David Octavius Hill 1802 - 1870, Robert Adamson 1821 - 1848 Scottish Exhibition Catalogue   Scottish Arts Council   Softcover with original printe glassine cover about 2mmsq missing from the top of the glassine cover on the spine. The inner title page has pulled alittle from the cover where there was a slight excess of glue other wise the book is in excellent condition.    This book was printed to accompany the 1970/71 traveling exhibition of Scotlands most famous photographers. This catalogue lists the 330+ exhibits and is illistrated with 31 plates.

David Octavius Hill 1802 - 1870, Robert Adamson 1821 - 1848 Scottish Exhibition Catalogue

James and Other Apes    Small edition Hardback     Signed by the photographer    First edition small format hardbound with glossy illustrated boards     James and Other Apes is a collection of 50 close-up portraits of gorillas, chimpanzees, orangutans and bonobos. The images are so strong and the featured apes-all named, with personal histories-so human-like that the viewer calls into question the dividing-line between man and animal. Photographed in sanctuaries across Africa and Asia, the apes featured are mainly victims of the trade in bush meat that threatens to cause their extinction. The work of young British image-maker James Mollison, a photographer working for the Benetton artlab Fabrica outside Venice, these images are a moving and powerful argument for the protection of the great apes and endorsed by world-renowned scientist and best-selling author Jane Goodall in her powerful introduction to the book.

James & Other Apes

James and Other Apes   Large format first edition Hardback    Signed by the photographer    First edition large format hardbound with glossy illustrated boards    James and Other Apes is a collection of 50 close-up portraits of gorillas, chimpanzees, orangutans and bonobos. The images are so strong and the featured apes-all named, with personal histories-so human-like that the viewer calls into question the dividing-line between man and animal. Photographed in sanctuaries across Africa and Asia, the apes featured are mainly victims of the trade in bush meat that threatens to cause their extinction. The work of young British image-maker James Mollison, a photographer working for the Benetton artlab Fabrica outside Venice, these images are a moving and powerful argument for the protection of the great apes and endorsed by world-renowned scientist and best-selling author Jane Goodall in her powerful introduction to the book.

James and Other Apes

Aftermath    Published by Phaidon, 2006    Signed by the Photographer    This extraordinary archive of pictures is the only existing photographic record of Ground Zero after the attacks on the World Trade Center on September 11th, 2001. Fenced off and classified as a crime scene, the area was closed to all photographers, and only scant information was available about the activities in the guarded enclosure that became known as 'the forbidden city'. Through sheer persistence involving almost daily acts of resourcefulness and defiance, Joel Meyerowitz became the sole photographer to have continued access to the site and described its transformation over the next nine months, from a place of total devastation to cleared bedrock. Published to coincide with the fifth anniversary of the World Trade Center attacks, this book serves not only as an elegy to the thousands who lost their lives, but also celebrates the tireless effort and bravery of the thousands of police officers, firefighters, construction workers, engineers, and volunteers who assisted in the clean-up process.    Presented on a monumental scale, these images of physical ruin and emotional strength 'interspersed with personal reminiscences and stories of those working at the site' place on record the moments of courage, compassion, and solidarity that occurred there.   Photographs and Text by Joel Meyerowitz 15 x 10 7/8 inches 380 x 275mm 304 pp 400 col illus.    About the Photographer   Joel Meyerowitz is an award-winning photographer whose work has appeared in over 350 exhibitions in museums and galleries around the world. He has had solo shows at The Museum of Modern Art, The Art Institute of Chicago, The San Francisco Museum of Modern Art, The Boston Museum of Fine Art, and at many other venues abroad.   Born in New York City in 1938, Meyerowitz earned a bachelor of fine arts degree from Ohio State University, where he studied painting and medical illustration. He worked as a graphic designer and art director until he took up photography in 1962, having been inspired after working with Robert Frank on a photo assignment. In the 60's, Meyerowitz was instrumental in changing the attitude toward the use of color photography from one of resistance to nearly universal acceptance. He uses an 8x10 large format camera to produce luminous photographs of landscapes and people. Photo District News magazine once said: 'To read a Meyerowitz image is to see the elements in his photographs come together to form multiple narratives, delightful little stories within the greater context of the larger world.'   His first book, Cape Light, is considered a classic work of color photography and has sold more than 100,000 copies during its 25-year life. He is the author of 14 other books, including Bystander: The History of Street Photography, St. Louis and the Arch, A Summer's Day and Tuscany: Inside the Light.   Within a few days of the 9/11 attacks on the World Trade Center in New York, Meyerowitz began to create an archive of the destruction and recovery at Ground Zero and the immediate neighborhood. The World Trade Center Archive is available for research, exhibition, and publication at The Museum of the City of New York.    In 2001, The Bureau of Educational and Cultural Affairs of the U.S. State Department asked Meyerowitz to create a special exhibition of images from the archive to send around the world. The images traveled to more than 200 cities in 60 countries and over three and a half million people viewed the exhibition. Meyerowitz was also invited to represent the U.S. at the 8th Venice Biennale for Architecture with his photographs from the archive. The show that was exhibited in Venice is currently touring the U.S.   Meyerowitz has received two Guggenheim fellowships and a National Endowment for the Arts grant. He is currently photographing more than 50 parks throughout New York City area and surrounding communities for the project 'A Year in the Parks.'Phaidon

Aftermath

Twins   Published by Aperture    Hardcover    New    Photographer Mary Ellen Mark has made some of America's most iconic images, in a career spanning more than three decades and producing such published collections as Streetwise (1988), Indian Circus (1993), and Mary Ellen Mark: American Odyssey (1999). Here Mark turns her acute eye to the extraordinary bond that exists between twins. For two consecutive years, she set up a studio on the site of America's premier twins festival, Twins Days in Twinsburg, Ohio, and invited participants to be costumed and photographed in black and white with her Polaroid 20 x 24 camera?ideal for capturing fine detail even in a full-body image. The resulting body of work is a collection of variously beautiful and unsettling images, revealing nuances in the relationships of the twins she observed, from Roy and Troy Tesmer and their twin wives Amanda and Rhianna 'who all live and raise children together and have all been known to chase around in hour-long sock-ball fights to blow off steam' to Walter and David Oliver, seen on the cover, both of whom never appealed to women and gave up dating back in 1960.   The 80 portraits are printed as tritones to faithfully reproduce the subtle tones of the original photographs, and excerpts of Mark's interviews with her subjects are provided in a thumbnail index.   ISBN 1-931788-19-7

Twins

This is the SECOND installment in the Nazraeli Press  Witness  Series.    The first title by Stephen Shore was hugely successful, and is followed up with this work by the photography master Daido Moriyama.    The book is filled with an incredible selection of Moriyama's work, and includes works by Emi Anrakuji and Ken Kitano. It is a brilliant work.

Witness #2

INNER CITY   Joseph Mills   Mills is a good enough picture maker to intrigue us and yet he is determined to keep us on the edge of unknowing.  - Anne Tucker    Joseph Mills is a mid-career artist who has produced three distinct but interlocking bodies of work. He is best known for his surreal photomontages and collages. The other two series are the ongoing affair, through photography, with his wife; and his black and white street work, the latter of which are featured in his first monograph, Inner City. People and their detritus are the focal points of these pictures. His subjects are not Washington?s elite, but those whose situations in life are more peripheral and vulnerable: children, street prophets, the homeless and the mentally unstable. The resulting pictures are both about the inner city life he records and his own internal conflicts. Printed on outdated paper and heavily coated in amber toned varnish, Mills? photographs become objects,  windows onto some world that really wasn?t out there.  Published in association with Hemphill, Washington, DC. Essay by Anne Tucker.   Hardcover, 7 1/2 x 9 1/2,   72 pages,   49 four-color plates.   ISBN 1-59005-055-x

Inner City

Piccadilly & Bunker Basement   Paul McCarthy     Two large volumes in a slipcase     Using the Victorian interior of an abandoned bank on London?s Piccadilly as the on-site location for this video performance, and a rudimentary recreation of that bank?s subterranean vaults in his studio outside Los Angeles for supplementary footage, McCarthy has staged a slapstick Twilight of the Gods that also doubles as the most disturbing Sadeian fantasia since Pier Paolo Pasolini?s Salo. (Robert Storr) A president (George W. Bush), multiple Queen Mums, and a terrorist (Osama bin Laden) are the protagonists,  With their oversized heads and giant clown shoes, they resemble strangely hybrid creatures....cartoon characters that shit, bleed, and possess real genitals. (Ralph Rugoff) In frenzied acts of self- and reciprocal mutilation, sawing and hacking away at each other?s oversized foam heads, McCarthy?s characters  do not appear to be think-ing at all. Instead, they act instinctually, which is the political moral of McCarthy?s riotous scenario; reasons of state cannot explain such destruction and debauchery but an amoral state of nature, which no mask of decorum can hide or contain, unleashes primary urges that do. (Robert Storr) Scalo is very excited to present this 348-page two-volume edition of photographs, which contains an extensive documentation of McCarthy?s unrestrained performances and over-the-top installations. Exhibited internationally since the late 1970s, McCarthy?s work has been shown most recently at important museums and galleries, including: the Tate Modern, London (2003); Museum of Contemporary Art, Los Angeles (2000); and New Museum of Contemporary Art New York (2001). Piccadilly Circus was performed and exhibited at Hauser & Wirth London; Bunker Basement was performed at Paul McCarthy?s studio in Los Angeles and the video was shown as part of the installation at Hauser & Wirth London (2003).Born 1945 in Salt Lake City, McCarthy trained as a painter before experimenting with film and producing photographic work in the late 1960s and early 1970s.    Based in Los Angeles, his work is known for its perverted interpretations of childhood stories and vulgarity of expression.      Hardcover: 348 pages     Publisher: Scalo Publishers (January 28, 2005)     Language: English     ISBN-10: 3908247896  ISBN-13: 978-3908247890   Product Dimensions: 12.3 x 12.3 x 2 inches     Shipping Weight:  4.5KGg

