Catalogue 2010 fall - Dewi Lewis Publishing

Catalogue 2010 fall - Dewi Lewis Publishing

Catalogue 2010 fall - Dewi Lewis Publishing


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dewi lewis publishing<br />

catalogue 2011

Cover photograph © Elin Høyland, from The Brothers<br />

£30.00 / $48.00<br />

Hardback, 72 pages<br />

32 colour photographs<br />

375mm x 280mm<br />

ISBN: 978-1-907893-10-0<br />


Phillip Toledano<br />

This is a book of portraits of people who have re-created themselves<br />

through plastic surgery.<br />

Phillip Toledano believes that we are at the vanguard of a period of<br />

human-induced evolution. A turning point in history where we are<br />

beginning to define not only our own concept of beauty, but of<br />

physicality itself.<br />

Beauty has always been a currency, and now that we finally have<br />

the technological means to mint our own, what choices do we<br />

make?<br />

Is beauty informed by contemporary culture? By history? Or is it<br />

defined by the surgeon’s hand?<br />

When we re-make ourselves, are we revealing our true character,<br />

or are we stripping away our very identity?<br />

Phillip Toledano was born in 1968, in London, to a French Moroccan<br />

mother and an American father. His work is primarily sociopolitical,<br />

and varies in medium, from photography to installation.<br />

His installation project, ‘America, the gift shop’, was shown at the<br />

Center for Photography at Woodstock. The premise: If George<br />

Bush’s foreign policy had a souvenir shop, what would it sell?<br />

Toledano has published three previous books: Bankrupt – Photographs<br />

of recently vacated offices, (Twin Palms, 2005), Phonesex<br />

(Twin Palms, 2008), and Days With My Father (Chronicle, <strong>2010</strong>).<br />

His work has appeared in Vanity Fair, The New York Times<br />

Magazine, The New Yorker, Harpers, Esquire, GQ, Wallpaper,<br />

The Times, The Independent, Le Monde, and Interview magazine,<br />

amongst others.

£35.00 / $55.00<br />

Cloth-bound hardback<br />

168 pages,153 duotones<br />

206mm x 305mm<br />

ISBN: 978-1-907893-00-1<br />

Not available in France, Italy, Spain.<br />


Michael Ackerman<br />

introduced by Denis Kambouchner<br />

According to Denis Kambouchner’s introduction, Michael<br />

Ackerman’s latest book Half Life is a haunted book. It is certainly<br />

disturbing; in Michael Ackerman’s world, something is always<br />

disintegrating. A feeling of isolation pervades; a space weighed<br />

down by history overwhelms everything.<br />

The landscapes are harsh and unwelcoming, combining frozen<br />

expanses, blackened houses, abandoned cemeteries and vestiges<br />

of the mining industry. But it is the anguish of individuals that stirs<br />

us most deeply – their expressions of distress and confusion, their<br />

unfinished gestures, the sense of damage. These are people who<br />

appear to live in the ruins of a drama. It is as if their whole bodies<br />

were given over to a scream. What all these people, these bodies<br />

and these images, have in common is the pure situation, that<br />

something is wrong – out of joint.<br />

Everything in the book is in the form of a response. Ackerman<br />

carefully constructs a whole system of recalls and echoes, reinforcing<br />

a primordial desolation, set against the backdrop of an entirely<br />

fragmented and disordered world. It is an extraordinary and unsettling<br />

vision.<br />

Born in Tel Aviv, Michael Ackerman moved to New York in 1984.<br />

After studying he began to photograph in the city’s streets, nightclubs<br />

and on its waterfronts. Between 1993 and 1997 he made<br />

several trips to Benares, India. The photographs were published as<br />

End Time City by Robert Delpire, the legendary Paris based publisher.<br />

A member of Agence/Gallerie Vu, Ackerman has exhibited<br />

internationally and has won several international awards including<br />

the Prix Nadar, the SCAM Roger Pic Prize and the International<br />

Centre of Photography Infinity Award. His work is in many major<br />

collections and in <strong>2010</strong> it was included in Traverse, the book and<br />

exhibition of the collection of Marin Karmitz which was shown at<br />

Rencontres d’Arles.<br />

£30.00 / $48.00<br />

Hardback, 144 pages<br />

77 colour photographs<br />

240mm x 290mm<br />

ISBN: 978-1-907893-04-9<br />

Not available in France, Spain, Greece, Italy or Germany.<br />

Winner of The European Publishers Award For Photography <strong>2010</strong><br />


Christophe Agou<br />

story by John Berger<br />

In the Face of Silence is a powerful and moving portrait of the hard<br />

lives of French farmers living and working in the Forez region of<br />

France. Born and brought up in the area, Christophe Agou travelled<br />

to the less-known parts of the region, where he felt inspired by the<br />

silence and moved by the people he encountered. Over time, and<br />

through the gradual process of building trust and friendship, the<br />

farmers and their families accepted him and allowed him to both<br />

photograph and film their daily existence. The challenge was to go<br />

beyond just documenting their labour-intensive lives and present<br />

a deeper, more intimate portrait.<br />

Christophe Agou is noted for his personal documentary-style. His<br />

intimate images both haunt and intrigue – and create an intensely<br />

rich, layered, visual language.<br />

Agou came to prominence with his compelling body of work made<br />

in the New York subway, published as Life Below in 2004. He was a<br />

finalist for the prestigious Eugene Smith Award (2006), for Le Prix<br />

de la Photographie de l’Académie des Beaux-Arts de Paris (2008)<br />

and received a ‘Mention Spéciale’ for le Prix Kodak de la Critique<br />

Photographique (2009). His photographs have been widely published<br />

and exhibited including shows at MOMA, New York; Jeu<br />

de Paume, Paris; Museum of Fine Arts, Houston; Les Rencontres<br />

d’Arles, France; and Noorderlicht Fotofestival, The Netherlands.<br />

John Berger, art critic, novelist, painter and author was the 1972<br />

winner of the Booker Prize with his novel G. His book on art criticism<br />

Ways of Seeing is recognised as one of the seminal texts on<br />

the subject.

£30.00<br />

Cloth-bound hardback, 136 pages<br />

50 colour photos<br />

245mm x 305mm<br />

ISBN: 978-1-907893-20-9<br />

Not available in the USA<br />

Also available by Shai Kremer:<br />

Infected Landscape<br />

ISBN: 978-1-904587-59-0<br />


Shai Kremer<br />

texts by Shai Kremer, Meron Benvenisti, Anne Wilkes<br />

Tucker, Talya Sasson, Amiram Oren, Ariella Azoulay<br />

Israel’s history can be understood through its vast archaeological<br />

heritage. Its past exists not only in the written word but also in its<br />

land, in the architecture and ruins, in the stones themselves. Each<br />

civilization overwrites another, layer upon layer – a sophisticated<br />

palimpsest.<br />

A single frame can expose the sediment of thousands of years.<br />

The recycling of spaces, from one empire to the next, shows how<br />

each sought to conquer and rule the land, all with a similar outcome:<br />

eventual failure. Kremer shows the vestiges of this complex<br />

multicultural saga, testimonies unearthed from the past that show<br />

a different perspective. It is landscape as a place of amnesia and<br />

erasure, for Israel is a strategic site where the past has been<br />

buried and history veiled by natural beauty.<br />

Kremer’s Israel exists beyond the media headlines and tourist<br />

hotspots: it is landscape as cultural force, an instrument in the<br />

construction of national and social identity. For Kremer, it is a<br />

provocation to critical debate about a country where different<br />

perspectives existed, and continue to exist, and where new<br />

possibilities can be reflected upon.<br />

Born in 1974 and raised in Israel, Shai Kremer currently lives in<br />

Tel Aviv and New York. He has exhibited widely internationally:<br />

Tate Modern, London; Metropolitan Museum of Art, New York;<br />

SF MoMA, San Francisco; Chicago Museum of Contemporary<br />

Photography; Tel Aviv Museum of Art; The Israel Museum,<br />

Jerusalem; the Red Cross Red Crescent Museum, Geneva;<br />

Guangzhou Photo Biennale, China; Omotesando Gallery, Tokyo;<br />

Vittoriano Art Museum, Rome; PHotoEspaña, Madrid.<br />

His work is held by several major museum collections including<br />

The Metropolitan Museum of Art, New York; SF MoMA, San<br />

Francisco; the Museum of Fine Arts, Houston; the Israel Museum,<br />

Jerusalem and the Tel Aviv Museum of Art.<br />

£30.00 / $50.00<br />

Cloth-bound hardback, 192 pages<br />

70 colour photos, 60 illustrations of letters<br />

310mm x 247mm<br />

ISBN: 978-1-904587-96-5<br />

Also available by Edmund Clark:<br />

Still Life Killing Time<br />

ISBN: 978-1-904587-53-8<br />

GUANTANAMO: If the light goes out<br />

Edmund Clark<br />

texts by Julian Stallabrass and Omar Deghayes<br />

‘When you are suspended by a rope you can recover, but every time I see a<br />

rope I remember. If the light goes out unexpectedly in a room, I am back in<br />

my cell.’ – Binyam Mohamed, Prisoner #1458<br />

For over eight years the American naval base at Guantanamo Bay on Cuba<br />

has been home to hundreds of men, all Muslim, all detained in the aftermath<br />

of the 9/11 attacks on suspicion of varying degrees of complicity or<br />

intent to carry out acts of terror against American interests. Labelled ‘the<br />

worst of the worst’, most of these men were guilty of nothing more than<br />

being in the wrong place at the wrong time. Many fell prey to a US military<br />

policy of paying bounty money for anyone the Pakistani secret service, border<br />

guards or village leaders on both sides of the blurred Afghan-Pakistan<br />

border considered a possible or potential ‘suspect’, thereby becoming<br />

currency in the newly defined ‘War on Terror’. Held in legal limbo for years<br />

and repeatedly interrogated, almost all have been released without charge<br />

and only a very few have been tried in the special military commissions<br />

set up for the purpose.<br />

Guantanamo: If the light goes out illustrates three experiences of home: at<br />

Guantanamo naval base, home to the American community; in the camp<br />

complex where the detainees have been held; and in the homes where<br />

former detainees, never charged with any crime, find themselves trying<br />

to rebuild lives. These notions of home are brought together in an<br />

unsettling narrative, which evokes the process of disorientation central to<br />

the Guantanamo interrogation and incarceration techniques. It also explores<br />

the legacy of disturbance such experiences have left in the minds<br />

and memories of these men.<br />

Edmund Clark is known for his powerful, thoughtful and beautiful images<br />

exploring control and incarceration. His work is in several collections<br />

including The National Portrait Gallery, London, and the Museum of Fine<br />

Arts, Houston.<br />

Awards include:<br />

Terry O’Neill / IPG Award for Contemporary British Photography (2008) for<br />

his book Still Life Killing Time.<br />

British Journal of Photography International Photography Award (2009).<br />

First Prize for Editorial Photography at the International Photography<br />

Awards/The Lucies (<strong>2010</strong>).<br />

Shortlisted for the International Photographer of the Year <strong>2010</strong>.

£30.00 / $48.00<br />

Hardback, 192 pages<br />

150 colour photographs<br />

220mm x 305mm<br />

ISBN: 978-1-907893-06-3<br />

Published to coincide with major exhibition at The Nobel Peace Centre,<br />

Oslo, from May to November 2011. Exhibition then tours internationally.<br />


Espen Rasmussen<br />

How do you survive at subsistence level?<br />

How does it feel to leave the safety of home and not be able to return?<br />

What is life like for a child who is forced to flee from his home?<br />

What is it like to live in constant fear for your life and of losing<br />

those close to you?<br />

For seven years, photographer Espen Rasmussen has travelled<br />

the world to document refugees and displaced people. TRANSIT<br />

tells the stories of some of the 43.2 million people on the run in<br />

the world today. From the makeshift camps in DR Congo to the<br />

slums of Colombia, the book presents stories of everyday life and<br />

the challenges displaced people and refugees meet every day,<br />

no matter in which country or on which continent they find<br />

themselves.<br />

Espen Rasmussen is picture editor at Norway’s largest newspaper<br />

VG. He constantly works on documentary projects, and has focussed<br />

particularly on social issues and climate change. For the<br />

last seven years he has worked on the long term project TRANSIT.<br />

Rasmussen has worked with NGOs, such as Médecins Sans Frontières,<br />

the Norwegian Refugee Council and the UNHCR, as well as<br />

on stories for VG. He has won many awards for his work, including<br />

two at World Press Photo, seven at Pictures of the Year International<br />

and twenty six in the Norwegian Picture of the Year. In 2008,<br />

Photo District News (USA) named him one of the most promising<br />

young photographers in the world. His work has been exhibited<br />

widely, both in Norway and internationally.<br />

above & below: DR Congo<br />

£30.00 / $48.00<br />

Hardback, 112 pages<br />

110 colour photographs and illustrations<br />

310mm x 247mm<br />

ISBN: 978-1-907893-05-6<br />

April 2011 is the 50th anniversary of man’s first flight into space.<br />


Maria Gruzdeva<br />

essay by Matthew Shaul<br />

Fifty years ago, on April 12th 1961, Yuri Gagarin became the first man in<br />

space. His orbit of the Earth made him a celebrity worldwide. His name is<br />

still synonymous with the Space Race and with Russian space exploration.<br />

Half a century after the legendary flight, Direction–Space! looks at two of<br />

the sites that were key to the Soviet Space programme: Star City and<br />

Baikonur.<br />

Cosmonauts have lived and trained in Star City since the 1960s. In the<br />

Soviet era, it was a top secret location. Now also known as The Yuri<br />

Gagarin Russian State Science Research Cosmonauts Training Centre it is<br />

still a military research centre and consists of a training facility and a residential<br />

area for the cosmonauts and their families as well as the military<br />

and civilian personnel serving the facility.<br />

Baikonur, situated in Kazakhstan, was the world’s first space launch facility<br />

and it is still the largest. Nowadays, the site is leased from Kazakhstan and<br />

administered by Russia.<br />

Direction–Space! is a fascinating study of Star City and Baikonur. Incorporating<br />

unique archive materials, it explores the reality of the space<br />

community at first hand, investigating the physical and psychological<br />

space as well the routine and lives of its residents. It offers a new insight<br />

into a subject central to the Cold War history of the Soviet Union, and<br />

raises questions over attitudes and perceptions that have been formed<br />

over past decades.<br />

Russian-born photographer Maria Gruzdeva is now based in London.<br />

She is able to offer a unique perspective on her country of origin, its post-<br />

Soviet history and aesthetics. She held her first major solo exhibition in<br />

Moscow in <strong>2010</strong> and has shown her work in several group exhibitions as<br />

well as at art fairs such as VOLTA6 in Basel and Art Moscow.

