Photobooks by Women

• GOST 2024
• Hardback, 1st edition, 304p
• Imperfect - see below

‘…what does it mean to live in a land where the people responsible for protecting its citizens can so often be involved in their deaths?’

In the US, approximately 1000 people continue to die each year in encounters with police.  More than any other industrialised nation. My America is an archive of and memorial to victims of these encounters. The photographs, taken at locations where citizens were shot or tasered by law enforcement officers, create a quiet but chilling critique of the contemporary United States. The scale of the book­­­­­­­­­­ attests to the scale of the problem yet Matar asks us to remember these are individuals.

'Of the over 300 sites I visited only seven had any type of memorial. Something about these lives not being recognised, even on the land itself, upset me most. As a nation, we weren't taking stock. We rarely, if ever, marked the ground.'

The black and white photographs in My America are of city parks, shopping malls, parking lots,  mobile homes, empty fields, and roadside highways. By photographing these banal landscapes Matar declares that what happened at the locations matters and questions the link between landscape and memory.

'Can a photograph tell us anything about what has happened before the photographer arrives… even if not, I believe there is value in documenting the ground where violence has taken place... Perhaps a photograph can offer ways to remember acts of injustice that have been forgotten or never made transparent.' 

Previously, Matar, an American living in London, spent years documenting sites of state sponsored violence in North Africa, Eastern and Southern Europe. In 2015 she turned her lens on her own country and began researching who, how, and where citizens were dying in police encounters in the US. She created detailed maps in her studio and compiled information about each victim who died in 2015 and 2016.

‘I wanted to address the issue of police violence in a way that wasn’t just polemic.' 

A small grant from the Ford Foundation enabled her to make six road trips over the next four years. She photographed in states with the highest numbers and/or highest rates per capita of lethal encounters—Texas, California, Oklahoma, and New Mexico—travelling alone on highways, back roads, and city streets to reveal something beyond statistics. After Matar finished photographing, she spent two additional years researching the legal outcome of each case. The result is a book designed with respect to the victims but also rich with information about the structural reasons why these events continue to occur at such a high rate.

'In a world where millions of pictures are taken each day, I still believe photographs can contain meaning; they can become evidence of things not seen or heard... if, as I believe, to photograph is a desire to know something deeply and beyond the surface, I must be quiet to see. And attending to something says I acknowledge it matters.'

Signed copy. 

Imperfect copy with small bump to one corner - see photo example.

• TBW 2024
• Flexibound, 1st edition, 72p
• Imperfect see below

Using the title of her 2004 photograph, My Mother, My Son, as an inspirational and creative starting point, Mary Frey pulls from her vast archive of photographs to create a pictorial story collapsing linear time. Frey intimately and masterfully captures subjects at ease in environments that feel, at once, wholly familiar yet unmoored from their own reality. Using as its base the intersection of the domestic, the banal and the profoundly common rituals which define our shared humanity, the black and white and color images in My Mother, My Son. present the viewer with something more reminiscent of memory’s elusive imprint. Frey touches upon the mystery of life: the finite ending point of death and the legacies that are left behind. Past and future join together in each present, fleeting moment. With a tipped-in chromogenic print on its cover, My Mother, My Son. stylistically echoes a family album both commemorative and permanent, if only in the story it chooses to present.

Imperfect - Small bump/nick to one edge of the cover - see photo.

• Libraryman 2024
• Softcover, 1st edition 128p
• New

The Long Shadow: Unwrapped ~ Marion Post Wolcott’s Labor and Love reveals the unpublished life and images of the American photographer Marion Post Wolcott¹ (b. 1910, d. 1990). Wolcott was the first woman hired as a full-time photographer for the Farm Security Administration in 1938 during America’s Great Depression. Three years later, having made more than 9,000 pictures, Wolcott received ultimatums from her husband, Lee Wolcott, and boss, Roy Stryker: choose love or photography. Wolcott quit her job and spent eleven years managing three dairy farms in rural Virginia. She became a farmer and a farmer’s wife. She raised four children, did housework, milked cows, learned to use machinery, and repaired farmhouses. One assumed that Wolcott gave up photographing. That assumption was wrong.

The Long Shadow is a homage-style reflection on a female icon of photography. Drawing from Wolcott’s archive of unseen intimate portraits and through conversations with her family, Anglo-Australian photographer Odette England (b. 1975) juxtaposes them with her photographs and prose rewritten from interviews and historical records. She responds to similarities between her and Wolcott’s ways of seeing. England’s daughter Hepburn (b. 2010) shares the story as a photographer and muse. This unique collaboration celebrates the unknown sides of a woman whose professional career ended in 1942 and who sought solace in making photographs in the shadows.

The book contains a preface and prose written by Odette England as well as 19 unpublished photographs by Marion Post Wolcott.

Edition of 700 copies.

¹ Marion Post Wolcott studied in New York and Vienna and was as a freelance photographer for Life, Fortune, and other magazines. Upon Paul Strand’s recommendation, who helped establish photography as an art form in the 20th century, Marion became the first female full-time photographer at the Farm Security Administration and only the second woman hired on the project after Dorothea Lange. From 1942 onwards, after her departure to focus on family and farming, Marion never photographed professionally again but did not stop taking pictures.

• National Portrait Gallery 2024
• Hardback, 1st edition, 224p
  
• New

Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In draws parallels between two of the most significant practitioners in the history of photography, presenting fresh research, rare vintage prints, and previously unseen archival works.

'I feel that photographs can either document and record reality or they can offer images as an alternative to everyday life: places for the viewer to dream in.' – Francesca Woodman, 1980

Living and working over a century apart, Julia Margaret Cameron (1815–1879) and Francesca Woodman (1958–1981) experienced very different ways of making and understanding photographs. Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In accompanies the exhibition of the same name opening at the National Portrait Gallery, London, in March 2024. Spanning the careers of both artists, the beautifully illustrated catalogue includes their best-known photographs as well as less familiar images. The exhibition works are arranged into eight thematic sections with feature essays, offering an accessible, engaging opportunity to consider both artists in a new light.

