Fotografi

Situated in the heart of historic London, Mayfair is one of the capital''s most affluent quarters. It is also home to people from all walks of life and diverse social backgrounds. Two Mayfairs sit by side by side - one out in the open, the other all but invisible. In this book, shot over a period of three years, Loren Kaye casts a sympathetic gaze on this vibrant and complex neighborhood, exposing its many layers.

Bending Light showcases photographer Eric Meola's use of light and colour in his work throughout his five-decade career. Meola's work is informed by writers, painters, musicians, and the desire to create visual metaphors with his imagery.

Steam-driven locomotives played a major role in the 19th century where they took over the heavy haulage tasks from horses and ushered a new era in the history of transport.

Luke Agbaimoni's latest project, focussing on capturing contrast in the London underground

We are excited to launch the stunning and dynamic new book ODE by Melissa Schriek, a vivid exploration into the dynamics of female friendship. About ODE"One of the primary motivations for starting ODE was to pay homage, quite literally, to sisterhood and female friendship. Throughout my life, I've been inspired by the power and unity of women, and that admiration continues to grow. The bond and connection that I often witness and experience among women hold significant importance to me. It struck me how this bond is frequently misrepresented in popular media as 'toxic', dramatic, or hostile, and at times, female friendship is overlooked altogether. "In response, I set out to create a photographic narrative that would present a different perspective on friendship, while maintaining authenticity. I photographed numerous pairs of best friends, mostly in public space, aiming to explore the essence of their connections through portraiture, body language and movement. "

Volume 3 - A Conscious BeingAn entire volume exploring human consciousness. We are connected to each other and our ancestors through a shared set of experiences (both real and imagined). I think that I am me. And you think that you're you. But our true nature is the same. We are the same consciousness, experiencing itself in a different form. Photographic Bandwidth is a limited-edition Photobook publishing imprint that take a philosophical approach to the human condition.

Kiko Kostadinov and Hysteric Glamour present Pretty Hurts (Pretty Hurts), a photographic essay, in book form, by the London-based photographer Rosie Marks. Pretty Hurts (Pretty Hurts) is a mosaic of eleven vignettes that feature an exploration of contemporary notions of beauty and glamour. Oddities and curiosities take center stage as Marks allows her subjects to freely exist in their individually constructed-or reconstructed-worlds. From London to Los Angeles, we meet personalities from all walks of life in search of betterment and beauty, no matter what the costs

A superb photographic portrait of the railway route from Settle to Carlisle, one of Britain's most scenic railway lines.

A stunning collection of photographs showcasing the diversity and fascination of England's and Wales's football grounds from a bird's-eye perspective.

The project combines the candid street scenes of Chris Lee, the poised portraiture of Paul Storrie and the erratic energy of Charlie Kwai, to shift perspectives and present an honest, intimate and at times humorous portrait of everyday life in Ghana.

As an island race we have always looked out; to find food from the sea, to find opportunity to trade, to find adventure, and to find ourselves.  Brighter Later is a journey around the coastal counties of Britain. It is a portrait of the island, looking out rather than in. As novelist Melissa Harrison writes in her essay included in the book:"Brian David Stevens' simple seascapes require a slowing-down, a recalibrating of our usual demand for information, drama and resolution. More than just requiring it, in fact, they induce it: each pair of images leads us quietly out of our everyday world and stands us on a British beach somewhere, shielding our eyes against all that reflected light, that surfeit of sky. "Brighter Later features 68pp of full colour photographs, together with text from Brian David Stevens and Melissa Harrison, with design and layout by Wayne Ford.

Victor Boullet has emerged as a thought-provoking artist with an unusual perspective. His book entitled A Joyful Confusion, hints at the varied subject matter that has come under his scrutiny becoming subject to his skewed perspective on the world. The various series of images in this book seem to be unrelated and unconnected, when in fact there is very much a common thread running throughout the book. Boullet bases his work on confusing, indeterminate and cryptic messages, he wants his works to remain open to a diversity of interpretations; there is therefore no text to come to the rescue. His approach to his work is the search for the absurd, coupled with an underlying doubt about the way we stage our lives - Boullet demonstrates the absurdity of the most bizarre aspects of postmodernist life and is sceptical to the individual's need to orchestrate scenes in his own life. Boullet asks: are these stagings true or false? A sense of belonging and acceptance is a recurrent theme in his work. This publication is not a retrospective, but a vehicle allowing Boullet to explore and develop works in progress. The second phase in this process is found in his following book Social Hypocrite.

