Photobookstore

• Hatje Cantz 2025
  
• Hardback, 1st edition, 144p
  
• New

Fred Herzog in top form. His images from the heyday of Kodachrome photography are legendary: street shots of the 1950s and 1960s bathed in warm red-orange tones, precise observations of people and their movements in the city. Often poetic, sometimes witty, always from a respectful distance, yet with an intimate atmosphere. Herzog, who lived in Vancouver from 1953, created a colorful monument to the city. He also traveled to the United States, Barbados, Curaçao, Guatemala, and Mexico, always with his Leica in his luggage. At a time when professional photography relied almost exclusively on black and white, Herzog's position is something special. These photographs were selected by Andy Sylvester, Special Trustee of the Estate of Fred Herzog in conjunction with Equinox Gallery, and continue his important legacy.

• Three Books 2025
  
• Softcover, 1st edition, 268p
  
• New

• Three Books 2023
  
• Softcover, 1st edition, 96p
  
• New

Signed copy.  Large oversize softcover.

• Three Books 2025
  
• Softcover, 1st edition, 206p
  
• New

"It wasn’t a dream.  He really came back"

"The Dialogue of Two" is the nearly three-year story of photographer Akihito Yoshida's grandmother until her death at the age of 88, left alone after Yoshida's cousin Daiki, who lived with her, took his own life. The photobook evolves around a ‘tale’ that the grandmother told the photographer over and over again before her death.  "The Dialogue of Two" is a story of how those who have lost their loved ones face the dead and live in dialogue with them.

Signed copy.

• Zen Foto 2025
  
• Hardback, 1st edition,96p
  
• New / near new

With “The Wind Prays for Sublime Stillness,” Tokyo-based publisher Zen Foto presents the series that earned Toshiya Murakoshi a nomination for the Kimura Ihei Award in 2023, when he first exhibited this body of work.

Murakoshi, born and raised in Fukushima, has photographed landscapes in and around his home prefecture since the beginning of his career. The works in this book form the fourth part of an ongoing series he has been making in Fukushima since March 2011, shortly after the Great East Japan Earthquake and Tsunami devastated the region.

With “The Wind Prays for Sublime Stillness,” Murakoshi sharpens his sensibility once more: the enigmatic allure of his quiet, initially unassuming landscapes feels more pronounced, yet without compromising their sensual depth or textural richness.

“Murakoshi’s photographs capture something that cannot be easily described in words. One finds a clue in the image, draws it towards oneself, and enters into it …Every photograph in this book was taken within [Fukushima]. This is an important and unwavering truth. It’s hard to tell what most of the forms in these photographs look like. The shades of grey appear between black and white, and even the black areas aren’t completely black; it’s as if something is hiding in the depths of the black.” — from novelist Akiko Ohtake’s afterword “Not There, But Somewhere Else”

Note that "near new" copies have a very small white mark to the cover - see photo example.  

• Zen Foto 2025
  
• Hardback, 1st edition, 115p
  
• NEW
  

Masakazu Murakami’s new photobook takes its title from an ancient Chinese story, The World Inside a Pillow, in which the boundaries between dream and reality are blurred. Murakami’s sequence of black-and-white snapshots is brilliantly arranged to engage both mind and eye, gradually building a world of small, recurring symbols, signs, and motifs (many of them possibly imagined). Given the sheer variety of subjects, compositions, and locations (which, according to Murakami’s foreword, he cannot recall), “Dream Within a Dream” also reads as a book about photography itself, celebrating both the joy of taking photographs and the act of seeing the world through them.

“Indeed, life may be as fleeting as a dream. A dream that emerges and disappears, then fades into oblivion as soon as we wake up – it is like a formless memory, or an incoherent photograph […] Perhaps these photographs, taken half-unconsciously without any intention, offer a glimpse of something similar to the boundary between dream and reality.”
― from Masakazu Murakami’s afterword

Signed copy.