£30.00 / $48.00<br />

Quarterbound hardback, 96 pages<br />

45 duotone photographs<br />

310mm x 230mm<br />

ISBN: 978-1-907893-08-7<br />


Elin Høyland<br />

introduction Gerry Badger<br />

When Elin Høyland heard about two elderly brothers, Harald and Mathias<br />

Ramen, living together in Tessanden, a small hamlet in rural Norway, she<br />

approached them to see if they would collaborate with her on a photographic<br />

project about their lives. The result is a fascinating and warmly<br />

human study of a way of life that has now almost entirely disappeared.<br />

Harald (75) and Mathias (80) had always lived on the smallholding in<br />

which they were born. Neither had married. Mathias once worked in Oslo<br />

for two months, but hadn’t like it, whilst Harald spent one night, ‘the worst<br />

of his life,’ he would say, in a hotel in Lillehammer, some three hours away.<br />

They’d worked for an electricity company, as loggers and also as carpenters,<br />

but now much of their time was taken up just managing firewood for<br />

their home. As Harald said, they chopped wood, carried wood and burned<br />

wood. At least twice a day, they also fed wild birds in the twenty bird<br />

boxes that they monitored. Their days followed a predictable and comforting<br />

routine. In their free time they listened to the radio or read the local<br />

paper. In the 1960s they rented a TV for a one month trial but returned it<br />

after deciding that it took up too much time. Little changed from year to<br />

year, though Mathias once said that changes were happening the whole<br />

time and it would probably end up with them getting an inside toilet with<br />

running water. Harald died from an asthma attack while shovelling snow in<br />

conditions of –20ºc. Mathias continued to live alone in the house until he<br />

moved into an old people’s home. He died in 2007.<br />

Norwegian photographer, Elin Høyland has freelanced for several major<br />

newspapers including The Guardian. She is currently photographer with<br />

the Norwegian Business Daily and her work has been exhibited in both<br />

Scandinavia and the UK.<br />

Gerry Badger is recognised world-wide as one of the leading writers on<br />

photography. Amongst his many projects he wrote the TV series The<br />

Genius of Photography and was co-author with Martin Parr of the two<br />

volume The Photobook: A History.<br />

£30.00 / $48.00<br />

Clothbound hardback, 84 pages<br />

39 colour photographs<br />

240mm x 300mm<br />

ISBN: 978-1-907893-07-0<br />

Not available in France<br />

Under Gods is a project developed during Liz Hingley’s residency<br />

at Fabrica, Benetton’s research centre on communication.<br />


stories from the Soho Road<br />

Liz Hingley<br />

texts by Elizabeth Edwards & Christopher Pinney<br />

Liz Hingley, the daughter of two Anglican priests, grew up in Birmingham,<br />

one of the UK’s most culturally diverse cities, where over<br />

90 different nationalities now live. It is hardly surprising therefore<br />

that she developed an interest in multi-faith communities and<br />

began to explore the complex issues involved, ranging from immigration,<br />

through to secularism and religious revival.<br />

Between 2007-2009, Hingley focused on the three-mile stretch of<br />

Soho Road in Birmingham, one of the most varied and fascinating<br />

corners of the country. It is a junction of diverse faith, where Muslim,<br />

Hindu, Buddhist and Jain, Rastafarian, Christian and Sikh<br />

meet. “Faith is exhibited in all the shops, shown off as symbols on<br />

hats and t-shirts, branded in tattoos,” says Hingley. “It is religion<br />

rather than race that now defines the local communities.”<br />

With more than twenty different religions represented in a single<br />

road, various buildings are used for religious purposes from<br />

churches in a school gym hall, to makeshift baptism tents in the<br />

local park. And with so many communities co-existing in such<br />

close proximity, the boundaries between faiths can, as Hingley has<br />

observed, become exaggerated. “It was as if these religions were<br />

challenging each other,” Hingley said “challenging each other to<br />

show themselves off the most.”<br />

Under Gods is a powerful celebration of the rich diversity of these<br />

religions and of the reality and intensity of their different lifestyles.<br />

London based, Liz Hingley has won numerous awards including<br />

the Canon AFJ and Figaro Magazine Award <strong>2010</strong>, and the Taylor<br />

Wessing National Portrait Award, 2009. Her work was highly<br />

commended in the <strong>2010</strong> and 2007 Ian Parry Award and she was<br />

a finalist for the Eugene Smith Grant <strong>2010</strong>. She has exhibited in<br />

solo and group shows in the UK, France, Budapest and New York.

£35.00 / $55.00<br />

Hardback, 108 pages<br />

65 colour photos<br />

265mm x 335mm<br />

ISBN: 978-1-907893-02-5<br />

£30.00 / $45.00<br />

Hardback, clothbound<br />

88 pages, 60 colour photographs<br />

270mm x 335mm<br />

ISBN: 978-1-904587-81-1<br />


Edgar Martins<br />

texts by Sacha Craddock & Peter D.Osborne<br />

The subprime mortgage crisis, which had its roots in the closing years of<br />

the 20th century, became apparent in 2007. The crisis exposed pervasive<br />

weaknesses, as well as deep-rooted inequalities, within financial industry<br />

regulation and the global financial system.<br />

In the winter of 2008, Edgar Martins produced a series of photographs<br />

related to the collapse of the US housing market. He photographed abandoned<br />

homes, golf courses, ski resorts, hotels and other building projects<br />

in sixteen locations across six separate American states. His interest lay in<br />

catalysing and reuniting fresh experiences of a new form of architecture by<br />

summoning a disquieting conjunction of realism and fiction. And fiction, as<br />

the writer Jacques Ranciére states is elementary to understanding the real.<br />

This Is Not A House formed part of an assignment for the New York Times<br />

Magazine. The work became the focus of a heated debate due to Martins’<br />

decision to employ digital processes on a select few images. The series<br />

has been described as ‘arguably one of the most poignant pieces of work<br />

produced by a photographic artist in recent years, not only because of the<br />

relevance of it’s theme, but because of the way it propels us to re-evaluate<br />

our understanding of photography and its fragile and difficult relationship<br />

with the real’. It proposes new models for re-conceiving and conceptualising<br />

a particularly contemporary phenomenon and landscape. It also<br />

remains a poignant reminder of the financial ruin and bankruptcy that<br />

struck the lives of many thousands of ordinary people.<br />


Edgar Martins<br />

texts by Gerry Badger & Sacha Craddock<br />

Edgar Martins was granted special airside access to some of the most<br />

interesting airports in Europe. The airports he chose have had a key role<br />

in history or the history of aviation. Almost all his images were produced<br />

at night, using the aprons’ floodlights, moonlight or long exposures of<br />

between ten minutes to two hours.<br />

Some images are incredibly abstract, with a very long depth of field and<br />

often with the use of minimal lighting. In others, sky and ground merge<br />

in darkness with only the lights and airport hieroglyphics to orient us. Yet<br />

even these are hard to decode, for whilst this is a landscape of signs that<br />

can be read by the knowledgeable – pilots and air traffic controllers, for<br />

instance – it remains perplexing to the uninitiated. This juxtaposition of<br />

sign and shape is at the heart of these remarkable images.<br />

Internationally recognised, Edgar Martins has exhibited widely and has<br />

received many awards including the prestigious BES Photo Prize (Portugal),<br />

a New York Photography Award (Fine Art Category), the Terry O’Neil<br />

Award and a SONY World Photography Award.<br />

£19.99<br />

Hardback, 120 pages<br />

110 colour & b/w photographs<br />

220mm x 247mm<br />

ISBN: 978-1-907893-03-2<br />

London Street Photography is published in association with The<br />

Museum of London to coincide with the major exhibition on<br />

show at the Museum until September 2011.<br />


1860-<strong>2010</strong><br />

Street photography thrives in London today. It documents the<br />

movement, diversity and seeming incoherence of the most multicultural<br />

city in the world. Its defining characteristic is the keen eye<br />

of the photographer catching the moment of a chance encounter,<br />

a fleeting expression or a momentary juxtaposition in a decisive<br />

click.<br />

However, photographing life on London’s streets is nothing new.<br />

The first ‘instantaneous’ London street scenes were taken in the<br />

early 1860s, and by the 1890s candid street photographers were<br />

snapping Londoners unawares. The 20th century saw many<br />

photographers, famous and lesser-known, continue to capture<br />

the daily life of London.<br />

London Street Photography showcases the Museum of London’s<br />

unique historic collection of photographs. It contains the work<br />

of more than seventy photographers and is a fascinating view of<br />

London street life of the last 150 years. It includes the work of<br />

well-known photographers such as Paul Martin, John Thomson,<br />

Humphrey Spender, Bert Hardy, László Moholy-Nagy, Roger<br />

Mayne and Tony Ray-Jones as well as the work of many anonymous<br />

photographers whose contribution has been just as important<br />

in recording the story of the city.<br />

The book includes an introduction by Mike Seaborne, Senior<br />

Curator of Photographs at the Museum, in which he outlines the<br />

history of street photography in the capital, exploring the shifts in<br />

approach as well as the impact of new cameras that allowed photographers<br />

to capture the wealth of detail to be found in London’s<br />

teeming streets.<br />

© Roger Mayne / courtesy Museum of London<br />

© Nick Turpin / courtesy Museum of London

£25.00 / $40.00<br />

Hardback, 96 pages<br />

63 colour photographs<br />

245mm x 297mm<br />

ISBN: 978-1-904587-88-0<br />

£19.99 / $30.00<br />

Hardback, 112 pages<br />

53 colour photographs<br />

236mm x 165mm<br />

ISBN: 978-1-904587-90-3<br />


Polly Braden<br />

texts by David Campany & Jennifer Higgie<br />

China Between is a photographic exploration of the modern city culture of<br />

contemporary China. When the Peoples’ Republic set up its Special<br />

Economic Zones in the 1980s communist China entered into global trade<br />

and international capital. The goal was financial but new money also<br />

brought new values and new ways of life. Polly Braden’s photography is an<br />

intimate response to the material and psychological effects of the changes<br />

experienced by the country’s new urban class. Shot over three years in<br />

Shanghai, Xiamen, Shenzhen and Kunming, China Between is a revelatory<br />

portrait. No longer will images of epic scenes dominate our view of this<br />

country. Braden shows how a casual glance, a moment of doubt or a quick<br />

trip to the shopping mall can tell us as much about modern China as any<br />

image of a dam, a protest or a teeming workforce.<br />

… anthropological documents and a personal travelogue; a series of intimate<br />

portraits and, more generally, studies of a country undergoing a massive<br />

transition from a predominantly agrarian to an urban culture.<br />

Jennifer Higgie, editor of Frieze magazine<br />

Polly Braden has exhibited at venues internationally including the Institute<br />

of Contemporary Arts, London, and the Museum of Contemporary<br />

Photography, Chicago. Her photography has appeared in The Guardian,<br />

The Telegraph Magazine, Ei8ht, Portfolio, ICON, Photoworks, Frieze, The<br />

Sydney Morning Herald and D Magazine (Italy).<br />

The book is accompanied by texts by David Campany, Reader in Photography<br />

at the University of Westminster, London, and by Jennifer Higgie,<br />

editor of Frieze magazine.<br />


Domestic labour in the suburbs and villages in and<br />

around Hanoi, Vietnam<br />

Tessa Bunney<br />

Home Work looks at Vietnam’s ‘craft’ villages. These specialise in a single<br />

product or activity, anything from palm leaf hats to incense sticks, or from<br />

noodle-making to snake-catching. Some date back hundreds of years,<br />

whilst others are a more recent response to enable rural farmers to earn<br />

much needed income.<br />

Tessa Bunney spent two six month periods in Vietnam and visited many<br />

of these villages. The traditional village house is typically single storey and<br />

consists of three rooms. The large central room is a multi-purpose living,<br />

sleeping and working area and it is in this room where many of Bunney’s<br />

images are taken, the mix of work and everyday objects fascinating her<br />

visually. Interspersed with images from daily life in the rice fields and<br />

in the villages, these photographs depict ‘working from home’ in an<br />

unromanticised sense, where their subjects, mostly women, balance<br />

childcare with the routine work necessary for survival.<br />

75% of Vietnam’s population live in rural areas but as the country moves<br />

towards urbanisation, its agricultural labour force faces losing its land to<br />

urban projects – and its way of life. The country’s growing population is<br />

reducing the availability of farming land, and rural families, no longer<br />

able to sustain themselves from the land, are turning to the creation of<br />

various products. These ‘craft’ villages have become the meeting place<br />

between rural and urban, agriculture and industry. During the last decade,<br />

along with rapid national economic development, many craft villages<br />

have increased production up to five fold through small-scale industrial<br />

development. However, the consequence is increased waste and environmental<br />

pollution with the resources of the landscape becoming overused.<br />

£25.00 / $40.00<br />

Hardback, 156 pages<br />

93 duotone photographs<br />

265mm x 240mm<br />

ISBN: 978-1-907893-01-8<br />

Published in association with MAG<br />

Also available by Sean Sutton:<br />

Angola: Journey Through Change<br />

ISBN: 978-1-904587-43-9<br />

£15.99 / $25.00<br />

Softback, 184 pages<br />

101 colour photographs<br />

216mm x 162mm<br />

ISBN: 978-1-904587-87-3<br />

Published in association with the<br />

International Committee of the Red Cross<br />


Sean Sutton<br />

Introduced by Tim Page.<br />

Between 1964 and 1973, during the war with the United States, the North<br />

Vietnamese used a network of supply lines, known as the Ho Chi Minh<br />

Trail, running from North Vietnam through the jungles and mountains of<br />

neighbouring Laos and Cambodia. In an effort to staunch the flow of<br />

troops and weapons the U.S. dropped more than 2 million tons of bombs<br />

on Laos. Kept secret from Congress and the American people, full details<br />

of the scale of the bombing sorties only became declassified in the 1990s.<br />

By the time the aerial campaign ended in 1973 more bombs had been<br />

dropped on Laos, since renamed Lao People’s Democratic Republic<br />

(LPDR), than the Allies dropped on Germany and Japan combined during<br />

World War II. Many failed to explode, leaving the landscape littered with<br />

hundreds of thousands, perhaps even millions, of unexploded bombs, as<br />

lethal today as when they fell from the sky over three decades ago.<br />

Dubbed ‘bombies’ by Laotian villagers, these often brightly coloured cluster<br />