"Macfarlane provocatively upends the standard myth that Group f.64 was uninterested in the political. By showing how the photographers' ethos of 'purity' constituted a deeply political stance, she reveals just how much the photographs were embedded in the politics of their day. An archivally rich, beautifully written, groundbreaking contribution to our understanding of the era's photography."--Cara A. Finnegan, author of Picturing Poverty: Print Culture and FSA Photographs "The account of the influential Group f.64 we've been waiting for! In a compelling, complex study of modernism that expands our understanding of photography and the political, Macfarlane captures the texture of the interwar era, examining the seemingly mundane affairs of artists--Edward Weston's diet, Imogen Cunningham's fertilizer chemistry--as they intersect with debates on race, labor, settler colonization, technology's role, and human subjectivity, which resonate into the present."--Lauren Kroiz, author of Cultivating Citizens: The Work of Art in the New Deal Era and Creative Composites: Modernism, Race, and the Stieglitz Circle "Politics Unseen is an important and timely volume, with lessons for our age. Ellen Macfarlane challenges us to reconsider the political possibilities of form. How might an image of hard-won artistic beauty strengthen and soften our entry into social and ecological worlds? How might aesthetically improved vision encourage our moral transformation, and do so without anesthetizing our outrage? These concerns feel as urgent as ever in Macfarlane's account of 1930s California photography, told with vibrant new detail, sensitivity, and nuance."--Jennifer Jane Marshall, author of Machine Art, 1934 "Ellen Macfarlane's excellent new book is a must-read for anyone interested in Depression-era photography in the United States. Group f.64 is almost always described in terms of art photography and technique, but as Macfarlane points out, f.64 members were deeply engaged politically, and in fact understood their work as providing a way to see politics. This analysis, smart and cogent, opens up a whole new way to think about what socially engaged photography means in the United States--never has it been more important to understand how politics can be pictured and, at the same time, remain unseen."--Terri Weissman, Associate Professor of Art History, University of Illinois, Urbana-Champaign

Peeking into the combustible sublime of America's outer-urban colonies, Such Appetite pairs Charlie White's intimate study of a teenage girl with poems by Stephanie Ford in a twenty-first century meditation on beauty and banality, adolescence and sprawl.

The photobook "Across the Sea" consists of photographs taken by Yoko Kusano during her first stay in London. For Kusano, whose photography captures everyday life's intricacies in sharp detail, it is her first contact with the city and its sights. Her story begins from somewhat distant viewpoint, but gradually Kusano accepts the muted loneliness she feels in this new world and begins to react purely and harmoniously to everything her eyes encounter. Her gaze somewhat blurred and sleepy, her vision yet lights up occasionally. The loneliness of London is the same loneliness she had known in Tokyo, after moving there on her own from her home in Fukushima. What Kusano sees before her is, after all, nothing but the same present moment as it exists anywhere else in the world. With great care, roshin books has combined Kusano's experiences into a single photobook. Born in Fukushima in 1993

