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by Brad Mangin

I was sitting in Finnegan’s Wake, one of my favorite bars in San Francisco with my friend Grover last month when my cell phone began making noise. I was getting a text message from Walter Iooss: “Where can I send you my new book for you to review?”

At this point in the evening, I must confess, I had consumed a few too many beers, so my first thought was that Walter had made a mistake and wanted to send an editor his new portfolio. I texted him back some smart ass remark about being drunk, probably accusing him of the same, and closed the phone, laughing.

A few minutes later, it went off again.

“For you wino! I’m sober and going to bed,” Walter said.

Check it out here.

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If you were to invite John Gossage to photograph your neighborhood he could probably create an entire book’s worth of work within a few city blocks (or rural lanes). He is a photographer who could probably work anywhere more so than most in that the small details that he asks us to pay attention to are common in our landscape where ever we live.

Check it out here.

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If one were to name a few photographers whose work is felt so heavily as an influence on the current generation of photographers going through various MFA programs then Stephen Shore would certainly be on the list.

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8 X 10,5 Inch – 21 X 27CM

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By Luciano Noble II

The first book by the world’s premier Polaroid portraiture photographer. 


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IN the heavy, noiseless air of desert country, an Aboriginal community is out hunting when the sound of a camera shutter cuts the air like a bullet from a gun. Heads turn, questions are asked and the — usually white — photographer is suddenly centre stage in an inquisition.
The curtain of suspicion can hang heavily in such cases between image-taker and subject, prompting a turned away head or a shielding hand. It can provoke unease on the part of a person viewing the image that it has been captured opportunistically, even sneakily.

The absence of such telltale defences and doubts is what strikes one immediately about Conversations with the Mob, photojournalist Megan Lewis’s 240-page collection of photographs and conversations with the Martu people of northwest Western Australia. The 100 large-format pictures have not emerged from a fly-in, fly-out form of photography but from a mutually trusting relationship that took time to build

Check it out here.

THE reminiscences of Hitler’s favourite photographer have been published in a new book. Heinrich Hoffmann made a small fortune from photographing the Führer, but his nest-egg was seized by the Allies and he died in poverty in 1957.

Before his death, he gave a series of interviews to Joe Heydecker, a survivor of the Warsaw Ghetto and a fellow photographer. Heydecker, who died ten years ago, gave instructions to his publisher that the Hoffmann conversations were not to be published until now.

The result is The Hitler Picture, a memoir from the man who, more than any other, helped sell the myth of the “Führer Superman” to the German people.

Check it out here.

Breaking News: A Stunning and Memorable Account of Reporting from Some of the Most Dangerous Places in the World, by Martin Fletcher.

Martin Fletcher, the NBC News Bureau Chief in Tel Aviv with a penchant for posing on top of destroyed tanks, provides a great look back at his life covering conflict.

War reporters face moral dilemmas all day: Is it reasonable to film a crying woman two feet from the lens? How about a lost child screaming for its parent? Should one film him or take him by the hand? If a man is to be executed and the soundman’s gear suddenly doesn’t work, what do you do? Delay the execution? That’s what the BBC’s David Tyndall did in Biafra in 1970, when he yelled, “Hold it, we haven’t got sound,” and the quivering man about to be killed had to suffer that much longer while the soundman sorted out his gear. Later, Tyndall was mortified by his instinctive response to the dilemma, as was the BBC, which severely reprimanded him. But every move in this job poses a different dilemma, and nobody can be right all the time. In fact, the most critical question is usually not moral in nature but practical: How far down this road can I drive and stay safe?

Fletcher takes us through his experiences beginning with the Yom Kippur War in Israel and then on throughout Africa (Somalia, Rwanda, Rhodesia (now Zimbabwe), South Africa), Cyprus, Afghanistan, etc. This from Albania, covering the Kosovo war:

Then there was the small matter of the bandits who preyed on travelers, especially foreign journalists flush with cash. One BBC television team hired a small truck and driver. Just as they were approaching the final leg of the journey into the country’s wild and poor northeast, they ran into a group of armed men who stopped their vehicle at gunpoint and demanded money. The producer handed over his shoulder bag with envelopes of cash, and they were allowed to proceed unharmed. The team was shocked, but the producer chuckled and said, “Don’t worry, I’m not dumb, that was just a token in case we got robbed. The real money is in my boot.” The team laughed with relief, whereupon their Albanian driver stopped the car, put a gun to the producer’s head, and stole the rest of the money. Then the driver forced everybody out and drove off with their gear. And he was one of the good guys.