Piccadilly Circus & Bunker Basement

Signed by the Photographer     ?In his book Warped Space, the architectural theorist Anthony Vidler speaks of the ?paranoiac space of modernism,? a space which is ?mutated into a realm of panic, where all the limits and boundaries become blurred.? These words come to mind when considering the urban aerial images of Los Angeles and its periphery. Certain spacial fears seem endemic to the modern metropolis, and Los Angeles defines this term in ways that no other American city can approximate. This amorphous skein of strip malls and gated developments, highway entrance and exit ramps, lays unfurled over the landscape like a sheet over a cadaver. . . As we cast a critical eye upon the megalopolis of Southern California, it is necessary to remind ourselves that there is still a heart beating within it. Indeed, !! million hearts, with all the souls and dreams of the bodies powered by those hearts: the city as living, breathing organism, constantly breaking down and constantly replicating.? ? David Maisel The 15 aerial photographs of Los Angeles that make up Oblivion are distressingly beautiful, their post-apocalyptic feeling enhanced by reversed-out tones. Maisel shares with us his ?shadowland,? a place previously unobserved that coexists with its sunstruck version.    Introduction by William L. Fox     Hardcover, 12 x 12, 48 pages, 15 duotone plates.

Oblivion

Signed by the Photographer   This collection is our third collaboration with the remarkable Joseph Mills. An artist of unique vision and exceptional skill, Mills is influenced in particular by the Dada and Surrealist movements, and by his personal experience of psychosis. He describes his earliest artistic accomplishment as ?simply surviving through creativity.? Starting out as a photographer, a snow-induced confinement indoors kicked off a second creative practice: collage. Now, 35 years later, these two ostensibly different bodies of work continue along simultaneously parallel and overlapping paths. Our first monograph, Inner City, features Mills?s street photography while the second, The Loves of the Poets, is devoted to collage. In this gorgeous new book we present silk-screened images, a medium relatively new to Mills but one he deploys with his own inimitable genius. Anarch is fascinating, beautiful and truly unique. Joseph Mills has lived and worked in Washington, DC for many years. His work has been widely exhibited and can be found in numerous private and museum collections.   Hardcover, 11 x 14, 32 pages, 27 four-color plates.

Anarch

At least in a figurative sense, this book...is a bibliophile's dream. The 52 well-reproduced photographs are paeans to the materiality of bookness, as imagined from every possible tangent -- books on shelves, books stacked in piles, book spines, book edges, book pages, open books, big books and small books. The notion of photographing books may sound adolescent, but Abelardo Morell has made a career of taking childlike ideas and rendering them in sophisticated, reflexive fashion. He doesn't disappoint here. Whether the image is simple, like one that shows the spine of a book titled 'Thought, 5, 1930-31,' or complex, like ' A Tale of Two Cities,' in which Dickens' famous beginning is blurred by type bleeding through from the reverse side of the page, Morell manages to make pictures seem symbolically rich as words. His photographs of illustrated books are especially dense and suggestive; the camera stares into the fold of adjacent pages, reflecting and refracting the printed pictures so that they become something else: new pictures".   Andy Grundberg, The New York Times   "Abelardo Morell's photographs are living proof that books are much more than carriers of information, that they are precious artifacts in their own right, with stories quite apart from their texts to tell. A dazzling performance, arriving, as it happens, in the nick of time. Nicely done."    Nicholas A. Basbanes, author of A Gentle Madness and Patience & Fortitude   "In a superb display of talent, renowned photographer Morell provides a magical experience for the bibliophile and soothing engagement for photography enthusiasts. Morell transforms everyday objects-book spines, pages, illustrations, typeface, and shelves-into memorable conduits of our long connection with reading and the book. This invigorating work reaffirms the importance of books and serves as a reminder of their fragile but enduring presence in our history and psyche. Nicholson Baker, author of the controversial Double Fold: Libraries and the Assault on Paper, contributes a fitting preface; an engaging and beautifully written piece, it reveals the writer's sincere love for books. However, the stars of the volume are, undeniably, the books on which Morell focuses his camera. If they could talk, those books would thank him for rediscovering them and adding, through his genius, such grace and sentiment to the essence of their existence on the pages of yet another book"    Edward K. Owusu-Ansah, Library Journal   "Although we may have been taught not to judge a book by its cover, photographer Abelardo Morell reverses the old saying and delightfully shows us how to relish a book by its look. This inventive and clever photographic ode to the printed word captures all the powerful possibilities contained on the page. A Book of Books gives us images that range from formal studies of shape and texture to the joyously whimsical.    Most luminous are the sculptural renditions, fluid pages curving over their spines like majestic mountains in the distance. The abstract pattern of a dictionary takes on the enigmatic characteristics of crop circles, while a water-damaged book shows itself as a twisted organic form. An aging book slowly decays in a stark image of paper so fragile it has practically turned to dust. Library stacks seen from above become a labyrinth through Morell?s lens. Includes a lovely preface by Nicholson Baker. Perfect for any book enthusiast."    J.P. Cohen, Amazon   A Book of Books review by Craig Stark, BookThink

Book of Books

Signed by the Photographer   Hand Numbered Edition of just 800 copies   "48 Recent Photographs" - Features a cross section of images from the Photographer's series "City".    A selection of personal images taken from around the world in that twilight time between locations and assignments when photographers though not "working" are still seeing. These contemporary colour images are a world apart from his architectural work, but equally as striking.    From the photographer    The intention of this body of work has not been to document specific cities or individuals - it is an endeavor to construct ?my own city' through photographs. The camera allows my internal world to overlap with the external - it fuses the two together - to create a third place. Forms and chance encounters are recorded, and these become a catalogue of my ideas and values.    City is a microcosm of calmness, but one empty of the qualities most easily celebrated. Everyday objects are liberated from the drudgery of their existence, frequently forming a rapport with other objects. Each questions its own history - how it came to reach this place. Here, the photograph can exalt a hosepipe into an object of affection or recast a tree into a flattened, synthetic structure. A machine registers as a nocturnal beacon of light, a collection of trophies seem to have waited their whole lives to come together.    In the City , the aesthetics of science are cherished in a world of geometries, energy, interference patterns and diffracted colour. Random motion distributes seedlings on a white car bonnet. A block of ice radiates before entropy erases its outline. Underground, neon light generates a deep glow of blue. Chemicals bleed across concrete whilst the camera records the quality of light and the quality of surface.    City is a place where people either shelter in solitude, or strive to make their voices heard. An environment interwoven with intensely private, emotional states. The isolated everyman moves from place to place, obscured by screens, rarely facing the camera, watched over by the urban monolith. Traces of his ambition are in evidence behind glass, taped to walls, cut into snow. Fragments of narrative combine with abstractions, tempting the viewer to create meaning from inconclusive evidence.       About the Photographer      Born in Buckinghamshire in 1969, John began using a camera at the age of 14 when he discovered the book "American Images" featuring the work of Garry Winogrand, Robert Frank, Lewis Baltz and John Gossage. He went on to graduate with a BA (Hons) in Photography and spent four years working in the Royal College of Art.    As a freelance photographer now based in London, John's work is specialised in the field of Architecture. Working all over the world, with a cliental of some of the worlds top Architects, designers and corporations John's photographs have been widely published in books and periodicals.    In 2005 John produced 21 Recent Photographs, a book of his fine art work.    In 2008, 48 Recent Photographs was released: a cross-section of work from CITY.   Stiff Covers    240mm x 160mm     ISBN 978-0-9558673-0-9    Published by Hunter & James 2008

