Over more than three decades, Gerry Johansson has brought his shrewd and sensitive eye to bear on peripheral landscapes the world over, from Ulan Bator to Antarctica. Spanish Summer sees him return to one of the first places that captured his imagination: the plains of central Spain. The chapel remained etched into Johansson’s memory and, decades later, led him to return and rediscover the country’s architectural heritage, religious significance, and beauty. With these images, a survey is conducted of a landscape into which thousands of years of cultural traces have bedded down. Johansson’s exacting composition and delicate black-and-white tonalities reveal a transient territory in which telephone wires transcend hoary crucifixes, modern plaster meets timeworn stone, and the shadows of industrial megaliths reach blindly across the dust.
Embossed linen hardcover with front and back tip-in, 17 x 24 cm
The signed edition includes a slip signed by the artist and bound into the inside back cover.
The call of the ocean has long been a focus of Narelle Autio’s work. Spending her childhood growing up in sun-soaked Australia she has had a lifetime relationship with the beach and is fascinated by the need for many of us to return to water. A primeval need connecting us to our ancient ancestors, pulling us back to where we came. The images dive into our collective memories and speak too many of their own personal experiences.
Cinematic in nature and using the play of light and colour familiar to all her work, she captures the complex relationship and drama of our love for the sea and our willingness to risk our lives to enjoy it.
“The water at the end of the jetty is dark. It is deep. I dive, down into the quiet and cold. I breathe out the remaining life I have left in me and sink further into the darkness. Looking up I watch the bubbles of air flee towards the light. Surrounded by things unknown, unseen, I wait. Wait and wait for the jumpers to disturb the stillness. My heart is beating, get out, get out, get out of here.”
“The water above me explodes in shock. I love that moment of immersion when the sea first grabs hold of us. Cocooned in a shroud of bubbles and light, suffocated by a cold, insisting watery embrace. There is a sublime moment of suspension, of complete isolation in a place between two worlds. We can live here but not for very long. The sea lets us enter but it might not let us leave.” - NARELLE AUTIO
'In so it goes, Miho Kajioka is presenting work which relates to the concept of time, memory and location. Like in her earlier works, the series consists of intuitive images of fragments of her daily life, from various periods and against changing backdrops. Miho Kajioka regards herself more as a painter/drawer than as a photographer. She feels that photographic techniques help her to create works that fully express her artistic vision.'
The original limited edition received the prestigious 'Prix Nadar' award in 2019. this third edition, 'so it goes, so it goes, so it goes' stands apart from its two predecessors, with not only a unique new cover but also some fresh content, including Kajioka's new colour images.
Yoshinori Saito lives in the most northern part of Japan, Hokkaido. Winter there is long and the snow falls intermittently for about four months. The long stretches of snow are tedious, however after the snowstorm when all the snow has settled, there is this endless expanse of white: pure, calm and silent.
“When I walk on the fluffy virgin snow, in the distance I notice unusual forms. On closer examination they are only some weeds, with their stalks broken and leaves fallen, leaving only a skeletal form. Against the white snow these forms appear black and form sharp markings, as if drawn.This moment also gives me a deep connection to the indigenous Ainu people of Hokkaido. They believe that when their time on earth is over, they return to God’s world, and in due course will reappear. To reflect this sentiment, each work is titled to reflect their world. It is as if the forms are whispering to me, through the tranquility, giving me hope and gently supporting me through to spring.” - Yoshinori Saito
Elegant softcover with Japanese folds. Limited edition of 500 numbered copies.
Kawada’s The Map / Chizu is the most famous and sought after book in the history of Japanese photography. Designed with the noted graphic designer Kohei Sugiura,Chizu has seen numerous editions since its original publication in August 1965. In November 2001, New York Public Library acquired the rarest version of the book, Kikuji Kawada’s unique, handmade maquette. The maquette presents a notably different physicality than that of the published edition—many of the pictures are the same but with variant croppings, tonalities, orientations, and a markedly dissimilar configuration with a pair of jacketed volumes—each nearly twice as large in format as the published version—separated by a black-and-white divider. With its pages made of thin, silvery darkroom prints, folded in half and pasted back-to-back, there are no folios to unfurl, only a progression of intense, full-bleed images. This MACK version is an exquisite facsimile of the two-volume maquette, and includes an accompanying bilingual booklet featuring new scholarship by Joshua Chuang and Miyuki Hinton, together with an extended interview with the artist, detailing the evolution of one of the greatest photobooks ever made.
