British Photobooks

• 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

Due in stock early May, available for pre-order now.

• Imagebeeld 2024
• Hardback, 1st edition, 104p
• New

The pond at Upton Pyne formed at the site of an eighteenth-century manganese mine.

Located on land owned by a local family who were involved in the mining venture, the first excavations began in March 1788. It was originally an open-cast mine employing just a few men who worked with ladders, picks, shovels, horses and carts. The quality of the ore in the load was rich, and once refined it was shipped from Exeter Quay to London and Bristol, where it was used predominantly in the production of glass. After a bright start the output of the mine steadily diminished and by 1823 it had ceased production, leaving a large pit, shallow on the east side near the road and becoming deeper towards the west, where it is overhung by a cliff.

Known locally as ‘The Black Pit’, it gradually filled with water to form a pond. Within living memory the land around the pond had been used to keep the village pigs and to grow vegetables. However, over the years, as so many relics of the Industrial Revolution, it became increasingly derelict, full of discarded household goods, a car, farm and garden waste and fallen trees.

This is a story in three parts. The first two are built around the three-year cycles of the two projects to improve the pond. The third is a short epilogue that places the site in a wider geographic perspective.

The pictures present a collection of histories. Within the broad sweep of time they encompass a thousand years of a large estate on the borders of a city that has since Roman times been a regional capital; the comings and goings of the Industrial Revolution; the decline of agricultural life with the advent of modern farming; and the urbanisation of village life.

Within the span of the six years the pond had risen and fallen, trees had collapsed while others grew, herons and a kingfisher had returned, the roof of the shed adjacent to the pond had fallen in, the collection of farm machinery had grown, and the number of ducks living in and around the pond had significantly increased.

Running as threads through the work are the myths that pervade our imaginations and motivate so many of our actions; and the wonder at what we too might leave behind.

Edition of 500 copies.

Signed copy.

• RRB 2024
• Softcover, 1st edition
• New

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

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

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

Edition of 500 signed and numbered copies.

• 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.

• Mack Books 2024
• Hardback, 1st Mack edition, 320p
• New

First published in 1996 to enormous acclaim, Richard Billingham’s Ray’s a Laugh is one of the most significant photobooks of the turn of the twentieth century, as well as a cornerstone work of the Young British Artists generation. Formed of starkly intimate images of Billingham’s often chaotic parental home under the heavy effects of alcoholism and poverty, the book was produced in the 1990s with editors Michael Collins and Julian Germain. This new edition restores Billingham’s original vision for his deeply personal work for the first time. Including numerous unseen images and a distinct approach to sequencing inflected by Billingham’s training as a painter: it constitutes a ‘director’s cut’ and reintroduces a vital and consistently challenging work for a new era.

This signed edition includes a slip signed by the artist and glued into the inside back cover.

Final signed slip editions.

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

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

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

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

Signed by Vanessa Winship.

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

• Mack 2021
• Hardback, 1st edition
• near fine - see below

The British Isles is an account of thirteen years of life across the United Kingdom, as seen through the lens of Jamie Hawkesworth. In this sprawling sequence of portraits and landscapes, Hawkesworth surveys the characters and terrains that make up the everyday fabric of his home country: schoolchildren and shopworkers, markets and estates, priests and professionals, cities and construction sites.

These photographs chart an alternative history of this eventful period of British history; a period punctuated by austerity, referenda, celebration, and conflict. And yet as much as a historical document this book is an exercise in curiosity, presenting a radically democratising portrait of the United Kingdom in which individuals, buildings and natural scenes are imbued with Hawkesworth's generous and dignifying eye. 

Signed to the title page in pencil.  

Display copy with some small marks to cover - barely noticeable.  See photo example.

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

Cross Road Blues presents a selection of 33 photographs from UK-based Oli Kellett’s iconic series of the same name. Kellett began the project in 2016 during a visit Los Angeles, during which time the United States was literally at a political crossroads. The series evolved naturally from there, eventually taking on a more universal meaning as Kellett continued his work in other countries including Spain, Japan, Brazil and Mexico.

