"Life is not the opposite of death, but a continuum. Evolutionary nature is an engine of mystery- of things we do not and cannot know. Every step is simultaneously an act of destruction and of creation, of life. There is consolation in the fact that we are always living in the ruins of what went before”
- Ben Rawlence, The Treeline
Handmade edition of 250 signed and numbered copies.
American photographer Jim Mangan began The Crick as a photographic survey of the unorthodox architecture of Fundamentalist Church of Jesus Christ of Latter-Day Saints (FLDS) houses in the Utah-Arizona border town of Short Creek. He soon found that the bigger story lay in a group of teenage boys navigating their disintegrating community, fractured after leader Warren Jeffs was imprisoned in 2011. These subjects were children at the time of the fallout, who remained with their families in Short Creek as others elected to leave the town altogether.
The Crick is a meditation on religious succession, patriarchal systems, zealotry and fraternity in the life built by these young men. Mangan’s pictures transport the reader into an alternate reality of the boys’ making: where they explore the rugged terrain of southern Utah, northern Arizona and southern Nevada on horseback, emulating old-time explorers of the Western frontier. His “ecological and sociological approach” to this series, spanning five years, depicts the playfulness of youth against the capricious landscape of the American West. In both their real and imaginary worlds, these subjects have gained a knowledge of and closeness to nature that has largely been lost in the conventions of modern life.
55 tritone plates, 13 four colour plates printed on uncoated paper with gilded edge in gold and a synthetic leather wrapped hardcover with embossed detail.
An intimate story reflecting on Ukrainian and Odesan culture through the prism of food and family, that is intrinsically a self-portrait of someone wrecked by childhood traumas. Through a period spent in close quarters with her parents in Odesa, photography became a means for Alex to communicate and connect with her mum and dad during a difficult time in their lives. She took pictures day-to-day, at home and in the street markets, while also creating a utopian universe through her lens — where life is beautiful and her parents become their dream selves in front of the camera. Meat, Fish & Aubergine Caviar embraces the complexity of family dynamics through mutual experience and visceral revelations.
Alex’s mum Yevheniia shares three of her most infamously delicious recipes, in detail, and the book’s wire-bound format is inspired by community-made cookbooks that are meant to be shared amongst friends and neighbours.
Garry Winogrand is known primarily for his spontaneous and energetic street photography in black-and-white. What is lesser known is that Winogrand also shot more than 45,000 color slides between the early 1950s and late 1960s. These photographs were often taken between assignments, when the photographer, working on his own, developed and refined an approach to his medium that was increasingly open, independent, and radical. He routinely photographed with two cameras strapped around his neck, one loaded with color film, the other with black and white.
Winogrand Color presents 150 photographs selected from the archives at the Center for Creative Photography by the American film director, Michael Almereyda and former Museum of Modern Art curator, Susan Kismaric. It is the first monograph dedicated to the artist's rarely seen color work.
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Note to customers: In our experience the folded nature of the dustjacket of this book results in a tendency to get small creases/folds in the dustjacket unless you are very careful when viewing the book.
Following the death of her grandmother, artist Elena Helfrecht embarked on a photographic journey through her family’s estate in Bavaria. Employing the interiors, objects and archives, she began to explore the ideas of inherited trauma and postmemory—the relationship following generations have to the traumas of those who came before.
In her black and white photographs, Helfrecht uses the house and its contents to stage an allegorical play. The interiors and still lifes, which at first glance appear to show mundane objects and scenes, become increasingly unsettling: stalactite-like deposits drip sideways from walls, dark chasms open up beneath the floor boards, a snake coils around a dolls’ house and chairs hang from the beams. As the narrative progresses, motifs of eggs, birds and fleshy growths (a nod to the title, ‘Plexus’—a network of nerves or vessels) are interwoven with archival family photographs, hinting at links and connections between inscrutable symbols, people and places.