Two hardback books, each with a jacket, plus one paperback booklet with leporello fold. Housed in a buckram bound hardback slipcase, protected in a printed cardboard mailer. Text in English and Japanese.
The signed edition includes a slip signed by the artist and bound into the inside back cover.
Box set of 45 facsimile polaroids, 1st edition/2nd printing
Often considered Jim Goldberg’s seminal body of work, Raised By Wolves collages ten years of photographs, texts, films and installations into an epic narrative of the lives of runaway teenagers in San Francisco and Los Angeles in the late 1980s and early 1990s.
In Fingerprint, Goldberg exhibits many never-before-seen Polaroids from the project, which served as drafts for photographs he would later make, as well as gifts for the subjects themselves. The images are sometimes scrawled with text proclaiming the identities, challenges, and resilience of the teens, and other times capture a quiet reality of life on the street.
Encased in a limited edition box set, the 45 loose leaf facsimile Polaroids create a freshly intimate and fragmented account of this classic body of work.
This is the definitive edition of my "Tales of Tono"
– Daido Moriyama
After its initial publication by Asahi Sonorama in 1976, "TALES of TONO" was reissued in different versions by Kobunsha in 2007, and by Tate Publishing in 2012. However, these were paperback, pocket size editions, which I found somewhat unsatisfactory with regard to enjoying the pictures. For this new, re-edited version, we used larger format, and included 49 previously unpublished photographs that were not included in the first edition.
– from the afterword by Akio Nagasawa
Signed and numbered edition of 600 copies, with a silkscreen-canvas cover.
‘In 1989, I discovered them in my own back yard, landhungry and dirt poor.They came looking for work in the vegetable fields and fruit orchards ofLambton, Essex, Kent and Haldimand-Norfolk Counties. I liked them a lotbecause they seemed otherworldly and therefore completely vulnerable ina society in which they did not belong and for which they were not prepared.Because I liked them, they liked me, and although photography was forbidden,they let me photograph them. That’s all there was to it.’
Larry Towell first encountered the Mennonites near his home in Ontario, Canada, and his friendship with them gained him unique access to their communities. Rather than compromise their way of life, Mennonites have continually been forced to migrate around the world to maintain their freedom to live as they choose. Towell photographed Mennonites in Canada and Mexico for over ten years, and his own texts tell in detail his experiences with their communities: the harshness and poverty of their rural existence, the disciplines and contradictions of their religion, their hunger for land and work, and the constant struggle to keep the modern world at bay.
This second edition, reedited and re-sequenced includes forty new images from the photographer’s archive. Hardback clothbound, in slipcase with black ribbon.
When Wendy Ewald arrived in the heart of the Appalachian Mountains in 1975, she began a project that aimed to reveal the lives, intimate dreams and fears of local schoolchildren. Tasked with finding authentic ways of representing the lives of these children, she gave each of them a camera and interviewed them about their childhood in the mountains. Through these intriguing transcripts and photographs, we discover the lives of families as seen through the eyes of their children: where domestic, rural life is understood with startling openness and depth. In Portraits and Dreams, life’s most mysterious realities – love, loss, violence, death, new life – are given voice through an altogether novel discovery: the camera. We learn the eloquence and originality with which children see the world and we see a generous new way of engaging children in the possibilities of the photographic medium.
This revised and expanded edition of Ewald’s now-rare book, first published in 1985, and called “An American masterpiece,” offers access to a different and broadened view of the rural south over the span of 35 years, and includes contemporary pictures and stories by eight of the students from the original publication.
