Books published by Steidl Publishers

In spring 2020 Edward Burtynsky found himself, like most of us, in lockdown due to the corona pandemic. At the time Burtynsky was in his beloved Grey County, Ontario-an area of wild beauty where he made his earliest photos-and he used his isolation there to reflect and create: with a new camera in hand he began recording nature in images which, in his words, are an "affirmation of the complexity, wonder and resilience of the natural order in all things."Over the past 40 years Burtynsky has compellingly explored the shocking variety and scale of industrialized landscapes, from oil refineries to quarries, from aquaculture to salt extraction. Yet in Natural Order he captures a moment when mankind has been temporarily stopped in its tracks, businesses suspended and economies disrupted-a moment for nature to breathe. These photos of trees and other flora show nature on the dynamic cusp between winter and spring, a time of melting snow, sprouting shoots and the promise of bounty: for Burtynsky, "an enduring order that remains intact regardless of our own human fate."

Steidl is committed to publishing the ongoing life's work of Massimo Vitali, and Entering a New World, collecting images from 2009 to 2018, is the newest book in this series. Following the first two now out-of-print volumes published together as Landscape with Figures / Natural Habitats, 1994-2009 in 2011, Volume 3 presents Vitali's largescale color images of humans interacting en masse-both consciously and unconsciously-with their environments. Whether relaxing beachside, exploring the ruins of the Roman Forum or navigating a crowded shopping promenade, Vitali's pictures are topographical celebrations and subtle critiques of our changing habits of leisure. The book furthermore traces an important shift in Vitali's practice: his move from large-format film to medium-format digital.

Late in 2016 Chris Killip's son serendipitously discovered a box of contact sheets of the photos his father had made at The Station, an anarcho-punk music venue in Gateshead open from 1981 to 1985. These images of raw youth caught in the heat of celebration had lain dormant for 30 years; they now return to life in this book. The Station was not merely a music and rehearsal space, but a crucible for the self-expression of the sub-cultures and punk politics of the time. As Killip recollects: "When I first went to The Station in April 1985, I was amazed by the energy and feel of the place. It was totally different, run for and by the people who went there. Every Saturday that I could, I photographed there. Nobody ever asked me where I was from or even who I was. A 39-year-old with cropped white hair, always wearing a suit, with pockets stitched inside the jacket to hold my slides. With a 4 × 5 camera around my neck and a Norman flash and its battery around my waist, I must have looked like something out of a 1950s B movie. 1985 was just after the miners strike and there was a lot of youth unemployment. Most of the punks at The Station didn't have a job, and this place, run as a very inclusive collective, was so important to them and their self-worth."