Corridor of Uncertainty is published as a limited edition. 400 copies will be available. In addition, a special Collector's Edition, limited to 100 signed and numbered copies and including a specially produced inkjet print, will be available. The specification is as follows: slipcased hardback, Cialux cloth with foil stamping, 210mm x 247mm, 72 pages with 58 colour plates. Printed on 170gsm high quality matt art paper.

It is a piece of tranquil wilderness that overlooks the sprawling concrete of the city below, enveloped in thick brush and old trees, accessible through small winding trails. Photographed over a period of four years, Angels Point, in the words of Ianiello, '... stands at the edge of the new and the forgotten. A place to hide, to explore, with no commitments, no judgments.

For more than thirty-five years, James Welling has explored the material and conceptual possibilities of photography. "Diary/Landscape"--the first mature body of work by this important contemporary artist--set the framework for his subsequent investigations of abstraction and his fascination with nineteenth- and twentieth-century New England.
In July 1977, Welling began photographing a two-volume travel diary kept by his great-grandmother Elizabeth C. Dixon, as well as landscapes in southern Connecticut. In one closely cropped image, lines of tight cursive share the page with a single ivy leaf preserved in the diary. In another snowy image, a stand of leafless trees occludes the gleaming Long Island sound. In subject and form, Welling emulated the great American modernists Alfred Stieglitz, Paul Strand, and Walker Evans--a bold move for an artist associated with radical postmodernism. At the same time, Welling's close-ups of handwriting push to the fore the postmodernist themes of copying and reproduction.
A beautiful and moving meditation on family, history, memory, and place, "Diary/Landscape" reintroduced history and private emotion as subjects in high art, while also helping to usher in the centrality of photography and theoretical questions about originality that mark the epochal Pictures Generation. The book is published to accompany the first-ever complete exhibition of this series of pivotal photographs, now owned by the Art Institute of Chicago.

Millennium School is the first book by Krzysztof Zielinski one of the most interesting photographers of the young generation of Polish photographers. The photographs focus on the primary school which he attended as a child in the small Polish town of Wabrzezno. The school itself, Primary School no 3, was built in 1962 as a part of a major government development masterplan - - 'A thousand schools for the thousand years of the Polish state'. This is why these schools were called 'millennium memorial schools'. Essentially a propaganda plan, the new schools were presented as a gift from the Communist party to the nation, even though the post-war demographic boom meant that they were a necessity. Built around standard layouts, usually two or three storeys and constructed from prefabricated concrete, they were designed to be adaptable for military purposes with many having underground shelters and capable of being converted into temporary hospitals. Compared with the standards of the 60s, the schools were modern and well-equipped, and being a student at one was regarded as a sort of distinction. Today, the splendour of millennium schools is long forgotten. Physically, little has changed over the past twenty years, the furniture and equipment are the same, though as if to hide the passage of time and their modest and now outdated facilities, the classrooms have been painted in vivid colours.

David Bailey flew to Afghanistan earlier this year to take photographs for auction to raise money for `Help for Heroes', a charity that aims to help wounded servicemen and women returning from Afghanistan. The result is his latest book of photographs, a fitting celebration of Britain's fighting heroes, showing life inside both inside Camp Bastion and also outside the perimeter, where real danger is ever-present. Dylan Jones, editor of GQ, who accompanied Bailey on the trip, provides a well informed and engaging foreword on life in the camp. All sales of this book will benefit `Help for Heroes'.