Helfrecht’s images symbolically allude to the unreal and imaginary creeping into recollections of personal and cultural histories. Confronting a past spanning four generations, ‘Plexus’ represents through photographs the intersecting and reverberating echoes of mental health, war and history.
The book features a short story by Camilla Grudova, who was named on the Granta Best of Young British Novelists list 2023. Grudova’s piece ‘The House Surgeon’ revolves around a disturbing growth that silently develops under the floorboards of a family home, drawing further upon the themes of inherited trauma presented through Helfrecht’s photographs.
In anywhere but here, Alison McCauley expresses the restless feeling that has haunted her throughout her life: that the place she is in isn’t where she should be, and a conviction that the next place will be better. Taken from 2008-present, these images—taken in various locations around the world—are a deeply personal reflection of the artist’s emotions, photography being a cathartic means of coming to terms with her constant desire to move. As someone who has always led a semi-nomadic lifestyle, McCauley seeks to explore the idea of not belonging. Though she feels like she is supposed to belong somewhere, McCauley doesn't want to, as she recognises that it is the wonder of this belonging that is the impetus behind her work.
Devoid of geographical and temporal reference points, the images are figuratively and literally blurred to emphasise that this is not about a location or time, but rather a state of mind. For the viewer the series takes on a narrative of its own, unfolding like a dream sequence: a body submerged in water, a flurry of balloons released into the open sky, city lights streaming through a hotel room, and fleeting scenes captured from a car window. Just as she is drawn to movement, it is these liminal spaces that the artist gravitates towards – the chaos, the stillness, and the magic in between. “The work comes from reality, but it’s a reality that’s distorted by subjectivity,” says McCauley. “It’s an expression of my state of mind during these restless off-moments.”
Special edition of 25 signed copies, with a signed and numbered A4 print on Hahnemühle William Turner textured paper. See the alternative special editions available here.
Extra special edition, print made in November 2023, books signed on press in 2021.
In 1972, Melinda Blauvelt traveled to the small Acadian fishing village of Brantville, New Brunswick on Canada's Eastern coast. She lived with a fisherman and his family, ran a day camp, and made a series of remarkable, compassionate portraits of the Acadian community that summer and on three subsequent visits from 1972 to 1974. Her photographs are now published as a series for the first time.
Melinda Blauvelt was in the first class of women at Yale and then the first woman in Yale's MFA photography program where Walker Evans became her mentor. Blauvelt would later teach at Harvard and at the University of Virginia where she established the photography program. Her pictures are held by major museums throughout the United States. She lives today in a small village on the coast of Rhode Island.
“I bought a used Deardorff 4x5 camera and spent the summer making photographs in Brantville, where I lived with fisherman Ulysse Thibodeau, his wife Jeannette and their three young children. Weekdays were spent with the campers making puppets and performing “Le Corbeau et Le Renard”, playing Capture the Flag and Croquet. Weekends, Ulysse and Jeannette took us fishing for mackerel, to the beach and included us in family dinners, bingo, picnics, and birthday parties. Whenever I set up my Deardorff, the Thibodeaus, their extended family and other Brantville friends were my enthusiastic collaborators.” - Melinda Blauvelt
Book of the Road celebrates the 50th anniversary of Daniel Meadows’ pioneering 1970s documentary project Free Photographic Omnibus. Driving over 10,000 miles in a double-decker bus, the wild-haired young Meadows spent 14 months mapping the length and breadth of England, photographing 958 people and offering a free print to each of his subjects. Along the way, amongst countless breakdowns, parking tickets and random acts of kindness, he had chance encounters with the likes of Led Zeppelin’s Robert Plant. Meadows’ determination allowed him to assemble all this material into a cartographic census of an evolving nation.
“This country is changing quickly… we might soon forget those interesting relics of the past that are disappearing under the redevelopment of the future.” This future is now here, and Meadows’ pictures remain as relevant as ever. Book of the Road cements the Free Photographic Omnibus as an essential document of 1970s England – an urgent and timeless visual record.