48 Recent Photographs

Joseph Mills is the subject and guest-editor of Witness Number 5, the successful artist-edited series published by JGS, Inc and distributed by Nazraeli Press.    For his contribution to the Witness series 'in which one artist is selected for each volume to present their own work as well as work by other artists' Mills presents his vintage street photographs, culminating in a special selection of his famed 'Inner City' work with an accompanying essay by Paul Roth. Witness Number 5 closes with a presentation of work Mary Del Popolo ('Self?') and Norman Carr ('Schizopolis').    Designed from cover to cover by Joseph Mills, and featuring full-bleeds and an extended gatefold, this is a jaw-dropping volume that has to be seen to be believed. "On one level these are documentary photographs, depicting the capital city of the United States, downtown Washington, D.C., in a period of decline between 1982 and 1989. But they are more than that. The restless streets seem envisioned rather than recorded; emblematic of a psychic state more than of a specific place or historical moment. Mills Inner City is empathic in nature, suffused with the hope and desperation radiating from the people whose lives pass before his lens." Paul Roth   Hardcover,   9 1/2 x 12,    84 pages, 60 four-color plates    ISBN: 1-59005-235-8

Witness #5

On Edge is Karin Apollonia Muller's second monograph, and the first to be published by Nazraeli Press. While Angels in Fall (2001) dealt with the disconnect between human beings and their environment, On Edge shows the earth ?crumbling away?, and our futile efforts to control or hide the subtle invasion of nature into cultivated spaces. Working in color with a muted palette and low contrast, Muller creates powerful images which evoke a sense of displacement in keeping with the artist's 'visitor status' as a foreigner in Los Angeles. Born in Heidelberg in 1963, Muller grew up as the daughter of a sea captain. She studied photography and film at the University of Essen before moving to the western United States in 1995. Karin Apollonia Muller's work has been widely exhibited in the United States and Europe, and is included in such collections as The Museum of Modern Art, New York; the Whitney Museum, New York; and the San Francisco Museum of Modern Art. On Edge is beautifully printed on matt art paper, bound in cloth wrapped in transluscent paper. This first printing is limited to 500 copies.    ISBN: 978-1-59005-239-6   Hardcover, 12 x 15,    48 pages, 31 four-color plates.

On the Edge

Signed by the Photographer   Hand Numbered Edition of just 800 copies   A selection of personal images taken from around the world in that twilight time between locations and assignments when photographers though not "working" are still seeing. These contemporary colour images are a world apart from his architectural work, but equally as striking.    From the photographer    The intention of this body of work has not been to document specific cities or individuals - it is an endeavor to construct ?my own city' through photographs. The camera allows my internal world to overlap with the external - it fuses the two together - to create a third place. Forms and chance encounters are recorded, and these become a catalogue of my ideas and values.    City is a microcosm of calmness, but one empty of the qualities most easily celebrated. Everyday objects are liberated from the drudgery of their existence, frequently forming a rapport with other objects. Each questions its own history - how it came to reach this place. Here, the photograph can exalt a hosepipe into an object of affection or recast a tree into a flattened, synthetic structure. A machine registers as a nocturnal beacon of light, a collection of trophies seem to have waited their whole lives to come together.    In the City , the aesthetics of science are cherished in a world of geometries, energy, interference patterns and diffracted colour. Random motion distributes seedlings on a white car bonnet. A block of ice radiates before entropy erases its outline. Underground, neon light generates a deep glow of blue. Chemicals bleed across concrete whilst the camera records the quality of light and the quality of surface.    City is a place where people either shelter in solitude, or strive to make their voices heard. An environment interwoven with intensely private, emotional states. The isolated everyman moves from place to place, obscured by screens, rarely facing the camera, watched over by the urban monolith. Traces of his ambition are in evidence behind glass, taped to walls, cut into snow. Fragments of narrative combine with abstractions, tempting the viewer to create meaning from inconclusive evidence.       About the Photographer   Born in Buckinghamshire in 1969, John began using a camera at the age of 14 when he discovered the book "American Images" featuring the work of Garry Winogrand, Robert Frank, Lewis Baltz and John Gossage. He went on to graduate with a BA (Hons) in Photography and spent four years working in the Royal College of Art.    As a freelance photographer now based in London, John's work is specialised in the field of Architecture. Working all over the world, with a cliental of some of the worlds top Architects, designers and corporations John's photographs have been widely published in books and periodicals.    In 2005, John produced the book 21 Recent Photographs and exhibited at View Gallery, London. A year later, new work was exhibited at Studio One, London. In 2008, 48 Recent Photographs was published: a photobook that represented a cross-section of work from his most extensive project to date: City . In the same year, his exhibition 'Brasilia' was held at the Architectural Association, London.    Books by John MacLean    2005 - John produced 21 Recent Photographs, a book of his fine art work.    2008 - 48 Recent Photographs was released: a cross-section of work from CITY.   2009 - City: Book One, with more images from the continuing CITY series   John MacLean. City: Book one. <   First edition 2009. Designed by Wayne Daly.   Hunter & James   16.3 x 24cm, 88 pp,   4-colour, perfect bound, limited edition   ISBN 9780955867316

City: Book One

A stunning visual journey through contemporary America, Lewis and Clark Revisited features the photographs of Greg MacGregor, who followed the river west and, like the 19th-century adventurers 'whose journals are extracted here' found a country "transformed by generations of human habitation." In pictures that range from the awesome views of the entrance to the Rocky Mountains near Cascade, Montana, to such unsettling images of decay as the vandalized monument to Meriwether Lewis on the Blackfeet Indian Reservation near Browning, Montana, MacGregor's eye never strays from its search for ways to understand the American landscape and the people who shaped it.    "For those citizens who are tired of sentimentality, but who also refuse to give up hope in America, this book will be a source of new conviction. MacGregor is at various times awestruck, appalled, and deeply affectionate?an explorer as tough in his way as any in the Corps of Discover."?Robert Adams        Author  Greg MacGregor,    Publisher Washington     Format paperback     ISBN 9780295983431   Pages/Publication Date 200/2003

Lewis & Clark revisited: A Photographers Trail

Signed and numbered   Limited edition of 500 plus small original print   In Doctrine of an Axe, Raymond Meeks surveys a constantly shifting landscape, where dormant fields of reposed soil serve a restorative promise, a certain catharsis from out pasts and a metaphor to the synchronistic relationship between the health of the land and the condition of its inhabitants.    Nazraeli Press, 2009.    16 pp., 10 duotone illustrations,    one print,    5 x 7".

(OPB#054) Doctrine of an Axe (OPB)

Signed and Numbered ltd ed of 500 copies   with small print tipped into the back   In this elegant volume, David Maisel first publishes images made more than 20 years ago, of clearcut logging sites in northern Maine. The title refers to a series of environmental crises triggered by extinctions within an ecosystem. Accompanied by an excerpt from Susan Stewart's poem 'The Forest', the images and words together limn an elegy for that which has incontrovertibly vanished.    Nazraeli Press, 2008.    16 pp., 8 doutone plates.    one original print.,    5 x 7".

(OPB#049) Cascade effect (OPB)

Signed and Numbered ltd ed of 500 copies   with small print tipped into the back   When Eskine Caldwell died in 1987, his place in the history of pop culture was already assured. The bare-woods house outside the small town of Moreland, Georgia where Caldwell was born in 1903, serves as the subject of Rob McDonald's book. 'Walking around the house, looking at the shelves of Caldwell's books, the case of memorabilia, I tried to forget about the celebrity. I found myself reflecting on how surely place shapes identity, how it inspires a worldview - how memory and imagination begin before we know it.'    Photographs by Rob McDonald    Nazraeli Press, 2008.    16 pp.,    5 x 7".

(OPB#050) Birth Place (OPB)

Signed and Numbered limited Edition of 500   For over a year, Neeta Madahar photographed the feeding activity of birds as observed from her balcony over all seasons, exploring the themes of habit, change and consistency. Madahar Says, 'it is difficult to resist projecting human behavior and characteristics on these creatures? Revelatory experiences, both subtle and dramatic, can occur though obsessive concentration on a task.'    Nazraeli Press, 2008.    16 pp., 13 four color plates.    one original print.,    5 x 7".