'Authentic and fresh - the streets remain the preserve of those who live there - and when photographing the people he is among them, not sneaking a snap from across the street" - Photography Magazine reviewing 'A Few Streets', John Comino-James's first book about Havana. In his second book of photographs made in Havana, John Comino-James has again set out to explore a part of the city not normally visited by tourists. The geographical scope of the photographs is restricted to a single road, the Calzada del Diez de Octubre. The route itself predates the foundation of the Parish of Jesus del Monte in the 17th century and was formerly known as the Calzada de Jesus del Monte. In 1918 the road was renamed in commemoration of one of the most important events in Cuban history - the declaration of the first full-scale war of independence against Spanish colonial rule on 10th October 1868 by Carlos Manuel de Cespedes. Although its once important function as the principal route to the south has been superseded with the construction of new highways, the Calzada still remains a busy urban thoroughfare. Through engaged portraits and candid observation and with an eye for both architectural detail and the imposing facades that stand as testimony to the changing architectural styles of well over a century, John Comino-James creates an intimate and sympathetic record of the Calzada del Diez de Octubre which, through its long history, occupies an important place in the imagination and memory of Habaneros today.

The nature of any society and its future can be read in its entrails - in what is left behind, what is discarded. Each creates, uses and casts aside its wastelands in very different ways and it seems that a proportion of every city is always wasteland. These neglected or abandoned places are fragile and ephemeral, a transient aspect of a changing, living city, yet development appears unable to clear them away for good, only to move them on to a different site. This book explores some of these wastelands that collectively form a sustained and permanent feature of the modern city.

In 2008 Jason Bell undertook a photo assignment for American Vogue in 'Tea & Sympathy', an English tea room in the heart of Manhattan. In conversation with the owner, Nicky Perry, he was astonished to discover that over 120,000 British men and women lived in New York City. As an Englishman, himself living in New York, Jason was inspired by this and decided to investigate further. His latest book An Englishman in New York is the result. The book documents a wide cross-section of English people living in the City. It features cops, taxi drivers, construction workers, divers, helicopter pilots, chefs, burlesque dancers, UN ambassadors and even dog walkers. Jason was also struck by the significant influence that many Brits exercise on New York's cultural agenda, which led to him to include amongst his subjects: writer, ZoA" Heller; director, Stephen Daldry; artists, Cecily Brown and Bill Jacklin; Director of the Metropolitan Museum of Art, Thomas P Campbell; historian, Simon Schama; actor, Kate Winslet; and the musician, Sting. The book offers an extraordinary insight into the British sub-culture which forms an intrinsic part of everyday life in New York City. As Bell says, "I went for a walk in Central Park with Sting, for a cup of tea on Kate Winslet's roof terrace, sat on ZoA" Heller's stoop and watched Stephen Daldry cycle down 8th Avenue. I was given a private tour of both the Metropolitan Museum and Barneys' shop windows. And amidst all the questions about why people had come here and what they had left behind, I learnt a little bit more about what it means to be English, what it means to be a New Yorker, and where the two intersect."

Anja Niemi: In Character is the first career retrospective/monograph by one of the most exciting talents working in contemporary photography, whose work has emerged as a distinctive force within the venerable tradition of conceptual self-portraiture. A photo-artist who works alone - photographing, staging and acting out the characters in all of her images - Niemi is a constant presence, in character, in her work, developing complex, nuanced narratives through evocative costume and styling, her characters framed and formed within meticulously staged mise-en-scene. In her bewitching 'Darlene & Me' series, for example, she reconfigures the concept of the Hitchcock blonde within a pristine Lynchian landscape for her own visual pleasure - and ours - while in 'She Could Have Been A Cowboy' she turns the lens to a life lived under the constraints of conformity. Anja Niemi is now at the 'breakout moment' in her career, having had exhibitions in Amsterdam, London, New York, Oslo and Paris, and with her first museum retrospective show opening at Fotografiska Museum in Stockholm in February 2019. With over 100 photographs organized into the six series that have marked Niemi's career to date, supported by an essay and interview by Max Houghton, Anja Niemi: In Character is the perfect introduction for those encountering Niemi's work for the first time, and a comprehensive retrospective of her career to date for her long-time followers.

Leafy avenues, artisan eateries and eclectic inhabitants encapsulate the Cardiff suburbs of Canton and Pontcanna. Mark's photographs take you under the skin of the people and places in this unique area of the city, capturing impromptu moments and creating a picture of everyday life here.

