Bøger udgivet af Dewi Lewis Publishing

A beautiful, intimate exploration of female sexuality and the female body photographed in a swinger club in the city where Gullberg lives. For her the work was to expand her idea of herself and her sexuality.

John Alinder, son of a farmer, was born in 1878 in the village of Savasta, in Uppland, a province in eastern central Sweden. He remained in the village all his life. He chose not to take over his parents'' farm, instead becoming a self-taught photographer and jack of all trades. He was a music lover, holder of the Swedish agency for the British record label and gramophone brand His Master''s Voice. For a time he ran a shop from his home, and he even operated an illicit bar. From the 1910s to the 1930s he portrayed local people, the surrounding landscape and their way of life. His portraits are extraordinary - children placed on chairs, old ladies, people perched in trees, labourers and confirmation candidates; often depicted against a background of foliage and sprawling greenery penetrated by sunlight. The Alinder collection was ''discovered'' in the 1980s when a curator found over 8,000 glass plates stacked away in a library basement.

A remarkable photo documentary of the last matriarchal society in Europe with a strong sense of community spirit and a steadfast attachment to their ancestor's customs.

On Abortion is the first part of Laia Abril''s new long-term project, A History of Misogyny. The work was first exhibited at Les Rencontres in Arles in 2016 and awarded the Prix de la Photo Madame Figaro and the Fotopress Grant. Abril documents and conceptualises the dangers and damage caused by women''s lack of legal, safe and free access to abortion. She draws on the past to highlight the long, continuing erosion of women''s reproductive rights through to the present-day, weaving together questions of ethics and morality, to reveal a staggering series of social triggers, stigmas, and taboos around abortion that have been largely invisible until now.

This is a fully revised and updated edition of Martin Parr's highly successful book Autoportrait which was first published in 2000. Redesigned, it features a playable 'labyrinth' puzzle on the front cover and includes a large number of new images taken since its first publication. The book shows the remarkable shift from analogue to digital photography that has taken place over the period. For the last thirty years, when Martin Parr has travelled on assignment throughout the world he has had his portrait taken - whether by a local studio photographer, a street photographer, or in a photo booth. The result is a true celebration of portrait taking - ranging from elaborate studio sets reminiscent of the heyday of the Victorian studio photographer, through to digitally manipulated images of Parr as Mr Universe, or images horrendously re-touched by a studio in their attempts to flatter him. Presented in chronological order, the photos follow Parr as he ages gently on his travels across continents. As with all Parr's projects the book is not only hilarious but also comments on a world beyond the frame - not only in the apparent cultural differences between countries but also in its broader social and political references. It also reflects on identity and self, questioning the whole notion of the photographic portrait.

The Burnthouse Lane estate was first dreamt up by Exeter Council in the idealistic 1920s to rehouse impoverished people from the West Quarter slum. Designed along Garden City lines and purposely self-contained it was a place for working-class families to live. In the 1980s, Margaret Thatcher's Right to Buy scheme meant that some of the properties became privately owned, but Burnt House Lane is still referred to as a council estate. The deprivation it was supposed to overcome has continued to haunt it, but the isolated nature of the estate and its intricate labyrinth of lanes, have also made for positives, such as a close-knit community and a sense of solidarity among the residents. Michelle Sank has developed an international reputation for her powerful environmental portraits. She has published four previous books and has exhibited widely across the world. Born in South Africa, Michelle Sank settled in the UK in 1987. She cites this background as informing her interest in sub-culture

God's Promises Mean Everything spans seven years in the life of Derek, a homeless hostel resident who lives in Teesside in the North East of England. After being granted permission by the hostel, Mark visited Derek 1-2 times a month - to drop off food or hang out, talk or just listen to music. These visits, this time spent in each others' company, became essential to the work and allowed Mark and Derek to develop a unique project that was fully collaborative. The book is an immersive long-term character portrait that extends over a number of years, but limits its perspective to a single room. Haunted by the spectre of the family he lost, Derek lives without the safety nets many of us take for granted. Significant life choices - involving financial difficulties, mental and physical health - are always close to the surface. God's Promises Mean Everything reveals the unsettling fragility in the connections that make up our everyday experience. It is a personal, empathetic portrait of a man trapped in difficult circumstances. A story of disconnection and loss, but also of survival and daily rebellion.

Paul Hart's latest body of work Fragile (2020-23) is a personal reflection on nature and was made in the landscape close to his home in England. The aesthetic is rooted in the notion of a heightened awareness of the natural world, of both a physical engagement and spiritual connection to the land. Whilst becoming absorbed in this instinctual, visceral approach, Hart has become acutely aware of both the physical beauty and delicate vulnerability of these natural forms. Although concerns of the environment and sustainability are present throughout, Fragile departs from the central study of place usually associated with his work, to evoke a more abstract ethereal sensibility.