• Case 2025
  
• Hardback, 1st edition, 112p
  
• NEW
  

Even as night falls over the snowy landscapes of northern Japan, vending machines, lined along roads, standing before houses, or seemingly alone in nature, glow in the dark, offering warm and cold drinks along with a peculiar sense of companionship.

In “Roadside Lights 2020–2025,” Japanese photographer Eiji Ohashi turns his lens to winter nights in his native Hokkaido, sharpening the focus of his long-running “landscapes with vending machines” series. His compositions portray these ubiquitous machines, which have become symbols of Japan’s safety and convenience, as tireless, vigilant workers, continuing their quiet labor regardless of the circumstances. This latest book adds another compelling chapter to a series that continues to captivate audiences both in Japan and abroad.

“Photographing as the snow falls and piles up around me brings back distant memories. I remember playing outside until my boots were filled with snow, and how difficult it was to take them off once I went back inside, or digging into snowbanks to create secret hideouts for myself. While my childhood memories of the snow are rather sweet, life in winter in the northernmost part of Japan where I grew up was harsh. Sometimes the blizzards were so strong it was impossible to put one foot in front of the other, almost as if the full force of nature were blowing against you. Winter was always a reminder of how small and feeble human existence really is. But I also remember the nightly scenes, when the snow reflected the light off the streetlamps, as beautiful and bright. For me, the sight of a vending machine on a snowy night embodies these memories.” ― from Eiji Ohashi’s afterword

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

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

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

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

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

Signed copy.

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

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

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

For trade enquiries, please get in touch here

• Zen Foto 2021
  
• Hardback, new edition, 204p
  
• NEW
  

This Complete Edition of “Goze” includes previously unpublished photographs and offers an unprecedented view at Shoko Hashimoto’s masterful series from the 1970s, newly selected, edited and scanned from over 10,000 original negatives by Michitaka Ota, founder of publisher Sokyusha.

From spring 1972 until summer 1973, Shoko Hashimoto traveled around Niigata Prefecture together with a group of goze, blind women entertainers who performed and told stories in exchange for food and shelter. Today, there are no longer goze traveling around. Life was already difficult for the goze in the 1970s, and the continuing industrial, economic and urban developments of postwar Japan have only accelerated since then. Hashimoto’s astonishing photographs document the life of these women. We see them taking baths, relaxing on the floor, sleeping at night, and endlessly roaming from village to village. Hashimoto’s distinct style, which renders the scenes with an almost painterly quality, knows which parts to emphasize: in landscape shots, the scenery appears to almost swallow the women; when faces are involved, the emotions are vivid.

In addition to previously unpublished photographs, this Complete Edition also includes Shoko Hashimoto’s diary from his time with the goze, available in Japanese and in English translation.

• Charcoal Press 2025
• Hardback, 1st edition, 128p
• New

Gumsucker  laments the loss of untamed Australian wilderness to civilization, ever encroaching, domesticating the land and spirit. It is a ghost story of sorts, populated by withering vestiges and isolated souls. Its title, drawn from the archaic term once used to describe native-born European Australians, also recalls ‘The Gumsucker’s Dirge,’ a 19th-century poem mourning the erasure of wilderness as the frontier was pushed further out and the dream of an untouched wilderness became increasingly inaccessible. 

Rory King’s images depict a landscape of abandonment, yet speak of a yearning for deep connection in the face of isolation. These are lonely photographs, but with warmth and connection at their edges. There is resistance here, some fight and resilience to the disillusionment of modernity. Through his patient gaze, King's lens captures strangers, companions and brute nature alike in a tender embrace.

Edition of 1000 copies.  Signed copy.

• David Zwirner Books 2025
• Hardback, 1st edition, 92p
• New

Diane Arbus: Sanctum Sanctorum brings together forty-five photographs made in private places across New York, New Jersey, California, and London between 1961 and 1971.

Through her singular combination of intelligence, charisma, intuition, and courage, Diane Arbus (1923–1971) was frequently invited into personal realms seldom seen by strangers. Though made in intimate settings, the photographs collected in this volume convey no sense of intrusion or trespass―instead, they reveal an unspoken exchange between photographer and subject, a moment of recognition in which confidences emerge freely and without judgment.

