Top Sellers

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

• GOST Books 2024
• Hardback, 1st edition
• New
  

Since 2012 photographer Mark Power has travelled across the US to create a complex visual narrative of the cultural and physical landscape of the US—a country in the midst of change. Good Morning, America (Volume IV) is the penultimate in an ongoing series of five books.

‘I left the United States as the Centers for Disease Control and Prevention confirmed the country’s first cases of Covid-19. That was in February 2020 and not long afterwards we published Good Morning, America (Volume III), which obliquely referred to the events as they unfolded, albeit from a distance. Almost two years passed before I was able to take my first post-pandemic flight back. By then my lust for travel seemed to have deserted me, but after landing in Denver I went back to work with a vengeance… ‘I knew a post-Covid landscape wouldn’t look any different; it certainly didn’t in Britain, and the US was likely to be much the same. The world had moved on and it was remarkable how soon I’d forgotten about life during the pandemic.’

Power moved slowly through Kansas, Missouri, Iowa, Nebraska and Wyoming before heading back to Colorado. In a later trip he travelled to Alaska and then another lengthy trip to Connecticut, Massachusetts, New Jersey and upstate New York. This new book includes some of these new images alongside those taken on previous trips. Power has described the process to be like ‘assembling a large and complicated jigsaw puzzle with little idea of what the final picture will be.’

Each book in the series has represented a shift in mood or tone. This latest book has seen the human presence subtly move from the peripheries or the incidental in the landscape to being a more integral part of some images. The tone of the book is more optimistic than previously, and the human presence diminishes a sense of isolation so often present in the vast landscape.

 In the background on his recent trips the political landscape had shifted with the election of Joe Biden as 46th President. Power was aware that although domestic US politics seemed less dramatic and eventful under the new president, that the country remained divided with the next election around the corner.

Signed copy.

• IBASHO & the (M)éditions 2021
• Softcover, 1st edition
• New

Yoshinori Saito lives in the most northern part of Japan, Hokkaido. Winter there is long and the snow falls intermittently for about four months. The long stretches of snow are tedious, however after the snowstorm when all the snow has settled, there is this endless expanse of white: pure, calm and silent.

 “When I walk on the fluffy virgin snow, in the distance I notice unusual forms. On closer examination they are only some weeds, with their stalks broken and leaves fallen, leaving only a skeletal form. Against the white snow these forms appear black and form sharp markings, as if drawn. This moment also gives me a deep connection to the indigenous Ainu people of Hokkaido. They believe that when their time on earth is over, they return to God’s world, and in due course will reappear. To reflect this sentiment, each work is titled to reflect their world. It is as if the forms are whispering to me, through the tranquility, giving me hope and gently supporting me through to spring.” - Yoshinori Saito

Elegant softcover with Japanese folds. Limited edition of 500 numbered copies.

Text by Yoshinori Saito in Japanese and English

• Mack 2021
• Set of 2 Hardbacks, 1st Mack edition
• New

Kawada’s The Map / Chizu is the most famous and sought after book in the history of Japanese photography. Designed with the noted graphic designer Kohei Sugiura, Chizu has seen numerous editions since its original publication in August 1965. In November 2001, New York Public Library acquired the rarest version of the book, Kikuji Kawada’s unique, handmade maquette. The maquette presents a notably different physicality than that of the published edition—many of the pictures are the same but with variant croppings, tonalities, orientations, and a markedly dissimilar configuration with a pair of jacketed volumes—each nearly twice as large in format as the published version—separated by a black-and-white divider. With its pages made of thin, silvery darkroom prints, folded in half and pasted back-to-back, there are no folios to unfurl, only a progression of intense, full-bleed images. This MACK version is an exquisite facsimile of the two-volume maquette, and includes an accompanying bilingual booklet featuring new scholarship by Joshua Chuang and Miyuki Hinton, together with an extended interview with the artist, detailing the evolution of one of the greatest photobooks ever made.  

Two hardback books, each with a jacket, plus one paperback booklet with leporello fold. Housed in a buckram bound hardback slipcase, protected in a printed cardboard mailer.  Text in English and Japanese.

The signed edition includes a slip signed by the artist and bound into the inside back cover.

• Xavier Barral 2021
  
• Hardback, 1st edition
  
• New
  

To celebrate the 10th title of the collection, we are publishing a new series of photographer Rinko Kawauchi. Last spring, she turned her lenses on swallows at the the birth season, and more particularly, on small nests the birds build away from prying eyes, made of ground, clay, water and dry herbs to protect their clutches. With all the poetry and sense of detail that characterize her work, Rinko Kawauchi reveals the magic of our daily life and the ephemeral beauty of suspended moments. The swallows, thanks to their sharp wings, perch everywhere with great ease and elegance, filled with an opalescent light.

This publication is part of the Des oiseaux (On birds) collection celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable. 

English edition.

• Setanta 2020
• Hardback, 1st edition
• New
  

“If you were to dive clean into its centre at the hour when the water’s blackness is not separate from the earth’s night, you could disappear 70 metres beneath gentle waves and still be above sea level, still be touching the root of a full-grown tree… What you see is snapshots of what might be paradise: silhouettes of earth, flesh and wood framed eternally in the psyche. This multiplicity of modes is the beauty and terror of Ghana’s queer-shaped, ephemeral jewel, Lake Volta.”

– An extract from Capturing Volta by Nii Ayikwei Parkes

The Boys of Volta series by Jeremy Snell is a sensitive portrayal of the people and environment surrounding Lake Volta, Ghana. This enormous man-made lake is the largest in the world. Spanning half of Ghana its surface is scattered with eerie tree trunks where once you would find dense forests. Fishing is now one of the main industries for the people here. Demanding long hours in often challenging conditions. Jeremy’s series follows the story of the fisher boys he encountered here.

