Photobookstore

• Witty 2025
• Hardback, 1st edition, 104p
• New

“All things in life that once existed tend to re-create”.

“Borderland” represents an intimate research in a familiar place where I grew up since my tender years. Here I would find refuge in my grandparents’ house and feel a strong love coming from them, nature and all the living creatures in the land those silent hills where I felt free to express myself. To me everything is bordered in this rural village on Tuscan-Emilian Apennines, and it is this dimension of indefiniteness that pushes me to a relentless pursuit for the traces of a time that I have not lived enough or that I have lived too much.

My past blends with my present and suggests my future steps. I do not know whether I should listen to it or let myself be carried away by the fresh wind the same one that accompanied me and my grandfather and our conversations about existentialism during hot summer nights, while marvelling at the beauty of the constellation, lying downhill on a wet meadow.

Everything that surrounds me wants to get close to me, just like then, rethinking the legacy of a relationship created in time: with this aim, begins a process of interpreting reality without a celebratory, symbolist nor documentary intent. Rather, it turns out to be an evolution aimed at a deep redemption of my past and present being, producing at the same time an emotional tension that, just as on an extremity, hovers between joy and pain. In such research, which aims to establish a reality and dream, I try to retrace over time fragments of an existence regarding family, growth and belonging.

- Filippo Barbero

With a text by Aaron Schuman.  

• Origini Edizioni 2025
• Softcover, 1st edition, 80p
• New

This is a corpus of images that explores the definition and origin of the poetic landscape as it relates to memory and the passage of time. The geography of the place becomes a depiction of a peculiar natural beauty that emerges as a recollection rather than a faithful representation of its physical form. The natural world is transformed into a set of symbolic portraits that reflect the emotional connection to various pasts, the senses, the complexities, the nostalgic and invisible stories woven into the humane.

The creation of a new context is proposed inside the book by incorporating poems by the Greek poet Dimitris Leontzakos. The poems do not impose a way to interpret the pictures nor the pictures define the form and the content of the poems. Instead, a multilayered flow of poetry appears to co-exist. The relationship created by the poems and the images transforms that context into a completely new and organic, a non-linear narrative.

Handmade numbered and signed edition of 150 copies. 23x38 cm.

• Origini Edizioni 2025
• Softcover, 1st edition
• New

An organic flow of consciousness, of unbound mystery and attachment. A set of molecules that define endless affection and highlight the borderless immersion of a photographic narrative that constantly tilts the imaginary barrier of the untold with its distinctive imagery. A process that morphs the poetry of the hidden, while leaning towards the echoes of light. By merging the abstract with the human forms, the book uses different materialistic structures that sink into distinction, ambiguity and -after all- unity.

Handmade numbered and signed edition of 250 copies.

• Akaaka 2025
• Hardback, reprinted edition, 168p
• New

Masahisa Fukase's timeless masterpiece "Yoko" finally available again

Originally published in 1978, Masahisa Fukase's "Yoko" stands as a defining series in his body of work, yet it had long been out of print. Now, nearly half a century later, this extraordinary photobook returns, brought to life with the full support of Yoko Miyoshi (formerly Fukase), Fukase's model and muse, and under the careful supervision of Tomo Kosuga, director of the Masahisa Fukase Archives. This new reprint edition faithfully includes all photographs and texts from the original edition.

Additionally, it includes contemporaneous texts referenced at the time of the original publication, an essay by Masako Toda (photography critic and historian), and a heartfelt message from Yoko Miyoshi on the occasion of this reissue. Every aspect of the book's design and composition has been meticulously crafted to reaffirm the significance of this masterpiece and the passage of time it has endured.