Arbus’s desire to know people embraced a vast spectrum of humanity. Her subjects featured in Sanctum Sanctorum include debutantes, nudists, celebrities, aspiring celebrities, socialites, transvestites, babies, widows, circus performers, lovers, female impersonators, and a blind couple in their bedroom. Through a fresh consideration of little-known photographs among works that may be more familiar, this publication invites viewers to discover aspects of even well-known images that have previously gone unnoticed.

• Zen Foto 2024
  
• Softcover, 3rd edition, 120p
  
• NEW
  

High Fashion is a series of work taken by Pawel Jaszczuk between 2008 and 2010 of drunk salarymen sleeping in the streets of Tokyo.

Pawel, residing in Japan at the time, would head out on his bicycle after midnight to photograph different people and places, saying that the best hours for him to shoot would be between 1 am and 4 am. Shortly after he started this body of work in 2009, he published a zine entitled “salaryman” with Morel Books in black and white and limited to 150 copies and which immediately sold out. This time, Pawel has selected images of sleeping salarymen in poses reminiscent of fashion models and the photobook is in the style of a glossy magazine, hence the title “High Fashion”.

According to Pawel, this body of work is emphatically not a statement against drinking. Rather, he originally wanted to capture the simple contrast between men in nice suits and dirty streets, but his view of the work has evolved in recent years. This time Pawel hopes that the publication of “High Fashion” with Zen Foto Gallery will act as a humorous, apocalyptic vision of this overworked and overstressed society.

• Stanley Barker 2025
• Softcover, 1st edition, 88p
• New

The most consequential moments are rarely dramatic. What stays with us, what makes us feel truly seen, is often small, domestic, and endlessly repeated. Judith Black’s photographs, made at home in the early 1980s of her four young children and their stepfather, remind us of this simple truth.

In 1980, after a divorce, Judith moved her family to Cambridge, Massachusetts, and took a job at the darkroom at MIT. Their home wasn’t grand, but it was theirs, a place to begin again. Not long after settling in, they found a worn old armchair left on the side of the road and gave it a place by the window. It became a spot of rest and quiet theatre, a vantage point from which Judith watched her children grow, day by day, frame by frame.

This new book gathers every photograph she made of that single chair. What begins as cast-off furniture becomes, through her attentive eye, a kind of threshold: a simple thing that holds a whole world. There is a truth here that is easy to overlook, that by staying close to the ordinary, by returning to the same corner of a room, we might learn to see more clearly. And that the measure of a life is so often found not in grand gestures, but in the worn fabric of a chair, the shifting light, the hush of children growing older under our watch.

Where the Light Came In has been carefully designed to feel like an object of devotion; the kind of object a parent might make at home. Each photograph has been silkscreened with a soft gloss varnish, echoing the sheen of prints lovingly pasted into an album. Handwritten notations run through the pages, intimate and unguarded. The book itself is coverless, its exposed binding sewn and held in place with quiet precision, a gesture of care and vulnerability.

"The chair, a curbside find on garbage day, was covered with a swath of dark brown corduroy to hide its tattered arms and worn cushions. It sat by the entryway door and caught brief moments of early morning light from the dusty living room bay window that looked over the alley separating our apartment from our neighbour." - Judith Black

• GOST 2025
• Hardback, 1st edition, 520p
• New

The photographs in FASHION were made by Mark Power over a period of 27 years and across 23 countries. They were taken at construction sites, factories, quarries, shipyards, foundries, recycling facilities, theatres and other locations where things are being made, or fashioned.

