Monographs & Art Books / H

Francis Haar [1908-1997] practiced his art of photography and filmmaking in three distinctly different worlds. He started his first studio in his native Budapest; later he moved to Paris and from there he was invited to Japan. After twenty years working in the Orient -- interrupted by three years of activity in Chicago -- he settled in Honolulu in 1960. He brought with him from these previous experiences priceless riches and memories, reflected in all of his contemporary work.

He emerged from the same artistic and cultural milieu which nurtured Laszlo Moholy-Nagy and Gyorgy Kepes, with whom he enjoyed a personal and artistic friendship. As with so many Hungarians, he became fluent and expert in the 'Language of Vision' and enthralled with the 'Vision of Motion.' When expressing himself verbally, his Hungarian accent is unmitigated, but when speaking visually, in photography or in cinematography, his message resonates with overtones from Japan and reverberates with the cosmopolitan sophistication of European and American big-city environments. Like other sensitive and receptive newcomers to Hawai'i, he became deeply attracted to the study of Hawaiian culture.

Ernst Haas is one of the best-known, most prolific and most published photographers of the 20th century. He is famed for his vibrant color style, which, for decades, was much in demand by the illustrated press. This work, published in the most influential magazines in Europe and America, also produced a constant stream of books, and these too enjoyed great popularity. But although his color work earned him international fame, in recent decades it has been derided as "overly commercial" or not sufficiently "serious."

Yet there was a side of Haas’ work almost entirely hidden from view: parallel to his commissioned work, he made images independently, images far more edgy, loose, complex, ambiguous and radical than the work for which he is famed. Hass never printed these pictures in his lifetime, nor did he exhibit them, perhaps believing that they would not be understood or appreciated. This volume, intended to "correct" the record, compiles these photos of great complexity for the first time in print.

Writer Inge Bondi sheds fresh light on the life of her close friend and colleague, the Austrian American photographer Ernst Haas (1921–86), whom she first met in New York’s Magnum offices in 1951. Bondi shares unique memories of this brilliant and very private man alongside reproductions of his letters, poems, photographs and ephemera, revealing for the first time details of his harrowing war years and complex personal life. The book’s 13 chapters cover Haas’ "Homecoming Prisoners of War" story (1947), which prompted Robert Capa to invite him to join Magnum Photos; pioneering color reportage for Life and Vogue, featuring his blurred portraits of bull fighting and saturated images of New York; and his work on film sets, including The Bible, which led to the publication of Haas’ groundbreaking and acclaimed 1971 photobook The Creation.

The first book on master photographer Ernst Haas's work dedicated to both his classic and newly discovered New York City color photographs of the 1950s and 60s.

Ernst Haas's color works reveal the photographer's remarkable genius and remind us on every page why we love New York. When Haas moved from Vienna to New York City in 1951, he left behind a war-torn continent and a career producing black-and-white images.

For Haas, the new medium of color photography was the only way to capture a city pulsing with energy and humanity. These images demonstrate Haas's tremendous virtuosity and confidence with Kodachrome film and the technical challenges of color printing. Unparalleled in their depth and richness of color, brimming with lyricism and dramatic tension, these images reveal a photographer at the height of his career.

LA photographer Sarah Hadley’s nostalgic photographs of Venice’s architecture and fragility.

In Lost Venice photographer Sarah Hadley presents an alluring and haunting portrayal of this majestic city as distilled through her personal lens of loss and nostalgia. By contemplating the temporal beauty of Venice, Hadley examines our own impermanence and the uncertain future of this unique city.

This publication introduces the untold story of German artist and poet Anneliese Hager. Active from the 1930s to the 1960s, Hager began her photographic experimentation in Germany during the Nazi censure of modern art. Her preferred medium was the cameraless photograph, or photogram―an image made by placing objects directly on (or in close proximity to) a light-sensitive surface and exposing the assembled material to light. In its final form, a photogram is a one-of-a-kind work that reverses light and dark: the longer the paper is covered, and hence unexposed, the brighter the covered parts will be, and vice versa. Hager called these bright areas "white shadows."

Hager’s photograms offer a more inclusive history of the medium, synthesizing the technique’s 20th-century avant-garde trajectory (best known in the work of László Moholy-Nagy and Man Ray) and its 19th-century prehistories in the realm of science and in practices such as the making of silhouettes, collage and textile arts―pursuits often coded feminine. In 1945, all Hager’s existing artwork was destroyed in the bombing of Dresden during World War II. This book offers an unprecedented reconstruction of her development and postwar creation of otherworldly, Surrealist visions in photograms and poems, a selection of which appear here in English for the first time. For Hager, the photogram was significant for its provocative tonal inversions and surprising chance effects, but also for what emerges from the dark.

Anneliese Hager (1904–97) was a German Surrealist poet, translator and photo artist. She began making photographs in Berlin in the 1920s, and from 1935 began to experiment with photograms. Hager also made the first German translations of French authors such as Apollinaire, Breton, Char, Jarry, Lautréamont and Yourcenar.

In Let the Sun Beheaded Be, Gregory Halpern focuses on the Caribbean archipelago of Guadeloupe, an overseas region of France with a complicated and violent colonial past. The work resonates with Halpern’s characteristic attention to the ways the details of a landscape and the people who inhabit it often reveal the undercurrents of local histories and experiences.

Let the Sun Beheaded Be offers a visually striking depiction of place―as it has been worked on by the forces of nature, people, and events―as well as a thoughtful engagement with the complexities of photographing in foreign lands as an interloper. A text by curator and editor Clément Chéroux grapples with Guadeloupe’s colonial past in relation to the French Revolution, Surrealism, and the Martinican poet Aimé Césaire, whose writing inspired the title of the book and much of the imagery itself. A conversation between Halpern and photographer and critic Stanley Wolukau-Wanambwa delves into Halpern’s process, personal history, and the politics of representation.

Let the Sun Beheaded Be was produced as part of Immersion, a program of the Fondation d’entreprise Hermès, in partnership with the San Francisco Museum of Modern Art and the Fondation Henri Cartier-Bresson. Copublished by Aperture and Fondation d’entreprise Hermès.

Gregory Halpern's sublime photographs are an ethereal counterpoint in the Transitions Rochester project.

Transitions is an international collaboration looking at the changing city of Rochester, NY, a former company town dealing with urban sprawl, new concepts of city planning, and high unemployment rates and poverty.

Throughout his career, Gregory Halpern has explored the elusive, inchoate notion of Americanness. It is both a difficult subject and a lofty prospect for any photographer and it remains an absolutely essential line of investigation, particularly in the context of the current political maelstrom. Traveling to the nation's heartland-a vague construct increasingly synonymous with the Bible belt-Halpern continues to mine this idea of Americanness in a place bounded by prairie and steeped in pioneer history.

His work in the midwestern city of Omaha reveals America as pluralized, fragmented, and teeming with its own 'brand of hypermasculinity', as he terms it: adolescents on the cusp of promise or obscurity, land that seemingly leads to nowhere, a sense of unending time and a dark side to domesticity. Halpern's efforts to visualize America yield an opportunity to learn about the country by staring back at images of it that breed their own complexity.

Early settlers called California the Golden State and the land of milk and honey. Today there are the obvious ironies - the sprawl, the spaghetti junctions and the row of skids - but the place is not so easily distilled or visualized, either as a cliché paradise or as its demise.

There's a strange harmony when it's all seen together - the sublime, the psychedelic, the self-destructive. Like all places, it's unpredictable and contradictory, but to extremes. Cultures and histories coexist, the beautiful sits next to the ugly, the redeemer next to despair, and all under a strange and singular light, as transcendent as it is harsh. The images in this book begin in the desert east of Los Angeles and move west through the city to end in the Pacific.

This general westward movement alludes to a thirst for water, as well as to the original expansion of America, which originated in the East and rushed greedily Westward to reach the Pacific, thus fulfilling its "manifest" destiny. The people, places and animals in the book existed before Halpern's camera, but he stitched these photographs together into a work of fiction or fantasy - a structure, sequence and montage that, like Los Angeles itself , teeters on the brink of collapse under the weight of its own oddly shaped mass.

From inside dust jacket: One of the greatest portrait photographers of this century, Philippe Halsman is celebrated in this long-awaited retrospective. During a career that spanned more than forty years, virtually every leading personality in the arts and many world figures sat for Philippe Halsman's camera.

From the well-known, deeply penetrating portrait of Albert Einstein to previously unpublished images of Marilyn Monroe, Audrey Hepburn, and others, Philippe Halsman: A Retrospective is a comprehensive look at a true master of photography. Mary Panzer, curator of photographs at the National Portrait Gallery, contributes an insightful introduction on Halsman's outstanding career. Excerpts from is writings and an illustrated chronology of Halsman's life and work complete this moving tribute.

Illustrious sitters jump as their photograph was taken, and the photographer reflects on the jumpers and non-jumpers.

This massive retrospective volume profiles the work of Philippe Halsman, one of the world’s most revered photographers. Salvador Dali’s flamboyant moustache, Richard Nixon jumping in the West Wing, Grace Kelly’s amazing profile—these are just a few of the images that achieved iconic status and helped make photographer Philippe Halsman an icon in his own right.

Comprising hundreds of photographs and insightful accompanying texts, this volume explores Halsman’s oeuvre in a variety of aspects. It examines his early career exhibiting works at the avant-garde La Pleiade Gallery in Paris; his experiments with portraiture, particularly the series of stunning images of Marilyn Monroe and his more than 100 covers for Life magazine; his pictures of the contemporary art scene that include famous dancers, movie stars, stage actors, and musicians and the birth of his "jumpology" concept; and his unique, 30-year collaboration with Salvador Dali, including a book devoted entirely to the artist’s moustache.

Anyone interested in portraiture, celebrity, or performance will marvel at the breadth and magnificence of Halsman’s work, which is definitively presented in this beautiful volume.

Unknown Halsman reveals an overlooked, playful and bizarre side of Philippe Halsman, one of the most innovative photographers of the twentieth century. Most previous publications on Halsman feature his iconic portraiture, which appeared on the cover of Life and other top American magazines from the 40s through the 70s. He is also remembered for his groundbreaking Surrealist photo collaborations with Salvador Dali.

Edited by his grandson Oliver Halsman Rosenberg (who has spent the past two years organizing the archive and discovering the depth of the celebrated photographer's unpublished oeuvre), most of the images in this distinctive volume--which include private and experimental photographs, decontextualized advertisements, outtakes from famous sittings, contact sheets and family snapshots--have never been seen as a body of work in their own right. One of Philippe Halsman's many aphorisms, "The way a photographer sees is an extension of his character," is apt; these photographs not only capture his character, they bring to life the essence of his era.

Oliver Halsman Rosenberg, also an artist, has lent his graphic sense to this publication, creating a uniquely designed and sequenced monograph that is both colorful and spirited. Intermingled with 100 fine reproductions of Halsman's photographs are numerous quotes by the photographer as well as luminaries like Salvador Dalí, Jean Cocteau, Martha Graham and Alfred Hitchcock. All quotes are hand illustrated by Oliver Halsman Rosenberg in a unique brush font that is inspired by Japanese calligraphy and hand-made zines.

Contributing to the well-considered and intimate feel of this publication are the use of yellow throughout the book, inspired by a wall in Halsman's former photo studio; the blue floral endpapers, which were taken from the fabric of Halsman's couch; and the use of a typewriter font that evokes the correspondence found during the archiving process. Oliver Halsman Rosenberg also contributes an illustrated essay. A major European multi-venue retrospective is in the works for 2009-2010.

Condemned: Mental Health in African Countries in Crisis by Robin Hammond presents a profound body of work produced over seven years in nine African countries. "Condemned" was selected for the 2013 FotoEvidence Book Award by a prestigious international jury. Hammond captures both the deplorable conditions that the mentally ill endure and the overwhelming challenge that mental health workers face with limited resources and inadequate or failed systems health care systems in which the mentally ill have the lowest priority.

Interviews with both the incarcerated mentally ill and those working to heal them - secular mental health workers and both Christian and Muslim faith healers - provide blunt evidence of the past trauma and current suffering of his subjects and the challenges and frustration of those struggling with limited resources to find ways to address the needs of vast numbers of mentally ill. Shame and prejudice based on traditional and religious beliefs about mental illness add cultural obstacles to the effective treatment of the mentally ill in many regions of Africa.

The hardbound book measures 8 inches by 12 inches, with a matt laminated cover. It contains 89 black and white images, an introduction by the photographer and raw fragments of interviews conducted with patients, care givers, healers, and mental health administrators. Printed on 100lb paper on a Heidelberg press at Ofset Yapimavi in Istanbul, the photographs bring a rich aesthetic feel to a subject matter that could be considered harsh and disturbing.

In Zimbabwe, Robin Hammond (born 1975), a freelance photojournalist from New Zealand and the recipient of the 2011 Carmignac Gestion photojournalism prize, highlights the humanitarian crisis in Zimbabwe and the trials of the people who suffered the repression, violence and atrocities committed under President Mugabe's regime.

Doug Hancock: Riders of the Buffalo Nations offers an intimate and powerful window into the lives of First Nations youth on the reservations of South Dakota and Montana. Through his lens, Hancock captures a generation negotiating the weight of history and the promise of the future. The photographs are at once documentary and poetic, revealing the ways in which tradition, community, and modernity intersect in the daily lives of these young people.

Central to Hancock’s work is the rodeo, a recurring motif that symbolizes resilience, skill, and courage. Beyond the spectacle of sport, the rodeo embodies the challenges of reservation life—both literal and metaphorical. Each ride becomes a moment of risk and reward, a space where strength and vulnerability coexist. Hancock presents these moments without judgment, allowing his subjects’ determination and joy to emerge organically.

Hancock’s images resist simplification. His young protagonists are not confined to stereotypes or narratives of hardship; they are fully realized individuals whose expressions, gestures, and environments speak volumes about identity and belonging. Portraits of riders preparing for competitions, families gathering, and communities celebrating cultural events highlight a dynamic interplay between heritage and contemporary experience. In doing so, Hancock underscores the enduring vitality of Indigenous culture amid systemic challenges.

The landscapes of South Dakota and Montana serve as more than backdrops—they are integral to the story, reflecting the vastness and harshness of the environment while also emphasizing the deep connections between people and land. The photographs convey both the scale of the territory and the intimacy of community life, framing youth culture as inseparable from its physical and historical context.

Riders of the Buffalo Nations is ultimately a celebration of resilience, hope, and potential. Hancock’s careful, empathetic approach invites viewers to see the strength, creativity, and complexity of a generation that carries forward the legacy of their ancestors while charting its own path. The book stands as both a visual document and a meditation on cultural continuity, identity, and the courage to thrive against the odds.

Ren Hang, who took his life February 23, 2017, was an unlikely rebel. Slight of build, shy by nature, prone to fits of depression, the 29-year-old Beijing photographer was nonetheless at the forefront Chinese artists’ battle for creative freedom. Like his champion Ai Weiwei, Ren was controversial in his homeland and wildly popular in the rest of the world. He said, “I don’t really view my work as taboo, because I don’t think so much in cultural context, or political context. I don’t intentionally push boundaries, I just do what I do.”

Why? Because his models, friends, and in his last years, fans, are naked, often outdoors, high in the trees or on the terrifyingly vertiginous rooftops of Beijing, stacked like building blocks, heads wrapped in octopi, body cavities sprouting phone cords and flowers, whatever entered his mind at the moment. He denied his intentions were sexual, and there is a clean detachment about even his most extreme images: the urine, the insertions, the many, many erections. In a 2013 interview VICE magazine asked, “there are a lot of dicks … do you just like dicks?” Ren responded, “It’s not just dicks I’m interested in, I like to portray every organ in a fresh, vivid and emotional way.” True though that may be, the penises Ren photographed were not just fresh and vivid, but unusually large, making one wonder just where he met his friends.

