Kazuma Obara: Exposure

An inspirational collection of the world's most beautiful scenic runs, selected by the editors of cult independent running magazine Like the Wind. Trail running is as simple as it sounds: just put one foot in front of the other, somewhere unpaved and outdoors. The opportunities it presents are endless, with a wide variety of routes that stretch over mountains, forests and deserts, in hot climates and frigid ones, through some of the most wild and beautiful places on Earth. Targeted at both novice and experienced runners, this book presents the finest trail-running locations around the world. From the heights of the Alps to the snowy expanses of the Arctic to the jungles of Latin America and the outback Down Under, each destination is brought to life by a different trail runner, showcasing exactly what makes each location so spectacular, as well as providing practical information to keep you moving on the ground. Compiled by the editors of Like the Wind, the first independent running magazine, each run offers an unparalleled experience, while the foreword was written by renowned American ultramarathon runner Dean Karnazes. As trail-running events assume the popularity and buzz of music festivals - tens of thousands of people run in some of the world's toughest endurance races - this book offers a passport to exotic places and experiences, on and off the trail, at a time when getting off-grid and alone with yourself has never been more important.

‘Looking back at my work, I see that fashion has always been there,’ Annie Leibovitz observes in the preface to Wonderland. ‘Fashion plays a part in the scheme of everything, but photography always comes first for me. The photograph is the most important part. And photography is so big that it can encompass journalism, portraiture, reportage, family photographs, fashion ... My work for Vogue fueled the fire for a kind of photography that I might not otherwise have explored.’ Includes 350 extraordinary images (many of them previously unpublished) featuring a wide and diverse range of subjects: Nicole Kidman, Serena Williams, Pina Bausch, RuPaul, Cate Blanchett, Lady Gaga, Matthew Barney, Kate Moss, Natalia Vodianova, Rihanna, Chimamanda Ngozi Adichie, Karl Lagerfeld, Nancy Pelosi. With a foreword by Anna Wintour.

This book presents Alessandra Sanguinetti’s return to rural Argentina to continue her intimate collaboration with Belinda and Guillermina, two cousins who, as girls, were the subjects of the first book in her ongoing series, The Adventures of Guille and Belinda and The Enigmatic Meaning of Their Dreams.? In this second volume, The Illusion of An Everlasting Summer, we follow Guillermina and Belinda from ages 14 to 24 as they negotiate the fluid territory between adolescence and young adulthood. Still surrounded by the animals and rural settings of their childhood, Everlasting Summer depicts the two cousins’ everyday lives as they experience young love, pregnancy, and motherhood - all of which, perhaps inevitably, results in an ever-increasing independence from their families and each other. Similarly, we can sense a shift in Sanguinetti's relationship to the cousins and the work they make: from insular childhood collaborators to three women with lives branching in different directions. Though the passage of time is one of the most palpable tensions at work in these photographs, An Everlasting Summer deepens Sanguinetti's exploration of the timeless, universal language of female intimacy and friendship. ? MACK will be publishing an ongoing series of formally similar volumes from the body of work The Adventures of Guille and Belinda, commencing with a reprint of the first book The Adventures of Guille and Belinda and The Enigmatic Meaning of Their Dreams in early 2021.

Di sguincio – meaning aslant, asquint, or seen from the corner of an eye – brings together more than a hundred black-and-white photographs made by Guido Guidi with small-format cameras between 1969 and 1981. These images record experimental early dialogues between Guidi and his camera: made without looking through the viewfinder and lit with a bright flash, they capture people, bodies, gestures, minor events, and fragments of space in moments of sudden and even abrasive encounter. While formally stark and even verging on the abstract, they document people and places close at hand – his family home in Cesena; friends with whom he shared an apartment in Treviso; colleagues at the Institute of Architecture at the University of Venice – forming affectionate personal works which explore the performative tension at the heart of images. This book reproduces Guidi’s own prints from the period, with their high contrast, unusual blurring and definition, and oblique, occasionally indiscernible handwritten annotations. Evoking the joys of invention and collaboration early in an artistic career, these fragments equally reflect the psychological, social, and political turmoil of Italy in an era of crisis and contestation of social values, metabolising the influences of neorealism and postmodernism in the search for new forms. The fundamental photographic theme of time – as it is recorded, experienced, and manipulated – is their elusive constant. With Di sguincio, we discover a set of anti-documents or anachronistic records – stamped, annotated, and sometimes artificially aged – which comment wryly on photography’s claims to truth and reveal the foundations of a lifelong engagement with the possibilities of the medium.

"I went to Central Park to find the place behind the Metropolitan Museum of Art where Jennifer Levin had been killed. It was bewildering to find a scene so beautiful ... to see the same sunlight pour down indifferently on the earth. As I showed the photograph of this site to friends, I realized that I was not alone in thinking of her when walking by the Met. It occurred to me that I held something within: a list of places that I cannot forget because of the tragedies that identify them, and I began to wonder if each of us has such a list. I set out to photograph sites that were marked during my lifetime. Yet, there was something else that drew me to this work. I think of it as the question of knowability. Experience has taught me again and again that you can never know what lies beneath a surface or behind a facade. Our sense of place, our understanding of photographs of the landscape is inevitably limited and fraught with misreading." --Joel Sternfeld. Between 1993 and 1996, Joel Sternfeld photographed 50 infamous crime sites around the US. On This Site contains images of these unsettlingly normal places, ordinary landscapes left behind after tragedies, their hidden stories disturbingly invisible. Each photograph is accompanied by a text describing the crime that took place at the location. This is the first Steidl edition of On This Site, originally published in 1996 to great acclaim.