The majority of the images were made while on commission. Some are of recognisable architectural landmarks while others are more obscure. Some focus on tiny, often overlooked details while others demonstrate Power’s skill at capturing the monumental. Collectively they reveal an ongoing practice where every photograph is meticulously composed and considered. Importantly, the images in the book are devoid of captions, descriptions or dates. As a result they are sequenced neither by location nor chronologically but solely by use of visual links of colour, form and light. A gentle humour is often revealed in the details—a hole in a shoe, rows of white gloves hung out to dry or a painstakingly arranged cupboard of brooms and brushes. Removed from their original commercial or industrial context they become elusive and poetic. 

Power began looking at his archive of construction pictures in this way during a Magnum Photos Live Lab at The House of Beautiful Business in Lisbon in 2018, when he worked collaboratively to attempt to sequence around 200 photographs. Influenced then and now by Mike Mandel and Larry Sultan’s landmark bookEvidence (1977), Power’s project has grown and evolved over the following seven years to this published form. 

The earliest photographs in the book were made during the construction of the Millennium Dome (1997-2000), documented by Power in over one hundred site visits. This work returned to the 19th century tradition of a singular photographer documenting the construction of great public building from start to finish. However, before he took a single picture he carefully negotiated the freedom to make his own work on the site, rather than be told what to photograph, or how. Ever since, his work has followed this same formula. Fashion is, in part, a celebration of what is possible within the commercial world if there is trust on both sides and the photographer is given artistic licence and liberty.

• EXB 2025
• Hardback, 1st edition, 144p
• New

At the crossroad of an artist's book and a scrapbook, The Dead Are Glad to Be Remembered, signed and numbered in a limited edition of 500 copies, invites us to explore Todd Hido's work in dialogue with his collection of vernacular photographs. Each page of the album offers a new narrative composed by Todd Hido, with the collaboration of his wife Marina Luz, deliberately left open-ended.

The book presents a selection of Todd Hido's portraits, urban house views, and landscapes, both unpublished and iconic, punctuated by postcards, book covers, vintage movie posters, old amateur portraits, drawings, photo booth pictures, and more. The vernacular photography is reproduced in all its materiality. Genres blend together to create a unique work that plays on different atmospheres around the themes of desire, loneliness, memory, the unconscious, and the subconscious, which are characteristic of the photographer's work. These themes are found in the essay by author Brad Zellar, at the heart of the book, which he explores through these fragments of experiences and stories interspersed with literary quotations.

Both an ode to the printed image and to the memory of those who have lived, this limited edition echoes traditional photo albums with its screw-bound canvas cover. The dialogue between the materiality of the images and the different types of paper, including one that is translucent, creates a cinematic fiction within the book, with certain photographs appearing and disappearing like enigmatic collages. These images, arranged randomly on the page, respond to one another and allow the reader to create their own narratives.

For a limited period all copies come with a Todd Hido Atelier EXB Tote bag.

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

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

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

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

Signed copy.

• Akio Nagasawa 2025
• Softcover, 1st edition, 40p
• New

The latest volume in the silkscreen-printed cover, hand-bound series.

As a sequel to How to Create a Beautiful Picture, No. 6: Tights in Shimotakaido (1987), this book brings together photographs taken in Ikebukuro in 2011.

Published by Akio Nagasawa Publishing, Tights in IKEBUKURO is the second photobook in Daido Moriyama’s iconic “Tights” motif, following the sold-out TIGHTS IN SHIMOTAKAIDO (2018).

Limited edition of 600 signed and numbered copies.

More copies due mid/late January.

• Note Note Editions 2025
• Hardback, 1st edition, 224p
• New

In Keep Distance, Boris Mikhaïlov leads us on a wild, dizzying ride from which we emerge slightly breathless and unsteady. Acting as a kind of visual logbook, the series is composed primarily of recent images (2020–2024) with some older photos mixed in. It has all the appearance of a mental tracking shot, one in which fragmentary or haphazardly framed images unsettle our gaze to such a degree that we find ourselves doubting what we see. Street scenes, everyday objects and screenshots combine with more intimate portraits: of his wife and collaborator Vita, his children, his inner life. The framing is always a little unstable, on the edge of leaving something out of shot, never neutral.

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

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

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

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

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

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

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

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

Signed copy.