This publication presents the artists’ exploration of portraiture as a ‘dream space’. It makes new connections between their work, which pushed the boundaries of the photographic medium and experimented with ideas of beauty, symbolism, transformation and storytelling to produce some of art history’s most compelling and admired photographs.

• Editorial RM 2024
• Boxed set of hardback/softcover, 1st edition
• New

Graciela Iturbide, the Hasselblad Award-winning Mexican photographer, is renowned for her exceptional career in documentary and artistic photography. With a poetic and profound approach, she skilfully captures the essence of Mexico’s life and culture.

Through Alfonso Morales’ compelling narrative, we delve into Graciela Iturbide’s fascination with capturing the lives of the Latino street gang “White Fence” in Los Angeles’ Eastside. It explores the complexities of this community, offering a powerful reflection on identity and migration.  White Fence offers an unparalleled visual journey through Graciela Iturbide’s travels, showcasing unseen images carefully recovered from her archive, accompanied by iconography and documents that will help to better understand its history and broaden our knowledge.

On May 2, 1986, images were captured that gave rise to the book A Day in the Life of America. Graciela Iturbide formed part of the team of photographers who, over the course of twenty-four hours, registered everyday life in different locations across the United States. Her contribution to the time capsule was a portrait taken in an apartment in the Boyle Heights neighborhood of East Los Angeles, California. There, she was welcomed by a group of Mexican Americans who were mostly deaf women with ties to the White Fence gang.

That initial encounter set the stage for a long-standing friendship as well as the composition of a photographic tale that could very well be described as the intermittent chronicle of a day prolonged for thirty-three years, from 1986 to 2019.

The present edition, comprised of two volumes, offers a selection of the portraits Iturbide took of her Angelino hosts as well as their surroundings, movements, and connections. It features an essay by Alfonso Morales Carrillo describing both the development of this photographic series and the historic background it ultimately conveys: the formation and persistence of communities of Mexican descent north of the Rio Grande.

Boxset with 2 volumes in a hardcover slipcase.

• GOST 2024
• Hardback, 1st edition, 304p
• New

‘…what does it mean to live in a land where the people responsible for protecting its citizens can so often be involved in their deaths?’

In the US, approximately 1000 people continue to die each year in encounters with police.  More than any other industrialised nation. My America is an archive of and memorial to victims of these encounters. The photographs, taken at locations where citizens were shot or tasered by law enforcement officers, create a quiet but chilling critique of the contemporary United States. The scale of the book­­­­­­­­­­ attests to the scale of the problem yet Matar asks us to remember these are individuals.

'Of the over 300 sites I visited only seven had any type of memorial. Something about these lives not being recognised, even on the land itself, upset me most. As a nation, we weren't taking stock. We rarely, if ever, marked the ground.'

The black and white photographs in My America are of city parks, shopping malls, parking lots,  mobile homes, empty fields, and roadside highways. By photographing these banal landscapes Matar declares that what happened at the locations matters and questions the link between landscape and memory.

'Can a photograph tell us anything about what has happened before the photographer arrives… even if not, I believe there is value in documenting the ground where violence has taken place... Perhaps a photograph can offer ways to remember acts of injustice that have been forgotten or never made transparent.' 

Previously, Matar, an American living in London, spent years documenting sites of state sponsored violence in North Africa, Eastern and Southern Europe. In 2015 she turned her lens on her own country and began researching who, how, and where citizens were dying in police encounters in the US. She created detailed maps in her studio and compiled information about each victim who died in 2015 and 2016.

‘I wanted to address the issue of police violence in a way that wasn’t just polemic.' 

A small grant from the Ford Foundation enabled her to make six road trips over the next four years. She photographed in states with the highest numbers and/or highest rates per capita of lethal encounters—Texas, California, Oklahoma, and New Mexico—travelling alone on highways, back roads, and city streets to reveal something beyond statistics. After Matar finished photographing, she spent two additional years researching the legal outcome of each case. The result is a book designed with respect to the victims but also rich with information about the structural reasons why these events continue to occur at such a high rate.

'In a world where millions of pictures are taken each day, I still believe photographs can contain meaning; they can become evidence of things not seen or heard... if, as I believe, to photograph is a desire to know something deeply and beyond the surface, I must be quiet to see. And attending to something says I acknowledge it matters.'

Signed copy.

• Torch Press 2023
• Hardback, 1st edition, 64p
• New

“HERE AND NOW” is a photographic picture book that combines the poem by Shuntaro Tanikawa and photographs by Rinko Kawauchi. This book was created based on the lyrics written by Tanikawa for Ikuko Harada’s song, “HERE AND NOW” which emerged from the planetarium program, “Colors of the Dark” screened at The National Museum of Emerging Science and Innovation (Miraikan). Harada’s song, “HERE AND NOW” was included in her first solo album in 15 years released this year, and features voices of 0 to 91 years old, readings by Tanikawa himself, breath sounds, heartbeats, sounds composed by rei harakami, resulting in an 11.5 min epic musical piece. The project for a “book” kicked off when Harada visited Kawauchi’s photographic exhibition, “M/E: On this sphere Endlessly interlinking” when creating the music.

In this photographic picture book “HERE AND NOW” composed by Kawauchi herself so that the words and images respond to each other, its art director, Hideyuki Saito’s design leads the flow of the pages with each word encompassing a rhythm. As a fundamental poem, “HERE AND NOW” allows us to question one’s own existence, while also leaving room for a broad understanding of the piece. Layered with a series of fresh photographs from which we can feel our natural breath in tranquility, it guides us to a journey transcending time and space, while standing beside us. Please enjoy turning the pages to open the door of  “HERE AND NOW,” woven with words and images and closely connected to the song “I “HERE AND NOW” which immerses its audience deep and far through its embracing whispers.