Just 21 years old when he set up the Free Photographic Omnibus, Daniel Meadows is now one of Britain’s greatest documentary photographers. He worked mostly on instinct, and many of his DIY techniques anticipate documentary media’s progress in the following decades. He remembers sewing a tape recorder into an old tweed jacket so that he could photograph while also capturing audio. The original bus – a low-bridge decker from Barton Transport – cost him just £360. Meadows’ subjects collected their free portraits the following day, after he had spent many restless hours developing film and printing in the bus’ makeshift darkroom.
Book of the Road gives readers the stories behind the photographs, from battles with angry parking attendants, nights of acute loneliness and moments of joy. This mix of images, diary entries and audio transcripts offers a unique commentary into the 1970s social climate – as well as Meadows’ mindset during the project. In Southampton in 1974 he met Florence, a part-time cleaner who he remained close with for five decades, eventually speaking at her funeral. “It was one of the great privileges of my life,” Meadows recalls.
The book offers a survey of English life when modernisation was seeping into everyday values and communities. Cobbled streets in tight-knit parishes and bustling city centres accompany familiar green pastures, but Meadows also takes us behind the curtain at marble competitions, circuses and beauty contests. Throughout, his subjects of all ages and social classes stand proudly for the camera, unaware that they were to become part of history.
“Fashion” is a concept that represents what is trending at the moment. Paul Kooiker’s fashion photography, on the other hand, is characterised by its timelessness. The artist portrays the biggest fashion brands and today’s most famous faces, but transports them to a world of their own. Disconnected from time and place, his surreal images feel like film stills with stories we can only guess.
His photography transcends classic gender roles: his models adopt unusual poses and their faces are often left out of frame, obscuring their identity. At times, it is not even clear whether the subject is human or a doll. In order to capture the extravagance of luxury objects, Kooiker magnifies its means of presentation, like for example mannequins and displays, to such a degree that it is ultimately our desire itself that is captured by his camera.
Over the span of 10 chapters, he endeavors to articulate his perspective on fashion. This commissioned work, bearing the same title, was showcased prominently in a solo exhibition at the Museum Folkwang Essen in 2021 and at Foam Amsterdam in 2022.
‘Levee’ by Adrianna Ault invites us to embark on a powerful journey of healing as she navigates the complexities of grief and loss after her mother’s passing. Along the serene Mississippi River, Ault finds solace in frozen moments that transcend time, capturing the very essence of life’s joys and heartaches. The series began as a way to better understand the surrounding landscape of New Orleans, where she was raised as a child. There she discovered how the city’s surrounding waterways expose the land to a constant state of vulnerability. The physical landscape is parallel to an emotional landscape rooted within the culture of New Orleans and its people.
“If the Sea Islands belong to Carrie Mae Weems and rural Virginia to Sally Mann, this part of Wisconsin can now be said to belong to Erinn Springer.” - Casey Cep, The New Yorker
Erinn Springer returned to rural Wisconsin after the loss of a close family member, hoping to reconnect with her memories of home. Created with her family and strangers, the resulting series depicts the contrasts of the modern midwest where everyday occurrences get caught between past and present. Her portrayals of isolation and connection explore interior and exterior landscapes in a region that is mysterious yet familiar. A portrait of agrarian life, Dormant Season is a tender document of the intergenerational bonds of rural America: a mental space and physical place at the heart of an old dream and at the edge of a transformation.
Oversized hardback in a cardboard slipcase with tip-in.
Shipping from 15 December , available for pre-order now.
Yasuhiro Ogawa’s new photobook Into the Silence captures the rugged yet timeless beauty of Japan’s northern region as he follows in the footsteps of the 17th Century poet Matsuo Bashō.
The story of Matsuo Bashō's journey through the northern provinces of Japan in the 17th century, is recounted in his travelogue "The Narrow Road to the Deep North,” ("Oku no Hosomichi”). In the summer of 1689, Bashō set out on his journey with his traveling companion Sora. They traveled on foot, carrying only minimal provisions and staying in humble lodgings along the way. Bashō was seeking inspiration for his poetry, and he found it in the natural beauty and cultural richness of the places he visited.