When the Peoples' Republic set up its Special Economic Zones in the 1980s communist China entered into global trade and international capital. The goal was financial but new money also brought new values and new ways of life. Polly Braden's photography is an intimate response to the material and psychological effects of the changes experienced by the country's new urban class. Shot over three years in Shanghai, Xiamen, Shenzhen and Kunming, "China Between" is a revelatory portrait. No longer will images of epic scenes dominate our view of this country. Braden shows how a casual glance, a moment of doubt or a quick trip to the shopping mall can tell us as much about modern China as any image of a dam, a protest or a teeming workforce.

As famous as the stars he photographed, Brian Duffy defined the image of Swinging London in the 1960s. Together with David Bailey and Terence Donovan, Duffy is recognised as one of the innovators of 'documentary' fashion photography, a style which revolutionised the industry. Their attitude and aesthetic iconified the scene, birthing the cult of the fashion photographer and inspiring the famous film Blow-Up (Michelangelo Antonioni, 1966). As Duffy put it, "Before 1960, a fashion photographer was tall, thin and camp. But we three are different: short, fat and heterosexual!" The press nicknamed the three photographers 'The Terrible Three', while Norman Parkinson added to their notoriety by naming them 'The Black Trinity'. Duffy's most famous photograph is the 'Mona Lisa of pop', the cover of Bowie's 'Aladdin Sane'. He collaborated with the artist over eight years and exerted a direct influence on the numerous reinventions of Bowie's image. It is fitting, therefore, that this new edition should expand on their work together with new images. This new edition of Duffy also features other, new images from the photographer's archive, depicting both star and photographer in their prime. Duffy's first commission came from Ernestine Carter, the then fashion editor of The Sunday Times. From there he was hired by British Vogue in 1957, where he remained working until 1963, photographing famous models such as Pauline Stone and Jean Shrimpton. In the 1960s Duffy worked for many of the major fashion magazines; his list of subjects was a roll call of the celebrities of that time, including Sidney Poitier, Michael Caine, Tom Courtney, Sammy Davis Jnr, Nina Simone, John Lennon, Paul McCartney, Charlton Heston and William Burroughs. He was also critically acclaimed for his advertising campaigns with Benson & Hedges and Smirnoff. Notoriously, in 1979 Duffy decided to give up photography, burning many of his negatives in a symbolic fire in his back yard - although he would later take up the camera again at the behest of his son. Thankfully, many of these negatives have been discovered and salvaged since. Duffy died on 31 May 2010. "Duffy and aggravation go together like gin and tonic." - David Bailey

In her international bestseller Strong Is the New Pretty (with 329,000 copies in print), the photographer Kate T. Parker changed the way we see girls by showing us their truest selves - fearless, messy, wild, stubborn, proud. Now it's time to talk about our boys. Prompted by #metoo, school shootings, bullying, and other toxic behaviour, there's a national conversation going on about what defines masculinity and how to raise sons to become good people. And Kate Parker is joining in by turning her lens to boys. The result is possibly even more moving, more eloquent, more surprising than Strong. The Heart of a Boy is a deeply felt celebration of boyhood as it's etched in the faces and bodies of dozens of boys, ages 5 to 18. There's the pensive look of a skateboarder caught in a moment between rides. The years of dedication in a ballet dancer's poise. The love of a younger brother hugging his older brother. The unself-conscious joy of a goofy grin with a missing tooth. The casual intimacy of two friends at a lemonade stand. The shyness of a lone boy and his model boat. The intensity in a football huddle. The proud, challenging gaze of a boy bald from alopecia - and the same kind of gaze, but wreathed in tenderness, of a boy a few years younger with flowing, almost waist-length hair. There are guitarists, fencers, wrestlers, star-gazers, a pilot - it's the world of our sons, in all their amazing variety and difference. The photographs feel spontaneous, direct, and with so much eye contact between the viewed and the viewer that it's impossible to turn away. And throughout, words from the boys themselves enrich every photo. What a gift for boys and anyone who is raising them.