On March 6th 1984 miners at Cortonwood Colliery in Yorkshire went on strike. Six days later, on March 12th, NUM President, Arthur Scargill, made the strike official across Britain. And so began the UK's biggest strike since the General Strike of 1928. It ran for almost a year until March 1985 - a year of bitter conflict between the miners and Margaret Thatcher and her government and marked the end of the mining era in Britain. 24 year-old Michael Kerstgens was studying photography in Germany at the time. But he had strong links with South Wales having been born in Llanelli and spending his early years there. His father had also spent twelve years working in South Wales for an engineering company involved with the mining industry. As a sixteen year old Gerstgens took a summer job at the company's Swansea office. He also experienced the underground life of the miners at Cynheidre Colliery. It's not surprising therefore that once Kerstgens heard about the strike he went to South Wales to find out what was going on and to start what would be his first major photography project. Kertsgens' friends and contacts enabled him access to much that was closed off to the press and when he later moved on to Yorkshire he lived with the family of a striking miner whose wife, Marsha Marshall, was one of the leading lights of Woman Against Pit Closures (WAPC). He even met Arthur Scargill. The resultant photographs offer a powerful insight into what was a brutal strike that tore a rift through British society, entire mining communities, and even individual families.

A diagnosis of cancer may be one of the most difficult pieces of news anyone could hear. From one moment to the next, life-changing. The beginning of a long journey whose destination cannot be predicted. While the stages of treatment may be similar for many patients, each person's response will be different. Cancer infiltrates, not just bone and tissue, but the entire lives of patients and their families. Caroline Seymour's photographs bear witness to what had to be endured by their subjects. Challenging though some of them may be, the position of an onlooker is a privileged one. The intention is not to sensationalise, but to show the beauty in these primal wounds within this most human and desperate of situations, as well as the skill, dedication and compassion of the doctors attempting to heal them. The photographs are juxtaposed with details of paintings and sculpture from UK national collections which place the work within a broader context. The religious references are not incidental; they are significant in that they emphasise both the humanity of the patients and their suffering. These photographs celebrate the beauty of the human body, of the art of surgery, of the care given by the surgeons to cure a deadly disease. They are testament to the courage and integrity of all involved.

Christer Strömholm is recognised as one of the major figures of 20th century European photography. Strömholm captured his surroundings in black‐and‐white images that display his integrity, understated humour and a highly personal aesthetic. With an unmistakable sensitivity to human suffering, based on his personal experience, he took photography in a new direction. Sean O'Hagan, writing in The Guardian, has described him "as the father of Swedish photography both for his abiding influence and for his role as a teacher." Born in Stockholm, Strömholm discovered photography via graphic art in the late 1940s. During the 1950s and 60s he lived much of the time in Paris, where he developed his particular style of street photography. It was here that he produced his most famous work, Les Amies de Place Blanche, a tribute to a group of young transsexuals with whom he became friends and whose lives he shared over many months. They were very much outsiders, struggling to survive, with their main source of income being from prostitution. In these legendary photographs, shot at night in available light, Strömholm merged street photography and portraiture, depicting them as the close friends theywere, in intimate and honest portraits far from the spectacular or speculative. Les Amies de Place Blanche raises profound issues about sexuality and gender; and, in Strömholm's own words, "it is about obtaining the freedom to choose one's own life and identity."

Paddy Summerfield's 'The Beginnings Of Eternity', three years in the making, is his first published colour essay. It starts as an apparent travelogue: traffic and hedges, winter moon and July fields are glimpsed from a moving car. This repeated journey shifts through daylight and changing seasons, looping around local lanes and streets, then entering domestic spaces, into a final garden brilliance. Summerfield has always been a story-teller; in 'The Beginnings Of Eternity' he has a new narrative device - an idiosyncratic colour code that creates the rhythm of the essay, and signals the unfolding of Summerfield's vision of a journey that is both metaphorical and spiritual, towards a peace beyond understanding. After twenty-five years of urging by his friend, photographer John Goto, Summerfield finally acquired a limited, lo-tech digital camera, so limited that the pictures yielded unforeseen (and usually unrepeatable) vagaries of flare, colour shift, distorted perspective, and other oddness. The prismatic shards and the unpredictable effects intensify Summerfield's photography, yet viewers familiar with his work will recognise the composites, the unfocused glimpses, the pattern of echoes that have appeared within his black and white work over decades.

During the 1948 Palestine war many Palestinians were forced to leave their homes. This same fate befell the desert tribes of the Bedouin, but their strong bond with the desert - the heart of their culture - could not be broken. Yet, today, the number of Bedouin people inhabiting their original territories is shrinking, and many are gradually losing their distinct identity. Born of Sand and Sun is not a conventional depiction of the life of a nomadic people nor does it try to capture the current suffering caused by the Israeli‐Palestinian conflict. It is a visual metaphor of the gradual disappearance of these brave desert people - all that is left for them are fragments covered with sand, which in time they will themselves become. Over a period of more than three years, Petra Basnáková spent time living in Bedouin communities, to better understand their way of life, and to experience the beauty and simplicity of their existence and their deeply rooted love of the desert itself. The book follows two storylines ‐ the life journey of the Bedouin people and Basnáková's journey of getting to know them and becoming accepted by the Bedouin community.