When we talk about "Ba ling hou" (born after the 1980s) in China, we are actually talking about the first generation born under the one childpolicy and raised during the reform and opening up led by Deng Xiaoping after the Cultural Revolution (1966-1976). This generation grew up together with the Internet and social media, melting into a consumer society that is totally in rupture with the preceding generations. Luo Yang, a photographer born in 1984, is also one of them. In 2007, at the age of 23, Luo started the series Girls, which brought her international recognition. For ten years, Luo Yang followed more than a hundred of women from her generation, recording changes to their bodies and their lives, observing and capturing their delicate transition to adulthood. It's as if the photographer was capturing their (her) emotions as a young woman by holding a mirror up to her own growth and evolution alongside those of her models. Now, Luo Yang is in her late 30s. In the new series Youth that she started in 2019, Luo shifts her focus to a younger generation born in the late 1990s and early 2000s. She continues to explore through Generation Z the changes of contemporary China now globalized and reached on a new scale and tries to preserve a photographic trace of these "atypical characters" in a social context. From Girls to Youth, Luo Yang keeps "documenting" the post-teenagers and young adults that she met in her everyday life, using her works to tell the "story of youth" across generations. She depicts an emerging Chinese youth culture through her work that defies imposed expectations and stereotypes, showing evidence of her subjects' individuality and personality. It is a personal account at femininity, gender, and identity that reflects the profound and ongoing changes taking place in our society.

This is the second in a long-awaited series of photographic books from Union Publishing Limited. Following on from theprevious edition in Los Angeles, this time the setting is the aptly titled London. In 2022, the year of the Queen's death,the city we have become accustomed to seeing has a different look. The photographer is REIKO TOYAMA, one of themost popular fashion photographers of the moment and a frequent collaborator with Union Magazine, and this time,London as seen through her lens is the setting for a collection of gems of photographs that capture the people who liveand breathe the city from a beautiful perspective. By witnessing the miraculous moments that suddenly appear inordinary life, this book will take you on a wonderful journey from place to place.

When we dream, no matter how strange the dream is, we are only carried along by it as a raft adrift on waves. Turn the pages of A Fallen Angel too as if you were a raft adrift on waves. Don''t think for a minute that the girl with the stars and stripes wrapped around her body straddling a broomstick in the manner of a witch is a critique of civilization. Be a spectator of dreams. Yoshihiro Tatsuki is a driver of dreams and at the same time a spectator as well. Therein lies the newness of this photograph collection. Of course, his photographs differ from the great number of subjective photographs and photographs of images that appeal to the heart of the photographer. Tatsuki tentatively abandons the sort of photograph that is not affected by the elastic force of literature and pictures, in other words the fascination of intuitive feeling (meaning) and composition that tends to fall easily into symbolism. And there is the myth that the essence of the photograph is to record and inform. More aptly, it is like the thoughts a mother holds in her heart. By abandoning intuitive feeling, Tatsuki also draws near to these thoughts (recordability). The photographs are not a group of good friends that tell a photo story. They may seem to be because they record a series of encounters of physical and psychological mechanisms that happen to one girl. This approach avoids the intentional. This concentrated encounter with nonsense is more a documentary than a story. However humorous and sorrowful the girl is, it isn''t her fault; it is a statement of accounts, the marks left by burns of 27-year-old Yoshihiro Tatsuki. Commentary: Shinichi Kusamori

For his photo series "Words", Japanese artist Koichiro Kimura attached a camera to the ceiling of his family home. For two years, the camera automatically took a picture every ten minutes, over 100. 000 photos in total. The resulting images - selected by Kimura - offer an unadulterated record of the life of a family. In the intimate photos, it seems like the scenery is already talking to us - showing us parents sleeping with their child, the kid taking a nap, the mother reading to her son. Perhaps there is no need for words. "If the photos allow you feel like you are looking at a picture book, as if you are looking down into and watching over the house of another family, then I've succeeded. "- from the artist's statementThe images in this series have been exhibited at the Epson Imaging Gallery Epsite in 2014, and received an honorable mention at the Canon New Century of Photography competition of the same year.

Family love, childhood moments, parent-child relationships are defining themes in the photography of Koichiro Kimura. For his photobook "Tomodachi" ("Friends"), Kimura took photographs every time his son went to poop on the toilet (the son, still too young to wipe himself, needed his father's assistance when going to the toilet), capturing the fine differences in his facial expressions - from the toughest fight to clear expressions of boredom. "I think that children live each and every day wholeheartedly, and going to the toilet is just one aspect of that. Children seem to consider pooping an amicable activity rather than a dirty. "- from the artist's statement

Cropping the Ocean is a book made out of a single negative containing an image of a splashing wave. By cropping the negative and making several new images from the initial one, the works create room for a stronger depiction of the force of the ocean, thus exploring the potential of the single images body through repetition.