The binding context in each of Kellett’s images is their setting at a crossroads – a familiar place and metaphor for the tension we encounter throughout life. “We live in an era of fake news, political polarization and algorithmic echo chambers,” Kellett explains. “Our experience of the world is fractured as we live out multiple identities on and offline. But crossroads are a democratic place; we all have to wait.”

Kellett’s masterful use of use of natural light and subtle composition lends a cinematic quality to these unstaged scenes. The contrast between the anonymity of urban space and the individuality of  human experience reveals the artist’s deep interest in the human psyche. As the writer and philosopher Nigel Warburton writes in his introductory essay for the book: “The step each person is about to take seems far more momentous than simply crossing a street”.

An admirer of the great American painter Edward Hopper, who famously reflected American life in silent spaces and melancholic moments, Kellett creates mesmerizing photographs of everyday people waiting at crossroads, providing us with a powerful contemporary metaphor.

Oli Kellett’s first monograph, Cross Road Blues is published to coincide with a solo exhibition at HackelBury Fine Art, London. Beautifully printed on a natural art paper and bound in gray cloth over board, with a large tipped-in cover plate, this first printing is limited to 1,000 casebound copies.

• Benrido 2023
• Set of 7 collotype prints
• New

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

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

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

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

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

• Bluecoat Press 2023
• Hardback, 1st edition, 220p
  
• New

Book of the Road celebrates the 50th anniversary of Daniel Meadows’ pioneering 1970s documentary project Free Photographic Omnibus. Driving over 10,000 miles in a double-decker bus, the wild-haired young Meadows spent 14 months mapping the length and breadth of England, photographing 958 people and offering a free print to each of his subjects. Along the way, amongst countless breakdowns, parking tickets and random acts of kindness, he had chance encounters with the likes of Led Zeppelin’s Robert Plant. Meadows’ determination allowed him to assemble all this material into a cartographic census of an evolving nation.

“This country is changing quickly… we might soon forget those interesting relics of the past that are disappearing under the redevelopment of the future.” This future is now here, and Meadows’ pictures remain as relevant as ever. Book of the Road cements the Free Photographic Omnibus as an essential document of 1970s England – an urgent and timeless visual record.

Just 21 years old when he set up the Free Photographic Omnibus, Daniel Meadows is now one of Britain’s greatest documentary photographers. He worked mostly on instinct, and many of his DIY techniques anticipate documentary media’s progress in the following decades. He remembers sewing a tape recorder into an old tweed jacket so that he could photograph while also capturing audio. The original bus – a low-bridge decker from Barton Transport – cost him just £360. Meadows’ subjects collected their free portraits the following day, after he had spent many restless hours developing film and printing in the bus’ makeshift darkroom.

 Book of the Road gives readers the stories behind the photographs, from battles with angry parking attendants, nights of acute loneliness and moments of joy. This mix of images, diary entries and audio transcripts offers a unique commentary into the 1970s social climate – as well as Meadows’ mindset during the project. In Southampton in 1974 he met Florence, a part-time cleaner who he remained close with for five decades, eventually speaking at her funeral. “It was one of the great privileges of my life,” Meadows recalls.

The book offers a survey of English life when modernisation was seeping into everyday values and communities. Cobbled streets in tight-knit parishes and bustling city centres accompany familiar green pastures, but Meadows also takes us behind the curtain at marble competitions, circuses and beauty contests. Throughout, his subjects of all ages and social classes stand proudly for the camera, unaware that they were to become part of history.

• 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.

• Nazraeli Press 2023
• Hardback, 1st edition
• New

In celebration of Michael Kenna’s fiftieth year as a photographer, we are thrilled to announce the publication of Michael Kenna: Photographs and Stories. This gorgeous new monograph, beautifully printed on Japanese Kasadaka paper and bound in custom deep blue cloth, is limited to 2,000 casebound copies. It is published in association with the Center for Photographic Art to coincide with a traveling exhibition opening at their historic Carmel, California exhibition space in November 2023.

Kenna has selected one image for each year beginning 1973, when he enrolled in the Banbury School of Art, and for each subsequent year. Following the “Photographs” section is “Stories,” in which Kenna gives context to each image and considers how it connected to his own life at the time. 