In the same piece, Hang also stated, “Gender isn’t important when I’m taking pictures, it only matters to me when I’m having sex,” making him a pioneer of gender inclusiveness. Young fans still eagerly flock to his website and Facebook, Instagram, and Flickr accounts. His photographs, all produced on film, have been the subject of over 20 solo and 70 group shows in his brief six-year career, in cities as disparate as Tokyo, Athens, Paris, New York, Copenhagen, Frankfurt, Vienna, and yes, even Beijing. He self-published 16 monographs, in tiny print runs, that now sell for up to $ 600. TASCHEN’s Ren Hang is his only international collection, covering his entire career, with well-loved favorites and many never-before-seen photos of men, women, Beijing, and those many, many erections. We take solace remembering Ren’s joy when he first held the book, shared by his long-time partner Jiaqi, featured on the cover.

In South Louisiana, where the Mississippi River meets the Gulf of Mexico, water―and the history of controlling it―is omnipresent. Into the Quiet and the Light: Water, Life, and Land Loss in South Louisiana glimpses the vulnerabilities and possibilities of living on the water during an ongoing climate catastrophe and the fallout of the fossil fuel industry―past, present, and future. The book sustains our physical, mental, and emotional connections to these landscapes through a collection of photographs by Virginia Hanusik. Framing the architecture and infrastructure of South Louisiana with both distance and intimacy, introspection and expansiveness, this work engages new memories, microhistories, anecdotes, and insights from scholars, artists, activists, and practitioners working in the region. Unfolding alongside and in dialogue with Hanusik’s photographs, these reflections soberly and hopefully populate images of South Louisiana’s built and natural environments, opening up multiple pathways that defy singularity and complicate the disaster-oriented imagery often associated with the region and its people. In staging these meditations on water, life, and land loss, this book invites readers to join both Hanusik and the contributors in reading multiplicity into South Louisiana’s water-ruled landscapes.

With texts from Richie Blink, Imani Jacqueline Brown, Jessica Dandridge, Rebecca Elliott, Michael Esealuka, T. Mayheart Dardar, Billy Fleming, Andy Horowitz, Arthur Johnson, Louis Michot, Nini Nguyen, Kate Orff, Jessi Parfait, Amy Stelly, Jonathan Tate, Aaron Turner, and John Verdin.

Coronavirus, in short-measure, has changed the world completely. How can we make sense of the impact this tsunami of change has on our lives? How can we cope with the many ways our lives have been shaken-up and the fears that have arisen?

Zen Buddhism offers a clear path to find strength and courage, when all around us seems to be falling-apart. For thousands of years Buddhists have been meditating on the hardest challenges in life, such as sickness, grief and death. This book offers an introduction to the Zen path through words, photos and poetry.

More than simply a guidebook, it provides a space for reflection on Zen, in relation to both photography and the coronavirus situation. Through the lens of author-photographer Rod Harbinson, we are taken on a spiritual journey into the sacred mountains of Japan, where Zen Buddhism evolved.

Departures and Arrivals compiles world-renowned photographer Charles Harbutt’s favorite photographs, selected from throughout his half-century of making pictures. Harbutt (born 1935) has been a prominent member of the American postwar photojournalist tradition ever since his documentation of the Cuban revolution in 1959; he subsequently joined Magnum Photos and has twice been elected its president.

Harbutt’s pictures have been exhibited and collected by The Museum of Modern Art and the Whitney Museum in New York, the Art Institute in Chicago and the Corcoran Gallery of Art in Washington. In 1997, his negatives, master prints and archives were acquired for the collection of the Center for Creative Photography in Tucson. Departures and Arrivals is his third monograph. The black-and-white photographs gathered here highlight ordinary moments in extraordinary historical circumstances, as well as less fraught images of city living.

As Harbutt writes in his introduction to the volume: “There are pictures of men and boys, women and girls, statues, pensive monkeys, moments that took my breath away, scared me, made me smile.” He adds: “History belongs to all of us, not just kings and generals.” Departures and Arrivals records Harbutt’s half-century career at the forefront of American photography.

Sumptuous and tender portraits of an empowered Black queer experience.

Eric Hart Jr.’s black-and-white photo series presents more than 70 portraits focusing on the notion of power as it relates to the Black queer experience. Begun in 2019, When I Think About Power investigates and expands the contemporary reimagining of men through themed chapters. “I'm fascinated with the intersectionality and the layers of what it means to be Black in the modern day,” he has said. “From masculinity, queerness, to dress, I strive to utilize image-making in a way that displays people like myself in all of their power and all of their beauty.” Hart's approach stems from his own journey toward self-acceptance growing up in Macon, Georgia. By visually exploring the differences and similarities between himself and the men who surround him, studying the words of Black queer icons and researching the visibility of power in eras such as the Ming dynasty or ancient Egypt, Hart has created an iconography of a power that so many queer individuals seek.

The work of Brooklyn-based photographer Eric Hart Jr. (born 1999) has been published in Rolling Stone, the Washington Post, the New York Times and i-D magazine, and has been praised by artists such as Beyoncé and Spike Lee. Hart is a two-time Gordon Parks scholar, a 2022 Forbes 30 under 30 Art & Style choice, and in 2020 was named one of Men's Health magazine's “20-year-old mavericks changing America.”

The Fens, a region of reclaimed marshland in eastern England, is one of the richest arable areas in the UK. It is a landscape of agribusiness that Paul Hart has been photographing for over eight years. In Drained, he continues the exploration of this wide-open environment which he began with Farmed, the first in a planned series of three books about the region.

This is a linear landscape of straight lines and flat horizons, with monoculture at it's core. Hart's narrative pinpoints the objects that remain when all that surrounds has been cleared by modern agricultural practice. He conveys nature's vulnerability within this unsheltered, unprotected environment. Hart's working method is in the vein of documentary, exploring our relationship to the landscape by highlighting elements that are so often overlooked. He employs the analogue process and traditional darkroom techniques, to convey something of the soulful in a landscape.

The Fens, a region of reclaimed marshland in eastern England, is one of the richest arable areas in the UK. Hart has been photographing this landscape of agribusiness over the last six years. He explores this wide-open environment, a linear landscape of straight lines and flat horizons, which is monoculture at it’s core.

Paul Hart’s latest body of work Fragile (2020-23) is a personal reflection on nature and was made in the landscape close to his home in England. The aesthetic is rooted in the notion of a heightened awareness of the natural world, of both a physical engagement and spiritual connection to the land. Whilst becoming absorbed in this instinctual, visceral approach, Hart has become acutely aware of both the physical beauty and delicate vulnerability of these natural forms. Although concerns of the environment and sustainability are present throughout, Fragile departs from the central study of place usually associated with his work, to evoke a more abstract ethereal sensibility.

Paul Hart's new book Reclaimed concludes his three-part series on The Fens in the UK. The first two books Farmed (2016) and Drained (2018) have received several international awards and considerable critical acclaim. In 2018 work from the series was awarded the inaugural Wolf Suschitzky Photography Prize (Austria/UK) and in 2019 it was shortlisted for the Hariban Award (Japan).

The Fens, originally a region of low-lying marshland in the east of England, has been artificially drained over centuries to provide some of Britain's most fertile agricultural land. It is a landscape of agribusiness with monoculture at it's core, defined by human migration and long-term reclamation from the sea.

Paul Hart has photographed the area for over ten years. His narrative examines the complex interrelation between humanity and nature and raises important questions about human-altered topography and our occupation and stewardship of this land. By focusing on the often-overlooked elements in familiar vistas Hart's aesthetics carry a documentary sensibility that allows the landscapes to define themselves. He works solely with the analogue process employing traditional darkroom practice to convey something of the soulful in a landscape that is rarely considered of aesthetic merit.

As the respected French curator and writer Isabelle Bonnet states in her insightful introductory essay; "Hart's landscapes create a dialogue between art and document, lyricism and storytelling, the sublime and the ordinary. Almost everywhere, rectilinear and regular shapes unfold, impeccably drawn furrows responding to rows of trees, industrial constructions and metal structures... No movement animates this nature morte, no bird awakens these low and heavy skies and endless horizons... Hart's images take on a universal value: the battered and exhausted Fens resonate like a subtle metaphor for what humanity engenders and inflicts on itself."

The forest interior is more architecture than landscape. Amongst the trees, your concept of time is changed. As you move deeper inside, and the outside world disappears, the wind is calmed and noise filtered, temperature is altered, and light is bounced and subdued.

Some trees stand like sentinels, others are stolid in ranks, an army of trees appearing out of the dark. This apparent sanctuary of stillness can strangely transform. It is it s own world. Stepping into the forest is always like stepping into the unknown, with the semi-dark concealing much, revealing a little. A place sometimes mysterious, sometimes secretive, but always seductive and always dark.

Eddo Hartmann's latest photographic endeavor delves into the harrowing reality of one of the earliest designated "sacrifice zones" established by governments during the late modern era. These zones were clandestine sites for the production, testing, and maintenance of various types of nuclear and chemical weapons, where unwitting residents became unwitting subjects in dangerous experiments. Today, these areas stand as stark examples of ecocide, representing the irreversible devastation of nature on a monumental scale.

Located in a remote region of Kazakhstan, once home to the Soviet Union's primary nuclear testing facilities, this site became infamous as "The Polygon." Over a span from 1949 to 1989, more than 450 nuclear tests were conducted here, with little regard for the impact on the local population and environment. The full extent of the radiation's effects only became apparent after the closure of the test site in the early 1990s. Today, this corner of the Kazakh steppe is marked by desolation and decay, with the landscape marred by strange lakes formed by nuclear explosions and the remnants of immense concrete structures.

While it may seem uninhabitable, resilient individuals continue to call this area home, demonstrating remarkable perseverance in the face of adversity. Eddo Hartmann, born in 1973, is a graduate of photographic design from the Royal Academy of Art (KABK) in The Hague. He is known for his extensive documentary projects and is the author of "Setting the Stage – North Korea," published by Hannibal Books. Additionally, he serves as a lecturer in photography and visual grammar at KABK in The Hague.

Blue Violet is a vibrant meditation on the procession of seasons, sensory abundance, and the magic in everyday life. Part art book, botanical guide, historical encyclopedia, and poetry collection, Blue Violet is a compendium of beauty, color, and the senses. Plants, flowers, and our experience of the natural world are the threads that tie this unique book together.

Exploring the five senses, Blue Violet takes the reader on a personal journey through nature and the range of human emotions. As with her previous three titles--You Look At Me Like An Emergency, Gardening at Night, and You an Orchestra You a Bomb--this book invites the reader to pause, laugh, cry, create, and become more aware of the natural world. Images and text in a variety of forms (prose poetry, recipes, lists, research pieces, diagrams) focus on immediate experience to understand the vibrancy of the senses on memory and feelings.

Following her celebrated monograph Blue Violet (Monacelli, 2021), photographer Cig Harvey continues her personal study of sensory experience, focusing on the ephemeral nature of light, pigment, and vision. Her latest photographs are lush tableaux of her signature subjects – flora, cakes, domestic interiors, and the human figure in landscape – accompanied by prose vignettes on the science and art of color, written in her vibrant, intimate style. Featuring an afterword by award-winning novelist and poet Ocean Vuong, Emerald Drifters is a catalogue of pleasures and heartbreaks, and ‘an urgent call to live.’

Gardening at Night is an exploration of home, family, nature, and time. It’s predecessor, You Look at Me Like an Emergency, captured journeys in finding and defining home, while Gardening at Night denotes settling into one’s landscape, and creating life where you are. The narrative throughout has a delicious element of magical realism – the viewer is left with the feeling of waking within a dream.

On the other hand there is familiarity in what she evokes – something primal and instinctual that points to each person’s connection to nature. Seasons figure prominently as metaphors for the cycle of life, and interplays between shadow and light underscore the work. Each photograph and written vignette offers a tactile experience of things that ordinarily seem intangible – the secret life of birds, of barren winter trees, of the lake in spring time, or the girl in the window whose house you pass every day.

The jewel-toned images are arresting and weighted, but punctuated, as always by Cig’s characteristic whimsical style. The result is an intensely personal collection that captures an experience of the world that is at once otherworldly and yet instantly familiar.

Cig Harvey's third monograph, You An Orchestra You A Bomb, is a vibrant and bold book; possibly her most beautiful to date. It explores the photographer's relationship with life itself. It is a book about paying attention to and appreciating the fragile present.

You An Orchestra You A Bomb captures moments of awe, makes icons of the everyday, and looks at life on the threshold between magic and disaster. Cig has always experienced the world viscerally but after a traumatic event, a raw heightened awareness of temporary nature of life permeates this new work.

Through breathless moments of beauty, her images propel us to fathom the sacred in the split seconds of everyday. Cig's photographs are interwoven with her intimate poetry in this hauntingly beautiful book.

Cig Harvey's You Look At Me Like An Emergency is a visual autobiography exploring the photographer's central relationships over the course of more than a decade. Through rich, vibrant photographs and startlingly revealing writing, Cig transforms quotidian experiences that reference time and place, creating totems that mark key moments in her life.

As much a map of one woman's emotional life as it is a catalog of psychological archetypes, You Look At Me Like An Emergency takes the viewer on a literal and metaphorical journey that deals with rejection, hope, indecision, strength, loss, and love to finally find a place called home. In seventy-four gorgeously colored photographs and seventeen personally written vignettes, EMERGENCY conveys the universal quest for personal identity and place in the world.

She was often her own photo model because she was always available and didn't cost anything extra. In the 1930s, the photographer Elisabeth Hase worked primarily for advertising clients and magazines. She found her motifs for title pages and Christmas cards in nature, on the street and among children, she made doll portraits and arranged household goods and fruits into sensual still lifes.

Elisabeth Hase was a resourceful photographer with business acumen and her own studio - she was an unusual woman who supported her family with photography at a time when neither women in society nor photography as an art form was really emancipated. This volume provides the first insight into her multifaceted work.

‘Five Girls’ was Sam Haskins first title produced 10 years after he completed his studies in London. It is a seminal book in the history of post war creative photography historically more important than its highly popular successor ‘Cowboy Kate & Other Stories’ which followed two years later in 1964. First published in 1962 ‘Five Girls’ became an instant best seller and is credited with liberating figure photography from the dual clichés of titilation and classical reference. The book presented an artistic signature fusing a celebration of aesthetics to highly creative and finely crafted photography which remained true throughout Sam’s career even when the emotional moods turned to lament (November Girl - 1967) or sadness (African Image - 1967) or family, spirituality and loss (Sam Haskins A Bologna - 1984). Still exerting sustained creative influence to this day ‘Five Girls’ remains an elusive creative reference for generations of fashion, glamour, portrait and figure photographers.

FIRST EDITION. London, The Bodley Head, 1967. 152 Black and White photogravure plates and other illustrations. Original titled boards with illustrated dust jacket. Sam’s parting love letter to Africa. Andreas Feininger in a private letter to Sam referred to African Image as 'the most graphically powerful photo book' he knew. It is primarily a celebration of sub-Saharan African art, mainly sculpture but includes photographs of nature, landscape, dance and portraiture.

Haskins' seminal sixties classics, which include the groundbreaking Cowboy Kate, are landmarks in the history of photography, as revered today as they were when first published forty years ago. In Cowboy Kate, a lyrical tale of the triumph of youth played out by cowgirls of the old west, Haskins reinvented the genre of the nude with stunningly well-executed photographs, a cinematic approach, and a subtly engaging narrative. Often copied but rarely equaled, Haskins has an exceptional ability to photograph women with a sensitivity that has won him accolades from men and women alike. The "Director's Cut" is revised to include new and previously unpublished photographs.

