Photobookstore

• GOST 2025
• Hardback, 1st edition, 92p
• New

An Extremely Un-get-atable Place is a lyrical exploration and re-imagining of the time that George Orwell spent in a remote farmhouse called Barnhill on the Isle of Jura in the Hebrides, Scotland, where between 1946-1949 he lived and wrote his classic dystopian novel Nineteen Eighty-Four.

Photographer Craig Easton was invited to stay at Barnhill and there made a series of landscape and still life images with his large format 10x8 field camera. The photographs in An Extremely Un-get-atable Place are presented alongside extracts from Orwell's diaries & letters that he wrote during his life on the island.

This is the first book of 'An Island Trilogy' - three monographs to be published over the next two years all made in the Scottish Islands.

• Photo Editions 2025
• Hardback, 1st edition, 80p
• New

reverie (n): a state of deep and often dreamy contemplation or daydreaming, where one's thoughts and imagination wander freely and without a fixed purpose.

Martin Amis new photobook Reverie is a natural continuation of his previous work, This Land. It sees the photographer return to the Thames Estuary and it’s surrounding areas in North Kent, the tidal area where the River Thames meets the North Sea. Like dreams, this landscape, not quite land, not quite water, is an in-between space, neither here nor there. It is a landscape scored with stories of the past, as well as uncertainty around the future.

People are absent from the images, yet there are traces of human presence: the skeletal hulks of ships, electricity lines and fences, polluted waters, and industrial pipes billowing smoke on the horizon. Through these subtle details, Amis alludes to the ongoing destruction of these rural areas, many of which have been earmarked for new housing developments.

The passing of time is evident throughout. As the book segues through the seasons, we are carried into a dreamlike flow, witnessing both the quiet strength and beauty of nature, while also recognising what we risk losing in destroying these precious habitats.

Signed copy.

240mm x 300mm, hardback with black page edges.

A range of special edition options are available from the dropdown:

• Each print is in an edition of 15 signed and numbered copies (on verso), the price of each will rise in increments as the edition sells through.
  
• Printed on 310gsm Hahnemühle William Turner paper, a beautifully textured matt paper.
• Paper size: 210mm x 297mm (A4) 
• Image size: 160mm x 200mm, except Winter Landscape 160mm x 240mm
• several other prints from Reverie are available here.

Pre-order bonus: pre-ordered copies of Reverie, will come with a 15x10cm signed collotype print of 'Hope' produced by Benrido Inc of Kyoto while stocks last.  See image here.

Books are expected to begin shipping w/c 15th December.


For trade enquiries, please get in touch here

• Deadbeat Club 2025
• Hardback, 1st edition, 96p
• New

Mother's Land is a collection of dioramas, of unscripted scenes in which we see a shifting 2010s China unfold before our eyes. It is, also, the result of a long, introspective journey that led Daniel Lee Postaer in search of a missing part of his identity—the one left behind by his grandparents who, more than fifty years earlier and fleeing the communist regime, could take along a daughter, but were forced to abandon another.

In search of this "other half," Postaer lived in China in the early 2000s, and returned several times in the second half of the 2010s, becoming a first-hand witness to the country’s contemporary developments.

In an all-encompassing portrait of urban China, in large-scale compositions embracing a multitude of characters and scenes, Mother’s Land shows us a country in the throes of economic and social transformations. A brutal country, too, that erases without scruple, without memory; which demolishes to rebuild further, bigger, higher. A country in mutation, where contrasts become apparent, where the smooth and shiny surfaces of glass and hypermodernity clash with the coarseness of rubble scattered among ruins. A country in which time moves violently fast, in which each year seems like five, and where the traces of Postaer's previous life seem to evaporate. Only the construction sites reveal, through the rubble, all the strata of time gone by—sedimentary layers unearthing vestiges of the past.

• Chose Commune 2025
• Hardback, 1st edition, 80p
• New

An intimate glimpse into everyday life in Mongolia, captured through portraits of children and evolving landscapes that reflect the passage of the seasons.