1st printing - in stock now.

• Dewi Lewis 2023
• Hardback, 1st edition, 104p
• New

Redolent with both sadness and hope Things Aren’t Always as Mother Reports is an extended series of colour portraits and landscapes made in the documentary style through which Paul Cohen interrogates the idea of family. It is a tense document about the here and now.

In the knowledge that photography can sometimes reveal what isn’t always apparent, Cohen made his sons the subject of this work in the hope that he might get to know them in a different way. By engaging in the ritual of photography with their father, Cohen’s sons become performers, enacting the traits of boyhood. The pictures raise questions in the mind of the viewer as to what these boys are about; what they are thinking, feeling and why?

Keen to observe how the place and time in which they live affects them Cohen pays close attention to how they navigate their world and where they sit within it. These pictures provide a glimpse into the boys. They also communicate the concerns of the photographer. Though nothing is explicit or explained, there is vulnerability here; happiness is always on the edge of being lost.

The cumulative effect of these pictures transcends a father’s deeply personal experience to communicate something more universal about boys growing up in the UK today.

Signed copy.

• EXB 2019
• Hardback, 1st edition
• New

• Benrido 2023
• Set of 7 collotype prints
• New

• Setanta 2023
  
• Hardback, 1st  edition
• New

10 Miles West by Josh Edgoose is a document of the photographer’s home and surrounding community. Containing over ten years of photographs of South-West London, 10 Miles West started with images Edgoose captured during his daily commute. Over the subsequent years they became a diary and a growing archive of life in these communities.

Through the use of colour, humour and an empathetic approach to his photography, Josh delves into the intimate stories of the people, the landscapes and the untold narratives that make these lesser-known London boroughs so special, making us join in his connection with his local area. 

• Self 2020
  
• Softcover, 2nd edition
  
• New
  

No System is back!

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

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

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

Signed copy.

• GOST 2023
• Hardback, 1st edition
• Imperfect see below

Over the course of 15 years, Magnum photojournalist Ian Berry travelled the globe to document the inextricable links between landscape, life and water. This new book brings together a selection of the resulting images which collectively tell the story of man’s complex relationship with water—at a time when climate change demonstrates just how precariously water and life are intertwined.

• GOST 2023
• Hardback, 1st edition
• New
  

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

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

Signed copy 

• GOST 2023
• Hardback, 1st edition
• New
  

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

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

• Setanta 2020
• Hardback, 1st edition
• As New
  

Sleepless in Soho is Joshua K. Jackson’s debut monograph.

For three years, Jackson walked through the lamp-lit and neon-filled streets of Soho, turning to photography initially as a way to escape the frustrations of insomnia.

Jackson’s work from this period, reveals the complex and intense atmosphere in London’s best known entertainment district — observing the juxtaposition between the Soho of today and the faded character of its past.

'Guided on by the flickering of neon lights
I know well the hours filled with sleepers dreams
I search them peacefully as I journey through the nights.'

(An extract from Sarah Tucker’s poem included in the book)

The photographs were made between January 2017 and December 2019.


Signed copy.  

Spine a little skew and faint marking to black sections of cover (common to all copies of the books)

• Photo Editions 2023
• Hardback, 1st edition
• New

The photographs in Folly, the debut photobook from Jamie Murray, were born from a series of conversations with individuals who have been incarcerated. Discussions of what had led to punishment, navigating the prison environment and the transition to freedom flowed towards philosophy, ideas of discipline and punishment, intertwined with questions around natural order and spirituality. The resulting allegorical photographs in Folly refer, both directly and indirectly, to what was said and how these conversations affected Murray.  

Murray first began speaking to the individuals in 2017 in an attempt to understand more about their experience with the aim of making a documentary series within a prison. Most had been in numerous prisons over long periods of their life, often multiple times, and Murray hoped to document these meetings and brought along his camera. Some individuals would allow portraits, and others not. As the conversations evolved, so did the project, as the encounters led him to reflect upon his own life, choices and history with meandering thoughts and emotions relating to what had been discussed.