Like Bashō before him, Ogawa set out on a journey through the Tōhoku region, unlike Bashō, who traveled on foot with pen in hand, Ogawa preferred to move by train with camera in hand. His photographs capture the rugged beauty of the landscape, from snow-covered mountains to misty forests and along deserted roads with glimpses of wild oceans, often shot through foggy windows on a train in motion. Through his lens, Ogawa reveals a world that is both remote and timeless, a world in stillness and motion.
Despite the passage of centuries, the challenges faced by Bashō on his journey are still evident in Ogawa’s photographs. The loneliness and isolation of the road are palpable in the shots of empty trains, lone tracks or roads and desolate hotel interiors. So are the physical challenges of traversing rough terrain and inclement weather documented in his muted photographs. There is a marked contrast between the beauty and tranquility of the landscape and the harsh realities of life in this remote region. From plain coastal towns to empty streets, Ogawa’s images reveal the toll that economic decline and depopulation have taken on the area. Yet there remains a sense of hope and resilience.
Copies of Into The Silence, with a signed print are available here.
Albarrán Cabrera’s poetic universe invites us to immerse ourselves in nature, in the land of trees and on what trees can teach us about life.
The idea for the book comes from a text written by Hermann Hesse that can be described as one of the most beautiful love letters to trees. Hesse tells us that “when we listen to trees, we discover the meaning of life”, thus in this book Albarrán Cabrera explain that by shooting trees they have learnt not only how to listen to them but also to better understand themselves.
The images alternate between a palette of vivid colours, bordering on abstraction, and more monochrome tones, evoking a certain melancholy, plunging us into timeless landscapes. The result is a dreamlike, almost surreal world, unique to the Spanish duo. Far from idealizing nature, the photographers aim to magnify what already exists, quoting their words: “We believe that to be human is to understand nature not just as it really is, but also as we perceive it. If we are alert and observant, we will be able to understand it from these two standpoints. As if we are both seeing and been seen.”
Two texts by German novelist, poet and painter Hermann Hesse punctuate this visual corpus. A text by Yves Darricau, agricultural engineer and author, tells the story of the relationship between man and trees, from prehistoric times to the present day. It talks about how each has contributed to the development of the other in a relationship of interdependence that is now under threat, making us all aware of the importance of trees in the face of the challenges of our century.
Metropolitan Melancholia explores the complex push and pull of the modern city, and the weight of its textured histories. Alluring and repellent, cities intoxicate those they beckon. We leave our traces on them – if only in a passing shadow – as they leave their marks on us. But what happens when reality ruptures romantic visions, or when loneliness takes root in the midst of the sprawl? Can new fantasies form under the influence of what’s already been, or are we bound only to a cycle of familiar patterns?
Photographing New York from 2019 to 2022, long-term partners in life, work and love – David van der Leeuw and Sarah van Rij – brought their own distinct expectations to this iconic cityscape: maybe the most visually-mediated of any global metropolis. Together and apart, they walked its streets and absorbed its contours, along and beyond paths trodden by the ceaseless waves of artists, writers and filmmakers before them. For both, the camera was a means to grasp at New York’s contradictions, submit to its spells and think through its oppressive confines.
Surreal and painterly, their abstract images envelop city-dwellers in architectural compositions of light and shadow; cinematic fragments converge with splintered sketches of the everyday. More uneasy back-and-forth than one-sided love letter, Metropolitan Melancholia unties two poetic dialogues with the city.
In 2011, Maria Sturm began to photograph the lives of young people from the Lumbee Tribe around Pembroke, Robeson County, North Carolina. Through the process of documenting their lives, Sturm began to question her own understanding of what it means to be Native American. Her new book ‘You Don’t Look Native to Me’ combines photographs with interviews and texts to preconceptions and show Native identity not as fixed, but evolving and redefining itself with each generation.