Like a joyful window opened onto the rural life of Mongolian nomads, Taemin Ha’s photographs tell, above all, the story of an encounter. After spending several months with a family on the Mongolian plains, he captures the rhythms of their communal daily life. Portraits of children unfold through the seasons: sovereigns of these vast rural landscapes, they embody a profound sense of freedom, intimately connected to nature and the animals around them.

A peaceful softness radiates from his images, where the bright light of spring and summer follows the hushed, enveloping atmosphere of snowy winters. Light—ever-present in Taemin Ha’s work—seems to guide each scene: whether gently filtering through the window of a yurt or bathing children’s games in clear lakes, it accompanies every gesture, every gaze.

In dialogue with these photographs, poems by Erdenesolongo Batchuluun and Byambajav Gombojav—two Mongolian poets—are woven throughout the book. Their words intertwine with the images to form a new thread of connection and resonance, offering a poetic lens that deepens the sense of presence, memory, and shared time.

• Chose Commune 2025
• Hardback, 1st edition, 192p
• New

An unexpected collection of over 100 images spanning time and the history of representation, Clin d’œil brings together nearly every variation of that precious organ that allows us to see, to look, to discover — or simply to observe.

Following Jeux de mains, the first collaboration between Cécile Poimboeuf-Koizumi — publisher, curator and co-founder of Chose Commune — and Stephen Ellcock —  curator, writer, researcher, and online collector of images — this second volume focuses on the motif of the eye in art. Present across all cultures and eras, the eye fascinates with its rich symbolism: spiritual, political, intimate, or mysterious. From Antiquity to contemporary art, over a hundred images, selected intuitively and without chronological order, form this visual constellation. This book celebrates the diversity of artistic perspectives on this small organ that has, over time, become a powerful universal symbol.

• Ludion 2025
• Hardback, 1st edition, 240p
• New

Ray K. Metzker (1931–2014) is today recognized as one of the great masters of American photography. Trained at the progressive Institute of Design in Chicago – the brainchild of Bauhaus pioneer László Moholy-Nagy – Metzker developed a distinctly experimental style early on. He combined disciplines, broke conventions, and elevated photography to new artistic heights. After his first solo exhibition at the Museum of Modern Art (MoMA) in New York in 1967, major retrospectives followed in leading museums across the United States, including the J. Paul Getty Museum in Los Angeles. Yet this influential photographer long remained underexposed. This new edition is the first publication in years devoted entirely to Metzker – a book that finally provides the recognition his work deserves. Featuring 150 black-and-white photographs, largely drawn from the archives of the Ray K. Metzker Estate in Philadelphia, City Lux offers a renewed look at his oeuvre. The photographs display an unparalleled mastery of light and composition: geometric cityscapes filled with vertical and horizontal lines, surprising double exposures, layered negatives, and abstract grid structures. Each image testifies to Metzker’s unique position as a modern master of monochrome photography.

The accompanying texts are by Carrie Springer, former curator at the Whitney Museum of American Art, and Vicki Harris, representative of the Metzker Estate in Philadelphia. The book was compiled by Françoise Morin and Philippe Séclier, curators of the exhibition Ray K. Metzker: City Lux at the A Foundation in Brussels (2024).

• Charoal Press 2025
• Softcover, 1st edition, 144pp
• New

Marshall To grew up a second generation Chinese immigrant in rural Canada. His family was Taoist and owned a Chinese Restaurant.  To's father believed that people lived in a supernatural world that existed simultaneously with the physical world. He believed we humans surrounded by the spirits of loved ones, those awaiting reincarnation and by those who remained, restless and vengeful.

In Taoism, on the fifteenth day of the seventh month in the lunar calendar, the gates of Hell open to allow Hungry Ghosts a chance to once again roam the earth in search of food and sustenance. Taoist families venerate the dead during this time. They offer prayers to their deceased relatives for protection and burn Hell Notes (money) to help ghosts to live comfortably in the afterlife. These Hungry Ghosts are dangerous. They take many forms - owls, snakes, moths, birds, foxes, wolves, and tigers. Some can even use the guise of a beautiful man or woman to seduce and possess. This time of year is a celebration, but also a warning to tread lightly. a time to be careful not to offend those who we don’t see. To be careful because the gates are open and the ghosts are hungry.