Amidst all the magic and beauty of the lake, there remains a starker reality. Thousands of children work in its massive fishing industry—and many of these children are trafficked into labour.

10% of this book’s profits will be donated to the NGO, International Justice Mission, who work with partners to help create better circumstances for these boys.

• Dalpine/Ice Plant/Torch Press 2020
  
• Hardback, 1st edition
  
• New
  

Further delving into the photographic language that originated with Paloma al aire(2011), in Estudio elemental del Levante (carried out between 2010 and 2020) Ricardo Cases articulates the meanings rendered by his immediate environment, the Levante region (Spain), where he finds expressions of all phenomena, of all relations.

Beyond the classic icons of tourism – beach and paella –, Cases observes a series of hallmarks with deeper and more subtle meanings. That is where other symbols of Levante like the music bands, the palm groves and the construction industry make their appearance. As does the story of the red palm weevil (rhynchophorus ferrugineus): a parasite from Southeast Asia that attacks palm trees, causing them to wither and die.

The palm tree, the charanga and the red palm weevil form a triangle that represents the spiritual map of modern Spain's systemic crash, of a violent and screeching collision. The combination of it all generates a dissonant symphony. Like a desperate alarm signal, the grating shriek of metal can be heard in the images themselves.

In this book, which is based on the principle of collage, images appear to have been affected by the blight and are partially faded. Superposition creates a raving musical score whose structure is chaos, provisionalness. In short, Estudio elemental del Levante is a requiem for a way of life that enjoyed its period of mad splendour.

• Setanta 2023
• Hardback, 2nd edition, 128p
• New
  

Arcadia has been referred to in popular culture as a utopian vision for centuries. A fictional place which is fertile and bountiful. Held aloft by artists, poets and playwrights as a depiction of one’s individual paradise. Now eroded by times relentless indifference to change, it remains lodged in our collective psyche as a touchstone.

In his series by the same name Ian Howorth looks to use this existing cultural framework to explore his personal connections to his own utopian ideal of ‘home’. Having relocated many times as a child before finally settling in Britain, his relationship with this concept has been fraught. Often considering himself an outsider.

The images in this series capture a retro nostalgia and constantly question our preconceived ideas of beauty. Arcadia takes us from the serene if not metronomic seaside towns of the South to the Working Mens Clubs and forgotten factories of the North. Through his unique style and mastery of film, Ian highlights a contemporary Britain suffocated by its past whilst allowing the viewer to draw their own conclusions.

Signed copy.

• Stanley Barker 2023
• Flexibound, 1st edition
• New

“It only took three ballerina-like leaps to cross the lawn and reach my grandfather’s screen door. He lived with my grandmother in a small house on property shared with my parents in New Jersey. Waiting at the door, he scooped me up like one of the squirming lambs he weighed in the barn. I was 8.

On most days, we sat at the kitchen table and spoke Ukrainian. My first request was always to see his famous scar, the one on the right side of his chest clinging to his ribs. After he lifted his shirt, he gently took my finger and traced the wound. The skin felt thick and stiff as we followed where the bullet had entered, along a ridge on his rib, and the indentation where it exited. Even though it was always the same 3 ½ inches, he liked when I measured it. And every time we took the measurement, he repeated the same story: I was a Sich Rifleman with my brother Teodor, fighting the Bolsheviks. Teodor got typhoid, and we buried him in the steppe. I had to leave Ukraine, my seven siblings, and my parents because I was a Ukrainian soldier.” - Katherine Turczan

Almost 20 years later, in the summer of 1991, the fragile bridge of memory between Turczan’s family and Ukraine was disintegrating. Her grandfather had died, and she had just learnt of her parents dementia. Scrambling to make sense of these losses, she set out with my 8x10 camera to find the place from where they came and the people they left behind. Her first trip to Ukraine coincided with the August coup in Moscow and Ukraine’s new independence. There, a rediscovered family welcomed Turczan: uncles, aunts, cousins, people she had only heard of. For months at a time, year after year, they gave Turczan places to stay, fed her, offered rides to locations, and often assisted her while she built my ongoing collection of portraits.

• Mack 2020
  
• Softcover, revised edition, 2nd printing
  
• New

When Wendy Ewald arrived in the heart of the Appalachian Mountains in 1975, she began a project that aimed to reveal the lives, intimate dreams and fears of local schoolchildren. Tasked with finding authentic ways of representing the lives of these children, she gave each of them a camera and interviewed them about their childhood in the mountains. Through these intriguing transcripts and photographs, we discover the lives of families as seen through the eyes of their children: where domestic, rural life is understood with startling openness and depth. In Portraits and Dreams, life’s most mysterious realities – love, loss, violence, death, new life – are given voice through an altogether novel discovery: the camera. We learn the eloquence and originality with which children see the world and we see a generous new way of engaging children in the possibilities of the photographic medium. 

This revised and expanded edition of Ewald’s now-rare book, first published in 1985, and called “An American masterpiece,” offers access to a different and broadened view of the rural south over the span of 35 years, and includes contemporary pictures and stories by eight of the students from the original publication.

• Loose Joints 2021
• Hardback, 1st edition
• New

Robin Friend's second book Apiary continues to explore the surreal and sinister haunting of the British landscape he first depicted in Bastard Countryside with an apocalyptic, nocturnal series flirting with notions of democracy and resistance.