• RRB 2024
• Softcover, 1st edition
• New

The images in Whilst The World Sleeps were created late at night using Play-Doh, an empty wine bottle as rolling pin, a knife and a chopping board. Eleanor Macnair began her Photographs Rendered in Play-Doh project on an experimental whim in 2013 and has since amassed both a large audience and an archive of nearly 400 recreated images. Whilst The World Sleeps draws from this archive to create an alternative photographic history told in just over fifty recreated images, many published here for the first time.

We all view hundreds of images each day—on screens, in newspapers, in adverts—but we scan them and move on. Macnair began recreating photographs, both the familiar and overlooked, in bright Play-Doh colours to encourage the viewer to slow down and engage with the original photographs. The project, first shared on tumblr then Instagram, questions how we read and value imagery in a digital age and creates a humorous entry point for the audience to encounter the often inaccessible worlds of art and photography.

The models are created in Macnair’s spare time, often late at night, using off-the-shelf Play-Doh. The only colours she mixes are the flesh tones which she keeps in an old Tupperware container. Each model is then photographed in natural light in her bin yard, with many adjustments to get the angle and lighting just right. Finally, each model is destroyed and the Play-Doh returned to its respective pot ready for the next model. 

Edition of 500 signed and numbered copies.

• Photo Editions 2024
• Softcover, 1st edition, 104p
• New

“the way the light shimmers on the surface and the dark flip side of it all”

Shimmers by Alison McCauley features an enigmatic sequence of images captured in the Côte d’Azur between 2013 and 2023.  The Côte d’Azur is a destination that’s invaded by visitors and tourists year upon year. It offers a hedonistic lifestyle that attracts many in search of escapism, pleasure and fast money; a great deal happens in the shadows here.

“While working on this series, I often had a quote from Somerset Maugham in my head. He referred to the French Riviera as ‘a sunny place for shady people.’ This connected with what I saw and felt. It’s this contrast between the beautiful, shimmering surfaces and the dark, flip side that intrigues me. Shimmers is my love letter to this place … but it’s a pragmatic, eyes wide open kind of love.” 

- Alison McCauley

Printed in a mix of duotone and silver printing, Shimmers dares you to enter the dark heart of the French Riviera.

A choice of special editions with a print are available to purchase here.

For trade enquiries, please get in touch here

• Photo Editions 2024
• Softcover, 1st edition, 104p
• New

“the way the light shimmers on the surface and the dark flip side of it all”

Shimmers by Alison McCauley features an enigmatic sequence of images captured in the Côte d’Azur between 2013 and 2023.  The Côte d’Azur is a destination that’s invaded by visitors and tourists year upon year. It offers a hedonistic lifestyle that attracts many in search of escapism, pleasure and fast money; a great deal happens in the shadows here.

“While working on this series, I often had a quote from Somerset Maugham in my head. He referred to the French Riviera as ‘a sunny place for shady people.’ This connected with what I saw and felt. It’s this contrast between the beautiful, shimmering surfaces and the dark, flip side that intrigues me. Shimmers is my love letter to this place … but it’s a pragmatic, eyes wide open kind of love.” 

- Alison McCauley

Printed in a mix of duotone and silver printing, Shimmers dares you to enter the dark heart of the French Riviera.

Special edition of 25 copies, with a signed and numbered A4 print on Hahnemühle William Turner textured paper.  See the alternative special edition here.

• Photo Editions 2024
• Softcover, 1st edition, 104p
• New

“the way the light shimmers on the surface and the dark flip side of it all”

Shimmers by Alison McCauley features an enigmatic sequence of images captured in the Côte d’Azur between 2013 and 2023.  The Côte d’Azur is a destination that’s invaded by visitors and tourists year upon year. It offers a hedonistic lifestyle that attracts many in search of escapism, pleasure and fast money; a great deal happens in the shadows here.

“While working on this series, I often had a quote from Somerset Maugham in my head. He referred to the French Riviera as ‘a sunny place for shady people.’ This connected with what I saw and felt. It’s this contrast between the beautiful, shimmering surfaces and the dark, flip side that intrigues me. Shimmers is my love letter to this place … but it’s a pragmatic, eyes wide open kind of love.” 

- Alison McCauley

Printed in a mix of duotone and silver printing, Shimmers dares you to enter the dark heart of the French Riviera.

Special edition of 25 copies, with a signed and numbered A4 print on Hahnemühle William Turner textured paper.  See the alternative special edition here.

• TBW 2023
• Softcover, 1st edition, 400p
• NEW

It was important to let my unconscious, rather than my intellect, dictate the progression. For reasons I don’t entirely understand, being nude became part of the project early on. And working against that white wall, near the two front windows in the so-called living room, became a central point.

—Melissa Shook

In December 1972, Melissa Shook (1939–2020) began a series of daily self-portraits in her Lower East Side apartment that she would continue until August 1973. Daily Self-Portraits 1972–1973 is the artist’s complete series of 192 photographs published together for the first time. With her medium format, black and white photographs, Shook captures herself in a variety of poses creating a more complete portrait than could be achieved with any one image. The photographs often include Shook’s daughter and the friends who populate her sphere. The viewer is introduced to the artist’s intimate domain and the mundanity of everyday existence comes to the forefront: nursing her ailing toe on the couch, sitting at the kitchen table with a friend, hair wrapped up in a towel post shower, dancing with her daughter. Rather than strictly embodying a typical vision of beauty, Shook’s poses are often imbued with irreverence and parody as a rejection of the tradition of female portraiture made from a male perspective. The book is astutely contextualized by Sally Stein's essay highlighting the artist’s purposeful dismissal of the idea of a single, revelatory moment, opting instead for the extended serial portrait, with all its contradictions and complexity.

• TBW 2024
• Flexibound, 1st edition, 72p
• NEW

Using the title of her 2004 photograph, My Mother, My Son, as an inspirational and creative starting point, Mary Frey pulls from her vast archive of photographs to create a pictorial story collapsing linear time. Frey intimately and masterfully captures subjects at ease in environments that feel, at once, wholly familiar yet unmoored from their own reality. Using as its base the intersection of the domestic, the banal and the profoundly common rituals which define our shared humanity, the black and white and color images in My Mother, My Son. present the viewer with something more reminiscent of memory’s elusive imprint. Frey touches upon the mystery of life: the finite ending point of death and the legacies that are left behind. Past and future join together in each present, fleeting moment. With a tipped-in chromogenic print on its cover, My Mother, My Son. stylistically echoes a family album both commemorative and permanent, if only in the story it chooses to present.