The pictures in the book begin with an imposing folly - an ornamental structure of no purpose, both foolish and excessively costly. The images that follow, a pile of coins glistening in the undergrowth, gathered crows, a fish gasping for breath outside water, rows of butterfly pupae, interweaved with haunting portraits of some of the individuals evoke a fractured narrative, a rumination on these conversations and the relationship between man and nature, co-existence and interference. 

A special edition with signed print is available here.

For trade enquiries, please get in touch here

• Photo Editions 2023
• Hardback, 1st edition with print
• New

Special edition of 100 signed and numbered copies with a signed print - a choice of 4 prints is available, 25 of each - choose your print above.

Signed and numbered C-Type lustre prints, size 11” x 9”, hand printed by the artist and supplied in an archival conservation envelope.

The photographs in Folly, the debut photobook from Jamie Murray, were born from a series of conversations with individuals who have been incarcerated. Discussions of what had led to punishment, navigating the prison environment and the transition to freedom flowed towards philosophy, ideas of discipline and punishment, intertwined with questions around natural order and spirituality. The resulting allegorical photographs in Folly refer, both directly and indirectly, to what was said and how these conversations affected Murray.  

Murray first began speaking to the individuals in 2017 in an attempt to understand more about their experience with the aim of making a documentary series within a prison. Most had been in numerous prisons over long periods of their life, often multiple times, and Murray hoped to document these meetings and brought along his camera. Some individuals would allow portraits, and others not. As the conversations evolved, so did the project, as the encounters led him to reflect upon his own life, choices and history with meandering thoughts and emotions relating to what had been discussed.

The pictures in the book begin with an imposing folly - an ornamental structure of no purpose, both foolish and excessively costly. The images that follow, a pile of coins glistening in the undergrowth, gathered crows, a fish gasping for breath outside water, rows of butterfly pupae, interweaved with haunting portraits of some of the individuals evoke a fractured narrative, a rumination on these conversations and the relationship between man and nature, co-existence and interference. 

The regular edition of Folly is available here.

• Dewi Lewis 2022
• Hardback, 160p
• New

Originally published in 1983 by Jonathan Cape, Sirkka-Liisa Konttinen’s Byker is recognised as a seminal body of work and a modern classic of photography. Konttinen documented a close-knit community in Newcastle in an area that was her home for seven years and which was destined for wholesale redevelopment. The work gained national recognition as a key photographic account of a rich working class culture on the eve of its destruction. The book was selected by The Observer as one of the top ten books of the year.

Sirkka-Liisa Konttinen is a Finnish-born photographer and filmmaker and a founder member of the Amber Film & Photography Collective and the Side Photographic Gallery based in Newcastle upon Tyne. Along with Byker, her other long term projects in photography and film include Writing in the Sand, Letters to Katja, The Coal Coast, Song For Billy, Step by Step, Keeping Time, Byker Revisited, Today I'm With You and Still Here.

In 2011 Konttinen’s photography and Amber’s films were inscribed in the UNESCO UK Memory of the World Register as being of outstanding national value and importance to the United Kingdom

• Setanta 2023
• Hardback, 1st edition, 156p
• New

A Country Kind of Silence continues my internal exploration of feelings surrounding my sense of identity. A sense that belonging isn’t as unattainable as it is hard to grasp. I still hesitate when anyone asks me where I’m from, no doubt a question owing to my unusual accent. England has been my adoptive home for some time now, 26 years to be exact. However, moving from where my heart is rooted has had a profound effect on me. Feelings of unease and uncertainty have always been with me and many of these are tied to the constant changes I see in my surroundings; these developments have often mirrored a change in myself as time’s gone by. 

I wanted A Country Kind of Silence to be a response to this change – of perception and my personal sense of self. I want to celebrate this transitional period with images that show a quiet calm, a moment of silence capturing various tropes of the past before they are lost and forgotten. I associate these visual cues with my adopted sense of identity – I am always in search of cultural symbols to anchor my identity to.

I often think of my relationship to the images I shot, both the ones that were selected and the ones that were not, and how they each help me understand the place I’m in. The pink and blue hues just off a Kent high street and the faded-peach tones of a Brightonian hairdressers say so much about who we were and how we did things but also where we are now and where we are headed. Hand-stenciled signage in Great Yarmouth roused me to capture that image – signs like this are representations of a time and a place and everything in between, reminders that these sites once thrived. We pass them often – sometimes daily – and pay them little attention, except when their dilapidation stands in stark contrast to the new.

