GOST Books – förlag

Over his seven-decade career covering conflict and war, Don McCullin is perhaps best know for the images he took during the Vietnam War. In this new book, 100 images taken during McCullin’s time spent covering the war for The Sunday Times have been reproduced for the first time in book form. Edited alongside McCullin, who contributed notes and commentary about his experiences during the war, Vietnam presents an indepth look at the photographer’s own perspective of a devastating conflict. Sir Don McCullin (b. 1935) is a renowned British photojournalist best known for his black-and-white images of war, conflict, and humanitarian crises from the 1960s to the 1980s.

We are living in the golden age of cocaine. Consumption and production have never been higher, despite more than 50 years of the War on Drugs. For many Europeans and North Americans, cocaine is a party drug. For many Latin Americans, it's a source of bloodshed, violence, corruption, and death. It is the most significant exploration through photo journalism of the cocaine industry to be published to date.This new reportage book—Sangre Blanca—by award winning documentary photographer Mads Nissen (b.Denmark, 1979), his most significant body of work to date, delves into the murky depths of the cocaine trade, examining the human consequences along its journey—from the neglected countryside of Colombia to cartel lands of Mexico, to (c)raving consumers on a European dancefloor. The publication, with photos taken between 2016 and 2025, takes us across countries and continents over almost a decade.

The overconsumption and waste of cheap clothing, garments often worn only a fewtimes (sometimes never at all), and then discarded. For this new work the artist has recoveredwaste clothing from 121 locations around the coast of Britain, presenting them as uniquecyanotype images.The project was inspired by the work of Anna Atkins, a Victorian botanist and photographer whosegroundbreaking book, ‘Photographs of British Algae: Cyanotype Impressions, 1843,’ Barker hasbased her own work on, but rather than showing natural algae and seaweed as Atkins did, Barkerchose to show the clothing and garments recovered from the same British shorelines.

The UK shipping forecast covers the waters of Western Europe and separates them into 31 sea areas encompassing the UK, from Dover to Southeast Iceland to German Bight— of which Power photographed all of them,over a period of four years. Each image is captioned with the 0600hr forecast on the day they were taken. This newly edited and revised second edition includes over 100 previously unpublished images.‘The shipping forecast, of course, exists to save lives. It warns those at sea, or about to put to sea, of approaching storms. But for the majority of us, in Britain at least, its strange, rhythmic language is unashamedly romantic and oddly reassuring, despite forming an image of an island nation perpetually buffeted by wind and waves. It manages to do all this while remaining virtually incomprehensible: the general synopsis at 0 1 00. Low, Southeast Iceland 995 moving slowly southwest, filling 1 00 7 by 0 1 00 tomorrow. Low, Biscay 958, expected Wales 1 00 5 by the same time. Low, Trafalgar 1 00 3, moving slowly east, losing its identity.'

The series follows the Thames Estuary, where the River Thames widens dramatically as it leaves London and meets the North Sea, the same stretch of water J.M.W. Turner painted for its light, but one now mostly known, if at all, for its low grey marshes and mudflats.These pictures depict a place of deep historical resonance, from the eras of empire and trade to those of Brexit and migration. Once a bustling industrial corridor, the estuary is now an eerily quiet landscape of marsh and mud layered with social, military and political history. For centuries it has been a gateway to Britain, home to naval docks, trade routes and shifting borders through which goods and people have travelled in both directions.

Over his seven-decade career covering conflict and war, Don McCullin is perhaps best know for the images he took during the Vietnam War. In this new book, 100 images taken during McCullin’s time spent covering the war for The Sunday Times have been reproduced for the first time in book form. Edited alongside McCullin, who contributed notes and commentary about his experiences during the war, Vietnam presents an indepth look at the photographer’s own perspective of a devastating conflict.

Working with a large format 5x4 camera, Gli Isolani draws upon the visual language of Tomlinson’s previous projects, lending the black and white photographs a veil of timelessness. At the project’s genesis, Alys researched the literature and poetry connected to the history and culture of the islands of Italy, exploring tradition and identity, ancient myths, folklore and fairy tales. Set against crumbling stone and rural fields, the images depict the elaborate and uncanny costumes and masks worn for Holy Week, and other events and festivals, sometimes inspired by pagan ritual and beliefs. The fantastical tales and precious costumes have been passed down many generations within these communities where customs run deep. The gestures and the costumes depicted in the photographs draw on the relationship between man and the land, the sacred and the profane, and good and evil.

