As feminism gained momentum in 1970s America, three photographers―Abigail Heyman, Eve Arnold and Susan Meiselas―published massively influential photobooks informed by the movement.
The first, Heyman's Growing Up Female (1974), is a kind of feminist diary: the photographer casts a lucid eye at her own life and questions the imprisonment of women in stereotype roles. The second, Eve Arnold's The Unretouched Woman (1976), shows unknown women and celebrities in spontaneous everyday moments. The photos were deliberately not retouched or staged and offer a nuanced vision of women far from the glamor of glossy magazines. The third, Susan Meiselas' Carnival Strippers (also 1976), is the fruit of three years of investigation into fairground striptease sideshows in the Northeastern United States.
Issue Three: The United States (2003-2013) is a composition of new American photographs taken over the last 10 years. It features the work of photographers like Bryan Schutmaat, Ilona Szwarc, Daniel Shea, Vanessa Winship, Lucas Foglia and over 100 more. Printed at Shapco, Minneapolis, 216 pages.
Since the invention of photography almost 175 years ago, the medium has proven itself understandably adept at capturing what is there to be photographed: the solid, the concrete, that which can be seen. Another tradition exists, however; a parallel tradition in which photographers and artists have attempted to depict via photographic means that which is not so easily photographed: dreams, ghosts, god, thought, time. The Unphotographable explores this parallel tradition, and is published to coincide with an exhibition of the same name at Fraenkel Gallery in San Francisco, presenting photographs by anonymous amateurs alongside those of artists such as Diane Arbus, Bruce Conner, Liz Deschenes, Adam Fuss, Man Ray, Christian Marclay, Ralph Eugene Meatyard, Alfred Stieglitz and Hiroshi Sugimoto. Jules-Bernard Luys and Émile David are represented by a photograph taken toward the end of the nineteenth century, of fluidic emission from the fingers of two hands; Richard Misrach captures a sandstorm in California in 1976; and Conner is represented by "Angel Light," one of the Angels series of dramatic, life-sized photograms he created in 1973-75, and which explore the disjunction between vision and phenomenological experience. Since opening in 1979, Fraenkel Gallery has presented close to 300 exhibitions exploring photography and its interrelations with the other arts, and The Unphotographable is one of its most ambitious projects to date. The catalogue is edited with an essay by Jeffrey Fraenkel, and includes 50 images in color.
From the water's surface, it's a simple exercise: a dog's leap, a splash, and then a wet head surfacing with a ball, triumphant.
But beneath the water is a chaotic ballet of bared teeth and bubbles, paddling paws, fur and ears billowing in the currents. From leaping lab to diving dachshund, the water is where a dog's distinct personality shines through; some lounge in the current, paddling slowly, but others arch their bodies to cut through the water with the focus and determination of a shark.
In more than eighty portraits by award-winning pet photographer and animal rights activist Seth Casteel capture new sides of our old friends with vibrant underwater photography that makes it impossible to look away. Each image bubbles with exuberance and life, a striking reminder that even in the most loveable and domesticated dog, there are more primal forces at work. In Underwater Dogs, Seth Casteel gives playful and energetic testament to the rough-and-tumble joy that our dogs bring into our lives.
We’re thrilled to partner with Peter Caton for the launch of his Kickstarter campaign to bring his powerful book, Unyielding Floods, to life. Set for publication in September, this book sheds light on one of the most devastating yet overlooked climate crises in the world today.
If there’s one thing that sets "WildLOVE" by Pedro Jarque Krebs apart from the myriad of wildlife photography books, it’s the profound intimacy and empathy captured in every page. A work of both beauty and boldness, the book brings us face-to-face with wildlife in a way that is rarely seen. Through Krebs’ lens, animals are not distant, untouchable beings; they become relatable, full of personality, and—most importantly—emotion.
How can you go home when a leopard is sleeping in your bed? Most of us go through life caught up in rituals so convincing that we confuse them for the real world, all tenuously tied together by the thin red line we call family. And yet we often ask ourselves, who are these people in my house?
For almost six decades, Stephen Shames has documented the world as an award-winning photojournalist. Through his photography, he uncovers the raw emotions and deeper truths behind both global, political issues and private, personal ones. From chronicling the Black Panther movement in Power to the People: The World of the Black Panthers, to exposing the silent crisis of child poverty in Outside the Dream: Child Poverty in America, Shames’ work consistently highlights the humanity at the heart of struggle and survival.
Terza Vita, a third life. This enchanting book delves into the rebirth of interpersonal relationships among adolescents after a two-year compulsory break. Mar Sáez photographs the reappearing residents, and, above all, the yearning young lovers, in sensual, almost dancing attitudes, reflecting the classical images of sculptures and paintings offered up by the eternal city of Rome.
Sirkka-Liisa Konttinen’s Writing in the Sand is a vibrant and deeply human exploration of life along the beaches of North East England. Through her lens, she captures the spontaneity, joy, and eccentricity of Geordie beachgoers, transforming everyday moments into something both intimate and universal.
The Raw Society Magazine is a non-profit project that aims to highlight important and compelling work from both its professional members and the wider storytelling community. It’s all about photography that goes beyond just visuals—focusing on themes like social issues, politics, culture, travel, and history. What makes it stand out is the strong emphasis on personal storytelling, allowing photographers to share deeper, more meaningful narratives.
The magazine is a space for photographers who want to bring attention to issues that matter. Instead of just showcasing beautiful images, it gives context, background, and a real sense of the photographer’s vision. It’s a mix of documentary, reportage, and artistic work, always keeping storytelling at the core.
Unable to find imagery that was relatable and authentic about a young family navigating cancer, photographers Anna and Jordan Rathkopf turned the camera on each other and themselves after Anna's diagnosis at the age of 37 with an aggressive form of breast cancer. HER2 is an ongoing visual conversation told through the utterly unique dual perspective of the experience as a husband- and-wife team, showing both the ways in which there is a deep bond in shared survival while also highlighting their parallel, isolated traumas amidst layers of grief and joy.
Emily Nkanga, photographer and filmmaker, presents Unyọñ Ufọk (translation: Going Home), a photo book exploring grief, identity, and home. Through analog photographs shot on Mamiya RZ 67 and Olympus OM2, Nkanga captures fleeting moments of everyday life in her hometown of Akwa Ibom, Nigeria. The images act as a time capsule, preserving the beauty of life’s transient moments.
