All The Queens Men is a decades long photographic project that explores the rites, rituals, and relationships of men. Walking the fine line between fiction and non-fiction, Murray creates a hauntingly beautiful narrative book that navigates the psychology of men through an exploration of portraiture and place. Intimate portraits and enigmatic landscapes deliberately mix fact and fiction, past and present, myth and reality. Made in the real-life New York City borough of Queens with the real-life men of Murray’s family and community, All The Queens Men reveals intergenerational patterns of behavior played out over the course of many years in a domestic and urban setting. Murray reveals relationships that are simultaneously submissive and antagonistic, mirroring the dichotomy that is at play in these men. **PRESALE** This title will ship in September 2013.
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In this remarkable photo-documentary and biography, Sara Macel followed her father, a traveling salesman, on his trips across the US. In popular mythology, few professions are as emblematic of this mobile, ambitious and commercially minded nation as the traveling salesman. As the Internet and outsourcing make this once ubiquitous occupation obsolete, May the Road Rise to Meet You explores the life of a businessman alone on the road. On a larger scale, this project explores the changing nature of “the road” in American culture and in the history of photography. With these images, Sara Macel creates a visual narrative of her father’s life separate from his family structure. In the same way that a family photo album functions to present an idealized version of their history, these photographs are what both Macel and her father want the visual narrative of his working life to be remembered as. **PRESALE** This title will ship September 2013.
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This monograph is the result of three years that photographer Henry Jacobson spent living on the road, shooting film around the world. This nomadic phase allowed for only limited access to those Jacobson held dear, and the varied array of subject matter found in Postcards Home is consequently a record of a period of personal upheaval; of the endings and beginnings of very important relationships; of illnesses and deaths and births. All of the works in this book were taken with an iPhone, and most were immediately sent to someone he cared about, or were shared within his broader social network. Such synergy of photography and communication was facilitated by mobile technology, a development that is transforming society’s understanding of the medium of photography from a frozen moment to a visual interaction between individuals, making this collection important both from a personal and historical perspective. **PRESALE** This title will ship September 2013.
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“The search for home place is the mythical search for the axis mundi, for something to hang on to,” wrote Lucy Lippard in The Lure of the Local. For Sarah Christianson, home is a 1200-acre farm in the Red River Valley of North Dakota. Her parents are the fourth, and last, consecutive generation to work this land, as she and her siblings have all moved away to pursue other careers. The realization that she was part of a larger rural exodus provided her with the impetus to document her farm at this critical juncture. She combined her images with materials from her family’s archive to create a rich, multi-layered narrative about family tradition, agriculture, emigration, and the passage of time. The result is a document that not only tells of hard toil and the declining role of the family farm in our economy, but that celebrates a resilient and fiercely independent tradition. **PRESALE** This title will ship in September 2013.
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116 pages
50 color photographs
Photographing with only Kodachrome, photographer Jeff Jacobson has created a seductive portfolio of images reflecting on beauty and mortality. From his opening statement, “A few days before Christmas, 2004, I was diagnosed with lymphoma. Some present. After each chemotherapy session I retreated to our home in the Catskills to recuperate. I began photographing around the house as I was too sick to go anywhere else. As my strength returned, my photographic universe slowly expanded. Shortly thereafter, Kodak discontinued production of Kodachrome. I loved Kodachrome, it helped shape my photographic vision. I filled my refrigerator and wine cooler with the stuff and kept shooting. I have outlived my film. A few days before Christmas, 2010, I exposed my last roll.” This compelling body of photographs provides a nuanced, first-person depiction of a cancer patient’s changing perspectives on life, death, art and the world at-large.
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72 pgs
30 color photographs
Brett Van Ort's photographs of landmines, prosthetic limbs and landscapes of Bosnia paint an ambiguous portrait of human technology as it variously maims or heals. Through it all the natural world remains edenic, its perils hidden from view. As Van Ort states, “these pieces show the regenerative power of nature and human beings’ insatiable appetite to expand, explore, conquer and transform nature into civility."
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152 pages
111 color photographs
Essays by Malcolm Dickson, Brigitte Ryley, Peter Ryley, Val Williams
Additional photographs by Dave Walking
Growing up in the New Age is an artist initiated research project that explores this alternative world, from communes in the south of France, squatting in South London and 'free school' education to the many forays into all things `New Age' set against the backdrop of social and political happenings of the era. Using a range of approaches including photography/digital imaging, film and video, writing, collecting, re-using archival materials and the web Growing up in the New Age sets out to reconsider the social utopias of the 1960s and early 70s and what we might learn from them today.
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128 pages
56 color photographs
Essay by James Elkins
The photographic images of Hiroshima, Japan, in this photo essay are attempts to visually, poetically, and historically address the magnitude of what disappeared as a result of and what remains after the dropping of the A-bomb in 1945. They are images of loss and survival, fragments and lives, architecture and skin, surfaces and invisible things, like radiation. Exposure is at the core of the author’s photographic project: exposure to radiation, to the sun, to light, to history, and exposures made from radiation, the sun, light and historical artifacts from the Peace Memorial Museum’s collection. Hiroshima: After Hiroshima engages ethical seeing, visually registers warfare, and addresses the irreconcilable paradox of making visible the most barbaric as witness, artist, and viewer.