The nature of any society and its future can be read in its entrails - in what is left behind. 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. Collectively, these wastelands form a sustained and permanent feature of the modern city.

Robin Bell, Britain s leading black & white photographic printer 87 photographers, including major stars of the last fifty years."

The most powerful and memorable images from Stephen Strom's collection of Southwest American landscapes, brought together for the first time. He captures the land, shaped by both millennial forces of prehistory as well as yesterday's cloudburst. The images compress vast desert spaces in an illusion of intimacy and comprehension, presenting undulations of colour and form which appear reimagined in a light that at once penetrates and sculpts. Having spent over two decades living in the desert, Strom exposes his unique sensibilities to capture this place.

There¿s something about the word ¿allotments¿ that conjures up an image of traditional values, of balmysummer days spent working the land, escaping in honest toil. A rural idylll far removed from our everydayexperience. And even though allotments can be found throughout the world, in our minds they still seemto encapsulate a certain Britishness.Andrew Buurman¿s photographs capture the essence of the allotment and convey the enthusiasm anddiversity of today¿s plot holders. These photographs were all taken on Uplands Allotments, inHandsworth, in the heart of Birmingham. The largest allotment site in the UK ¿ with 422 plots ¿ itopened in 1949, with its own office and meeting hall. Even today it retains much of the communal spiritof the post war era with weekly tea dances, bingo nights and an annual flower and vegetable show.The history of allotments tracks the major social and political changes in British life: the move away fromopen field agriculture, the urbanisation of the Industrial Revolution, the need for home grown produceduring both World Wars. By 1943 there were some 1.4 million allotments in the UK growing 10% of thenation¿s food. Inevitably both increasing affluence and the redevelopment of many sites led to a dramaticdecrease in numbers, though in recent years there has been a resurgence of interest. There are now some300,000 allotments in the UK often shared between families and friends.Born in Liverpool in 1966 Andrew Buurman bought his first camera at the age of 27 whilst working as ateacher in Japan. Returning to the UK he studied photojournalism at LCP, before becoming aphotographer with The Independent newspaper in London. A World Press Award winner his work hasbeen exhibited in the UK and USA.

Winner of the Leica Oskar Barnack AwardIn March 2006 the residents of 911 Prestes Maia, a twenty-two story ramshackle tower block in the center of sprawling Sao Paulo, Brazil, learned that they were to be evicted. The building, neglected by its landlord, had been empty for over a decade. In 2003 the "Movement of the Homeless" had moved in hundreds of families. The new residents created homes and a thriving community from squalor and neglect, complete with a library, workshops, and other educational activities. In this collection Julio Bittencourt records the tower's residents as they appear in weathered window frames. It is powerful and thought provoking.

These photographs from Shanghai explore the new culture rapidly developing in China as it expands its domestic market at breakneck speed. As elsewhere in the world, the appeal of modern consumer goods and the benefits they bring is there for all to see. But such rapid change has its dark side. As the not-so-old cultural structures become increasingly irrelevant, there are threats to social cohesion as communal identity gives way to individuality and alienation. What we are seeing now is a new Cultural Revolution, a capitalist Cultural Revolution that is more complete, more total, and no less ideological than the Cultural Revolution that was instigated by Chairman Mao in the 1960s. "Lovin' It" is introduced by John Gittings, for many years foreign leader-writer and East Asia editor at the "Guardian." Gittings first visited China in 1971 during the Cultural Revolution and in 2001 he opened the "Guardian"'s first staff bureau on the Chinese mainland, in Shanghai. The book also includes an interview with Hinton by writer and cultural critic Nigel Warburton. London-based photographer Adam Hinton has produced several documentary projects based on various communities, including a favela in Rio de Janeiro, a coal mining family in the Ukraine, and a Himba community in Namibia. His personal and commissioned photography have won numerous awards and been exhibited at various galleries, including the National Portrait Gallery and The Photographers' Gallery, London.

150 years ago intrepid photographers took their cameras to remote corners of the world and brought back images which amazed their peers. This text contrasts the Victorian world with our own, and looks at how our view of the world has changed in the intervening years.

Clark explores life inside a wing for elderly prisoners sentenced to life imprisonment.

The elite hotels of Africa - ultimately sites of tension, where cultures collide and conflict.

Charlotte Cory reworks the photographic visiting cards that were a Victorian craze, with a new twist. Instead of forgotten faces and family pets - dressed for their best and preserved for a posterity that is no longer interested - her visitors' are creatures of fantasy and fascination: a noble tiger in full military regalia, a dejected donkey in a sparse studio setting and a haughty kangaroo holding a cricket bat and gazing out at us dismissively. A remarkable book that draws readers into an imagined world of immense power and originality.'

Inspired by the memories of his mother, originally told to Dinu Li as childhood bedtime stories, this text traces the story of a woman born in rural China and her escape to a new life via Hong Kong and eventually to the industrial north of England.

A fascinating insight into a region of great significance within Indian culture and history.