In today's image-saturated culture, the visual documentation of suffering around the world is more prevalent than ever. Yet instead of always deepening the knowledge or compassion of viewers, conflict photography can result in fatigue or even inspire apathy. Given this tension between the genre's ostensible goals and its effects, what is the purpose behind taking and showing images of war and crisis?
Conversations on Conflict Photography invites readers to think through these issues via conversations with award-winning photographers, as well as leading photo editors and key representatives of the major human rights and humanitarian organizations. Framed by critical-historical essays, these dialogues explore the complexities and ethical dilemmas of this line of work. The practitioners relate the struggles of their craft, from brushes with death on the frontlines to the battles for space, resources, and attention in our media-driven culture. Despite these obstacles, they remain true to a purpose, one that is palpable as they celebrate remarkable success stories: from changing the life of a single individual to raising broad awareness about human rights issues.
Opening with an insightful foreword by the renowned Sebastian Junger and richly illustrated with challenging, painful, and sometimes beautiful images, Conversations offers a uniquely rounded examination of the value of conflict photography in today's world.
Cabinet cards were America's main format for photographic portraiture throughout the last quarter of the nineteenth century. Standardized at 6½ x 4¼ inches, they were just large enough to reveal extensive detail, leading to the incorporation of elaborate poses, backdrops, and props. Inexpensive and sold by the dozen, they transformed getting one's portrait made from a formal event taken up once or twice in a lifetime into a commonplace practice shared with friends.
The cards reinforced middle-class Americans' sense of family. They allowed people to show off their material achievements and comforts, and the best cards projected an informal immediacy that encouraged viewers to feel emotionally connected with those portrayed. The experience even led sitters to act out before the camera. By making photographs an easygoing fact of life, the cards forecast the snapshot and today's ubiquitous photo sharing.
Organized by senior curator John Rohrbach, Acting Out is the first ever in-depth examination of the cabinet card phenomena. Full-color plates include over 100 cards at full size, providing a highly entertaining collection of these early versions of the selfie and ultimately demonstrating how cabinet cards made photography modern.
Art of any medium holds the capacity to connect the dots of an idea, or translate and re-translate perceptions, opening visual doors for a wider audience. This stunning collection of 110 California-based photographers reveals a shared appreciation and alignment for all that makes the west coast state the storytelling, dream-holding place that it is. Their images are as varied stylistically as the state is geographically, and reflect the people, places, and personality that help define California.
The book is not a compilation of only one type of photographer, or of only iconic California photographers, and is not meant to be an encyclopedic collection as such. Rather, the selection of photographers mirrors some of the project's essence at conception: together they represent a particular time and place of photographers in the canon of California photography, each looking outward at the land, sky, and people that distinguish California, each photographer finding moments to pause and in doing so, to celebrate.
Photographs by: Ghaith Abdul-Ahad, Lynsey Addario, Martin Adler, Richard Butler, Francesco Cito, Gary Calton, Chris de Bode, Donna De Cesare, Miquel Dewever Plana, Tiane Doan na Champassak, Colin Finlay, Riccardo Gangale, Cedric Gerbehaye, Jan Grarup, Tim A. Hetherington, Rhodri Jones, Bob Koenig, Roger Lemoyne, Zed Nelson, Peter Mantello, Heather McClintock, Olivier Pin Fat, Giacomo Pirozzi, Q. Sakamaki, Marcelo Salinas, Dominic Sansoni, Guy Tillim, Sven Torfinn, Ami Vitale, Vincent van de Wijngaard, Tomas van Houtryve, Kadir van Lohuizen, Alvaro Ybarra-Zavala, Francesco Zizola
Essay by: Jo Becker, Jimmi Briggs, Dick Durbin, Emmanuel Jal, Michael Wessells
n August 1993, when Nirvana was in New York to perform at the legendary Roseland Ballroom, Jesse Frohman photographed them for the London Observer’s Sunday magazine—the last formal photo shoot in which Cobain participated before he committed suicide on April 5th, 1994. Over the course of ninety photographs, Cobain seems an almost feral creature, by turns gentle, playful, defiant, suffering, or absorbed in his music. There’s a diverse range of shots of Cobain with fellow band members Krist Novoselic and Dave Grohl and on his own, posing, performing, and greeting fans. Jon Savage’s original interview, which appeared with Frohman’s photographs in the Observer is also reproduced, giving us Cobain in his own words. The book is a touching tribute to Cobain twenty years after his tragic demise, and following Nirvana’s recent induction in to the Rock and Roll Hall of Fame. 90 illustrations, 25 in color
This wonderful book has sold extremely well since we launched in August. We're now down to our very last few copies other than a small number we're holding back for display on our stands at BOP Bristol 21 at the Martin Parr Foundation in October and at Paris Photo in November.
