Fotografi

The African desert as seen by Raymond Depardon through 60 years of political reporting, photographic commissions, film shoots and personal explorations. Seven countries, their landscapes, peoples and conflicts, immortalized in black and white by a legend of photojournalism.From his beginnings as a photojournalist on his first trip to Algeria in 1960, Raymond Depardon instantly developed a deep and intimate attachment to the Saharan desert and its various peoples. His photographic and cinematographic eye was particularly drawn to the different regions of Chad, from the Chadian civil war, during which he followed the rebels into the desert (1970), covered the Claustre affair (1975), the attack on FayaLargeau (1978) and Goukouni Oueddei's accession to power (1979), to the filming of Un homme sans l'Occident among the azzas of Borkou (2001). His reports took him on the road with Tuareg refugees in Mali (1974) and ParisDakar pilots in Libya and Niger (1990); for the shooting of his films Empty Quarter (1984) and La Captive du désert (1989), he crossed Ethiopia, Sudan, Egypt, Chad, Niger, Mali and Mauritania; first in the company of Claudine Nougaret, then with their children, he shared his love of the Sahara, the Sahel and their inhabitants. This book is a photographic tribute to the African deserts that have accompanied Raymond Depardon's career and life for over sixty years.

Lydia Hudgen's debut photo book, featuring only plus-sized models: a first in fashion publishing. In a landscape where magazine covers are still dominated by skinnier bodies and fashion week runways have moved backward in the models that are walking, Plus breaks with business as usual and features only plus-sized models in a celebration of diverse fashion and a demand for the industry to move forward. Divided into three chapters - Beauty, Editorial, and Body - Lydia Hudgen's photography celebrates the beauty of all bodies, and the figures who've pushed fashion forward to welcome more people in. Alongside shoots of models, Plus features interviews with trailblazers like Kellie Brown who have made their mark on the fashion world. The fashion industry needs to keep evolving, and these icons, models, and Hudgens are helping to make it happen.

Small garages and service stations are a vital - but fast disappearing - part of Britain's automotive landscape. Often independently owned and sited in idiosyncratic buildings, they are rightfully celebrated and sensitively documented in this essential book. You might use a local garage to change a tyre or replace your exhaust, but when was the last time you pulled over and took a good look at the building itself? In the spirit of Ed Ruscha's Twentysix Gasoline Stations (1963), photographer Philip Butler has done just that. Over six years, he's travelled the length and breadth of Britain photographing these diverse, eccentric and idiosyncratic buildings. As motoring became popular in the early 1900s, the need for mechanical expertise to service, repair, refuel, and sell vehicles soared - and the 'garage' was born. From the Mock-Tudor fad of the 1920s via the Streamline Moderne of the 1930s, to the simple Modernist rationalism of postwar Britain, each era has produced a distinct automotive architecture. With the introduction of the Ministry of Transport (MOT) vehicle test in the 1960s, demand accelerated still further. A diverse array of structures was utilised - churches, cinemas, railway arches, fire stations, shops, factories - all proved versatile enough to find second lives as garages. As the era of the combustion engine draws to a close, Butler's enchanting photographs of 226 Garages and Service Stations document the charm and personality of these survivors of the petrol age.

A colourful photography book on this visually stunning vernacular artform, the images painted onto these trucks and tuks are a phenomenon, giving a unique insight into the rich cultural traditions of the Indian subcontinent. White stallions and exotic birds frolic around a waterfall, glamorous Bollywood stars sing, a sunset-silhouetted couple bathe in the ocean - such are the images that adorn the trucks and tuks of the Indian subcontinent. These utilitarian vehicles provide a fertile canvas for the vernacular artists whose colour-saturated creativity covers every spare surface. Over four years, photographer Christopher Herwig (author of the Soviet Bus Stops series and Soviet Metro Stations) travelled 10,000 kilometres in his quest to record this overlooked artform. He has documented the characteristics of each region - from Pakistan in the north, where intricately painted trucks often have a curved wooden peak at the front, symbolizing a princess' tiara; to Sri Lanka in the south, where tuk tuks might equally be painted with holy deities or the Joker from Batman. The designs reflect a driver's identity, faith and aspirations and span a bewildering range of themes: ideals of masculinity might be intertwined with expressions of love and longing, while bold typography urges drivers to blow their horns or promotes a campaign for the education of girls. Sadly, as a result of government directives, alongside the proliferation of cheap, mass-produced decorations, this vibrant cultural expression is in decline, making this project all the more vital.