• TBW 2023
• Softcover, 2nd edition
• NEW

What it looks like when a mother in South Florida raises seven kids on her own while photographing their every move.

 

Note: Flexibound 1st edition shown in video - contents are identical.

• Kehrer 2020
• Hardback, 2nd edition
• New

As a passionate observer and chronicler of everyday street life in New York, she spent decades documenting residents of the city's poorer neighbourhoods such as Lower East Side and Harlem. Levitt's oeuvre stands out for her sense of dynamics and surrealistic sense of humour, and her employment of colour photography was revolutionary: Levitt numbers among those photographers who pioneered and established colour as a means of artistic expression.

The book accompanying the retrospective of the Albertina Museum features around 130 of her iconic works. These range from her early, surrealism-influenced photographs of chalk drawings to her 1941 photos from Mexico and the clandestinely shot portraits of New York subway passengers that Walker Evans encouraged her to do in 1938. Many of these photos come from Helen Levitt's personal estate, and this exhibition represents their first-ever public showing.

English edition.

• GOST 2024
• Hardback, 1st edition, 264p
• New

What would you do if you had 24 hours to leave your home, what would you take, who would you go with, how would you leave and would you, in effect go?’

The year in which photographer Jillian Edelstein turned 40 she came across an image of her great aunt Minna, of whose existence she had been unaware. The photograph of Minna became the catalyst for a journey to unearth her family history and the discovery of an unknown branch of her family living in Ukraine. Here and There documents Edelstein’s family odyssey and expands to encompass photographs made throughout her career, inextricably linked by the thread of human displacement.

In 2002, the same year that Edelstein had discovered Minna's photograph, she was commissioned to photograph the South African Sangoma shamans, whose rituals employ the intermediary healing powers of their ancestors. A shaman told Edelstein that her own ancestors were in conflict, fuelling her growing determination to untangle her family's hidden history. Thus Edelstein began a journey that took her from her home in London to the heartland of the Ukraine, and to her grandfather’s birthplace in Latvia. In turn the journey led her to the shores of Lesvos, the West Bank, the Jungle in Calais, to the boat graveyard on the island of Lampedusa. In Here and There, Edelstein refracts images and stories of displaced people through the lens of her family’s own mystery—reaching the refugee history we all have in common, whether its details are known or not.  

‘And that’s the theme that runs through my family. A veritable diaspora. South Africa, Israel, Canada, Colombia, United States, Australia, Italy, Mallorca, Ukraine. How many continents can one family possibly inhabit? … I wonder how I would feel if, from the age of my late teens, I never got to see or hear of my siblings ever again.’

Edelstein’s grandfather, two brothers and their sister Minna had grown up in Sassmacken, Latvia, were separated as teenagers and never saw each other again. Minna’s life was a series of escapes from Germans in World War I, the Red Army in the Russian Revolution and during World War II from Ukraine to Uzbekistan where she died, the same year that Edelstein was born.

Signed copy.

• Deadbeat Club 2023
  
• Softcover, 1st edition
  
• New
  

A follow up to her debut monograph Entangled (Deadbeat Club, 2020), Resurfacing furthers Maude Arsenault’s visual poetry with ongoing, honest exploration of the female experience. Time passes; family life fractures and splinters with it. Surfaces crack under a varnish of quiet and soft tones, as folds and crevasses are mirrors of an inner, newly reappropriated body.

Resurfacing is an essential extension of her work, translating the delicate and subdued power of her images into a tactile, textured design—giving amplitude and rhythm to Arsenault’s feminist visual language.

After several years behind the lens in the fashion world, Maude Arsenault, photographer, artist, mother and feminist, forks around 2015 towards the visual arts. Her work invests the themes of female representation, private space, domesticity and intimacy within the framework of a photographic and material approach which oscillates between abstract compositions, self-portraits, landscapes and images documentaries. She explores from the photographic and printed image, collage, sculpture and installation. In doing so, her projects deploy bodies as spaces and unexpected spaces of the body, in a perspective of self-determination for women.

Signed copy.

Imperfect copy with bumped corner.

• Mack Books 2020
  
• Hardback, 1st edition 1st printing.
  
• Imperfect - see below

This book presents Alessandra Sanguinetti’s return to rural Argentina to continue her intimate collaboration with Belinda and Guillermina, two cousins who, as girls, were the subjects of the first book in her ongoing series, The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams. 

In this second volume, The Illusion of An Everlasting Summer, we follow Guillermina and Belinda from ages 14 to 24 as they negotiate the fluid territory between adolescence and young adulthood. Still surrounded by the animals and rural settings of their childhood, Everlasting Summer depicts the two cousins’ everyday lives as they experience young love, pregnancy, and motherhood - all of which, perhaps inevitably, results in an ever-increasing independence from their families and each other. Similarly, we can sense a shift in Sanguinetti's relationship to the cousins and the work they make: from insular childhood collaborators to three women with lives branching in different directions. Though the passage of time is one of the most palpable tensions at work in these photographs, An Everlasting Summer deepens Sanguinetti's exploration of the timeless, universal language of female intimacy and friendship.

Imperfect: Sealed 1st printing but with very small bump to one corner - see photo example



Note:  signed edition shown in video.

 

• Powerhouse 2008
• Hardback, 1st edition
• Fine
  

Helen Levitt, the visual poet laureate of New York City, published her magnum opus Crosstown in 2001 to great acclaim. Since then Levitt has authored two smaller volumes, Here and There and Slideshow, her first monograph featuring her little known colour work which has garnered her accolades from around the globe. Here is a collection of her most iconic works, intermixed with never-before-seen photographs, combining seven decades of New York City street life with Levitt's seminal work in Mexico City.