Fukase and Yoko met in 1963 and were married in 1964. In the 1960s, they lived together as newlyweds at the Soka-Matsubara public housing complex, where Fukase began photographing Yoko. In the 1970s, he continued to capture her in various locations, including his hometown of Hokkaido, her birthplace of Kanazawa, as well as Izu, Kyoto, and other places. In the autumn of 1973, Fukase created a series titled "Untitled (From the Window)," capturing Yoko's elegant poses every morning as she left for work, taken from the fourth-floor window of their home using a telephoto lens. These photographs were published intermittently between 1964 and 1976 in the magazine Camera Mainichi.
In 1974, Fukase's works were included in the "New Japanese Photography" exhibition at the Museum of Modern Art (MoMA) in New York. During this period, the couple traveled to New York, and the scenes from this journey were also captured in his photographs.

For this new reprint edition, the book's format has been expanded to amplify the presence of each photograph, and the cover has also been renewed. In addition, the pages featuring ravens – ominous yet poetic symbols that seemed to foretell the future of the couple – are now arranged with greater stillness and deliberation, inviting viewers to engage more deeply with every image.

In revisiting "Yoko," one must ask: What, ultimately, did Fukase capture through his lens? Against the backdrop of the era's spirit, the photobook contemplates the essential question of photography - the nature of relationships between two individuals.

• Akaaka 2025
• Hardback, reprinted edition, 128p
• New

Homo Ludens, Masahisa Fukase's first photobook, finally revived after half a century.

This anthology of photographs, taken over more than ten years and edited by Camera Mainichi editor Shoji Yamagishi, is a collection that marks the origin of Fukase's work and is filled with images and essence that would shape Fukase's later creations, is structured into six sections, each vividly capturing the interplay between photography and life.

"To" (Slaughter) features images of Yoko Wanibe, whom Fukase accompanied to a slaughterhouse, juxtaposing the dismemberment of livestock with Yoko posing in a black cloak. "Kotobuki" (Congratulation) straightforwardly depicts his life with Yoko shortly after they got married, in a manner reminiscent of a private novel. "Gi" (Frolic) portrays the underground scene in Shinjuku where Fukase had gone after leaving the home he shared with Yoko, and the lifestyle of young people living together as a group. "Mei" (Memento), one of his earliest works, looks back on the pregnancy of his former partner, Yukiyo Kawakami, with whom he lived for eight years. Meanwhile, "Haha" (Mother) and "Fu" (Music) capture scenes of Yoko and her mother.

Throughout these sections, Homo Ludens conveys the mutual interplay of all living things, and the contradictory yet interconnected phenomena of life and death, meeting and parting. Fukase's lens is turned towards himself and those close to him, the images explore the essence of life as a form of play, with raw and unflinching honesty. This first photobook stands as a powerful testament to Fukase's vision.

This new reprint edition includes all photographs and texts from the original version and was designed with a focus on emphasizing the relationship between the images and surrounding negative space. This approach serves as a timeless response to Fukase's vision. Homo Ludens remains a significant work, with this new edition offering a renewed perspective not only on Fukase's oeuvre but also on the act of seeing itself and our own existence.

• Nazraeli Press 2025
• Hardback, 1st edition, 144p
• New

Lucas Foglia’s newest book and exhibition, Constant Bloom, traces the world’s longest butterfly migration, just discovered by scientists. Each year, Painted Lady butterflies travel between Africa, the Middle East, and Europe in search of blooming flowers. They have followed this route for millions of years.

Now, with climate change altering when and where wildflowers bloom, Painted Ladies rely on flowers in our parks, farms, and gardens. As Foglia followed the butterflies from Kenya to Norway, he also met people experiencing unseasonal droughts, floods, or freezes. Many were refugees traveling to Europe along the same route as the Painted Ladies.

In Constant Bloom, the longest butterfly migration becomes a metaphor for connection across international borders. 

This beautifully printed book from Nazraeli Press gracefully explores the world and the urgent global issues of our time. With all text in English, French, and Arabic, Constant Bloom includes essays by curator Willemijn van der Zwaan and the scientists of the Worldwide Painted Lady Migration Project.