bomb submunitions are still found in the clefts of bamboo branches, by<br />

children playing in shallow dirt, or in the fields where farmers till the soil<br />

by striking the earth with a hoe. Since 1974 more than 20,000 people,<br />

many of them children, have been killed or injured by bombs or other<br />

unexploded ordnance. Today, the lives of about 300 Laotian people are<br />

still devastated each year by the deadly remnants of this war.<br />

For the past nine years photographer Sean Sutton has travelled with<br />

MAG’s projects (Mines Advisory Group), from Kosovo to Sri Lanka and<br />

Iraq, Lebanon and Sudan, documenting the humanitarian impact of armed<br />

violence, landmines, unexploded ordnance and other deadly remnants of<br />

conflict as well as the solutions that MAG provides.<br />


Nick Danziger<br />

text by Rory MacLean<br />

Missing Lives brings together fifteen, heartbreaking stories from the<br />

Balkans – stories that tell of the immense tragedy that took place between<br />

1991 and 2001 during the Yugoslav Wars when tens of thousands of Europeans<br />

vanished. Desperate for news, families of the missing prayed for a<br />

message, begged for the truth and often fell prey to blackmail. In almost<br />

every case, those missing had been murdered. But without any word, witness<br />

or body, the bereaved could not accept their loss. Their torment was<br />

to last years – for many it still continues. Children waited for parents to return<br />

from the grave. Mothers made up their dead son’s beds. Old men<br />

couldn’t bury their descendants. The living also ‘lost’ their lives.<br />

For the first time in war DNA has been used to match blood and bone, reuniting<br />

families divided by death, enabling survivors to find closure and to<br />

begin to live again. Since 1991 the International Committee of the Red<br />

Cross in the Balkans has been asked by families to trace 34,384 missing<br />

men and women. The remains of half of them – most of whom were murdered<br />

over a decade ago – have now been found. Missing Lives gives a<br />

voice to the unacknowledged suffering of these families, to all who went<br />

missing ‘by force’, and reminds us that in war there is no greater loss than<br />

the disappearance of those we love.<br />

Nick Danziger has published several books including Danziger’s Britain<br />

(1996), a social and political commentary on the state of Britain, described<br />

by The Independent as ‘so important that every one of us should read it<br />

and weep’. Rory MacLean’s six books, including UK best-sellers Stalin’s<br />

Nose and Under the Dragon, have challenged and invigorated travel writing.<br />

He has twice been shortlisted for the Thomas Cook Travel Book Prize<br />

and nominated for the International Impac Dublin Literary Award.

£35.00 / $55.00<br />

Hardback, clothbound, with gatefolds<br />

108 pages, 94 colour & b/w photographs<br />

300mm x 300mm<br />

ISBN: 978-1-904587-80-4 – English language edition<br />

ISBN: 978-1-904587-86-6 – Italian language edition<br />

Not available in Germany<br />


Dan Dubowitz<br />

texts by Patrick Duerden & Penny <strong>Lewis</strong><br />

During the period of Mussolini’s Fascist regime (1923–43) ‘colonia’<br />

– holiday centres for children – were established on the northern<br />

Italian coasts. Run by paramilitary youth organisations, they<br />

brought together modernist architecture, fresh air and discipline<br />

with the intention of converting the body and soul of Italian youth<br />

to fascist principles.<br />

The colonia were far removed from both the towns of Italy’s past<br />

and from the traditional structures of family and community. They<br />

offered a dramatic daily programme of activity with marching,<br />

synchronised exercise and gymnastics, flag-raising, saluting and<br />

swearing allegiance to the regime. It was a programme that in turn<br />

inspired architectural features in the buildings – including towers,<br />

ramps and elevated platforms – all designed to dramatise the parades<br />

and presentations by the young people. Even in the context<br />

of massive public works programmes, the building of the colonia<br />

offered unprecedented opportunities for progressive architects.<br />

They became a distinctive type of fascist building that evolved<br />

under the directives of the youth organisations. Despite the<br />

spectacle of the buildings, official policy declared luxuries as antieducational<br />

and anti-social. Accordingly only the most basic of<br />

accommodation was provided. Dormitories were intimidating,<br />

open plan and stark; each might accommodate several hundred<br />

children. Italian parents routinely admonished recalcitrant children<br />

with the threat ‘ti mando in colonia!’ (Behave, or I'll send you to<br />

the colonia!). For a generation of Italians the experience of fascism<br />

was a formative one, from which some never recovered.<br />

£35.00 / $55.00<br />

Hardback, cloth bound<br />

176 pages, 106 colour plates<br />

295mm x 295mm<br />

ISBN: 978-1-904587-83-5<br />


Dan Dubowitz<br />

The nature of any society and its future can be read in its entrails –<br />

in what is left behind, what is discarded. Each creates, uses and<br />

casts aside its wastelands in very different ways and it seems that<br />

a proportion of every city is always wasteland. These neglected or<br />

abandoned places are fragile and ephemeral, a transient aspect of<br />

a changing, living city, yet development appears unable to clear<br />

them away for good, only to move them on to a different site. This<br />

book explores some of these wastelands that collectively form a<br />

sustained and permanent feature of the modern city.<br />

Sites featured include the following:<br />

Beelitz, Germany – an entire settlement built for victims of TB.<br />

Vockerode, Germany – a giant pre-war power station in the East<br />

German industrial heartlands.<br />

Cardross, Scotland – St Peter’s Seminary now widely recognised<br />

as Scotland’s modernist masterpiece.<br />

Orford Ness, England – a decommissioned nuclear research facility<br />

and military complex.<br />

Gorton, England – a monastery and church designed by AW Pugin;<br />

the largest parish church of its time in the UK. In 1989 the Franciscan<br />

monks held their last mass.<br />

Ellis Island, USA – the hospital wing; during the Second World War<br />

it was used as a prisoner of war camp.<br />

San Gimignano, Italy – former convent and prison, now put to<br />

various uses by the local community.<br />

Santa Teresa, Cuba – colonial church and convent. Once a closed<br />

wall community and now a dense microcosm of a city within the<br />

larger city.<br />

An architect by training, artist and photographer Dan Dubowitz is<br />

also an established specialist public arts consultant and has<br />

worked on projects both in the UK and abroad. His photography<br />

has been exhibited in the UK, Italy, Canada and the United States.

£35.00 / $55.00<br />

extensive interviews included<br />

Hardback, 160 pages<br />

65 colour & b&w photographs<br />

280mm x 335mm<br />

ISBN: 978-1-904587-97-2<br />


Jason Bell<br />

introduced by Zoë Heller, interviews by Guy Harrington<br />

In 2008 Jason Bell undertook an assignment for American Vogue<br />

at ‘Tea & Sympathy’, an English tea room in the heart of Manhattan.<br />

In conversation with the owner, Nicky Perry, he was astonished<br />

to discover that over 120,000 British men and women lived<br />

in New York City. As an Englishman, himself living in New York,<br />

Jason was inspired to investigate further. An Englishman in New<br />

York is the result.<br />

The book documents a wide cross-section of English people living<br />

in the city. Their jobs are massively varied: taxi driver, cop, construction<br />

worker, diver, helicopter pilot, chef, burlesque dancer,<br />

drug dealer, UN ambassador and even dog walker. Jason was also<br />

struck by the significant influence that many Brits exercise on<br />

New York’s cultural agenda, which led him to include: writer, Zoë<br />

Heller; director, Stephen Daldry; artists, Cecily Brown and Bill<br />

Jacklin; Director of the Metropolitan Museum of Art, Thomas P<br />

Campbell; historian, Simon Schama; actor, Kate Winslet; and the<br />

musician, Sting.<br />

The book offers an extraordinary insight into the British sub-culture<br />

which forms an intrinsic part of everyday life in New York City. As<br />

Bell says, ’I went for a walk in Central Park with Sting, for a cup of<br />

tea on Kate Winslet’s roof terrace, sat on Zoë Heller’s stoop and<br />

watched Stephen Daldry cycle down 8th Avenue. I was given a<br />

private tour of both the Metropolitan Museum and Barneys’ shop<br />

windows. And amidst all the questions about why people had come<br />

here and what they had left behind, I learnt a little bit more about<br />

what it means to be English, what it means to be a New Yorker, and<br />

where the two intersect.’<br />

Jason Bell’s work regularly appears in the world's leading publications<br />

including Vanity Fair and Vogue (US & UK) and he has shot<br />

film posters for Billy Elliot, About a Boy, Bridget Jones, Love Actually<br />

and Golden Compass amongst others.<br />

£16.99 / $29.00<br />

Hardback, 128 pages<br />

148 colour illustrations<br />

235mm x 170mm<br />

ISBN: 978-1-904587-85-9<br />


Surreal Babies<br />

from the collection of James Birch<br />

with an introduction by George Melly<br />

These weird and wonderful postcards show babies as never seen before.<br />

Babies hatch from eggs, bubble from cauldrons, are fished from rivers,<br />

emerge in the cabbage patch, sit atop clouds, and ride in zeppelins. They<br />

play instruments, drive automobiles, fly in balloons, harvest the fields – an<br />

anarchistic world of baby heaven.<br />

James Birch first came across the postcards when he was a student in<br />

Aix-en-Provence. “A froth of smiling babies boiling away in a cauldron”<br />

caught his eye and he bought a small number of cards. He didn’t really pay<br />

much attention to the cards again until years later in the 1980s when he<br />

visited the Pompidou Centre for an exhibition on Surrealism. There in one<br />

of the display cases was a collection of fantasy baby postcards shown for<br />

their inspirational importance to both the Dadaists and the Surrealists.<br />

Despite the immensely varied subject matter of the postcards little is<br />

known of their history. They were produced from around 1900-1920 and<br />

were found from Russia, to Spain to Great Britain and most countries in<br />

between, however the majority appear to be from Germany.<br />

The postcards were a source of inspiration to many artists in the 1920s<br />

and 1930s, in particular to both the Dadaists and the Surrealists. They<br />

were collected by Paul Éluard, André Breton, Salvador Dali, Hannah Höch,<br />

Herbert Bayer, and Man Ray. The popular images excited inspiration in<br />

these artists because of their boundless inventiveness.<br />

A foreword is written by George Melly who was an acknowledged expert<br />

in the field of surrealism. Best known as a jazz and blues singer, writer and<br />

broadcaster, he was also an art critic and a devotee of the Surrealists. This<br />

is one of the last pieces he wrote before his death in 2007 at the age of 80.

£30.00 / $45.00<br />

Hardback, 108 pages<br />

83 colour photographs<br />

270mm x 335mm<br />

ISBN: 978-1-904587-89-7<br />

Supported by Aberystwyth Arts Centre, Graham Foundation for<br />

Advanced Studies in the Fine Arts, Welsh Books Council, Arts<br />

Council of Wales.<br />

This is a slipcased hardback edition limited to 400 copies plus<br />

a Collectors Edition of 100 copies.<br />

The specification is as follows:<br />

Slipcase in Cialux cloth with foil stamping<br />

72 pages with 58 colour plates, 210mm x 247mm<br />

Printed on 170gsm high quality matt art paper<br />

£35.00<br />

ISBN: 978-1-904587-98-9<br />

Collector’s Edition is limited to 100 signed and numbered<br />

copies and includes a specially produced inkjet print.<br />

£95.00<br />

Also available by Paul Hill:<br />

Dialogue With Photography (With Thomas J. Cooper)<br />

ISBN: 978-1-899235-61-2<br />


James Morris<br />

A Landscape of Wales takes an expansive look at the contemporary Welsh<br />

landscape. James Morris challenges the tourist clichés and looks at the<br />

impact of human presence and the layers of history in the landscape. He<br />

reflects upon issues of identity, exploitation and regeneration; it is a land of<br />

beauty and of hardship where – in this post industrial, post rural economy<br />

– Tesco and tourism are now the great employers.<br />

These are the contrasting realities of the Welsh landscape – that seen by<br />

the many visitors and that experienced by most inhabitants. Morris moves<br />

between tourist hot spots and the terraces and back streets where the<br />

majority of people live. The latter are often hard-bitten unpretty places. No<br />

longer the world’s largest producer of iron, coal, copper or slate, they have<br />

lost their historic reason and heroic status, sometimes even their raison<br />

d’être. By contrast the tourist landscape is one of pleasure seeking and<br />

escape – this is the Wales that visitors are sold and want to see. But in a<br />

small country, this selling of culture for the tourist pound has difficult<br />

consequences that build on the complexities of history that have shaped<br />

so much of this landscape.<br />

James Morris is an acclaimed photographer of landscape and the built<br />

environment. His work is in many private and public collections including<br />

The British Council; Museum of African Art, New York; Princeton University;<br />

Victoria and Albert Museum, London; the National Library of Wales.<br />

Brought up in Manchester, Jim Perrin is an award-winning writer of Welsh<br />

descent. His books include River Map (Gomer, 2001), The Villain: the life of<br />

Don Whillans (Hutchinson, 2005) and Travels with the Flea (In Pinn, 2003).<br />

The Climbing Essays won the Mountaineering Literature Award at the 2006<br />

Banff Mountain Festival.<br />


Paul Hill<br />

Corridor of Uncertainty is a metaphorical meditation on loss and pain,<br />

despair and hope, beauty and banality, and seeming to be in a foreign<br />

country without a map, where reactions range from pity to incredulity.<br />

The work was made following the death of his wife, Angela, in 2006 and<br />

although a very personal journey, it has resonances for a wide audience.<br />

It is the first major monograph that Paul has published since White Peak,<br />

Dark Peak in 1990.<br />

Widely acknowledged as one of the most influential UK photographers and<br />

teachers of photography of the last forty years, Paul Hill began his career<br />

as a freelancer for regional and national newspapers. In the early 1970s<br />

he began working in photographic education at Trent Polytechnic, Nottingham,<br />

where he became head of the ground-breaking Trent / Derby Creative<br />

Photography course – the forerunner of every art photography degree now<br />

available. In 1976, he and his late wife, Angela, established The Photographer’s<br />

Place, the first residential photography workshop in the UK, and a<br />

centre which influenced a generation of British photographers.<br />

Paul Hill has exhibited extensively. His work is in many permanent collections<br />

including The National Media Museum, the V&A, the British Council<br />

and the Arts Council; and, overseas, in the Museum of Fine Arts, Houston;<br />

Cleveland Museum of Art; the Japanese Photography Foundation; the<br />

Australian National Gallery; Moderna Museet, Stockholm, and the Bibliothèque<br />