(OPB#051) Sustence (OPB)

Signed by the Photographer   Hand Numbered Edition of just 800 copies   John MacLean's fourth book of photographs, Neighbourhood is now available   Sixty-nine photographs taken in MacLean?s immediate locality of Tooting Bec, south-west London, between March 1 2008 and May 24th 2009. The resulting book is part diary, part archive, part lament on the passage of time, part psychogeography and part playful push-and-pull of photographic conventions.   Whilst making his Combines in the 1950's, Robert Rauschenberg established a methodology: "If I couldn't find material to do an artwork walking around the block once, I wouldn't do it." While most photographers look to new places to generate new work, why not, John reasoned, do the opposite and photograph the place that was most over-familiar and least far flung? Making photographs within a five minute walk of his house, what emerged over a period of 15 months were the new approaches that surface when a photographer, forced into a corner, has to photograph his way out.      About John Maclean   Born in Buckinghamshire, John spent part of his childhood growing-up in Canada and the United States. He began using a camera at the age of 14 when he discovered the book "American Images", featuring the work of Garry Winogrand, Robert Frank, Lewis Baltz and John Gossage. After studying Mathematics, Physics and Geology, he went on to become a graduate in Photography at The University of Derby. He worked at The Royal College of Art for four years and then became a freelance photographer based in London. MacLean's photographs have been widely published in books and periodicals. In 2005, John produced the book 21 Recent Photographs and exhibited at View Gallery, London. A year later, new work was exhibited at Studio One, London. In 2008, 48 Recent Photographs was published: a photobook that represented a cross-section of work from his most extensive project to date: City. In the same year, his exhibition 'Brasilia' was held at The Architectural Association, London. In 2009, City: Book One was published.   John MacLean. Neighbourhood.    First edition 2009. Designed by Wayne Daly.    Hunter & James    16.3 x 24cm, 88 pp,   4-colour, perfect bound, limited edition    ISBN 9780955867323

Neighbourhood

Title: Walking in the Wolds with Hugh Marrows     Author: Hugh Marrows     Format: Paperback               Taken from his popular column in the Horncastle News, Louth Leader and Market Rasen Mail, Hugh Marrow invites ramblers to join him on twenty interesting walks that take you through the stunning Lincolnshire countryside.   With clear, easy to follow routes ramblers will enjoy walks that include both beautiful scenery and places of historical interest.   Full of helpful hints about places to take refreshment, interesting historical information for landmarks along the way and walks that can be enjoyed through out the year. Whether you are a novice or a more accomplished rambler there is something for everyone in Walking in the Wolds with Hugh Marrow.

Walking in the Wolds

Title: Walking Through Lincolnshire's History     Author: Hugh Marrows     Format: Paperback               Timeless walks through Lincolnshire's history. Our selection of 20 historical walks has been compiled from Hugh Marrows' popular column in Lincolnshire Newspapers titles.   With clear, easy to follow routes in this pocket-size volume, ramblers will enjoy walks that focus on some of the area's more interesting historical landmarks and sites. This book also contains helpful suggestions about places to take refreshment and additional places of interest along the way.   Whether you are walking in the steps of a Roman legionary down Ermine Street, or visiting the county's abandoned World War II RAF airfield, you will have the opportunity to explore some of Lincolnshire's varied past, while taking in some of the area's most beautiful scenery. Whether you are a novice or a more accomplished rambler there is something for everyone in Walking Through Lincolnshire's History with Hugh Marrows.

Walking through Lincolshires History

Signed by the Photographer   Hand Numbered Limited Edition of 800 copies      Continuing his City Series 'A selection of personal images taken from around the world in that twilight time between locations and assignments when photographers though not "working" are still seeing. These contemporary colour images are a world apart from his architectural work, but equally as striking.'   From the photographer    'The intention of this body of work has not been to document specific cities or individuals - it is an endeavor to construct 'my own city' through photographs. The camera allows my internal world to overlap with the external - it fuses the two together - to create a third place. Forms and chance encounters are recorded, and these become a catalogue of my ideas and values.   City is a microcosm of calmness, but one empty of the qualities most easily celebrated. Everyday objects are liberated from the drudgery of their existence, frequently forming a rapport with other objects. Each questions its own history - how it came to reach this place. Here, the photograph can exalt a hosepipe into an object of affection or recast a tree into a flattened, synthetic structure. A machine registers as a nocturnal beacon of light, a collection of trophies seem to have waited their whole lives to come together.    In the City , the aesthetics of science are cherished in a world of geometries, energy, interference patterns and diffracted colour. Random motion distributes seedlings on a white car bonnet. A block of ice radiates before entropy erases its outline. Underground, neon light generates a deep glow of blue. Chemicals bleed across concrete whilst the camera records the quality of light and the quality of surface.    City is a place where people either shelter in solitude, or strive to make their voices heard. An environment interwoven with intensely private, emotional states. The isolated everyman moves from place to place, obscured by screens, rarely facing the camera, watched over by the urban monolith. Traces of his ambition are in evidence behind glass, taped to walls, cut into snow. Fragments of narrative combine with abstractions, tempting the viewer to create meaning from inconclusive evidence.'    Born in Buckinghamshire in 1969, John began using a camera at the age of 14 when he discovered the book "American Images" featuring the work of Garry Winogrand, Robert Frank, Lewis Baltz and John Gossage. He went on to graduate with a BA (Hons) in Photography and spent four years working in the Royal College of Art. As a freelance photographer now based in London, John's work is specialised in the field of Architecture. Working all over the world, with a cliental of some of the worlds top Architects, designers and corporations John's photographs have been widely published in books and periodicals.    In 2005, John produced the book 21 Recent Photographs and exhibited at View Gallery, London. A year later, new work was exhibited at Studio One, London. In 2008, 48 Recent Photographs was published: a photobook that represented a cross-section of work from his most extensive project to date: City . In the same year, his exhibition 'Brasilia' was held at the Architectural Association, London.   John MacLean. City: Book Two.    First edition 2010. Designed by Wayne Daly.    Hunter & James    16.3 x 24cm, 88 pp,    4-colour, perfect bound, limited edition    ISBN 9780955867330

City: Book Two

Signed by the Photographer   Hand Numbered  limited Edition of just 800 copies   Two and Two   Photographing the same subject twice between 2008 and 2010.   'A rediscovered interest in Robert Rauschenberg's collages, particularly his twin paintings (Factum I and Factum II), had diverted my thinking in 2008 away from the single photographic image towards combinations of two or more. This, coupled with a desire to embark on a project that addressed the characteristics of the medium of photography itself, became the genesis of Two and Two,  a series in which I have taken two photographs of the same subject and displayed them side by side.   'Two and Two asserts that there is more than one way to take every photograph, and that two different photographs of the same subject represent two distinct choices. By presenting these two choices together, I aimed to define my decision-making process and thereby learn something about my use of photographic language.   I began by listing what I thought the intrinsic photographic strategies might be, and these became frequently used points of reference in the project. My list comprised the decisions any photographer might make to influence the perception of an image: point of view, cropping, choice of moment, intervention, focus, lighting, orientation and sequence. Although I wanted the process of taking the photographs to be spontaneous, inevitably I thought about the kind of situations which might illustrate these devices.   As I began photographing, I gradually accumulated a folder of diptychs which I frequently returned to when considering new combinations. I had quickly discovered that taking one photograph in anticipation of taking another meant holding at least two images in mind; and this stretched my capacity for previsualisation. The first photograph was taken whilst thinking of the second, and the second taken with reference to the first. Predictably some carefully considered diptychs failed whilst other, more whimsical, attempts were effortlessly successful. My camera?s subject matter was dictated by its potential to be photographed twice.   After two years I brought the project to completion. The editing process, perhaps unsurprisingly, offered the most valuable overview. The final selection does indeed offer some insight into photographic rhetoric. But what interests me more is the appearance of an underlying theme  a fascination with photography's ability to describe and distort, conceal and reveal, dislocate and unite.'      John MacLean. Two and Two.    First edition 2010. Designed by Wayne Daly.    Hunter & James    16.3 x 24cm, 88 pp,    4-colour, perfect bound, limited edition    ISBN 9780955867347

Two and Two

Published by Powershovelbooks   Arguably the most original and influential photographer in Japan, according to noted American photo critic Vince Aletti, Daido Moriyama is known for his grainy, noirish, photographs printed in deep, dark, inky black-and-white. This volume began as "a retrospective collection of photographs on the subject of animals by Daido Moriyama" according to the publisher. However, along the way, musicians were invited to contribute, and two vinyl LPs, a CD, two pop-up albums and a menko game were added--all printed with signature Moriyama animals in unbelievably deluxe black-and-white on lush papers and boards--alongside a sumptuous booklet of straight-up photographs. The result is this exquisitely printed, ultra collectible, clothbound boxed set with falcon end papers glued into the box. Musical contributions are by David Grubbs, Dirty Three, DJ Olive, Jan Jelinek, Lau Nau, Matmos, Mount Eerie, Nico Muhly, Sanso-Xtro, The Zoo Wheel and many others. Published in a limited edition of 1,000.   ISBN: 9784434119231   FORMAT: Boxed, Vinyl Records with booklet and game, 12 x 12 in. / 16 pgs / 16 b&w.   PUBLISHER: Powershovelbooks   PUBLICATION DATE: 11/30/2009

Zoo No.1

Signed and Numbered with an original print tipped in   Nazraeli One Picture Book   One Picture Book 68: Cy's Rollei   Rob McDonald   "These photographs happened in sequence, on a single roll of film, when a very famous artists 'a great collector of things' bought a dusty Rolleiflex at a yard sale and invited three photographers to see if it would work." Photographs by Sally Mann, Rob McDonald and Even Rogers.   Signed original print by Rob McDonald   Hardcover, 5 1/2 x 7 1/4,    16 pages, 12 Four Colour plates, 1 original print.    ISBN: 978-1-59005-304-1

(OPB#068) Cy's Rollei (OPB)

According to the Oxford English Dictionary, personification is the representation 'of a thing or abstraction as a person.? In Neeta Madahar's new series of allegorical portraits 'Flora,' the traditional procedure of personification is reversed: here, actual women appropriate imagery stretching back to antiquity to fashion an empowering public persona. A favorite subject of Renaissance and Baroque painters, Flora was traditionally depicted as a young woman surrounded by reveling devotees bearing floral tributes. Madahar, however, presents us with a different Flora. Her immediate inspiration was not Botticelli but the stylized portrait photography of the 1930-50s including that of Cecil Beaton, Angus McBean and Madame Yevonde. These are images of real women whose bodies and comportment exemplify a willful sense of self-possession won through lived experience. Printed in process color on matt art paper, and opening with an insightful essay by Allan Doyle.   This beautifully-produced artist?s book is bound in French suede covers in a first edition of 1,000 copies.   ISBN. 978-1-59005-250-1   Hardcover, 11 x 14, 48 pages,    17 four-color plates.

