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Bird.

Bird.

Hardcover English 192 pages 13.89 × 18.19 1050 g

Description

Start with a parrot on a Tokyo street, or a prize pigeon on the pavement outside New York. *Bird.* collects photographers who go looking for birds where the field guide never sends you, and who come back with something nearer to portraiture than to natural history.

Hoxton Mini Press published the book in 2022 as an anthology rather than a single author’s project. Twenty-eight photographers are credited, among them Frankie Alduino, Barbara Bosworth, Xavi Bou, Giacomo Brunelli, Tim Flach, Leila Jeffreys, Sanna Kannisto, Pentti Sammallahti, Joel Sartore and Søren Solkær; Gemma Padley writes the accompanying text. The approaches pull against one another — birds made in the studio, birds found on location, birds reduced through abstract technique until feather becomes pattern. What holds the selection together is a shared refusal of the garden-and-treetops picture, the postcard image that bird photography so easily becomes.

The book’s structure rewards reading rather than browsing. The publisher’s catalogue lists 135 colour plates in a hardback volume, a scale that lets individual projects register while the juxtapositions do the argumentative work: a studio sitter next to a street bird, a documentary frame next to an invented one. Taken in sequence, the photographs show how far the subject has travelled from ornithological illustration, and how often serious photographers have turned to birds to think about attention, camouflage and the border between the wild and the built.

For a collector, the case rests less on scarcity than on usefulness. Monographs devoted to a single artist’s birds are plentiful; a carefully edited survey that sets twenty-eight practices against one another is less common, and it works as a compact index of a particular strand of contemporary photography. It also sits squarely in Hoxton Mini Press’s list of modestly scaled, well-made books on the animal world — the kind of volume that is read, shelved and returned to, and that later serves as a reference point for how this subject was being photographed at this moment.

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