Apiary uses a cinematic lens to uncover the dark underbelly of Lewes, a town in South East England renowned for its wild, bacchanalian, festivities around Guy Fawkes’ Night, the uniquely British festivity celebrating the failure of an attempted act of extreme political terrorism. However, Friend’s images are a far cry from an exercise in folklore; tight cropping, intensified details and a push-and-pull between the crowd and individual recall images of riots and political insurrections.

Apiary is a shadow space, reflecting a contemporary moment where ideas of democracy, identity and cohesion feel stretched to breaking point. Friend uses the night as a metaphor to consider the rippling reflections of unrest, inequality and instability lapping the British Isles.

• Twin Palms 2021
• Hardback, 1st edition
• New

'In the middle of the night, I woke up to a loud noise. Grammy and I ran to the front porch. A car had crashed into a telephone pole. Grammy told me to go back inside. “Right now!!!” When I woke up the next morning, the car was gone.'

Several years ago I bought the photographic archive of Bob Boltz, of West Bend, Wisconsin. Boltz’s primary subject was car crashes; the shots were taken at night. Almost none of his pictures showed the people who’d been injured. Their absence is a haunting reminder of the couple who died outside Grammy Keaton’s home all those many years ago.

Boltz’s nighttime photographs have a richness similar to that of 1930s black-and-white crime films. I like to think he may have been an admirer of movies like Scarface, with Paul Muni, and The Public Enemy, starring James Cagney. Each car is lit with a nightmarish, chiaroscuro quality. His framing matches the technique of horror and suspense films in which shadows provide gloomy details of the surroundings. The photographs remind me of genres where light and dark represent good and evil. This book is a hymn to unsolved mysteries discovered in the dead of night.

– Diane Keaton

• TBW 2022
• Hardback, 1st edition 1st printing
• New

TBW Books is pleased to present River’s Dream, the latest monograph by Curran Hatleberg and a complete realization of the series exhibited at the 2019 Whitney Biennial. 

Hatleberg is known for traveling America, guided by intuition, to create scenes of American life and landscape. Working collaboratively with the people he meets, he recounts intimate stories of family and community. Here, in the follow-up to his first monograph Lost Coast (TBW Books, 2016), Hatleberg centers his narrative on the dog days of summer. Sweltering heat, dripping humidity, lush vegetation, and screaming insects– River’s Dream is a pulsing and episodic hallucination of life lived outdoors. In these sixty-five photographs, we move through swamps and groves, front yards and junkyards, encountering moments of haunting mystery and beautiful impermanence. Heightened by formal repetition, echo, and refrain, everyday scenes take on surreal, allegorical qualities. In the end, Hatleberg leaves us with the impression of memory, where the past is never gone, but appears and reappears endlessly, as in the flickering of a dream.

This book includes new texts by Natasaha Trethewey and Joy Williams commissioned for the publication. 

1st printing (red paper edges), limited to 1000 copies, out of print upon publication.

Signed copy.

• Mack Books 2022
• Hardback, 2nd edition
• New
  

• Walter Koenig 2018
  
• Softcover, 2nd edition
  
• New
  

Waffenruhe, a now classic photobook by Michael Schmidt (1945-2014), was first published in 1987 by the Berlin-based Dirk Nishen Verlag. It quickly sold out and continues to fetch high prices on the antiquarian book market; it is reprinted here for the first time. The book is Schmidt's portrait of a still-divided Berlin: it brings together surprising combinations of high-contrast, black-and-white images to express a generation's dystopian sense of life shortly before the fall of the Wall. Schmidt evokes a world of ruptures and absences that eschews any comprehensive perspective.

The images combine with a text by author and director Einar Schleef to create a brusque, entirely individual vision of the fragility of human existence--a book that is regularly included among the most influential photographic books of the 20th century.

Out of print 2018 reprinted English edition. 

• Nobody 2017
  
• Hardback, 1st edition
  
• New
  

In March 2014, my family and I moved from east London to rural south Sweden where my partner Lena is from. I understood that these new surroundings would inform my work in very different ways and that nature would play a key role. I was looking forward to making work that did not feel restricted and suffocated by modern photographic technology nor would make an inaccurate projected impression of the natural landscape we had become part of. 

On my many walks, I soon came to realise that this new, apparently bleak, flat and open landscape was in fact teeming with intense life. Small clues appeared during daylight hours that helped me understand the extent of activity during the night. Clusters of feathers, animal footprints of all sizes showing regular overlapping routes, gnawed branches, eggshells, ant hills, nibbled mushrooms and busy snails and slugs working through the feast provided from the previous night

I started to imagine the creatures in absolute darkness on the forest floor driven by instincts and their will to survive. I imagined them encountering each other. I thought of their eyes – near redundant in the thick of the night – and their sense of smell and hearing finely tuned and heightened. 

Envisaging where this activity might unfold, coupled with a hopeful foresight, I placed cameras equipped with motion sensors, to trees, mostly at a low level, so that any movement triggered the camera shutter and an infra-red flash (which was outside the animals’ visual spectrum). 

The first results filled me with fascination and joy as they presented what felt like stepping off into another parallel and unearthly world.  The silent photographs also seemed to invent sounds. This frame of mind and way of working took me back to my first ever photo project at the age of 13, sitting in the bathroom window of my parents’ house in Bristol with a 10-metre cable release, attached to the camera, attempting to photograph garden birds.

As time went on I started to think, if I were a deer where would I drink from, or if an owl where would I prefer to perch, and positioned cameras in such places. I was already composing the rectangular view in my mind’s eye – even though the nocturnal animals were absent – imagining they were there.  Nature itself helped to decide the palette and the feel of the images as plant pigments were incorporated from the surrounding areas to make the final master prints.