Sealed 2008 first edition.  

• the(M) éditions / IBASHO 2023
• Hardback, 1st edition
• New

In this photographic and sentimental wandering, the second chapter of Chloe Jafé’s trilogy, the French photographer paints a portrait with great accuracy of this island, isolated from the rest of Japan. In Okinawa, which was destroyed during WWII, time seems to have stopped. Jafé commits to reveal the stigmata of a past that still binds the facades and faces and the dark corners of an island where pirates in distress and good-time ladies continue to flock.

Her work brings to light men and women ostracised from society, who have established performance as a religion, unveiling their peculiarity in all its tenderness and its distress. 

Signed copy.

• the(M) éditions / IBASHO 2023
• Hardback, 1st edition
• New

The final chapter of the French artist Chloé Jafé’s trilogy is an ode to the fallen Osaka. In this city, the third largest in the country, Jafé has travelled extensively in the district of Nishinari, a district erased from tourist guides that attracts a population mainly made up of men, mostly over 760 years old. There she met and photographed homeless people, transvestites, retirees from criminality and those rejected by capitalism who preferred to hide there rather than face the shame of being fired.

Through this work, Jafé tells their stories and tries to modestly rehabilitate an unknown and troubled part of Japan.

Signed copy.

• Powerhouse 2017
• Hardback, 1st edition, 204p
• As new

Helen Levitt’s earliest pictures are a unique and irreplaceable look at street life in New York City from the mid-1930s to the end of the 1940s. There are children at play, lovers flirting, husbands and wives, young mothers with their babies, women gossiping, and lonely old men. A majority of these photographs have never been published. Other pictures included in this book are now world-famous, now part of the standard history of photography. Together they provide a record of New York not seen since Levitt’s pioneering solo show at The Museum of Modern Art in 1943.

• Mack Books 2018 
  
• Hardback, 2nd edition
  
• Imperfect- see below
  

The reprint of this hugely successful 2013 book coincides with a retrospective of the work of Vanessa Winship at the Barbican Art Gallery in London from June to September 2018.

In 2011 Vanessa Winship was the recipient of the Henri Cartier Bresson Award which funds an artist to pursue a new photographic project. For over a year Winship travelled across the United States, from California to Virginia, New Mexico to Montana, in pursuit of the fabled ‘American dream’. she dances on Jackson presents a conversation, a lyrical and lilting interaction between landscape and portrait exploring the vastness of the United States and attempting to understand the link between a territory and its inhabitants. For Winship this relationship is inextricable; places accrue particular meanings according to the people she meets, what she sees, and by what's happening to her personally. Each human encounter, sound and smell adds extra dimensions to her work and the resulting photographs.

she dances on Jackson marks a progression. Stylistically similar to her previous work using black and white film and a large format camera, Winship’s portraits remain arresting and unnerving but this body of work reveals her to also be a skilled landscape photographer. For Winship photography is a process of literacy, a path by which she understands life. Her intimate approach enables the reader to glimpse the world as she sees it, if only for a moment.

Signed by Vanessa Winship.

Very faint bump to spine end on one side - pages inside unaffected.  See photo.  Otherwise sealed new SIGNED copy.

• Sokyusha 2020
  
• Hardback, 1st edition, 1st printing
  
• New
  

Shikawatari (Deer Crossing” is Chieko Shiraishi’s long-awaited new work, released five years after her photobook Shimagake. In this black-and-white work, Shiraishi presents a series of poetic images taken in wintry Dōtō in Eastern Hokkaido. The central theme is a herd of deer that Shiraishi encountered while travelling; the shy animals wander the snowy landscapes, across frozen lakes and barren forests. Shiraishi keeps her distance to the animals. In some photos, they let her come near, but they always keep a watchful eye on her. She encounters other animals as well – large birds, foxes – and wide, clear landscape shots give us a sense of the surroundings. Shiraishi’s series masterfully creates a sense of wonder, as if one is at the doors to a world of magic realism, as if the deer have decided to permit us access to an otherwise secret part of the natural world.

“While travelling through the wilderness in Dōtō, I encountered a herd of deer crossing the frozen lake in a row, silently. While gazing at the herd, I found a providential, beautiful law of nature, and I felt as though I had witnessed something sacred which is a part of nature. The wilderness of “Dōtō” provides a feeling of oneness with the majestic natural world that I had never before experienced.” - Chieko Shiraishi

1st printing, new condition.  Unsigned.

• GOST 2023
• Hardback, 1st edition
• New 

During the 2016 US Presidential elections Japanese photographer, Fumi Nagasaka, became intrigued by the rural and southern USA. She had lived in New York City for a decade but despite travelling the world, had yet to visit the rest of the US. All this changed when her friend, Tanya Rouse, invited her to her hometown of Dora, Alabama. Nagasaka continued to visit Dora over several years, gradually building a photographic archive of her visits.

Located northwest of city of Birmingham, Dora is a town of about 2,300 people. Church, college football, and Jack’s —the regional fast food chain— are popular with the town’s residents and Nagasaka was introduced to each on her visits. Although an outsider, Nagasaka gradually built trust and began to photograph the town’s residents. After documenting Dora High School’s homecoming football game Nagasaka’s connections grew exponentially. She found herself immersed in the lives of several Walker County residents and earned both their trust and the opportunity to tell their stories. A selection of these photographs are included in her new book Dora, Yerkwood, Walker County, Alabama.

• Nazraeli 2023
• Hardback, 1st edition
• New

"During the isolation of the pandemic, I had the opportunity to revisit my archive of negatives and contact sheets from the 1980s, and discovered a number of interesting images that I had never printed. These photographs were made between 1979 and 1985 in a pre-digital, largely un-air-conditioned era, when people fled the heat of their houses to hang out in their yards and on the street. I notice a kind of relaxed sensuality in many of the pictures. Time moved more slowly; restlessness led to spontaneous play. Young people back then were fit and lean from running around outside with their friends and neighbors.