Nationale, Paris. Birmingham City Archives acquired his archive in<br />

2004 to add to its national collection of photography.<br />

Paul Hill has published several books: Dialogue with Photography, co-written<br />

with Thomas Joshua Cooper, Approaching Photography and White<br />

Peak, Dark Peak. He has also received numerous awards including a<br />

Fellowship of the Royal Photographic Society, a Hasselblad Foundation<br />

Fellowship, and an M.B.E..<br />

£19.99 / $35.00<br />

Hardback, 168 pages<br />

110 duotone photographs<br />

165mm x 295mm<br />

ISBN: 978-1-904587-91-0<br />

Texts in English and Spanish<br />

Also available by John Comino-James:<br />

In A Very English Town<br />

ISBN: 9781904587729<br />

A Few Streets, A Few People<br />

ISBN: 978-1-904587-34-7<br />

Fairground Attraction<br />

ISBN: 978-1-899235-74-2<br />

£19.99 / $35.00<br />

Hardback, 120 pages<br />

116 colour photographs<br />

210mm x 295mm<br />

ISBN: 978-1-904587-99-6<br />

Also available by Tim Smith:<br />

Coal, Frankincense & Myrrh – Yemen and British Yemenis<br />

ISBN: 978-1-904587-65-1<br />

Asians in Britain<br />

ISBN: 978-1-904587-09-5<br />


Havana: In the Calzada del Diez de Octubre<br />

photographs & text by John Comino-James<br />

Authentic and fresh… the streets remain the preserve of those who live<br />

there … and when photographing the people he is among them, not sneaking<br />

a snap from across the street. – AG Photography Magazine reviewing<br />

‘A Few Streets’, John Comino-James’s first book about Havana.<br />

In his second book of photographs made in Havana, John Comino-James<br />

has again set out to explore a part of the city not normally visited by<br />

tourists. The geographical scope of the photographs is restricted to a<br />

single road, the Calzada del Diez de Octubre. The route itself predates the<br />

foundation of the Parish of Jesús del Monte in the 17th century and was<br />

formerly known as the Calzada de Jesús del Monte. In 1918 the road was<br />

renamed in commemoration of one of the most important events in<br />

Cuban history – the declaration of the first full-scale war of independence<br />

against Spanish colonial rule on 10th October 1868.<br />

Although its once important function as the principal route to the south<br />

has been superseded, the Calzada still remains a busy urban thoroughfare.<br />

Through engaged portraits and candid observation and with an eye for<br />

both architectural detail and the imposing façades that stand as testimony<br />

to the changing architectural styles of well over a century, John Comino-<br />

James creates an intimate and sympathetic record of the Calzada del Diez<br />

de Octubre which, through its long history, occupies an important place in<br />

the imagination and memory of Habaneros today.<br />

John Comino-James has published four previous books of photographs.<br />


from Delhi to the Khyber Pass<br />

photographs & text: Tim Smith<br />

oral histories: Irna Qureshi<br />

The Grand Trunk Road is the oldest, longest, and most famous highway in<br />

southern Asia. Through oral testimonies, photographs and texts this book<br />

explores its history, and shows why it was so crucial to the process of<br />

migration to Britain and how the close links between Britain and places<br />

along the road continue to this day.<br />

For millennia the Grand Trunk Road has been used by invaders to conquer<br />

the subcontinent. After the British arrived in the 17th century it became the<br />

main artery for their conquest and rule of the northern areas of British<br />

India. Known locally as the ‘GT Road’ it was also used by its residents to<br />

begin journeys that ended all over the world, and since the days of the<br />

British Raj large numbers of them have settled in Britain.<br />

Between Delhi and the Khyber Pass, the GT Road travels through the<br />

homelands of over 90% of British Pakistanis and the vast majority of British<br />

Sikhs and Hindus from the Indian Punjab. Using stories gathered by Irna<br />

Qureshi and photographs taken by Tim Smith this book tells the story of<br />

the profound impact of the British on the GT Road and its people, and how<br />

they in turn have irrevocably altered the fabric of modern day Britain.<br />

Irna Qureshi is an anthropologist and oral historian specialising in British<br />

Asian and Muslim arts and heritage.<br />

Tim Smith is a freelance photojournalist who combines editorial and commercial<br />

work with long term exhibition and publishing projects.

£30.00 / £48.00<br />

Hardback, 120 pages<br />

70 tritone photographs<br />

270mm x 290mm<br />

ISBN: 978-1-904587-84-2<br />

Not available in France, Germany, Greece, Italy, Spain<br />

.<br />

£30.00 / $45.00<br />

Hardback, 120 pages<br />

150 colour photographs<br />

240mm x 297mm<br />

ISBN: 978-1-904587-75-0<br />

Shortlisted for the PHotoEspaña Book Award <strong>2010</strong><br />

Voted as one of PDN’s Best Photo Books <strong>2010</strong><br />

Winner of PX3 Prix de la Photographie Paris – Book Prize <strong>2010</strong><br />

Awarded Kaunas Photo Star at Kaunas Photo Festival,<br />

Lithuania, <strong>2010</strong><br />


Klavdij Sluban<br />

Introduced by Erri De Luca<br />

East to East describes a journey, bringing together photographs made by<br />

Sluban during extensive travels, frequently following the route of the<br />

Trans-Siberian Railway.<br />

Sluban’s use of deep blacks and backlit silhouettes embues his work with<br />

a highly individual photographic style. These powerful images are remarkably<br />

moody and atmospheric and permeated with a strange melancholy<br />

and an overwhelming sense of isolation. This is deeply memorable work.<br />

Klavdij Sluban is an established and well-respected photographer. Born<br />

in Slovenia he moved to France at a young age and is now based in Paris.<br />

His photographs have been exhibited widely including the Museum of<br />

Photography, Helsinki; Metropolitan Museum of Photography, Tokyo;<br />

Museum of Modern Art, Canton, China; Maison Européenne de la Photographie,<br />

Paris; and Centre Pompidou/Beauborg, Paris. He has published<br />

several books and is included in the well-known Photo Poche series which<br />

features the world’s leading photographers. He was winner of the Leica<br />

Medal of Excellence in 2004 and the Prix Niépce in 2000.<br />

Erri De Luca is one of Italy’s leading writers and the winner of several<br />

literary awards in both Italy and France.<br />

Winner of the European Publishers Award for Photography 2009.<br />


Traces of the Soviet Empire<br />

Eric Lusito<br />

Introduction by Francis Conte, Professor of Russian & Soviet<br />

Culture, University of Paris-Sorbonne<br />

The Berlin Wall was the physical embodiment of the ‘Iron Curtain’ that<br />

divided the Soviet world from the West. Once it fell the Soviet Empire itself<br />

also began to crumble. At its heart was a military system which extended<br />

throughout its territories exerting huge control and influence. There were<br />

miltary bases in every country.<br />

Eric Lusito travelled throughout the former Soviet Union from East<br />

Germany to Mongolia, from Poland to Kazakhstan in search of these former<br />

Soviet military bases and his photographs are an extraordinary record.<br />

The military departed but much else was just left behind. Lusito discovered<br />

everything from gas masks to propaganda posters, books and magazines,<br />

instruction manuals and personal photographs.<br />

But it is the buildings themselves which are the most resonant symbols of<br />

the <strong>fall</strong> of a once powerful Empire. A lecture hall is laid out with chairs, and<br />

theatre spotlights are still mounted on the walls, yet the ceiling has begun<br />

to collapse; a swimming pool is full of water but this is stagnant water unchanged<br />

for years. And throughout there remain symbols of the old regime<br />

– murals of heroic deeds and national glories, photographs of political and<br />

miltary leaders, posters exhorting young soldiers to give their all for their<br />

motherland.<br />

The book includes photographs not only of the military bases but also<br />

of the murals, posters, books, instruction manuals etc. that Lusito found<br />

abandoned. It is a rich collection of work and illuminates the miltary world<br />

of the Soviet Union in a way that is both fascinating and unique.<br />

£30.00 / $55.00<br />

Hardback, 96 pages<br />

44 colour photographs<br />

330mm x 272mm<br />

ISBN: 978-1-904587-64-4<br />

Not available in France or Germany<br />

£25.00 / $45.00<br />

Hardback, 96 pages<br />

46 duotone photographs<br />

295mm x 295mm<br />

ISBN: 978-1-904587-70-5<br />

Top Photography Books of 2009, PDN, New York<br />

PX3 Prix De La Photographie Paris Awards, 2nd place art book<br />


Vee Speers<br />

This is a series of portraits of children about to attend an imaginary<br />

birthday party. Inspired by her daughter’s birthday party Speers imagined<br />

what characters might be created if role play were pushed to imaginative<br />

extremes. The children are placed in front of the same white wall and<br />

gaze into the lens of the camera, performing within a strictly laid out<br />

frame. They reveal very little of themselves and yet this is what makes the<br />

portraits so magnetic. The childlike game of dressing up, of putting on<br />

costumes, reinforces the surreal tone of the series.<br />

The Birthday Party is ‘anarchistic’ in its take on childhood and play, ‘both<br />

improvisatory and highly theatrical... unsentimental but playful, macabre... in<br />

a way which is liberating both for us as viewer and perhaps for her subjects<br />

too.’ Clare Grafik, The Photographers Gallery, London<br />

‘My intention was to show a real side of human nature, to expose a side of<br />

childhood that is not carefree or clichéd, and project a range of emotions<br />

and definitions which are part of an imperfect world.’ Vee Speers<br />

For the past fifteen years Vee Speers has been based in Paris, working in<br />

fashion, photojournalism and fine art photography. Her work has been<br />

widely exhibited throughout Europe, the United States, Brazil, Mexico,<br />

Japan and Australia.<br />

The Birthday Party featured in the inaugural exhibition that opened<br />

Sweden’s new gallery of photography, Fotografiska, in Stockholm in<br />

May <strong>2010</strong>.<br />


Michael Levin<br />

foreword by Barry Dumka<br />

Michael Levin’s photographs have gained international attention. The<br />

American fine art magazine Focus declared that “Michael Levin’s captivating<br />

images are soulful and evocative; he is truly one of the rising stars in the<br />

world of photography.”<br />

Using long exposures, Levin pulls his world taut, so that what remains in<br />

the landscape feels essential and revealed. There is a deceptive simplicity<br />

in his images as if these places need only to be found to be realised.<br />

Places that are simple and totemic. It is Levin’s pure sensibility which<br />

arranges this view, which finds these small moments and gives them<br />

weight and value and timelessness. He is particularly adept at capturing<br />

the smooth skin of light, the way it rolls over a place in the course of<br />

minutes rendering his subjects with their own private beauty. Levin<br />

illuminates these common places with new intent, making images which<br />

are both transfixing and transformative.<br />

Michael Levin has won numerous prestigious awards.<br />

In 2009: 1st Place Fine Art Category, 2nd Place Fine Art Book Category –<br />

International Photography Awards (USA).<br />

Professional Fine Art Photographer of the Year – PX3 Prix De La Photographie<br />

Paris Awards.

£20.00 / $35.00<br />

Hardback, clothbound<br />

96 pages, 61 colour photographs<br />

215mm x 200mm<br />

ISBN: 978-1-904587-73-6<br />

Shortlisted for the PHotoEspaña Book Award <strong>2010</strong><br />

Listed in Photeye Best Books of <strong>2010</strong><br />

£25.00 / $40.00<br />

Hardback, 144 pages<br />

120 photographs<br />

270mm x 270mm<br />

ISBN: 978-1-904587-82-8<br />


Andrew Buurman<br />

There’s something about the word ‘allotments’ that conjures up an image<br />

of traditional values, of balmy summer days spent working the land, escaping<br />

in honest toil. A rural idylll far removed from our everyday experience.<br />

And even though allotments can be found throughout the world, in our<br />

minds they still seem to encapsulate a certain Britishness.<br />

Andrew Buurman’s photographs capture the essence of the allotment and<br />

convey the enthusiasm and diversity of today’s plotholders. These photographs<br />

were all taken on Uplands Allotments, in Handsworth, in the heart<br />

of Birmingham. The largest allotment site in the UK – with 422 plots – it<br />

opened in 1949, with its own office and meeting hall. Even today it retains<br />

much of the communal spirit of the postwar era with weekly tea dances,<br />

bingo nights and an annual flower and vegetable show.<br />

The history of allotments tracks the major social and political changes in<br />

British life: the move away from open field agriculture, the urbanisation of<br />

the Industrial Revolution, the need for home grown produce during both<br />

World Wars. By 1943 there were some 1.4 million allotments in the UK<br />

growing 10% of the nation’s food. Inevitably both increasing affluence and<br />

the redevelopment of many sites led to a dramatic decrease in numbers,<br />

though in recent years there has been a resurgence of interest. There are<br />

now some 300,000 allotments in the UK often shared between families<br />

and friends.<br />

Andrew Buurman is a World Press Photo award winner and his work has<br />

been exhibited in the UK and USA.<br />


Robin Bell<br />

As digital photography has become increasingly dominant, the more<br />

traditional film-based black and white photography and the chemically<br />

produced photographic print have become uniquely repositioned in art,<br />

craft and culture. The art of photographic printing is now recognised as a<br />

serious craft, a rare skill that is much admired and respected.<br />

For Robin Bell this recognition as a craftsman of extraordinary ability has<br />

been earned over a career that stretches back some 35 years. He has<br />

worked with the biggest names in international photography including Bill<br />

Brandt, Eve Arnold, Don McCullin, Lee Miller, Ernst Haas, Terence Donovan,<br />

John Swannell, Ian Berry, Patrick Lichfield, Kevin Cummins, Tom<br />

Stoddart, Linda McCartney, Terry O’Neill, Norman Parkinson and Snowdon.<br />

Bell’s position as Britain’s leading black and white photographic printer is<br />