Flora

Signed and Numbered by the Photographer   Forty-two photographs taken during 37 walks between the sites of Newgate prison and the Tyburn Tree, between 23 August 2009 and 3 February 2011.   'In late 2009, a TV documentary about Stanley Kubrick caught my attention. The programme explained how Kubrick frequently shot more than 30 takes of one scene in order to 'wear down' the actors - to force them to work through the obvious approaches and find something new. I began to wonder if I could employ the basis of this process in my own work.'    'Looking at the 4ft wide map of London on my studio wall, I decided to choose two points (A and B), one east and one west, and take photographs as I walked repeatedly from one to the other. I would record each journey with GPS, and the line between the points (representing my directional choices) would be transcribed onto a map for each day , an apposite metaphor for my drifting thought process, perhaps.'    'Initially, I had planned to choose the points A and B arbitrarily by sticking a pin into the map. However, I had for some time been aware of the Tyburn Tablet, a memorial to the site of London's ancient gallows near Marble Arch. The tablet, circular and set into the ground, resembles a full stop. And indeed it was a full stop for the thousands of condemned prisoners who were transported three miles from Newgate Prison in the east, to their demise on this site - a process that ended in 1783. Although I had no intention of producing a literal body of images concerning this historical event, I decided to reemploy these macabre points of arrival and departure, hoping their significance might add a subtle layer of influence to the images I produced.'   'In keeping with all of my projects, I photographed for two months, then ordered the images chronologically, and took an overview. Immediately, the progressive influence of two photographs I had made for an earlier project (City: Book Two) was clearly evident (cross-pollination between projects is something I relish). Perhaps these two images, Bloom and Nix, represented 'unfinished business', or what Charlotte Cotton calls 'itchy scratchy' photographs (the transitional pieces, the precursors of a new phase or project).'   'The 'itchiness' of these earlier photographs had arisen, I think, from the fact that they represented two embryonic strands of a new investigation.'   'Firstly, they were attempts at exploring the resonance of an image that looks from darkness into light. This is something I had been aware of in Eugene Smith?s photograph, A Walk to Paradise Garden (1946), and that was reinforced when I attended Anthony McCall?s Solid Lightworks at the Serpentine Gallery in 2008. Bloom and Nix were the first photographs where I decided to use light to silhouette an object rather than as a means of illuminating it (in this respect, I feel they are related to photograms: the image is formed by light that passes through an object to reach a light-sensitive medium, and everything else falls away to black).'    'Secondly, Bloom and Nix are abstract images. Abstraction had become intriguing because it addressed a question that had been on my mind: what makes a photograph a photograph? Specifically, if the information in an image is reduced to the point where the object-matter is unrecognisable, when is a photograph no longer a window to look through but an object in itself?'    'Why, however, did these two seams of inquiry, which had been lying undeveloped in a previous body of work, resurface in the making A to B? Certainly the journey I retraced 'from life towards death'  echoed with these earlier abstract images of darkness and light, and so offered a framework for exploration. As Wolfgang Tillmans said in his lecture at the Royal Academy this year: ?If something taps on your consciousness three times, it is usually worth pursuing.'   John MacLean March 2011.    John MacLean. A to B.    First edition 2011.    Hunter & James    16.3 x 24cm, 88 pp,    4-colour, perfect bound, limited edition    ISBN 9780955867354

A to B

Stern FOTOGRAFIE Portfolio No. 68   Steve McCurry      A comprehensive overview of this remarkable photographic talent ,   These poetic and tender images will delight art lovers everywhere   A member of Magnum Photos since 1986, Steve McCurry has been recognized with a wide array of top awards. This collection features many iconic photographs from his travels throughout the world. A sensitive observer, he captures those unique instants that transcend the everyday. With a mix of landscapes, portraits, and street scenes, he documents his surroundings with tenderness and vitality.   His evocative 'and sometimes dreamlike' color photography highlights the joys and despair of the human condition. Keenly composed, these images have exquisite texture and form. His work offers philosophical insights that take us far away from our own realities and preconceptions.   Hardcover, 96 pp.,   Format:27 x 36 cm,   49 color photographs,   Text in English and German,   ISBN:978-3-652-00069-7

Stern Portfolio #68 - Steve McCurry

Limited to just 500 numbered copies,   our copies have been signed by the photographer   This is the 8th book from John MacLean, and is of the same high standard we have come to expect from him.   The book is on Aaron Schumans Best Photobook list 2012   New Colour Guide   In our day-to-day lives, colour is largely secondary to form by practical necessity: the shape of a tree is more immediately important than its colour. In art history, colour has rarely been considered a worthwhile subject, but has been a discourse continually expanded by visual artists.   New Colour Guide (NCG) is not intended as a means of understanding colour (even if that were possible), but rather a project where colour was chosen to guide and structure my process of image-making. Why? Because, in a contemporary culture where images that cannot be explained by words are mistrusted, colour remains defiantly ineffable, mysterious and uniquely able to highlight the enigmatic nature of human visual perception.   NCG leads the viewer through a photo-world of schools, markets, offices and museums; forests, rivers and skies; artist?s studios, laboratories and crime-scenes. It is populated by parents, children, teachers, pupils, tourists and spectators. Colour here overlaps art and science; it is added and removed by both the people photographed and the photographer. Outside, only the winter season persists; snow provides a background for colour but can erase it too.   We see that colour can rise from abstraction to suggest narrative and meaning; it can infer value through hierarchies, provide form, depth and resonance and be connected with feelings of order and disorder. Crucially these qualities are only palpable to the viewer because they have acquired the necessary experience and conditioning from early childhood to interpret colour. Colour can create context but, paradoxically, cannot endure without a context itself.   NCG is a wholeheartedly digital photo-guide. It acknowledges the parallel natures of the human light-eye-mind image and the photographic light-lens-processor image.   In making these photographs I first welcomed, and then engineered, the file-transfer errors that can disrupt lines of binary image-code and result in colour distortions. Normally corrupted images would be discarded, but here they expose the digital medium?s chromatic building blocks. They ask: if a photograph is ultimately nothing but a white page, variously graded and spotted with colour, where is the tipping point when a million coloured dots becomes a recognisable image? Furthermore, if a digital photograph of a sky is rendered completely abstract by a file corruption, can it acquire qualities of 'skyness' simply by being titled 'Sky'   Colour arrangements in nature are largely the result of natural selection but in NCG all colour is contrived and the result of artificial selection. The photographer's camera generates electric light (flash) which creates reflected light (colour). When recorded, this provides us with a layer of information which helps us construct a photo-world, but the discrepancy between colour's physical fact and psychic effect is ultimately imponderable. If any meaning can be gleaned it is cultural, leading me back to one, central question: how do we get ideas into photographs?   John MacLean. New Colour Guide.    First edition 2012. Designed by Wayne Daly.   On Aaron Schuman's Best Photobook list 2012.   Best Photobook list 2012: American Photo.   Featured in One Year of Books and Book du Jour.   16.3 x 24cm, 68 pp, 4-colour, perfect bound, limited edition   ISBN 9780955867361

New Colour Guide

Signed and Numbered with an original print tipped in   Nazraeli One Picture Book   One Picture Book 82: Snow Letter   Richard Misrach   During the past several years, Richard Misrach has been creating a series of large-scale negative prints, as both an homage to the end of the analog negative, and as an exploration of the indexical nature and color of the medium.  As a sub-group of this body of work based on landscapes and seascapes, the photographer has worked with, mostly dead, desert vegetation such as tumbleweeds and scrub-brush.  Early on, he began using iPhone pictures as studies for the large works, but he came to appreciate the intimate scale and unusual  beauty of the small prints in their own right. This One Picture Book comprises of a suite of scrubs taken with an iPhone camera. " iPhone Studies: Reverse Scrubs" is limited to 500 numbered copies, and includes an original signed photograph by Richard Misrach.   ISBN: 978-1-59005-393-5   Hardcover, 5 1/2 x 7 1/4,    16 pages, 10 four-color plates,   1 original photograph.