For me, these relics chronicle my own understanding of place – they have become a sort of roadmap to understand who I am, where I am and what my surroundings mean. I am forever assessing change, updating my knowledge to reinforce my sense of belonging. The urban landscape is borne entirely from our creation and it tells us so much – We plan and build, reap and destroy and repeat the process as we pass through. It’s easy to forget that many of these things still bear the influence of the past - telling us much about ourselves while stuck in time, surviving, struggling and sometimes just about existing.

- Ian Howorth


Signed copy.

• Self-published 2023
• Hardback, 1st edition
• New

Pang’Ono Pang’Ono explores the emotional and physical toll on women in Malawi in their quest to access clean water. The title — Pang’Ono Pang’Ono or little by little — is borrowed from a colloquial Chichewa expression referencing time and urging patience — used here to metaphorically reflect on the sentiment around water. With a population of nearly 21 million people, Malawi is one of the smallest and least-developed countries in Africa. Although the country has an abundance of water — with around 24,404 square kilometres flowing through its fertile land, including Lake Malawi, the third-largest freshwater lake on the continent — providing clean water to every single citizen is a national problem. One in three people live without it. Considered a domestic chore, the responsibility of securing water falls predominantly on the shoulders of women. The series was produced over a period of 10 days working on commission with WaterAid in Malawi.

Edition of 500 signed and numbered copies.

• Mack 2018
  
• Hardback, 1st edition
  
• New
  

The Moth derives from one black-and-white picture that Jem Southam made in about 1983: a solitary man standing on Gwithian beach in St Ives, Cornwall. From this singular, meditative moment, the book of otherwise unpeopled, colour photographs unravels like a succession of memories, drifting back and forth through time. Over the course of 30 years, Southam intermittently returned to the west of Cornwall to explore a place steeped in marine and mining history, and in the mythology of Celtic saints who exiled to Cornish shores. His poetic sequence of images, inspired by the alliterative verse of the old English poems The Wanderer and The Seafarer, moves from vistas of meadows to water streams, forgotten homes and farm dogs awaiting their food. Now and then, Southam’s fluctuating current of pictures is punctuated by a sublime moment in the rural landscape, only to be eclipsed by the hazy memory of The Moth.

Signed copy.

• Cafe Royal 2017
• Softcover, 1st edition, 36p
• New

First printing of this rare zine.

• Cafe Royal 2018
• Softcover, 1st edition, 36p
• New

Prestwich Mental Hospital presents a very early Parr social-documentary series shot in 1972, whilst he was studying at university.

First printing of this out of print zine.

• Cafe Royal 2015
• Softcover, 1st edition, 36p
• New

The Amateur Boxing Association (ABA) was formed in 1881 and the first championships were held at Wembley in the same year. During its heydey in the 1950s and 1960s thousands of youngsters climbed through the ropes in schools and amateur boxing clubs up and down the country. In 1970 Britain boasted 30,000 registered boxers. Today the figure has dwindled to a few thousand and in recent years local authorities have caved in to pressure to withdraw support for school boxing and banned the sport from council premises.

These photographs were taken at ABA competitions in pubs and working men’s clubs across the North of England between 1997 – 1999. They follow some of the youngest boxers in the amateur ranks (age eleven is the legal age when a child can first compete), some who were entering the ring for the first time.

Out of print zine, as new.

• RRB / Delpire & Co 2022
• Hardback, 1st edition
• New

In 1962, Henri-Cartier Bresson accepted a commission from British television ITV/ABC to make a documentary on the north of England. Broadcast only once and unearthed by the Cinémathèque Française last year, it was made from still photographs. We discover previously unknown photographs, that make an amusing portrait of English people at work and at leisure.