Robin Friend's second book Apiary continues to explore the surreal and sinister haunting of the British landscape he first depicted in Bastard Countryside with an apocalyptic, nocturnal series flirting with notions of democracy and resistance. Apiary uses a cinematic lens to uncover the dark underbelly of Lewes, a town in South East England renowned for its wild, bacchanalian, festivities around Guy Fawkes’ Night, the uniquely British festivity celebrating the failure of an attempted act of extreme political terrorism. However, Friend’s images are a far cry from an exercise in folklore; tight cropping, intensified details and a push-and-pull between the crowd and individual recall images of riots and political insurrections.
Apiary is a shadow space, reflecting a contemporary moment where ideas of democracy, identity and cohesion feel stretched to breaking point. Friend uses the night as a metaphor to consider the rippling reflections of unrest, inequality and instability lapping the British Isles.
TBW Books is pleased to presentRiver’s Dream, the latest monograph by Curran Hatleberg and a complete realization of the series exhibited at the 2019 Whitney Biennial.
Hatleberg is known for traveling America, guided by intuition, to create scenes of American life and landscape. Working collaboratively with the people he meets, he recounts intimate stories of family and community. Here, in the follow-up to his first monographLost Coast(TBW Books, 2016), Hatleberg centers his narrative on the dog days of summer. Sweltering heat, dripping humidity, lush vegetation, and screaming insects– River’s Dreamis a pulsing and episodic hallucination of life lived outdoors. In these sixty-five photographs, we move through swamps and groves, front yards and junkyards, encountering moments of haunting mystery and beautiful impermanence. Heightened by formal repetition, echo, and refrain, everyday scenes take on surreal, allegorical qualities. In the end, Hatleberg leaves us with the impression of memory, where the past is never gone, but appears and reappears endlessly, as in the flickering of a dream.
This book includes new texts by Natasaha Trethewey and Joy Williams commissioned for the publication.
1st printing (red paper edges), limited to 1000 copies, already out of print.
An iconic project made at the height of the ‘Troubles’, Troubled Land deals with the small but insistent signs of political division embedded in the landscape of Northern Ireland. At the heart of the Irish conflict lays the land — who owns it, who controls it, whose history it expresses. Paul Graham’s quietly radical book keeps this material truth in mind as it uniquely combines landscape and conflict photography, seducing us with bucolic views in which telling details only gradually appear: painted kerbs, distant soldiers or helicopters, flags and graffiti, paint-splattered roads, each tacitly aligning that location to its Republican or Loyalist allegiance. Pastoral photographs of green fields and hedgerows reveal themselves to be images of conflict and dispute — despite the steadiness of the photographic frame and the clarity of Graham’s vision, this is unsettled land. Originally published in 1986, Troubled Land is reprinted here for the first time in thirty-five years. Controversial then for its use of colour and refusal to follow the clichéd tropes of photojournalism, the book was pivotal in providing a fresh perspective on Northern Ireland’s ‘Troubles’ and left a lasting impact on landscape photography, suggesting how it might engage with politics and society rather than escape from them. Together with A1 – The Great North Road and Beyond Caring, it completes a new edition of the remarkable trilogy of books Graham made in 1980s UK.
The signed edition includes a previously unpublished image as a plate signed by the artist and glued into the inside back cover.
Waffenruhe, a now classic photobook by Michael Schmidt (1945-2014), was first published in 1987 by the Berlin-based Dirk Nishen Verlag. It quickly sold out and continues to fetch high prices on the antiquarian book market; it is reprinted here for the first time. The book is Schmidt's portrait of a still-divided Berlin: it brings together surprising combinations of high-contrast, black-and-white images to express a generation's dystopian sense of life shortly before the fall of the Wall. Schmidt evokes a world of ruptures and absences that eschews any comprehensive perspective.
The images combine with a text by author and director Einar Schleef to create a brusque, entirely individual vision of the fragility of human existence--a book that is regularly included among the most influential photographic books of the 20th century. 2018 reprinted edition. English version.
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.