As a young photographer, my rather grandiose ambition was to create a portrait of contemporary America by photographing people in their environments. I was obsessed with making the best complex pictures that I could of people hanging out in neighborhoods, in their homes, and on their porches. I had to work quite quickly, so that I could let people get back to whatever they were doing when I first asked if I could photograph them. Though asking permission usually changed the dynamic of the situation, interesting things would often emerge when I was allowed to stay for longer than a picture or two. Intruding on people’s personal space could feel awkward, and was never easy to do, but most of the time it seemed that my enthusiasm was contagious and people were able to relax and be themselves.”

— From the Introduction by Sage Sohier

Passing Time presents 57 images printed in rich duotone on Japanese Kasadaka art paper, and bound in dark brown linen. This first edition is limited to 1,000 casebound copies.

• Overlapse 2023
• Softcover, 1st edition
  
• New

An intimate story reflecting on Ukrainian and Odesan culture through the prism of food and family, that is intrinsically a self-portrait of someone wrecked by childhood traumas. Through a period spent in close quarters with her parents in Odesa, photography became a means for Alex to communicate and connect with her mum and dad during a difficult time in their lives. She took pictures day-to-day, at home and in the street markets, while also creating a utopian universe through her lens — where life is beautiful and her parents become their dream selves in front of the camera. Meat, Fish & Aubergine Caviar embraces the complexity of family dynamics through mutual experience and visceral revelations.

Alex’s mum Yevheniia shares three of her most infamously delicious recipes, in detail, and the book’s wire-bound format is inspired by community-made cookbooks that are meant to be shared amongst friends and neighbours.

• Photo Editions 2021
• Softcover, 1st edition with print
• New

In anywhere but here, Alison McCauley expresses the restless feeling that has haunted her throughout her life: that the place she is in isn’t where she should be, and a conviction that the next place will be better. Taken from 2008-present, these images—taken in various locations around the world—are a deeply personal reflection of the artist’s emotions, photography being a cathartic means of coming to terms with her constant desire to move. As someone who has always led a semi-nomadic lifestyle, McCauley seeks to explore the idea of not belonging. Though she feels like she is supposed to belong somewhere, McCauley doesn't want to, as she recognises that it is the wonder of this belonging that is the impetus behind her work.   

Devoid of geographical and temporal reference points, the images are figuratively and literally blurred to emphasise that this is not about a location or time, but rather a state of mind. For the viewer the series takes on a narrative of its own, unfolding like a dream sequence: a body submerged in water, a flurry of balloons released into the open sky, city lights streaming through a hotel room, and fleeting scenes captured from a car window. Just as she is drawn to movement, it is these liminal spaces that the artist gravitates towards – the chaos, the stillness, and the magic in between. “The work comes from reality, but it’s a reality that’s distorted by subjectivity,” says McCauley. “It’s an expression of my state of mind during these restless off-moments.” 

Special edition of 25 signed copies, with a signed and numbered A4 print on Hahnemühle William Turner textured paper.  See the alternative special editions available here.

Extra special edition, print made in November 2023, books signed on press in 2021.

• Stanley Barker 2023
• Hardback, 1st edition, 104p
  
• New

In 1972, Melinda Blauvelt traveled to the small Acadian fishing village of Brantville, New Brunswick on Canada's Eastern coast. She lived with a fisherman and his family, ran a day camp, and made a series of remarkable, compassionate portraits of the Acadian community that summer and on three subsequent visits from 1972 to 1974. Her photographs are now published as a series for the first time.

Melinda Blauvelt was in the first class of women at Yale and then the first woman in Yale's MFA photography program where Walker Evans became her mentor. Blauvelt would later teach at Harvard and at the University of Virginia where she established the photography program. Her pictures are held by major museums throughout the United States. She lives today in a small village on the coast of Rhode Island.

“I bought a used Deardorff 4x5 camera and spent the summer making photographs in Brantville, where I lived with fisherman Ulysse Thibodeau, his wife Jeannette and their three young children. Weekdays were spent with the campers making puppets and performing “Le Corbeau et Le Renard”, playing Capture the Flag and Croquet. Weekends, Ulysse and Jeannette took us fishing for mackerel, to the beach and included us in family dinners, bingo, picnics, and birthday parties. Whenever I set up my Deardorff, the Thibodeaus, their extended family and other Brantville friends were my enthusiastic collaborators.”  - Melinda Blauvelt

• Chose Commune 2023
• Hardback, 1st edition
• New
  

In 2021, Irina Rozovsky and Mark Steinmetz were invited to take part in two photographic projects in Italy, one in Castelfranco Veneto (the Veneto region) and the other in Lecce (Puglia). The subject intended to drive the work was ‘nature’; a word with so many variations of meaning in the context of today’s diversified, fragmented landscape, which constantly reflects our lives as well as condition the way that we observe reality.

This book compiles a selection of the artists’ photographs of these two Italian regions so far apart from one another. These are places where nature reveals itself through different forms of expression and where the relationship between body and space, captured in a combination of light and shade, seems to take on an inconsistent and sometimes absolute value.

Insieme (together) tells of a photographic experience in Italy that was composed in the form of an intimate, personal diary. With the artists’ dual gaze gently organizing a narrative structure, Rozovsky and Steinmetz’s photographs sit alongside one another, alternating and rotating in harmony with a discontinuous, fluctuating rhythm, just as in life’s episodes. These pictures, which seem almost poised to capture unexpected events and unusual encounters but especially moments of a shared daily life, express a singular familiarity with the places being found, conveying the natural character of their authenticity.

• Charcoal Press 2023
• Hardback, 1st edition, 96p
• New

“If the Sea Islands belong to Carrie Mae Weems and rural Virginia to Sally Mann, this part of Wisconsin can now be said to belong to Erinn Springer.”
- Casey Cep, The New Yorker

Erinn Springer returned to rural Wisconsin after the loss of a close family member, hoping to reconnect with her memories of home. Created with her family and strangers, the resulting series depicts the contrasts of the modern midwest where everyday occurrences get caught between past and present. Her portrayals of  isolation and connection explore interior and exterior landscapes in a region that is mysterious yet familiar. A portrait of agrarian life,  Dormant Season is a tender document of the intergenerational bonds of rural America: a mental space and physical place at the heart of an old dream and at the edge of a transformation. 