• Quodlibet 2024
• Softcover, facsimile edition, 132p
• New

Viaggio in Italia, conceived by Luigi Ghirri and published in 1984, is a milestone in contemporary Italian photography, representing the ‘manifesto’ of the Italian Landscape School from the 1980s onward. It tells the story of a generation of photographers who moved away from exotic travel, sensationalist reportage and formalist analysis to focus on the everyday Italian landscape. This shift replaced the cliché of Italy as a unique and wonderful place with an “anti-heroic, anti-mythical, everyday and non-rhetorical” image, as Gabriele Basilico noted. Twenty photographers, many of whom have won international awards, participated: Olivo Barbieri, Gabriele Basilico, Gianantonio Battistella, Vincenzo Castella, Andrea Cavazzuti, Giovanni Chiaramonte, Mario Cresci, Vittore Fossati, Carlo Garzia, Guido Guidi, Luigi Ghirri, Shelley Hill, Mimmo Jodice, Gianni Leone, Claude Nori, Umberto Sartorello, Mario Tinelli, Ernesto Tuliozi, Fulvio Ventura, and Cuchi White. The volume includes an essay by Arturo Carlo Quintavalle and an article by Gianni Celati.

The new edition is a facsimile reproduction of the first one, published by Il Quadrante of Alexandria in 1984. All details of the original book have been faithfully preserved, adopting the design, text layout and sequence of the original images, material properties and page size. In order to achieve a more adequate rendering of the images, the reproduction of the photographs was made from the digitization of the original negatives or prints. The volume is accompanied by a 48-page booklet with an essay on the genesis and critical fortune of Viaggio in Italia edited by Matteo Balduzzi, Fabio De Chirico, Gabriella Guerci, and Matteo Piccioni, a note by Adele Ghirri, and French and English translations of the original texts by Arturo Carlo Quintavalle and Gianni Celati (published in Italian in the book).

• Soft Copy 2024
• Hardback, 1st edition, 80p
• New

"Doldrums explores the therapeutic embrace of nature—the transformative power it holds in nurturing the spirit and facilitating self-reflection. California, specifically the San Francisco Bay Area, with its storied history as a beacon of prosperity and possibility, emerges as a familiar and compelling backdrop. It’s a place where people have always been drawn, seeking not only financial windfalls but also the promise of a better life — a westward pull that echoes through time.

As I navigate the present, no longer burdened by the same fog of depression that led to the creation of this body of work, but rather fuelled by a hunger and longing for love and connection, Doldrums becomes a testament to the transformative power of time. Doldrums invites you to explore the depths of emotion, the transient nature of darkness, and the profound beauty that emerges from life’s most challenging chapters. Life, in its complex ebb and flow, often defies immediate classification as good or bad. Instead, it beckons us to focus on living and loving in the present, with hindsight providing the lens through which we truly comprehend the fullness of our growth and experiences." – Brian Kanagaki

45 Duotone Plates. 26.25cm x 32cm.  Edition of 400 copies.

• Hopper & Fuchs 2024
• Softcover, 1st edition, 240p
• New

ECHTZEIT offers a unique glimpse into Dirk Braeckman’s most recent photographs, accompanied with the museum’s collection and texts written by Clément Chéroux, director of the Foundation Henri Cartier-Bresson, and Tamara Berghmans, curator of the exhibition. 

Dirk Braeckman defies easy description: leading contemporary Belgian photographer whose work is part of numerous collections across the globe and has been exhibiting worldwide for four decades. Braeckman is notorious for his silverish-grey-toned, large-scale prints and has been seeking to manipulate the medium of photography since he began over forty years ago, drawing out a certain slowness and space within his work. 

In 2017, Dirk Braeckman represented Belgium at the 57th Venice Biennale and The Royal Family of Belgium commissioned a permanent installation in the Sphinx Room of the Royal Palace in Brussels. In 2021 Braeckman took part in the 34th Bienal de São Paulo ‘Though it’s dark, still I sing’.