Amelia is 14 years old. In many ways, she is your average American teenager: since she was three years old, she has been her mother's muse, and the subject of her photographs. However, not every mom is a world-class photographer with a predilection for photographing animals. And it's not every teenager who has portraits of herself with elephants, llamas, ponies, tigers, kangaroos, chimpanzees and endless dogs, cats, and other animals--portraits that hang in the collections of major art museums around the world. "Amelia and the Animals" is Robin Schwartz's second monograph featuring this collaborative series dedicated to documenting her and Amelia's adventures among the animals. As Schwartz puts it, "Photography is a means for Amelia to meet animals. Until recently, she took these opportunities for granted. She didn't realize how unusual her encounters were until everyone started to tell her how lucky she was to meet so many animals." Nonetheless, these images are more than documents of Amelia and her rapport with animals; they offer a meditation on the nature of interspecies communication and serve as evidence of a shared mother-daughter journey into invented worlds.
Robin Schwartz (born 1957) earned an MFA in photography from Pratt Institute, and her photographs are held in the collections of The Metropolitan Museum of Art and The Museum of Modern Art, in New York; Smithsonian American Art Museum, Washington, D.C.; San Francisco Museum of Modern Art; Brooklyn Museum; Chrysler Museum of Art, Norfolk, Virginia; Bibliotheque Nationale, Paris; and Museum Folkwang, Essen, Germany. She is an assistant professor of photography at William Paterson University and lives in New Jersey with her husband, Robert Forman, daughter, Amelia, and five companion animals.

Crewdson's most recent series of photographs, Twilight, are created as elaborately constructed film stills, catching the mysterious moment of time between before and after, revealing unknowable or unimaginable aspects of domestic reality. A cow lies on its back on the lawn between two houses while firemen secure the area and a man searches the sky. Could the cow have rained down from above? In another image stacks and stacks of inedible slices of bread - bearing an odd resemblance to the mysterious monoliths at Stonehenge - are watched over by a gathering of birds. Both entirely foreign and oddly familiar, these images are carefully orchestrated events that challenge our very notions of familiarity, undermining our sense of certainty. These eerie and evocative photographs pair beauty with horror, obsession with disgust, and the real with the surreal, suggesting narratives open to endless interpretations. The book includes an essay written by fiction writer Rick Moody. The book and exhibitions are comprised of the forty images from his Twilight series which was begun in 1998 - these exhibitions and this book chronicle the completion of the series and mark the first time it will be seen in its entirety.

Intimate photo essays of thirty-eight important writers, including Margaret Atwood, Gabriel Garcia Marquez, Zadie Smith, and Colm Toibin "We've all seen writers on the dust jackets of their books. These portraits, it seemed to me, generally failed to convey either character or personality. Writers deserve better. I wanted to make compelling pictures that would stick in the mind's eye."-Laura Wilson Inspired by the classic photo essays that once appeared in Life magazine, renowned photographer Laura Wilson presents dynamic portraits of thirty-eight internationally acclaimed writers. Through her photos and accompanying texts, she gives us vivid, revealing glimpses into the everyday lives of such luminaries as Rachel Cusk, Edwidge Danticat, David McCullough, Haruki Murakami, and the late Carlos Fuentes and Seamus Heaney, among others. Margaret Atwood works in her garden. Tim O'Brien performs magic tricks for his family. And Louise Erdrich, who contributes an introduction, speaks with customers in her Minneapolis bookstore. At once inviting and poignant, the book reflects on writing and photography's shared concerns with invention, transformation, memory, and preservation. With 220 duotone images, The Writers: Portraits will appeal to fans of literature and photography alike. Published in association with the Harry Ransom Center at The University of Texas at Austin Exhibition Schedule: Harry Ransom Center at The University of Texas at Austin August 26, 2022-January 1, 2023

World-renowned photographer Christopher Makos brings to light an entirely new dimension of artist Andy Warhol's early life and career. Featuring bold, never-before-seen images of Warhol's early foray into modeling when he first moved to New York City, Andy Modeling Portfolio Makos offers us an intimate look at a household name before he became well-known. The electric collaboration between these confidants is showcased in photographs that will captivate readers with their stunning amount of personality and dynamicity. This work reveals not only the close relationship between Makos and Warhol as artists and friends, but a new dimension to Warhol in his more formative years, trying to forge a name and a career for himself.