In his debut monograph, To depicts the thinning veil between natural and supernatural. Providing evidence of the intertwining of realities, of cultures, and of versions of ourselves.

Signed copy.

• Loose Joints 2025
• Hardback, 1st edition, 144p
• New

The Classroom explores control and discipline within post-colonial Moroccan identity through staged, uncanny classroom images created between 1994 and 2002.

Frustrated by Morocco’s rigid educational system of the 1990s, art teacher Hicham Benohoud used photography as a pedagogical tool, creating a makeshift darkroom in his classroom to foster collaborative and hands-on learning, encouraging students to engage with creativity and identity.

The resulting images created with his students are marked by tension and alienation, blending absurdity, humour, and unease in their exquisitely framed and obliquely disarming compositions. In juxtaposing the monotony of the classroom with a visual exploration of both freedom and control, The Classroom builds a playful and existential critique of postcolonial identity, where childlike creative gestures merge into a more ambiguous aesthetic that hints at oppression, violence and isolation.

This new publication by Loose Joints draws from the artist's original archive of negatives from the time, building the first comprehensive appraisal of Benohoud’s ground-breaking series while highlighting the modern relevance of the work in its engagement with performance, politics, pedagogy and the body decades ahead of its time.

Winner of PhotoBook of the Year, Paris Photo–Aperture PhotoBook Awards 2025.

• Loose Joints 2025
• Hardback, 1st edition, 184p
• New

Loose Joints is proud to present You Are What You Do, a monograph by Daniel Arnold — one of New York’s most renowned and obsessive modern street photographers. Over the past fifteen years, Arnold has become a cult figure in the city’s visual culture, known for his raw, humanistic encounters with its citizens and for collaborations spanning from the Safdie brothers to the Met Gala and beyond.

Rooted in a well-trodden lineage of New York street photography, Arnold’s work channels the chaos, chutzpah, humour and vitality that define the city, yet You Are What You Do reveals something more: a tenderness and empathy that courses through every frame. There are genuine moments of sadness and grief mixed with joy, alongside spontaneous, unscripted scenes of pure street cinema, blended with candid images from fashion shoots and film sets, all sitting effortlessly within Arnold’s generous visual language.

Working from a vast archive, this generous landscape-format monograph distills Arnold’s signature wry, tragicomic style into a spacious and classical book object. From the glamorous heights of high culture to the downtrodden and overlooked, You Are What You Do draws a wide, empathetic circle around New York’s characters and charm.

• the(M) éditions / IBASHO 2025
• Softcover, 1st edition
• New

"This series explores the psychological imprint of migration and uprooting that have marked my life. The title is inspired by the keyboard shortcut I use to write in Japanese, an indirect evocation of my origins.

This series brings together a multiplicity of subjects: architectural fragments, an old passport photo of my grandfather, faces of unknown relatives in the family album... Incoherent geometric forms emerge in the images to amplify this sensation of non-belonging, disturbing the gaze through their strangeness.

With Ctrl Shift + J, I invite the viewer to introspection, to confront their own experiences of displacement and the search for a place to be oneself."

- Sayuri Ichida

• the(M) éditions / IBASHO 2025
• Softcover, 4th edition, 160pp
• New

This new book is a revised and expanded edition of the book so it goes, so it goes, itself a revised and expanded edition of the book so it goes, which won the Nadar Prize in 2019. This edition features a completely renewed series of images and a new cover.

In this book, Miho Kajioka presents work relating to the concepts of time, memory, and place. As in her previous works, the series reveals intuitive images of fragments from her daily life, across different periods. It was while reading Kurt Vonnegut's novel, Slaughterhouse-Five, that Miho Kajioka became truly interested in this subject. Miho Kajioka is fascinated by chronology and the meaning of events. According to her, photography captures moments and freezes them; displaying prints is like playing with the sense of time and getting lost in this chronology.