unassailable.<br />

This book brings together 126 photographs by these and other leading<br />

photographers whose work Bell has printed over the years. In his<br />

introduction David Litchfield, a central figure in photographic London in<br />

the 1980s and editor of Ritz newspaper and Image magazine, contextualises<br />

Bell’s career. Robin Bell himself provides the captions, describing<br />

both some of his favourite images and the most memorable photographs<br />

that he has printed over the years.<br />

Robin Bell’s printing and processing techniques are still as much sought<br />

after as ever by a wide range of photographers and their estates. His<br />

expertise and his collaborative approach make him a popular choice for<br />

many photographers and this retrospective survey of his work portrays<br />

both his passion for images and for the silver gelatin print.<br />

£19.99 / $35.00<br />

Hardback, 112 pages<br />

80 duotone photographs<br />

250mm x 210mm<br />

ISBN: 978-1-904587-95-8<br />

£19.99 / $35.00<br />

Hardback, 120 pages<br />

100 duotone & colour photographs<br />

225mm x 250mm<br />

ISBN: 978-1-904587-78-1<br />


photographs Michael Hess, texts Maxine Gallagher<br />

Around 1pm, every day of the week, nearly 600 bingo halls across the UK<br />

open their doors to thousands of loyal customers. But, although they can<br />

be found on almost every British high street, surprisingly few people ever<br />

see what goes on inside.<br />

In Bingo & Social Club, photographer Michael Hess opens up this world<br />

to a new audience. Behind the often-crumbling exteriors, he finds vibrant<br />

places full of strong characters, quirky details and more than a hint of<br />

nostalgia. In his own words: “I want people to feel that they’ve spent a night<br />

at the bingo – to sense what it feels like to be there.”<br />

Michael Hess and Maxine Gallagher spent many nights in the clubs, playing<br />

bingo, chatting with the managers and customers, and collecting<br />

stories from the people they met. They wanted to find out who these<br />

people really were. “Bingo halls are not just about gambling; they’re about<br />

human beings. They really do act as social hubs for many communities.”<br />

Jack, the manager of a bingo club in Newcastle, forms the backbone of<br />

the book.“He’s quite a character – tough and yet extremely dignified – and I<br />

knew straight away he could add the extra dimension I was looking for.”<br />


an alpine story<br />

Lois Hechenblaikner<br />

texts by Thomas Weski & Wolfgang Ullrich<br />

Off Piste is a very funny and powerful satire. It looks at the enormous<br />

changes to Austria’s alpine region, the Tyrol, over recent decades.<br />

It juxtaposes images from two very different worlds – the old, ‘traditional’<br />

rural Austria and the increasingly consumer-driven culture of today. Once<br />

there was a strong dependence on the natural world – the landscape, work<br />

and everyday lives were intertwined. The black and white photographs,<br />

taken by agricultural engineer Armin Kniely, that depict this ‘lost’ world<br />

have a particular charm. Today though, as Lois Hechenblaikner’s colour<br />

photographs vividly show, it is a much changed environment where the<br />

excesses of our consumerist world are clear to see.<br />

Wonderful ironies abound, yet despite the humour that underlies them<br />

there are chilling implications for the region and for the sustainability of its<br />

natural landscape and social traditions.<br />

With over 40 million overnight stays a year Austria’s tourist industry is all<br />

important to the country. Here there is ‘Something for everyone, summer<br />

and winter, season after season, event after event. A well-oiled leisure<br />

machine. A tourist paradise. Big business and big profits.’ But at what<br />

cost?<br />

Lois Hechenblaikner was born and raised in the Tyrol where his parents<br />

ran a guesthouse, and so he experienced tourism and the tourism industry<br />

from an early age. He is recognised as a critical observer of the changes in<br />

the Alpine area.

£19.99 / $39.00<br />

Hardback, 116 pages<br />

87 duotone photographs<br />

247mm x 165mm<br />

ISBN: 978-1-904587-58-3<br />

Not available in Germany, France, Italy<br />

£15.99 / $29.00<br />

Hardback, 128 pages<br />

72 duotone photographs<br />

235mm x 170mm<br />

ISBN: 978-1-899235-44-5<br />

Chris Steele-Perkins is a member<br />

of Magnum Photos.<br />


Anders Petersen<br />

Swedish born, Anders Petersen is internationally recognised for his<br />

intimate and personal documentary-style black-and-white photographs.<br />

Petersen explores the fringes of society and his images depict a raw, and<br />

sometimes disturbingly brutal, social portrait. Taken in the South of France,<br />

French Kiss is characteristic Petersen, exuding the poetic sadness,<br />

restlessness and sense of urgency that runs through all his work. When<br />

the work was first shown at Arles Photography Festival the response<br />

was astounding:<br />

‘They made everything else on display at the huge photography festival pale<br />

in comparison. They became the ‘buzz’ in Arles. And everyone realized that<br />

Anders Petersen (that wildly energetic 62-year-old guy) is still making some<br />

of the most arresting personal documentary photographs today’<br />

Jim Casper, Lens Culture.<br />

Anders Petersen has published more than 20 books and his work has been<br />

exhibited widely. He first became known for his series Café Lehmitz, a daily<br />

chronicle of the regulars – transvestites, prostitutes, drug addicts and harbour<br />

workers – of a Hamburg bar in the Reeperbahn, the city’s once notorious<br />

red-light district. Starting in 1967, Petersen continued the project for<br />

three years. The photobook of the same name was published eight years<br />

later, in 1978, first in Germany, and then in France (1979) and Sweden<br />

(1982). Café Lehmitz has since become regarded as a seminal book in the<br />

history of European photography.<br />

THE TEDS<br />

Chris Steele-Perkins & Richard Smith<br />

In early 1954, on a late train from Southend, someone pulled the communication<br />

cord. The train ground to a halt. Light bulbs were smashed. Police<br />

arrested a gang dressed in Edwardian suits. In April two gangs, also<br />

dressed Edwardian-style, met after a dance. They were ready for action:<br />

bricks and sand-filled socks were used. Fifty-five youths were taken in for<br />

questioning. The following August Bank Holiday the first ‘Best Dressed Ted<br />

Contest’ was held. The winner was a twenty-year-old greengrocer’s<br />

assistant. The Teddy Boy myth was born.<br />

The Teds is a classic of British documentary photography. Originally published<br />

in 1979, it is a vivid and absorbing book combining image and text<br />

to tell a fascinating story that spans some three decades.<br />

£24.00 / $39.00<br />

Hardback, 112 pages<br />

200 duotone photographs<br />

275mm x 195 mm<br />

ISBN: 978-1-899235-22-3<br />

£25.00 / $45.00<br />

Hardback, clothbound<br />

72 pages, 33 tritone photographs<br />

300mm x 247mm<br />

ISBN: 978-1-904587-71-2<br />

In association with The New Art Gallery, Walsall<br />


Ed van der Elsken<br />

A facsimile of the ‘classic’ photobook. It focuses on the Left Bank in Paris<br />

– the centre of creative ferment in the 1950s which would determine the<br />

cultural agenda of a generation. The book tells of a fictional love story in<br />

photographs and short passages of text. Gritty and unconventional, it was<br />

acclaimed as expanding the boundaries of documentary photography and<br />

established van der Elsken’s reputation as one of the leading photographers<br />

of the 20th century.<br />


Giacomo Brunelli<br />

introduced by Alison Nordström<br />

‘Giacomo Brunelli has been looking hard at animals. His focus is not on the<br />

framed and caged exotica of zoos but on the ordinary animals that remain<br />

with us to some extent: horses, dogs, cats, chickens, pigeons. He shows us<br />

a fox, looking sharply at the camera and poised to flee, and there are numerous<br />

birds, a snake and several toads, but this wildness is small and fragile,<br />

living in the familiar liminal space where manmade and natural meet and<br />

overlap. His animals inhabit farmyards, cobbled streets and the façades of<br />

stone buildings. There are no tigers here.<br />

Brunelli’s animals are often composed only of suggestive fragments…<br />

He favours the profile and the counterintuitive angle, setting dark unobservable<br />

features against dark undiscernable backgrounds. A dead mouse, on<br />

its back, paws in air beside an oversized flower against a stark and distant<br />

mountain is no more or less frozen in time than is the growling dog, eyes<br />

alight and teeth forever bared; both are icons of states we fear but cannot<br />

know. These pictures are timeless and uncanny, powerful in their ordinariness,<br />

and emotionally much bigger than their simple subjects.’<br />

Alison Nordström

£25.00 / $45.00<br />

Hardback, 96 pages<br />

70 colour photographs, 260mm x 290mm<br />

ISBN: 978-1-904587-40-8<br />

Not available in France<br />

£30.00 / $48.00<br />

Hardback, 88 pages,<br />

40 colour photographs, 245mm x 300mm<br />

ISBN: 978-1-904587-79-8<br />

Not available in Germany and France<br />

£25.00 / $50.00<br />

Hardback, 160 pages<br />

158 colour photos, 206mm x 300mm<br />

ISBN: 978-1-899235-07-0<br />

£12.99 / $24.00<br />

Padded hardback<br />

120 pages<br />

54 colour photographs<br />

154mm x 108mm<br />

ISBN: 978-1-899235-72-8<br />

£10.99 / $16.99<br />

Padded hardback<br />

96 pages<br />

86 photographs<br />

170mm x 170mm<br />

ISBN: 978-1-899235-34-6<br />


Martin Parr<br />

introduced by Geoff Dyer<br />

This is a revised and updated edition of Martin Parr’s classic book which was first<br />

published in 1996. It is a biting, very funny satire in which Parr looks at tourism<br />

worldwide, exposing the increasingly homogenous ‘global culture’ where in the<br />

search for different cultures those same cultures are destroyed. The issues that<br />

Parr raised over a decade ago when the book was first published are even more<br />

relevant today. Parr’s larger-than-life troupe of tourists are ultimately bemused<br />

victims of consumerism, locked into our insatiable craving for ‘the new’.<br />

Internationally recognised as a brilliant satirist of contemporary life Martin Parr<br />

has led the development of British documentary photography with wit, style, and<br />

intelligence in a career that boasts numerous publications and exhibitions. Martin<br />

Parr is a member of the prestigious MAGNUM photo agency.<br />


Martin Parr<br />

essay by Gerry Badger<br />

When Martin Parr’s The Last Resort was first published and exhibited in 1986 it<br />

divided both critics and audiences alike. Some saw it as the ‘finest achievement<br />

to date’ of colour photography in Britain whilst others viewed it as ‘an aberration’.<br />

However it was viewed, it was undoubtedly a sharp, bitter satire of the Britain of<br />

the Thatcher years. With the benefit of hindsight there is little doubt that it transformed<br />

documentary photography in Britain and placed Parr amongst the world’s<br />

leading photographers. The book is now recognised as a ‘classic’ and early<br />

editions are highly sought by collectors worldwide.<br />


Martin Parr<br />

Common Sense combines extravagantly lurid and luscious colour with Parr’s<br />

trademark sense of irony. Though hilariously funny there is a sharp and biting<br />

edge to the humour. The launch of this extraordinary book was celebrated by<br />

simultaneous exhibitions in more than 40 different cities world-wide making it<br />

probably the largest exhibition of work ever held by one artist – a truly global<br />

project.<br />


Martin Parr<br />

introduced by Marvin Heiferman<br />

For several years, when Martin Parr has travelled he has had his picture taken by a<br />

local studio photographer, or street photographer, or in a photo booth. The result is<br />

a wonderfully varied portfolio of portraits.<br />


selected by Martin Parr<br />

‘Warm, funny and frequently hilarious – this is a wonderful collection of cards<br />

celebrating the American Christmas.’<br />

Martin Parr has put together another wonderful book from his personal collection<br />

of cards. This time he celebrates the American Christmas card. These are a fascinating<br />

eye-opener into American culture, as proud families everywhere pose<br />

before the camera to send their Christmas greetings across the nation.<br />

BLEED<br />

Simon Norfolk<br />

The war in Bosnia in the 1990s raised to common currency the terms ‘ethnic<br />

cleansing’ and ‘humanitarian intervention’. It brought back to Europe a barbarism<br />

not seen since the Second World War, and was the first war fought very much<br />

under the eyes of the media. It was also the first conflict fought by killers who<br />

knew, even before the war had finished, that a war crimes tribunal awaited them.<br />

Norfolk’s photographs initially appear almost abstract. Yet through these still and<br />

beautiful images of ice, water, snow and the land, we can sense the arrogance of<br />

killers who believed they could conceal the brutal evidence of their crimes by<br />

reburying their victims in ‘secondary graves’. But over time secrets escape, and<br />

the truth bleeds out.<br />

Slipcased Limited Edition<br />

£75.00 / $150.00. 1,000 copies. Slipcased hardback.<br />

64 pages, 24 colour plates, page size: 320mm x 400mm.<br />

Printed on heavyweight 200gsm paper incorporating matt and gloss varnishes.<br />

ISBN: 978-1-904587-19-4<br />

Collector’s Edition<br />

A special Collector’s Edition of 50 signed and numbered copies is also available at the current price<br />

of £650 / $1,250. Shipping is charged at cost. This consists of the slipcased edition of bleed and a<br />

digital c-type print encased in acrylic (see left). The image block is 330mm x 264mm and 50mm thick.<br />

Each print is signed and numbered on the reverse. The set is packed in an imitlin bound, presentation<br />

box, with foam insets to protect and support the image block.<br />


Simon Norfolk<br />

Afghanistan: Chronotopia is already recognised as a classic of photography. First<br />

published in 2002 the work received international acclaim and established Norfolk<br />

as one of the UK’s most respected photographers. Norfolk’s primary concern is<br />

with the aftermath of conflict – to record beyong the surface of events, and to<br />

show the nature of war through its lasting effects and consequences.<br />

Winner of the European Publishers Award for Photography 2002.<br />

Hardback, 100 pages<br />

47 colour plates, 285mm x 320mm<br />

ISBN: 978-1-899235-54-4<br />

Currently out of print. Reprint due Autumn 2011<br />


Limited edition box set £150 plus shipping at cost.<br />

This special edition box set contains 12 images (420mm x 597mm) printed in<br />

four colour on 300gsm Zen paper, a beautiful uncoated paper from GF Smith,<br />

and presented in an exquisite box, which is bound in mid green and ebony<br />

135gsm colorplan cartridge and blind-embossed. The edition is limited to 300<br />

signed and numbered copies.<br />

Please note that this set does not include a copy of the book.<br />


Simon Norfolk<br />

Simon Norfolk has photographed sites of genocide and war crimes – names that<br />

ring like a death toll for the twentieth century – Rwanda, Cambodia, Vietnam,<br />

Auschwitz, Dresden, Ukraine, Armenia, Namibia. His photographs are charged<br />

with an overwhelming emotional intensity as they document where humans have<br />

left their trace: a tooth lying in a field, or the worn steps of prisons and death<br />

camps. They are a moving record of man’s inhumanity to man.<br />

Introduced by Michael Ignatieff, leading Canadian politician. Widely known for his<br />

work as an historian, author, and broadcaster before he entered politics in 2006.<br />