As the title of Kovi Konowiecki’s debut monograph – and in its place, another – reminds us, we are always and forever subject to the twin certitudes of transience and change. As is the artist, who has moved back and forth between California, Mexico, Europe, and the Middle East, all of which places are part of the fabric of this sprawling, unscripted book.
Here we are confronted with the geographical and emotional margins of society and the mind: the external and internal boundaries that inhibit both human movement and human potential. The photographs portray individuals and communities that exist in a liminal space between belonging and abandonment, many of which exert feelings of desolation.
But what might seem on the surface political is made intensely personal through Konowiecki’s purposeful reliance on emotional connections in the pictures rather than specific relationships of place or subject. As he says, this work comes as a “happy accident, inspired by the frequent travels that nourished a sharp eye for the liminal types of communities to which I am drawn: people I have met in my wanderings, passersby in the street, a horse trained in a small Arab village, and untended gardens.”
The “unscripted” nature of the work has an impact on the form of the book, in particular in the variety of genres and colors, from landscape photography to portraiture and from black and white to color. The various forms of expression serve as ways to materialize the ideas at the core of the project and to break down barriers or restrictions within the photographic medium.
“If you were to dive clean into its centre at the hour when the water’s blackness is not separate from the earth’s night, you could disappear 70 metres beneath gentle waves and still be above sea level, still be touching the root of a full-grown tree… What you see is snapshots of what might be paradise: silhouettes of earth, flesh and wood framed eternally in the psyche. This multiplicity of modes is the beauty and terror of Ghana’s queer-shaped, ephemeral jewel, Lake Volta.”
– An extract from Capturing Volta by Nii Ayikwei Parkes
The Boys of Volta series by Jeremy Snell is a sensitive portrayal of the people and environment surrounding Lake Volta, Ghana. This enormous man-made lake is the largest in the world. Spanning half of Ghana its surface is scattered with eerie tree trunks where once you would find dense forests. Fishing is now one of the main industries for the people here. Demanding long hours in often challenging conditions. Jeremy’s series follows the story of the fisher boys he encountered here.
Amidst all the magic and beauty of the lake, there remains a starker reality. Thousands of children work in its massive fishing industry—and many of these children are trafficked into labour.
10% of this book’s profits will be donated to the NGO, International Justice Mission, who work with partners to help create better circumstances for these boys.
Further delving into the photographic language that originated with Paloma al aire(2011), in Estudio elemental del Levante (carried out between 2010 and 2020) Ricardo Cases articulates the meanings rendered by his immediate environment, the Levante region (Spain), where he finds expressions of all phenomena, of all relations.
Beyond the classic icons of tourism – beach and paella –, Cases observes a series of hallmarks with deeper and more subtle meanings. That is where other symbols of Levante like the music bands, the palm groves and the construction industry make their appearance. As does the story of the red palm weevil (rhynchophorus ferrugineus): a parasite from Southeast Asia that attacks palm trees, causing them to wither and die.
The palm tree, the charanga and the red palm weevil form a triangle that represents the spiritual map of modern Spain's systemic crash, of a violent and screeching collision. The combination of it all generates a dissonant symphony. Like a desperate alarm signal, the grating shriek of metal can be heard in the images themselves.
In this book, which is based on the principle of collage, images appear to have been affected by the blight and are partially faded. Superposition creates a raving musical score whose structure is chaos, provisionalness. In short, Estudio elemental del Levante is a requiem for a way of life that enjoyed its period of mad splendour.
My entire family, whose image I see inverted in the frosted glass, will die one day. This camera, which reflects and freezes their images, is actually a device for archiving death’. – Masahisa Fukase
For three generations the Fukase family ran a photography studio in Bifuka, a small provincial town in the northern Japanese province of Hokkaido. In August 1971, at the age of 35, Masahisa Fukase returned home from Tokyo, where he had moved in the 1950s. He realised that the Fukase Photographic Studio, which his younger brother managed, combined with the growing family members, constituted the perfect subject for a series of portraits. Between 1971 and 1989, he returned regularly and used the family studio, the large-format Anthony view camera and the changing family line-up as the basis for the series. True to his style, Fukase often introduced third-party models and humorous elements to juxtapose the ineluctable reality of time passing and the dwindling family group. He continued the series through his father’s death in 1987, up until the closure of the Fukase studio due to bankruptcy in 1989, and the consequential dispersion of the family.