• Stanley Barker 2025
• Softcover, 1st edition, 96p
• New

In the 1980s, the acclaimed Dutch cinematographer Robby Müller spent months at a time away from home, collaborating with renowned directors such as Alex Cox and Wim Wenders to create some of the decade’s most influential films such as Repo Man, Paris, Texas, Barfly and To Live and Die in L.A..

After long days on set, Müller stayed at the Kensington Motel in Santa Monica, a simple apartment hotel just behind Ocean Boulevard and steps from the beach. He liked its plain comforts: an ironing board folded into the wall, a coffee pot bubbling on the stove, Garfield the hotel cat who kept him company. It felt familiar, not just a place to pass through. 

He always carried his SX-70 Polaroid camera, making tender images when work paused, bringing what William Friedkin called “a foreigner’s eye” to America: noticing details others missed, avoiding clichés, always returning to light and colour as his true subjects. In these Polaroids, Müller frames a Los Angeles that no longer exists: small rooms, edges of the beach, street corners, a city built for cars seen by a cinematographer who preferred to walk. They reveal a man far from home, looking for stillness and light in the spaces in between.

Edited and with an introduction by Andrea Müller-Schirmer; designed by Linda van Deursen and expertly printed in Italy and bound as a uniquely flexible chopped linen soft-back, silk screened in a sun-kissed orange, it carries the warmth of Müller’s Los Angeles. Alongside Müller’s images are texts from his collaborators, including directors Alex Cox and Wim Wenders, and actor Willem Dafoe.

"What impressed me was he would see what no one saw – the origin, the presence, the vibration, the possibility of what was already there..." - Willem Dafoe  

"He had an eye for the light that the camera, and its film, loved." - Wim Wenders 

• Note Note Editions 2025
• Hardback, 1st edition, 112p
• New

Atlas of Echoes is the first monograph on the work of Dutch artist Sarah van Rij. The book immerses the reader in her entire oeuvre, bringing together her black-and-white and colour photography, as well as the collages created since 2018, and in doing so charts the journey from her beginnings as a photographer to her most recent work. Whether captured on a camera or an iPhone, her images explore a wide range of subjects — urban and natural landscapes, everyday objects, the human figure – at the same time as they advocate the singular and coherent aesthetic that has become the artist’s visual signature.

Designed in close collaboration with the artist, with an index offering an analytical and playful reading of her work, Atlas of Echoes reveals the singular formal vocabulary behind van Rij’s practice.

• Editorial RM 2025
  
• Hardback, 1st edition, 130p
  
• New
  

Anna Cabrera and Angel Albarrán are among the most innovative and renowned photographers of their generation. Windows to the Unexpected is the second book in a trilogy that began with the bestselling book Remembering the Future, where the authors explore complexities of form and narrative in photography. This book delves into the tension between the visible and the unforeseen, inviting viewers to question what they see and uncover what lies beyond the image.

Inspired by Julio Cortázar’s essay of the same name, this volume examines how the unexpected emerges in images without warning, challenging conventional perceptions of reality. The unexpected is not manufactured but revealed, transforming photography into a space of multiple interpretations, where the extraordinary is hidden within the ordinary.

Temporarily sold out - more copies due 12th December.

• Editorial RM 2025
  
• Softcover, 1st edition, 88p
  
• New
  

4 Sides of The Table was made from 2022-24. In the spring of 2017, I was with my mother in an empty room. The light of the sun was shining through the windows. Her best friend June was at her bedside reading poetry aloud. My mother died a few hours later. Since I could no longer take pictures of my mother, it seemed natural to me to photograph June. I photographed her hands, her legs, from the back, from the front, partial views etc. feeling I could convince myself she was my mother more easily by photographing her in parts rather than in showing her whole figure.

During the months that I was visiting June, her daughter unexpectedly passed away. I thought after that she might not want to continue our time together taking pictures, but she did. The camera gave us the freedom we needed to imagine we belonged to each other.

