Breathless in Glowing Air exhibition posters and catalog
Founded in 2015 and currently based out of New York City, Pomegranate Press is an independent publishing house specializing in limited edition publications of contemporary photography through books and other ephemera. In August 2025, to celebrate their tenth anniversary, Pomegranate Press organized Breathless in Glowing Air, a large group exhibition at London’s 10 14 Gallery featuring work from 62 photographers. A similar exhibition was also held in November in KAMP Gallery in Portland, Oregon.
A book, sharing the same name as the two anniversary shows, was released in a limited run of only 250 copies. Featuring 100 images from the exhibitions, the book includes work from Brian Karlsson, Morganne Boulden, Caroline Tompkins, Heather Sten, Oji Haynes, Matthew Genitempo, Carlos Jaramillo, Julian Klincewicz, Lucia Bell-Epstein, Will Matsuda, Lisa Sorgini, Andrés Vargas, Andy Jackson, Jess Tran, Andres Sanjuan, Peyton Fulford, David Brandon Geeting, Marcus Maddox, Samone Zena Kidane, Steven Molina Contreras, Scott Rossi, Sinna Nasseri, Marisa Chafetz, Eric Chakeen, Daniel Jack Lyons, Christian Michael Filardo, Lina Sun Park, Henry Archer Grade Solomon, Jingyu Lin, Daniel Dorsa, Jerry Hsu, Pia Paulina Guilmoth, Rosie Marks, Kyle Berger, Daniel Arnold, Mikayla Jean Miller, Chris Llerins, Tamara Blake Chapman, Kirk Lisaj, Daniel Rampulla, Matt Eich, Jack Bool, Tyrone Williams, Allan Sallas, Rose Marie Cromwell, Chris Maggio, Willem Verbeeck, Sarah Walker, Juan Brenner, Andrés Ríos, Jacob Ogden, Melissa Alcena, Henry O. Head, Meghan Marin, Brad Ogbonna, Alana Celii, Stephanie Stamatis, Clark Hodgin, Enrique Escandell, William Mullan, and Adam Powell.
The book, designed by Jesse Feinman, is 116 pages, measures 7.5×9.5 inches and comes in a linen-bound hardcover with silver foil text using Carta Nueva by My-Lan Thuong, available from Sharp Type. The delicate calligraphic letterforms pair nicely with the intimate and raw photographs celebrating everyday life and love.
Copies of Breathless in Air are still available for purchase from Pomegranate Press and KAMP.
Poster for the show in London. The title in Carta Nueva is paired with Suisse Int’l and Junicode Italic.
Poster for the show in Portland
3 Comments on “Breathless in Glowing Air exhibition posters and catalog”
Arrrh, that damned problem with approach management by print plotters!
I was initially surprised by the space that the A imposes on the title line, wondering if it would not have been better to redraw the letter. Then I saw the space between the first two words… and I enlarged the image to get a better look.
The connections between several letters are badly jointed, it’s truly heartbreaking especially on such a poetic title—to see these flaws—and even more so considering the technique chosen, which is so expensive and rare.
A word of advice: take the time you need to vectorize and retouch this type of work, a book title, the main typography of a poster. And don’t always blindly trust machines whose settings could be outdated, if you make approach corrections or such delicate things (for big size texts of course – but be careful: below 12 points, the stroke of the letters thickens).
I wonder if the broken connections are caused by using InDesign’s “optical” kerning instead of “metric”. The former is only really useful for poorly spaced fonts or for extreme situations. It will cause havoc on well-produced fonts, and especially on connected scripts (see the dedicated Tumblr). “Metric” will use the built-in kerning intended by the typeface’s designer.
InDesign is very disappointing regarding these issues of approach and space management, especially the Thin space which is very useful in French.
Despite the passage of time, nothing has changed: contemporary users could ask Adobe, as was common practice in the typesetting industry, to integrate functions that would allow them to solve these problems other than copy/replace.
Regarding the example above, many factors could cause these defects. However, I suspect an incompatibility with the equipment used by the workshop that performed the hot stamping. Especially since the printed posters are correct (or are they directly PDF copies?).