(OPB#082) -iphone studies:Reverse Scrubs (OPB)

There is a bump to the pages at the rear of the book, although the cover is undamaged this occurred at the printers. After the destruction of the World Trade Center in New York on September 11th 2001, the world-renowned photographer Joel Meyerowitz felt compelled to visit the site. In his own words, he was 'overcome by a deep impulse to help, to save, to soothe, but, being far away, there was nothing I could do'. On his return Meyerowitz soon made his way to the scene where, upon raising his camera, he was reminded by a police officer that this was a crime scene and that no photographs were allowed. Meyerowitz duly left the scene but within a few blocks the officer's reminder had turned into consciousness. To Meyerowitz, 'no photographs meant no history' and he decided at that moment to find a way in and make an archive for the City of New York.   Within days he had established strong links with many of the firefighters, policemen and construction workers contributing to the clean up. With their assistance he became the only photographer to be granted unimpeded access to Ground Zero. Once there he systematically began to document the wreckage followed by the necessary demolition, excavation and removal of tens of thousands of tonnes of debris that would transform the site from one of total devastation to level ground. Soon after the Museum of the City of New York officially engaged Meyerowitz to create an archive of the destruction and recovery at Ground Zero. The 9/11 Photographic Archive numbers in excess of 5,000 images and will become part of the permanent collections of the Museum of the City of New York.   Meyerowitz takes a meditative stance toward the work and workers at Ground Zero, methodically recording the painful work of rescue, recovery, demolition and excavation. His pictures succinctly convey the magnitude of the destruction and loss and the heroic nature of the response. The images included here are a combination of prints from a large format camera, which allows for the greater detail, and standard 35mm, a format which provided Meyerowitz with the freedom to move easily around the site and capture each moment as it happened.   The remarkable pictures in the archive visually relate the catastrophic destruction of the 9/11 attacks and the physical and human dimensions of the recovery effort. The aim of this book is to provide a record of the extraordinary extent of the World Trade Center attacks and to document the recovery efforts. The book will serve as both a poignant elegy to those who lost their lives and as a celebration of the tireless determination of those left behind to reclaim and rebuild the area known as 'Ground Zero'.   Twenty-eight of the images from the archive were displayed in New York and then in over fifty cities around the world in a travelling exhibition entitled After September 11: Images from Ground Zero.   ABOUT THE AUTHOR    Born in 1938 in New York City, Meyerowitz went to Ohio to study painting and medical drawing at the State University but moved back to New York to work in advertising as an art director-designer. He began to take photographs at this time and left his job to concentrate on photography as a career. Shooting film in black and white, he travelled around the United States for three months after which he was offered a Guggenheim Scholarship to take pictures on the theme of 'leisure time'.   However Meyerowitz has had his greatest influence as an early advocate of colour photography. He was instrumental in changing the attitude toward the use of colour from one of resistance to nearly universal acceptance. His subject matter altered from incidents on city streets shot with a small 35mm camera to the large format field photograph. He has been awarded the title Photographer of the Year by the Friends of Photography, San Francisco. His work is in the collections of the Museum of Modern Art and the Metropolitan Museum of Art, and has been exhibited and published worldwide.   ISBN-13: 9780714862125   Hardback   380 x 275 mm, 15 x 10 7/8 in   350 pp, 400 colour illustrations

Bertien van Manen   Beyond Maps and Atlases   Signed by the Photographer   In this new body of work, Beyond Maps and Atlases, Bertien van Manen turns to Ireland. Van Manen says, ?At first, working in Ireland I wasn?t sure what I was looking for. My husband had died. I dispensed with the people and reflected on the atmosphere. I was guided by a feeling and a search, a longing for some kind of meaning in a place of myths and legends. There was mystery and endlessness at the edge of a land beyond which is nothing but a vast expanse.?   Where can it be found again,   An elswhere world, beyond   Maps and atlases,   Where all is woven into   And of itself, like a nest   Of crosshatched grass blades?   Seamus Heaney   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. Recent works include Easter and Oak Trees (MACK, 2013) and Moonshine (MACK, 2014)   Hardcover, 60 pages   32 colour plates   26 cm x 29 cm   Embossed hardcover with tipped-in image   ISBN 9781910164433

Beyond Maps and Atlases

TERRA NOSTRA   MIMI MOLLICA   Introduction by Roberto Scarpinato   Afterword by Sean O'Hagan   In Terra Nostra, Sicilian born photographer Mimi Mollica explores the effects of the Mafia on his homeland. He document the scars inflicted by Cosa nostra on both the physical and social landscape of the island as a result of a system strongly rooted in both fear and corruption.   Mollica began shooting Terra Nostra in 2009. For him the biggest challenge was to convey the legacy that Cosa nostra has imposed both on the Sicilian people and on the land itself, with its coastline blighted by illegal speculative building. Here is a system based on extortion and the corruption of public office, and an unsustainable economy overseen by the capitalist monopoly of the crime families. For Mollica there is an overwhelming sense of claustrophobia, and a lack of freedom that seems to permeate every aspect of Sicilian life.   Terra Nostra is introduced by the respected Sicilian judge, Roberto Scarpinato who, since 1989, has been involved in some of the most important trials against the Mafia. He has been under police protection for over twenty years.   Sean O?Hagan, photography critic at The Guardian and The Observer, also contributes an insightful text which looks at the context of Mollica?s work.   Born in Palermo, Sicily, Mimi Mollica is an award winning photographer. He has has worked with many prestigious magazines including The Guardian Weekend Magazine, FT Weekend Magazine, The NYT Lens blog, Newsweek Japan, Sunday Times Magazine, Internazionale, Granta Magazine, as well as publishers such as Thames & Hudson and Lars Muller. His photographs have also been included in many exhibitions throughout the world including in the UK, Europe and the United States. Now based in London, Mimi Mollica is also the founder of Photo Meet, an organisation which celebrates photography through events such as portfolio reviews, lectures and presentations.   £35.00 Clothbound hardback   128 pages   235mmm x 170mm   ISBN: 978-1-911306-11-5   Publication date February 2017

Terra Nostra

War and Grace   Magnum photographer Steve McCurry?s Afghanistan retrospective   Afghanistan is a country overwhelmed by tribal rivalries, colonial wars, and geo-political conflict. The Afghans have always called their mountains ?the land of   rebellion.?   Yet born of such chaos, such entrenched conflict, are these most breathtaking and beautiful of images. The distinguished American photographer Steve McCurry has   traveled to Afghanistan regularly for more than 40 years: he is one of the most accomplished photographers to work in the region.   His famous 1984 portrait Afghan Girl?sad and haunting, but at the same time evoking remarkable grace and dignity?published on the covers of magazines around the world is certainly his single most striking portrait. In common with so much of McCurry?s work, it has a timeless, painterly quality?entirely at odds with the battle-torn backdrop of the region in which it was taken.   Steve McCurry has always been subjected to the same dangers that are an inevitable part of life ?on the road? for photographers. He has often ventured behind the lines, usually at great risk; his first assignment in Afghanistan in 1979 involved him dressing in Afghan robes in order to be smuggled across the border from Pakistan. That journey, into the treacherous, unpredictable landscape?territory controlled at various times by the Mujahideen, the Russians, and the Taliban?was one that McCurry would make many times. Many other photographers would follow in his footsteps, but none would return with such a flawless body of work.    The photographer:   Steve McCurry was born in Philadelphia, PA, and has been one of the most iconic voices in contemporary photography for more than forty years, with scores of magazine and book covers, over a dozen books, and countless exhibitions around the world to his name. After numerous travels throughout India, the Middle East and Afghanistan, he founded ImagineAsia in 2004, with the mission to help provide educational resources and opportunities to children and young adults in Afghanistan.      Hardcover,    26.7 x 37 cm (10.5 x 14.6 in.),    256 pages   ISBN 978-3-8365-6936-1   English, French, German)

Afganistan

Gregori Maiofis?s influences are multinational and multicultural. Born in St. Petersberg, Russia in 1970, where he immersed himself in traditional academy training, Maiofis then moved to Los Angeles where he participated in the vibrant art scene and learned new art forms. After five years in LA, Maiofis returned to his native St. Petersburg, because, he states, ?I can do things here artistically that I couldn?t do anywhere else.? One of which, of course, was to create his now-famous series pairing a long-limbed ballerina with a burly circus bear, carefully smuggled into an empty apartment building for the shoot. Seated in a chair, sometimes in profile and at others with his back to the viewer, the bear appears to be giving directions to the ballerina, who beautifully, and very professionally, obeys him. The series comes to a close with one of the most poignant images: that of the bear lifting his paw in imitation of the ballerina?s own gracefully uplifted arm.    ISBN: 978-1-59005-472-7   Hardcover, 185 x 140mm,    16 pages, 8 duotone,    1 signed original photograph by Gregori Maiofis