TBW Books is pleased to present River’s Dream, the latest monograph by Curran Hatleberg and a complete realization of the series exhibited at the 2019 Whitney Biennial. Hatleberg is known for traveling America, guided by intuition, to create scenes of American life and landscape. Working collaboratively with the people he meets, he recounts intimate stories of family and community. Here, in the follow-up to his first monograph Lost Coast (TBW Books, 2016), Hatleberg centers his narrative on the dog days of summer. Sweltering heat, dripping humidity, lush vegetation, and screaming insects– River’s Dream is a pulsing and episodic hallucination of life lived outdoors. In these sixty-five photographs, we move through swamps and groves, front yards and junkyards, encountering moments of haunting mystery and beautiful impermanence. Heightened by formal repetition, echo, and refrain, everyday scenes take on surreal, allegorical qualities. In the end, Hatleberg leaves us with the impression of memory, where the past is never gone, but appears and reappears endlessly, as in the flickering of a dream. This book includes new texts by Natasaha Trethewey and Joy Williams commissioned for the publication.

Richard Hay Jr.: Resounding with Echoes unfolds as a quiet passage between continents, tracing subtle correspondences between West Africa and the Americas during the 1970s. Moving fluidly between black-and-white and color, Richard Hay Jr. composes a visual dialogue grounded not in spectacle, but in the poetry of ordinary life. Streets, storefronts, interiors, and open landscapes emerge without fixed captions, allowing viewers to linger in the ambiguity of gesture and setting. Rather than reinforcing familiar narratives of hardship or exoticism, Hay’s lens rests on shared human rhythms shaped by local textures and global exchange.

His journey to West Africa began after working within an African Studies program at Northwestern University. With a used Leica camera, a backpack, and limited film, he traveled from coastal regions to Kano, Nigeria, photographing with the same attentiveness that marked his earlier road trips across the United States and Mexico. The influence of the New Topographics can be felt in his restrained compositions and interest in human-altered environments. Hay’s approach is observant yet intimate, revealing how architecture, clothing, signage, and posture quietly register histories of migration, trade, and aspiration.

The historical currents between West Africa and the Americas—shaped by centuries of forced displacement and later by renewed cultural exchange—form an understated backdrop. Hay does not illustrate these histories directly; instead, he attends to their traces in everyday scenes. An ocean apart and decades removed, the places he photographs seem to mirror one another in rhythm and repetition, as though bound by invisible threads of memory.

An essay by Emmanuel Iduma frames the work with reflective insight, situating the images within broader conversations on continuity and change. Together, photographs and text invite slow looking. Resounding with Echoes proposes the camera as a tool of patient witnessing, where each shutter click collapses time and the present moment becomes part of a longer, reverberating story.

Photographs of Samuel Beckett by John Haynes, one of the leading theater photographers in the field, appear here with three new essays by Beckett's biographer and friend, James Knowlson. Haynes' photographs include previously unpublished studies of Beckett in addition to productions and rehearsals. Knowlson's first essay combines a verbal portrait of Beckett with a personal memoir of the writer.

The second essay considers the influence of paintings on his theatrical imagery while the third offers a detailed account of Beckett's work as a director of his own plays. James Knowlson was the original founder of the Beckett archive (now the International Beckett Foundation) at the University of Reading, which also houses the Beckett Collection, now the world's largest collection of Beckett resources. Knowlson's previous publications include Frescoes of the Skull: The Later Prose and Drama of Samuel Beckett (Grove, 1980) and the highly praised biography Damned to Fame: The Life of Samuel Beckett (Simon & Schuster, 1999).

John Haynes was privileged to work alongside Beckett as photographer in residence at the Royal Court Theatre in the 1970s, when Beckett was directing his plays. Haynes continues to work with the leading directors and actors of British contemporary theatre.

Taking The Stage: Twenty-One Years Of The London Theatre by John Haynes

Spektrum Berlin is nothing less than an invitation to reconsider our vision of Berlin. It is above all the work of a young and nevertheless great name in European photography.

Robert Heinecken was a pioneer in the postwar Los Angeles art scene who described himself as a para-photographer because his work stood "beside" or "beyond" traditional ideas of the medium. Published in conjunction with the first museum exhibition of the artist's work since his death in 2006, this publication covers four decades of his remarkable and unique practice, from the early 1960s through the late 1990s, with special emphasis on his early experiments with technique and materiality. Culling images from newspapers, magazine advertisements and television, Heinecken recontextualized them through collage and assemblage, double-sided photograms, photolithography and re-photography.

Although he was rarely behind the lens of a camera, his photo-based works question the nature of photography and radically redefine the perception of it as an artistic medium. As the most comprehensive survey of Heinecken's oeuvre, this book sets his work in the context of the twentieth-century history of photographic experimentation and conceptual art. An illustrated essay by conservator Jennifer Jae Gutierrez about the artist's experimental techniques, which ranged from photograms to photolithography to collage, contributes to the sparse scholarship on Heinecken's working methods.

Robert Heinecken was born in 1931 in Denver, Colorado and in 1942 his family relocated to Riverside, California. After serving in the US Marine Corp, he earned a BA in 1959 from the University of California, Los Angeles, where he continued his studies, specializing in printmaking and graduating with an MFA in 1960. He founded the graduate program for photography at UCLA in 1964, where he taught until 1991. Heinecken died at age 74 in 2006 in Albuquerque, New Mexico.

In this first-ever showcase of his work, Gregory Heisler, one of professional photography's most respected practitioners, shares 50 iconic portraits of celebrities, athletes, and world leaders, along with fascinating, thoughtful, often humorous stories about how the images were made.

From his famously controversial portrait of President George H.W. Bush (which led to the revocation of Heisler’s White House clearance) to his evocative post-9/11 Time magazine cover of Rudolph Giuliani, to stunning portraits of Julia Roberts, Denzel Washington, Hillary Clinton, Michael Phelps, Muhammad Ali, and many more, Heisler reveals the creative and technical processes that led to each frame. For Heisler’s fans and all lovers of photography, Gregory Heisler: 50 Portraits offers not only a gorgeous collection of both black-and-white and color portraits, but an engrossing look at the rarely seen art of a master photographer at work.

With a foreword by New York City mayor Michael R. Bloomberg.

Pieter Henket: Birds of Mexico City presents a striking series of portraits shaped by renewal, presence, and collective imagination. Created in the period following the global pause of the pandemic, the book reflects a moment when creative communities sought new ways to gather, reflect, and redefine themselves. Henket’s time in Mexico City became less about observation and more about participation, allowing the portraits to emerge from shared experience rather than distance.

Working alongside stylist Chino Castilla, Henket cultivated an open studio environment where artists, performers, and makers could experiment freely. This space functioned as both refuge and stage, drawing together dancers, designers, and artisans whose practices bridge past and present. Within this setting, portraiture becomes a dialogue, shaped collaboratively through costume, gesture, and gaze. The resulting images feel intentional yet unguarded, balancing formality with intimacy.

Mexico City itself permeates the work, not as a backdrop but as a living force. Cultural symbols, handcrafted objects, and references to ritual appear throughout, grounding each subject in a broader historical continuum. At the same time, these elements are reinterpreted, layered with contemporary expressions of gender, identity, and selfhood. Henket’s portraits honor tradition without fixing it in place, allowing it to evolve through those who carry it forward.

The book unfolds across three thematic chapters: The Divine Feminine, The Masculine, and Mexican Culture and Artifacts. Rather than rigid categories, these sections operate as fluid points of entry, revealing overlaps and tensions between roles, symbols, and lived realities. The sequencing encourages reflection on how identity is assembled, negotiated, and performed in both private and communal contexts.

Visually refined and emotionally resonant, Birds of Mexico City captures a generation in motion. Henket’s classical sensibility meets a contemporary urgency, producing portraits that feel timeless yet rooted in the present. The book stands as a testament to creative resilience and to the enduring power of collaboration in shaping how we see ourselves and one another.

Launching a new education and conservation project that connects people from different cultures, this dazzling series by renowned photographer Pieter Henket gives ancient folklore a modern-day spin.

The Congo Basin in Central Africa harbors approximately one quarter of the world's rainforest. In the heart of this forest is Odzala-Kokoua National Park, an ecological wonderland that is home to untold numbers of rare gorillas, forest elephants, and birds. It is also home to people who have lives vastly different from much of the rest of the world. In this stunning photographic series, Pieter Henket presents images of the children of Odzala-Kokoua telling the oral history of the Congo in enchanting and creative ways. Shot over the course of a month, Henket documented the children of this remote region as they designed, planned, created costumes for, and acted out a series of myths-- about their tribes, their landscape, and the animals and plants that they live among. Their stories will educate others unfamiliar with a way of life that is so completely in harmony with nature. Filled with vibrant images that highlight the area's magnificent flora and fauna, this photographic project, which was three years in the planning and execution, offers an exciting opportunity to learn about nature and the environment and it delivers an optimistic message about trust, cooperation, and conservation for the next generation of policy makers.

Beautiful photography of the Carnaval de Rio in San Luis, Argentina.

Every year, there is a huge party in San Luis, Argentina. Thousands of Brazilians are invited to the city to organize a show for the 'Carnaval de Rio'. To photograph it, Pieter Henket was contacted, one of the 'hottest' photographers of the moment. The beautiful photography from Pieter Henket allows the reader to join the party and shows the people behind the show. Combined with the impressive Argentinean landscapes, this book will be a unique document.

Published on the occasion of his first large solo exhibition, this striking catalogue of work by New York-based photographer Pieter Henket brings his powerfully clear artistic language to the fore. The cinematographic qualities of his images are both evocative and vibrant, with bewitching effects of light and colour. Focusing on portrait photography in recent years, he places his (often celebrity) subjects against voids with bold lighting design, catching them in seemingly casual or accidental expressions, yet also representing the individuals essence. With his shrewd eye, Henket uses subtle humour to portray the cult of personality, getting under the skin of celebrity culture.

Hennek’s gorgeous photography taps into the harmonizing musical resonances of all living things.

In the atmospheric photographs of Sounds of Spheres, New York– and California-based Mat Hennek (born 1969) creates striking impressions of how we imaginatively engage with nature. Whether depicting the world from a traditional receding perspective (a misty landscape at sunrise, snow-laden branches, palm trees bending in the wind) or from above (the serpentine curves of a river, fossil-like patterns in sand, the churning surface of the ocean), Hennek does not record nature but captures the apparitions it evokes. Through the soft blurring of edges, lyrical color and a focus on pattern, his images move between representation and abstraction, simultaneously capturing and veiling form. The idea of the sphere links subjects that may at first seem unrelated: the glowing ball of the setting sun, the round shapes of ice crystals in a miniature frozen universe, the great globe of the earth upon which all this unfolds.

Fighters made of bronze, gigantic wall reliefs depicting heroic cosmonauts, and socialist pomp: When you enter subway stations in Eastern Europe and in countries that were once part of the USSR today, time seems to stand still. The stations are chronicles of the history and art of a long vanished world power. In this volume, photographer Frank Herfort presents around 20 metro systems of the Soviet era from Moscow to Bucharest, from Baku to Tbilisi.

His focus is on the details, capturing over 700 works of art with his camera. They were conceived as prestige projects, thousands of kilometers apart and created under different conditions in different times. The stations in his photographs come together to form a holistic and comprehensive representation of socialist art that does not stand alone but relates to the everyday life of people today.

Fantastical, vividly colorful photographs of post-Soviet architecture and decor.

German architectural photographer Frank Herfort’s color photographs of public and private spaces throughout post-Soviet Russia and Eastern Europe pay homage to the old-fashioned, Stalinist decor that still consumes many Russian interiors, while eradicating any semblance of time or context.

The lower valley of the Omo River in south-western Ethiopia is a UNESCO World Cultural Heritage site and one of the most beautiful regions of Africa. Known as the cradle of mankind, the area is attractive not only for its particular landscape, but also for the diverse culture of its inhabitants.

The banks of the river have for centuries been the homeland of the tribes of the Surma, Mursi or Hamar, whose expressive body-painting and rituals are unique throughout the world. Ken Hermann has visited the region several times. In his impressive photography, he portrays the self-confident Omo people, depicting their way of life and their traditions, but also the incomparable beauty of the valley and its flora and fauna. Hermann’s book is a homage to a region whose existence has for years been threatened by a dam project of the Ethiopian government, since this will permanently alter the delicate balance of the eco-system of the Omo – a last photographic image of a fascinating, archaic world.

The Danish journalist Suzette Frovin provides an introductory text to accompany his images, which describes the history, importance and current development of the Omo Valley.

Flowers are a hugely important part of Indian culture, used in everything from temple rituals to festivals and parties - and Malik Ghat flower market is the largest of its kind in India. Located in Calcutta, next to the Hooghly river, it attracts more than 2,000 sellers each day, who flock to peddle their blooms amid frantic scenes.

After having visited Calcutta and its flower market for the first time, Danish photographer Ken Hermann decided to take portraits of the sellers, their magnificent garlands often appearing in stark contrast to their own dusty and sweat-soaked attire.

Forever comprises photographs taken in the downtown area of Los Angeles and the poorer neighborhoods of Compton, Watts and South Central, made between 2007-2012. The work traces the movements of the homeless, in images which take up the point of view of the homeless person.

So, rather than photographing the material trace – a chair or bed – Hernandez photographs what might be might seen and observed from the street itself.

Fred Herzog: A Color Legacy opens a fresh chapter on the streets of Vancouver and beyond, offering the public previously unseen images from the archives of a man whose eye for color and life defied the conventions of his time. Herzog’s work in the 1950s and 60s stands out because he chose Kodachrome — a decision nearly heretical when art photography still equated seriousness with black and white. What emerges through his Leica’s lens is a world awash in warm reds, neon signs, and the soft glow of streetlights — a world that feels alive, tactile, and tender.

After emigrating from Germany to Vancouver in 1953 and working by day as a medical photographer, Herzog spent his evenings and weekends roaming the city streets. He captured storefronts, everyday people going about their lives, second-hand shops, Chinatown alleys, decaying cars, neon reflections — details often overlooked, but rich with character. He treated photography not as artifice but as observation, documenting modern urban life with precision and empathy. His photographs turned ordinary city scenes into a tribute to human presence and urban texture.

The volume collects these rediscovered gems alongside his best-known photos, offering a more complete portrait of a photographer who stubbornly trusted color when many of his peers turned away. The images span Vancouver and also trace Herzog’s travels to the U.S., the Caribbean, Mexico and Central America, showing a restless spirit and a worldwide curiosity. Each frame is infused with intimacy, subtle humor, and a respect for the quotidian — light on one face, a reflection in a shop window, the curve of a car hood shimmering in rain.

Fred Herzog: A Color Legacy is not just a homage to a photographer but a statement about memory, time, and beauty in the urban fabric. It reminds us how much of a city’s soul lives in small moments — a street sign, a storefront, a quiet onlooker — and how color, long seen as frivolous in serious photography, can reveal more truth than monochrome ever could.

Flaneur with a camera: Herzog’s melancholy early work is a love letter to a bygone Vancouver.

Fred Herzog roamed the streets of Vancouver to create a portrait of his adopted hometown in chance scenarios and spontaneous acts of perception. Today his work is among the most important examples of early color photography. But Herzog did not decide to work almost exclusively with Kodachrome slide color film until the late 1950s. Fred Herzog: Black and White is the first appreciation of a lesser-known facet of the photographer's work. Complementing the landmark publication of Modern Color in 2017, the volume brings together his sumptuous arrangements of light and shadow, and moments of life outside the city. The early black-and-white photographs evoke a sense of melancholy, not nostalgia, showing that the appeal of Herzog's work lies in his flair for condensing a psychological state.

The most comprehensive book yet published on the Canadian color-photography pioneer.