McCullin’s has been creating still life arrangements in his garden shed at home in Somerset since the early 1980s.Each still life has been lyrically constructed with the natural—cut flowers (lilies, fox-gloves, gladioli), fruit or fungi—often presented alongside beloved mementos of his travels; a bronze dragon from the orient, a junk shop vase, a Hindu goddess. He arranges disparate inanimate objects with fruits and flowers as a kind of shrine to pay respect to the idea of transience versus permanence. These self-styled altars act as a homage to beauty, to the changing seasons and the fleeting passage of time.The landscapes in the book are gathered from throughout McCullin’s career—from early photographs of the Industrial North of the UK, to India, Africa and more recent images taken closer to home. Shot to enhance a metallic light, lowering skies and the denuded trees; there can be a sense of foreboding and desolation in the landscapes, as if the photographer were contemplating the aftermath of a battle scene. Vast eternities are suggested in his expanses of desert sand and biblical drama in his silver-edged cloudscapes. Any figures in the frame are incidental and merely contribute to the composition—a departure from the human-focused documentary work for which McCullin became known.

The images in The Holdouts focus on three very different sets of homes: solo row houses in the inner city; abandoned houses on the Eastern Shore of the United States where the last generations of families either passed away or moved on after decades of farming the land; and encampments of people experiencing homelessness in Baltimore. The Holdouts is not just about abandoned dwellings and encampments, but also a reflection on history, memory, and marginalisation.

In 1997, on a commission to photograph a public building being made, Magnum photographer Mark Power was given access to the construction site of the Millennium Dome, in east London. From there he went on to take pictures during other various commissions around the world, creating images at various construction sites, factories, quarries, shipyards, steel mills, recycling facilities, theatres, etc. In the photographer’s own words, Fashion is a collection of photographs of things being made.The photographs were made from 1997 until the present day in Brazil, Czech Republic, Finland,France, Georgia, Germany, Greece, Italy, Japan, Jordan, Malta, Poland, Portugal, Russia, Singapore, Spain, South Korea, Sweden, Switzerland, Turkey, United Arab Emerites, UnitedKingdom and United States

The images depict a country in upheaval, as experienced by a foreign photographer who has spent over a decade navigating its complexities.‘Afghanistan resists foreign understanding, and its image has been repeatedly appropriated and reshaped by the empires that have occupied it over the centuries. Misunderstandings arise not only from the difficulty of accessing the country’s many layers of meaning but also from a tendency on our part, as journalists, to simplify and misrepresent. These simplifications help build narratives that justify foreign wars and occupations, often carried out in the name of spreading democratic values and defending women’s rights.’

In the mid-1970s, an economic down turn combined with complex social and political pressures caused the gradual decline of the South Bronx. By the 1980s, crime, middle-class exodus, fires, and the lack of public services had taken their toll-little was left standing. The photographs Ray Mortenson took during this time were intended to present an objective, wide-ranging survey of the devastated urban landscape.

He created the images using two analogue processes, one with a paper negative, the other produced using a complex colour-reversal process.‘These are representations of flowers, of course, but they are also signs of a complex improvisation with chemicals, paper, light, and time. I do not know what the image is going to be like at the start of the process; each one is a small revelation. Sometimes the strangeness of the result positions the everyday motif of the flowers in a new hybrid space between the chemical and natural, a fusion of the tradition of art that celebrates the transience of flowers, and a process that steals them away into an uncanny, chromatic image of an apparently permanent and artificial afterlife.’

‘For many indigenous communities, hair is a physical expression of thought—an extension of the self, much like the way rivers flow or plants grow from the earth. It reflects a deep spiritual connection to nature, rooted in reverence, humility, and reciprocity. Similar beliefs exist among Indigenous peoples worldwide, like Native Americans. What makes Latin Americaunique is how these Indigenous rituals and traditions have spread beyond their original communities. Ancient customs blend with waves of immigration, shaping a deeply hybrididentity.’

Featuring images alongside an insightful essay by renowned art historian Julian Stallabrass, it offers a perspective on a conflict that touches us all.The project's title comes from a poem by Ingeborg Bachmann; for a long time, it carried the working title 'Kowitsch'. What I saw then - and what I witness now - is a country caught between a contested past, a brutal present, and an uncertain future.'

He documented the fall of the Islamic State in Mosul, Iraq, and Raqqa, Syria. He was in Gaza during the protests following the relocation of the American Embassy from TelAviv to Jerusalem and witnessed the wars in Libya, Afghanistan, Nagorno Karabakh and the conflict between the Turkish army and the Kurds of the PKK. During his career he has built up an ongoing collaboration with TIME Magazine and the Wall Street Journal and his reportage shave also been published in leading Italian and international magazines and exhibited in numerous galleries and museums.