Almost all his images were produced at night, using the aprons' floodlights, moonlight or long exposures of between ten minutes to two hours. The airports on the Azores are unique. In order that they would not be spotted from the air during wartime they are amongst the very few black-tarred runways in the world, and it is the relationship between the dark tarmac and the fluorescent painted signs and runway markings that lie at the heart of some of Martins' most arresting images. This unusual combination allowed him to produce incredibly abstract images, with a very long depth of field and often with the use of minimal lighting. In some, sky and ground merge in darkness with only the lights and airport hieroglyphics to orient us. Yet even these are hard to decode, for whilst this is a landscape of signs that can be read by the knowledgeable - pilots and air traffic controllers, for instance - it remains perplexing to the uninitiated. This juxtaposition of sign and shape are at the heart of these remarkable images.

Werner Mantz (1901-1983) was a prominent architectural and industrial photographer who began his career in the 1920s. His work occupies a unique historical position thanks to his visual language, technical prowess and use of natural light. As one of the most important photographers of the New Building movement, Mantz's oeuvre bridges the gap between the often-anonymous nature of commissioned photography and the modernist , artistic avant-garde movements of the interwar years, such as the Bauhaus. In the 1970s, Mantz was even hailed as the 'missing link' in the history of international photography. To date, only thematic selections from Mantz's wide-ranging oeuvre have been exhibited. This monograph sets the record straight by showcasing, for the very first time, his immense versatility. Werner Mantz - The Perfect Eye contains over 300 predominantly vintage images, ranging from architectural photography, advertising shots and portraits of adults and children, to views of industry and mines, religious subjects, shops, restaurants and interiors, as well as roads, public spaces, landscapes and travel photographs. That Mantz's oeuvre belongs to the canon of international photography is indisputable. With text contributions by Frits Gierstberg, Stijn Huijts, Huub Smeets, Charlotte Mantz and Clement Mantz. Werner Mantz - The Perfect Eye is the publication accompanying the retrospective exhibition of Werner Mantz at the Bonnefanten in Maastricht from 25 September 2022 to 26 February 2023.

British-Iranian photographer and filmmaker Mitra Tabrizian creates an unsettling imagery out of ordinary daily life. Atmospherically, she evokes almost unreal scenes, which push reality and its inhabitants into the sublime realm of a fathomless emotional interior. She addresses the incidental and mundane, yet her agenda reaches deeper. With a unique perspective, she inquires the complex social roles of the individual. By revealing too often unnoticed phenomena of contemporary living she challenges our established conceptions of the world. The book presents all of her works since 2012.

Al-Masjid an-Nabawi, the great Mosque of Madinah containing the tomb of the Prophet himself, is one of the two holiest sites in the Islamic world. Since the Prophet's death thirteen centuries ago, the mosque has spread outwards from the core of the holy city. At night, it radiates a powerful light. The tomb itself within the Prophet's Chamber is a point of pilgrimage for visitors who come in their millions every year from across the globe. Moath Alofi, who was born and raised in the city, has witnessed this devotion to the Prophet all his life. It is natural that Nabawi should become the title and subject of his first photographic book. From that holy axis, he has travelled into the greater space of Madinah Province and has photographed both the desert culture and the vanishing fabric of the city and its surrounding neighbourhoods. Madinah, like its holy counterpart, Mecca, is a city in a constant state of transition. The role of the photographer as an observer of change becomes all the more important as the pace of transition inevitably escalates. This book, Nabawi, is a record of the daily life of one of the great holy sites, and a study in humanity. All manner of expression and experience are found in the faces of the pilgrims - the old and young men, women and children - who are touched by the spirit of the place and by the devotion they have so faithfully expressed.