'Come Closer, Closer Please' is a book of photographs taken by Leigh Johnson over a decade. To look through Leigh Johnson's viewfinder is to see the world as a series of awkward angles, both physical and psychological. Although they range from guilelessly straightforward to layered to the point of indeterminacy, her images derive from a singular, distinctive point of view. Whatever the qualities of her surfaces, her sensibility is consistently off kilter. A typical Johnson image lays bare an uncomfortably intimate moment. She fixes events that we might prefer to be fleeting and so holds attention upon objects and situations that make us flinch. She induces our collusion in her practice of invasion, not only into the lives of others, but also into her own: the out of focus face of a mildly discomfited child and an unguarded teenager swigging from a carton sit alongside the remains of a meal that looks to be better left uneaten and a moment from a holiday that suggests more agony than ecstasy. The large part of Johnson's pictures are snatched, yet it is her compositions that are most revealing of her relationship with her subjects. Even while they perform for her, she refuses them the resolution of their moment. Instead she lets them hover in an instant either immediately before or just after, and, in doing so, creates punctured narratives that allow her anxieties to flow unchecked across her entire body of work. She is held by a fraught identification with not only the people, but also the things that she photographs. The key image in this selection is the double portrait of herself and her lover grafted together by the angle of the mirrors on a cupboard door to become a wary, sexless hybrid. Ostensibly an image of unification, the image actually documents the mundane catastrophe of a broken relationship. Arranging her pictures in a constellation that slides between harmony and dissonance, Johnson adopts a diaristic approach. Multiple tales can be traced across these walls. Domesticity, work and travel, everyday life and adventure, beauty and disgust all sit side by side. Above all, there is a love story, told in fragments, that is pitilessly honest while being characteristically oblique.

The Eyes invites Lebanese-born writer Sabyl Ghoussoub to explore the link betweenp hotography and exile. This issue invites us to reflect on how art can help to reconstruct a fragmented identity. This new issue of The Eyes takes a multi-dimensional approach to exile. Exile as a common noun, as a state, as a condition, but also, and above all, as a verb. Exiles are actors in their own destiny, with the capacity to transform their lives and influence their own paths. Far from external representations of exiles, this issue focuses on first-person accounts. This is true not only of Sabyl Ghoussoub, the guest artist in this issue, but also of the other artists.

Dog's Best Friend celebrates the heartwarming bond between dogs and their humans, one city street at a time!In Dog's Best Friend, photographer Giuseppe Santamaria presents a beautiful street photography collection celebrating the joy, character, and companionship shared by dogs and their humans. Through candid snapshots taken on city streets from Paris to Tokyo, Melbourne to New York, Santamaria reveals the universal connection between people and their pets, capturing moments that are heartwarming, playful, and often poignant. This book is a tribute to the timeless friendship between dogs and their human companions.

Jim Marshall took over ten thousand photos of the Grateful Dead throughout their career?from Woodstock to the last free concert on Haight Street and beyond. Marshall's magnificent images chronicle the band's trajectory as hairstyles changed, relationships came and went, and the music evolved into the sound that would become beloved by generations to come.

A fascinating study of the British Navy, that is copiously illustrated throughout, and complete in three volumes.

The world’s best bird photography gathered in one beautiful bookThe 10th-anniversary volume of the acclaimed seriesCelebrating the artistry of bird photography from around the globe, the Bird Photographer of the Year is the leading international bird photography competition, and this gorgeous, large-format book showcases the best images from the contest—some of the most spectacular bird photographs ever taken. A remarkable record of avian beauty and diversity across the globe, the book demonstrates the astonishing skill of bird photographers and the incredible quality of today’s digital imaging systems. Previous volumes of this annual series of books have garnered rave reviews. Writing about Collection 9, The Washington Post said, “This stunning collection of images . . . presents the avian world in all its soaring grandeur, stunning color and, yes, accidental comedy.”The Collection 10 volume features more than 250 of the best photographs selected from a record 33,000-plus entries submitted for the tenth anniversary of the competition, including all the winning and short-listed pictures. Taken by experienced professionals and enthusiastic amateurs, these richly various photos are organized by contest category, including Birds in the Environment, Bird Behavior, Birds in Flight, Urban Birds, Conservation, and the Young Bird Photographer of the Year. A portion of the Bird Photographer of the Year’s profits goes to Birds on the Brink, a charity that supports bird conservation around the world.Filled with unforgettable images of a kind that simply weren’t possible before digital photography, this book will delight anyone who loves birds or great photography.Large (11 x 9 inches / 28 x 23 cm), beautifully designed, and lavishly produced hardcover volumeFeatures more than 250 stunning photographsProvides details about how each image was captured—including camera, lens, and shutter speed