I had grappled for many years with this idea of stepping back as the author of images to give space for chance and to encourage the subject to step forward. I had attempted this in various ways; for example, in 2005, by burying colour prints close to where they were made, as a collaboration, to entice the place itself to leave its physical mark on the images once they had been unearthed. Or, between 2009 - 2013, in the series Talking to Ants, I placed objects such as plant life, insects, seeds and dust from the place I was photographing inside the film chamber to create in-camera photograms creating a confusion of scale. Or, in 2012, in Best Before End, as a photographic response to the rise of high-energy drinks, I used the drinks themselves to part-process the film as they ate into the emulsion. These approaches added an element of uncertainty, without knowing exactly where the images would land, and relied on a point where intentions met chance with the hope that the subject itself could play a part, lead the way or become embedded in the finished images.

This time, though, it felt as if I was stepping out altogether, so that the subjects would orchestrate and perform and take on the role of author while at that moment I was likely to be sleeping. This was nature’s time to speak and let itself be felt and known. 

Stephen Gill


Signed copy.

• Deadbeat Club Press 2021
• Hardback, 1st edition
• New

As the title of Kovi Konowiecki’s debut monograph – and in its place, another – reminds us, we are always and forever subject to the twin certitudes of transience and change. As is the artist, who has moved back and forth between California, Mexico, Europe, and the Middle East, all of which places are part of the fabric of this sprawling, unscripted book. 

Here we are confronted with the geographical and emotional margins of society and the mind: the external and internal boundaries that inhibit both human movement and human potential. The photographs portray individuals and communities that exist in a liminal space between belonging and abandonment, many of which exert feelings of desolation.

But what might seem on the surface political is made intensely personal through Konowiecki’s purposeful reliance on emotional connections in the pictures rather than specific relationships of place or subject. As he says, this work comes as a “happy accident, inspired by the frequent travels that nourished a sharp eye for the liminal types of communities to which I am drawn: people I have met in my wanderings, passersby in the street, a horse trained in a small Arab village, and untended gardens.”

The “unscripted” nature of the work has an impact on the form of the book, in particular in the variety of genres and colors, from landscape photography to portraiture and from black and white to color. The various forms of expression serve as ways to materialize the ideas at the core of the project and to break down barriers or restrictions within the photographic medium.

Signed copy.

• T&M 2018
  
• Hardback, 1st edition
  
• New
  

New book featuring a selection of Anders Petersen work from Okinawa, 2000 when undertaking a 3 week residency.  Most images previously unpublished.

Foil-embossed hardcover featuring 62 images.  Edition of 900 copies.

All our copies come with an A3 size signed poster (see images

• RRB 2019
  
• Hardback, 1st edition
  
• New
  

RRB Photobooks are pleased to present a series of photographs made by Czech photographer Markéta Luskačová taken in the late 1970s on the North East Coast of Britain. The book is produced to coincide with an exhibition of the same name at the Martin Parr Foundation, Bristol

Czech-born Luskačová has lived in the UK since 1975 and first went to North East England in 1976 when visiting photographer Chris Killip, who at that time lived there.  She fell in love with Whitley Bay, and with the people there who, in spite of the harsh weather, enjoyed their time at the seaside. When Amber, a film and photography collective, invited her in 1978 to photograph the North East of England alongside Martine Franck, Henri Cartier-Bresson and Paul Caponigro, she was drawn back to photograph the seaside.

“I was very touched by it all: the families with children, old women in their best hats, elderly couples with grandchildren, teenagers courting shyly or boisterously, the ponies and donkeys walking patiently to and fro on the beach.  The dogs and children were everywhere, dogs enjoying themselves as much as the children did. The fairground and the omnipresent tents, fortresses against the wind and rain, the seaside cafes selling sandwiches, apple pies, custard pies, ice creams and teas, of course. But they also sold boiling water to women who brought with them from their homes their teapots and teabags, because to buy tea for the whole family would be too expensive.”

Although well known in photographic circles, Luskačová’s work in recent years has lacked the exposure of some of her contemporaries. This exhibition and new book aim to contribute to a recent resurgence of interest in Luskačová’s work and to introduce it to new audiences.

Out of print, final copies.

• Trespasser 2023
  
• Softcover, 1st edition
• New

In his debut monograph, Emiliano Zúñiga Hernández depicts his domestic life and surroundings in the mountains of Costa Rica. 

From the artist:
We ran a healing center, a garden for people to come and rest from their struggles. When it had eventually dissolved, I was wounded. Having once been the healer, I was too afraid to ask for help. Where we lived in the mountains, people would often exclaim how lucky I was to live in such a paradise, one which, for me, carried the ghost of a broken ideal. It became a cave of guilt and shame. Natsuko and the animals, the small slant of light that shone through the cracks of my depression, were emblematic of the freedom I longed for. Through them I could dig my way out and reencounter the beauty of what we really are in this world. I could find my role again.

Edition of 1000 copies. 10x15 inches. 72 pages. 36 tritone and 5 color plates on uncoated paper.

Signed copy.

• Iikki 2022
  
• Hardback, 2nd edition
  
• New
  

Sasanami is the result of a dialog between the photographer Masao Yamamoto and the musician and composer Akira Uchida initiated by IIKKI between October 2019 and August 2020. 

''Sasanami: Sound becomes waves and creates space, where a story is spun that transcends time and space, just like Noh. Something gentle in that space. Its presence is not definite, it simply exists there. I want to share with you the scene of how the individual and the space are connected.''

Hand-numbered 2nd edition of 1000 copies, with a digital download code for the music.  

