west, Grímsey seemed to emit a vibration, a faint buzzing that can only be felt at certain times in that far-removed place. Its tune, persistent and dense, wove through living rooms and careened over the harbor like a slow pull on a cello. It’s a pulse that can only be sensed, if even for a fleeting moment, during periods of change. The first time, for a young boy, with his father on a fishing boat. Or the loss of a brother, his memory now living in photographs and within the folds of a sweater tucked away in a closet. Or, perhaps, the first sunset alone at the northernmost tip of the island, a place the locals call The Foot. A swooping hook of land that curves down to the water, revealing caves that always seem to be whispering—telling, with a slow exhale, the secrets of the island.
In 1993 world renowned photographer Stephen Shore travelled to Luzzara, a comune in the province of Reggio Emilia, Italy. Here Shore photographed the town’s people, streets and squares, just as another American master, Paul Strand had done forty years earlier, when he produced the seminal book Un Paese with the Italian screenwriter of The Bicycle Thieves Cesare Zavattini.
Stanley/Barker has revisited Shore’s series with an exquisitely produced limited edition publication of Luzzara, which includes a number never before seen photographs.
Speaking of his purpose Shore said, "There was no way I could approach Luzzara as though I was not familiar with Strand's work. At the same time, even though I was going to Luzzara exactly forty years after Strand, I was not interested in producing a re-photographic survey. In a certain way, Strand's work does not need simple updating, because the kinds of people and farms and landscapes he photographed still exist in very much the same form today. But, they exist side by side with the modern world. A key feature of Italian life, at least to my New World eyes, is the presence of the traditional within the modern. My aim, then, was to produce a companion volume to Un Paese; to produce a group of pictures, which to the limit of the subjectivity of my vision, supplement Strand's work."
Transparency is the new mystery comprises twenty-two images of nudes and crystals, by Japanese photographer Mayumi Hosokura. The fragile silhouette of a hand, a coiled nude body, or the transfixing symmetry of crystalline minerals are shown in soft, translucent black and white images, held together by an enigmatic interior logic.
I was prepared for the transformation of the forest – the crystalline tress hanging like icons in those luminous covers, the jewelled casements of the leaves overhead, fused into a lattice of prisms, through which the sun shone in a thousand rainbows, the birds and crocodiles frozen into grotesque postures like heraldic beasts carved from jade and quartz…
JG Ballard, The Crystal World
Final few slightly imperfect copies with a faint bump to spine end/corner
Silent Histories is a testimony to the tragedy of indiscriminate bombing by US forces during the War in the Pacific, which killed 330,000 Japanese and in-jured 430,000 more. The figures are imposing: some 9.7 million left homeless and more than 2.23 million homes destroyed in more than 200 different cities. In the midst of this enormous destruction, many children were orphaned in an instant or suffered burning or mutilations that marked them for life.
Japan achieved its economic recovery in the wake of wartime devastation. This remarkable growth has been dubbed the “Japanese economic miracle.” In spite of this unprecedented prosperity, however, children with war injuries have been forced to live harsh lives, unable to cure their wounds. They have lived in the shadows, concealing their pain, hiding their scars, and sparing others the discomfort of seeing them.
Silent Histories was originally published in 2014 in a special limited edition of forty-five handmade copies. This new edition is published in an edition of 1900 copies and will not be reprinted.
Note: the 2 missing inserts in the book are as intended by the artist.
26 miles across the Pacific Ocean from the tangled mess of humanity that is Los Angeles and Orange County sits an island paradise called Santa Catalina where time has stood still and visitors can experience what California was like before the Europeans sailed in. Adventures in the Nearby Far Away is a photographic diary of my many visits to the island over the years, a place I have been visiting since I was a boy, and been documenting photographically since the late 90¹s. All photos are shot on film. - Ed Templeton
New book by Ed Templeton presented as an accordion-fold continuous book which spans 27 feet once extended.
Housed in a clamshell box. Edition of 1000 copies.
This long-awaited publication presents 73 of Steinmetz’s photographs of adolescent and teenaged baseball players, on the field and in the dugout, focused on the game and lost in their own worlds. Made between 1986 and 1990, the photographs are classic Steinmetz: tenderness, humor, and humanism are all present here, as is Steinmetz’s exquisite use of natural light and attention to poetic detail.