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Featured in the New York Times, New Yorker, TIME, Wall Street Journal, Guardian, La Repubblica, Wired, Photograph, and Artnet
Edited by Will Steacy
Introduction by Lyle Rexer
Paperback, 232 pages
Photographs Not Taken is a collection of essays by photographers about moments that never became a picture. Conceived and edited by Will Steacy, each photographer was asked to abandon the camera and, instead, use words to recreate the image that never made it through their lens.
Featuring contributions from over sixty photographers! Dave Anderson, Timothy Archibald, Roger Ballen, Thomas Bangsted, Juliana Beasley, Nina Berman, Elinor Carucci, Kelli Connell, Paul D'Amato, Tim Davis, KayLynn Deveney, Doug Dubois, Rian Dundon, Amy Elkins, Jim Goldberg, Emmet Gowin, Gregory Halpern, Tim Hetherington, Todd Hido, Rob Hornstra, Eirik Johnson, Chris Jordan, Nadav Kander, Ed Kashi, Misty Keasler, Lisa Kereszi, Erika Larsen, Shane Lavalette, Deana Lawson, Joshua Lutz, David Maisel, Mary Ellen Mark, Laura McPhee, Michael Meads, Andrew Moore, Richard Mosse, Zwelethu Mthethwa, Laurel Nakadate, Ed Panar, Christian Patterson, Andrew Phelps, Sylvia Plachy, Mark Power, Peter Riesett, Simon Roberts, Joseph Rodriguez, Stefan Ruiz, Matt Salacuse, Alessandra Sanguinetti, Aaron Schuman, Jamel Shabazz, Alec Soth, Amy Stein, Mark Steinmetz, Joni Sternbach, Hank Willis Thomas, Brian Ulrich, Peter Van Agtmael, Massimo Vitali, Hiroshi Watanabe, Alex Webb, Rebecca Norris Webb
AUDIO EXCERPTS:
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80 pages
40 color photographs Featured in the New Yorker, Mother Jones, Huffington Post, Publishers Weekly, and PDN From 2009 through 2010, twenty years after the Nicaraguan civil war ended, photographer Kevin Kunishi traveled throughout the highlands of Northern Nicaragua where the most intense fighting took place in an attempt to discover and document with his camera the legacy that this protracted and controversial war left behind. A selection of the resulting photographs, moving portraits of survivors, both Sandinistas and Contras, as well as exquisite landscapes and still lifes significant to the war, are gathered together here in Kunishi's first monograph. The photographs within Los Restos are notational records of the experience of the collective memory of those involved. Although at one time sharply divided by two polarized political philosophies, the survivors are now bound by a landscape filled with physical and psychological scars. The markers of affiliation are slowly fading, but the horrors of war remain.
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Bull City Summer: A Season at the Ballpark
Edited by Sam Stephenson
Featuring photographs by Alec Soth, Hank Willis Thomas, Hiroshi Watanabe, Kate Joyce, Leah Sobsey, Frank Hunter, Elizabeth Matheson, Alex Harris, Dave Anderson and more...
Essays by Sam Stephenson and Adam Sobsey
Sponsored by:
Triangle Orthopaedic Associates
In partnership with
The Durham Bulls Baseball Club
Capitol Broadcasting
The North Carolina Museum of Art
PRESALE
This title will be available ship in March 2014
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Featured by the New Yorker and New York Times
144 pages
55 black + white photographs
Introduction by Kirsten Rian
Foreword by Dina and Clint Eastwood
Essay by Andrei Codrescu
Produced between 1994 and 2002, the images in SUNDER sweep the viewer along on a far-reaching journey through numerous former USSR and Iron Curtain countries, stopping at landscapes of ruin and moments of grace in equal measure. Haley's explorations were intuitive, responding to a deep curiosity to taste the last drops of the would-be Utopian ideology that dominated global politics during the first thirty years of his life. Using black and white film, the notion of remnants and transition would sustain Haley's photographic investigation for some eight years. The resulting images present a stark perspective of the collapse of the communist empire. Haley’s photographs are bleak and brimming with the realism that only a photographer as seasoned as he could achieve. Given the contrast with Haley’s conflict-based coverage, which was dominated by lush color imagery depicting the most horrific acts of violence imaginable, it seems as though this personal project is as much a portrait of the photographer himself as it is an invaluable historical archive. Co-published with Charta Editions.