• Kominek 2024
• Hardback, 1st edition, 160p
• New

• l'axolotl, 2023
• Softcover, 1st edition, 136p
• New

• EXB 2021
• Hardback, 1st edition
• New

This new series by Paolo Pellegrin celebrates the eleventh title of the collection Des oiseaux (On birds). Magnum photographer best known for his works testifying to political, economic or even ecological upheavals, his curious mind leads him to focus on subjects that are sometimes more contemplative, where nature holds a major place. Thus, during a stay in Japan in 2019, Paolo Pellegrin, who left to witness the blooming of the cherry trees, is more struck by the majesty and the aerial ballet of a colony of black kites flying over the temple of Shimogamo, Shinto shrine of the 7th century, in the heart of a primary forest.

English Edition.


Video courtesy EXB

• Kominek 2020
• Hardback, 1st edition
• New

From 2012 to 2019 Mark Steinmetz took photos on the streets of Berlin. This work now comes together in the book Berlin Pictures.

Steinmetz visited Berlin between 2012 and 2019, each time photographing its streets and citizens with the care and compassion that he reserves for all of his subjects. Within his images of Berlin, we find the closeness of couples and strangers that we find in many of his works and yet, Mark adds a new layer to the work by investigating details of the city itselfits architecture and its streets align in Mark’s viewfinder and he renders each frame, inhabited or not, with an eye for the details of the moment. Berlin is a unique city and Mark adds a new layer, one less marginalized by the weight of history, but rather by the acceptance of its condition of present being in his Berlin Pictures.' - Brad Feuerhelm

• Dewi Lewis 2020
  
• Hardback, 1st edition
  
• New
  

Centralia exposes hidden crimes of war as an indigenous people fight for their survival. In war, truth is the first casualty and Centralia explores the unsteady relationship between reality and fiction and how our perceptions of reality and truth are manipulated.

Combining tropes of documentary and fiction, art historian Emilia Terracciano, writing in 1000words magazine, has called Centralia a ‘hallucinatory reflection’ where an invisible conflict between a guerilla army, an indigenous people and the Indian state is associated with wider issues of environmental degradation. Such exploitation comes at a price: the transmogrification of violence into the de-facto language of politics. The voice of resistance is buried by alternate facts. Freedom is shrinking and what we say and who we are is being obscured.

Poulomi Basu is an Indian transmedia artist, photographer and activist. Widely published and exhibited, her work explores the way in which the formation of identity becomes entwined with geopolitics, revealing the hidden power structures buried deep within our societies. In 2018 the Centralia work was recognised through the award of the Photographic Museum of Humanity Grant Main Prize. A Magnum Foundation Social Justice Fellow and grantee, Poulomi is known for advocating the rights of women through her work and in 2019 Amnesty International noted her as an important and brilliant ‘human rights activist’. She also featured on ‘The Conversation’ (BBC World Service) alongside Lynsey Addario as one of the most significant contemporary war photographers. Her immersive VR films, Blood Speaks, are collected and distributed by the Tribeca Film Institute.

Out of print, final copy.

• Stanley Barker 2021
• Hardback, 1st edition
• New

In October 1979, Pope John Paul II came to the Boston Common. Susan Kandel was there taking pictures of families who’d come to see him, carrying on with work she had started months earlier photographing families at Revere Beach.  Among the people she photographed that day on the Common were two women and the five children they’d brought with them. They told Kandel that she should come take pictures at their homes, since they had younger kids who hadn’t come that day.  She eagerly took them up on their offer. 

“These two families lived around the corner from each other in Everett, Mass., and I returned to their homes many times over the next ten years or so.  And I sought out other families who might let me come photograph them at home as well.  I approached folks in grocery stores and bowling alleys, Woolworth’s and corner stores, telling them that I’d give them some pictures in exchange for allowing me to come photograph them at home.  Although I got a lot of quick refusals and looks of suspicion, I also managed to get invited to many homes.  And sometimes there were repeat invitations.” - Susan Kandel

Through her work Kandel discovered that each home she entered was a distinct world unto itself, and each home offered up stories. 

• T&M 2020
• Softcover, 2nd edition
• New

In his photography, Lin Zhipeng (aka No. 223) carves out a portrait of an alternative young Chinese generation which enjoys life with all its might, playful, arrogant, and empathetic. The photobook “Flowers and Fruits” presents a series by Zhipeng which focuses on the titular motifs of youth, beauty, energy and transience. In colorful, vibrant, he draws comparisons between bodies and fruit, sexuality and flowers, youth and bloom.

2nd edition.


Note: the video shows the first edition.

• Self 2021
• Hardback, 1st edition. 96pp
• New
  

A book to celebrate 200 years since the discovery of Antarctica.

• Nazraeli Press 2024
• Hardback, 1st edition 136p
• New

Published to coincide with a major 2024 traveling exhibition in Tokyo, Los Angeles and London, this gorgeous new monograph presents 100 of Michael Kenna’s most iconic photographs of the Japanese landscape, many published here for the first time. A perfect pairing of artist and subject, these photographs of Japan comprise perhaps Kenna’s best known body of work and have been the subject of countless exhibitions throughout the world. Michael Kenna first visited Japan in 1987 on the event of his inaugural exhibition there, and he has returned dozens of times and made thousands of photographs throughout the country’s vast and incredibly varied landscape. Our earlier monographs Japan and Hokkaido have been out of print for many years, so we are thrilled to announce this important new publication that includes work spanning Kenna’s decades-long love affair with the country. Japan / A Love Story is beautifully printed in duotone on natural coated art paper and quarter bound in linen and silk. It opens with an essay in Japanese and English by the renowned critic and historian Kohtaro Iizawa. 

