In Flagrante is a book of 50 photographs taken in the 70s and 80s documenting the lives of those who had depended on disbanded coal industries in northern England. Angelic Upstarts at a Miners’ Benefit Dance at the Barbary Coast Club, Sunderland, Wearside, 1984, Chris Killip, gelatin silver print. The impact of these images is both immediate and enduring, creating one of the most authoritative and intense bodies of work produced this decade. Killip's images reveal the impact of de-industrialisation, unemployment, and social disintegration on the people and landscapes of these communities. By the time this particular man reaches the top of the stairs, his individual legs will feel too tired for this particular concept to bloom.

I went back three years ago to where the beach was and it’s so shocking because it’s not there,” says Killip. Einführung durch Chris Killip, Essay von John Berger and Sylvia Grant; editiert von Mark Holborn; Design von Peter Dyer. Chris Killip, professor of Visual and Environmental Studies at Harvard University, speaks about his career as a photographer with filmmaker Michael Almereyda.

Released in 1988 and showing communities reeling from the effects of de-industrialisation, it was immediately hailed as a classic – and read as a statement against Margaret Thatcher, the Prime Minister most identified with the process of de-industrialisation.

In Flagrante could have been made differently, the show suggests, and Killip’s achievement was much more than the book alone. With 50 black and white photographs: a view of Britain in the eighties reflecting the stark reality of industrial society in decline. He grew up in a square in the centre of Boston, it’s been demolished, it’s now where the civic centre stands and all the municipal buildings, but he was standing there pointing out imaginary streets and who had lived there, who had gone on to make a lot of money, who ended up in jail, who ended up in the mob, who ended up in politics,” he says. For me that was important, that you’re acknowledging people’s lives, and also contextualising people’s lives.

Good+; Softcover; Covers are clean and glossy with just a few light scratches and a pattern of sun-fading to the back cover; Clean textblock edges; Very small (1/2") stain to the lower right page-edge of the last 5 pages, otherwise the endpapers and all text pages are clean and unmarked; Good binding; This book will be shipped in a sturdy cardboard box with foam padding; Large Format (11. for it is as if all the photos here have been branded, like a hundred cattle, with the tenderness of those eight lines. In Flagrante, Killip's "subjective book about my time in England" during its "de-industrialisation" (Killip's preface) is one of the greatest photobooks of the late 20th century, "a dark, pessimistic journey, perhaps even a secret odyssey, where rigorous documentary is suffused with a contemplative inwardness, a rare quality in modern photography" (Gerry Badger). Paul Getty Museum, leads a combined gallery tour of the exhibitions Thomas Annan: Photographer of Glasgow and Now Then: Chris Killip and the Making of In Flagrante.

First, he never believed his images could make a difference, he says, as he’s never believed that photographs alone can be a tool for change. Drop by as photographer Luther Gerlach explores the art and science of early photography while demonstrating a variety of photographic processes and materials including large-format cameras, lenses, and interactive camera obscuras. In Flagrante is a dark, pessimistic journey, perhaps even a secret odyssey, where rigorous documentary is suffused with a contemplative inwardness, a rare quality in modern photography.

It seems a dry take on images that were once interpreted as deeply political, but Killip doesn’t see it that way. The show also features material from two related projects— Seacoal and Skinningrove—that Killip developed in the 1980s, included selectively in In Flagrante, and revisited decades later. She has also curated exhibitions for institutions such as The Photographers Gallery and Lianzhou Foto Festival. But the images show] this is what it was like, these ships were made here, this is how they made them – this place has a history, a big history.