"This book is about three alternative collective houses in Norway and Sweden: Blitz, Ya Basta and Kvarnis. German born photographer Hendrik Zeitler (b 1975) has written a history that has not been written before. During several years he systematically documented room after room with his camera, and through a quiet viewing he has created a valuable narrative about these places as social movements, alternative cultures and an alternative way of living. The houses in this book not only offer accommodation in single rooms, but also include a common place ? a room that is open to the public with a solidarity mission ? where visitors, passer?s by or homeless can get shelter. Texts by Ana Betancour, Fredrik Bakkemo, Ola Waage, and Hanna Ohlsson." (Idea)

The theme of Margaret M De Lange's second book published by Trolley is one of loneliness. It is a personal documentary, which follows people close to her a swell as some that she has met only briefly, and the solitude they encounter. ---- As she says: 'Being lonely is not the same as being alone. The loneliness we experience when surrounded by people is the loneliness we try our hardest to hide. We all have aspects to ourselves that we try not to display. Aspects which are personal and vulnerable. On an unconscious level, I think I look for these sides to myself in the people around me. Those I'm close to, but also strangers I only have fleeting encounters with. It is when I see myself that I take my photographs. These people become my mirrors; my way of showing those parts of me I'm trying to keep hidden. - My insecurities, dreams and longings. - My happiness and sorrows, victories and downfalls. - My loneliness.' " (Publisher's description)

http://www.schaden.com/book/PilPetSie06568.html

http://www.schaden.com/book/DueaAntWhi06566.html

"António Júlio Duarte has been photographing Casino?s lobbies in Macau for the last 10 years. Shot at night, with a medium format camera and a flash, often in jetlagged mode, the lobbies became Duarte?s personal territory. The absurd luxury of the places combined with the strangeness of the objects, and the absence of human presence, creates a strong dreamlike feeling. We are led through a labyrinth, as if floating. The work is, both an important document about the little seen reality of Casino?s in Macau today, and a very personal reflection about East and West, about how to relate to the world through photography."

http://www.schaden.com/book/oso06565.html

"Maddock's 2nd book is a continuation of his work on aspects of everyday English society, in the city where he has had family all his life, the south western port of Plymouth. The title God Forgotten Face is derived from the Philip Larkinpoem of the town Plymouth written in 1945, and the words Last kingdom of a gold forgotten face... Plymouth itself has long been an overlooked place, and in the minds of Londoners often confused with the other sea town of Portsmouth. Long since the Pilgrim Fathers set sail without looking back, mythic history has played out here. This book is about a particular loss of time and place, and an English way of addressing this. Plymouth is a post-war city of evolving new economies, the contradictions are all here: Francis Drake is a shopping mall and what was the Royal Sovereign pub on Union St. is now the Firkin Doghouse . This book is Maddocks personal reflection of two years living in the town, and a wider commentary on a society economically and culturally isolated since the decline of the navy. His account aims to address the dismantling of the author s own preconceptions, from motivations set in motion through the strength of childhood memories. Owen Hatherley contributes with an essay on Plymouth as a Blitzed city, drawing on the city s architectural fabric and what it means for its future."

http://www.schaden.com/book/DoueClaSas06560.html

"The advent of womanhood is unavoidable whether the ceremonies surrounding this conversion are the same or not; if the girl makes it through adolescence, the woman is inevitable. Sasha, one such young woman, is undergoing a rapid transition. Her mother, photographer Claudine Doury, watches through the camera and we are all witness to what Doury selectively chronicles: the adventures of the child, not so young, but close to the completion of her childish follies. The forest surrounds Sasha and her cohorts from the late summer into the fall of the year, from green to brown, from alive to dying." (Melanie McWhorter)

"'Trails' opens to an image of mostly virgin snow speckled with a bit of frozen blood but acts as a moment of foreshadowing as the following three images have us venturing deeper into the forest and discovering animal tracks left in the snow. It is several images in that we pick up the fading blood trail and follow it to the source. The images are deeply tinted cyan which gives a cold, silent feeling and the blood an odd unrealistic hue which for me makes them less aggressive. Whatever has taken place and whether the act was made by man on animal or animal on animal, the harmony seems to be relating to the cycles of a food chain than with acts made out of anger. As a book 'Trails' is simply beautiful in its printing and design. Clean and simple, it has two gatefolds which reveal more photographs among the 24 pages. The cover plate is one of Homma's brush paintings and avoids announcing this as a photobook." (Jeff Ladd)

http://www.schaden.com/book/HomTakM06558.html

"What Homma captured this time is McDonald. McDonald is the most famous restaurant chain, maybe most of the people in the world have used at least once in their life time. McDonald was a very close to Homma too. It was in his everyday life. Homma is famous for capturing a usual life, not a special and sensational thing but as it is. So choosing McDonald as a motif was a natural choice. The interesting point of this new series is that he photographed the shop not in Japan but in US, France and other countries. He might have choosen McDonald as a universal motif of everyday life and be trying to reach directly to people's mind all around the world." (Rasa Tsuda)

"Takashi Homma's 'In Our Nature' is a series of photographs illustrating the human effort to recreate the natural world. The photographs in this book are beautiful and offer a representation of gardens and man-altered ecosystems that are visually unique and engaging."

"Like his individual photographs, Botman?s books and writings are autobiographical and chronicle the stages in his life, but they do not follow a linear narrative. ?One Tree?, the artist?s third monograph, comprises a collection of images that are at once dark and hopeful, challenging and inviting. The book ends with Botman?s short story, ?The hawk & the cat?, which plays off wonderfully with the images preceding it."

