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Chris Killip Four Volume Set.
The Station,The Last Ships, Skinningrove and Portraits.


Photographs by Chris Killip.
Pony, London, United Kingdom, 2018. In English. 124 pp..

 
Selected as one of the Best Books of 2018 by:
Publisher's Description

Limited slipcased edition of 250 signed and numbered copies.

A powerful, moving and personal selection of work by Chris Killip, thematically brought together in four new publications as a limited slipcase edition. Over a total of 124 pages, these high-quality newsprint, tabloid-format publications feature photographs spanning 1970–89, with many unpublished before.

The Station - 34 images on 32 pages on an an anarcho-punk venue in Gateshead that he photographed in 1985. 'Nobody ever asked me where I was from or even who I was. A thirty-nine years old with cropped white hair, always wearing a suit (as the jacket had pockets stitched inside to hold my 4'×5' slides). I had a big flat-bed plate camera around my neck and a hefty Norman flash with its out-size battery around my waist. I must have looked like something out of a 1950s B-movie or some rather oddball imitation of 'Weegee the Famous.''

The Last Ships - 25 images on 28 pages of Killip's shipbuilding photographs from Tyneside. 'When I was making my shipbuilding photographs I didn't show them to anyone, as shipbuilding on Tyneside had become a personal obsession. I made them with a sense of urgency as I thought it wasn't going to last. I didn't set out to be the photographer or the English de-industrial revolution, it happened all around me during the time I was photographing.'

Skinningrove - 34 images on 32 pages from Skinningrove with a text by Killip. Thirty of these images are previously unpublished.

Portraits - 26 images on 32 pages. 'Making a portrait fills me with a certain amount of dread. It's the impertinence of what you're about to do in reducing a human being into one fixed moment. You think about the subject's complexity (knowing them makes this worse) and the predetermined limitations that surround any attempt at portraiture. Then you convince yourself that you have to try, and you go ahead. This brief moment between you and the person in front of you is based on their trust in your intent.'

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