Photobookstore

• Red Hook 2021
• Hardback, 1st edition
• New

• Kominek 2021
• Hardback, 1st edition
• New

• Deadbeat Club Press 2021
• Hardback, 1st edition. 84p
• New

Laurel Mountain Laurel: the title is a sort of rough palindrome, appropriate for Jake Reinhart’s vision, in which time is reflected upon itself and the end is also the beginning (and is also the end). The transient and the enduring are revealed to be one and the same. 

These photographs – somehow both tender and unsparing – were made in Southwestern Pennsylvania, in the Youghiogheny region. One surviving translation has it that “Yough” means four, and “henné” means stream. “I’ve been along those four streams, and I’ve seen how they come together;” Reinhart says, “losing their specificity yet retaining what is inherent to each – creating something larger and joining places and people that would otherwise appear disjointed and separate.”   

As for the streams, so for the images in Laurel Mountain Laurel: individual pictures exist essentially, while together they bind both space and time – the eternal and the geological brought into a semblance of coherence with the fragile and the human. We see that, despite our best efforts to erase and exploit, the land will ultimately have its own way, and on its own schedule. 

Edition of 750 copies.

• IBASHO & the (M)éditions 2021
• Hardback, 1st edition
• New

With this latest book by Daido Moriyama everyone can create their own ‘random walk’ through the streets that Daido Moriyama roamed, by sticking the 80 B&W and 40 colour Polaroids images into the book in an order that can be decided individually. 

“Basically, I am in love with black and white photography. If you are wondering why, I may say that there is something ‘dreamy’ about black and white, and that I appreciate its ‘symbolically abstract’ quality.
Anyway, in the end I think it all comes down to the fact that the things depicted in a black and white photograph simply generate the image and impact of an ‘alien’ scenery of sorts.

In other worlds, both my self and other people who look at black and white photographs don’t see only the concrete events they depict, but in my view these pictures hit us right from the start with their transferred ‘extraordinariness’, instantly stimulate our imaginative understanding of the imagery purified into shades of black and white, and let us experience a different reality through the encounter with the ‘alien world’. This is at least about what attracts me so much about black and white photography.

On the other hand, if you ask me why I take color photographs, especially color Polaroids, I think it is probably because they allow me to directly experience the essence of photography, which is to make copies of the real world. Paradoxically that overly real world captured by color Polaroids takes me to an ‘alien world’.

After all, it seems like when I walk the streets, I am looking for somewhere other than here, in other words, I probably release the shutter only when I feel I have found the entrance to that ‘alien world’.”

- Daido Moriyama

Limited edition of 1000 numbered and signed copies. 72 blank pages, 80 B&W Polaroid stickers, 40 Colour Polaroid stickers

Text by Daido Moriyama in Japanese and English

• Area Books 2021
• Softcover, 1st edition, 800p
• New

Koji Kitagawa has been a member of the SPEW collective with Daisuke Yokota et Naohiro Utagawa, an experience he describes as "being in a car launched at full speed". For 15 years, Koji Kitagawa, on his own, has been producing series that he distributes in the form of simple, plain editions. This book is an anthology compiling his obsessive series one after the other.

Signed copy - choice of green or blue cover while stocks last.

Edition of 250 copies.

• Plague Press 2021
• Hardback, 1st edition
• New

The Birdman competition is the quintessence of British humour and eccentricity. Held each summer along the south coast of England, people dressed in avian related garb attempt to fly off piers. The furthest flight wins prize money, before splash landing in the water.

Standing on the pier, away from the crowd, Miller captured mixed feelings of excitement, pride, anxiety and fear. As each birdman walked away from the friendly and light atmosphere of the beach to get ready for their big jump, whilst nervously glancing down over the edge of the platform.
The old-fashioned twin-lens reflex, shooting black and white images in a square frame, could capture the eccentric birds with clarity as long as they stood perfectly still. Miller pictured each of them individually, focusing on their uniqueness, particularities and self-crafted narratives. Waves and clouds of rainy English summer days served as a backdrop to their performance, divided by the horizontal lines of the sea and the structure of the pier.