• Hopper & Fuchs
• Hardback, 1st edition, 240p
• New

Refuge is the sixth book by Lara Gasparotto, covering the past years of her family life and trips abroad. Constructed from Gasparotto's personal collection of photographs, including oil pastel works, friends in nature, animals, her young daughter, and beautiful landscapes, it accounts for Gasparotto's adoration for dwelling in nature. An art book personally edited by Gasparotto, Refuge offers an intimate encounter with her day-to-day life using analog photos and was designed in collaboration with her sister Lissa Gasparotto who illustrated the flower on a linen-bound front cover.

Hardback with linen cover, printed on Munken Lynx.

Edition of 750 copies

• GOST 2025
• Hardback, 1st edition, 180p
• New

In 2014, photographer Chris Donovan began documenting his hometown of Saint John, New Brunswick on Canada’s east coast—a small, heavily industrialised city which is home to Canada’s largest oil refinery, one of the country’s wealthiest families, and one of its highest rates of child poverty. His photographs show the vibrant neighbourhoods and their inhabitants living in close proximity to and in the shadows of polluted industrial sites, and ‘the cloud factory’—an undefined industrial site which references both the refinery and large pulp mill in the city. Driven to explore environmental classism and injustices perpetrated on the city by others, Donovan’s aim is to expose the culture of censorship which has controlled the environmental narrative and tightened its grip on the community for decades.

As a boy growing up in the Saint John area, Donovan’s first job as a photographer was working at the local paper he had grown up reading—the Telegraph-Journal. He quickly realised the extent of censorship at the newspaper which at the time was published by Brunswick News Inc owned the Irving family—one of the richest families in Canada. In 2018, when he was no longer working for the paper, there was a butane leak from the Irving Oil Refinery, the largest in Canada. A neighbourhood was evacuated but the event received little media attention. Donovan went to speak to and meet those impacted by the leak and encountered a culture of fear amongst a largely impoverished population who feared retribution if they spoke out about the environmental catastrophe. Donovan had not set out looking for a connection to the region’s monopolised industrial ecomony but this is what he found—a censored environmental narrative which had tightened its grip on the community for decades.

Signed copy.

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

‘In 2012, I found a piece of material in a rock pool that changed my life. Mistaking this moving piece of cloth for seaweed, started the recovery of synthetic clothing from around the coastline of Britain for the next ten years.’
 
Photographs of British Algae: Cyanotype Imperfections is a typology of discarded clothing fragments found around the coast of the UK. A homage to the work of pioneering botanist and photographer Anna Atkins (1799-1871)—the unique cyanotype images in the book mimic different species of marine algae found in waters around Great Britain. Through the creation of this work, photographic artist Mandy Barker hopes to raise awareness of fast fashion, synthetic clothes, and the harmful effect of microfibres in the oceans.

Over the course of a decade Barker recovered over 200 ‘specimens’ of clothing from 121 beaches from locations as far north as John O’Groats in Scotland, to Land’s End in the South of England. Items ranging from jackets to dressing-up outfits, wigs and trainers, football shirts to underwear, were salvaged from beaches, rockpools and directly from the sea. The items were representative of millions of tonnes of clothes manufactured and discarded each year—sometimes without being worn at all. Every year, the fashion industry is responsible for more greenhouse gas emissions than all international flights and container ships combined.

For each alternative ‘specimen’ in the book Barker created a photogram of the clothing fragments using the cyanotype process to produce detailed Prussian blueprints. The project is inspired by the work of Victorian botanist and photographer, Anna Atkins who used cyanotypes in her groundbreaking book Photographs of British Algae: Cyanotype Impressions (1843) to produce detailed depictions of botanical specimens. By combining art and science, Atkin’s work illustrated the potential of photography and changed how people looked at science in the 1800s.

‘Seeing the potential to re-create new work in a similar way, I realised I could engage how people view science today, and in connection with the present-day consequences of climate change.’