“Japan has a long and rich tradition of reciprocal gift giving. I have been the grateful recipient of so much over so many years in Japan, and I know that I will never be able to give back in equal measure. I hope this work can be seen as a small token of my desire to do so. I also hope this work can be viewed as a homage to Japan and that it will serve to symbolize my immense ongoing appreciation and deep gratitude for this beautiful and mysterious country.” — From the Afterword by Michael Kenna

"He has been reflective when others have been militant, romantic when others have been skeptical. Such isolation can starve all but the most independent of talents, but for these it can provide a sanctuary where visions can develop undisturbed. Kenna is one of these.” — Joanna Pitman, The Times

Shipping from May 24th, available for pre-order now.

• Mack 2023
• Hardback, 1st edition, 416p
• New

Francesca Woodman made her first mature photographs at the age of thirteen and went on to create a body of work that has been critically acclaimed for its singularity of style and innovative approach to photography. Despite her lifetime accomplishments – which included solo and group exhibitions and the publication of one of her books – and her work being celebrated widely in the years since her untimely death in 1981, very little has been published about her remarkable series of artist’s books until now.

Francesca Woodman: The Artist’s Books collects for the first time every page of all eight of Francesca Woodman’s unique artist’s books in one comprehensive volume, including two newly discovered books which have never been seen before, alongside better-known titles such as Some Disordered Interior Geometries. The basis of these works is in tattered nineteenth- and early-twentieth-century journals and notebooks that Woodman collected from bookshops and flea markets in Rome in the late 1970s. She later transformed these found volumes, attaching her prints, transparencies, and written annotations to their evocative pages. These books demonstrate a sophisticated relationship to narrative and sequence and offer a new understanding of the scope of Woodman’s engagement with the book form.

Embossed hardcover using Japanese paper, with tipped-in image.

• Thames & Hudson 2021
• Hardback, 1st edition / 1st printing
• New

American Geography is the visual record of Magnum photographer Matt Black’s five-year, 100,000-mile road trip across 46 states of the United States, plus Puerto Rico. It examines the conditions of powerlessness, prejudice and pragmatism among America’s poor.

• Xavier Barral 2015
  
• Hardback, French edition
  
• New
  

One of the Polaroid's acknowledged masters, Guy Bourdin (1928-1991) brought to the medium an uncanny ability to combine the snapshot feel with a strong patina of glamour, and of course plenty of sexiness. A protégé of Man Ray, and best known today for his controversial fashion photography, Bourdin like his teacher often brought an edge of menace or discomfort to his eroticism, with surrealistic props and implied narratives. Like the Surrealists, he often devised ways to bisect the female form, usually by cropping out above the waist; all these traits of Bourdin's fashion photography are to be found here, in this selection of 98 Polaroids, most of which have never previously been published. Ranging in formality from casual seaside erotica to darkened interiors with disembodied legs and arms poking into the frame, these images step outside the safety of the fashion shoot, conjuring a real-life realm steeped in an ominous sexuality.

• Loose Joints 2021
• Softcover, 1st edition, 44pp
• New

• Ugly Dog 2020
  
• Hardback, 1st edition
  
• New
  

'‘Be careful’, my father had written to me, ‘It’s supposed to be unsafe out there’, words interspersed with photographs from the cargo ship that he was working on as he made his way up the Mississippi river to the port right outside New Orleans. The immigration rules did not allow him to step on American soil and he had no choice but to remain on his ship. His short-lived glimpse of the country had remained only within those raised embankments on either side of the river. The America that lay on the other side was something he could only make sense of through a trickle of news and opinions that he had been heard from a distance. Guns, Violence, Racism, Trump, A certain loss of Tenderness...

A couple of months later I made the journey on road down the delta from the confluence of Ohio and Mississippi rivers outside Cairo (Illinois), to Pilot Town, off Highway 23 that went further down from New Orleans. It was near here that the river opened into the sea and was the entry point into this part of the country for all ships including my father’s.

As it had been for sailors searching for land, birds now became my guides as I looked for the beginnings of water, leading me through the blues of the wetness of the land. The America I found on the way was not quite the same as the one that my father had imagined.

Just as it had been with my father, there was always a levee between the river and me as well. My father had been on water but had not been able to touch land. I was on land but had barely been able to touch water. Together we got a glimpse of the delta from our own sides of the levee.'

— Sohrab Hura

Edition of 600 copies.  Signed copy.

• Mack Books 2022
• Softcover, 1st edition
• New

Following on from the bestselling box set Gathered Leaves, published to accompany Alec Soth’s touring exhibition which opened in London in 2015, this unique publication brings together five of Soth’s major books in their entirety in a single, compact, and densely detailed volume. Across more than 700 pages of newsprint, Soth updates and reimagines the original version of Gathered Leaves by reproducing every spread from these five books with detailed annotations in the form of notes, text extracts, and additional photographs. This new roadmap through Soth’s oeuvre also includes a new introduction by the artist.

Soth’s meteoric rise to international acclaim began with his first book, Sleeping by the Mississippi (2004), an elegiac road trip down the ‘third coast’ of the United States, which has since has sold through numerous print runs and is widely acknowledged as a classic. The success of his subsequent volumes Niagara (2006), Broken Manual (2010), and Songbook (2015) elaborated Soth’s lyrical but unflinching approach and reinforced his position as a master of the book form. His most recent work, A Pound of Pictures (2022), brings a new, poetic perspective to the idiosyncrasies of American life and the practice of image-making, broached once again through Soth’s now-distinctive road trip format.