Oversized hardback in a cardboard slipcase with tip-in.

Signed copy.  Out of print, last few copies.

• Tall Poppy 2023
• Softcover, 1st edition
• New

With And For (Tall Poppy Press, 2023) is a collaboration between Rochelle Marie Adam and Sophie Schwartz. Drawing on years of their back catalogues, this book was an opportunity to collaborate and make something new from exisiting photographs. The resulting book very much is more than the sum of its parts.

Equally warm and weird, the photos stray away from just romance, moving to a more nuanced and holistic view. Generous, present and vulnerable – the photographs in this book are about standing next to, not in front of, the people one photographs: something each artist does exceptionally well. 

Photographs are left unauthored, deliberately blurring the lines between two artists. A joint effort, the book is really about the similarities in approach of the photographers, and allowing the photographs to lead, not the artist.

24x30cm, singer-sewn softcover with a foil stamped cover.  Edition of 500 copies.

• Atelier EXB 2023
• hardback, 1st edition, 184p
• New

Albarrán Cabrera’s poetic universe invites us to immerse ourselves in nature, in the land of trees and on what trees can teach us about life.

The idea for the book comes from a text written by Hermann Hesse that can be described as one of the most beautiful love letters to trees. Hesse tells us that “when we listen to trees, we discover the meaning of life”, thus in this book Albarrán Cabrera explain that by shooting trees they have learnt not only how to listen to them but also to better understand themselves.

The images alternate between a palette of vivid colours, bordering on abstraction, and more monochrome tones, evoking a certain melancholy, plunging us into timeless landscapes. The result is a dreamlike, almost surreal world, unique to the Spanish duo. Far from idealizing nature, the photographers aim to magnify what already exists, quoting their words: “We believe that to be human is to understand nature not just as it really is, but also as we perceive it. If we are alert and observant, we will be able to understand it from these two standpoints. As if we are both seeing and been seen.”

Two texts by German novelist, poet and painter Hermann Hesse punctuate this visual corpus. A text by Yves Darricau, agricultural engineer and author, tells the story of the relationship between man and trees, from prehistoric times to the present day. It talks about how each has contributed to the development of the other in a relationship of interdependence that is now under threat, making us all aware of the importance of trees in the face of the challenges of our century.

English Edition.

• Void 2023
• Hardback, 1st edition, 224p
• New

In 2011, Maria Sturm began to photograph the lives of young people from the Lumbee Tribe around Pembroke, Robeson County, North Carolina. Through the process of documenting their lives, Sturm began to question her own understanding of what it means to be Native American. Her new book ‘You Don’t Look Native to Me’ combines photographs with interviews and texts to preconceptions and show Native identity not as fixed, but evolving and redefining itself with each generation. 

Pembroke is the tribal seat of the Lumbee Tribe of North Carolina, the largest state-recognised tribe east of the Mississippi River. Although the Lumbee Tribe is state-recognised, they are federally unrecognised and do not have a reservation nor receive financial benefits from the federal government. The Lumbee name was voted for in 1952 to unite all tribes in the area in an attempt to gain federal recognition. Their tribal status remains one of the most debated in the United States.

“My work engages an unfamiliar mix of concepts: a tribe whose members are ignored by the outside world, who do not wear their otherness on their physique, but who are firm in their identity… I am tracing their ways of self-representation, transformed through history, questions of identity with which they are confronted on a daily basis, and their reawakening pride in being Native. I hope to raise questions to the viewer regarding their own identity and membership to the unspecified mainstream.”

- Maria Sturm

• VIKA Books 2023
• Hardback, 1st edition
• New

• Benrido 2023
• Set of 6 colour collotype prints
• New

• Origini Edizioni 2023
• Hardback, 1st edition,
• good - see below

"Life is not the opposite of death, but a continuum. Evolutionary nature is an engine of mystery- of things we do not and cannot know. Every step is simultaneously an act of destruction and of creation, of life. There is consolation in the fact that we are always living in the ruins of what went before”

 - Ben Rawlence, The Treeline

Handmade edition of 250 signed and numbered copies.

Imperfect copy with small tear to 2 pages - see photos.

Video courtesy Origini Edizioni.

• Osiris 2023
  
• Hardback, 1st edition, 120p
• New

“Dawn in Spring” brings back the earliest works of Japanese photographer Asako Narahashi.　Originally shot in 1989, a decisive period not only for the then-unknown artist, Narahashi exhibited the images from her “Dawn in Spring” series four separate times throughout the year. Including previously unshown images, this book represents the first time her series is made available in print.

After taking part in Daido Moriyama’s “FotoSession” workshop in the mid-80s, 1989 was the year her time as a university student would end. With an undecided future ahead of her, Narahashi travelled through Japan – Kumamoto, Miyakejima, Hakata, Yokohama, Hachinohe, Yuzawa, Tokyo… – and inadvertently laid the foundation for her photographic career. Despite the long time between these photographs and her breakthrough in the latter half of the 90s, the black-and-white images in “Dawn of Spring” already reveal the acute sensibilities of this exceptional artist.

“Dawn in Spring. I can’t for the life of me remember how I arrived at this title. Perhaps because it happened to be spring; maybe the words were already resting at the tip of my tongue and just felt right to me. I had no real idea where to travel or what to photograph. I think I simply let the flow, the momentum, my encounters and my desire to escape decide it all … Having come face to face with my contact prints, negatives and 8x10s after all these years, I realized once again that this is where it all began for me.”
― from Asako Narahashi’s artist statement

• Nazraeli 2023
  
• Hardback, 1st Nazraeli edition, 120p
• New - see below

To distill a feeling
You must still your feelings.
But the mind is its own mirage,
The desert a looking-glass.