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108 pages
36 color photographs
Introduction by Karen Irvine
Essay by Gerardo Montiel Klint
Interview by Lisa Uddin
Alejandro Cartagena photographs the particularities of the suburbs of Monterrey, Mexico which are relatively new and often hastily built, reflecting a general disregard for planning. Over the years, various governmental policies resulted in new, decentralized cities with limited infrastructures where the pursuit of immediate financial gain trumped any interest in sustainability.Cartagena captures both the destruction that rapid urbanization has imposed on the landscape and the phenomenon of densely packed housing. He takes pictures of dried-up river beds that attest to the water misallocation and depletion brought about by the construction, and he depicts perpetual rows of tiny houses slicing directly into the foothills of the picturesque mountains that surround Monterrey. Only the landscape appears capable of limiting their proliferation, the mountains and rivers the only forces able to contain their sprawl. Ultimately Cartagena documents the chaos and destruction that result from scant or misguided urban planning. He lives in downtown Monterrey, and he cares deeply about its land, its people, and its future. Understanding that overdevelopment is not just a local problem, he works hard as an artist to share his photographs as one clear plea for responsible, sustainable development in a rapidly changing world.Text adapted from the Introduction by Karen Irvine, Curator, Museum of Contemporary Photography, Columbia College, Chicago. Co-published with Photolucida.
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The celestial bodies have inspired humans for as long as history has been recorded. From sun and moon worship to endless stories of life on other planets, the night sky has reflected all of the mysteries and terrors of the world back to us. This edition of Daylight features portfolios by: Adam Bartos | Robert Canali | Linda Connor | Vincent Fournier | Stan Gaz | Sharon Harper | Jason Lazarus | Charles Lindsay | Noel Rodo-Vankeulen | Phillip Scott Andrews | Greg Stimac | Neilson Tam
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Featuring portfolios by: Eren Aytuğ, Adam Broomberg & Oliver Chanarin, Teru Kuwayama & Balazs Gardi, Tim Hetherington, Aaron Huey, Yannis Kontos, Seamus Murphy, Moises Saman, Lana Slezic, Veronique de Viguerie, Farzana Wahidy, Beth Wald. Together these photographers depict Afghanistan with a focused intimacy not typically presented in mainstream media coverage.
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Featuring portfolios by: Michael Ableman, Wout Berger, Tessa Bunney, Jason Houston, Raoul Kramer, Eduardo Martino, Peter Menzel, Brad Phalin, Heinrich Riebesehl, Munem Wasif Studies now confirm what many traditional farmers have always known: small crops of vegetables grown in mixed plots can be produced without chemicals, more efficiently and with richer supplies of nutrients than industrially grown crops. This edition of Daylight features a diverse range of photographic representations of agricultural practice from around the world.
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Featuring portfolios by: Harold Edgerton, Robert Del Tredici, Carole Gallagher, Chris McCaw, Pierpaolo Mittica, Jürgen Nefzger, Simon Roberts, Richard Ross, Paul Shambroom, Ramin Talaie, Hiroshi Watanabe, and Yosuke Yamahata. Considering the danger posed by thousands of active nuclear weapons spread around the world, it is not surprising that the specter of nuclear-induced destruction remains at the back of our minds. Indeed, atomic disaster may be the single largest threat to human existence. In this edition of Daylight Magazine we have compiled the work of several photographers concerned by the use of atomic technology and its implications for the future.
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Featuring portfolios by: Adam Broomberg, Oliver Chanarin, Ali Chraibi, Kadir van Lohuizen, Ivor Prickett, Heidi Schumann, Allan Sekula, elin o’Hara slavick, Ian Teh, Heinrich Voelkel, and Michael Wolf. THIS EDITION IS SOLD OUT!! Although it is individual effort that makes the international marketplace possible, the human aspect of global trade is often overlooked. To address this cultural myopia, this edition of Daylight examines the people involved with the production and trade of a number of global commodities.
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Featuring portfolios by: Simon Norfolk, Luc Delahaye, Kai Wiedenhofer, Paolo Pellegrin, Ahikam Seri, Ori Gersht, Gilad Ophir, Noel Jabbour, Noa Ben Shalom. This issue of Daylight Magazine, one year in the making, compiles a number of photographers examining the situation in Israel and Palestine. The nuances of this highly complex and volatile relationship could only be conveyed by a number of photographers examining parts of the whole. From the dwindling nomadic Bedouin population to the interiors of homes in the West Bank, we hope that this issue provides a unique perspective on a small, contested area of land fraught with religious, social, and economic tension.
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Featuring portfolios by: David Maisel, Edgar Martins, Leonie Purchas, Joel Sternfeld, Bo Thomassen, and Jeff Whetstone In exploring issues of “Sustainability,” this edition of Daylight suggests that the dualistic representation of humans and nature can change, and that documentary photography’s role in this transformation can range in scope from the immense landscape—as seen in David Maisel’s stunning aerials of a breathing, living Los Angeles; to the intimate images of people embodying lifestyles of low environmental and economic impact, as seen through the work Joel Sternfeld and Leonie Purchas; to the Daylight-initiated self-representative documentary work of domestic renewable fuel producers.
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