Miller’s Rolleiflex transformed the pier into a theatre stage, where anyone was convinced, just for a moment, that homemade feathers and newspaper wings could really fly.

- from the afterword by Julie Bonzon

• Besides Press 2021
• Softcover, 1st edition with print
• New

'Murmurations' by Billy Barraclough is, in its simplest expression, a study of the shape and form of starling murmurations, which he observed daily throughout winter 2020-21. The project is presented alongside newly commissioned poetry by writer Lue Mac. 

Billy's desire to visit this mass gathering of birds came about during the first lockdown of 2020, after he opened a box of photographs left behind by his late father, John Barraclough. In that archive, Billy stumbled upon an album of pictures that showed him as a young boy chasing starlings on the beach in Blackpool.

As the winter lockdown hit, Billy began visiting a local murmuration as an almost daily ritual to reconnect with nature; the long trek to the wetlands serving as a moment to reflect on the surreal situation imposed by the pandemic. At this time of worldwide crisis - when individuals are asked to sacrifice their freedoms for the sake of something larger - murmurations can be seen as an apt metaphor.

“The ‘normal’ functioning of nature and the environment had continued and despite our lockdowns, mask wearing, and mass sanitisation, the trees were still losing their leaves, the birds were still migrating for winter and the murmurations were still happening in the same place and same time every day.”

Freezing a moment from the murmurations' ever-shifting flow creates something distinct from the experience itself. The images become sculptural; ever-morphing forms are rendered static, and we're able to study the birds' unique creation as it existed for only a split second. The form and flow of the book echoes the natural progression of the starlings as they murmurate: the images start out sparse, with just a few birds gathering, and then reach a crescendo before quieting back down as the starlings go to roost.

The tone is beautifully complemented by a series of poems written by Lue Mac, reflecting on their own experience of watching starlings murmurate at a beach near their home in rural Dorset, during the same time that Barraclough was making his photographs. The resulting poems touch on themes of separation, reconnection, the moment of touch, and life across seasons.

Signed special edition of 40 copies with a 10"x8" giclee print (first image).

• Ampigt Förlag 2021
• Softcover, 1st edition
• New

A fragmented diary of black & white photographs made after a period of becoming disillusioned with photography projects. Rather than focusing on one subject or theme, the works here have a loose, associative relationship with no set chronological or thematic order. These pictures present a bid for freedom and propose a deliberate departure from the descriptive. The photographs reflect an instinctive approach to their creation, whether at the moment of capture or through the developing and selection process – these works are ones that Österlund identifies with, the ones that hit a nerve with him both in content and form.

Duotone on Munken Lynx Rough with 8 tipped-in images on Curious Metallics paper

Limited edition of 200 signed and numbered copies with a 120x165mm print

• Gallery 51 2021
• Softcover, 1st edition
• New

"We Belgians are used to seeing people have fun, get drunk, dance or do whatever else they please in this temple of emotions. To sober outsiders, cafés are an enigmatic territory, where a miracle potion is served. It's Harry instead of Asterix chez les Belges. In all likelihood, the photographer had to leave his comfort zone to better understand it. Taking a step back to see the bigger picture. Leaving to arrive. It's ironic that no other Belgian was able to preserve this culture as brilliantly as Gruyaert. I used the word preserve on purpose. Unlinke wine, beer is not stored. It is consumed as soon as possible. Perhaps that's why beer drinkers are so impatient when they're thirsty."

Stephan Vanfleteren, from his introduction

21 x 15 cm, 101p softcover with beermat.

• EXB 2021
• Hardback, 1st edition, 224pp
• New

This monograph by Patrick Zachmann accompanies his major exhibition at the Museum of Art and History of Judaism in Paris presenting a selection of his work from the years 1970 to 2015.