In 1989, Martin Parr, a photographer already recognised for his controversial colour photographs of the British “middle class”, applied for membership in the Magnum Photos cooperative agency. At the time, Henri Cartier-Bresson, co-founder of the agency, strongly opposed it. A meeting between the two photographers finally allowed a personal “reconciliation” as well as the coexistence within the agency of their diametrically opposed conceptions of photography. Martin Parr finally joined the agency in 1994 and even served as President (2013-2017).

The interest of this book is to qualify these divergences of point of view which, according to Henri Cartier-Bresson, belong to “two different solar systems”. The previously unknown photographs by Henri Cartier-Bresson to be discovered there resonate in a disturbing way with those made by Martin Parr, more than 20 years apart in the same region of northern England.  At the centre of the book, facing one another, are the fax from Henri Cartier-Bresson who acknowledges having made a judgment and the response from Martin Parr. This book accompanies the exhibition “Reconciliation” presented at the Fondation Henri Cartier-Bresson 8 November 2022 — 12 February 2023.

French/English double sided book.  Signed by Martin Parr.

Out of print - Final copies.

• Mack 2021
• Hardback, 1st edition
• New

The British Isles is an account of thirteen years of life across the United Kingdom, as seen through the lens of Jamie Hawkesworth. In this sprawling sequence of portraits and landscapes, Hawkesworth surveys the characters and terrains that make up the everyday fabric of his home country: schoolchildren and shopworkers, markets and estates, priests and professionals, cities and construction sites.

These photographs chart an alternative history of this eventful period of British history; a period punctuated by austerity, referenda, celebration, and conflict. And yet as much as a historical document this book is an exercise in curiosity, presenting a radically democratising portrait of the United Kingdom in which individuals, buildings and natural scenes are imbued with Hawkesworth's generous and dignifying eye. 

Special limited edition of 200 copies. 

Each comprising:

• GOST 2022
  
• Hardback, 1st edition
• New

The photographs in Gli Isolani (The Islanders) by Alys Tomlinson, inhabit a hinterland between fiction and reality. Over a period of two years, Tomlinson documented the traditional costumes and masks worn during festivals and celebrations on the islands of the Venetian lagoon, Sicily and Sardinia. The images will be published for the first time in this new book, Gli Isolani (The Islanders), and exhibited at Hacklebury Fine Art, London from 7 September – 29 October 2022.

Working with a large format 5×4 camera, Gli Isolani draws upon the visual language of Tomlinson’s previous projects, lending the black and white photographs a veil of timelessness. At the project’s genesis, Alys researched the literature and poetry connected to the history and culture of the islands of Italy, exploring tradition and identity, ancient myths, folklore and fairy tales. Set against crumbling stone and rural fields, the images depict the elaborate and uncanny costumes and masks worn for Holy Week, and other events and festivals, often inspired by pagan ritual and beliefs. The fantastical tales and precious costumes have been passed down many generations within these communities where customs run deep. The gestures and the costumes depicted in the photographs draw on the relationship between man and the land, the sacred and the profane, and good and evil.

‘Looking into them, I see ordinary people in extraordinary habits. Pagan and religious. Masked and exposed. Collapsing time, in front of your camera. Within this present-past continuous, devils and saints, hunters and creatures take hold of my rooms. Inhabit them, tacitly. I try to listen to the tales their eyes and gestures tell, to the timbres of the light reverberating in all of these pictures.’

– Sabrina Mandanici

Signed copy.

• Setanta 2022
• Hardback, 1st edition
• New

Joshua K. Jackson's latest monograph is set against the backdrop of our new chaotic society where we contend with often overwhelming feelings of fear, anxiety and loneliness, whilst simultaneously seeking to draw closer to each other in the hopes of a better world.

Communication is easier than ever. We can reach out to strangers and share our points of view with anyone, anywhere, any time. We scroll through seemingly endless tweets made by people we either admire or despise, espousing views we alternately champion and detest. Everyone has a voice, but at the same time loneliness abounds in overpopulated cities. Love is sought online, and hate flourishes in a virtual world that seems to grow even as the physical one shrinks.

Modernity promised us freedom, but instead we seem to stumble from one crisis to another, at the mercy of invisible threats. We are made afraid by the sinister machinations we hear reported from pundits on increasingly untrustworthy television sets, or the conspiracies proclaimed by even less trustworthy influencers on social media. The more we learn the less we seem to understand and our disconnection makes us feel trapped in an information overload which we cannot escape.