£30.00 / $55.00<br />

Hardback, 80 duotone photographs<br />

220 pages, 320mm x 225mm<br />

ISBN: 978-1-899235-66-7

£35.00 / $55.00<br />

Hardback, 240 pages<br />

300 photographs, 240 x 280mm<br />

ISBN: 978-1-904587-35-4<br />

Not available in France and Italy<br />

£25.00 / $45.00<br />

Hardback, 96 pages<br />

45 colour photographs, 225 x 285mm<br />

ISBN: 978-1-904587-38-5<br />

With support from University of Gloucestershire<br />

£25.00 / $45.00<br />

Hardback, 120 pages<br />

66 colour photographs, 247 x 295mm<br />

ISBN: 978-1-904587-59-0<br />

£25.00 / $45.00<br />

Hardback, 72 pages<br />

37 duotone photographs, 295 x 295mm<br />

ISBN: 978-1-904587-69-9<br />


Workbook: 1969-2006<br />

Gabriele Basilico<br />

This is the first complete monograph dedicated to the work of the Italian<br />

photographer Gabriele Basilico, who is recognised internationally as one of the<br />

most important contemporary landscape photographers. With more than 300<br />

photographs included – from Glasgow to Tel-Aviv, from Milan to Beirut – it is a<br />

comprehensive overview of a major figure whose career has spanned some 40<br />

years. Born in Milan in 1944, Gabriele Basilico first studied architecture. This early<br />

training is reflected in his work and shows in his understanding of the landscape<br />

and architectural form. His landscapes avoid human presence and explore the<br />

complex interrelationships between the built environment and the natural one.<br />

LANDSCAPES: 2001-2003<br />

Richard Billingham<br />

Trained as a fine artist, Richard Billingham took up photography whilst an art<br />

student as a way to inspire his paintings. In 1996, his book Ray’s a Laugh brought<br />

him to the attention of the photography and art worlds. Over recent years<br />

Billingham has photographed increasingly within the landscape and this book<br />

brings together this work for the first time. The images are contemplative and<br />

thoughtful and reflect his primary concern for the ‘making’ of an image.<br />

Billingham first exhibited in 1995 at the Anthony Reynolds Gallery, London, who<br />

still represent him. His work has received significant international acclaim – in<br />

1997 he won the Citibank Photography Prize and his work was one of the talking<br />

points of ‘Sensation’, the exhibition of Contemporary British Art from the Saatchi<br />

Collection. In 2001 he was shorlisted for the Turner Prize.<br />


Israel: Broken Promised Land<br />

Shai Kremer<br />

Infected Landscape is a searing portrait of the military disfiguration of the landscape<br />

of Israel. The accumulation of ruins and military remnants is an important<br />

part of what defines the Israeli landscape today – wounds in the landscape that<br />

correspond to the wounds in the Israeli collective consciousness. The book<br />

includes photographs from the ‘Chicago’ miltary training centre in Israel. This<br />

centre encapsulates the history of the Israel-Palestine conflict. Over the years it<br />

has been rebuilt to represent different war environments and reflect varying scenarios<br />

– from Lebanon through to Gaza City. A further area was also constructed to<br />

simulate a refugee camp. The more recently established Urban Warfare Training<br />

Center also features.<br />


Paul Hart<br />

foreword by Gerry Badger<br />

The forest interior is more architecture than landscape. Amongst the trees, your<br />

concept of time is changed. As you move deeper inside, and the outside world<br />

disappears, the wind is calmed and noise filtered, temperature is altered, and<br />

light is bounced and subdued. Some trees stand like sentinels, others are stolid<br />

in ranks, an army of trees appearing out of the dark. This apparent sanctuary of<br />

stillness can strangely transform. Stepping into the forest is always like stepping<br />

into the unknown, with the semi-dark concealing much, revealing a little. A place<br />

sometimes mysterious, sometimes secretive, but always seductive, always dark.<br />

£25.00 / $45.00<br />

Hardback, Cloth bound with insert, 96 pages<br />

69 colour photographs, 280 x 215mm<br />

ISBN: 978-1-904587-41-5<br />

£19.99<br />

Hardback, 120 pages<br />

75 tritone photographs, 250mm x 250mm<br />

ISBN: 978-1-904587-47-7<br />

Not available in United States<br />

£16.99 / $30.00<br />

Hardback, 120 pages<br />

100 colour photos, 225mm x 245mm<br />

ISBN: 978-1-904587-65-1<br />

With the support of The British Council<br />

£30.00 / $55.00<br />

Hardback, cloth bound, 96 pages<br />

40 colour photographs, 320mm x 320mm<br />

ISBN: 978-1904587-39-2<br />


Dinu Li<br />

Inspired by the memories of his mother, originally told to him as bed-time stories,<br />

Dinu Li’s photographs tease out fragmented moments in time. Li collabrated with<br />

his mother, using each other’s recollections and comparing the actual with the<br />

images lodged in their minds. Spanning two decades from the mid 50s, Li turns<br />

his attention to a Hong Kong at a stage of transition, morphing from fishing village<br />

to urban metropolis. Finally Li focuses on Britain, from the resettlement of his<br />

family there in the 1970s, at a time of strikes and de-industrialisation, through to<br />

the new millennium, and an era of multi-culturalism and globalisation. Aided by<br />

family snapshots and Li’s mother’s narration, The Mother Of All Journeys triggers<br />

a sense of repetition and nostalgia, invoking glimpses of the times we live in.<br />

Shortlisted for the Rencontres d’Arles Book Award. Published with support from Arts Council England<br />


Ketaki Sheth<br />

Ketaki Sheth’s photographs, so formally interesting, so sharply seen, so deeply felt.<br />

— Salman Rushdie<br />

Bombay Mix brings together the street photographs of leading Indian photographer<br />

Ketaki Sheth, images taken over a period of almost 20 years. Bombay is a city<br />

that never sleeps. Its population (almost 20 million) and its geography put a<br />

premium on space. A lot of ‘living’ happens on the street, where a disparate and<br />

unlikely blend of humanity defines its boundaries in a tightly confined space. The<br />

thrill of Bombay is the thrill of contrast. The streetscape of the city is as much<br />

psychedelic as it is kaleidoscopic: there is so much to see.<br />

In association with SEPIA/Alkazi Collection of Photography.<br />


Tim Smith<br />

The reputed home of the Queen of Sheba, Yemen has been the crossroads of<br />

Africa, the Middle East and Asia for thousands of years thanks to its position on<br />

the ancient spice routes. It was a meeting point of people, ideas, money and<br />

goods and the centuries of trading generated much wealth. There has been a<br />

British presence ever since the early 1600s when the East India Company set up<br />

trading posts. The relationship lasted some 130 years until 1967 when the British<br />

finally pulled out. Yemen is the mother country of the longest-established of<br />

Britain’s Muslim communities. Yemenis came to Britain from the 1890s onwards,<br />

many as an indirect result of having joined the British Merchant Navy, and after<br />

World War Two there was further emigration. By the mid-1970s there were some<br />

15,000 Yemenis in Britain, though today this figure has reduced considerably.<br />


Max Kandhola<br />

India’s Punjab is the land of the five rivers, five (Punj) rivers (Aab) – Ravi, Satluj,<br />

Chenab, Beas and Jhelum.<br />

Max Kandhola visited the region as part of his continuing project to map family<br />

history through an odyssey of ancestral narratives, exploring memory, diaspora<br />

and identity. Flatland provides a context and a beginning. It is a land which is<br />

unfamiliar, yet it is the birthplace of Kandhola’s family, who historically were<br />

landowners, connected to farming and agriculture and also to the military. Kandhola’s<br />

journey began in Nurmahal, in the district of Jalandhar, from which most of<br />

his family came. Using this as a starting point he travelled from the centre of<br />

Punjab outwards.<br />

With support from Arts Council England, Nottingham Trent University, Birmingham City Council

£25.00 / $45.00<br />

Hardback, 144 pages<br />

60 colour photographs<br />

260mm x 247mm<br />

ISBN: 978-1904587-46-0<br />

£19.99 / $38.00<br />

Hardback, 80 pages<br />

50 colour photographs<br />

275mm x 275mm<br />

ISBN: 978-1-904587-67-5<br />

Not available in Germany<br />

£25.00 / $45.00<br />

Hardback, 256 pages<br />

370 colour & b/w photographs and illustrations<br />

210mm x 260mm<br />

ISBN: 978-1-904587-54-5<br />

£14.99 / $30.00<br />

Hardback, 88 pages<br />

40 photographs<br />

280mm x 228mm<br />

ISBN: 978-1904587-51-4<br />


The decline of the traditional small shop<br />

John Londei<br />

Shot over a fifteen-year period beginning in the early 1970s, Shutting Up Shop<br />

is a tribute to an era that has all but disappeared: the traditional small shops that<br />

feature have now almost all gone. In all there are 60 shops. Each is unique, the<br />

range diverse: from tea to tobacco, flowers to condoms. As well as shops from<br />

London, the series covers many regions of the UK, from the Isle of Harris to the<br />

Isle of Wight. Additional to the photographs of the shops are their stories, vividly<br />

told through anecdote and interviews with the staff. Londei has also updated<br />

what has become of the shopkeepers and shops he photographed so long ago.<br />

His findings are included in the fascinating ‘afterword’ section. Almost every<br />

single one has changed beyond recognition.<br />


Julio Bittencourt<br />

In March 2006 the residents of 911 Prestes Maia, a 22 storey ramshackle tower<br />

block in the centre of sprawling São Paulo, learnt that they were to be evicted.<br />

Whilst the neglected building had apparently been empty for over a decade,<br />

1,630 people, including some 468 families, with 315 children, lived there. In 2003<br />

the ‘Movement of the Homeless’ had moved in hundreds of homeless families.<br />

The new residents cleaned up the place, and it became possibly the largest squat<br />

in the world, complete with a library, workshops and other educational activities.<br />

Bittencourt’s photographs are a powerful record of this diverse community.<br />

Bittencourt has won The Leica Oskar Barnack Award (Germany), Aperture<br />

Portfolio Prize (USA), and Fundacio Conrado Wessel de Arte (Brazil).<br />


in the footsteps of 19th century British photographers<br />

John Hannavy<br />

One hundred and fifty years ago travelling with a camera was both a novelty and<br />

an enormous challenge. The intrepid photographers who took their cameras to<br />

remote corners of the world brought back images which amazed their peers.<br />

Photographer and historian John Hannavy has recreated some of their epic<br />

journeys – he followed routes taken by: William Henry Fox Talbot to Scotland<br />

(1844); Charles Kinnear & Thomas Melville Raven’s to France (1857); Francis Frith’s<br />

route along the Nile (1856-1859); Roger Fenton’s journey through Russia and the<br />

Ukraine; Samuel Bourne’s travels across India in 1863; and John Thomson’s<br />

travels in China and Cyprus between 1863 and 1878.<br />


Harvey Benge<br />

text by Gerry Badger<br />

While looking through his contact sheets, Harvey Benge noticed that one of his pictures<br />

reminded him of a ‘Friedlander’, another someone else. All photographers do<br />

this, and if the photograph in question apes another photographer too closely, it’s<br />

usually a cause for rejection. But Benge did the opposite. Picking out his ‘Friedlander’<br />

and his ‘Parr’ and his ‘Baltz’ he decided to make an ‘anthology’ of contemporary<br />

photography featuring some of its biggest names. Yet they are all genuine,<br />

original Benges. They are also all good pictures, not mere pastiches of the ‘originals’<br />

of which they gently but insistently remind one. This may be a game, but games can<br />

be very serious, and this fascinating book is both a serious and light-hearted exploration<br />

of photographic style. – Gerry Badger<br />

Harvey Benge has published over a dozen books and his work is held in many<br />

major international collections.<br />

£16.99 / $35.00<br />

Hardback, 72 pages<br />

42 colour photographs<br />

310mm x 247mm<br />

ISBN: 978-1904587-53-8<br />

£25.00 / $45.00<br />

Hardback, 96 pages<br />

64 colour photographs<br />

300mm x 240mm<br />

ISBN: 978-1-904587-66-8<br />

£15.99<br />

Softback, 112 pages<br />

44 colour photographs<br />

220mm x 270mm<br />

ISBN: 978-1-904587-77-4<br />

£30.00 / $48.00<br />

Hardback, 288 pages<br />

over 300 colour & b/w photographs<br />

290mm x 230mm<br />

ISBN: 978-1-905928-06-4<br />

Not available in France<br />


Edmund Clark<br />

foreword by Simon Norfolk, afterword by Erwin James<br />

Taken over the course of more than a year of exclusive access, this work applies<br />

large format still life photography to the context of a unique prison community,<br />

E Wing at Kingston Prison in Portsmouth. For eight years this was Britain’s only<br />

wing dedicated to holding elderly lifers: murderers, rapists, paedophiles and<br />

other violent criminals aged from their late 50s to over 80 years old. Elements<br />

of metaphor, abstraction and documentary explore the experience of long term<br />

incarceration and the passage of time, and touch on how ageing and physical<br />

decline affect the prison environment.<br />

With support from Prison Reform Trust and Millenium Images<br />


David Moore<br />

texts by Chris Petit & Angela Weight<br />

David Moore was allowed unprecedented access to a Crisis Management facility<br />

below ground in central London. Moore was able to observe a live working space,<br />

continuously on standby, and fully prepared for the most extreme national emergency.<br />

The facility’s hermetic, tightly regulated environment, artificially lit and air<br />

conditioned, is prescient with the threat of crisis. At once sophisticated and touchingly<br />

ordinary, part military and part civilian, Moore has documented its<br />

labyrinthine depths with chilling clarity.<br />

With support from University of Hertfordshire, Arts Council England, Arts Council Northern Ireland,<br />

Belfast Exposed, Wolverhampton Art Gallery, Central Saint Martins - University of the Arts London<br />


Krzysztof Zielinski<br />

Millennium School focuses on the primary school which Zielinski attended as a<br />

child in the small Polish town of Wabrzezno. ‘Primary School no 3’ was built in<br />

1962 as a part of a major government development masterplan – ‘A thousand<br />

schools for the thousand years of the Polish state’. This is why these schools were<br />

called ‘millennium memorial schools’. Essentially a propaganda plan, the new<br />

schools were presented as a gift from the Communist party to the nation, even<br />

though the post-war demographic boom meant that they were a necessity. Built<br />

around standard layouts, usually two or three storeys and constructed from prefabricated<br />

concrete, they were designed to be adaptable for military purposes with<br />

many having underground shelters and the capability of being converted into<br />

temporary hospitals.<br />


The World Cup & World Football 1990-<strong>2010</strong><br />

Alistair Berg<br />

introduced by Dr. Rogan Taylor<br />

In this outstanding collection of photographs Alistair Berg has captured fan culture<br />

around the world at its most vibrant and characterful. Images are drawn from Europe,<br />

South America, Asia and Australia with a chapter devoted to each World Cup<br />

from 1990 to 2006, and a special extended section on the game in Africa to mark<br />

the World Cup <strong>2010</strong>. The images are drawn from a 20 year period which has seen<br />

many changes in the profile of the football supporter, and a massive surge in the<br />

numbers that attend the World Cup.<br />

Alistair Berg has worked as a freelance photographer for over twenty years visiting<br />

more than fifty countries for some of the world’s most prominent publications and<br />

advertising agencies.