What began completely by chance has evolved into the body of photographic work that is Marina  Sersale’s Liminal Space.  Made as she wanders her native city of Rome, Italy, the result is a series of dramatic black and white images of people, sights and scenes; a personal document of  the world around her.The book brings together over a decade of work captured in the streets of her hometown Rome and the countries she has visited: a visual exploration of the spaces between light and shadow, reality and imagination.

Highlighting the varied landscape and often historic structures of the city at dusk, Walla captures beauty and lushness in the mundane.His previously published books include, 'Casa del Herrero: The Romance of Spanish Colonial,' and 'The Steedman Silver' among others. His work has been included in various publications including 'Classical Interiors' by Elizabeth Dowling, and 'The Art of Classical Details' by Phillip Dodd. His work has been featured in Architectural Digest, This Old House and California Homes among many other publications.

What began completely by chance has evolved into the body of photographic work that is Marina Sersale's Liminal Space. Made as she wanders her native city of Rome, Italy, the result is a series of dramatic black and white images of people, sights and scenes; a personal document of the world around her.The book brings together over a decade of work captured in the streets of her hometown Rome and the countries she has visited: a visual exploration of the spaces between light and shadow, reality and imagination.'I'm not interested in the obvious beauty of places or people, but in what is not immediately visible, or in what becomes visible when you extrapolate one part of a scene and show the interaction between various elements within it to create something new. For me, reality is not necessarily what you see but also what you choose to look at.'

What began as a photographic project soon became a true collaboration with these families. Over time, through shared trust, vulnerability and care, this project has grown into something much larger—a community, a network, a family of its own. The book also features drawings, artworks, poems, and testaments made by the women and the children. The book shines a light on the struggles, and triumphs of three single mothers raising children with severe disabilities. This project is more than just a story of survival—it is a testament to love, creativity, and hope. In it we meet mothers Shoulana, Annalisa and Nicola and their children Kallan, Mekhye, Gabriel, Maria, Jaffa and Nuch. Carol said: “I initiated this project to create a vibrant voice for primary caregivers raising children with disabilities. The goal is to raise wide public awareness about the challenges of raising these children and the impact it has on family life. The book is an empathetic profile of the families and triggers a mandate to initiate opportunities to improve the quality of their lives”She adds, “Defying the Myth is a celebration of resilience—an urgent and necessary story that challenges misconceptions, amplifies unheard voices, and redefines the way we understand disability and family.”Also included in the book are forewords by Clarissa Ward, Chief International Correspondent CNN and Fiona Shields, Head of Photography for The Guardian News and Media.

The work is situated in Mpumalanga province, South Africa, on the escarpment bordering Mozambique and Eswatini. A place where lush cliffs abruptly pierce the hot, red earth of the lowlands. Itserves as a geo-physical symbol for the edge of the South African frontier. A collision point that has inspired countless folk tales and the beginnings of the modern-day story of gold in South Africa.Today, plantations of foreign trees blanket the landscape while mills churn steam as they pulp pine into paper. In the valleys below, gold mines that have been chiming steel against rock for the past one hundred years ring their ceaseless chorus. The surrounding terrain is littered with relics of another time — the remnants of a forgotten pre-colonial society and wild descendants of horses abandoned during wars and a failed gold rush.MAPALAKATA looks at the transient nature of ‘visitors’ to the landscape, drawing attention to how the history of the region is continually rewritten as different groups of people attempt to erase the narratives bound to their predecessors, each driven to occupy the space for the resources that it holds. This process leaves an archive of physical artefacts scattered across the landscape, which become ephemeral traces of the histories that have played out.Through a photographic investigation of these remnants of the past and the people who presently inhabit these spaces, this work aims to engage with the nuances of present social conditions in South Africa and consider how place roots itself in the consciousness of those who inhabit it.“The name Mapalakata once meant traders. Men who came inland with cloth and beads, their packs heavy with salt and brass. They followed the flow of rivers, trading what they could carry for gold and hides and grain. The world they moved through was a web of bargains. Even now the region works with the same logic.” Desmond LathamThe book includes written contributions from South African writers Lidudumalingani and Desmond Latham.

In the attic of a family home in Italy, Giada Ripa discovered an album of photographs of the city of Yokohama taken by Italian photographer Felice Beato, the first visual narrator of 1860s Japanese society. Ripa later discovered, while researching Beato and his images, a body of work created by her own relative, Mathilde Ruinart, a 19th-century artist, who traveled to Japan in 1867 with her diplomat husband providing a vivid visual description of it.In The Yokohama Project, Ripa has followed Beato and Ruinhart's respective footsteps, and through a Western prism that bridges their 19th-century gaze and her own, attempts to identify local contemporary analogies and convey the transformations of society and landscape in Yokohama and its surroundings.