And yet, there are precious real life connections made all the time, and made all the more meaningful for their scarcity. People joining together, whether in protest, fighting for a better future for us all to live in, or gathering in joy, hands touching, celebrating our victories and achievements. Hope is what keeps us from drifting away from each other, it unites us despite the constant background noise in the belief of a better, more connected world.

• Photo Editions 2022
• Hardback, 1st edition
• New

Across the UK, town centres are undergoing a major transformation. Over the past decade, empty storefronts have become an increasingly familiar sight as businesses disappear from our high streets, leaving an atmosphere of uncertainty in their wake. In 2021 alone, more than 17,000 stores shut down nationwide – the combined result of the growth of out-of-town retail, the rise of megastores and more recently a shift towards online shopping, all exacerbated by a global pandemic. 

While working on his previous project This Land, Martin Amis noticed the prevalence of closed premises, and began to explore this phenomenon further. Between 2019 and 2022, Amis photographed closed shops across Kent, gradually building a picture of how British towns are being reshaped by the decline of the high street. From pubs, post offices and bookshops to newsagents and social clubs, these spaces once served a vital role for communities. Focusing on the overlooked elements and architectural details, Amis captures the multiple layers of these buildings as they have morphed over the years, each revealing signs of social change.

Photographed in deadpan monochrome, these vacant storefronts are symbolic of a greater loss: the sense of community and cultural identity these spaces foster. The social spirit of local pubs and daily conversations in the corner shop are just some of the simple but crucial elements that help people feel less isolated and alone. In Closed, Amis presents a picture of the changing face of Britain through the microcosm of the high street. These ghost streets speak of the fragmentation of communities, an uncertain future and the ongoing evolution of Britain’s urban spaces.

Spiral-bound hardback, 240x285mm, 98pp. Tritone printing.

Signed copy.

A slipcased special edition, each with a unique print is available here.

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

“In the middle of a December night a few years ago I was woken by the phone ringing downstairs. Nothing ever good comes of such a call and this time it was news that my younger brother had been admitted to hospital, and the doctor caring for him had rung to say he thought it unlikely he would live through the night. I drove to see him and sat with him through the early hours, in the eerie quiet of the emergency ward, until late in the morning when it appeared he would pull through.”

“When I got home that afternoon I decided to go for a walk by the river. As the dark of the dusk gradually gathered I sat on a log to sift through the thoughts and emotions of the day. Gradually I became absorbed in what was in front of me; the turbulence of the streams surface as the water raced around the bend, the waving of the reeds and the branches of the overhanging tree, and the pink of the clouds being pushed across the sky by a south-westerly breeze. When mallard ducks pushed out from the bank to swim across the river in search of a safe haven for the night, I picked up the small digital camera I had just started to use and quickly took a picture.”

"In the middle of another night, a couple of years after the first call, the phone rang again, with the same message. I went off to the hospital once more to sit by Andy’s side, however that time he did not make it through. As I write this on the cusp of the Spring Equinox in 2021, I have just come to the end of another season by the river – The Fifth Winter. It is hard to stop, such are the profound pleasures of witnessing and sharing the quiet wonders of a winter’s morning, on a bend in the river. ”

- Jem Southam

 For the past four winters the English artist Jem Southam has repeatedly visited a short stretch of riverbank along the floodplain of the River Exe. He stands and watches, as the dusk fades into darkness or as the light of dawn gathers, witnessing the different passage of each winter. In the evenings, long past sunset, swans, geese and ducks arrive on the river to spend the night in safety. In the mornings the birds wake, preen, feed and socialise as they prepare for the new day.

These periods of subtle drama have played out continuously for millennia, as the world spins and each new day dawns the spectacle repeats itself. However, it is endlessly varied, and in the photographs in this book, Jem Southam notates and narrates the subtle shifts and dramas of the theatrical space around him.  