Family (Kazoku) was released in 1991, and was Fukase’s last book. It begins with a photograph of the family studio and the following 31 images are family portraits made in the studio in chronological order. The book includes an extensive autobiography written by Fukase himself.
Max Miechowski’s Land Loss follows the artist’s deep interest in the British landscape, exploring themes of time, community and resilience. These absorbing portraits, landscapes and delicate details are captured with Miechowski’s characteristic sensitivity, presenting a quiet space of contemplation. In the work, natural cycles and geological erosion act as gentle and sometimes abrupt reminders of loss and impermanence. As Miechowski learns by observing this seaside community, “we too are as temporary as the cliffs”. At a time of social and ecological upheaval, Land Loss reconnects us to the environment, and creates an extended metaphor where great uncertainty, compassion and care is carried by the landscape. Recalling his experience of visiting, photographing and witnessing this changing community.
'The aesthetic power of the pictures of Yamamoto Masao (Japan, b. 1957) is unique. Refined, subtle and powerful at the same time. He succeeds to unfold the photographic medium into his own world, far off leading standards. The photo prints are small, sometimes even minuscule, and require a profound observation. The manual modifications by the artist provide an experimental look, with frayed edges and colour additions. His photographs seem to be marked by time, but that impression is the result of a balanced and accurate intervention by the artist. The technique of mixed media and the exceptional prints generate a close connection with the object. Yamamoto narrates no prefabricated story. He offers a glimpse into a harmonious world that is visible for everyone, but not perceived by everybody. For Yamamoto, harmony is the constant interaction between man and nature. Yamamoto’s work is anchored in that direct relationship with his environment.' - Galley Fifty One
As part of Benrido’s mini-portfolio series, Yamamoto Masao mini-portfolio brings together a selection of well-known works focusing on his imagery of birds. Within a selection of six previously published images have been selected by the artist and printed in colour by the collotype printers at Benrido studio.
Set of 6 multi colour collotype prints printed by Benrido, Inc.
Print Size: 25.4 x 20.3cm. Case Size: 20.6 x 25.8 x 0.8cm
In the 1880s, the collotype printing process was introduced to Kyoto and in 1905 Benrido began producing collotypes. Collotype is one of the earliest forms of printing techniques and was invented in France in 1855 by Alphonse Poitevin as a method for photographic fine art printing. Due to the high level of print and archival quality, it has since been used primarily as a way to reproduce and preserve Japan’s National Treasures and cultural properties. Today Benrido Collotype Atelier remains as one of only a few studios left in the world capable of producing fine colour collotype prints.
'In the middle of the night, I woke up to a loud noise. Grammy and I ran to the front porch. A car had crashed into a telephone pole. Grammy told me to go back inside. “Right now!!!” When I woke up the next morning, the car was gone.'
Several years ago I bought the photographic archive of Bob Boltz, of West Bend, Wisconsin. Boltz’s primary subject was car crashes; the shots were taken at night. Almost none of his pictures showed the people who’d been injured. Their absence is a haunting reminder of the couple who died outside Grammy Keaton’s home all those many years ago.
Boltz’s nighttime photographs have a richness similar to that of 1930s black-and-white crime films. I like to think he may have been an admirer of movies like Scarface, with Paul Muni, and The Public Enemy, starring James Cagney. Each car is lit with a nightmarish, chiaroscuro quality. His framing matches the technique of horror and suspense films in which shadows provide gloomy details of the surroundings. The photographs remind me of genres where light and dark represent good and evil. This book is a hymn to unsolved mysteries discovered in the dead of night.
Into the Fire is Matt Stuart’s second book of photographs following on from his critically acclaimed ‘All that life can Afford’.
Into the Fire documents the daily lives of people who live in Slab City, an off-grid community based on a former military base in the Sonoran desert, just north of the Mexican border.