(OPB#098) TASTE FOR RUSSIAN BALLET

Jay Maisel   -  New York in the 50's   ?I have been shooting New York for over 60 years now. And though I have achieved age, I can safely say I have never made my way to maturity so I have never been jaded or bored. I think all this is due to the grittiness and hectic quality of the city, you never capture it, it captures you.? After studying painting and graphic design at Cooper Union and Yale, Jay Maisel began his career in photography in 1954. While his portfolio includes the likes of Marilyn Monroe and Miles Davis, he is perhaps best known for capturing the light, color, and gesture found in every day life. This unique vision kept him busy for over 40 years shooting annual reports, magazine covers, jazz albums, advertising and more for an array of clients worldwide. Recently, Maisel has gone back to his archive of early work, and put together a collection of black-and-white images he made as a young man in the 1950s, evidence of a lifetime?s pursuit of a craft and a special talent, one of the best-kept secrets in photographic history. ?New York in the ?50s? is a beautifully-produced monograph that will be equally appreciated by Jay Maisel?s followers, and anyone who has stepped inside his muse, New York City.   ISBN: ISBN 978-1-59005-395-9   Hardcover, 12 x 13,    92 pages, 76 duotone plates

New York in the 50's

Limited edition 500 signed and numbered books   Each containing a small tipped in original Photograph   The 13 photographs presented in Residential Variations are selected from a larger body of work of the same title, which depicts a series of homes within a Southern California neighborhood. Through time or a succession of personal aesthetic decisions each house has been reformed from, but still resembles the simple post-war modern home that once defined the neighborhood. Interest and beauty is found within these modest domestic structures and their revisions.     Michael Mulno?s photographs are included in several public and private collections including the San Francisco Museum of Modern Art; J. Paul Getty Museum, Los Angeles; Los Angeles County Museum of Art; and Museum of Photographic Arts, San Diego.   Residential Variations is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.   ISBN: 978-1-59005-508-3   Hardcover, 6 x 8 1/2, 16 pages,   13 four-color plates, 1 original signed photograph.

(OPB2 007) Michael Mulno - Residential Variations

From last summer,I happened to frequent Yokohama for some reason. I have had a good time in the city where I used to take many photographs when I was young after so many years? absence. When I began to think of shooting Yokohama, I received the offer to publish a photo book, and so I immediately decided to make one book of photographs of Yokohama. Now I am even happier, for I could make two volumes with these Yokohama photographs.   w18.2 x h25.6 cm   40 Pages 25 Images(b&w)   Softcover   Doubletone Offset   Limited edition of 800   Published in 2019   ISBN 978-4-908512-76-6

Akai Kutsu Volume 1

As I get older with the camera in my hand, I realize that all the different things that I depict in my photographs are ultimately rooted in my childhood memories, the various things I have seen and experienced in the postwar years of the early 1950s.   My memories of wandering from one town to another for a while after the war have piled up at the bottom of my conscious mind, and it appears to me that they are reflected in the myriad images I?ve been capturing as a street snap photographer, responding to my index finger as it releases the shutter. In other words, regardless of whether I was aware of it at the place and time of shooting, it seems that the majority of my photographs represent an instant communion with the here and now that is established through some kind of time tunnel.   -Daido Moriyama, afterword -   Hand-signed copies available   The product will be shipped around Mid-July.   About Daido Moriyama   Born 1938 in Osaka. After working as an assistant for photographers Takeji Iwamiya and Eikoh Hosoe, he went independent in 1964. He has been publishing his works in photography magazines among others, and received a New Artist Award from the Japan Photo Critics Association for Japan: A Photo Theater in 1967. Between 1968 and ?70 he was involved in the photo fanzine Provoke, and his style of grainy, high-contrast images that came to be referred to as ?are, bure, boke? (grainy, blurry, out-of-focus) made an impact on the realm of photography. Solo shows at New York?s Metropolitan Museum of Art and the Fondation Cartier pour l'Art Contemporain in Paris solidified Moriyama?s worldwide reputation, and in 2012, he became the first Japanese to be awarded in the category of Lifetime Achievement at the 28th Annual Infinity Awards hosted by the International Center of Photography (ICP) in New York. The ?William Klein + Daido Moriyama? exhibition together with William Klein at London?s Tate Modern in 2012-13 was a showdown of two immensely popular photographers that took the world by storm.

Record No.38

Last November, while the ?Paris Photo? fair was on, I went to Paris for the first time in two years. The main reason for my trip was some business I had to do in connection with Paris Photo.   So I thought I?d take some snaps while I?m in the city, which I could use to fill a few pages of the next issue of Record. I eventually spent one of the five days I stayed in Paris devoting myself to shooting. While taking pictures in the Saint-Michel neighborhood, Rue Mouffetard, and the area around Moulin Rouge, my memory gradually transported me back 30 years, to the time when I lived in Paris for a brief moment.   At the time I had rented an apartment at the foot of the Rue Mouffetard, and day after day I would grab my camera and take to the streets to just wander around with no particular purpose.   It was 30 years ago that I suddenly went mad and got obsessed with that idea to rent a room in Paris, where I would set up something like a private gallery. I bothered Ms. Kazue Kuramochi, an acquaintance of mine who was based in Paris, and asked her to help me find a place. I did find one, but for a variety of reasons my dream of a gallery didn?t become reality, and I ended up spending my days roaming the streets instead. I didn?t speak any French to begin with, only some broken English, and I obviously didn?t have any friends in the city. So there I was, a guy who had just turned 50, totally bewildered, and with nothing else to do than keep pressing the shutter button of my camera.   However in retrospect, even though there are a few things that I do regret, in the long run I think it was just fine that way. After all, I have two photo books of Paris, and one of Marrakesh now. Paris at the time was right in the middle of celebrating the 200th anniversary of the revolution, and the entire city was bustling.   Armed with such thoughts and memories, I left the noisy Paris Photo venue behind me, and went out to capture the Parisian streetscape.   ? Afterword by Daido Moriyama   Size   280 x 210 mm   Pages   112 pages   Printing   Softcover   Publication Date   2019.03.14   Publisher   Akio Nagasawa Publishing   About Daido Moriyama   Born 1938 in Osaka. After working as an assistant for photographers Takeji Iwamiya and Eikoh Hosoe, he went independent in 1964. He has been publishing his works in photography magazines among others, and received a New Artist Award from the Japan Photo Critics Association for Japan: A Photo Theater in 1967. Between 1968 and ?70 he was involved in the photo fanzine Provoke, and his style of grainy, high-contrast images that came to be referred to as ?are, bure, boke? (grainy, blurry, out-of-focus) made an impact on the realm of photography. Solo shows at New York?s Metropolitan Museum of Art and the Fondation Cartier pour l'Art Contemporain in Paris solidified Moriyama?s worldwide reputation, and in 2012, he became the first Japanese to be awarded in the category of Lifetime Achievement at the 28th Annual Infinity Awards hosted by the International Center of Photography (ICP) in New York. The ?William Klein + Daido Moriyama? exhibition together with William Klein at London?s Tate Modern in 2012-13 was a showdown of two immensely popular photographers that took the world by storm.

Record No.40

For eight years and across several continents, Alex Majoli has been photographing events and non-events. Political demonstrations, humanitarian emergencies, and quiet moments of everyday life. What holds all these images together is a sense of theatre. A sense that we are all actors, all playing the parts that history and circumstance demand of us. Majoli?s photographs result from his own performance. Entering a situation, he and his assistants slowly go about setting up a camera and lights. This activity is a kind of spectacle in itself, observed by those who will eventually be photographed. Majoli begins to shoot, offering no direction to the people before his camera. This might happen over twenty minutes. It might be an hour or so.   Perhaps the people adjust their actions in anticipation of the image to come. Perhaps they refine their gestures in self-consciousness. Perhaps they do not. The representation of drama and the drama of representation become one. The camera flash is instantaneous and much stronger than daylight. But all this light plunges the world into night, or moonlight. The world appears as an illuminated stage. Everything seems to be happening at the end of the day. Just when the world should be sleeping, it offers a heightened performance of itself.   We never really see people or places: we see the light they reflect. And the quality of that light affects how we understand them.   - David Campany   Large-format paperback with jacket   126 pages   38 x 22.5 cm   Essays by David Campany and Corinne Rondeau    Publication date: February 2019   Co-published with Le Bal, Paris   ISBN: 978-1-912339-29-7 (English edition)

Scene

Combining fragments of personal history, of memory and imagination, Oobanken builds photographic narratives through constructions and performances. The spaces created are different in character from their wider surroundings, as if confined in an enclave or compound, revealing an attentiveness to what lies beyond the threshold of this self-imposed isolation.   Made while living in Yangon, Myanmar, this series derives from Jerome Ming?s early interest in built structures and interventions. While Oobanken may direct us to inquire about the function of objects and the actions presented, Ming?s photographs also mirror the context in which they are made: that is, during a time of transition, in a place once isolated, a place once suspended in time.      Oobanken    Jerome Ming   Hardback with silkscreen-printed bare board gatefold cover   68 pages   16.5 x 21 cm   ISBN: 978-1-912339-35-8

Oobanken

Limited edition of 500 numbered copies each with a small signed print   Daido Moriyama has been photographing motorcycles on the streets of Tokyo for decades, and for his first contribution to our series One Picture Book Two, we asked him to select his favourite pictures of the subject. The result is Daido Moto. Printed full-bleed with double black ink, the eleven images comprising this book display the sleek, raw power of their subject.   Born in Osaka, Japan in 1938, Daido Moriyama is one of the most influential  photographers of his generation. His work is widely exhibited throughout the world, and he is the author and subject of literally dozens of books. Moriyama is known for his images depicting the contrast of traditional  values and modern society in post-war Japan, and for his desire to utilize photography in ?the fossilization of light?.   Limited to 500 numbered copies, each copy of Daido Moto includes a 125 mm x 175 mm original print that has been signed by the artist.   ISBN: 978-1-59005-516-8   Hardcover, 210 mm x 153 mm,    16 pages, 11 duotone plates,    1 original signed photograph.

