All Books

• The Europeans 2022
• Hardback, 1st edition
• New

The Europeans is a portrait of modern Europe. Traveling from region to region and from theme to theme in this multi-year project, photographer Rob Hornstra and writer and filmmaker Arnold van Bruggen will create a 21st century time piece on the European Heartland. Hornstra and van Bruggen see Europe on the eve of drastic change. Populism and authoritarianism are on the rise, ghosts from the past seem to return.

The photographer Henri Cartier-Bresson published his book ‘Les Européens’ in 1955. He looked beyond nationalism or local customs in the individual countries. He sought evidence for a greater identity, a European parable shared by the people and the landscape. More than sixty years later, Hornstra and van Bruggen share this ambition. It’s time to come up with a new version of The Europeans.

‘Our Ancestral Home’ is the story of a stunningly beautiful region of Europe where the locals cherish their traditions, speak a mysterious language and pass down the picturesque houses and farms from generation to generation. That’s how it has always been. But tourists and wealthy urbanites have now discovered the region, and the original inhabitants are succumbing to the lure of the exorbitant amounts that outsiders are willing to pay for a rural retreat. “We have sold our country,” activists lament. But who can resist the laws of capitalism?

Text in English and French.

Note: different special edition print shown in video.



Special edition of 120 signed and numbered copies only with a signed 170 x 210 mm archival print. The same photograph is also displayed on the front cover.

• The Europeans 2022
• Hardback, 1st edition
• New

The Europeans is a portrait of modern Europe. Traveling from region to region and from theme to theme in this multi-year project, photographer Rob Hornstra and writer and filmmaker Arnold van Bruggen will create a 21st century time piece on the European Heartland. Hornstra and van Bruggen see Europe on the eve of drastic change. Populism and authoritarianism are on the rise, ghosts from the past seem to return.

The photographer Henri Cartier-Bresson published his book ‘Les Européens’ in 1955. He looked beyond nationalism or local customs in the individual countries. He sought evidence for a greater identity, a European parable shared by the people and the landscape. More than sixty years later, Hornstra and van Bruggen share this ambition. It’s time to come up with a new version of The Europeans.

‘Our Ancestral Home’ is the story of a stunningly beautiful region of Europe where the locals cherish their traditions, speak a mysterious language and pass down the picturesque houses and farms from generation to generation. That’s how it has always been. But tourists and wealthy urbanites have now discovered the region, and the original inhabitants are succumbing to the lure of the exorbitant amounts that outsiders are willing to pay for a rural retreat. “We have sold our country,” activists lament. But who can resist the laws of capitalism?

Text in English and French.

Note: different special edition print shown in video.

Special edition of 120 signed and numbered copies only with a signed 170 x 210 mm archival print. The same photograph is also displayed on the front cover.

• Twin Palms 2015
• Hardback, 1st edition
• NEW

The images in Tones of Dirt and Bone were made between 2004 and 2006, with a Polaroid camera and Time Zero film. Brodie used the characteristics and limitations inherent to this type of camera and film to his advantage. The portraits he made are further enhanced by the peculiar color palette of the film. Due to the restriction of manual focus and expensive film, that came only ten sheets to a box, each image feels deliberate and precious.

First edition of 3000 copies.

• Dewi Lewis 2022
• Hardback, 2nd printing
• NEW

John Alinder, son of a farmer, was born in 1878 in the village of Sävasta, Altuna parish, in Uppland, a province in eastern central Sweden. Alinder remained in the village all his life. He chose not to take over his parents’ farm and instead became a self-taught photographer and jack of all trades. He was a music lover, holder of the Swedish agency for the British record label and gramophone brand His Master’s Voice. For a time he ran a country shop from his home, and he even operated an illicit bar for a while. From the 1910s to the 1930s he portrayed the local people, the landscape around them and their way of life. He often photographed them in their homes and gardens, using the technology of the time, glass plates. These he developed in a small darkroom he had built and then made the prints in the sunlight

The Alinder collection was “discovered” in the 1980s when a curator found over 8,000 glass plates stacked away in a library basement. Children placed on chairs, people perched in trees, labourers, confirmation candidates and old ladies; often depicted against a background of foliage and sprawling greenery penetrated by sunlight. Alinder’s portraiture allows for the magic of chance, both liberating and defining the subjects. Often they are looking straight into the camera. As if they can see us. As if their gaze can travel the hundred years or so that lie between their time and ours. As if they were saying, “You are alive now, but we were once alive.”