“Making pictures in Israel and Palestine was above all an emotional challenge. My photographs usually deal with something eternal in the landscape, but in this place the layers of history and conflict, fear and hostility, frustrated my camera. I happened to travel a lot in the West Bank, not for any political purpose, but because I liked the landscape between the cities. I tried to gaze at the land, without prejudice or judgment. I didn’t want to deal with the masks of the people and I didn’t want to put on my own mask. I wanted to see it as the olive tree sees it. But I felt overwhelmed by the realities around me. I felt sad and uncomfortable much of the time, and I found myself trying to make photographs in a place I didn’t want to be. It was difficult, but looking back, I can see that it forced me to change as an artist and I am grateful for that. On my final trip, I was able to see, not only the land, but my own mind, with its uneven terrain and movements, and to touch something elemental.” ― Jungjin Lee

This new, expanded edition of Unnamed Road was designed by Jungjin Lee, and published on the occasion of an exhibition at GoEun Museum of Photography in Buson, South Korea.

Hardcover, 10 x 11.5, 120 pages, 58 quadratone plates.

Note: Due to the nature of it's design, faint wear is possible to the edges and corners of the hardback cover despite the books being still sealed - see example photo of a corner.

Final copies of this now out of print edition.

• Self 2020
  
• Softcover, 2nd edition
  
• New
  

No System is back!

Including over 200 of Vinca Petersen’s photographs, diary entries and ephemera, No System tells the story of a 10-year journey around Europe in the 1990’s putting on illegal free raves and festivals with other Techno Travellers.

“We are not rebelling against, so much as living outside the system. Free music to anyone that wants it is what we give and we need nothing back but space to roam.

Tribal beats have surrounded our planet for thousands of years. Technology is our addition to this continual rhythm. Age is no concern, background irrelevant. We exist now and in the future. Welcome to our way of living…”

Signed copy.

• the(M) éditions / IBASHO 2023
• Softcover, 3rd edition, 126pp
• New

'In so it goes, Miho Kajioka is presenting work which relates to the concept of time, memory and location. Like in her earlier works, the series consists of intuitive images of fragments of her daily life, from various periods and against changing backdrops. Miho Kajioka regards herself more as a painter/drawer than as a photographer. She feels that photographic techniques help her to create works that fully express her artistic vision.'

The original limited edition received the prestigious 'Prix Nadar' award in 2019. 
this third edition, 'so it goes, so it goes, so it goes' stands apart from its two predecessors, with not only a unique new cover but also some fresh content, including Kajioka's new colour images.

Last few copies.

• the(M) éditions / IBASHO 2023
• Softcover, 2nd edition, 192p
• New

"Everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not show us. This interest can take the form of a quite intense feeling, a sort of conflict, one might say, between the visible that is hidden and the visible that is present."

-René Magritte

Photography duo Albarrán Cabrera uses photography as a tool to investigate reality. The images that make up their latest book ‘Photography Syntax’, function as the notebooks of their philosophical research. Together with the texts, the photographs testify to the use of photographic processes as a means of going deeper into the reasons and thoughts behind the images.

Texts in English by Albarrán Cabrera

2nd edition with cover as shown.

• Mack 2023
• Hardback, 2nd edition
  
• New

Alessandra Sanguinetti’s On the Sixth Day offers us a glimpse of life on a small Argentine farm from the perspective of its animals. Often photographed close to the earth, the images render the courage, struggles, and adventures of chickens, pigs, horses, and cows. We see them newly born, at play, vying with each other for food, their fate always uncertain as human presences inevitably loom above. With their rich, almost surreal colour, these photographs evoke traditional fables or classic children’s books in which animals enact human behaviours to teach moral lessons. Yet Sanguinetti portrays these animals as individuals in their own right, each with their own mysterious spirit, relating their lives from birth to death with an unsentimental and direct gaze.

First published in 2005 and now out of print, this new and expanded edition of On the Sixth Day includes additional unseen images.

Hand signed copy.

• Aperture 2023
• Hardback, 1st edition
• New

 

• Libraryman 2023
• Hardback, 1st edition
• New

I’ve never observed Benedict Brink (b. 1985, Australian) step towards perfection, I get a sense of disdain for anything too clean, or right-angled. People often mistake her for a man because of her name. I think perhaps, it’s also due to this crude-commitment type-way of seeing. Benedict defies any traditions of how an image of a body may be expected to be represented through a female lens — or male lens for that matter — she skews predictability. The power lies in achieving this while the pictures still hold a soft and tender quality. The body becomes a busted sculpture, suspended in air and seen out of the corner of my eye. Is she close, or is the lens long? Regardless, I always feel the touch of skin, or the temperature that day. It’s an interesting push-pull to be met with an immediacy in her images, combined with a distance. Opposing forces attract. She respects the subject, allowing them privacy.

- Excerpt from the foreword written by filmmaker Kersti Jan Werdal.

First edition of 500 copies.

• GOST 2023
• Hardback, 1st edition
• New
  

Kiss it! is the result of a long-term collaboration between photographer Abbie Trayler-Smith and Shannon, a young woman living with obesity. Over the course of 12-years, Trayler-Smith documented Shannon’s journey from teenager to adult—navigating friendships, family, first-boyfriends, prom nights, holidays and jobs. Shannon has been the central inspiration for Trayler-Smith’s long-term project, ‘The Big O’ focusing on obesity in school-age children and young adults.

‘At age eleven, I felt judged, criticised, and not approved of… others saw only my imperfect body, not the fact that I was funny and clever and warm. I came to believe that if I wasn’t fat, somehow everything else in my life would be problem-free. As I stepped into adolescence, all of this became my identity. Fast forward to the age of thirty-three. I was working as a photographer at a press conference for a launch of health services to teenagers and there she was—Shannon, with a voice I had never found, reading a poem addressed to the professionals, pleading to be understood and not judged. I saw the mutuality between us and the difference. She was the brave teenager I had never been able to be.’  – Abbie Trayler-Smith

Signed copy