Fred Herzog is best known for his unusual use of color photography in the 1950s and 1960s, a time when art photography was almost exclusively associated with black-and-white imagery. In this respect, his photographs can be seen as prefiguring the New Color photographers of the 1970s. The Canadian photographer worked largely with Kodachrome slide film for over 50 years, and only in the past decade has technology allowed him to make archival pigment prints that match the exceptional color and intensity of the Kodachrome slide, making this an excellent time to reevaluate and reexamine his work.

This book brings together over 230 images, many never before reproduced, and features essays by acclaimed authors David Campany, Hans-Michael Koetzle and artist Jeff Wall. Fred Herzog is the most comprehensive publication on this important photographer to date.

Laura Heyman's intriguing photographs, which were featured at Light Work in the exhibition "Pa Bouje Ankò: Don't Move Again," capture life in Haiti both before and after the 2010 earthquake. She began the photographic project in Port-Au-Prince with a question: Can someone from the first world see and photograph within the third world without voyeurism or objectification?

Heyman works with an 8x10 camera to create black-and-white portraits that recall the work of earlier studio photographers like Mike Disfarmer and James VanderZee. According to the artist, while making these photographs, she was aware of the many cultural complexities of this type of representation, stating, "I was highly conscious of everything that stood in the way of a real exchange between myself and each person who sat for a portrait race, class, opportunity and lack of opportunity, agency, the ability to move freely through the world. These things can make communication difficult, as they are always present, but rarely discussed." Heyman's first visit to Haiti was in November 2009.

On subsequent trips and in the aftermath of the earthquake, her project has evolved to include various rapidly expanding populations in Port-Au-Prince tied to reconstruction. United Nations officials, NGO employees, volunteers, grassroots organizations, business investors, and local politicians are among the subjects she plans to shoot; the first group of non-Haitian subjects photographed for the project was the U.S. Infantry, in May 2010.

Nazraeli Press is pleased to announce Excerpts from Silver Meadows, our sixth monograph by Todd Hido and his most ambitious project to date. Hido is one of the most widely recognized and influential photographic artists of our time. Silver Meadows is the name of a street that runs through the neighborhood in Kent, Ohio where the artist grew up.

The setting of Hido s childhood, it also became the creative wellspring for his work. Here, it serves as a point of departure for Hido s reexamination of a Midwestern suburban upbringing; a trip through the innocence of childhood and adolescence and into the darker aspects of life beyond. Beautifully printed on matt Japanese art paper, and featuring an installation of tipped-in images on the case binding, Excerpts from Silver Meadows is printed in a first edition of 3,000 copies.

'Todd Hido's large color photographs of suburbia are lonely, forlorn, mysterious... and strangely comforting. Hido photographs the interior rooms of repossessed tract homes, and the outsides of similar houses at night whose habitation is suggested by the glow of a television set or unseen overhead bulb. Seldom does the similar evoke such melancholy.

Yet rather than passing judgment on his anonymous subjects, Hido manages to turn the banal into something beautiful, imbuing his prints of interiors with soft pastels, and allowing the exteriors to glow in the cool evening air.' (From our description of the first printing of 'House Hunting', announced in 2000) We are excited to announce a newly remastered edition of Todd Hido's iconic and highly sought-after first monograph, House Hunting. To celebrate the upcoming 20th anniversary of this important book - certainly one of the most influential and oft-cited photography monographs of our time - we have collaborated closely with the artist to achieve a new impression of the highest possible fidelity.

Printed on heavy weight matte art paper, using cutting-edge technologies in both the pre-press and production phases, this new edition of 'House Hunting' stays true to the original design and format while delivering even more accurate color rendition and nuances in tone and saturation. It will be a welcome addition to collections lacking access to the very scarce original printings; and to those fortunate enough to own a copy of the original edition, it further illuminates the images themselves that first catapulted the artist and his first monograph to fame.

Well-known for his photographs of landscapes and suburban housing across the United States, and for his use of luminous color, Todd Hido casts a distinctly cinematic eye across all that he photographs, digging deep into his memory and imagination for inspiration.

David Campany introduces the work and looks specifically at Hido's cinematic influences and the kind of spectatorship the work demands. The book is organized chronologically, showing how his series overlap in exciting, new ways.

Also featured are short interviews with Hido about the making of each of his monographs. From exterior to interior, surface observations to subconscious investigations, landscapes to nudes, this mid-career survey reveals insight into Hido’s practice and illustrates how his unique focus has developed and shifted over time.

An expanded chronology charting Todd Hido's career, with ten years of new work.

Well known for his photography of landscapes and suburban housing, and for his use of detail and luminous color, acclaimed American photographer Todd Hido casts a distinctly cinematic eye across all that he photographs, digging deep into his memory and imagination for inspiration. Newly revised and expanded, Intimate Distance: Over Thirty Years of Photographs, A Chronological Album includes ten years of new work since the book's first publication, including breathtaking new images from his travels to Iceland, Norway, and Japan, where he brings both a familiar eye and an expansive new vision.

Though Hido has published many smaller monographs of individual bodies of work, this gathers his most iconic images, along with many unpublished works to provide the most complete and comprehensive monograph charting his career. The book is organized chronologically, showing how his series overlap in exciting ways. David Campany introduces the work and looks at the kind of cinematic spectatorship the work demands. And Katya Tylevich muses on the making of each of Hido's major monographs, "The photographs lead as far as human-made roads go. They reach the periphery of utility wires, footprints, and paths already taken." From exterior to interior, surface observations to subconscious investigations, from landscapes to nudes, from America and beyond, this midcareer collection reveals how his unique focus has developed and shifted over time, yet the tension between distance and intimacy remains.

We are thrilled to announce the publication of Todd Hido's stunning new monograph, The End Sends Advance Warning. For over 25 years, Hido has crafted narratives through loose and mysterious suburban scenes, desolate landscapes, and cinematic portraits. Irrespective of its title, this is a book about hope and beauty and why we seek it so desperately at this time. For his latest images he has roamed as far as the Hawaiian Islands and their meteorological opposites; the shores of the Bering Sea, and Nordic fjords above the Arctic Circle. Even with such geographic diversity, Hido captures places that feel at once familiar and unknown; welcoming and unsettling. With this stunning new monograph, Hido picks up where his previous title Bright Black World left off, presenting some 80 new and previously unpublished landscape photographs.

The End Sends Advance Warning. is beautifully printed on heavyweight art paper and bound in offset printed linen. The book also includes 9 tipped-in photographs printed on Kasadaka art paper, as well as tipped-in and laid-in booklets. A masterpiece of an artist’s book, and a must for the serious contemporary art library.

Work by Hido is held in public and private collections including the Guggenheim Museum, New York; Los Angeles County Museum of Art; San Francisco Museum of Modern Art; the Whitney Museum of American Art, New York; the Art Institute of Chicago; the Smithsonian; and Fotomuseum Winterthur.

We are thrilled to announce a newly remastered edition of Todd Hido's iconic and long-out-of-print second monograph, Outskirts. As with our new edition of House Hunting, released in 2019, we collaborated closely with the artist to achieve the highest possible fidelity reproductions.

Printed on heavy weight matte art paper, our new printing of Outskirts surpasses the original printing with more accurate color rendition and subtle nuances in tone and saturation. It will be an important addition to libraries and collections lacking access to the elusive 2002 edition, which itself solidified Hido's position in the art world following on the heels of his groundbreaking first monograph, House Hunting.

Photographer Jonathan Higbee spent years painstakingly documenting fleeting juxtapositions on the streets of New York. These intersections of passers-by, street signs, billboards, and more take on new meaning and life through the lens of Higbee’s camera: as a dancer on a stage of trash, graffiti unfurling from a backpack, to even a giant casually walking the streets of the city.

Each photograph captures the wit, joy, and surrealism of everyday life in a sometimes chaotic world. Featuring new photographs, as well as seminal photos from his initial series, Coincidences is Higbee’s self-professed love letter to New York and its moments of serendipity.

"We are Africans not because we are born in Africa, but because Africa is born in us. Look around you and behold us in our greatness. Greatness is an African possibility; you can make it yours. " - Chester Higgins Jr.

In Feeling the Spirit, Chester Higgins Jr. tells the story of a people -- by capturing the fierce dignity, enduring traditions and empowering spirituality that live in all men and women of African descent throughout the world. Higgins' odyssey of discovery has spanned three decades and led him across boundaries of geography, nationality, and culture. In these pages, Higgins combines 220 tri-tone black-and-white images with his own evocative prose to share the findings of his journey.

From reclaiming a long-misrepresented history to providing a rare, intimate look at sacred rituals passed down through the centuries, to exploring the simple yet profound significance of water in daily life, Chester Higgins Jr. presents a glorious evocation of the African personality as it thrives not just in Africa, but in all parts of the world.

Sacred Nile is the story of our collective spiritual imagination and practice. Chester Higgins celebrates the agency of people of African descent and their influence on the foundation of Western religion. His images illustrate how faith migrated up and down the River Nile from Ethiopia to Egypt leaving vestiges of ancient practice in today’s worship.

This visual portrayal of faith reexamines our spiritual beginnings.

By capturing threatened animal species in ice, photographer Erik Hijweege creates confusion. The images set his audience thinking. Is this animal encased in ice the last of its kind, or is it simply preserved, left in stasis and immortalized until it can perhaps be resurrected?

Hijweege, moreover, applies an archaic, rarely used technique to produce his images: the wet collodion process dating from 1851. The depictions of species like the polar bear, bison, gorilla and elephant seem like artifacts from another time or our future. In this way, we become witnesses to a project that has far-reaching implications for our ways of thinking about extinction, preservation and conservation.

Dutch photographer Erik Hijweege paints a fascinating and endearing portrait of Holland in the 21st century through his use of tilt-shift photography. This technique involves a camera method of selective focus, which often simulates a miniature scene, enabling the photographer to create images with a playful dynamic between sharp focus and blurry swathes of colour.

Small commentaries by Hijweege accompany most of the images, giving each a highly personal insight, not only as to his reasons for capturing that particular landscape and subject, but also offering an intimate look at Holland, its features and history, and of course a celebration of the country's culture today.

NOIR is a tribute to the African people. In the 2002/2003 Erik Hijweege went on three expeditions to Senegal, Namibia and Botswana. Deep into the Kalahari, in the south of Africa, he set up a fully equipped photographic studio in each village he visited.
By choosing a black background he profoundly brings out the mystic of the Bushmen and Herero tribes. A beautiful counterpoint is provided by the portraits of Senegalese albinos photographed against a white background. These pictures capture their compelling fragility, adding another dimension to the beauty of Africa.
English travel adventure writer Redmond O'Hanlon provides a storytellers perspective to the stunning visual impressions of Africa in his introduction.

After more than 5 years of stormchasing in the U.S.A. my first monograph on rotating storms was published by Hatje Cantz in 2011. This beautiful large book has 192 pages and circa 110 color illustrations. Environmental writer and historian Richard Hamblyn wrote the introduction. Author Redmond O' Hanlon completed the book with an essay.

Catalogue of David Octavius Hill and Robert Adamson calotypes taken between 1843 and 1847 in the collection of the Scottish National Portrait Gallery.

Numerous illustrations in text, plus a profuse catalog of hundreds of small format reproductions of their calotypes. Pictorial stiff wrappers. One tiny scrape to the front wrapper foredge; a near fine copy. David Octavius Hill and Robert Adamson were pioneers in photography. Adamson, himself an engineer, had early contacts with William Henry Fox Talbot through his brother. Adamson opened a studio in Edinburgh in 1843. That year, Hill, a well-known society portrait painter, contacted Adamson to collaborate on the recording of a major split in the Church of Scotland. A partnership resulted that yielded a vast assortment of 3000 calotype negatives and many prints. Their partnership ended in 1848 with the death of Adamson. The photographs were truly the result of collaboration: the mix of Adamson's technical prowess with Hill's aesthetic sense.

David Octavius Hill (1802–70) was a pioneer photographer, painter, and lithographer. In 1843, he entered into partnership with the young photographer Robert Adamson, and in the next four years they produced an extraordinary body of original and inventive work.

This book analyzes the photographic partnership, explains its remarkable success, and places it in the context of Hill’s life and times.

Photographer, teacher, and sociologist Lewis W. Hine (1874–1940) shaped our consciousness of American working life in the early 20th century like no other. Combining his training as an educator with his humanist concerns, Hine was one of the earliest photographers to use the camera as a documentary tool, capturing in particular labor conditions, housing, and immigrants arriving on Ellis Island. His images, including those of children in cotton mills, factories, coal mines, and fields, became icons of photographic history that helped to transform labor laws in the United States.

This book brings together a representative collection of Lewis W. Hine’s photography from all periods of his work. It spans his earliest forays into social-documentary work through to his more artistic and interpretative late photographs, including his phenomenal images of the construction of the Empire State Building and his symbiotic staging of human and machine as a comment on increasing industrialization. Alongside the near 350 photographs, the book includes an essay by the editor, introducing Hine’s life and pioneering work.

In 1905, a young sociologist named Lewis Hine Wickes decided to pursue photography as the medium with which to denounce injustice and poverty. Hine was one of the first photographers to document the wave of mass immigration from an impoverished Europe to an economically booming America, and his portraits of immigrants at Ellis Island offered a more positive image of this influx.

Later, while working with the National Child Labor Committee, Hine compiled a vast corpus of images that showed how American industry was making use of child labor, helping to bring about changes in U.S. child labor law. But as he wearied of photographing poverty, Hine developed an idealized vision of the worker that emphasized the dignity of labor--a vision that culminated in his legendary Men at Work series, first published in 1932 and today a classic American photobook. "We call this the Machine Age," he wrote in its introduction, "But the more machines we use, the more do we need real men to make and direct them."

This beautifully produced volume, which includes a complete facsimile of Men at Work, is compiled from the collection of the George Eastman House, to whom Hine's son bequeathed his archive after his death. It includes both well-known series and recently discovered early works, plus rare family photographs, ephemera and a detailed chronology. The works are arranged in thematic groupings: "Ellis Island," "Tenements," "Child Labor," "Chicago and New York," "Pittsburgh," "Europe," "Black America," "Empire State Building" and "New Deal."

At the dawn of the twenty-first century, it is hard to imagine a time when this country's coal miners and mill workers were elementary-school aged boys. But nine decades ago, it was entirely common to find a seven-year-old boy selling a newspaper, digging in the fields, or standing in an assembly line.

Photographer Lewis W. Hine's images of these child workers serve as disturbing evidence of America's dark side, a time before common beliefs about poverty had shifted. Hines photographs inspired the Progressive reform movement and the professionalization of social work. With his camera, Hine (1874-1940) helped make possible the everlasting efforts of the National Child Labor Committee.

Lewis Hine: Children at Work explores the world of juvenile workers in mills, mines, canneries, fields, and city streets throughout America with shocking candor and insight. Featuring large, high-quality black-and-white photographs, Children at Work is at once impressive and shocking, beautiful yet utterly heartbreaking.

I will take you into the heart of modern industry where machines and skyscrapers are being made, where the character of the men is being put into the motors, the airplanes, the dynamos upon which the life and happiness of millions of us depend.

Lewis H. Hine (1874-1940), one of America’s best photographers, wrote this in his introduction to Men at Work, a book, he said, about “men of courage, skill, daring, and imagination.” And in 69 attention-riveting photographs, including those of the construction of the Empire State Building, he makes us believe once again in the heroism of ordinary people.

Originally published in 1932, and now exceedingly rare, Men at Work takes us into coal mines, heavy industry, and tire and airplane factories. We see railroad workers in the shop, on the tracks and as train crews. Foundation men, connecters, bellmen, hoisters, derrick men, plumbers-up, riveters, buckers-up, catchers, burners, heaters, welders, bolt boys, sky boys — the various trades of construction workers — build from bedrock that great monument and symbol of twentieth-century life, the Empire State Building. For this edition 18 additional and extraordinary Hine photographs of this construction have been added.