This book shows Alinder’s portraits for the first time. Published in collaboration with Upplandsmuseet and Landskrona Foto, it coincides with the launch of the first major exhibition of his work. He is a unique portrait photographer whose work can match other acknowledged photographers from the same period, such as Gertrude Käsebier, Mike Disfarmer or August Sander, and whilst he worked within the confines of his own small village, it is clear that such an original and skilled photographer deserves to be showcased to a broader, world-wide audience.

2nd printing.

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

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

Signed copy.

• Stanley Barker 2022
• Hardback, 1st edition
• New

While at grad school in the early 1970’s Henry Horenstein would attend Speedway races, in New England to see his brother in law compete. In front of his camera the drivers would fly around the track in beat-up cars customised for racing at break neck speeds in the hopes of small town glory. 

Hornstine’s joyful images present us with a slice now of what the world of motor racing looked like then, before racing became big business, as it slowly morphed into Nascar - the worlds fastest growing sport. 

“I was still in grad school and I was looking for subjects. There had to be good pictures there for a wanna-be historian-with-a-camera. What better than an old-school sport that would certainly be extinct one day? I’m still waiting. My brother-in-law Paul raced stock cars—old. Paul’s cousin Dickie Simmonds owned the local Gulf station and modified the junkers that Paul drove at places like the Seekonk Speedway (Seekonk, MA) and the Thompson Speedway (Thompson, CT). Paul and Dickie had friends in low places.” - Henry Horenstein

Out of print - final copy.

• Charcoal Press 2022
• Hardback, 1st edition
• New
  

From Where Loss Comes is an unblinking look at how sacrifice and belonging are deeply rooted in the human experience.

Sixty photographs and close to 9,000 words consider a pain and suffering that is private, sacrificial, and yet rattles against values that are thought of as being inalienable — our fundamental human rights.

It is a story of the root causes of female genital cutting and mutilation (FGM/C). The practice presents a tragic dialectic. By submitting to a personal loss, a woman may be assured of membership in a community. Her alternative is to remain intact and enter into exile. It is an impossible choice.

For this work, Pradip Malde (Tanzania, 1957) returned to his birth country after an absence of forty-six years. WITH Sarah Mwaga, founder of the Anti Female Genital Mutilation Network (AFNET), he traveled more than 3,000 miles over three years, visiting remote communities to converse with and to photograph activist women (victims of FGM/C), the sacred sites where these rituals take place, and the cutting tools used by ngariba (Swahilli for “circumcisers”) who have renounced the practice.

Malde received a John Simon Guggenheim Foundation Fellowship in 2018 to complete the project. This book is dedicated to the life and work of Sarah Mwaga, who passed away in 2021 just as the book was at its final stages of production.

14"x 10" beautifully printed Swiss-bound hardback.

• RRB 2022
• Hardback, 1st edition
• New

In 1991, Krass Clement travelled to Ireland at the invitation of the Tyrone Guthrie Centre, a trip which resulted in Clement’s best known publication Drum. This work, shot in a single evening on just three and a half rolls of film, has typified Clement’s work ever since. Clement works quickly, moving through spaces as a visitor and an observer, working as unobtrusively as possible. 

Clement spent several  weeks in Ireland applying his philosophy of process to each of the places he visited, most notably Dublin, two hours South of Drum village, and published by RRB Photobooks in 2017, and Belfast, this time two hours to the North, and published now for the first time.

Clement’s process remained the same for his time in Belfast, he moved through the city turning his lens on the faces and landscapes he found there; the children going to school, the shop fronts and the windows of private homes, the moments of open space between buildings. Yet in Belfast, the mood is different, not by design or by a change in approach but by the nature of the subject. Belfast in 1991 had seen decades of conflict, the ceasefire of 1994 still some years away, which, coupled with the decline of the ship building industry and economic policy of the later 20^th Century had left great areas of Belfast in urgent need of regeneration. British soldiers wait in the front yards of private homes, children play in derelict-looking streets, Clement moves through them and documents without making judgement; he is not a journalist looking for an angle or a conflict photographer seeking to expose the truth on the ground.