“The kids in Steinmetz’s photographs are ages 6 to 13, with a few older boys. Steinmetz must remember how awkward and uncoordinated bodies that age can be. His empathy is evident throughout the series. Most of these kids are too young to have the grace, skill or concentration required and are too green to experience the sheer pleasure of knowing they are good, maybe really good, ballplayers in an unforgiving sport. These kids run into each other in pursuit of a fly ball. Hope drives their swings more than their awareness of the art of hitting...Steinmetz concentrates less on the players in the field than those outside the base lines who are waiting to play, or cooling off. He observes the managers as well as the spectators who love the game or one of the players, or who just have a free afternoon. He sees “high fives” as well as the “what were you thinking” moments. His photographs have all the skill and grace lacking in the players.” — from the Introduction by Anne Tucker
This first printing of The Players is limited to 1,000 casebound copies
Photographer Vanessa Winship lived and worked in the area of Eastern Turkey for almost a decade an explosive region containing the borderlands of Iraq, Iran and Armenia. Struck by enduring images of rural schoolgirls wearing little blue dresses and their delicate status within politically loaded discussions over borders and identity, Winship systematically documented her encounter with them. The result is a fascinating collection of images, each of which tells a simple story while also documenting these girls in their fragility, grace and without any form of posturing.
Sealed copy with some very faint ageing/rippling to the dust jacket.
Wayward Cognitions is a collection of photographs by Ed Templeton (born 1972), chosen from his archives spanning 20 years. For this volume, Templeton selected photographs that do not fit into his usual manner of organizing by theme or subject. In past publications he has arranged his work in straightforward groupings such as Teenage Kissers, Teenage Smokers, or photographs shot from a moving car (as in his book The Seconds Pass). In Deformer he presented the photographs under the theme of suburbia. Wayward Cognitions represents the in-between moments that arise when shooting in the streets without theme or subject. “It’s about looking, people watching, finding pleasure in the visual vignettes we glimpse each day,” says Templeton. When those moments are removed from the context in which they were shot, dynamic stories can be told or imagined in book form. The photographs in Wayward Cognitions were printed by Templeton in his darkroom; he then created the layout and design himself, building the book from scratch in his home studio.
1st edition (now in it's second edition). Near fine - had light handling only.
"No longer serviced by the ferries, the comings and goings of people will cease. But even as the islands are forgotten, the evocations of those who were once there will surely endure. At the seaside ablaze with flowers in bloom, children play in circles and lovers hold hands, whispering to one another. The sailor of a sunken ship despairs, while a wounded soldier wanders the beach crying out his mother’s name, uniform flapping in the breeze. I too will continue to tell these stories. Cocking an ear to the breath of history, I will continue to spin forth these images. " from Yasuhiro Ogawa's introduction.
Twenty-five years after the printing of his seminal 1988 book, Invisible City, Ken Schles revisits his archive and fashions a narrative of lost youth: a delirious, peripatetic walk in the evening air of an irretrievable Downtown New York as he saw and experienced it. Night Walk is a substantive and intimate chronicle of New York’s last pre-Internet bohemian outpost, a stream of consciousness portrayal that peels back layers of petulance and squalor to find the frisson and striving of a life lived amongst the rubble. Here, Schles embodies the flâneur as Sontag defines it, as a “connoisseur of empathy,” “cruising the urban inferno, the voyeuristic stroller who discovers the city as a landscape of voluptuous extremes.” We see in Night Walk a new and revelatory Ulysses for the 21st century: a searching tale of wonder and desire, life and love in the dying hulk of a ruined American city.
"Los Angeles is a centrifugal city, fundamentally American in its tendency toward the periphery. Isolated Houses focuses on the urban sprawl's outer frontier. Here, 150 miles outside the city, the built environment comprises a handful of rudimentary structures, isolated cubes at the edge of the infinite plane of the desert. The dwellings that dot the landscape seem temporary and toylike, but are the center of these photographs, the reason for their being."
Stephen Gill's photographs are devoid of sentiment or affectation – rather than showing the pigeon in our world, they take us into theirs. The lens noses in under bridges, squeezes through cracks and scopes out crannies. These are images that bestow on the despised flying rats that oft-trumpeted but seldom realised attribution: their dignity. Here are pigeons making their lives in a natural landscape, for whatever else humans may be, we are animals too, and as such our buildings are analogous to the earthworks of termites, and our bridges to the dams of beavers.
It's this inversion of the anthropocentric view that makes Gill's images so compelling. That, and another revelation – for fluffed-up and blinking in the dust and the grime and the rust and rime, we see those mythical beings: the young pigeons. I suspect it's because we've entered this otherworldly realm that we find these juveniles to be arousing not of pity, but a grudging respect. Far from being scroungers or undeserving poor, these doughty birds survive and even thrive despite barbs and more barbs of outrageous human fortune. They are, like the urban foxes, the economic migrants of the animal world – forced into the cities to scratch a living as best they may – and before we condemn them, we would do well to ask ourselves this question: would we do as well were the tables to be turned?