• Stanley Barker 2021
• Hardback, 1st edition
• New

“This is how I remember New York City in 2002. I was 19 years old and had just moved to Manhattan from my family’s small farm on Long Island. It was the first summer after the September 11 attacks. Workers were removing the last of the debris from the collapsed Twin Towers. The city felt both immense and fragile compared to the groundedness of my childhood home.”

“On weekdays, I worked in Arnold Newman’s photography studio. After hours and on weekends, I walked through the city’s five boroughs with my camera. When someone made eye contact with me, I asked if I could make a portrait of them. At first, I assumed people would respond with caution. I was a stranger. The city was recovering from an event that shook its sense of security. Yet, most people said yes and looked straight into my camera lens. I am grateful they chose to trust me.” - Lucas Foglia

Published on the 20th anniversary of the September 11 attacks, Lucas Foglia’s portraits show the tremendous diversity of New York City. Everyone is portrayed with dignity, regardless of age, gender, sexual orientation, or ethnicity. Today, as the world begins to heal from the coronavirus pandemic, the photographs remind us to approach strangers with compassion, across social distances.

• Nazraeli Press 2024
• Hardback, 1st edition, 104p
• New

“Over these last several years, even in the darkest days of the pandemic, my time in nature has been a constant source of solace and wonder. My days out photographing and exploring usually start very early, in the hours prior to sunrise, when the birds are still sleeping and the quality of quiet is extraordinary. I think of this time of day as “the shadow’s veil”, when the first delicate veil of light slowly becomes evident and the depth of earth’s shadow gradually lightens in the slow progression of night to day.

When observing the transitioning day, I find there is a therapeutic element to the patterns and surprises. For myself, this awareness leads to an insightful perspective on life’s usual challenges. A sense of humility emerges in consideration of the enormous scale, complexity, and sheer power of nature; our problems don’t register in significance.

This book is a collection of observations about the unfolding of days. These photographs were made either in the hours before sunrise or very early in the day when the light is new, shadows are long, and hope is eternal.” — from the Introduction by Jeffrey Conley

Jeffrey Conley’s fourth title with Nazraeli Press is an artist’s book of the first order. Limited to just 1,000 copies, each presented in a custom slipcase of wood veneer over boards, The Shadow’s Veil presents 64 of the artist’s most powerful images, many published here for the first time. Beautifully printed in duotone with two distinct varnishes on natural Korean art paper, the exposed sides of the book block are painted charcoal gray and bound in unbleached linen fabric.

• TIS 2021
• Hardback, 1st edition, 110pp
• New

In her first monograph with TIS books, the much-heralded photographer Barbara Bosworth has interwoven the visceral and ethereal to visually build a sense of the delicate and fragile nature of life, at a place where the edges of heaven and earth blur.

These pictures, made with Bosworth’s customary 8x10 camera, speak to our connections with nature: bear paws hauntingly human, roses cut to bring beauty indoors, names carved into a tree trunk declaring one’s love forever.

In One Star and a Dark Voyage, we are brought into intimate communion with such things as a wound on a sun-freckled shin, a worm as stigmata in a child’s hand, a bird lying in a cupped hand, a body hovering in the darkness, the spot where an elk slept – all evoking the ephemeral nature of life.

“This work began as a way for me to think about life and death and about our ties with nature and our utter dependence on earth, and later, after the death of a loved one, blurred into images about the exquisite fragility of life, about loss and longing,” as Bosworth explains. “I began looking for light in the darkness. Fireflies as I try to hold onto the light. The simple beauty of light falling on leaves. A rainbow, the sunset, the Milky Way.” 

The result: a book as journey, where weight becomes light. The beautiful and the terrible, all interconnected, all the same. Always seeking home.

Signed copy.

• Akio Nagasawa 2021
• Softcover, 1st edition
• New

“Shinobu” the first volume of a four books new series by Daido Moriyama: “Woman in the Night”.

There was a woman called Shinobu in Shinjuku’s red light quarter.
She was a person who loved flowers.
It’s already ten years since I last saw her.
Even now, I still think of her sometimes.
This is a profile of her as she appears in my memory.

Edition of 350 signed and numbered copies with a silk-screen canvas cover.


Please note: Due to the material used on the cover and pages being smaller than the cover, corners may present as being bent (but are not).  See example photo.

• the(M) éditions / IBASHO 2021
• Hardback, 1st edition
• New

• Buchkunst Berlin 2023
• Hardback, 1st edition, 200p
• New

• Void 2022
• Hardback, 1st edition
• New
  

“I am less interested in solving the puzzle than in various individual interpretations of the clues, the notion of treasure hunting itself, and where this leads those who seek definitive answers: the dreams, fantasies and obsessions of individual searchers.”

— Emily Graham

In 1993 an author buried a golden sculpture— the Chouette d’Or (Golden Owl)—and released a book with eleven allusive clues as to its whereabouts somewhere in France. Nearly 30 years later, many continue to search for the treasure which remains unfound. Over a period of three years, artist Emily Graham, photographed those pursuing the treasure in their potentially futile quest, whilst collecting research and ephemera. The resulting images, combined with documentation on the search—texts, correspondence and maps— form her new book The Blindest Man.  The clues as to the whereabouts of the comprise of text and paintings and have lead a large number of searchers across the landscape of France. The game was designed to last two or maybe three years and searching for the treasure became a common pastime in France. The author—who was originally anonymous—is now dead, and only the truly committed continue to search against a tide of rumour, misinformation and re-herrings clouding their investigations. Scientists, doctors, retirees, and artists all continue with elaborate calculations and theories as to the location of the cache. Each have their own “zone” in which they scan the landscape, drawing conclusions from snapped branches, the contours of maps, and shadows crossing the land. Some are inspired to continue for challenge of code breaking, others for philosophical reflection, an adventure or a way of experiencing and seeing, a lens through which to look.