In Belfast, Clement revisits his work over 30 years on, gathering 114 unpublished images and carefully placing then in sequence, offered without caption or comment. Clement’s work invites the viewer to take his place, to spot the lone figure walking through the scene, and provides space for the photographs to be read.

• 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.

• Twin Palms 2022
• Hardback, 1st edition, 304p
• New

For the past twelve years, Stacy Kranitz has been making photographs in the Appalachian region of the United States in order to explore how photography can solidify or demystify stereotypes, and interpret memory and history in a region where the medium has failed to provide an equitable depiction of its people. Rather than reinforcing conventional views of Appalachia as a poverty-ridden region, or by selectively dwelling on positive aspects of the place and its people to offset problematic stereotypes, this work insists that each of these options are equally problematic ways of looking at place.

This work does not attempt to illustrate a certain type of injustice in the hope of remedying it. Instead, Kranitz has come to Appalachia to open up a new kind of narrative, one that examines our understanding of culture and place in a manner that is poised between notions of right and wrong.

As the narrative of As it Was Give(n) To Me unfolds, the book provides an intimate perspective on a region forced to transition away from coal extraction as its dominant source of economic stability, an opioid epidemic that has wreaked havoc on communities, and the role of Appalachia in a politically divided nation.

• GOST 2022
• Hardback, revised edition
• New

‘In 1989, I discovered them in my own back yard, landhungry and dirt poor. They came looking for work in the vegetable fields and fruit orchards of Lambton, Essex, Kent and Haldimand-Norfolk Counties. I liked them a lot because they seemed otherworldly and therefore completely vulnerable in a society in which they did not belong and for which they were not prepared. Because I liked them, they liked me, and although photography was forbidden, they let me photograph them. That’s all there was to it.’

• the(M) éditions / IBASHO 2022
• Softcover, 1st 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

First edition with cover as shown.

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

• TBW 2022
• Hardback, 1st edition 2nd 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. 

Out of print 2nd printing (blue paper edges)


(Signed first printing shown in video - contents are identical)

• 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.

• Akio Nagasawa 2022
• Softcover, reprinted edition, 352p
• New

A complete reproduction of the photobook Daido hysteric no.4 published by Harajuku fashion brand 'HYSTERIC GLAMOUR' in 1993

Signed and numbered edition of 900 copies. 365 x 315 mm, 352p.

• 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 2022
• Hardback, 1st edition
• New

A week before the global COVID-19 pandemic took hold in 2020 the Australian artist Trent Parke found himself on a whirlwind road trip across India. 

The frenetic photographs in Parke's new book Cue the Sun were all produced from fast moving vehicles, of the outside world as it rushed by, almost as if in a dream. 

The people rendered at 1000th of a second, are working through the night, pushing towards a smartphone driven modernity. 

“I kept feeling as though I could have been in any number of other countries at a given time. Though the windows I felt the past and future collide. The contradiction, beauty, chaos and hope. Humanity on the move.” Trent Parke

This unique artist book is contracted as a unique, 20 meter long, double printed concertina, taking you on a fantastical journey through the kinetic Indian night to the breath-taking dawn. 

Out of print, final few sealed copies.

• 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.

• Setanta 2022
• Softcover, 1st edition, 180p
• New

Black Country was made by Gilden in 2013 whilst on commission for Multi-Story projects. During his three week stay Gilden documented overlooked people, factories and homes in the Midlands in order to unveil and study the changing landscape of post-industrialised Britain.

Gilden focused on the neglected and marginalised communities; his goal was to shine a light not only on people who are often ignored in day to day society, but also on the trades and ideals that are slowly fading into history in the UK.

The design of his new monograph directly draws upon the themes which Gilden investigated whilst producing the work. Bound using stainless steel screws to appear like a factory manual, the book is presented in a beautiful cover printed with silver on black paper.

