A new edition of Yamamoto's much-loved photographic homage to the precarious, the delicate and the humble, with new images and a redesigned cover Japanese photographer Masao Yamamoto trained as an oil painter before discovering that photography was the ideal medium for the theme that most interested him--the ability of the image to evoke memories. Small Things in Silence surveys the 20-year career of one of Japan's most important photographers. Yamamoto's portraits, landscapes and still lifes are made into small, delicate prints, which the photographer frequently overpaints, dyes or steeps in tea. Edited and sequenced by Yamamoto himself, this volume includes images from each of the photographer's major projects--Box of Ku, Nakazora, Kawa and Shizuka--as well as installation shots of some of Yamamoto's original photographic installations, and, in this new edition, seven new images and a new cover. In the words of Yamamoto himself: I try to capture moments that no one sees and make a photo from them. When I see them in print, a new story begins. Masao Yamamoto (born 1957) lives and works in Japan. He has published numerous books, including a previous edition of Small Things in Silence (RM/Seigensha, 2015) and Tori (Radius Books, 2016). His work is held in the collections of the Philadelphia Museum of Art, the Museum of Fine Arts, Houston, the International Center of Photography, New York, and others.

Based on the observations that after 40 years of doomsaying, synthetic fibers have not made natural ones extinct; that the scientific analysis of fibers is far behind that of synthetic fibers, which have to be pretty well understood to be made, and that silk is Japan's only fiber native and an indus

This series of images by Japanese photographer Asako Narahashi has been exhibited in Japan to wide acclaim; this monograph marks its first publication in book form. The photographs were made while the artist stood chest-deep in the ocean facing the shoreline; through them she accomplishes the extraction of the viewer's mind from its surrounding, and one finally succumbs to the hallucinatory power of the ocean. In the words of photographic historian, Kotaro Iizawa, "the feeling of being stranded, however, is strangely comforting."

"In The Solitude of Ravens Masahisa Fukase's work can be deemd to have reached its supreme height; it can also be said to have fallen to its greatest depth ... If we attempted to peek any further into the abyss of solitude revealed ... we would probably end up being abstracted in to a side-sweeping storm or else into a flock of ravens covering the sky."--Akira Hasegawa