- Will Self
Clothbound hardback with silkscreen printed cover.
Stephen Gill has worked for many years exploring the culture and environment of Hackney in East London. Some time ago he discovered the work of a lost photographer who had begun to interpret the photo of a kiss in a special and personal way. Kissing can be quite like the reverie in a beautiful forest; it can also be end-of-pier theatre. Our Master of the Hackney Kisses knows how these traits combine. His sensibility transcends the profession of wedding photographer – in each kiss you see the future; the past recedes. Reenactment is a pleasure. — Timothy Prus
Recommended publication from Stephen Gill and The Archive Of Modern Conflict
Daisuke Yokota was selected for the first OUTSET UNSEEN AWARD in 2013, and his first solo exhibition in Europe was successfully ended at Foam Museum in July 2014. This his latest work "CORPUS" features his nude photography for the first time. Yokota's unique visual expression mixing reality and fictioness shows the human figures in black and white get tangled with each other in a locked room. These very intimate images give us a strange feeling about life, death and somehow a distance from everything.
Edition of 1000 copies.
Signed and dated copy with some light wear to the cover and edges/corners - see example photos. Inside near fine.
It began as a way of remembering the craftspeople and laborers of my adolescence - my ever changing colleagues, who came and went like the work and who taught me, in beautiful and sometimes desperate ways, how to grow things in a difficult land. This book is about the quiet hours and days, relationships that ebb and flow, flourish or fail, and what we do and, sometimes, about all we can do. / Ken Grant
Robin Maddock's second book is a continuation of his work on aspects of everyday English society, in the city where he has had family all his life, the south western port of Plymouth. The title God Forgotten Face is derived from the Philip Larkin poem of the town Plymouth written in 1945, and the words Last kingdom of a gold forgotten face... Plymouth itself has long been an overlooked place, and in the minds of Londoners often confused with the other sea town of Portsmouth. Long since the Pilgrim Fathers set sail without looking back, mythic history has played out here. This book is about a particular loss of time and place, and an English way of addressing this. Plymouth is a post-war city of evolving new economies, the contradictions are all here: Francis Drake is a shopping mall and what was the Royal Sovereign pub on Union St. is now the Firkin Doghouse . This book is Maddock s personal reflection of two years living in the town, and a wider commentary on a society economically and culturally isolated since the decline of the navy. His account aims to address the dismantling of the author s own preconceptions, from motivations set in motion through the strength of childhood memories. Owen Hatherley contributes with an essay on Plymouth as a Blitzed city, drawing on the city s architectural fabric and what it means for its future.
SEALED copy of this Parr/Badger featured photobook.
Spanning almost three decades,Moonshineis a portrait of the American Appalachian folk, a mythologised region populated by ‘moonshiners’. Van Manen’s images are defined by a fierce intimacy with her subject, as the viewer teeters on the edge of the frame, perpetually trespassing on private moments: rollicking children practicing handstands on the couch; a kneeling daughter combing the hair of her grandmother.
Van Manen first visited the region in 1985, to the Appalachian areas of Kentucky, Tennessee and West Virginia, returning periodically up until 2013 to visit mining families with whom she lived: the Boggs family with their ten red-haired sons; miners Mavis and Junior. The intergenerational images subtly trace the insidious changes undergone by Appalachia – the slow and steady demise of the mining industry, and the migration of inhabitants from ramshackle wooden cabins to the city, or urban trailer parks. Van Manen intermixes black-and-white images with later colour work – another register of time passing and the inevitability of change.
Bertien van Manen rolled into photography almost by accident, taking pictures of her children with an old camera. As her work became more public she was soon drafted into the world of fashion photography. In 1977 she tired of the industry, and on discovering the documentary photography of Robert Frank and Josef Koudelka, van Manen began to explore the developing relationship between herself and her subjects, keeping a closeness and developing a personal, organic style of photography.
Final copy, with a few faint marks to the cover, inside as new.
William Eggleston’s pioneering video work, Stranded In Canton, has been restored and is finally available, almost thirty-five years after it was made. The book contains forty frame enlargements from the digital remaster, an appreciation by Gus Van Sant, and a DVD of the seventy-seven-minute film itself, along with more than thirty minutes of bonus footage and an interview with Mr. Eggleston conducted at the 2005 Toronto Film Festival.