Do Not Send Me Out Among Strangers is a consideration of shame, isolation, and the strange terrain where private and public grief meet. 'Beautiful, strange, captivating' Olivia Laing. 'Clear-eyed and brilliant and desperately sad' Sara Baume

"Have any conversation with Donna Trope and it will somehow wind its way back to sex. It lies at the heart of everything she does, every image she creates. If the legendary beauty photographer isn't aroused on set, then she might as well not be on set at all. "One of my earliest beauty memories is watching my young stepmother getting ready for my father to come home," she says. "Her hair and makeup were akin to that of a fashion shoot. They had a decidedly sexual aura. Her getting ready was almost ritualistic and I watched this, maybe as a voyeur, and was fascinated enough to remember it all my life. " Dazed BeautyDonna was born in Los Angeles and bred in London. Being self-taught, she drew from her own experiences and developed a look and a style. Donna Trope is an award winning, world-renowned photographer specialising in beauty images Her sexy, conceptual, ground breaking beauty shots went against the grain of what was considered commercially beautiful and are now the much imitated status quo. She has shot campaigns for clients such as Guerlain,Lancôme, Pantene, Rochas, Guinness, Christofle, France Telecom, Maybelline, Vichy, Revlon, Bic, Coty, Sephora, ITV, Boots, Bobbi Brown, Hennessey and Roger et Gallet. Her editorial clients include The Sunday Times, Vogue, Vogue Hommes, L'Officiel, GQ, Jalouse, Tush , Flaunt, Forme, Harper's Bazaar, Glamour, In Style, Cosmopolitan, Dazed and Confused. Donna's work has been exhibited in galleries worldwide. She has photographs in the permanent collections of The Victoria & Albert Museum as well as in selected private collections. Donna Trope has been a master of beauty photography for decades. She has always used Polaroids on her shootings as a test before the final take on film, even in the digital era. Preciously stored away, there are over 25,000 of them now. Here is a short selection of them.

Moemoe? explores the revival of traditional voyaging in Hawaii and how the canoe became a catalyst for connection, cultural empowerment, and fostering humanity's relationship with the natural world. It is a story of how ancient knowledge and modern science coalesced to revitalize a nearly extinct cultural tradition and a testament to the power of dreams, or moemoe?. The first book, The Spell, opens with a series of lush photographs that capture life on the open ocean, lulling the reader into a sensory experience. Drawn from ancestral voyaging mythology and the artist's own visionary dreams, fragments of narrative text ebb and flow through the book, while illustrations by Sophy Hollington serve as visual footnotes. Taking inspiration from nautical logbooks, The Spell is wire-bound into a hardcover case and incorporates luminescent paper to evoke the glistening surface of the ocean. Tucked into a discreet back pocket, The Story features an essay by Jeremy Haik alongside Ko's documentary photographs that highlight the visionaries who breathed life back into Hawaiian voyaging. Presented through a framework of mythology and dreams, it is a story that begins with the ancestors of Polynesians who mastered the art of celestial wayfinding and the language of the ocean three millennia before the European Age of Exploration. This remarkable chronicle is anchored by H?k?le?a, a modern incarnation of an ancient voyaging canoe that became a catalyst for connection, cultural reclamation, and fostering humanity's relationship with the natural world.

Dorothy Sing Zhang unveils a compelling portrayal of humanity's vulnerable state during sleep. The scene is set in the bedrooms of others. One is asked to be asleep, a squeeze cable release is placed under the pillow. The chance of one's unconscious body rolling over and triggering the camera results in an exposure. Like Someone Alive expands these boundaries by withdrawing the traditional relationships between the photographer, the object and the camera. "About five years ago I was trying to realise a way where the approach towards the trigger would somehow be directly reflected in the image. How can the pressure craft the physicality upon the trigger that generates the exposure. I had this old exercise pull up bar. I would physically pull myself up while squeezing the cable release to make an image. A step further was to somehow dismiss the awareness of the approach, so sleep became the plot but photography is the story. "