Screwpost bound softcover, 57 images with 6 gatefolds.

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

• Another Place Press 2022
• Softcover, 1st edition with print
• New

"The island is a living organism.
Something eternally alive.
Even in the most impenetrable darkness."

Dennis Gade Kofod

These photographs were captured on the Danish island of Bornholm in the winters of 2020-2021, where Anne Lass resides. With the project, she aims to put more focus on life out of the high season and explore what happens after dark - both inside homes and outside. The works include staged portraits of friends and neighbors, still images of nature and details of towns. The project has a documentary starting point and describes life on Bornholm in our specific time - two winters characterized by pandemic.

The images are also a visual study of artificial light situations, how light and shadows shapes people and nature and what mood the light conveys. Only present light sources have been used throughout. The combination of artificial light and the settings gives the feeling of film-stills with references to Twin Peaks, a series from the nineties which triggered Anne's own imagination about life and people in rural areas.

The narrative is kept very open and invites the viewer to use the works as a projection surface for their own memories and imagination.

Special Edition, limited to 30 copies - each with an A4 limited edition inkjet print signed and numbered by Anne (see image)

• Twin Palms 2010
• Hardback, 4th edition
• New

For Now is the result of filmmaker Michael Almereyda’s year-long search through the Eggleston archives, a remarkable collection of heretofore unseen images spanning four decades of work by one of our seminal artists. Unusual in its concentration on family and friends, the book highlights an air of offhand intimacy, typical of Eggleston and typically surprising.

Expanded 4th edition - this edition contains 8 additional photographs that do not appear in previous editions

• Twin Palms 2007
• Hardback, 2nd edition
• New

"William Eggleston’s latest monograph features photographs taken during the early 1970s using a large-format 5 x 7 camera. The book includes imagery typical of the Eggleston oeuvre—streetscapes, parked automobiles, portraits of the strange and disenfranchised. It also offers never-before-published photographs taken in the nightclubs Eggleston frequented. The portraits are offhand and spontaneous but insistently stark; their brutality is heightened by the absence of color. They have a leveling effect—whether biker or debutante, the people are clearly denizens of the same realm."

—Walter Hopps

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

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

With essays by Wendy Ewald, Abigail Winograd, and Edgar Garcia.  

• Stanley Barker 2022
• Set of 12 cards in folder, 1st edition
• New

This new limited edition object, includes twelve photographs produced by photographer Robbie Lawrence in his home nation of Scotland over the past five years. Together they form a meditation on the relationship between people and place, and create an affirmation of life north of the border against an increasingly fraught political landscape across the UK.

Released to coincide with an exhibition at Stills Gallery, Northern Diary draws inspiration from classic Valentine’s sets that in years gone by, one would purchase while away from a loved one to attempt to share an experience of their travels.

“I have never thought of myself as a Scottish photographer. But a growing interest in my cultural heritage led me to begin documenting my trips home to see my family. The phrase Northern Diary appeared several times in my notebooks over the years and became a kind of totem for the work.” - Robbie Lawrence

Embossed case containing 12 heavy weighted cards, size 200x150mm.

Out of print, now rare set.

• Jiazazhi 2022
• Softcover, 1st edition, 352p
• New

In 2017, when we made photobook White Night for Feng Li for the first time, he brought plenty of photographs to our studio. We were immediately shocked by his color photos. As a result, the black-and-white photos were put aside at that time. But he told us that the black-and-white was the starting point of White Night. From then on, the sense of “white night” comes to be his muse. “This is the way of the world, and it is a state of uncertainty”, he says. From that moment, he always maintains an instinctive viewing and a direct way to shoot.

Despite the difference in color between White Night and Good Night, there is still Feng Li’s way of seeing this world. He defines these photos are monochromatic instead of black-and-white in the traditional sense. In his eyes, black is more than just black. To him, this book is a farewell, farewell to the good old times.