A deeply personal work of photojournalism from one of Britain's most exciting young photographers working today For many queer people, exile begins at home. The search for safety and freedom to express themselves drives millions of LGBTQIA+ people across borders. Their stories are full of contrasts--between isolation and community, freedom and nostalgia. In their stunning compositions, photographer Asafe Ghalib explores the identities of members of the LGBTQIA+ immigrant community in Britain with striking beauty and poise. Brought up in a religious family, Ghalib draws from their own experience, leaving Brazil behind, to depict the rich lives of their subjects who live at the intersections of multiple cultures. Their work, which evokes black-and-white newspaper photographs and classic portraiture that has been present since the dawn of photography, immortalizes the lives of a community that has been misrepresented for decades. The latest in a groundbreaking series of photobooks that highlight queer lives and communities around the world, Shine invites the viewer to enter the world of Britain's many queer communities, and in doing so, to challenge common misconceptions and prejudices about LGBTQIA+ people in Britain. An act of both confrontation and pride, this book is also an exploration of immigration as a human right, and above all, a celebration of the triumphs of a defiant community. Shine was designed by Emerson, Wajdowicz Studios (EWS).

Faces - Portraits That Capture a Whole World collects the 'character heads' that Serge Anton photographed during his countless trips to Africa and Asia. Text in English and French.

The first publication devoted to Tamio Wakayama’s remarkable photographic career, Enemy Alien shares unpublished photos and a memoir by the artist about his life working alongside activist movements and in vibrant communities, from the civil rights–era American South to the Powell Street Festival in Vancouver.Wakayama was born in New Westminster, British Columbia mere months before Pearl Harbor and was soon forcibly relocated with his parents to an internment camp for Japanese Canadians. This early childhood experience of injustice would shape the rest of his life and practice. Later, as a young man, Wakayama was vacationing in Tennessee when the Birmingham Church Bombing happened; inspired by a deep sympathy for the activists, he drove straight to Birmingham, met John Lewis, and began working for the Student Nonviolent Coordinating Committee (SNCC) in Atlanta, first as a cleaner and driver and soon as a photographer. For two years Wakayama produced campaign material and documented SNCC activists and actions in Georgia, Mississippi, and Alabama, including the 1964 Freedom Summer. After leaving the US, he photographed Indigenous and Doukhobor communities in Canada, everyday life in Japan and Cuba, and finally settled in Vancouver, where he joined the resurging Nikkei community and the Redress Movement, and for decades photographed the Powell Street Festival.The centerpiece of the heavily illustrated publication is Wakyama’s unpublished memoir, Soul on Rice, which includes numerous photo spreads. Essays by Eva Respini and Paul Wong situate the artist’s practice within a broader art-historical context, and an interview with Mayumi Takasaki, Wakayama’s partner of forty years, offers an intimate perspective on his life and work. Photos and texts throughout the book are contextualized with archival material such as contact sheets, newspaper articles and the artist’s correspondence. Enemy Alien is co-published with the Vancouver Art Gallery in association with an exhibition of the same name, curated by Paul Wong.

A photographic collection that celebrates the tranquility of winter and the ingenuity of vernacular architecture.From a clear, straight-on vantage point and with a pictorial formality echoing the work of documentary photography pioneers Bernd and Hilla Becher, Richard Johnson (1957–2021) spent more than a decade recording and categorizing visual typologies of small, hand-built structures across Canada.His largest and most celebrated collection of photographs documents ice huts used for fishing across the frozen lakes, bays, and rivers. These huts must be weather-resistant and transportable, giving basic shelter around the opening to the water below. Johnson’s photographs reveal the functional and aesthetic similarities and differences of what he called “renegade architecture”—a form verging on a vernacular folk art tradition.Later in his life, Johnson began documenting Newfoundland’s ubiquitous, earthen-built root cellars. To Johnson, the cellars were place-specific oddities; efficiently constructed and curiously anthropomorphic. They also fit conceptually into his lifelong fascination with small structures built out of necessity and usually by hand.More than 200 photographs from these series are complemented by texts from acclaimed photographer and filmmaker Edward Burtynsky and curator Tom Smart that contextualize Johnson’s photographs and place his work among the contemporary disciples of the Becher’s Düsseldorf School. A personal text by Johnson’s long-time partner, Lucie Bergeron-Johnson, provides an intimate portrait of the artist, and chronicles his journey to the discovery of his subject matter and the development of his signature style.