One of the foremost documentary photographers working today, Hunter Barnes (born 1977) has an extraordinary ability to document aspects of culture and communities ignored by the mainstream and often misrepresented in the modern American narrative. This new clothbound edition is dedicated to his photographs of the Nez Perce tribe. Barnes spent four years with the Nimiipuu people, forming bonds of friendship and gaining trust before he began taking photographs. Shot in black and white, the photographs are beautiful and stark, his subjects unflinching in their gaze. “In these photos I have seen a world that continues to change. A traditional culture that has met a modern age. A century that has passed and a new world that rises.” The first photographer to be invited into the tribe’s inner circle since Edward S. Curtis, Barnes’ work is a vital document of a people.
Published by Reel Art Press. Introduction by Hunter Barnes.
Photographer Hunter Barnes (born 1977) is one of the foremost documentary photographers working in America today. For this book, Barnes was given extraordinary access to document NASCAR (National Association for Stock Car Auto Racing) culture. In order to capture the true essence of NASCAR, Barnes went on the road with the Ganassi team, spending timein the parking lot with fans for a week before the race to really get a sense of the spirit of the culture andhow it originally started—in the South, with the moonshiners building cars to outrun the revenuers.
Spirit of the Southern Speedways presents an exhilarating photographic essay of racing culture and gives an intimate and insider look at NASCAR, capturing some of the most recognizable figures in racing, including Richard “The King” Petty, the legend Junior Johnson who has won 50 races as a driver and 139 as an owner, Jack Roush, the owner of Roush Fenway Racing team and famed race car driver Dale Earnhardt, Jr. The book also reflects on the intimate relationship between the fans and the drivers.
Barnes is known for documenting American communities that have been ignored or misrepresented by the mainstream media, including the dying communities of the Old West, and inmates in the California State Prison.
Photographer Hunter Barnes (born 1977) has an extraordinary ability to document aspects of culture and communities ignored by the mainstream and often misrepresented in the modern American narrative. In this most recent work, he explores the Las Vegas that was. These photographs celebrate the old Vegas, the people who shaped the town in its heyday. Not much of it remains, but here are the people and landmarks that endure today—that represent the life "Off the Strip." Hunter's powerful portraits remember those in "the greatest town you could live in [where] the spirit of old Las Vegas still remains."
In his early twenties, Barnes self-published his first book, Redneck Roundup, documenting the dying communities of the Old West. Other projects followed: four years spent with the Nez Perce tribe; months with a serpent handling congregation in the Appalachian mountains; bikers, lowriders, and street gangs; inmates in California State Prison. Intense, true pockets and sub-cultures of America. Barnes shoots exclusively on film, the pace of analogue in harmony with his approach. Fundamental to his work is the journey, the people, the place—and committing them to film before they are greatly changed or gone forever.
The result of documentary photographer Hunter Barnes’ (born 1977) time on the road with the World of Wonder Sideshow, Tickets captures the people and places of the traveling circus’s grittier sibling. The sword swallowers, fire eaters and tattooed ladies are all here, defiant and exuberant, captured in striking portraits.
Barnes has long been drawn to documenting aspects of culture and communities ignored or misrepresented by the mainstream American narrative. Starting with his first self-published photobook Redneck Roundup, Barnes has always sought out tiny pockets of American subcultural activity: he has photographed bikers, lowriders, street gangs and inmates in California State Prison—working always on film, matching his analogue process to his slow, intensive methodology.