£12.99 / $24.00<br />

Hardback, 80 pages<br />

90 photographs<br />

150mm x 205mm<br />

ISBN:1-904587-24-0<br />

Not available in France or Belgium<br />

£14.99 / $29.95<br />

Hardback, Cloth bound with insert<br />

96 pages, 71 photographs, 210mm x 145mm<br />

ISBN: 978-1-904587-50-7<br />

£14.99 / $25.00<br />

Hardback, 144 pages<br />

75 colour photographs<br />

150mm x 210mm<br />

ISBN: 978-1-904587-49-1<br />

£14.99 / $30.00<br />

Hardback, 160 pages<br />

300 colour photographs, 235mm x 160mm<br />

ISBN: 978-1-904587-18-7<br />


The extraordinary world of Harry Whittier Frees<br />

Frees began his career taking photographs of animals for novelty postcards. By<br />

1905 he was adding props and clothing to give the animals a more human appearance.<br />

The photographs lent themselves immediately to children’s books, and by<br />

1915 Frees had published several. His mother made most of the early outfits,<br />

which were designed to hold the animals in what can only be described as ‘unnatural’<br />

poses. In all his books though, Frees reassured readers that the photographs<br />

were made possible ‘only by patient unfailing kindness on the part of the photographer<br />

at all times’.<br />

His work was popular for several decades, and he continued to photograph and<br />

publish books until his death in 1953. Almost a century on from when he began,<br />

his work remains as surprising and appealing as ever.<br />


Charlotte Cory<br />

Charlotte Cory’s images rework cartes de visite, the photographic visiting cards<br />

that were a Victorian craze. Many millions were produced and are now so commonly<br />

discarded in junk shops that they are almost worthless. To the Victorian<br />

men, women and children posing proudly in the studio she adds the heads of<br />

animals – stuffed animals shot long ago and preserved in museums for posterity<br />

to gawk at.<br />

Cory’s ‘Visitors’ are truly creatures of fantasy and fascination – each so carefully<br />

chosen and delicately posed that we think “can that be real?” A noble tiger in full<br />

military regalia, a dejected donkey slumped in a chair in a sparse studio setting, a<br />

haughty kangaroo holding a cricket bat and gazing out at us dismissively. What<br />

kind of extraordinary creatures are these?<br />


‘much loved’ Dinky Toys of the 1950s<br />

Kim Sayer<br />

Dinky Toys must be one of the most successful and collectable toys ever made.<br />

The toys that feature here are neither pristine or shiny. Collected over the years by<br />

photographer Kim Sayer, their charm is in the chips, dents and worn paint work –<br />

toys that have been played with and loved. Each model is given its own delightful<br />

setting, reflecting a more gentle and innocent era. Visual puns abound – the<br />

Landrover, “a fine model of a vehicle designed to go anywhere and do anything”<br />

climbs its way up a staircase, whilst the Avro York Airliner takes off from the ironing<br />

board. Many of the photographs also play off against the original marketing<br />

tagline used to sell the models: “Just look at the remarkable detail on this exciting<br />

model of Britain’s famous centurion tank. It is a welcome reinforcement for the playroom<br />

army.”<br />


Postcards of the early 20th century<br />

edited by Nick Hedges<br />

In the early 20th century the picture postcard provided an immediate and direct<br />

form of cheap communication – rather like text messaging today. Made by<br />

anonymous photographers and hand-coloured by thousands of unknown women<br />

working in their studios, hand-tinted cards became one of the most popular of art<br />

forms. This extraordinary collection encompasses cards from throughout the world<br />

including Africa and the Middle East, many raising issues of colonialism, and exoticism,<br />

but many also just celebrating everyday relationships, friendship and family.<br />

Painted Ladies provides a colourful and fascinating insight into the fashion, culture<br />

and interests of the early twentieth century.<br />


The European Publishers Award for Photography is a major initiative to encourage the<br />

publication of contemporary photography. The competition requires the submission<br />

of a substantial, completed and unpublished photographic book project. The winning<br />

project is then published in book form simultaneously by each of the publishers in their<br />

own country resulting in perhaps the most extensive cultural collaboration currently<br />

existing in Europe.<br />

For further details visit: www.dewilewispublishing.com<br />

2008 WINNER<br />

I, TOKYO<br />

Jacob Aue Sobol<br />

£25.00 / $45.00<br />

Hardback, 112 pages<br />

70 tritone photographs<br />

300mm x 227mm<br />

ISBN: 978-1-904587-68-2<br />

Out of print<br />

2003 WINNER<br />


Haris Kakarouhas<br />

£25.00 / $45.00<br />

Hardback, 120 pages<br />

88 colour photographs<br />

300mm x 300mm<br />

ISBN: 978-1-904587-05-7<br />

1998 WINNER<br />


Jeff Mermelstein<br />

Hardback, 120 pages<br />

320mm 279mm<br />

ISBN: 978-1-899235-62-9<br />

Out of print<br />

2007 WINNER<br />


Paulo Pellegrin<br />

£25.00 / $45.00<br />

Hardback, 140 pages<br />

70 duotone photographs<br />

301mm x 244mm<br />

ISBN: 978-1-904587-55-2<br />

Out of print<br />

2002 WINNER<br />


Simon Norfolk<br />

£30.00 / $55.00<br />

Hardback, 100 pages<br />

47 colour photographs<br />

285 mm x 320mm<br />

ISBN: 978-1-899235-54-4<br />

Reprint pending<br />

1997 WINNER<br />


Toni Catany<br />

£30.00 / $50.00<br />

Hardback, 108 pages<br />

46 colour photographs<br />

300mm x 290mm<br />

ISBN: 978-1-899235-41-4<br />

2006 WINNER<br />



Ambroise Tézenas<br />

£25.00 / $45.00<br />

Hardback, 120 pages<br />

70 colour photographs<br />

270mm x 295mm<br />

ISBN: 978-1-904587-36-1<br />

2001 WINNER<br />


David Farrell<br />

£25.00 / $40.00<br />

Hardback, 112 pages<br />

65 colour photographs<br />

225mm x 300mm<br />

ISBN: 978-1-899235-88-9<br />

1996 WINNER<br />

HAITI<br />

Bruce Gilden<br />

£25.00 / $45.00<br />

Hardback, 120 pages<br />

70 duotone photographs<br />

332mm x 250mm<br />

ISBN: 978-1-899235-55-1<br />

2005 WINNER<br />


Lorenzo Castore<br />

£25.00 / $45.00<br />

Hardback, 120 pages<br />

50 colour photographs<br />

300mm x 210mm<br />

ISBN: 978-1-904587-26-2<br />

2000 WINNER<br />


Dean Chapman<br />

£25.00 / $45.00<br />

Hardback, 128 pages<br />

100 duotone photographs<br />

210mm x 285mm<br />

ISBN: 978-1-899235-96-4<br />

1995 WINNER<br />


Shanta Rao<br />

£25.00 / $45.00<br />

Hardback, 136 pages<br />

100 duotone photographs<br />

286mm x 248mm<br />

ISBN: 978-1899235-30-8<br />

2009 WINNER<br />


Klavdji Sluban<br />

£30.00 / $48.00<br />

Hardback, 120 pages<br />

70 tritone photographs<br />

270mm x 290mm<br />

ISBN: 978-1-904587-84-2<br />

2004 WINNER<br />

THE DODO<br />

Harri Kallio<br />

£25.00 / $45.00<br />

Hardback, 104 pages<br />

150 colour photographs<br />

240mm x 300mm<br />

ISBN: 978-1-904587-13-2<br />

Out of print<br />

1999 WINNER<br />


Alfons Alt<br />

£25.00 / $40.00<br />

Hardback 140 pages<br />

80 colour photographs<br />

310mm x 245mm<br />

ISBN: 978-1-899235-43-8<br />

1994 WINNER<br />


Dario Mitidieri<br />

£25.00 / $45.00 Hardback<br />

£15.00 softback<br />

160 pages, 69 tritones<br />

280mm x 240mm<br />

ISBN: 978-1-899235-00-1 (h/b)<br />

ISBN: 978-1-899235-01-8 (s/b)