Hine, widely known for his pictures of immigrants arriving at Ellis Island and his studies of child labor, combines enormous technical ability with sensitivity and deep feeling. The people in this book do their job with pride, dignity, and skill. They are in control of the giant machines they use, at home in space, not dwarfed by their constructions.

Between 1908 and 1917, the American photographer and sociologist Lewis Hine (1874–1940) took some of the most memorable pictures of child workers ever made.

Traveling around the United States while working for the National Child Labor Committee, he photographed children in textile mills, coal mines, and factories from Vermont and Massachusetts to Georgia, Tennessee, and Missouri. Using his camera as a tool of social activism, Hine had a major influence on the development of documentary photography. But many of his pictures transcend their original purpose. Concentrating on these photographs, Alexander Nemerov reveals the special eeriness of Hine's beautiful and disturbing work as never before. Richly illustrated, the book also includes arresting contemporary photographs by Jason Francisco of the places Hine documented.

Soulmaker is a striking new meditation on Hine's photographs. It explores how Hine's children lived in time, even how they might continue to live for all time. Thinking about what the mill would be like after he was gone, after the children were gone, Hine intuited what lives and dies in the second a photograph is made. His photographs seek the beauty, fragility, and terror of moments on earth.

The Gowanus Canal is a 1.8-mile-long waterway connecting Upper New York Bay (the bay in between Brooklyn, Manhattan, New Jersey, and Staten Island) with the formerly industrial interior of Brooklyn. Originally it was fed by the marshland and freshwater springs in Brooklyn and drained into the Atlantic Ocean in Upper New York Bay.

Because of the way it was created, though, it has become stagnant and polluted by decades of runoff and dumping from local neighborhoods and businesses. In the summer, you can smell it from blocks away. It's not a good smell, but that doesn't deter photographer Steven Hirsch, who finds all kinds of beauty in what floats upon the surface.

Steven Hirsch grew up in Brooklyn in the late 1940s and 50s when Brooklyn was filled with a new middle class. Brooklyn was a paradise and he knew practically the whole borough, except for the Gowanus Canal. It was not until 2010 when a friend took him Hirsch there for the first time that he witnessed the famously polluted and now EPA Superfund waterway.

When one thinks of canals they usually picture tree-lined waterways bustling with commercial activity. Not so with the present-day Gowanus. Built in the middle-to-late 19th century, the canal was to benefit the ever-expanding industrial revolution that arose in Brooklyn and to drain the surrounding marshes for land reclamation. Its creation accomplished those goals, but once it was no longer helpful it was left to decay, and decay it did. Today, the Gowanus Canal is lined by fuel oil depots and bus and scrap metal yards and is recognized as one of the most polluted bodies of water in the United States. In 2010 it was declared a Superfund site.

The day Hirsch first visited the acrid and vile smell made him nauseous. While standing on the bank he noticed a large eruption of oil start pulsating on the surface. He photographed it for about 15 minutes and it disappeared as quickly as it started. So was born a fascination with the way two centuries-worth of chemicals and detritus mixed with the water. Hirsch has shot the canal surface dozens of times since that unforgettable day and the result is a series of eerily beautiful abstract photos, telling the visual story of what pollution and indifference hath wrought. The combination of the inky blacks and varied specks and sheens all appear to be galaxy-like, but the viewer must not forget that they are looking at heavily polluted water here on Earth and nestled in one of the nations most populous and affluent cities. Today, efforts are being made to clean up the canal and will need to continue to for years to come, and it is important documentation like Hirsch's work which should help spur action.

This is the second volume of Fan Ho’s collotype portfolio, known for his black-and-white photographs capturing the streets of Hong Kong and its people in the 1950s. Echoing the highly acclaimed previous “Selected Works,” this selection conveys the street atmosphere of Hong Kong at the time, showcasing Fan Ho’s signature works, skillfully utilizing the contrast of light and shadow to create dramatic atmospheres.

Fan Ho (1931-2016) was one of Hong Kong’s most renowned photographers. Having moved from Shanghai to Hong Kong in 1949, he captured Hong Kong streets and people’s daily lives during the 50s and 60s, amidst the city’s economic transformation. Fan Ho often composed his photographs with unique geometrical compositions and textures, while creating a sense of atmosphere with the interplay of light and shadow. With the collaboration between the Fan Ho Foundation and Blue Lotus Gallery, Kyoto Benrido has created a collotype portfolio containing six of Fan Ho’s signature works, with each print handmade by master printers in Benrido’s atelier.

Hong Kong Yesterday presents a singular vision of this enigmatic city by award winning photographer, Fan Ho.

Black and white images capturing life in mid-century Hong Kong range from quiet voyeuristic tableaus to chaotic crowds, most focusing on the citys inhabitants. Businessmen, families, dockworkers, alleys, markets and street scenes are all rendered in a style that is simultaneously abstract and humanistic. Fan Ho was born in Shanghai in 1937; he immigrated to Hong Kong as child and passed away in 2016.

Now available is Fan Ho's most popular book, Hong Kong Yesterday (3rd Edition). Hong Kong Yesterday is a beautiful look at Hong Kong during the 1950's and 1960's by award winning photographer, Fan Ho. The book is Cloth bound, Hard cover, 9.5 x 11 inches, 112 pages, 70 dual-color plates.

This photo-book contains a selection of 138 photos by the celebrated photographer, intertwining his internationally renowned works with those that have yet to be released. The book contains an essay “My Quest” written by Fan Ho himself in the 70’s, explaining his own practice and his stylistic journey as he was influenced by different movements in photography occurring at that time. Through his essay, we learn about his interpretations of aesthetics, poetics, philosophy and synergy, as seen in his photographs. Fan Ho transitioned from the world of photography to the film industry while maintaining his enthusiasm for art. This transition is examined in an academic essay written by Dr. Timmy Chen, who is currently researching on Fan Ho’s cinema, further elaborated in an essay and personal interpretation by Law Kar, a veteran film researcher and personal friend of Fan Ho. As per the Fan Ho family, “Fan Ho will always have a special place in our hearts, and we feel closer to him through the lasting legacy of his work. We know we will continue to discover something refreshing every time we look at his unforgettable images, be they portrayals of a bygone era or of the endurance of the human spirit.”

This is the book project by celebrated photographer and film director Fan Ho, compiled from so far never seen images that were derived from his own archive of old original negatives. The flow of images takes you on a journey that loosely travels from west to east of Hong Kong island, from the boat people through construction and modernisation and across the harbour to the Kowloon side, ending in the New Territories and the quiet waters of Hong Kong. The selection of this new body of work feels more natural and closer to documentary compared to his previous highly stylised approach on street photography. In his own manifesto “Thoughts on Street Photography” which he wrote at the age of 28, and of which carefully selected quotes can be found throughout the book, he ‘My realistic street photos are rarely selected. Pictorial aesthetics and images with a sense of humour are still the key for salon photos but I expect changes to happen soon. In the meantime, I will just keep trying." In 2015 Fan Ho’s last dream started to materialise. Fan Ho selected about 500 old negatives from his own collection which he cropped in his signature style. After the very unfortunate event of his passing, it took another year for the project to be completed with the help of his family and Sarah Greene. In addition to the images, the book begins with a touching foreword written by John Woo about his personal encounters with Fan Ho. The book also includes an essay by professor Joseph Fung. Fan Ho’s colourful life is summarised by Sarah Greene in the biographical notes at the hand of multiple conversations and recordings with the artist.

The Living Theatre continues the story Fan Ho began in his first book, Hong Kong Yesterday. Focusing on the people of Hong Kong in the 1950s and 1960s this book takes a closer look at his beloved city.

This is a unique series of images with no image duplication between the other two books, Hong Kong Yesterday and Hong Kong Memoir. The people as actors play out the dramas of their every day in front of Fan Ho's lens. Printed in duo tone, Fan Ho gracefully captures the crowds of a busy market place, waterways and the alleyways of each city, beautifully telling the story of the lives of the individuals and the spaces in which their stories are staged. Each image is accompanied by a caption, utilizing both the visual and written language to create a poetic and wondrous depiction of an era through his eyes.

Award-wining photographer Fan Ho has won 280 awards from international exhibitions and competitions worldwide since 1956. Ho has been elected Fellow of the Photographic Society of America, Fellow of the Royal Photographic Society and Fellow of the Royal Society of Arts, England; Honorary Member of the Photographic Societies of Germany, France, Italy, Belgium, Brazil, Argentina, Singapore and etc, and was honored with One-Man-Shows in the above countries. Ho's works can be seen and have been published in many International Photographic Annuals all over the world.

Ali was and is the greatest. A great sportsman, a controversial thinker, who with, his appearances in and outside the ring, enthralled people but also offended many. A polarizing figure, still unforgotten.

Thomas Hoepker, a member of MAGNUM PHOTOS, had the opportunity to spend time with Cassius Clay aka Muhammad Ali and take photographs in 1960 when he won the a gold medal at the Rome Olympics, in 1966, when Ali was world heavyweight champion already, in 1970, when he, after several years of a forced absence from the ring, restarted his career and prepared himself for the "Fight of the Century" against Joe Frazier and years later, already weakened by Parkinson's disease.

Many of these pictures have gone around the world and have become photographic icons. They have been shown in many museums and are sought after by collectors. But many photographs in this book have been unpublished until now. They show Ali in private moments and public appearances outside of the ring, on a visit to his hometown, talking to children and young people, flirting with a pretty baker's daughter, who later became his wife, on the film set of 'The Dirty Dozen ', in the gym and at home.

The bustling gateway to America, New York has always been a city of dramatic excitement--big dreams and constant changes. A legendary photojournalist and former president of Magnum Photos, Thomas Hoepker vividly captures the city's complex spirit in all its many moods.

A long-time resident, Hoepker's images range from the early 60s through 9/11, and up to the very present including the aftermath of Hurricane Sandy. With journalistic zeal and a keen eye for crucial details, he documents a true New York with its diverse inhabitants and the allure of its prominent landmarks and hidden, far-flung corners.

His insightful photography conveys a vivid sense of the city's physical landscape and also of its unique everyday interactions and intricate urban culture.

Two road trips―one in black and white, the other color―across two Americas, nearly 60 years apart.

Magnum photographer (and former Magnum president) Thomas Hoepker (born 1936) was 27 years old when he set out on his ambitious journey across the United States―one that took him from coast to coast and back again over the course of three months and resulted in thousands of photos. The year was 1963 and Hoepker had been commissioned by the German magazine Kristall to “discover” America through his camera. The photo reportages he made, published in five issues of the magazine across dozens of pages, revealed Hoepker’s complex, skeptical and sometimes melancholy view of the American everyday, in big cities, small towns and all in between. His was an unromanticized vision in which the decadent existed alongside the desolate, the glitter with the grit.

As much as Hoepker recognized that the problematic American dream could go unfulfilled, he was fascinated with the country (settling in New York in 1976), and in 2020―at the age of 84 and after a successful career as a photojournalist and president of Magnum Photos―he once again set out on a road trip throughout the US. The Way It Was: Road Trips USA juxtaposes Hoepker’s color photographs from this trip with his original black-and-white images, taking us on a journey both through his changing sense of America and through time.

All of Candida Höfer’s editions in one book. Candida Höfer’s (b. Eberswalde, 1944) shots of deserted libraries, opera houses, concert halls, churches, and museums have made her a member of the international photographic avant-garde. One strand in her acclaimed oeuvre are editions—photographic prints in small formats issued in larger numbers—that Höfer produces to support institutions and art publishers. Gathered for the first time in this book, with an introductory essay by Anne Ganteführer-Trier, the around one hundred such editions she created between 1987 and 2020 offer a representative cross-section of Candida Höfer’s art. Candida Höfer studied in the first photography class of Bernd Becher at the Kunstakademie Düsseldorf. Her works have been exhibited at documenta 11 and in 2003 she represented Germany at the 50th Biennale di Venezia alongside Martin Kippenberger.

In 2014, Candida Höfer (b. Eberswalde, Germany, 1944; lives and works in Cologne) traveled to Mexico, visiting the eight cities Ciudad de México, Guadalajara, Guanajuato, Oaxaca, Puebla, Tepotzotlán, Tlacochahuaya, and Tonantzintla, where she photographed old and new libraries, theaters and opera houses, churches and museums, poorhouses and palaces. Most of the pictures are organized by symmetry along a central axis, a characteristic feature of her art. If these works suggest her training with Hilla and Bernd Becher, who taught photography in Düsseldorf―she is now the bestknown of their students―others show a "new" Candida Höfer: oldfashioned offices, weatherbeaten walls, and simple stores as well as a few expertly captured details of façades, floors, and interiors. With an essay by the Mexican historian and economist José N. Iturriaga.

No one photographs spaces quite like Candida Höfer and no one has captured better the majesty, stillness, and eloquence of libraries. Traveling around the world, Höfer shows the exquisite beauty to be found in order, repetition, and form--rows of books, lines of desks, soaring shelves, and even stacks of paper create patterns that are both hypnotic and soothing. Photographed with a large-format camera and a small aperture, these razor-sharp images of the Pierpont Morgan Library in New York, the Escorial in Spain, Villa Medici in Rome, the Hamburg University library, the Bibliotheque Nationale de France in Paris, and the Museo Archeologico in Madrid, to name a few, communicate more than just the superb architecture. Glowing with subtle color and natural light, Höfer's photographs, while devoid of people, shimmer with life and remind us again and again that libraries are more than just repositories for books. Umberto Eco's essay about his own attachment to libraries is the perfect introduction to an otherwise wordless, but sublimely reverent journey.

German photographer Candida Höfer (born 1944) is a former student of the iconic teachers Bernd and Hilla Becher and is well known for her painstakingly composed interior shots capturing the grandeur of public spaces such as libraries, palaces and opera houses. Accompanying her joint exhibition at Kunstmuseum Liechtenstein and the Hilti Art Foundation, this volume documents her recent series of around 20 photos taken in Liechtenstein between autumn and winter of 2021. The images reflect her ongoing exploration of scenes of cultural life and architecture. Including emails, text messages and notes by those involved in the project, the publication takes the form of a production diary, affording critical insights into Höfer's process, from the initial idea for the show to the final selection of works. Another section documents the exhibition itself, including selected works from the collections of both institutions.

Swiss photographer Claude Hofer has spent more than a decade exploring one of the most expressive forms of human movement: dance.

His publication offers a rare and compelling visual journey into the worlds of Butoh and contemporary dance, bringing together artists from across the globe in an intimate photographic dialogue between performer and camera.

Over the course of ten years, Hofer traveled extensively, meeting and photographing more than one hundred dancers representing these powerful traditions.

Rather than documenting stage performances, he invited each artist to perform specifically for his lens.

This approach creates a unique space of collaboration where movement becomes both subject and language, revealing the deeply personal expressions of the dancers.

Working exclusively in black and white, Hofer strips away distraction and focuses on what matters most: the human presence.

Light, shadow, gesture, and stillness combine to form images that feel both raw and timeless.

The absence of color emphasizes the sculptural qualities of the body, allowing emotion, tension, and vulnerability to emerge with striking clarity.

Particularly significant is Hofer’s engagement with Butoh, the radical Japanese dance form born in the postwar era.

Known for its slow, often haunting movements and its exploration of the subconscious, Butoh offers a powerful visual language that translates remarkably well into photography.

Alongside contemporary dance artists, these performers bring an extraordinary range of physical and emotional expression to the project.

What makes Hofer’s work especially compelling is his ability to capture the fleeting moment when movement transforms into meaning.

Each photograph feels suspended between motion and stillness, revealing a profound connection between body and mind.