Pembroke is the tribal seat of the Lumbee Tribe of North Carolina, the largest state-recognised tribe east of the Mississippi River. Although the Lumbee Tribe is state-recognised, they are federally unrecognised and do not have a reservation nor receive financial benefits from the federal government. The Lumbee name was voted for in 1952 to unite all tribes in the area in an attempt to gain federal recognition. Their tribal status remains one of the most debated in the United States.
“My work engages an unfamiliar mix of concepts: a tribe whose members are ignored by the outside world, who do not wear their otherness on their physique, but who are firm in their identity… I am tracing their ways of self-representation, transformed through history, questions of identity with which they are confronted on a daily basis, and their reawakening pride in being Native. I hope to raise questions to the viewer regarding their own identity and membership to the unspecified mainstream.”
Imagine that after death you will become a tree, part of the forest, unlimited and free energy. A lively monument will grow on you. Eternal U is a story about the so-called good death and eternity. Through photographs of forests being natural cemeteries where the dead are buried in biodegradable urns or coffins, marked only with a previously selected tree, Humka shows a certain way of thinking about us as a code, an immortal chain of some larger universe. During life, we all draw from it, to later give it a part of ourselves:
“In each of these places, the forest itself, giving eternal rest to the people buried there, was the most important element for me,” - says Hubert Humka. - “There I photographed the soil in which they rested and the bark of the trees they became. I like to think that the roots of these trees, drawing from the people buried under them, include them in their existence, that nothing ends, that it is only our human self that changes. We become a tree, a forest, part of something bigger that reaches beyond us. We connect with the universe, we become infinite.”
The Amazon Rainforest—often referred to as ‘Lungs of our Planet—has long been idealised as a dense, green expanse and a pristine sanctuary inhabited by isolated tribes. Terra Vermelha, the culmination of 10-years’ work by photographer Tommaso Protti, presents an alternative portrait of the region. Depicting fields ablaze, the dark river as a conduit for cocaine trafficking and urban areas plagued by violence—the images in the book depict a dystopia, dispelling such romanticised notions.
Terra Vermelha, which means red earth, opens with visions of a paradise lost. Protti’s photographs show rural areas transformed by deforestation, where land conflicts are commonplace between cattle ranchers, landless peasants and environmental activists. The images in the book journey on to urban areas and shantytowns where Protti was given access following police operations to document the rising violence, mainly related to the drug trade. Further photographs show the hold of evangelical religion on the region, the impact of the Covid pandemic, and the construction of new towns and recently expanded cities such as Altamira, famous for both its hydro-power dam and for being Brazil’s murder capital in 2017.
The book eschews a traditional narrative format to present a nightmarish vision of the impacts of intersecting social and environmental crises. Protti’s uncaptioned black and white images often have a sense of movement and imply events unfolding both before and after the frame. Many images were taken fleetingly at night, leading the viewer blindly around the region.
Deforestation, unregulated development, pollution. All of these scenarios are driven by the same forces; poverty, weak institutions, corruption and savage self-interest. More than in other places, in the Amazon region it becomes clear that land is worth more than human life. And on the path towards the destruction of the planet, the first and closest step for mankind is still its own annihilation... The violence consuming the Brazilian Amazon affects us all and sometimes we are even the unknowing perpetrators of it.’ - Tommaso Protti
During most of World War II, Argentina maintained close ties with Germany and remained neutral for its hundreds of thousands of immigrants living in the country. After the war, it became the main safe haven for fleeing Germans, while President Juan Perón ordered to secretly smuggle in those with particular military and technological expertise that could help his country forward. One of these people was Austrian-born German scientist Ronald Richter.
Convincing Perón about the feasibility of generating unlimited energy through nuclear fusion, Richter managed to receive massive funding to build an experimental fusion reactor on Huemul Island, near the town of San Carlos the Bariloche in Patagonia. After two years of construction, Perón publicly announced that Richter’s experiments had been successful, adding that it all came down to “lighting up artificial suns on the Earth.” Worldwide interest and significant scepticism followed, and after a year of reporters and other scientists visiting the island to try to investigate the unsupported claims, only to be denied access or explanation, the truth came out about Richter’s deceptions and Project Huemul came to an abrupt end.