Circus - isn't that a tent full of stereotypes about freedom, adventure and romance? A spellbound, excited, guffawing audience, bright-eyed children staring in wonder, the roll of drums and a brass band playing lively music, intrepid acrobats in colourful costumes performing aerial feats high above the ring and garishly made-up clowns and their antics.
Photographer Richard Sharum travelled across Cuba to document the lives of isolated farmers, or 'Campesinos,' and their wider communities at a time of national transition. The histories of these communities have formed the backbone of Cuba, and yet they are rarely depicted in photographic representations of the country. Sharum began researching Campesino communities in late 2015 and his resulting black and white photographs depict the intertwined relationship of people and the land they depend on
Covid-19 came. Life changed around the world. For ever. Award-winning fine-art photographer Julia Fullerton-Batten felt she couldn't sit around helpless. During her evening permitted exercise, walking around her local neighbourhood, she noticed people looking out of their windows onto a newly desolate world. This was sufficient for her to formulate how she would visually portray the disturbing effect of the Covid-19 lockdown had on people's everyday lives, not only of those in her West London neighbourhood but of millions around the world. Little did she know that she would still be shooting her project over a year later.
Veritas Editions, the premier publishing house specializing in fine press and limited edition books, portfolios and prints, is honored to announce the publication this autumn of monographs by three master photographers, Kenro Izu (born 1949, Osaka, Japan), George Tice (born 1938, Newark, NJ), and Paul Caponigro (born 1932, Boston, MA). For Izu, Veritas Editions will produce 3 books: a Photobook, a Limited Edition Photobook, and a Fine Press Edition.
Over the course of a year that demanded we think more critically about inclusion, the project became something far greater than the sum of its parts: a series of four individual artists’ interpretations of great works from the history of photography posted on Instagram merged into a collective reflection on the writing of that history itself
Hepner grew up between the Nevada Test Site and the Idaho National Laboratory, where the United States engaged in extensive nuclear testing and reactor experimentation. Fast forward to 2013, and she was living in Japan helping with disaster relief following the tsunami when earthquakes caused the Fukushima Daiichi nuclear disaster. She is a conceptual artist with a deft ability to pivot her messaging style and visual aesthetic to communicate directly or subvertly, analytically or emotionally. The result is a complex, multi-faceted book project examining the tangled history of nuclear energy, the atomic bomb, and radioactive waste.
Olde Kensington, north of Center City Philadelphia, was predominantly a post-industrial area when photographer John Waller moved to town. Yet ominous signs of change could be seen everywhere as the neighborhood rapidly renovated and gentrified like the rest of Philadelphia. In the style of the classic flâneur of old, Waller wandered the streets recording a city in a state of flux. Permanent Drift (Daylight Books, May 25, 2021) brings together 53 of Waller's monochrome images taken during his regular walks around the neighborhood from 2012-2016.
In the summer of 1971, Michael Lesy and a friend found most of the snapshots in Snapshots 1971-77 in a dumpster behind a gigantic photo-processing plant in San Francisco. The photos were in the trash because the machines that printed them made them so fast-duplicates, triplicates, quadruplicates-that the people on the processing line couldn't stop them. Lesy took home thousands of the discards from the dumpster. By the end of the summer, he'd formed his own collection of images of American life
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