The clues as to the whereabouts of the Chouette d’Or comprise of text and paintings and have lead a large number of searchers across the landscape of France. The game was designed to last two or maybe three years and searching for the treasure became a common pastime in France. The author—who was originally anonymous—is now dead, and only the truly committed continue to search against a tide of rumour, misinformation and re-herrings clouding their investigations. Scientists, doctors, retirees, and artists all continue with elaborate calculations and theories as to the location of the cache. Each have their own “zone” in which they scan the landscape, drawing conclusions from snapped branches, the contours of maps, and shadows crossing the land. Some are inspired to continue for challenge of code breaking, others for philosophical reflection, an adventure or a way of experiencing and seeing, a lens through which to look.

In The Blindest Man, Graham’s photographs reflect the mysterious clues of the hunt. Elusive and unexplained symbols occur throughout, such as a peacock on a hillside, markings on a wall, a spiral staircase leading into the sky—all left open to interpretation by the viewer. There is a sense of both implied narrative and pursuit with images of roads and paths which lead out of sight and a phone just off the hook. The motif of ‘unseeing’ recurs throughout—a man peering through a hole in the wall, a face obscured by dabbled sunlight and an eyeball in the palm of a hand. Graham’s photographs are presented alongside documentation around the search. Fictions and facts, combined with conjecture, collectively presenting the contradictions of a pursuit that has no answers and no end.

• Red Hook Editions 2022
• Hardback, 1st edition
• New

This book has been in the making for more than ten years. After all these years, I am not sure if I know what this is fully about. Or perhaps I do, and then I understand it even less, as nothing would be more disappointing than a clear, definitive “reading” of the work. If I were forced to answer, I’d say “It’s an exploration of the psyche of migration.” At least this statement is true to the book’s original intent, as it is to my immigrant experience.

Migration is a leap into the void. It is an experience that isn’t particularly misunderstood, but rather unrecognized, like languages we’ve vaguely heard at some point in our lives, but to which we aren’t able to attach a body. Or temperatures and distances that, measured in unaccustomed units, can be assimilated, yet only half-rhymed. It is an experience hidden in the invisible weight of opposites – the collision of the old and the new world, the social and the personal, empathy and intellection, the immemorial and factual remembrance of things.

As if packed and stored within a piece of luggage, these images, or fragments of living, represent layers of memory – the memorial, the immemorial, and the everyday. This cargo, seemingly disordered and lacking consistent narrative, is nothing more than a repository of an intimate, yet collective existence.

• Aperture 2022
• Hardback, 1st edition, 312p
• New

Judith Joy Ross: Photographs 1978–2015 is an illuminating retrospective that explores the life and career of a revered American photographer, illustrated by two hundred of her images, many never before seen or published.

The work of Judith Joy Ross marks a watershed in the lineage of the photographic portrait. Her pictures—unpretentious, quietly penetrating, startling in their transparency—consistently achieve the capacity to glimpse the past, present, and perhaps even the future of the individuals who stand before her lens. Adolescents swim at a local municipal park, ordinary people are at work and play. From immigrants and refugees, to tech workers and students, military reservists and civilians—all are incisively rendered with equal tenderness in Ross’s black-and-white, large-format portraits.

Published alongside the largest exhibition to feature Ross’s work to date, and drawn from her extensive archive of photographs made over the span of more than thirty-five years, Judith Joy Ross: Photographs 1978–2015 encompasses the best work of this influential photographer.

• Stanley Barker 2019
  
• Hardback, 1st edition
  
• New

From 1982-2001 the American photographer Mark Steinmetz travelled to country fairs, urban street fairs, and small circuses across the United States, to make photographs of the families, teens and carnies that contain all the warmth and frenetic energy of a day at the Carnival. 

“People from all walks of life go to the fair seeking something to transport them from the everyday. Amid the excitement and sounds of the rides and games, I could slip by largely unnoticed and capture gestures and faces.” - Mark Steinmetz

Out of print, rare title.

• Ceiba 2018
• Softcover, 1st trade edition
  
• New
  

"I am often attracted by what repulses or scares the others. I like misfits, outcasts, eccentrics, those who don’t fit in the norms. Although I look quite normal and common, I identify in a way with those who do not fit in society. For this reason, I followed the Black Label Bike Club for about 3 years when I was living in NY.
The Black Label Bike Club is known as the first “outlaw bicycle club.” It was created in 1992 by Jacob Houle and Per Hanson in Minneapolis, Minnesota and has chapters nationwide. They are one of the main contributors to the rise of tall bike culture and organize jousting competitions. It is interesting to see this destructive, rebel culture revolving around such a non-threatening object: the bicycle.

I consider them as a blend of punk, grunge and hippie culture. They are an independent community rebelling against the system. In a society that pushes us to consume, focus on money and overly use technology, it is interesting to see a group of young people resisting and fighting against it. Their community is mainly based on the bike culture, art and on the real value of relationships; these basic, simple values that seem to have disappeared. This particularly affected me when I was in NYC and everyone seemed to be living virtually on social networks and obsessed by success. These “kids” felt real: they speak frankly and are not afraid to take risks and hurt themselves (physically or life decisions). They are living in the moment, in a risk-less society yearning for security. They are passionate, well-read, talented young people with real discussions.

When I find subcultures like the Black Label Bike Club, a creative group, using very little technology, interested in defending causes and resisting the main stream, it gives me hope, and I think it could be very encouraging for today’s youth." 

_ Julie Glassberg