The resulting images are not simply portraits of dancers—they are studies of presence, intensity, and the human capacity for expression.

The publication ultimately becomes more than a photographic collection.

It is a visual archive of artists whose bodies speak in gestures, shadows, and silent narratives, offering viewers a rare glimpse into the emotional depth and creative spirit of contemporary dance.

At the edge of a road, at the edge of a hollow and winding path, the curve of the corpse of a fox, a pigeon, a deer, a hedgehog, a turtle, a cat ... Corpses crossed in the four corners of the world in the frantic quest for an ultimate image, in a human tribute to these stranded beasts.

What do we leave of our banal passage? What trace in the hour of the afterlife? Recumbent bodies. Soul somewhere ...

And to these images the refrain of a human who questions this dark area. The right words. The missing words. The heady music that returns with the clue to the end. What end, finally? How to prepare for it and think about it? How to get there?

A harmless route through a maze among dead animals, close friends with absent words that whisper a last song to us.

They are the last remaining Jews in Ethiopia. More than 20 years after Operation Solomon enabled tens of thousands of this group’s members to return to the Promised Land, a handful are still waiting to migrate to Israel.

The exodus is particularly complex. As they have been converted to Christianity over the centuries, proving their Hebrew roots is a tedious process, one that rabbis and religious authorities have tackled for years. In January 2011, Israel revived its immigration efforts after years of obstacles and refusal.

A list of 8,000 candidates was then submitted to the Jewish Agency, the organisation that oversees weekly departures. These are the families that we followed from the northern Ethiopian city of Gondar to Jerusalem. The purpose of this site and the book is to tell in words and images the story of the Beta Israel’s (House of Israel) final exodus.

Benjamin Hoffman lived and photographed for several months in Cape Town, South Africa. The violence and intensity of the city's contrasts fascinated him; with Farewell Cape Town, he gives us his thoughts on the relationship of man to others and to his environment.

His gaze, both attentive and tense, is always imbued with tenderness and benevolence. Sophie Bouillon tells us about her love affair with the country while reminding us of her commitment as an independent journalist. In 2009, she was the youngest winner of the Albert London Prize for her report “Welcome to Mugabe! », published in the journal XXI.

Testament Manouche is a dive into the world of adolescents and young adults from the Gypsy community.

The worldwide recognition he has received attests to the tremendous impact of his work. This Austrian photographer, who has been shooting primarily, though not exclusively, in black and white for over 40 years, captures surreal moments in his photos.

Reductions and overexposures help him discover special elements and draw both technical and substantive contrasts between the spectacular and the banal. His subjects--everything from peaceful, expansive Icelandic landscapes that look like paintings to jets coming in for a landing just above people's heads--fascinate the viewer.

Even more astoundingly, all of these contrasting facets of nature and technology bear Hoflehner's distinct stamp. No matter what topic Hoflehner is skillfully weaving a photographic narrative around, his work exudes incredible serenity and focus. Maybe that's what we find so compelling. Whether it's a photo of a New York skyline or a Malaysian tea plantation, his images have a soothing, contemplative effect on the viewer, although there is also a painful undertone of transience and social criticism.

Waiting for the Sun the artists' first full-color book, is a dedication to the golden era of the American automobile industry. The 1960s and 70s arguably saw some of the best-designed cars to ever leave a manufacturing plant. Once seen bumper-to-bumper throughout the country, these automobiles are a rare sight on U.S. roads today.

Over the past five years, we have driven across America, from coast to coast, along miles of highway and through countless neighborhoods, searching for vintage automobiles. Whether covered in snow during a winter Nebraska night, or shining in the sun of the Nevada desert, to us, these cars perfectly fit the American landscape.' - from the introduction by Jakob Hoflehner. The Hollywood-movie-like, but completely unstaged, photographs immediately take us back some 30 or 40 years in time, as the photographers were very selective and made great efforts to avoid most modern amenities and surroundings in their works.

Bound in yellow vinyl, Waiting for the Sun is published in a limited edition of 999 oversized hardcover copies.

In the 1970s, photographer Hugh Holland masterfully captured the burgeoning culture of skateboarding against a sometimes harsh but always sunny Southern California landscape.

This never-before-published collection showcases his black-and-white photographs that document young skateboarders sidewalk surfing off Mulholland Drive in concrete drainage ditches and empty swimming pools in a drought-ridden Southern California.

From suburban backyard haunts to the asphalt streets that connected them, this was the place that inspired the legendary Dogtown and Z-Boys skateboarders. With their requisite bleached-blond hair, tanned bodies, tube socks and Vans, these young outsiders evoke the sometimes reckless but always exhilarating origins of skateboarding lifestyle and culture.

Bootsy Holler: Making It celebrates a formative era in Seattle’s cultural history, bringing together more than a decade of photographs that trace the evolution of the city’s indie, rock and punk scene from 1992 to 2008. Holler was not an outsider documenting a trend; she was part of a tight-knit world of musicians, promoters, and devoted fans who shaped the city’s musical identity after the grunge explosion. Her images capture a period when small venues, dim basements and impromptu stages served as crucibles for a new generation of artists who would soon rise to national and international acclaim.

Through candid backstage moments and blistering live performances, Holler reveals the early creative energy of bands such as Death Cab for Cutie, Fleet Foxes, Interpol, Modest Mouse, Gossip, and the Foo Fighters. She photographs not only the musicians themselves, but the atmosphere surrounding them — the crowds leaning into the music, the handwritten setlists, the worn floors of beloved clubs and the sense of possibility that hovered over every night. Many of these images predate widespread digital photography, giving the work a tactile, grounded quality that mirrors the DIY ethos of the era.

Designed with open-spine binding and bright orange thread, the book’s construction underscores its raw, handmade aesthetic. Holler pairs the photographs with her own reflections, revisiting a chapter in her life when the scene was intimate, accessible and perpetually in motion. A foreword by Megan Jasper, longtime CEO of Sub Pop Records, situates the work within Seattle’s broader musical lineage and honors Holler’s unwavering independence as an artist.

Born in Washington in 1969, Holler came of age alongside the communities she documented. Her editorial and fine-art photography later found its way into major publications, yet the images gathered here remain among her most personal. Making It offers not only a record of a vibrant artistic moment but also an invitation to return to a time when music felt immediate, communal and unfiltered.

This latest collection of work by the acclaimed photographer Takashi Homma delves into one of Japan and the world's most iconic and frequently portrayed images: Mount Fuji. Titled in reference to Hokusai's renowned series of ukiyo-e woodblock prints, Homma pays homage to his country's traditions of representation while presenting a compelling and eerie reinterpretation of his subject. Employing both pinhole cameras and digital technology, Homma crafts spectral images of the mountain, situated to the southwest of Tokyo, in collaged perspectives that ambiguously position it within the broader landscape. This approach simultaneously evokes and challenges the spectacle historically associated with Mount Fuji. Through this new book, Homma contributes a nuanced and indispensable chapter to the ongoing narrative of Japanese visual culture.

Testament is a collection of photographs and writing by late photojournalist Chris Hondros spanning over a decade of coverage from most of the world's conflicts since the late 1990s, including Kosovo, Afghanistan, the West Bank, Iraq, Liberia, Egypt, and Libya.

Through Hondros' images, we witness a jubilant Liberian rebel fighter exalt during a firefight, a U.S. Marine remove Saddam Hussein's portrait from an Iraqi classroom, American troops ride confidently in a thin-skinned unarmored Humvee during the first months of the Iraq war, "the probing eyes of an Afghan village boy," and "rambunctious Iraqi schoolgirls enjoying their precious few years of relative freedom before aging into more restricted adulthoods."

Hondros was not just a front-line war photographer, but also a committed observer and witness, and his work humanizes complex world events and brings to light shared human experiences. Evident in his writings, interspersed throughout, Hondros was determined to broaden our understanding of war and its consequences.

My father was a spy during the Cold War. Bilingual in German and English, he worked for the U.S. Air Force and sent agents into East Germany and elsewhere behind the Iron Curtain in the early 1960s. The Need to Know, a photo book, is my exploration of the meager details that emerged from brief and cryptic conversations with my father and my curiosity about Cold War espionage and its impact upon my family at the time. The book will be published by the Blow Up Press of Warsaw, Poland in early October.

My father led two lives that rarely intersected. Family members were often the unwitting participants in indecipherable events that left us with many more questions than answers. Mysterious strangers would show up at our apartment late at night only to depart before dawn without saying a word to anyone other than my father. Peculiar encounters, curious radio transmissions, and unexplained coincidences became the norms of my childhood.

The book that I have worked on for the past four years is a photographic re-creation of the intersections and divergences of my father’s secret life and the traditional paternal role he played. The project consists of vernacular photographs, new captures and ephemera to tell a story and investigate a childhood mystery. Ironically, several of the archival photos in the project were photographed by me and my father on separate trips to West Berlin in the winter of 1961 but were only rediscovered recently. The Need to Know is the intersection of the factual and fictional based upon historical research, family archives, my memories, and my imagination.

The project is particularly timely as the issues of the Cold War have evolved but continue to play out on the international stage. The current crisis in Ukraine is just one example of the evolution of that conflict. The espionage tools of the 1960s look primitive to a degree but they, too, have changed to conform to the current applications and tools used for cyber warfare and propaganda purposes. The cycle of history continues to unwind in an ever-repetitive pattern.

BOX has Slight wear on corners and slight discoloration on one side. The book has a few pages in the back with a fingernail size slight indentation.

The inscription can be covered with the third grey page. The point has a small white blemish that would be easy for a pro to fix.

Director, actor, photographer, artist and art collector, Dennis Hopper was a man of diverse talents who intersected with countless key moments in American culture--particularly, and most famously, in the 1960s. Hopper's great gifts as a photographer are well established, with many of his images having entered public consciousness.

This handsomely produced volume looks at Hopper's photography throughout its glory years, from 1961 to 1967. In these years, Hopper carried a camera everywhere, from bars to marches, art openings to freeways. Conceived as a kind of road trip across America, the book runs the gamut of 1960s counterculture and film culture, taking in Warhol's Factory (where Hopper spent much time), film shoots, street scenes, road trips and of course the classic portraits of movie stars, musicians, artists, bikers and activists, from Martin Luther King to Allen Ginsberg and James Brown.

The result of exhaustive research into the artist's archives at the Dennis Hopper Art Trust, and with a wealth of previously unpublished images, Dennis Hopper: On the Road offers a first-hand, collective portrait of an era.

ANIMALIA is a collection of the best of noted photographer Henry Horenstein’s images of sea and land creatures. Described variously as evocative, mysterious, romantic, surprising, and weird, Horenstein’s abstract images will make the viewer see otherwise familiar animals in a new and different light.

Printed in sumptuous sepia duotones, ANIMALIA will make an elegant gift book for the animal or photography lover among your friends and family members.

In Close Relations, noted photographer Henry Horenstein presents his earliest photographs, made from 1970 to 1973: a collection of portraits of family and friends, landscapes, and period imagery.

These photographs describe a time familiar to everyone, when one moves from adolescence to adulthood, remaining as part of a family while beginning to create a network of one’s own.

Journalist and Writer Leslie Tucker and photographer Henry Horenstein began working together in 1997, when she invited him to Maryland to shoot a mysterious multiethnic family, the little-known Wesort clan: »We sorts are different from you sorts.« The project started as a genealogical search for a family whose roots stretched back to the founding of the first Catholic colony, it grew into a mystery about the multiethnic origins of America, then became a race against time as the Wesorts and their descendants disappeared and their stories died. While Horenstein photographed the last generation of Proctors and their disappearing world, Tucker recorded the conversations she had with the wise women of the family. A living archive emerges, with voices that portray the complex realities of their lives in their own words, as seen through their eyes.

While at grad school in the early 1970’s Henry Horenstein would attend Speedway races, in New England to see his brother in law compete. In front of his camera the drivers would fly around the track in beat-up cars customised for racing at break neck speeds in the hopes of small town glory. Horenstein's joyful images present us with a slice now of what the world of motor racing looked like then, before racing became big business, as it slowly morphed into Nascar - the worlds fastest growing sport. “I was still in grad school and I was looking for subjects. There had to be good pictures there for a wanna-be historian-with-a-camera. What better than an old-school sport that would certainly be extinct one day? I’m still waiting. My brother-in-law Paul raced stock cars―old. Paul’s cousin Dickie Simmonds owned the local Gulf station and modified the junkers that Paul drove at places like the Seekonk Speedway (Seekonk, MA) and the Thompson Speedway (Thompson, CT). Paul and Dickie had friends in low places.” Henry Horenstein "As I started to look at the photos I recognized most of the cars and I began to marvel at the skills of some of these drivers and their teams for keeping these heaps going. They must have been geniuses... As I looked over the photos for a second time I noticed that for a book about stock car racing there are more pictures of the people than their cars and this is something else that Henry and I share. On Car Talk we used the cars as an excuse to talk to people and get to know them and their stories." Ray Magliozzi

Forty years after Henry Horenstein began documenting the country music scene in and around Nashville, his deep love for the music and its people continues.

Having spent a lifetime around performers and fans, he has been granted access to both the high-glamour backstage of the Grand Ole Opry in its heyday of the 1970s and the rough-and-tumble dive bars that carry on the tradition today.

From elegant nudes to celebrity portraiture: the incredible breadth of the famed Vogue photographer.

This new monograph invites readers into Horst P. Horst’s (1906–1999) world of elegance, luxury and fantasy. Including the photographer’s elegant nudes, fashion photography, celebrity portraits and still-life studies, this luxurious volume reveals the extraordinary breadth of Horst’s work in both color and black and white.

Before he adopted the name by which he is known, Horst Paul Albert Borhmann studied carpentry in his small German town, leaving in 1930 for Paris to study under architect Le Corbusier. He soon found himself in the orbit of Vogue photographer Baron George Hoyningen-Huene, for whom he worked as an assistant. Just one year later, Horst published his first photograph in French Vogue, a full-page advertisement for Klytia perfume.

Horst would be associated with Vogue magazine for the next six decades, changing the face of fashion photography with his impeccably posed and lighted images that transformed his models into versions of the classical sculptures and Surrealist art he so admired.

An international figure, traveling from Paris to New York and beyond, Horst chronicled and participated in the interwoven worlds of art, design, performance and glamorous high society.

Horst P. Horst's images are the essence of elegance. Glamorous and sexy, they capture the celebrity and style of the 20th century.

In this, the first book devoted specifically to Horst's portraits, 170 full-page photographs immortalize the actors and artists, designers and models, royalty and socialites who sat for him during his 60-year career. Coco Chanel, Joan Crawford, Marlene Dietrich, Gertrude Stein, Salvador Dali, Steve McQueen, Noel Coward, Jacqueline Kennedy, and Calvin Klein are just a few of those pictured.

Culled from private collections as well as from the archives of American, British, and French Vogue, a number have never before been published. Horst Portraits includes an informative introduction, extensive notes on both the subjects and the sittings, and a complete chronology.

The first major book to celebrate the entire career of legendary fashion photographer Horst P. Horst. The first comprehensive book on Horst P. Horst, this richly illustrated survey accompanies a retrospective of the photographer’s career, spanning fashion, nudes, portraiture, interiors, and art, at the Victoria and Albert Museum.

For an incredible six decades, Horst’s work graced the pages and covers of Vogue, beginning in the 1930s alongside luminaries such as Cecil Beaton and George Hoyningen-Huene. With equal admiration for the physical ideals of classical sculpture and the surrealism of Salvador Dali, Horst crafted some of fashion’s most iconic images. Newly researched essays follow the photographer as he captured—and mingled with—the great thinkers, designers, and muses of his day, among them Elsa Schiaparelli and Coco Chanel.

Known first as a master photographer of French and British couture, Horst also left his mark on interior and lifestyle photography with his work in House & Garden. This survey traces a career remarkable for its range, daring, and depth.

