This is a curated collection of images by PK47 shot on a disposable cameras from a period of 2013 to early 2017. I mean there is more pictures, but these are the best, and he even wrote captions. Maybe this is the first in a series? I don't know. It took almost 5 years between books (Remember "Hourly Rate?"). Visit PK47's website or follow him on Instagram @notpkfortyseven

Although Disposable Camera is Janet Foxman’s first book-length collection, one would not know it given the wry sophistication of the poems found within. The notion of the disposable camera permeates the entire book, where Foxman considers the instabilities in even our deepest attachments. Here gulfs expand, for instance, between twins, between the musician and his instrument, between the recluse and his inconsolable solitude. Whether a hermit; a twin; a filmgoer utterly taken with Triumph of the Will; or Masaccio, just after he’s painted the Expulsion—the poems’ speakers share a nagging anxiety that satisfaction may not exist outside the effort to imagine it, and that efforts at art and making, however compulsory to their executor, are probably regrettable from the start. A formally inventive and daring book, and one that displays a sophistication well beyond the poet’s years, Disposable Camera will be a valuable addition to American poetry.

Drugstore Camera feels like a stumbled-upon treasure, a disposable camera you forgot about and only just remembered to develop. Yet in this case the photographer is Dennis Hopper and the photographs, remarkably, are never before published. Shot in Taos, New Mexico, where Hopper was based following the production of Easy Rider in the late 60s, the series was taken with disposable cameras and developed in drugstore photo labs. This clothbound collection documents Hopper's friends and family among the ruins and open vistas of the desert landscape, female nudes in shadowy interiors, road trips to and from his home state of Kansas and impromptu still lifes of discarded objects. These images, capturing iconic individuals and wide-open Western terrain, create a captivating view of the 60s and 70s that combines political idealism and optimism with California cool. Dennis Hopper (1936-2010) was born in Dodge City, Kansas. He first appeared on television in 1954 and quickly became a cult actor, known for films such as Rebel Without a Cause (1955), Easy Rider (1969), The American Friend (1977), Apocalypse Now (1979), Blue Velvet (1986) and Hoosiers (1986). In 1988 he directed the critically acclaimed Colors. Hopper was also a prolific photographer and published now-classic portraits of celebrities such as Andy Warhol and Martin Luther King Jr. His works are housed in The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York and Los Angeles County Museum of Art, among others.

This book is part of a series of "small books" published directly by the photographer to showcase some of his work not featured in his formal full-length monographs. In this volume, Michael brings you some of the favorites from his Disposable Camera project completed in 2015 using 35mm disposable cameras. Not exactly street photography, this book showcases Michael's evolving style from more classical street photography to his own signature "fragmented" style. The photographs in this book are unique, sometimes weird, often ephemeral, and always pushing the limits of photographic seeing. This is "pulp photography" at its finest. A must-have volume for any fan of disposable cameras.

*BELLETRIST'S AUGUST 2020 BOOK PICK* "[Mackintosh's] writing is clear and sharp, with piercing moments of wisdom and insight that drive toward a pitch-perfect ending...Blue Ticket adds something new to the dystopian tradition set by Orwell’s 1984 or Atwood’s The Handmaid’s Tale." --New York Times Book Review From the author of the Man Booker Prize longlisted novel The Water Cure ("ingenious and incendiary"--The New Yorker) comes another mesmerizing, refracted vision of our society: What if the life you're given is the wrong one? Calla knows how the lottery works. Everyone does. On the day of your first bleed, you report to the station to learn what kind of woman you will be. A white ticket grants you marriage and children. A blue ticket grants you a career and freedom. You are relieved of the terrible burden of choice. And once you've taken your ticket, there is no going back. But what if the life you're given is the wrong one? When Calla, a blue ticket woman, begins to question her fate, she must go on the run. But her survival will be dependent on the very qualities the lottery has taught her to question in herself and on the other women the system has pitted against her. Pregnant and desperate, Calla must contend with whether or not the lottery knows her better than she knows herself and what that might mean for her child. An urgent inquiry into free will, social expectation, and the fraught space of motherhood, Blue Ticket is electrifying in its raw evocation of desire and riveting in its undeniable familiarity.