The Last Son by Jim Goldberg, reviewed by Robert Dunn
In my last review for Photobookstore Magazine, I talked about autobiography in photobooks, how all photobooks in a way chart a photographer’s life, since…
Reviews
Black Is The Day, Black Is The Night by Amy Elkins, reviewed by Robin Titchener
Having recently submitted a best of list to this very blog, I also devoured all the other contributions, in the hope of finding any…
While Leaves Are Falling by Takahiro Kaneyama, reviewed by Robert Dunn
What is autobiography in a photobook? On one level all photobooks are autobiographical, since a photographer has to be there to take a shot,…
Mikiko Hara’s and Stephen Dixon’s Change, a review by Robert Dunn
The first question with Mikiko Hara’s and Stephen Dixon’s Change is how to read it. The photobook, the first published by the Gould Collection,…
Anaesthesia by Valentina Abenavoli, reviewed by Christer Ek
Valentina Abenavoli is the co-founder with Alex Bocchetto, of the wonderful publishing house Akina Books. Specializing in various publications from zines to artist books,…
Shadows of Wormwood by Arthur Bondar, reviewed by Robert Dunn
In my last review for PhotoBookstore Magazine, I looked at Renato D’Agostin’s Archaeologies: Los Angeles, and took it to task for the limitations of…
Renato D’Agostin’s Los Angeles, a review by Robert Dunn
I wanted to write about Renato D’Agostin’s new book Archaeologies: Los Angeles because I was born and raised in L.A., and on trips back…
Astres Noirs by Katrin Koenning and Sarker Protick, reviewed by Robert Dunn
What do we do with black and white these days? Photographers can of course still shoot film, process it, print it; they can chase…
An Avid Observer: Thoughts around Carlos Alba’s The Observation of Trifles by Rodrigo Orrantia
Finding your way in London as a foreigner has never been easy. I think what impressed me most at the start, was the lack…
Chris Killip – In Flagrante Two, reviewed by Robert Dunn
It’s one thing simply to reissue a classic photobook, as Steidl did recently—and exemplarily—with Cartier-Bresson’s Decisive Moment, but it’s a bit more to put…
On A Good Day by Al Vandenberg, reviewed by Sophie de Rakoff
“I photograph on a good day, when I feel good and the subject feels good.” London in the late 70’s and early 80’s. Post…
Provoke: Between Protest and Performance, reviewed by Robert Dunn
If you love Japanese photography, as I do, the new book Provoke: Between Protest and Performance is essential—and a godsend. The thick, black tome…
Teenage Smokers 2 by Ed Templeton, reviewed by Sophie de Rakoff
Ed Templeton. Pro-skateboarder, zine publisher, fine artist and photographer. Beating heart of an unofficial collective of Californian artists (including Mike Mills and Thomas Campbell)…
Lingering Ghosts by Sam Ivin, reviewed by Robin Titchener
Every now and again, without warning you stumble across an absolute gem of a book. A concept where everything is right. The subject, the…
Ōtsuchi Future Memories by Alejandro Chaskielberg, reviewed by Rodrigo Orrantia
Very few projects I’ve seen lately manage to marry concept and medium in such a startling way. Perhaps it was coincidence, but I think…
Sombras Secas by Marcelo Greco, reviewed by Robert Dunn
Marcelo Greco’s Sombras Secas (Dry Shadows, in Portuguese) is a black-and-white Provoke-era-style photobook comprised of 35 recent shots from Greco’s home city of São…
Athens Love by Ren Hang, reviewed by Keenan McCracken
Poet, political dissident, and perhaps one of the most exciting photographers to emerge from China in the past decade, Ren Hang has come to…
By the River of Kings by Jacob Aue Sobol, reviewed by Robert Dunn
Jacob Aue Sobol’s new book, By the River of Kings, plants him in Bangkok. Last year he put out a Leica tie-in book called…
Sharkification by Cristina de Middel, reviewed by Ollie Gapper
The controversy invited by projects made by “privileged outsider pointing a camera at underprivileged subject” is a well established and largely derogatory reading to…
Now Here Then by Huger Foote, reviewed by Robert Dunn
Although in most ways I’m an analog kind of guy, when I shoot for my photobooks, I shoot digital—unapologetically. Since I’m coming to my…
Atem by Massimiliano Tommaso Rezza, reviewed by Annakarin Quinto
ATEM is a big book. To read it you have to comfortably nest it between your thighs and womb. The best position is deeply…
Le Désert Russe by Ljubisa Danilovic, a response by Ollie Gapper
Locked to the rails, hurtling through – looking, searching for them, but they’re not here, or at least not anymore.The landscape engulfs us. I am swallowed by it….
Missing Buildings by Thom & Beth Atkinson, reviewed by Ollie Gapper
I’m an unapologetic sceptic when it comes to any amount of hype, particularly around something as reliant on taste and perspective as a book….
Sequester by Awoiska van der Molen, reviewed by Rodrigo Orrantia
This is perhaps one of the most talked about books of the year, and rightly so. Sequester by Awoiska van der Molen has managed…