• Photo Editions 2022
• Softcover, 1st edition, 92p
• New

The coastline is an intrinsic part of British identity. Associated with freedom and escape, coastal towns have always drawn those seeking respite from landlocked cities, with seaside resorts serving a primary purpose: to entertain. In Silent Coast Rob Ball shows a different reality. Travelling the length of the English coastline, he captures the structures built along the edge – and in the process reflects on their vulnerability in the face of change.

Out of season these coastal resorts seem far removed from the fun they were designed to offer, revealing carefully manufactured environments, fortified by borders and surveillance. Silent Coast exposes the fragility that exists beneath the facade, a coast open to shifting economic forces and rapid environmental change. Devoid of people, the monochrome scenes reflect on the homogeneity of the coast; without place or time markers, resisting identification yet remaining deeply familiar.

Swiss-bound, tritone offset printed softcover, 28x24cm.

A special edition is available here.

• Photo Editions 2022
• Softcover, 1st edition, 92p
• New

The coastline is an intrinsic part of British identity. Associated with freedom and escape, coastal towns have always drawn those seeking respite from landlocked cities, with seaside resorts serving a primary purpose: to entertain. In Silent Coast Rob Ball shows a different reality. Travelling the length of the English coastline, he captures the structures built along the edge – and in the process reflects on their vulnerability in the face of change.

Out of season these coastal resorts seem far removed from the fun they were designed to offer, revealing carefully manufactured environments, fortified by borders and surveillance. Silent Coast exposes the fragility that exists beneath the facade, a coast open to shifting economic forces and rapid environmental change. Devoid of people, the monochrome scenes reflect on the homogeneity of the coast; without place or time markers, resisting identification yet remaining deeply familiar.

Swiss-bound, tritone offset printed softcover, 28x24cm.

Slipcased special edition of 25 signed copies with a 10"x8" signed and numbered archival pigment print on Hahnemule Photorag.

See the alternative special edition here.

• Photo Editions 2022
• Softcover, 1st edition, 92p
• New

The coastline is an intrinsic part of British identity. Associated with freedom and escape, coastal towns have always drawn those seeking respite from landlocked cities, with seaside resorts serving a primary purpose: to entertain. In Silent Coast Rob Ball shows a different reality. Travelling the length of the English coastline, he captures the structures built along the edge – and in the process reflects on their vulnerability in the face of change.

Out of season these coastal resorts seem far removed from the fun they were designed to offer, revealing carefully manufactured environments, fortified by borders and surveillance. Silent Coast exposes the fragility that exists beneath the facade, a coast open to shifting economic forces and rapid environmental change. Devoid of people, the monochrome scenes reflect on the homogeneity of the coast; without place or time markers, resisting identification yet remaining deeply familiar.

Swiss-bound, tritone offset printed softcover, 28x24cm.

Slipcased special edition of 25 signed copies with a 10"x8" signed and numbered archival pigment print on Hahnemule Photorag.  Less than 10 remain of this print.

See the alternative special edition here.

• Chose Commune 2022
• Softcover, 1st edition
• Near fine - see below

In 1973, Seiichi Furuya left Japan for Europe on board of the Trans-Siberian train. He arrived in Austria where he first settled in Vienna, before moving to Graz where he met Christine Gössler in 1978. From this day forward, he started photographing her, in the intimacy of their home in Graz but also during their travels abroad — to Germany, England, Italy…and Japan, their most distant destination. Christine studied art history and worked for the radio, making documentary programs. After the birth of their son in 1981, she became increasingly involved in the world of theatre. As she was devoting herself to her acting lessons, she started to show signs of schizophrenia. Christine committed suicide in East Berlin in 1985.

Since Christine’s disappearance, Furuya has never stopped revisiting his archive. This initiative was presented in a series of five books entitled Mémoires, published between 1989 and 2010, and in Face to Face, published by Chose Commune in 2020. In 2018, Seiichi Furuya found super 8 film rolls in his attic. One of them was a recording of the very first trip he made with Christine, in Bologna in 1978 a few weeks after they had met. As an attempt to remember a trip he had completely forgotten about, Seiichi Furuya started extracting stills from the film, frame by frame. These images compose his new series First Trip to Bologna 1978. Together with this series, in the same book, we are releasing a newly edited version of Last Trip to Venice 1985, which was first self-published in 2002. This series presents photographs from Seiichi and Christine’s very last trip, before Christine took her own life.