To coincide with the 180th anniversary of Atkin’s book, Barker painstakingly created a replica of the original publication with 202 illustrations, each with the botanical specimen substituted with found garments or fibres. The publication Photographs of British Algae: Cyanotype Imperfections is a carefully edited version of this replica project and begins with outer garments of clothing, such as a waterproof and parka coat, ending with inner garments of underwear worn closest to the skin.

Signed copy.

• Tall Poppy 2025
• Hardback, 1st edition, 100p
• New
  

Milk Teeth (Tall Poppy Press, 2025) is Amy Woodward’s first monograph, exploring the tangle of love and overwhelm that comes with raising small children. When her second child was born, she found herself caught between deep joy and unexpected contradictions—the feeling that something had slipped away, even as something new began to take shape. 

Woodward’s images lean into the tactile world of childhood—bug bites, tears, half-eaten fruit—they dwell in the tension and tenderness that exists within the raising of children. The sticky, the tender, the mess that lingers. Milk Teeth began with her eldest son, the expansion and confusion she felt after her second child was born; the sometimes unceremonious transition from mother of one to mother of more. As time went on, the work became something broader—an instinctive response to the everyday rhythms of parenting, the chaotic beauty, the sensory weight of it all. 

As she learned more about her own and her eldest son’s neurodivergence, these moments took on new meaning, revealing patterns in the way they both experience the tactile details of life. 

Signed copy.   Edition of 500 copies, 12.7 x 15.9cm.

• Aperture 2023
• Hardback, 1st edition
• imperfect/near fine - see below

• Important Flowers / Mack 2025
  
• Hardback, 1st edition, 88p
  
• New

For her first feature film, The Virgin Suicides, Sofia Coppola commissioned British fashion photographer Corinne Day to join her on set. Renowned for her unadorned, grungy photographs of iconic models of the 1990s, Day’s representation of female beauty met its match in Coppola, whose debut marked the first of her unaffected, empathetic depictions of womanhood. Edited from Day’s original negatives, this volume, which launches alongside The Virgin Suicides'twenty-fifth anniversary, gives mesmerising and unprecedented insight into Coppola’s enigmatic staging of the Lisbon sisters and their suburban trappings.  

In Day’s photographs, the lush mystique of Coppola’s set runs through images of the young actors at work and between takes, their candid posturing and pensive expressions reflecting the intimate and collaborative environment of the shoot. Fragments of the set and costume design appear suggestively – crucifixes, pink lace bras, homecoming dresses, beauty products, and toffee apples – all playing their part in Coppola’s depiction of the yearning and repression of adolescence. Completed with new texts by Sofia Coppola and Jeffrey Eugenides, this volume opens a fascinating dialogue between Eugenides’s original text and Coppola’s cult adaptation.

In stock now.  Shipping begins 14 April.

• GOST 2025
  
• Hardback, 1st edition, 128p
  
• New

Photographs taken in New York over 50 years ago by Mark Cohen will be published for the first time in Tall Socks. In July 1973 Cohen spent a month living in a dorm room at NYU while taking part in a film production workshop. His daily classes were short so he used his free time to walk around the city with his camera. Only a few of the images were printed at the time and the vast majority remained unseen, except as negatives, until now.

New York in the 1970s was notorious for high crime rates, social disorder, an unsafe subway and a declining quality of life. Economic stagnation had hit the city hard and many of the middle-class residents had left for the suburbs. This is often evidenced in Cohen’s photographs in the graffiti, litter and ruin present on the streets but his images also depict a New York which is full of life and on the move. Although the book’s sequencing follows no formal narrative, the pace of the images give the impression of walking around a city whose residents are in a perpetual state of transit with Cohen moving unobtrusively through this. There is change from block to block, from step to step, and details and impressions are observed. There is an undercurrent of threat in some of the images—the glare of a stranger and menacing subway stations—but also humour and joy found in a child’s tall socks, a lady with peacock feathers, an incongruous elephant or a girl carrying a plank of wood across a cobblestoned street.