Now in his late eighties, the Croatian-born, France-based photographer Frank Horvat (born 1928), a pioneering fashion photographer and one of the first professional photographers to use Photoshop, can look back at around 70 years of activity and a dazzling career.

With this volume, Horvat furnishes us with a personal insight into his long life. This autobiography-in-pictures reveals personal moments from all phases of his life: we see his family and his friends, witness the arc of his extraordinary career, and encounter the great themes of humankind, such as birth and death. These are everyday images, but the quality of the photographs speaks for itself. In the appendix, Horvat comments, often at length, on each of the pictures.

Excelling in numerous genres, Frank Horvat (born 1928) likes to transgress boundaries, and he does not worry about the conventions of the genre in his fashion photographs: as early as the 1950s, he was going out onto the street, brazenly positioning a model in the middle of a vegetable market (1959) for Jours de France, or, shortly afterwards, experimenting with bold cropping or humorous film quotation.

In doing so, Horvat mostly dispenses with artificial light and shoots many of his fantastic pictures with a 35mm Leica from the hip, so to speak. He works for Elle, Vogue, Harper's Bazaar and other major magazines, with famous models and celebrities, and he is the first photographer ever to use Photoshop for his work. Respect for the portrayed women and palpable endearment distinguish Horvat's sensual, elegant pictures from those by all other photographers on the fashion scene.

Frank Horvat: The Birth of a Photographer revisits the formative years of a figure who would later redefine fashion imagery, revealing how his earliest journeys shaped a lifelong way of seeing. In 1952, at twenty-five, Frank Horvat set out for India and Pakistan, driven by curiosity and a restless intelligence forged in the upheavals of wartime Europe. Having fled Hungary as a Jewish refugee and encountered Indian soldiers in Switzerland during the Second World War, he carried with him both memory and imagination. What he found on the subcontinent would anchor his photographic identity.

Over two years, Horvat immersed himself in everyday life, producing black-and-white images marked by empathy and compositional rigor. Markets, ceremonies, streets, and intimate domestic scenes unfold with a quiet attentiveness that resists spectacle. His celebrated portrait of a bride in Pakistan, made in 1952, was later selected by Edward Steichen for the landmark exhibition The Family of Man at the Museum of Modern Art in 1955, affirming the universal resonance of his vision. Even before turning decisively toward fashion, Horvat had established himself as a photographer of rare sensitivity.

A return trip to India in 1962 deepened this engagement. The images from both periods, presented here in a selection of around one hundred photographs, reveal an artist attentive to gesture, light, and human presence. The seeds of his later innovation in fashion photography are visible in these early works: a preference for natural settings, spontaneous movement, and psychological nuance rather than rigid artifice.

Preserved today in major museum collections, Horvat’s photographs from India and Pakistan stand not merely as documents of place and time, but as evidence of a young artist discovering his vocation. The Birth of a Photographer captures that decisive moment when observation, experience, and craft converged, marking the emergence of a career that would leave a lasting imprint on modern photography.

The legendary photojournalist's early '80s New York photographs, published alongside his autobiographical musings in an elegant clothbound edition

From 1979 to 1986, the city of New York functioned as a kind of refuge for photographer Frank Horvat (born 1928). Born in present-day Croatia, for years Horvat lived and worked rather nomadically, traveling extensively through Asia and Europe on photojournalist excursions with a brief stopover in Paris where he shot fashion photography for Jardins de Mode and Elle. Eventually he found himself in New York; during this period, he allowed himself to surrender to the daily hustle and bustle of the city streets. In between commissions, Horvat created a prolific series of photography and writing that was not intended for public consumption, instead functioning as a reflection upon his own craft as well as the significance of photography itself.

Frank Horvat: Side Walk publishes many of these photographs for the first time alongside the photographer's writing. The elegant presentation of this clothbound volume is representative of the great pride that Horvat took in the creation of his personal projects as well as his professional pursuits: the photojournalist's texts are published on thin Munken offset paper and his photographs are printed on deep matte photo paper. This publication is both a compelling depiction of a beloved city and a portrait of the sensitive man behind the camera.

Eikoh Hosoe (b. 1933, Yamagata) is one of the most influential Japanese photographers in the history of the medium. This comprehensive volume will be the primary resource on Hosoe’s oeuvre, edited, designed, and produced under the artist’s direction and with the collaboration of internationally renowned curator and scholar Yasufumi Nakamori.

Since the mid-1950s, Eikoh Hosoe has been at the forefront of photographic practice in Japan: as an image-maker encompassing a broad range of subjects; a curator introducing works of master European and American photographers to Japan in 1968; a teacher informing the careers of numerous distinguished photographers, such as Daido Moriyama. He co-established an influential lens-based art journal, co-founded the photographic cooperative Vivo and later the progressive Photography Workshop, created a university education curriculum and photography collection, and exhibited and published numerous books and catalogs of his own photographs in Japan. In the process, he pioneered the establishment of postwar Japanese photography, rescuing the medium from the pre-existing modes of documentary and realism and positioning it at a new nexus of art, literature, performance, and film.

This career-defining publication not only features Hosoe’s major photographic series but also reveals his lesser-known collaborative works with writers, critics, dancers, and artists, including Yayoi Kusama, in portraiture and beyond. Additionally, the volume includes two newly-commissioned essays offering new perspectives on Hosoe’s oeuvre, alongside reprints of a selection of previously-published seminal essays on Hosoe by a range of Japanese writers, including the novelist Yukio Mishima and the art critic Shuzo Takiguchi. As well as serving as a survey of Hosoe’s work, this book uncovers the essential protagonists of Japanese art, photography, dance, and literature across the post-1945 era.

An undisputed masterwork among Japanese photobooks, Eikoh Hosoe and Tatsumi Hijikata's "Kamaitachi" was originally released in 1969 as a limited edition of 1,000 copies.

Hosoe, the renowned photographer, and Hijikata, the founder of ankoku butoh dance, had visited a farming village in northern Japan, where Hijikata improvised a performance inspired by the legend of a weasel-like demon named Kamaitachi. As Hosoe photographed Hijikata's spontaneous interactions with the landscape and with the people they encountered, the two artists together enacted an intense investigation of tradition and an exploration, both personal and symbolic, of contemporary convulsions in Japanese society.

In 2005, Aperture published a limited-edition facsimile in homage to the original, in close consultation with the artist; now, they have made this enchanting body of work available in its first ever affordable trade edition, which was painstakingly reworked by renowned graphic artist Ikko Tanaka--the designer of the original volume--shortly before his death. His reinterpretation of this classic book object, which is truly a paragon of Japanese bookmaking, includes as a special bonus four never-before-published images from the classic Kamaitachi series.

Eikoh Hosoe was born in Yamagata Prefecture, Japan, in 1933. He is an integral part of the history of modern Japanese photography, and remains a driving force not only for his own work, but also for his efforts as a teacher and ambassador, fostering artistic exchange between Japan and the outside world. Hosoe lives in Tokyo and is represented by Howard Greenberg Gallery, New York.

Overview of Hosoe's career to date which includes images from many of his books including "Barakei," "Man and Woman," and "Embrace," plus portraits, nudes and architectural studies. This is the first monograph on Hosoe published in the United States.

New York-based photographer James Houston (born 1965) is a leading beauty and celebrity photographer.

For his latest project, Houston has shot luxuriant, saturated color portraits of some of the world's leading environmentally conscious celebrities--(including Adrian Grenier and Emma Watson) and supermodels (including Christy Turlington, Elle Macpherson, Arizona Muse and Anja Rubik)--each with nature as the inspiration for the portrait. Houston's project aims to raise awareness about environmental issues, and to raise funds for Global Green USA.

From unpublished memoirs and other sources, Ewing (Style and Motion, etc.) offers a comprehensive picture biography of Geoge Hoyningen-Huene, who was born into Russia's aristocracy and in the Paris of the '20s and '30s became a quintessential sophisticate among fashion magazine photographers.

For Vogue, Vanity Fair and Harper's Bazaar he provided location and studio portraits of models, designers, film stars, authors, poets and society's darlings. Influenced by Man Ray, Baron de Meyer and Edward Steichen, Hoyningen-Huene set a standard of elegance in a genre later taken further by Horst, Penn and Avedon.

In this volume's richly reproduced portraitsamong them Coco Chanel, Cocteau, Chaplin, Stravinsky, the Windsors, Lifar, Dolores Del Rio and Garboartist and subject combine superlatively in what came to be known as glamour.

Katherine Hubbard: a slight cast down at the edges of the lips brings together a decade of work that resists easy categorization, unfolding at the intersection of photography, writing, and performance. Conceived as a space where these elements meet on equal footing, the book gathers images and texts that reflect Hubbard’s sustained inquiry into gesture, language, and the subtle expressions of emotional states. Her practice moves fluidly between mediums, yet remains grounded in a consistent attention to the body—its presence, its hesitations, and its capacity to communicate beyond words.

Hubbard’s photographs, often produced through analog processes, carry a sense of intimacy and restraint. Faces appear partially obscured, bodies are cropped or turned away, and moments seem to hover just before or after a decisive action. This careful withholding creates a tension that invites reflection rather than resolution. The images do not aim to illustrate a narrative; instead, they suggest fragments of experience, where meaning lingers in posture, in the curve of a shoulder, or in the faint shift of an expression. The title itself evokes this sensitivity to nuance, pointing toward the smallest inflection as a site of significance.

Interwoven with the photographs are Hubbard’s own writings, conceived for performance yet translated here onto the page. These texts retain a rhythmic, spoken quality, emphasizing pauses, repetitions, and the physicality of language. They extend the photographic work without explaining it, creating a dialogue that unfolds across mediums. Additional contributions by writers and curators offer parallel reflections, expanding the context while maintaining the open-ended nature of Hubbard’s approach.

The book concludes with a conversation between Hubbard and photographer Zoe Leonard, situating her practice within a broader artistic lineage while preserving its distinct voice. a slight cast down at the edges of the lips ultimately reads as both an archive and an evolving composition, where image and language meet in a continuous process of observation, questioning, and quiet revelation.

Pine Ridge Indian Reservation is a sprawling area of land that encompasses parts of the Lakota Sioux tribe's traditional homeland, the Black Hills of South Dakota. Sadly, Pine Ridge continues to be the setting for an ongoing massacre within the tribe. Gangs on the reservation are out of control, and the violence they live by affects even the smallest villages.

Pine Ridge is the quintessential example of the failure of the reservation system, with staggeringly depressing statistics on everything from violent crime (the average life expectancy for men is 48) to education. In this powerful new book, Seattle-based photographer Aaron Huey (born 1975) portrays the broken social landscape and desperate living situation that permeates Pine Ridge today.

Huey, a photographer who has covered war and poverty in some of the most far-flung places on the planet, stumbled upon Pine Ridge several years ago and has spent the last few years trying to unravel its complexities. His color photographs stand as chilling testaments to the incredible difficulties facing the tribe as a whole, and the reparations yet to be made to them.

A comprehensive survey of the acclaimed photographer Pieter Hugo and his mesmerizing work, this book features images from each of his major series throughout his prolific career. Pieter Hugo’s images are unflinching and unforgettable. Beginning with “Looking Aside,” his series of portraits of marginalized people, Hugo has striven to capture the African continent with empathy and impartiality.

Whether confronting the aftermath of genocide in Rwanda, documenting electrical waste dumps in Ghana, or photographing in Nigeria’s dynamic film industry, Nollywood, Hugo treats his subjects with reverence and awe. Including examples of his most recent series taken in the U.S. and China, this book offers stunning reproductions of Hugo’s work in color and black-and-white, accompanied by the photographer’s personal commentary.

Bringing together more than a decade of work that has elicited fulsome praise, this volume lets readers appreciate Pieter Hugo’s extraordinary oeuvre.

Themes of mortality and ordinariness in modern-day Mexico.

This is Cape Town–based photographer Pieter Hugo’s (born 1976) homage to Mexico, in portraits, landscapes and still-life vignettes with bright shades of pink, blue and green.

Brilliant South African photographer Pieter Hugo reflects on a generation of Africans born in an era of unprecedented freedom and in the wake of unspeakable violence. Celebrated for his often unsettling but arresting images, especially from his native continent, Pieter Hugo is a photographer with a passion for revealing the truth, no matter how painful or disturbing it may be.

In this book, he turns his lens to images of reconciliation, healing, and hope as seen in the faces of children, including his own. 1994 refers to a pivotal moment in African history―specifically in South Africa, which held its first free and democratic elections that year, and Rwanda, where a clash between the Tutsi and Hutu ethnic groups gave rise to a brutal genocide.

Hugo photographs children in a landscape from which they emerge and are sometimes engulfed by, some representing more of the Edenic, while others seem older, more impacted by life. His photographs are both unsentimental and straightforward.

n 2014 and 2015, Pieter Hugo met the subjects of his photographs in San Francisco’s Tenderloin and Los Angeles’s Skid Row districts. The high-key lighting of the relentless California sun characterizes these outdoor portraits made in the city streets. Bold colors and chiaroscuro form the language used by Hugo to complement the expansive gestures and curving forms of his subjects—wild and unrestrained. Hugo pairs this theme of abandonment with a style that invokes Dutch Golden Age or Baroque master painters such as Caravaggio or Frans Hals. The intensity of attention similarly brought to these sitters in their engagement with Hugo is palpable. The resulting photographs—so completely steeped in a careful handling of shape, form, color, and light—transcend beyond their specific moment in time to embody an overarching timelessness. Too frequently overlooked, Hugo brings our attention to these wildflowers blooming from the uncommon Californian land and its elusive promise of prosperity. Uninhibited and lawless, we bear witness to a truth that only they are capable of transmitting.

Pieter Hugo (born 1976) has garnered critical acclaim for his series of portraits and landscapes, each of which explores a facet of his native South Africa and neighboring African countries, including the film sets of Nigeria's Nollywood; toxic garbage dumps in Ghana; sites of mass executions in Rwanda; as well as albinos, the Hyena Men of Nigeria, honey collectors and garbage scavengers.

Kin, a collection of images shot throughout South Africa over the past decade, focuses instead on the photographer's family, his community and himself. Writer John Mahoney characterizes it as the artist's first major work to focus exclusively on his personal experience in his native South Africa, a place defined by centuries of political, cultural and racial tensions and contradictions.

Hugo describes his series as "an engagement with the failure of the South African colonial experiment and my sense of being 'colonial driftwood.' South Africa is such a fractured, schizophrenic, wounded and problematic place ... How does one take responsibility for history, and to what extent should one try? How do you raise a family in such a conflicted society?" This work attempts to address these questions and reflect on the nature of conflicting personal and collective narratives.

This great publication from the award-winning photographer Pieter Hugo reveals the devastating consequences of toxic waste on one community in Africa. In his previous well-received volumes of photographs, Hugo offers unflinching yet striking portraits of humans, animals, societies, and landscapes that shock and disturb, but also demand our attention.

In Permanent Error, he documents a garbage dump in Ghana that has become the repository for discarded computers from around the world. These haunting images document the true cost of a misguided policy-the shipping of millions of tons of obsolete computers to developing countries.

The computers are burned to extract valuable metals, effectively turning the site into a toxic wasteland that contaminates air, soil, and groundwater for miles around. These amazing portraits tell a story of a marginal community overwhelmed by poverty, but where human strength and resilience shine through the inhuman conditions Hugo lays bare.

Portraits of uncommon beauty from the author of the acclaimed La Cucaracha.

In Solus Volume I, South African photographer Pieter Hugo (born 1976) reflects on the values implied by the fashion industry’s shifting aesthetics through portraits of street-cast models found in diverse locations such as London, Paris, New York and South Africa. Hugo found himself captivated by sitters with unconventional and atypical looks, particularly before they underwent the machinations of wardrobe, makeup and hair.