Signed to a sticker.

Light damage to the cover - see photo example.  Otherwise fine.

• Stanley Barker 2022
• Hardback, 1st edition
• New

Mimi Plumb used to live on the edges of the city where the rents were cheap. Nearby, on the summit of the hill, were folded layers of radiolarian chert, the fossilized remains of microscopic creatures called radiolaria. A large crevice in the hillside was a reminder of the ever-present threat of an earthquake. 

Warm Water Cove, along the bay, was a spectacle of tires and abandoned cars. One day Plumb photographed the chimney of the power station above the fiery destruction of the 25th Street Pier. She watched planes flying over the city dump of cardboard hillsides. 

“Downtown buildings on the far-off horizon reminded me of Oz. My cat, Pearl, kept watch on the rooftop of my flat.” - Mimi Plumb 

Plumb’s life was marked by nights out dancing at the Crystal Pistol in the Mission, or listening to a punk polka band at the Oasis. Neil, the clarinet player, wore faux leather naugahosen, with spikes protruding from his head. Sometimes they played pool at Palace Billiards. At the Exotic/Erotic Ball, a bird man and a nurse hid in the corners. A steely-eyed silver man in his tuxedo stared back at Plumb from behind his mask, the camera flash shining a light on him.

Plumb’s days were spent visiting abandoned schools and derelict gas stations, a billboard claiming ‘dangerously close to homemade.’ 

To Plumb the magical clanging of the San Francisco cable cars was a world away, and the idealism of the 1960s seemed long gone. The Golden City of San Francisco, fraying at its edges, showed the growing chasm between the rich and poor. 

The pictures in The Golden City were made between 1984 and 2020. 

Out of print, rare title.

• 1605 Publishers 2022
• Hardback, 1st edition
• good - see below

'Beauty's counter weight
Dark eyes falling, gesture, hands.
Infinitely joining key & lock & later maybe man.
Newton's only perfect proposition quietly realized.
Simply said: the true & trembling task.'

"After Beauty" is inspired by a poem of an artist and a poet Walter Fields, which also begins the book. According to Sullivan, it's more than just beauty that makes someone beautiful, it's the person's character and the attitude towards life.

"There is something magical about publishing that somehow makes the work more real. I love the conversations between the images on a printed page and the stories that unfold as you move through a book. I am so thrilled to share the pages of this book with some of Walter Fields' poetry..." - Maura adds.

Edition of 500 copies.  Signed to a bookplate.

Small dent to top edge of cover and first few pages - see photos.  Otherwise as new.

• Mack Books 2014
• Softcover, 1st edition
• New

Roe Ethridge’s practice is that of a restless maverick and his constantly evolving visual sensibility has spawned a myriad of copyists in what has become known as ‘the new school of synthetic photography’.

In this his latest artist book, Ethridge conflates a rich array of photographic tropes, combining personal documentary images made in western Palm Beach County, his mother’s childhood home, with surreal collage works, and a series discarded from a Chanel fashion shoot. These are interwoven with what appears to be a carefully directed scene depicting a teeth-white Durango SUV sinking into and then being retrieved from a canal. The clash of visual styles, histories and meaning establish a flatline of dissonance underscored by the touchline admonition of the neon title - SACRIFICE YOUR BODY.

Ethridge's storytelling invokes a sense of discomfit akin to David Lynch’s film-making, a lucid undermining of veracity and morality and the ingrained materiality that underpins American life.

Sealed.

• Self-published 2021
• Softcover, 1st edition, 358p
• New

Thomas Dworzak spent almost a decade between 2004-2013 following the Georgian military as it fought in the wars in Iraq and Afghanistan. His new book “Khidi” – The Bridge, shows his photos as a feature movie script, written by Dutch writers and directors Ineke Smits and Jeroen Stout. It follows a fictional unit as it defends a bridge from insurgents “in a war that maybe isn’t theirs.” The book’s release, unintentionally, coincided with America’s much-debated withdrawal from the country, closing a chapter of US intervention in the region.