With the strange history of power and intrigue in the back of his mind, it was Huemul Island, among the many small islands in Nahuel Huapi Lake, that attracted the attention of Pablo Cabado (AR). In Little Suns on Earth, this history becomes tangible with Cabado’s tritone photographs depicting a slow exploration of the deserted island, compiled from his many trips over a period of six years. Overgrown tracks, ruins of buildings, defaced walls with swastikas, bullets and electrical elements scattered around the area are the only remnants left of the secret development that took place.
The visual narrative is coupled with an illustrated essay by historian Diego Castelfranco, comprehensively elaborating on the strange and monumental history of this scientific autocracy, and the dream that was never attained.
“From the bar I watch a man in his sixties who has just walked in. He is wearing a shabby suit and sunglasses that are too small for his face.
Without saying a word, he makes his way to the makeshift stage. He picks up the microphone. The few people in the bar remain oblivious to the scene, their eyes fixed on their half-finished pints. The music starts.
These photographs were made between 2013 and 2022 in the following cities and towns in South Wales: Porthcawl, Merthyr Tydfil, Swansea, Barry Island, Nantyglo, Merthyr Vale, Cardiff, Newport, Abertillery, Caerleon, Pontypool, Brynmawr and Swffryd.
In the working class communities of South Wales, ta-ra is another way of saying goodbye.”
Small bump to a corner - see photo example, otherwise as new.
Smoke is a tribute to Benjamin, singer, poet and figure of the American underground, and to Cabbageton, an underprivileged neighbourhood in Atlanta. Conceived as an album, it combines photographs by Michael Ackerman, pages of Benjamin's notes and archive documents, with texts by Jem Cohen and Patti Smith. It reveals the infinite grace, urgency, delicacy and frenzy of a forgotten man and a forgotten era.
"I remember my first time at Benjamin’s home, my first time in Atlanta. It was late night, after a Smoke show. He and some friends were hanging out in his room, talking, laughing, smoking. I barely knew him and still don’t understand why I was invited. He was brilliant, charismatic, funny and tender. I sat in the corner, amazed and intimidated and I stayed quiet. Maybe I took a few pictures, maybe not. At about 4 in the morning, I went to sleep on the floor in another room. A few hours later I woke up, looked in his room and saw him asleep, also on the floor, in front of his bed. Now, 27 years later, I try to remember how I felt seeing him laying there so fragile. I did take a picture then, and I picked him up in my arms and carried him to his bed and I went out into the daylight to discover Cabbagetown." - Michael Ackerman
After graduating from high school, the 19-year-old Thomas Hoepker travelled to Italy regularly from the summer of 1956 and in the following years to take photographs there with a Leica MP. In his pictures of Italy, Hoepker found a social perspective that would accompany and shape his work; it was here that he developed his photographic language and created individual memory images. His humanistic view and the film-like compositions of the images bring the photographs close to the neo-realist cinema of the time. Of course, they also remind me of Ferdinando Scianna and Herbert List's Italy classics. An attitude to life between departure and tradition. Between 1956 and 1959, during his travels in Italy, he produced a collection of more than 10,000 negatives. It was the beginning of a photographic career that lasted for more than six decades. The focus of all his pictures and reportages is on people and their lives in social communities.
Italia brings together an extensive selection from this series and for the first time the impressive early work of the Magnum legend is now available in a comprehensive illustrated book. It was an intensive and exciting time to sift through this series in Thomas Hoepker's archive and to scan a large selection and transfer it to the photographer's catalogue of works.It is also a great responsibility to write such a book with Hoepker. We hope that the audience can feel that through the book. We have decided (I think it is also a kind of rule - at least for us and until now) to use a classic book design for this series of classic pictures, which were created more than 60 years ago, the sequence is somewhat based on the books of the 50s and 60s.