Breaking News: A Stunning and Memorable Account of Reporting from Some of the Most Dangerous Places in the World, by Martin Fletcher.

cover-2-190.jpgThe Beginnings of World War II, the End of Civilization.
By Nicholson Baker.

sometimes it is the simple stark fact that makes you sit up straight for a moment, like this one from early in the book: “The Royal Air Force dropped more than 150 tons of bombs on India. It was 1925.” This, coming soon after an account of the proposed bombing of civilian targets in Iraq in 1920 (with Churchill writing: “I am strongly in favor of using poisoned gas against uncivilized tribes”), sets a theme for the book, which Baker will skillfully weave into the fabric of events mainly between 1920 and 1942 — that the bombing of villages and cities from the air represents “the end of civilization.”

Check it out here.

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I read about the Photography Book Now salon and symposium last night, and thought it was too good to be true. I mean, a contest celebrating self-published photo books? With the promise of MONEY? What What!? But look, they say it is true:

“Join the modern photography book movement. Photographers can now produce books with complete creative control. We’re celebrating the most innovative and finest self-published photography books and the people behind them. Submit yours for a chance at $25,000 to finish – or start – that once in a lifetime project.”

Check it out here.

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Looking through the new Aperture edition of Robert Adams perfect book The New West, I now realize that Adams, at the same time, was forming his critique of suburban sprawl within the communities and ideals of families like my own.

Check it out here.


Join the modern photography book movement. Photographers can now produce books with complete creative control. We’re celebrating the most innovative and finest self-published photography books and the people behind them. Submit yours for a chance at $25,000 to finish – or start – that once in a lifetime project.

Check it out here.


My friend, Hillary Carlip, likes to collect other people’s discarded shopping lists. She likes them so much she created an art project based on the lists

Check it out here.


Five years was about how long Lori Grinker thought it would take document the stories of former soldiers; she was only off by a decade.

Afterwar: Veterans from a World in Conflict (de.MO), a 248-page collection of intimate color portraits and searing first-person accounts of postwar existence was published in March, 2005 — 15 years and 30 countries after she began the photographic odyssey.

Check it out here.

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There have been many books that follow in the tradition of the Düsseldorf School of typologies that I just find boring. In fact, I even have a hard time looking through an entire book of the Bechers themselves when it is entirely made up of one of their subjects. Like many other genres of photography, their conceptual tendencies seemed to lead to a whole generation of photographers that would simply pick their typology and plug in the information. Of course one needs to make interesting photographs but the makers seem to say, “I’m going to photograph X” and then their job is to photograph “X” 200 times. Within this framework is common for these bodies of work to be a bit more interesting conceptually than visually which is why I was surprised to like Frank Breuer’s book Poles as much as I do.

Check it out here.

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Following sold out projects with Faile, Shepard Fairey, and Bast, we’re thrilled to launch today the latest in our series of “Wooster Special Editions.”

Our fourth artist in the series is…. Space Invader.

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A new book by Joachim Ladefoged, featuring 62 colour portraits and 16 black-and-white action shots from bodybuilding competitions in Scandinavia

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When the news emerged this week that Margaret Seltzer had fabricated her gang memoir, “Love and Consequences,” under the pseudonym Margaret B. Jones, many in the publishing industry and beyond thought: Here we go again.
The most immediate examples that came to mind were, of course, James Frey, the author of the best-selling “Million Little Pieces,” in which he embellished details of his experiences as a drug addict, and J T LeRoy, the novelist thought to be a young West Virginia male prostitute who was actually the fictive alter ego of Laura Albert, a woman now living in San Francisco.

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In this charming and captivating volume, National Geographic photographer Annie Griffiths Belt discloses the secrets of a peripatetic life, revealing in often hilarious detail how she managed to juggle two children, bulky cases of camera equipment, and everything needed for a nurturing family life as she traveled to far-flung destinations around the world.
Belt was one of the first female photographers hired at the National Geographic Society. When her children were born, she kept right on going—and this book is a loving compendium of the wisdom she gained. It chronicles three decades of international travel, a moveable family, and the art she created along the way.

Check it out here. Via Rob Galbraith.


In “Love and Consequences,” a critically acclaimed memoir published last week, Margaret B. Jones wrote about her life as a half-white, half-Native American girl growing up in South-Central Los Angeles as a foster child among gang-bangers, running drugs for the Bloods.
Margaret B. Jones is a pseudonym for Margaret Seltzer, who is all white and grew up in the well-to-do Sherman Oaks section of Los Angeles, in the San Fernando Valley, with her biological family. She graduated from the Campbell Hall School, a private Episcopal day school in the North Hollywood neighborhood. She has never lived with a foster family, nor did she run drugs for any gang members. Nor did she graduate from the University of Oregon, as she had claimed.

Check it out here.