This came out in November 2010, so I'm cheating slightly, but only slightly because I only discovered it in 2011. However, this book, published by Silas Finch (see below) is so stunning in bookcraft terms I feel it deserves a mention.
Maddock's view of the south-western English town of Plymouth, forgotten and neglected since the navy left it, is a fine example of how powerful and expressive documentary photography can be when the stake is personal.
Dallaporta's follow-up to his acclaimed Antipersonnel deals with another tough subject – autopsies. Photographing dissected body parts with the allure of advertising photography stops us short and makes us think.
A lot of books are made in the 'diaristic' mode. A lot of books are made about the photographer's relationship with their mother. This is one of the more intelligent and more interesting in a photographic sense.
Gerry Badger has written extensively for the photographic press, and has curated a number of exhibitions, including 'The Photographer as Printmaker' (1980) for the Arts Council of Great Britain, and 'Through the Looking Glass: Post-war British Photography' (1989) for the Barbican Arts Centre, London.
His own work is in a number of public and private collections, including The Museum of Modern Art, New York, The Victoria & Albert Museum, The Arts Council Collection, and The Bibliothèque Nationale, Paris.
He has written introductory essays to many photographic monographs, including those of such photographers as Stephen Shore, John Gossage, Martin Parr and Chris Killip. Among his books are Collecting Photography (2002), The Genius of Photography (2007), and (with Martin Parr), The Photobook: A History (2 vols., 2004 and 2006), winner of the Kraszna Krausz Prize in 2007.