It is home to travellers, dog lovers, thieves, military veterans, artists and inventors. Its population numbers thousands throughout the winter, in the summer, when temperatures can exceed 120°F (49°C) it dwindles into the low hundreds. True ‘Slabbers’ are the people who have managed to survive two summers. These are the people Matt befriended and photographed.
This is a world where people build earth covered bunkers to live in and bathe in muddy desert springs, tyres are used as decorative wreaths, and a fork in the road is signposted with an oversized plywood fork.
Slab City invites people to come as they are. Most Slabbers struggled in a world of paying rent and small talk, disadvantaged by their lack of social conformity. The Slabs provide refuge.
Accepting others flaws is a step towards accepting yourself.
A newly reimagined edition of Alex Webb’s long out-of-print Dislocations.
Dislocations presents a contemporary update of Alex Webb’s long out-of-print 1998 book by the same name, which was first published by Harvard’s Film Study Center as an experiment in alternative book making. The book brought together pictures from the many disparate locations over Webb’s oeuvre, meditating on the act of photography as a form of dislocation in itself. Dislocations was instantly collectable and continues to be sought after today. Webb returned to the idea of dislocation during the pandemic, looking at images produced in the twenty years since the original publication—as well as looking back at that first edition. Dislocations expands a beloved limited edition with unpublished images that speak to today’s sense of displacement. As a series of pictures that would have been impossible to create in a world dominated by closed borders and disrupted travel, it continues to resonate as the world resets.
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.
Supplied with a laid-in 7”x 5” signed and stamped archival pigment print (cat image) as shown. Exclusive to Photobookstore.
Sasanami is the result of a dialog between the photographer Masao Yamamoto and the musician and composer Akira Uchida initiated by IIKKI between October 2019 and August 2020.
''Sasanami: Sound becomes waves and creates space, where a story is spun that transcends time and space, just like Noh. Something gentle in that space. Its presence is not definite, it simply exists there. I want to share with you the scene of how the individual and the space are connected.''
Hand-numbered 2nd edition of 1000 copies, with a digital download code for the music.
This new series by Paolo Pellegrin celebrates the eleventh title of the collection Des oiseaux (On birds). Magnum photographer best known for his works testifying to political, economic or even ecological upheavals, his curious mind leads him to focus on subjects that are sometimes more contemplative, where nature holds a major place. Thus, during a stay in Japan in 2019, Paolo Pellegrin, who left to witness the blooming of the cherry trees, is more struck by the majesty and the aerial ballet of a colony of black kites flying over the temple of Shimogamo, Shinto shrine of the 7th century, in the heart of a primary forest.
To celebrate the 10th title of the collection, we are publishing a new series of photographer Rinko Kawauchi. Last spring, she turned her lenses on swallows at the the birth season, and more particularly, on small nests the birds build away from prying eyes, made of ground, clay, water and dry herbs to protect their clutches. With all the poetry and sense of detail that characterize her work, Rinko Kawauchi reveals the magic of our daily life and the ephemeral beauty of suspended moments. The swallows, thanks to their sharp wings, perch everywhere with great ease and elegance, filled with an opalescent light.
This publication is part of the Des oiseaux (On birds) collection celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable.
From 2012 to 2019 Mark Steinmetz took photos on the streets of Berlin. This work now comes together in the book Berlin Pictures.
Steinmetz visited Berlin between 2012 and 2019, each time photographing its streets and citizens with the care and compassion that he reserves for all of his subjects. Within his images of Berlin, we find the closeness of couples and strangers that we find in many of his works and yet, Mark adds a new layer to the work by investigating details of the city itselfits architecture and its streets align in Mark’s viewfinder and he renders each frame, inhabited or not, with an eye for the details of the moment. Berlin is a unique city and Mark adds a new layer, one less marginalized by the weight of history, but rather by the acceptance of its condition of present being in his Berlin Pictures.' - Brad Feuerhelm
The signed edition includes an extra image signed by Mark Steinmetz, mounted into the endpaper.