“Shot in 1974 with a Sony Porta-Pak, the crazily careering Stranded in Canton documents a cast of hard-drinking Southerners with the intimacy, ease and instability of a seasoned participant. Whiffs of Southern Gothic are not new to Mr. Eggleston’s work, but here they rise to the surface—fierce, tragic and proud.” —New York Times
Sam Falls explores the intersection of color, perception, digital imagery and natural processes - and in the case of Problems with Decomposition - Sam Falls also brings into context the element of temporal existence. This series consisting of organic matter juxtaposed against car tires takes on all of these concepts. Moving between the photographic image and their subjects imprint via stamping and via paints on the print. Limited edition of 1000. 5 colour screen printed cover tip-in.
The great technological leap that took place in the 19th century in optical lens systems such as the microscope meant that by the latter half of the century the exploration of the microcosm was a common pursuit amongst the scientifically minded. Individuals often became interested in a particular area or theme and were able to add significantly to the existing body of knowledge in their subject. More than this, another universe and another dimension were opened up in which to dream and travel.
In The Whale’s Eyelash, Timothy Prus has edited together some of these historical explorations and recast them as a play – a play that unfolds through a series of 19th-century microscope slides. Each slide contains a specific dramatic moment, and together they tell a story about what happens between the appearance of humankind and its passing away.
I entered the Yale School of Art straight from college and left after my first semester. I was 21. I was restless, curious about the America that lay beyond New England, and had a strong interest in the movie industry; I also had heard that Garry Winogrand was somewhere in Los Angeles so in the summer of 1983 I headed west.” – Mark Steinmetz, from the Preface
Angel City West offers a touching, highly personal look at Los Angeles through the eyes of Mark Steinmetz as a young artist straight out of school. In his preface to the work, Steinmetz describes living in a studio apartment in the Miracle Mile district, complete with a futon surrounded by a dozen roach motels and a makeshift darkroom set up in a tiny nook off of the bathroom. It didn’t take long before he ran into Garry Winogrand, for whom he became a kind of unofficial chauffeur, enabling Winogrand to photograph through the car window while Steinmetz navigated the streets of his new home town.
Viewed together in book form, the 58 photographs presented in Angel City West document Steinmetz finding his own voice as an artist. In light of the later projects for which he has become so well known, this early series of street photographs, informal portraits and landscapes foreshadows the sometimes humorous, oftentimes sad, and always poignant mood that runs through Mark Steinmetz’s work.
Edition of 350 signed and numbered copies. This is an unnumbered Artists Proof (still signed as usual).
Book in as new condition, some possible light indentations to the slipcase (common).
Ricardo Cases’ third photobook deals with an unusual subject: a unique form of pigeon racing practised in the Spanish regions of Valencia and Murcia. Known as colombiculture, it is a sport with rules and referees. It consists of releasing one female pigeon and dozens of males. Painted in combinations of primary colours, reminiscent of flags or football kits, these pigeons chase the female to get her attention. None ever manage to get too intimate, and consequently the winner is the one that spends the most time close to her. The winner is not necessarily the most athletic, the toughest or the purest in breed but the most courteous, the one that shows most constancy and has the strongest reproductive instinct. This is the one that is seen by aficionados of the sport as the true embodiment of ‘macho’. The pigeon handler invests time, money and hope in his young pigeons. He raises them, gives them names, trains them and has faith in them. When competition day arrives he is full of childlike illusion and uncertainty. The price for young pigeons can reach thousands of euros and betting involves large amounts of money. The male pigeon becomes almost a projection of the pigeon-keeper himself, who embodies its sporting, economic and sexual success or failure in the community. Raising a male champion can bring both prestige and profit. Far from the harsh reality of his daily life, the colombaire has a second life where all is possible – he can reach the top. He just needs a champion pigeon.
In Paloma al Aire, Ricardo Cases explores the sport as a symbolic act, a projection and a way of relating to the world. It is an ethnographic documentation as groups of men run through the countryside behind their male pigeons, observing their mating performances, discussing the rules and the decisions. It could almost be a study of the rituals of a remote tribe or of a group of children who, in the process of discovering the world, invent a new game.
In a refreshingly frank and honest conversation, Ryan McGinley talked with mono.kultur about his first 10 years of an astonishing career, his memories of the late Dash Snow and why every day is an adventure. Text in English. Lenghthy interview with McGinley with numerous images
In Hackney Flowers Stephen Gill has again used his east London surroundings as the inspiration for his work. This time he has collected flowers, seeds, berries and other objects from various locations in Hackney, pressed them in his studio and photographed them alongside his own photographs and found ephemera. Some of the base photographs were also buried in Hackney Wick, and the consequent staining and decay has left its imprint upon the images, stressing the collaboration with place. A parallel series within the book shows members of the Hackney public with floral details imposed upon their person.