Signed copy.

• Deadbeat Club 2022
• Softcover, 1st edition
• New

In Snow, Vanessa Winship’s latest monograph, we see that what’s not entirely comprehended is far more compelling than what is well understood. Perhaps that’s a truism, but it’s one that is rejuvenated and refreshed by each new and peculiar telling. This book is just such a revelation.

The origins of Snow lie in a commission (this from an artist who very rarely works on assignment, although Winship says she often approaches things “as if I have somehow been sent by someone”), but the photographer’s interest in what she found soon eclipsed anything that could properly be thought of as a “story.” So she made repeated trips to a particular landscape – and, notably, a particular season – in order to fathom what it was that had disconcerted her in the initial making of these photographs.

Winship is well known and highly regarded for her intimate portraits, but in Snow we experience a noticeable physical distance between the photographer and her subjects. What little the viewer can possibly grasp onto is the subtle repetition of the humblest elements of the earth. Collectively, the pictures come to embody the artist’s struggle to connect and to make sense of this place while ultimately acknowledging that she, like us all, is nothing but a stranger in this world.

This estrangement is echoed in a piece of fiction – by the poet and novelist Jem Poster – that’s woven through Snow. It tells of a female portrait photographer and her recalcitrant subject. But this character is not Winship, and the sitter is not someone in a Winship photograph. Poster’s is a fiction based on an imagistic construct – another beguiling layer in a complicated book that seeks always to expose the slipperiness of narrative and to destabilize easy readings. 

Hand-signed to the title page.

• Deadbeat Club 2022
• Softcover, 1st edition
• New

In Snow, Vanessa Winship’s latest monograph, we see that what’s not entirely comprehended is far more compelling than what is well understood. Perhaps that’s a truism, but it’s one that is rejuvenated and refreshed by each new and peculiar telling. This book is just such a revelation.

The origins of Snow lie in a commission (this from an artist who very rarely works on assignment, although Winship says she often approaches things “as if I have somehow been sent by someone”), but the photographer’s interest in what she found soon eclipsed anything that could properly be thought of as a “story.” So she made repeated trips to a particular landscape – and, notably, a particular season – in order to fathom what it was that had disconcerted her in the initial making of these photographs.

Winship is well known and highly regarded for her intimate portraits, but in Snow we experience a noticeable physical distance between the photographer and her subjects. What little the viewer can possibly grasp onto is the subtle repetition of the humblest elements of the earth. Collectively, the pictures come to embody the artist’s struggle to connect and to make sense of this place while ultimately acknowledging that she, like us all, is nothing but a stranger in this world.

This estrangement is echoed in a piece of fiction – by the poet and novelist Jem Poster – that’s woven through Snow. It tells of a female portrait photographer and her recalcitrant subject. But this character is not Winship, and the sitter is not someone in a Winship photograph. Poster’s is a fiction based on an imagistic construct – another beguiling layer in a complicated book that seeks always to expose the slipperiness of narrative and to destabilize easy readings. 

Unsigned.

• Mack Books 2022
• Hardback, 1st edition with print
• New

• Kodoji Press 2021
• Softcover, 1st edition, 480p
• New

The Last Survivor is the First Suspect is at once a celebration and a requiem. The project, captured between 2005 and 2009 by photographer Nick Haymes, is a record of a drifting community of young friends based mainly between two distinct geographic points: Southern California and Tulsa, Oklahoma. The book's narrative merges a sense of joy in documenting burgeoning friendships and bonds, and a looming sense of dread that would ultimately culminate in a series of tragedies.

Weaving throughout Haymes intimate photographs are a series of digital screenshots which Haymes has identified as key to this moment in time, which offer the viewer a secondary narrative of engagement. Social media was still relatively young and Haymes became acutely aware of a new nodal sense of communication between these distinct groups of friends. Platforms such as MySpace, YouTube and online message boards engendered a sense of community by enabling connection, while also setting new and impossible standards and expectations. Diligently collected, these various forms of communication between the characters frame a foreboding.