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

“In the middle of a December night a few years ago I was woken by the phone ringing downstairs. Nothing ever good comes of such a call and this time it was news that my younger brother had been admitted to hospital, and the doctor caring for him had rung to say he thought it unlikely he would live through the night. I drove to see him and sat with him through the early hours, in the eerie quiet of the emergency ward, until late in the morning when it appeared he would pull through.”

“When I got home that afternoon I decided to go for a walk by the river. As the dark of the dusk gradually gathered I sat on a log to sift through the thoughts and emotions of the day. Gradually I became absorbed in what was in front of me; the turbulence of the streams surface as the water raced around the bend, the waving of the reeds and the branches of the overhanging tree, and the pink of the clouds being pushed across the sky by a south-westerly breeze. When mallard ducks pushed out from the bank to swim across the river in search of a safe haven for the night, I picked up the small digital camera I had just started to use and quickly took a picture.”

"In the middle of another night, a couple of years after the first call, the phone rang again, with the same message. I went off to the hospital once more to sit by Andy’s side, however that time he did not make it through. As I write this on the cusp of the Spring Equinox in 2021, I have just come to the end of another season by the river – The Fifth Winter. It is hard to stop, such are the profound pleasures of witnessing and sharing the quiet wonders of a winter’s morning, on a bend in the river. ”

- Jem Southam

 For the past four winters the English artist Jem Southam has repeatedly visited a short stretch of riverbank along the floodplain of the River Exe. He stands and watches, as the dusk fades into darkness or as the light of dawn gathers, witnessing the different passage of each winter. In the evenings, long past sunset, swans, geese and ducks arrive on the river to spend the night in safety. In the mornings the birds wake, preen, feed and socialise as they prepare for the new day.

These periods of subtle drama have played out continuously for millennia, as the world spins and each new day dawns the spectacle repeats itself. However, it is endlessly varied, and in the photographs in this book, Jem Southam notates and narrates the subtle shifts and dramas of the theatrical space around him.  

• RRB 2022
• Hardback, 1st edition
• New

RRB Photobooks are delighted to present the latest publication by Martin Parr, A Year in the Life of Chew Stoke Village. This book is comprised of images from Martins time spent in Chew Stoke in 1992 and includes text from Robert Chesshyre, from a piece originally commissioned for the Telegraph Magazine. Through the book gain an insight into the delicate social structure of Chew Stoke and the individuals who make the village what it is.

This new lavishly printed book includes over 40 previously unpublished images from the the 1992 project. A new text by Diane Smyth brings the work into a 2022 context both as documentary work and as a piece of Parr's long and varied career.

Signed copy.

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

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

Signed copy.

• 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.

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

• 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.

• 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.

• RRB 2021
• Hardback, 1st edition
• New

I photograph dying buildings and Quarry Hill was terminal by the time I got to it. Times change and I know there was no point in keeping Quarry Hill Flats. But what it stood for might have been worth keeping” - Peter Mitchell

RRB Photobooks are pleased to announce the forthcoming publication Epilogue -The Demise of the Quarry Hill Flats by Peter Mitchell. The book acts as a sequel to his 1990 publication Memento Mori, which documented the dramatic impact of the Quarry Hill redevelopment project in Leeds. 

The book contains over 40 new images, documenting the abandonment and subsequent demolition of the site, adding a poignant final chapter to the 1990 publication and its later facsimile edition. Largely eschewing the archive material seen in Memento Mori, Epilogue takes a more narrative approach to telling this final part of the story. Mitchell is again the lone wanderer in an increasingly unpopulated and other-wordly landscape.

Quarry Hill was a large housing estate in Leeds built in the 1930's as part of a ‘great social experiment’ to accommodate an entire community of 3000 people. By the 1970's both the vision and the flats were crumbling and the decision was made to demolish.

Though the notion of Utopia underpins the narrative of Quarry Hill, from its passionately visionary beginnings to its step-by-step decline and final end, there are no real morals or easy conclusions to be drawn.  As Bernard Crick wrote, it was “small things, not any inherent fault in the grand design, which destroyed Quarry Hill.”  It was more about timings than anything else - a sad ending. Peter Mitchell’s chronicles and photographs simply show what happens to utopias when they implode.

For a limited period all copies will also ship with a  5x5" signed c-print (horse image)