Mark Cohen has been taking pictures since he was 14 and is best-known for his work made in his native city of Wilkes-Barre in Pennsylvannia where he would just go out of his door and start to work. He didn’t need to travel because there was an infinite set of possibilities and variations on the streets each day. The same working method applied to his short time in New York. He just had to walk.

Cohen has a singular photographic style resulting from holding his camera at hip level to intuitively photograph, often up close to his subjects. This lends his images an unusual perspective—they show the world viewed from the height of a child, focusing on objects or angles which are often overlooked, cropping figures and peering curiously into doorways and down streets. The familiar becomes both fresh and strange.

In stock now.

• Loose Joints 2025
  
• Hardback, 1st edition, 168p
  
• New

• Witty Books 2025
  
• Softcover, 1st edition, 168p
  
• New

The Line of Water explores memory as a shifting, fluid entity, where trauma is not just a wound but a catalyst for transformation. Through a poetic and metaphysical reflection on transience and loss, the project examines how the territory—both physical and emotional—absorbs, reshapes, and transmits traces of the past, generating new languages of remembrance and creation.

Sara Palmieri, a visual artist working primarily with photography, investigates the material and symbolic potential of images. Her practice extends into sculpture and performance, using experimental processes to explore how territory and personal narratives shape collective memory, questioning the ways in which images construct and deconstruct reality.

Inspired by the Polesine flood of 1951—the most devastating in Italian history—the project considers the territory as an archive of memory, where water, earth, and inherited stories act as living agents of transmission. The image itself becomes a perceptive surface where opposites merge: visible and invisible, past and present, submerged and emerged. The book-object, curated by Fiorenza Pinna, expands this exploration into a spatial, visual, and tactile experience. The material shifts, transparencies, and overlays disrupt the reading flow, mirroring the instability of history and perception. In this interplay between image and matter, the book itself becomes a territory of creation, where memory takes on new forms and new languages emerge from the fractures of the past.

• EXB 2024
  
• Hardback, English edition
  
• New
  

For this sixteenth title in the Des oiseaux collection, the great Brazilian photographer has plunged into his impressive archives to extract a selection of exceptional images celebrating a world populated exclusively by albatrosses, eagles, parrots, gannets and other rare species. For over thirty years, Sebastião Salgado has been photographing, on land and at sea, in the most remote regions of the world, from the Amazon, Asia and Africa to the icy spaces of Antarctica. More than half of the photographs are previously unpublished, and the book is a veritable ode to the beauty of our planet.

To accompany this visual corpus, a text by Erik Orsenna evokes our close ties with the world of birds, while an interview between Sebastião Salgado and Philippe Séclier, co-director of the Des oiseaux collection, bears witness to the photographer's special relationship with the animal kingdom.

• EXB 2024
  
• Hardback, english edition
  
• New
  

Originally published in 2018 and quickly out of print, the book Because is once again available, enriched with six new stories as well as seven new photographs.

In July 1985, artists Hervé Guibert, Jacques Monory, Denis Roche and Sophie Calle were invited to project and comment on their photographs during an evening at the Théâtre Antique in Arles. Denis Roche, who closed the program, presented his images in a very special way. “In the dark, he recounted the circumstances that presided over each shot before triggering the photographic act, then showed the images for the time it took to click.

It was from this click that the idea for Because was born. Like Denis Roche, Sophie Calle sets out to recount the reasons that led her to press the camera shutter. “Because of the temptation to follow it” justifies The White Line (2018), a photograph of a road demarcation line sinking beneath the water, “Because what else after nothing more?” is associated with Leaving Plurien (2018), a shot of the exit sign for the town of Plurien, opposite the cemetery.

The book offers a two-stage discovery of the stories told by Sophie Calle. The image reveals itself to the reader after the text, hidden in the interstice of the Japanese binding.

English edition.