Justin Quinnell<br />

£9.99 / $15.00<br />

Hardback, 96 pages<br />

60 colour photographs<br />

115mm x 150mm<br />

ISBN: 978-1-904587-33-0<br />



Paul Hill & Thomas<br />

Cooper<br />

£12.99 / $25.00<br />

Softback, 352 pages<br />

234mm x 156mm<br />

ISBN: 978-1-899235-61-2<br />


Harvey Benge<br />

£15.95 / $29.95<br />

Softback, 112 pages<br />

73 colour photographs<br />

290mm x 235mm<br />

ISBN: 978-1-899235-76-6<br />



John Comino-James<br />

£19.99 / $35.00<br />

Hardback, 156 pages<br />

121 duotone photographs<br />

225mm x 245mm<br />

ISBN: 978-1-904587-34-7<br />

Text in English and Spanish<br />


Sian Bonnell<br />

£9.99 / $15.00<br />

Hardback, 96 pages<br />

55 colour photographs<br />

115mm x 150mm<br />

ISBN: 978-1-904587-31-6<br />


Joanna Kane<br />

£19.99 / $40.00<br />

Hardback, 112 pages<br />

53 duotone photographs<br />

297mm x 240mm<br />

ISBN: 978-1-904587-56-9<br />



Harvey Benge<br />

£19.99 / $35.00<br />

Hardback, 112 pages<br />

88 colour photographs<br />

260mm x 195mm<br />

ISBN: 978-1-899235-93-3<br />



Iain Brownlie Roy<br />

£30.00 / $49.95<br />

Hardback, 176 pages<br />

120 duotone photographs<br />

250mm x 295mm<br />

ISBN: 978-1-904587-06-4<br />

Not available in Germany<br />


HEROES<br />

Bill Brandt<br />

£15.99 / $29.95<br />

Hardback, 112 pages<br />

83 duotone photographs<br />

240mm x 170mm<br />

ISBN: 978-1-904587-07-1<br />


Dave Anderson<br />

£25.00 / $40.00<br />

Hardback, 120 pages<br />

90 duotone photographs<br />

250mm x 250mm<br />

ISBN: 978-1-904587-29-3<br />

Not available in France, The<br />

Netherlands<br />


Harvey Benge<br />

£19.99 / $35.00<br />

Hardback, 128 pages<br />

62 colour photographs<br />

265mm x 200mm<br />

ISBN: 978-1-899235-47-6<br />


John Demos<br />

£30.00 / $50.00<br />

Hardback, 144 pages<br />

80 tritone photographs<br />

312mm x 276mm<br />

ISBN: 978-9-608744-22-6<br />

Not available in Italy, Greece<br />


Sir Benjamin Stone<br />

£19.99 / $35.00<br />

Hardback, 156 pages<br />

122 duotone photographs<br />

225mm x 245mm<br />

ISBN: 978-1-904587-37-8<br />


John Darwell<br />

£25.00 / $45.00<br />

Hardback, 176 pages<br />

138 colour photographs<br />

240mm x 295mm<br />

ISBN: 978-1-904587-42-2<br />


TOWN<br />

John Comino-James<br />

£19.99<br />

Hardback, 168 pages<br />

110 duotone photographs<br />

160mm x 295mm<br />

ISBN: 978-1-904587-72-9<br />

STEAM<br />

Stephen Dupont<br />

£19.95 / $35.00<br />

Hardback, 100 pages<br />

65 duotone photographs<br />

290mm x 240mm<br />

ISBN: 978-1-899235-27-8<br />

LONDON<br />

Sergio Larrain<br />

£12.95 / $24.95<br />

Softback, 64 pages<br />

41 duotone photographs<br />

235mm x 165mm<br />

ISBN: 978-1-899235-71-1<br />


Chris Coekin<br />

£16.99 / $30.00<br />

Hardback, 96 pages<br />

60 colour photographs<br />

250mm x 250mm<br />

ISBN: 978-1-904587-28-6<br />



John Comino-James<br />

£30.00<br />

Hardback, 168 pages<br />

190 duotone photographs<br />

240mm x 285mm<br />

ISBN: 978-1-899235-74-2<br />



Kate Schermerhorn<br />

£12.99 / $19.95<br />

Softback, 96 pages<br />

104 duotone photographs<br />

205mm x 230mm<br />

ISBN: 978-1-899235-48-3<br />




John Ganis<br />

£30.00 / $50.00<br />

Hardback, 144 pages<br />

86 colour photographs<br />

245mm x 320mm<br />

ISBN: 978-1-904587-00-2<br />


Cambridge Jones<br />

£19.99 / $35.00<br />

Hardback, 160 pages<br />

100 duotone photographs<br />

280mm x 225mm<br />

ISBN: 978-0-954684-32-7<br />


Bruce Gilden<br />

Story by Dermot Healy<br />

£30.00 / $49.95<br />

Hardback, 120 pages<br />

55 duotone photographs<br />

336mm x 246mm<br />

ISBN: 978-1-899235-17-9<br />


Thomas Hoepker<br />

£25.00<br />

Hardback, 160 pages<br />

120 colour photographs<br />

282mm x 222mm<br />

ISBN: 978-1-899235-81-0<br />

Not available in the USA<br />


Nicholas Barker<br />

£12.95 / $20.00<br />

Softback, 88 pages<br />

140 colour photographs<br />

170mm x 245mm<br />

ISBN: 978-1-899235-26-1<br />


Max Kandhola<br />

£20.00<br />

Hardback, 64 pages<br />

42 colour photographs<br />

260mm x 235mm<br />

ISBN 978-0-935445-28-2<br />

Not available in USA<br />


Stuart Franklin<br />

£16.99 / $35.00<br />

Hardback, 48 pages<br />

48 colour photographs<br />

336mm x 243mm<br />

ISBN: 978-1904587-52-1<br />


Ken Grant<br />

£25.00 / $40.00<br />

Hardback, 104 pages<br />

60 duotone photographs<br />

245mm x 300mm<br />

ISBN: 978-1-899235-04-9<br />


Frank Horvat<br />

£15.00 / $25.00<br />

Hardback, 88 pages<br />

36 colour photographs<br />

230mm x 165mm<br />

ISBN: 978-1-899235-57-5<br />

Not available in Italy<br />


Sirkka-Liisa Konttinen<br />

£15.99 / $27.50<br />

Hardback, 120 pages<br />

90 tritone photographs<br />

197mm x 243mm<br />

ISBN: 978-1-899235-97-1<br />

Not available in Finland & Sweden<br />

LOVE, POWER,<br />


John Angerson<br />

£12.99 / $25.00<br />

Hardback, 64 pages<br />

38 duotone photographs<br />

225mm x 247mm<br />

ISBN: 978-1-904587-48-4<br />

I AM<br />

Allan Grainger<br />

Introduced by Ivor Cutler<br />

£16.99 / $29.95<br />

Hardback, 68 pages<br />

290mm x 235mm<br />

40 duotone & colour<br />

ISBN: 978-1-899235-13-1<br />

1999: A DAILY REPORT<br />

Frank Horvat<br />

£16.99 / $30.00<br />

Softback, 560 pages<br />

460 colour photographs<br />

141mm x 196mm<br />

ISBN: 978-1-899235-18-6<br />

Not available in Germany &<br />

France<br />


Sara Davidmann<br />

£15.99 / $28.00<br />

Hardback, 96 pages<br />

64 colour photographs<br />

235mm x 170mm<br />

ISBN: 978-1-899235-39-1<br />


Fay Godwin<br />

£25.00 / $45.00<br />

Hardback, 184 pages<br />

150 photographs<br />

240mm x 230mm<br />

ISBN: 1-899235-73-6<br />


Andreas Herzau<br />

£16.99 / $30.00<br />

Hardback, 108 pages<br />

120 B&W photographs<br />

210mm x 300mm<br />

ISBN: 978-1-904587-22-4<br />

Not available in Germany<br />


Karen Ingham<br />

£14.99 / $30.00<br />

Hardback, 64 pages<br />

42 colour photographs<br />

200mm x 210mm<br />

ISBN: 978-1-904587-14-9<br />


Arlene Gottfried<br />

£14.99 / $29.95<br />

Hardback, 80 pages<br />

60 colour photographs<br />

200mm x 295mm<br />

ISBN: 978-1-899235-32-2<br />

HAVANA<br />

Burt Glinn<br />

£25.00<br />

Hardback, 128 pages<br />

83 photographs<br />

298mm x 217mm<br />

ISBN: 978-1-899235-19-3<br />

(Bilingual English/Spanish)<br />

LOST & FOUND<br />


Edited by Lenny Gottlieb<br />

£16.99/ $30.00<br />

Hardback, 160 pages<br />

150 colour photographs<br />

240mm x 170mm<br />

ISBN: 978-1-904587-11-8<br />

Not available in Germany

ANGOLA<br />

Sean Sutton<br />

£25.00 / $45.00<br />

Hardback, 144 Pages<br />

86 duotone photographs<br />

265mm x 240mm<br />

ISBN: 978-1-904587-43-9<br />

In association with MAG &<br />

ECHO<br />


Claudio Edinger<br />

£25.00<br />

Hardback, 112 pages<br />

86 duotone photographs<br />

300mm x 245mm<br />

ISBN: 978-1-899235-60-5<br />

Not available in the USA<br />


Stephen Strom<br />

£25.00 / $45.00<br />

Hardback, 96 pages<br />

46 colour photgraphs<br />

295mm x 295mmm<br />

ISBN: 978-1-904587-74-3<br />

TRIP<br />

Susan Lipper<br />

£25.00<br />

Hardback, 112 pages<br />

50 duotone photographs<br />

240mm x 280mm<br />

ISBN: 978-1-899235-52-0<br />

Not available in the USA<br />


Tim Smith/Naseem Khan<br />

£15.99<br />

Hardback, 132 pages<br />

120 duotone photographs<br />

220mm x 245mm<br />

ISBN: 978-1-904587-09-5<br />

In association with Bradford<br />

Heritage Recording Unit<br />


Claudio Edinger<br />

£25.00<br />

Hardback, 144 pages<br />

82 colour photographs<br />

250mm x 250mm<br />

ISBN: 978-1-899235-36-0<br />

Not available in the USA<br />


Jonathan Shaw,<br />

Eadweard Muybridge,<br />

Harold Edgerton<br />

£14.99 / $25.00<br />

Hardback, 96 pages<br />

60 photographs<br />

165mm x 235mm<br />

ISBN: 978-1-904587-04-0<br />

In association with Birmingham<br />

Library Services & Birmingham<br />

Museums & Art Gallery<br />

PETS<br />

Sue Packer<br />

£11.99 / $20.00<br />

Hardback, 96 pages<br />

50 duotone photographs<br />

170mm x 170mm<br />

ISBN: 978-1-904587-03-3<br />

BABY<br />

Sirish Rao<br />

£11.99 / $18.00<br />

Padded hardback,120 pages<br />

100 colour plates<br />

170mm x 170mm<br />

ISBN: 978-1-904587-01-9<br />

In association with Tara <strong>Publishing</strong><br />


Claudio Edinger<br />

£20.00<br />

Hardback, 72 pages<br />

41 duotone photographs<br />

257mm x 251mm<br />

ISBN: 978-1-899235-31-5<br />

Not available in the USA<br />


A.J.Wilkinson &<br />

Richard James McCann<br />

£14.99<br />

Flexicover, 160 pages<br />

80 duotone photographs<br />

165mm x 120mm<br />

ISBN: 978-1-904587-10-1<br />

With support from Arts Council<br />

England<br />


Deborah Padfield<br />

£14.99<br />

Hardback, 128 pages<br />

66 colour photographs<br />

240mm x 170mm<br />

ISBN: 978-1-904587-02-6<br />


Avinash Veerarghavan<br />

£16.99<br />

Flexicover, 104 pages<br />

104 colour illustrations<br />

295mm x 210mm<br />

ISBN: 978-1-904587-08-8<br />

In association with Tara<br />

<strong>Publishing</strong><br />


Naglaa Walker<br />

£19.99 / $35.00<br />

Hardback,104 pages<br />

60 colour photographs<br />

297mm x 210mm<br />

ISBN: 978-1-904587-15-6<br />

Collectors Edition also available,<br />

price £100<br />



Giuseppe Leone<br />

£25.00<br />

Hardback, 120 pages<br />

70 duotone photographs<br />

240mm x 210mm<br />

ISBN: 978-1-899235-35-3<br />

Not available in Italy<br />


Dolorès Marat<br />

£12.99 / $19.99<br />

Softback, 48 pages<br />

53 colour photographs<br />

230mm x 162mm<br />

ISBN: 978-1-899235-68-1<br />


Ketaki Sheth<br />

Foreword Raghubir Singh<br />

£12.99 / $23.95<br />

Softback, 104 pages<br />

80 duotone photographs<br />

223mm x 195mm<br />

ISBN: 978-1-899235-67-4<br />


Jörg Fokuhl<br />

£16.99 / $30.00<br />

Hardback, 96 pages<br />

72 colour photographs<br />

245mm x 245mm<br />

ISBN: 978-1-899235-03-2<br />

Not available in Germany<br />


Klaus D.Francke<br />

£30.00 / $45.00<br />

Hardback, 120 pages<br />

72 colour photos<br />

320mm x 295mm<br />

ISBN: 978-1-899235-37-7<br />

EDGES<br />

Dolorès Marat<br />

£35.00 / $55.00<br />

Hardback, 160 pages<br />

104 colour photographs<br />

310mm x 235mm<br />

ISBN: 978-1-899235-15-5<br />


Diamond Matters, Kadir van Lohuizen<br />

Hardback, part suede bound<br />

216 pages, 100 photos, 120mm x 110mm<br />

ISBN: 978-1-904587-23-1<br />

All Zones Off Peak, Tom Wood<br />

Hardback, 96 pages, 251mm x 305mm<br />

ISBN: 978-1-899235-86-5<br />

Legacy, John Darwell<br />

Hardback, 54 pages<br />

36 colour photos, 165mm x 235mm<br />

ISBN: 978-1-899235-58-2<br />

New York, William Klein<br />

Hardback, 254 pages, 350mm x 256mm<br />

ISBN: 978-1-899235-25-4<br />

Shanghai Odyssey, Homer Sykes<br />

Hardback, 160 pages<br />

80 duotone photographs, 300mm x 230mm<br />

ISBN: 978-1-899235-14-8<br />

A People Called Palestine, John Tordai<br />

Softback, 96 pages, 225mm x 165mm<br />

55 duotone photographs<br />

ISBN: 978-1-899235-53-7<br />

Naked in Paradise<br />

Michael von Graffenreid<br />

Hardback, 112 pages, 330mm x 235mm<br />

87 duotone photographs<br />

ISBN: 978-1-899235-85-8<br />


United Kingdom & Eire<br />

Turnaround Publisher Services<br />

Unit 3, Olympia Trading Estate<br />

Coburg Road, Wood Green<br />

London N22 6TZ<br />

England<br />

Telephone: +44 (0)20 8829 3000<br />

Fax: +44 (0)20 8881 5088<br />

Email: orders@turnaround-uk.com<br />

Web: www.turnaround-psl.com<br />

United States & Canada<br />

Consortium Book Sales & Distribution<br />

The Keg House<br />

34 Thirteenth Avenue NE, Suite 101<br />

Minneapolis, MN 55413<br />

United States<br />

Telephone: +1 612 746 2600<br />

Fax: +1 612 746 2606<br />

Email: consortium@cbsd.com<br />

Web: www.cbsd.com<br />

Germany, Austria, Switzerland<br />

Vice Versa Vertrieb<br />

Immanuelkirchstr. 12<br />

D-10405 Berlin<br />

Germany<br />

T +49-30-616 092 36<br />

F +49-30-616 092 38<br />

Contact: Simone Kempert<br />

Email: s.kempert@vice-versa-vertrieb.de<br />

www.vice-versa-vertrieb.de<br />

The following titles are now out of print. If you wish to acquire these please contact us as it is sometimes<br />

possible to track down copies though prices will be considerably higher than the original retail price.<br />

Pictures Without Borders, Steve Horn<br />

Hardback, 144 pages, 220mm x 250mm<br />

85 duotone photographs<br />

ISBN: 978-1-904587-20-0<br />

51 Photographs In Black & White<br />

Frank Horvat<br />

Softback, 72 pages, 240mm x 210mm<br />

51 duotone photographs<br />

ISBN: 978-1-899235-46-9<br />

Facing New York, Bruce Gilden<br />

Hardback, 96 pages, 340mm x 252mm<br />

44 duotone photographs<br />

ISBN: 978-0-948797-07-1<br />

Rehearsal, Eleni Leoussi<br />

Hardback, 136 pages, 332mm x 250mm<br />

96 duotone photographs<br />

ISBN: 978-1-899235-02-5<br />

Hong Kong, Ed van der Elsken<br />

Hardback, 120 pages, 300mm x 300mm<br />

100 duotone photographs<br />

ISBN: 978-1-899235-80-3<br />

As I Was Dying, Paulo Pellegrin<br />

Hardback, 140 pages, 301mm x 244mm<br />

70 duotone photographs<br />

ISBN: 978-1-904587-55-2<br />

France, Belgium & Eastern Europe<br />

Michael Geoghegan<br />

14 Frognal Gardens<br />

London NW3 6UX<br />

England<br />

Telephone: +44 (0)20 7435 1662<br />

Fax: +44 (0)20 7435 0180<br />

Email: michael@geoghegan.me.uk<br />

Italy, Malta, Greece.<br />

Bookport Associates<br />

Via Luigi Salma, 7<br />

20094 Corsico (MI)<br />

Italy<br />

Telephone: +39 02 4510 3601<br />

Fax: +39 02 4510 6426<br />

Email: bookport@bookport.it<br />

Spain and Portugal<br />

Peter Prout<br />

Iberian Book<br />

Sector Islas, 12, 1B<br />

28760 Tres Cantos (Madrid)<br />

Spain<br />

Telephone: +34 91 803 4918<br />

Fax: +34 91 803 5936<br />

Email: pprout@telefonica.net<br />

Africa, Middle East<br />

Tony Moggach<br />

IMA<br />

PO Box 8734<br />

London SE21 7ZF<br />

Email: tonymoggach@tonymoggach.com<br />

The Midland Hotel, Simon Webb<br />

Hardback, 108 pages, 215mm x 290mm<br />

60 colour photographs<br />

ISBN: 978-1-904587-61-3<br />

White Sea Black Sea, Jens Olaf Lasthein<br />

Hardback, 178 pages, 240mm x 300mm<br />

80 colour panorama photographs<br />

ISBN: 978-1-904587-60-6<br />

I Tokyo, Jacob Aue Sobol<br />

Hardback, 112 pages, 300mm x 227mm<br />

70 tritone photographs<br />

ISBN: 978-1-904587-68-2<br />

Once Upon A Time In Wales, Robert Haines<br />

Hardback, 96 pages, 225mm x 215mm<br />

71 duotone photographs<br />

ISBN: 978-1-904587-57-6<br />

Between Dogs & Wolves, Jodi Bieber<br />

Hardback, 144 pages, 200mm x 150mm<br />

80 duotone photographs<br />

ISBN: 978-1-904587-32-3<br />

Queries for other countries and orders<br />

from individuals should be directed to:<br />

Turnaround Publisher Services<br />

Unit 3, Olympia Trading Estate<br />

Coburg Road, Wood Green<br />

London N22 6TZ<br />

Telephone: +44 (0)20 8829 3000<br />

Fax: +44 (0)20 8881 5088<br />

Email: orders@turnaround-uk.com<br />

For further information visit the website<br />

www.dewilewispublishing.com<br />

For all other queries please contact:<br />

<strong>Dewi</strong> <strong>Lewis</strong> <strong>Publishing</strong><br />

8 Broomfield Road<br />

Heaton Moor<br />

Stockport SK4 4ND<br />

England<br />

Telephone: +44 (0)161 442 9450<br />

Fax: +44 (0)161 442 9450<br />

Email: mail@dewilewispublishing.com<br />



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