4 Sides of The Table Is about the time it takes to eat a loaf of bread, for light to pass through a room, and or for someone to die and how we can recreate or extend that time. I wanted a way of holding on to what has passed and what’s hard to keep, even if only in an empty hand.

Note that this delicate book has quite fragile corners.

• Editorial RM 2025
  
• Hardback, 1st edition, 96p
  
• New
  

When I was starting out I could experiment and take risks. That is when I most enjoyed mywork as a photographer. I wouldn’t be surprised to find that I produced my best work attimes when I felt that I was still learning, that I was a beginner. Once I thought I knew what I needed to do and applied it to various subjects, I lost that freshness and sense of surprise: I had to secure the results and could no longer experiment in the same way. Throughout my fifty-five years as a photographer I have beena beginner several times: when I wanted to learn how to take portraits, when I started to work in colour, or when I took my first photographs of wild horses.

In 1968, at the age of twenty-two, I was studying Business Administration in Germany,but after seeing Henri Cartier-Bresson’s Spanish photographs I decided that I wouldbecome a photographer instead of a businessman. I had left Spain because I didn’t wantto do the compulsory military service under the Franco dictatorship, so I had to return toSpain with my tail between my legs, ready to do the military service after all. There were no photography schools at the time, and I learnt by pounding the streets in the town of Cuenca, while waiting to begin my military service, four years older than my fellow recruits. I worked for four hours in the morning and another four in the afternoon, following theopening hours of shops and offices. Children would follow me on the street, asking to have their picture taken; at that time taking pictures of children was considered perfectly normal. When it was time to go to boot camp I smuggled in a small Leica IIIf (from 1953 and still without a film advance lever) and took pictures surreptitiously. Had I been caught I would still be behind bars. After my military service I started to get to know Spain and I also took a trip to Yugoslavia with my first wife. Later, when she was offered a scholarship at theLondon School of Economics, we left for London. I started collaborating with agencies and magazines and could no longer be considered a beginner.

This book contains the images which taught me how to be a photographer. Now I wish I could feel like a beginner again, not to make myself younger, (although that would be good too), but to regain the sense of experimentation, discovery, adventure, and transcendence which drove my work at the time.

C. H.

• Dust Collective 2025
  
• Hardback, 1st edition, 124p
  
• New
  

INVISIBLE SUN is a visual meditation on survival, transformation, and fragility by artist Amani Willett. The project traces the impact of childhood medical traumas and the ways they continue to reverberate through the present.

Confronting these early challenges amid new chronic health challenges, Willett turned to intensive therapies. Within this process he encountered vivid, unsettling memories, often of his younger self, that became a generative source for the work.

The resulting images weave together photographs of his children, experimental photographic processes, dark landscapes, and AI-generated visions. Moving between the haze of memory and the clarity of the present, INVISIBLE SUN gives form to what the body remembers when the mind does not. It is an exploration of fragments, vulnerability, and resilience, offering a visual language for what is most often left unspoken.

• TIS 2025
  
• Softcover, 1st edition, 76p
  
• New
  

Balarama Heller’s Sacred Place was created in the predawn hours, when the veil between the spiritual and material realms is thinnest. It is a deeply personal yet universally resonant pilgrimage exploring faith, memory, and spiritual transformation. Born into the Hare Krishna movement in America, Balarama Heller grew up within a world of devotion, ritual, and upheaval—moving through communes, countercultures, and moments of both transcendence and disillusionment. Returning to Vrindavan, India, the heart of the religion, Heller, guided by Joseph Campbell’s idea that sacred places reveal “eternity shining through time,” crafts an alchemical tapestry of archetypes both ancient and new. Sacred Place sifts through the magnetism forged by millennia of pilgrims—Heller himself among them—seeking to touch the Infinite glimmering through the present.

Signed copy.

• Fabrik 2025
  
• Hardback, 1st edition, 160p
  
• New
  

• Fabrik 2020/2022
  
• Hardback, 3rd edition
  
• New