Drawn to this uniqueness and recalling the sense of not-belonging that is part of the intense experience of youth, Hugo’s invitation to the models was: “simply present yourself.” The resulting photographs embrace vulnerability and frailty as much as they do the agency and idealism of their subjects. Hugo’s typological study questions fashion’s commodification of youth and the “outsider,” while embracing the beauty of peculiarity worn with acute awareness and the paradox of craving both difference and conformity.

Many myths surround the "Hyena Men" who haunt the peripheries of Nigeria's cities. Accompanied by hyenas, rock pythons and baboons, these men earn a living by performing before crowds and selling traditional medicines.

Pieter Hugo's extraordinary portraits of their liminal existence reveal an uncanny world of complex, codependent relationships, where familiar distinctions between dominance and submission, wildness and domesticity, tradition and modernity are constantly subverted.

Nigerian journalist Adetokunbo Abiola introduces readers to the "Hyena Men," explaining the traditions and mystique behind their practices. Presented in thirty-five full-color plates, these intense portraits reveal why Hugo is one of the most exciting young photographers at work today.

Filled with startling portraits of Africa's raw and tragic beauty, this first retrospective of Pieter Hugo's award-winning work collects the most important images from the photographer's career to date. Pieter Hugo has been documenting his native continent of Africa since his late teens.

An autodidact, he was eventually drawn to portraiture, an interest that culminated with his hugely popular book, The Hyena and Other Men. Since that book, Hugo has continued to earn high praise while testing the limits of the traditional portrait. As Aperture magazine observes, "Hugo maneuvers through the muddy waters of political engagement, documentary responsibility, and the relationship of these to his own aesthetic." In the books Nollywood and Permanent Error he suffuses a journalist's perspective and a voyeur's theatricality into images of Africa's people and environment.

This retrospective volume collects photographs from each of his earlier series as well as portraits and landscapes that have never been shown or published before. Essays by three esteemed photographic critics contextualize Hugo's career Hugo's career within the realm of contemporary photography. Full-page color illustrations highlight Hugo's extraordinary talent for teasing out the subtleties in otherwise stark images.

Paul Thek and Peter Hujar: Stay away from nothing traces the restless, incandescent bond between two singular figures of the postwar art world. Moving between New York and Italy in the 1960s and 70s, the book unfolds through an intimate weave of letters, postcards, photographs, and fragile paper traces that survived them both. What emerges is neither simple biography nor nostalgic tribute, but a living record of a relationship shaped by ambition, desire, rivalry, and devotion.

Peter Hujar first encountered Paul Thek in a moment charged with possibility. Early portraits capture Thek before the myth fully formed: watchful, vulnerable, already theatrical. Thek’s letters, some written from a cargo ship bound for Europe, carry the urgency of youth and the hunger for reinvention. Rome becomes a crucible for their connection, a city where art, Catholic iconography, and sensuality intermingle—elements that would later surface in Thek’s sculptural environments and Hujar’s austere, psychologically piercing portraits.

As the correspondence progresses, so too does the complexity of their bond. Thek writes of money troubles, fleeting romances, grand artistic schemes, and the exhaustion of constant travel. His voice shifts from playful to melancholic, from seduction to self-doubt. Hujar answers less with words than with images. His photographs—whether made in Roman studios, on the beaches of Fire Island, or in the catacombs of Palermo—render Thek with a clarity that feels both tender and unsparing. Contact sheets and informal snapshots reveal moments of levity: shared jokes, staged passport photos, the casual intimacy of artists at ease in each other’s presence.

Placed in context with Thek’s monumental works such as The Tomb, the material gathered here underscores how inseparable life and art were for both men. Their exchange becomes a testament to creative partnership in its most volatile form—at once sustaining and destabilizing. In revisiting these documents, the book restores the human dimension behind two formidable oeuvres, honoring a connection that was as fragile as it was transformative.

A legendary musician’s intimate vision of a great photographer’s profound, exquisitely somber oeuvre.

Bringing together the sensibilities of two remarkable artists, Peter Hujar Curated by Elton John provides striking proof of how one artist’s eye can shed light on another. Though known worldwide as one of the most revered performers of our era, Elton John is also a seasoned collector of photographs, with an acute and personal understanding of Hujar’s achievement.

Through a selection of 50 photographs, the book presents a wide-ranging survey of Hujar's career. John writes: “Hujar's humanity, depth and sensual insights aren't for everyone, and don't need to be, but once his pictures get into your bloodstream they are impossible to shake.” The publication includes works spanning nearly two decades, featuring portraits of Hujar's eclectic circle of friends, his landmark nudes, atmospheric landscapes, portraits of performers (Stevie Wonder, Peggy Lee and Edgar Winter) and a moving image of the artist with his mother.

Peter Hujar (1934–87) was born in Trenton, New Jersey and moved to Manhattan to work in the magazine, advertising and fashion industries. He documented the vibrant cultural scene in downtown New York throughout the 1970s and 1980s, photographing artists, musicians, writers and performers. Hujar died of AIDS in 1987.

Elton John (born 1947) is one of the most enduringly successful solo artists of all time. In 1992 he founded the Elton John AIDS Foundation, which funds programs to end the AIDS epidemic. Since the 1990s he has avidly collected photography. In 2016, Tate Modern organized the exhibition The Radical Eye: Modernist Photography from the Sir Elton John Collection.

Peter Hujar, a New Yorker of Ukrainian descent, died of AIDS in 1987.

He recorded the world in astonishing portraits of cows, sheep, and geese in the country, dogs in the studio, the sea, the city, and above all his fellow human beings, many of whom have since won fame: Susan Sontag, John Waters, Divine, William S. Borroughs, Candy Darling, Robert Wilson, David Wojnarowicz, Paul Thek, and many men, in the nude, half-dressed, sleeping, posing, tumescent.

People, animals, landscapes - Peter Hujar approached them all with great respect and a perfect sense of balance between near and far. His subjects face us with supremely dignified singularity, with loneliness at times, and at times in an aura of dauntless and "splendid isolation."

The Lower East Side between 1972 and 1985―filled with artists, wannabe artists and hangers-on―was a community of the misbegotten gathered from every town in America and relocated in the mean streets between Broadway and the Bowery, and Peter Hujar was right in the midst of it.

Nothing but talent, flamboyance, rank gender-bending mockery and arch irony supported these artists: some made their names, many came to grief and a few made art. In those days, the gutted streets of the Lower East Side resembled a war-zone. Though some established artists had passed through―Rauschenberg and Johns, John Cage and Merce Cunningham―almost everyone lived and worked on the extreme outer margins of money and art, penniless and unknown. As a community, downtown New York was a counterstatement to the rich New York of the banks, museums, media, corporations and the art world itself.

That downtown New York is gone: time, gentrification, disease and death have taken their toll and turned this vibrant epoch into a chapter in art history. But before it vanished, its extravagant cast sat for Peter Hujar’s camera, and with this volume, that community is vividly brought to life. Featured are Charles Ludlam, David Wojnarowicz, Edwin Denby, Susan Sontag, Paul Thek, Divine, Robert Wilson, John Waters, William S. Burroughs, Ray Johnson, Fran Lebowitz, Remy Charlip, Joe Brainard and many others.

Celebrated and revered by artists, the work of Peter Hujar remains something of a public secret, but his photographs dealing with sex and eroticism, made between the years 1969 and 1986, have come to define a certain era in New York.

Today they are widely considered to be his finest and most radical work. Hujar's view of the human body is uninhibited and uncompromising, but his poignant explorations of sexuality and desire also project a universal humanity; as Nan Goldin said of Hujar's nudes, "Looking at his photographs of nude men, even of a naked baby boy, is the closest I ever came to experience what it is to inhabit male flesh." This monograph, published in conjunction with an exhibition at Fraenkel Gallery in San Francisco, is the first to deal specifically with Hujar's photographs of love and lust.

Captured in deeply textured black and white, these photographs present a view of human relationships that encompasses both the tender and taboo. This volume also contains an interview with author Fran Lebowitz from 1989, and newly commissioned essays by Vince Aletti and Stephen Koch.

Peter Hujar was a leading figure of the downtown New York scene of the 1970s and ’80s. He is most well-known for his portraits of New York City’s artists, musicians, writers, and performers, which feature characters such as Susan Sontag, William S. Burroughs, David Wojnarowicz, and Andy Warhol, and was admired for his completely uncompromising attitude toward work and life.

Hujar was a consummate technician, and his portraits of people, animals, and landscapes, as well as his documentation of the HIV/AIDS epidemic, with its exquisite black-and-white tonalities, were extremely influential. Underappreciated during his lifetime, Hujar is now a revered icon of the lost downtown art scene, and his photographs are held in permanent collections around the world.

Over 160 photographs are gathered in Peter Hujar: Speed of Life. Published alongside a major touring exhibition, this collection presents Hujar’s famous portraiture as well as his lesser-known projects. Accompanied by texts by Philip Gefter, Steve Turtell, and Joel Smith, this survey provides a thorough history of Hujar’s life and artistic practice.

Images mediate political operations, public and covert. It is difficult, if not impossible, to imagine the most significant events of the last century without the photographic forms in which they were captured. Lesser known and suppressed activities that have greatly impacted modern global power dynamics also leave photographic traces, and in many cases, photography has been at the center of clandestine actions by state and parapolitical actors. Critical Collection is an assemblage of declassified archival photographs and other found images processed and re-contextualized by artist and researcher Evan Hume. He obtains this source material primarily from the Central Intelligence Agency, National Archives, and National Reconnaissance Office. With photographic intelligence gathering at its core, Hume’s work expands centrifugally, making unexpected visual and conceptual connections that form a complex web of fact and speculation. Hume employs experimental imaging methods to alter and combine the amassed photographs, exhibiting the malleability of images and historical narratives. At a time of AI proliferation and heightened global tension, Critical Collection encourages viewers to look closely at remnants of the once-secret imaging systems that have shaped the world and imagine what remains unseen.

Created and printed by Sohrab Hura to accompany his exhibition of the same title, A Proposition for Departure focuses on the relationship between light and sound, and reads as an instructional guide for the artist, dictating the sound extractions that Hura would create from a selection of his photographs.

Self-published (under the imprint Ugly Dog press) in 2015 (here). Hardcover with dust jacket, 144 pages, with 84 black and white photographs. Includes multiple hand written texts by the artist. In an edition of 600 copies. Sohrab Hura is a young Indian photographer, from a small place called Chinsurah in West Bengal.

Trained as an economist, he gradually turned to photography, shooting his immediate surroundings, family and close friends, simply “making photographs just for the love of making photographs”. Eventually, he made the leap to photography as his main occupation, and last year Hura became the latest Magnum Photos nominee. It’s been quite an artistic and personal journey in such a short period of time. The photographs he took between 2005 and 2011 have become part of an inwardly felt project entitled Life is Elsewhere. This recently self-published photobook is a diary of Hura’s day to day existence at that time, combining photography and hand written captions in an attempt to bring order to the various fragments of his life.

The book, which is dedicated to his mother, reads like a personal journey. Hura begins with a bright, flash lit silhouette of a person in the middle of the street, seemingly glowing or emitting intense, almost blinding energy (can this be a reference to the photographer himself?); it is followed by a neatly handwritten introduction. From these notes, we learn about Hura’s complicated and emotionally challenging relationship with his mother – she screams, she beats him, and sometimes even disbelieves that he is her son. In 1999, she was diagnosed with paranoid schizophrenia, when Hura was just 17.

"Over the years when my mother’s condition started to improve I started to photograph at home more. Apart from my mother the focus of the photographs also included her dog Elsa who had been her sole companion at home for many years and also the house itself whose condition deteriorated or improved as my mother’s illness regressed or progressed.

Her relationship with Elsa which had substituted intimate human contact as simple as touch or conversation all these years, had played a big part in my mother’s improvement. In February of 2014 Elsa died having grown old in her 13th year.

That winter was a strange one because for the first time it had rained everyday and the sun wasn’t seen on most days. Towards the end my mother had even opened up to my father with whom she had separated almost 15 years ago. It was her separation with him that had triggered her illness in the first place."

The Coast opens with an absurd short story that leads into a sequence of images taken along the Indian coastline. While the photographs are made in real situations, the continuous removal and addition of context manipulates the line between what is fact and what is not, in a way not unlike how new realities are increasingly being engineered today.

Some might imagine the book to be a fable-like tale while others might recognize in it reality. Either way, the book in its stories alludes to undercurrents in a country that is seeing higher frequencies of violence: religious, caste, sexual or otherwise and the increasing normalization of it, which is far more absurd than the story itself.

There is respite toward the end as the book moves to the sea. The margin between land and water becomes a point of release beyond which characters experience fear, surprise, anger, sadness, trust, anticipation, excitement, contempt but also rapture. The short story at the beginning of the book also exists in 11 other iterations, each one changing only a few words at a time like a game of Chinese Whispers.

Just like with the images, each story forms a slightly different meaning in every subsequent reading and it becomes one of a dozen different truths. The Coast is the fourth book by Sohrab Hura.

Magnum's David Hurn (born 1934) is one of Britain’s most important reportage photographers. His documentary photographs are distinguished by their quiet observation and remarkable insight. “Life as it unfolds in front of the camera is full of so much complexity, wonder and surprise that I find it unnecessary to create new realities,” he writes. “There is more pleasure, for me, in things as they are.”

Released to coincide with Magnum photo agency’s 70th birthday, this is the first book dedicated to Hurn’s photographs from Arizona. In 1979–80 he was awarded a UK/USA Bicentennial Fellowship, a one-year award to photograph in America. He chose Arizona, as “the most right-wing state in America, plus it is the driest state in America. The exact opposite of my home country Wales. The contrasts appealed to me.” Hurn fell in love with Arizona and made several trips back between 1979 and 2001, turning his inimitable eye to ordinary Arizonians in their daily life, their schools, exercise classes, holidays and their landscape.

This volume is the first anthology dedicated to David Hurn during one of his most iconic periods of the 1960s. As this collection shows, Hurn has “the eye of a compassionate eagle, the skill to entice the best out of his subjects, and the wit to turn everyday images into an enduring legacy.”

Hurn’s portfolio is a unique blend of celebrity and anonymity, which provides a far more accurate summary of the decade than an anthology of superstar portraits. His rendering of the 1960s encompasses both Hollywood screen idols and East End sun-seekers; headline news, alongside rituals unchanged for centuries. Included are photo essays from the streets of New York, anti-Vietnam protests, the London Soho scene, the French Riviera, Queen Charlotte’s Ball and the Isle of Wight Festival in 1969.

Also featured are portraits of some of the coolest characters of the age--Michael Caine, Quentin Crisp and Julie Christie--and Hurn’s work within the film industry, capturing The Beatles during the filming of A Hard Day’s Night, Sean Connery in From Russia With Love and Jane Fonda in Barbarella. This is a magnificent volume, curated with insight and appreciation for a true master of his art.

Jacobson’s lyrical defocused photography evokes inner states and fleeting memories.

The images in New York–based photographer Bill Jacobson’s (born 1955) When Is a Place suggest risks and uncertainties. They question both the nature of perception and our existential place in the world, themes explored throughout his five decades of making photographs. Jacobson’s use of a defocused lens, bleached-out skies and a curious tonal range challenge boundaries of traditional photographic practice. Diffuse horizon lines dramatically bisect distant landscapes; the subtle curves of vague human bodies and unknown spaces suggestive of architecture play prominent intertwining roles. Jacobson’s original large-scale prints are analog silver gelatin, printed by him in a traditional black-and-white darkroom. Created between 2018 and 2020, the images were made in Virginia, the south of France, upstate New York and in Jacobson’s studio in New York City.