(OPB2 010) - Daido Moriyama - Daido Moto

The complete set 3 four books each book limited to 500 numbered copies each with a small signed print

(OPB2 SET3) COMPLETE #9-12 Moriyama-Borensztein-Zadeh-Simmons

Hardcover, 6 x 8 1/2, book are numbered and contains a signed photograph approx 5 x 7 inches and limited to 500 numbered copies.   Captains of the Dead Sea examines how the experience of place is influenced by the way in which the world has been previously photographed. A visitor can stand in Death Valley, for example, and realize that it ?looks like? Mars... or the Moon... or a scene from Star Wars. At its core, Captains of the Dead Sea considers the cinematic use of landscape-as-location, the role of the American desert, and the implications of how the boundaries between documentary and fictional narrative have become blurred.   Based in Los Angeles, Alia Malley received her BA in Critical Film Studies from University of Southern California School of Cinematic Arts, and her MFA in Visual Arts from University of California Riverside. She works with photography and video to explore modes of representation ? specifically the roles of landscape, cinematic narrative of place, technology, and human geography in structures of power.    Malley?s work is held in numerous private and public collections, among them the permanent collection of the Los Angeles County Museum of Art, the UCLA Library Special Collections, and the Beth Rudin DeWoody Collection.   Captains of the Dead Sea is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.   ISBN: 978-1-59005-540-3   Hardcover, 6 x 8 1/2, 16 pages,    13 four-color plates,    1 original signed photograph.

(OPB2 019) Alia Malley - Captains of the Dead Sea

Each edition limited to just 200 editions      \nPrinted on uncoated paper using monochromatic cold inkjet.   \n\nBecause each book is hand produced it nmay contain some minor imperfections in the printing or binding.  \n\nSergey Melnitchenko - When I was a Virgin      Printed on uncoated paper using monochromatic cold inkjet.      l?Atelier RisoGraphique n°5 : Soft-Binding ? 210 x 297 mm ? 36 pages   Limited Edition of 200 copies   Book Designer : Thibault Geffroy      Language : English

When I was a Virgin

Signed by the photographer, This signed edition includes a slip signed by the artist and bound into the inside back cover.\n\n“An aubade to the father-daughter relationship, to the acceptance of the child's misunderstood adolescence and the security of youth ... a gem.“ – Artdoc\n\n“Meeks’ photography is hopeful, tinged with a profound melancholy, and devoid of cynicism. A celebration of life, lyrically expressed.“ – British Journal of Photography\n\n‘We live our lives in widening circles, rarely appreciating their nature and how they bring us back. In a year, my daughter will be leaving home and is no stranger to a similar wanderlust I once knew. As a father, I always felt it was important to instill a profound sense of place, to identify with a certain place as home, even as these ideals have, over recent years, taken on relative meaning. I photograph close to home as memory loses structure, its architecture, trying to make light speak from the fixed edges of rooms long vanished.’ - Raymond Meeks\n\nInspired by his daughter’s entrance into adulthood and her imminent departure from home, Raymond Meeks studies the centrifugal forces of the places we live – how they anchor us, repel us, and return to us – through scenes that appear both fragile and immovable. In these photographs, gardens give way to thicket, houses are suspended on stacked railroad ties, and telephone wires and train lines suggest the networks we build to find our way through the world’s wilderness.\n\nAmong these domestic landscapes are portraits of Meeks’ daughter, which capture the introspection and inquisitiveness of early adulthood while paying tribute to the ultimate mystery of their subject’s consciousness. Following the success of Meeks’ previous book, ciprian honey cathedral, Somersault is a concise, poetic reflection on home and the ties that bind us to it — all the stronger as they fade into the half-light.\n\n \n\nEmbossed hardback with tip-in\n17 x 24.5cm, 72 pages\n\nISBN 978-1-913620-40-0

Somersault

Signed by the photographer\n\nFor eight years and across several continents, Alex Majoli has been photographing events and non-events. Political demonstrations, humanitarian emergencies, and quiet moments of everyday life. What holds all these images together is a sense of theatre. A sense that we are all actors, all playing the parts that history and circumstance demand of us. Majoli?s photographs result from his own performance. Entering a situation, he and his assistants slowly go about setting up a camera and lights. This activity is a kind of spectacle in itself, observed by those who will eventually be photographed. Majoli begins to shoot, offering no direction to the people before his camera. This might happen over twenty minutes. It might be an hour or so.   Perhaps the people adjust their actions in anticipation of the image to come. Perhaps they refine their gestures in self-consciousness. Perhaps they do not. The representation of drama and the drama of representation become one. The camera flash is instantaneous and much stronger than daylight. But all this light plunges the world into night, or moonlight. The world appears as an illuminated stage. Everything seems to be happening at the end of the day. Just when the world should be sleeping, it offers a heightened performance of itself.   We never really see people or places: we see the light they reflect. And the quality of that light affects how we understand them.   - David Campany   Large-format paperback with jacket   126 pages   38 x 22.5 cm   Essays by David Campany and Corinne Rondeau    Publication date: February 2019   Co-published with Le Bal, Paris   ISBN: 978-1-912339-29-7 (English edition)

THIS BOOK HAS BEEN BUMPED IN ONE CORNER   Signed by the photographer\n\nFor eight years and across several continents, Alex Majoli has been photographing events and non-events. Political demonstrations, humanitarian emergencies, and quiet moments of everyday life. What holds all these images together is a sense of theatre. A sense that we are all actors, all playing the parts that history and circumstance demand of us. Majoli?s photographs result from his own performance. Entering a situation, he and his assistants slowly go about setting up a camera and lights. This activity is a kind of spectacle in itself, observed by those who will eventually be photographed. Majoli begins to shoot, offering no direction to the people before his camera. This might happen over twenty minutes. It might be an hour or so.   Perhaps the people adjust their actions in anticipation of the image to come. Perhaps they refine their gestures in self-consciousness. Perhaps they do not. The representation of drama and the drama of representation become one. The camera flash is instantaneous and much stronger than daylight. But all this light plunges the world into night, or moonlight. The world appears as an illuminated stage. Everything seems to be happening at the end of the day. Just when the world should be sleeping, it offers a heightened performance of itself.   We never really see people or places: we see the light they reflect. And the quality of that light affects how we understand them.   - David Campany   Large-format paperback with jacket   126 pages   38 x 22.5 cm   Essays by David Campany and Corinne Rondeau    Publication date: February 2019   Co-published with Le Bal, Paris   ISBN: 978-1-912339-29-7 (English edition)

Scene (Bumped)

Peyote is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.\n\n“Peyote, deer and corn are brothers. They are three like the three sides of a triangle and, at the same time, they are one, a multiple essence, a face that only Huichol can see…. Captain, who is in charge of the peyote gatherers, carries the staffs of power, decorated with multicolored ribbons and horns of deer. In the peyote dance, the leader carries the horns which he lifts up from time to time. The heart of the deer is the heart of all offerings.” — Ramón Mata Torres\n\nA small, spineless cactus native to Mexico, peyote has been used for its psychoactive properties by indigenous peoples, such as the Huichol, for over 5,500 years. In his second publication with Nazraeli Press, and first contribution to our One Picture Book series, Ortiz Monasterio gives us a rare glimpse into the ceremonial uses of the plant.\n\nPablo Ortiz Monasterio is a Mexican photographer, writer and editor. He is widely recognized as one of Mexico’s most influential contemporary artists. Ortiz Monasterio’s work is widely exhibited and collected internationally.\n\nPeyote is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.\nISBN: 978-1-59005-556-4\nHardcover, 6 x 8 1/2, 16 pages, 12 four-color plates, 1 original signed photograph.

(OPB2 029) Pablo Ortiz Monasterio - Peyote

This signed edition includes a slip signed by Raymond Meeks and George Weld, glued into the inside back cover.\n\nAs the sixth Immersion laureate, a French–American Photographic Commission established by the Fondation d’entreprise Hermès, Raymond Meeks took up residence in northern France during the summer of 2022. The work created over the course of this residency will be exhibited in New York and Paris, and accompanied by this artist’s book combining Meeks’ photographs with an extended poem by George Weld.\n\nCo-published with Fondation d’entreprise Hermès\n\nEmbossed hardcover with slipcase\n21.5 x 30cm, 172 pages\n\nISBN 978-1-915743-15-2

Books By Authors with Surnames starting with: m