Nicolai Howalt?s photographic works reference to the tradition of documentarism typically based in specific environments. ?Boxer? (2003) was a photographic portrait project about young boys shot before and after a match.

"Safety First is entirely composed of negatives which were damaged by x-ray scanners during our stay in Grozny. In the Chechen capital, these scanners are not only placed at the entrance to the airport or government buildings, but also to shops, gyms, restaurants and outside on squares. In Safety First we ask what the difference is between security and a false sense of security." (Rob Hornstra)

"Sochi attracts mainly Russian tourists in the summer. On the one hand, they come looking for glitter and glamour and are prepared to pay for it; on the other, they attach great importance to Russian culture and traditions. The ultimate example of this can be found in Sochi?s nightlife. Many restaurants try to attract customers with flashing neon signs, semi-luxurious interiors and an abundance of staff. At the same time, every restaurant upholds a well-known Russian tradition of live musicians who belt out Russian chansons from behind an electric piano. The book ?Sochi Singers? explores how a deeply rooted Russian tradition goes hand in hand with the city?s new capitalist glamour." (Rob Hornstra)

mit Texten von Renate Gruber und Joachim Born

The monograph of Olsson's photographs of the Mathsson houses - the summer house at Frosakull built in 1960 and the house at Sodrakull (1964/ 65). Over the last decade Olsson has repeatedly visited, studied, photographed and intermittently occupied these two Mathsson houses that were abandoned and in disrepair. Olsson's project contends with the legacy of Mathsson's work in Sweden and internationally, while operating on the relationship among architecture, photography and preservation. The project explores the condition of these houses that meet their first act of preservation through photography, while questioning what may be neglected or erased through subsequent repair and reoccupation. (...) The houses display a characteristic obsession with air, sun and oxygen, and performed for Mathsson as setting for his interests in naturism, fitness and nudism. In this sense the photographs provide a condensation of modernist biologically oriented preoccupations, for which the houses are an extreme Swedish concentrate. Text by Beatriz Colomina, Hans Irrek and Helena Mattsson Book design by Jonas Jansson & Daniel Carlsten and Mikael Olsson. A review here: http://www.iconeye.com/news/reviews-2011/review-sodrakull-frosakull

The First POLADARIUM in Photohistory - a calender with 365 polaroid pictures of well known photographrs and newcomers of the scene. Backside with informations about the picture history and the photographer. All together well designed in a collector's box. "Das erste POLADARIUM der Fotogeschichte - ein Abreißkalender, der Tag für Tag ein neues Bild und seine Geschichte enthüllt. Kleine POLAROID-Schmuckstücke von bekannten Fotografen und Newcomern. Auf der Rückseite jedes Kalenderblattes befinden sich Infos zum jeweiligen Bild und zum Fotografen. Für den Schreibtisch, das Fensterbrett, die Hutablage oder den Nachttisch. 366 Polaroids, drucktechnisch aufwendig verarbeitet mit Lack und Spezialpapier, geliefert in einer schön gestalteten Sammelbox."

?Working in Africa opens doors of my subconscious more widely, my dreams are very vivid when I?m there,? says Viviane Sassen, whose photographs are on view as part of the New Photography series at MoMA. Sassen, who is Dutch, grew up in Kenya; lately she has used her medium as a form of self-analysis, creating graphic, color-saturated compositions that mine her childhood memories but also underscore her status as an outsider in a part of the world she will always consider home. In ?Alpha,? two young men cross paths in the street, but one, completely darkened to a silhouette, could be viewed as the wayward shadow of the other. In ?Parasomnia,? which is also the title of the series, a man who may or may not be asleep has tipped over in his chair, but Sassen has rotated the image so that he almost appears to be in free fall. ?I try to make images that confuse me,? she says. ?And I hope they confuse others, too.?

http://www.schaden.com/book/BehUeteThe06548.html

One of the Three Winners of the Contentious Portfolio Competion 2011 - "In an interesting way, the plain, non-dramatic lighting and the elimination of anything that could reflect the identity of these persons allow a very close intimate face-to-face encounter." (Caroline Von Courten, FOAM Magazine), Conscientious Portfolio Jury 2011 - Design: Mane Radmanovic

http://www.schaden.com/book/BazErnAl06546.html

Special price - after Nov. 30th.: ? 290,00

"Seit über 30 Jahren arbeitet das New York Times Magazine mit führenden Photographen zusammen, erteilt ihnen Aufträge, animiert sie, die gewohnten Pfade zu verlassen und kreative, denkwürdige Bilder zu schaffen. Das hat über die Jahrzehnte nicht nur zum Renommee des Magazins beigetragen, auch die Photographen selbst betrachten einen solchen Auftrag als eine Art Initiation. Ryan, langjährige Bildredakteurin des Magazins, präsentiert die besten Auftragsprojekte aus aller Welt hier erstmals in Buchform. Gegliedert in die vier Kapitel Portrait, Reportage, Stil und Konzeptphotographie, sind die Einzel- aufnahmen jeweils den gedruckten Seiten gegenübergestellt, was gleichzeitig die photographische Arbeit und ihre Destillation ins Magazinformat veranschaulicht. In Kooperation mit namhaften Photo- graphen hat das New York Times Magazine den Standard für eine unglaubliche Bandbreite innovativer Photographie gesetzt. Die Publikation wird begleitet von der Ausstellung "Thirty Years of Photography at the New York Times Magazine", mit der, neben anderen Stationen, im Juli die diesjährigen Recontres d'Arles 2011 eröffnet wurden."