In Haymes’ own introduction to the book he accounts how his camera allowed him to compensate for a sense of crippling shyness developed during his teenage years. ’I picked up a camera and hid, discovering I could once again be near people, intimate with them, without having to engage,’ he writes. To create this exhibition and publication, the artist has returned to a body of pictures, piecing together what happened to these people for himself. Here, Haymes invites us to form a contemporary engagement with this specific historic moment, where things are both different and the same in equal measure. L.P. Hartley famously opened his coming of age opus The Go-Between ’The past is a foreign country; they do things differently there.’ The Last Survivor is the First Suspect shows this sentiment with remarkable clarity.

Edition of 700 copies.

• 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.

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

‘There is so much I can’t say in my photographs, though it’s all there, just below the surface, if you know what to look for.’

In Look at me like you love me, Jess T. Dugan reflects on desire, intimacy, companionship, and the ways our identities are shaped by these experiences. In this highly personal collection of work, Dugan brings together self-portraits, portraits of individuals and couples, and still lifes, interwoven with diaristic writings reflecting on relationships, solitude, family, loss, healing, and the transformations that define a life. Dugan has long used photography to understand their own identity and to connect with others on a deeper level. Their process of working slowly and collaboratively discloses moments of heightened psychological intensity in images that transcend the specifics of a particular person or place, engaging with what it means to know oneself alongside and through others.

Using medium-format cameras and natural lighting, Dugan employs traditional photographic practices to depict these contemporary subjects, resulting in images that both evoke and reimagine the conventional dynamics of art-historical portraiture. Brought together here, these photographs function as an extended, oblique self-portrait as much as a catalogue of friends and loved ones. Through a diffuse but studied sequence of image and text, Look at me like you love me brings our attention to one of the most powerful and complex forms of intimacy – that of seeing and being seen.

The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.

• Trespasser 2021
• Softcover, 1st edition
• New

Languor is an ode to NYC’s Central Park. With the pandemic at hand and the history of Seneca Village in mind, Smallwood created photographs of tentative comfort and appreciation as an examination of nature, home, tranquility, and escape.

Edition of 1500 copies.  11.5x14 inches. 56 pages. 35 tritone plates on uncoated paper.

• Benrido, Inc 2021
• Set of 6 multi colour collotype prints
  
• New

As part of Benrido’s mini-portfolio series, Saul Leiter: Selected Works brings together a selection of well-known and well-loved images by American photographer Saul Leiter (1923 – 2013). Within, a selection of six images have been chosen from previously published bodies of work such as Cap, 1960, Driver, 1950s and Walk with Soames, 1958. This special portfolio was made in parallel to the Exhibition “Forever Saul Leiter” held at Tokyo’s Bunkamura Museum in January – March 2020. 

Set of 6 multi colour collotype prints printed by Benrido, Inc.

Print Size: 25.4 x 20.3cm. Case Size: 20.6 x 25.8 x 0.8cm


In the 1880s, the collotype printing process was introduced to Kyoto and in 1905 Benrido began producing collotypes. Collotype is one of the earliest forms of printing techniques and was invented in France in 1855 by Alphonse Poitevin as a method for photographic fine art printing.  Due to the high level of print and archival quality, it has since been used primarily as a way to reproduce and preserve Japan’s National Treasures and cultural properties. Today Benrido Collotype Atelier remains as one of only a few studios left in the world capable of producing fine colour collotype prints.

Back in stock.

• Mack Books 2022
• Hardback, 1st edition, 320pp
• New

Embossed linen hardcover with front and back tip-in, 17 x 24 cm

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

• Akio Nagasawa 2022
• Softcover, revised edition, 210 x 297 mm
• New

This is the definitive edition of my "Tales of Tono"

– Daido Moriyama

After its initial publication by Asahi Sonorama in 1976, "TALES of TONO" was reissued in different versions by Kobunsha in 2007, and by Tate Publishing in 2012. However, these were paperback, pocket size editions, which I found somewhat unsatisfactory with regard to enjoying the pictures. For this new, re-edited version, we used larger format, and included 49 previously unpublished photographs that were not included in the first edition.

– from the afterword by Akio Nagasawa

Signed and numbered edition of 600 copies, with a silkscreen-canvas cover.