A collaboration between photographer Adrian Tyler and the writer and photography historian Horacio Fernandez, to make a photobook in which the text is inseparably integrated with the image. The photographs were taken in a disused cigarette factory, which was essentially a state-owned tobacco manufacturing and distribution cartel. The texts come from the cigarette advertising archive at Stanford University and Horatio's responses to the images and advertising slogans not only subvert the intention of the advertising but add new depth and new meaning to the work. "One day we felt we owed a debt to smoke. It had surrounded us for so long that we missed it. Humo Smoke is our way of settling the score. The images show the decline of an industry through the ruins of a tobacco factory. The words have been chosen from among the endless literature on smoke, especially the advertising slogans of the business, which promised pleasures as numerous as the drawbacks they kept silent. Humo Smoke is a written photobook because we think images are too poetic when there is nothing to read, and words too ambiguous when there is nothing to see. It is also a rather melancholy photobook, and consequently a little playful, as light and whimsical as smoke itself, which never lets itself be tied down. We dedicate it both to those who like spending the hours watching it sway back and forth, and to those who believe it casts the most evil shadow". Text in English and Spanish.

A growing appreciation of the photobook has inspired a flood of new scholarship and connoisseurship of the form-few as surprising and inspiring as The Latin American Photobook, the culmination of a four-year, cross-continental research effort led by Horacio Fernandez, author of the seminal volume, Fotografia Publica. Compiled with the input of a committee of researchers, scholars, and photographers, including Marcelo Brodsky, Iata Cannabrava, Pablo Ortiz Monasterio, and Martin Parr, The Latin American Photobook presents one hundred and fifty volumes from Argentina, Bolivia, Brazil, Chile, Colombia, Cuba, Ecuador, Mexico, Nicaragua, Peru, and Venezuela. The Latin American Photobook begins with the 1920s and continues up to today, providing revelatory perspectives on the undercharted history of Latin American photography, and featuring work by great figures such as Claudia Andujar, Barbara Brandli, Manuel Alvarez Bravo, Horacio Coppola, Paz Errazuriz, Graciela Iturbide, Sara Facio, Paolo Gasparini, Daniel Gonzalez, Boris Kossoy, Sergio Larrain, and many others. The book is divided into thematic sections such as The City, Conceptual Art and Photography, and Photography and Literature, a category uniquely important to Latin America. Fernandez's texts, exhaustively researched and richly illustrated, offer insights not only on each individual title and photographer, but on the multivalent social, political, and artistic histories of the region as well. This book is an unparalleled resource for those interested in Latin American photography or in discovering these heretofore unknown gems in the history of the photobook at large.