The book brings together a dozen of his major series, some of which have never been published. The photographic work of Patrick Zachmann, member of Magnum Photos, is complex and dense. It can be read in particular in the light of several recurring themes that run through it. The first, and one of the most important, is the question of Jewish identity. This identity, he will seek it, explore it, discover it, starting by taking an introspective look at his own family before going to different countries in Europe. From his reflections will emerge other paths that the photographer easily takes, such as those of exile or disappearance. He photographs neo-Nazi gatherings in South Africa, in Rwanda, survivors of the genocide, or even in Chile, the disappearance of people during the dictatorship.

In this corpus, Zachmann points out the weaknesses of our relationships with others, while revisiting his own work.

Text in French only.

• IBASHO & the (M)éditions 2021
• Softcover, 1st edition
• New

Yoshinori Saito lives in the most northern part of Japan, Hokkaido. Winter there is long and the snow falls intermittently for about four months. The long stretches of snow are tedious, however after the snowstorm when all the snow has settled, there is this endless expanse of white: pure, calm and silent.

 “When I walk on the fluffy virgin snow, in the distance I notice unusual forms. On closer examination they are only some weeds, with their stalks broken and leaves fallen, leaving only a skeletal form. Against the white snow these forms appear black and form sharp markings, as if drawn. This moment also gives me a deep connection to the indigenous Ainu people of Hokkaido. They believe that when their time on earth is over, they return to God’s world, and in due course will reappear. To reflect this sentiment, each work is titled to reflect their world. It is as if the forms are whispering to me, through the tranquility, giving me hope and gently supporting me through to spring.” - Yoshinori Saito

Elegant softcover with Japanese folds. Limited edition of 500 numbered copies.

Text by Yoshinori Saito in Japanese and English

• Ira Stehmann / the(M) éditions / IBASHO 2021
• Hardback, 1st edition
• New

“Photography is not the thing. It is the thing that gets us to the thing.
Atkins used photography to illustrate nature and its structure. In a similar way, we use photography to illustrate reality and its structure. The possibility of having a tool to investigate reality is what first drew us to photography. We discovered that by using this medium we can nurture our interest and have a better understanding not only of perceived reality, but of the ‘structure of reality’, ‘the why of things’. Photography is, for us, the perfect philosophical tool to learn more about the universe as a logical and architectural conception: the recognition of an order among individual pieces in which each piece is also illuminated by the arrangement of the whole.”
- Albarrán Cabrera

Edition of 1000 copies.  (3 different covers assigned randomly)

• the(M) éditions / IBASHO 2021
• Softcover, 1st edition
• New

• the(M) éditions / IBASHO 2021
• Hardback, 1st edition
• New

• Void 2021
• Hardback, 1st edition
• New

“White, muscled bodies, industrialised, eerie cities lit in golden light, and constant references to man’s power over nature, all portrayed in soft, otherworldly pastels and natural lighting. But her photographs’ metaphors nod to the reality coursing through our global market reliance, and are charged with a relatability that holds our gaze.”

— Cat Lachowskyj, The British Journal of Photography

Material abundance is presented as the key to fulfillment. We are meant to believe that with hard work one can get to the top no matter where they start from. An entire generation called the Millennials – which Kata is also part of – grew up with these promises.

‘There is Nothing New Under the Sun’ is Geibl’s first monograph. Carefully planned images are mixed with stream-of-consciousness texts. A poetic approach emerges through allegories, personal short stories and image pairs. The project deals with the rampant individualism that underpins our contemporary social, political, and economic system, and in particular, the environmental impact that it has. Geibl’s aim with the series is not to lecture, or to lay down a strict story, nor to interpret economic issues. She takes the viewer on a journey. There are no clear answers but instead ambiguous questions. Which we have to ask sooner or later as we are not only heirs of the system but also suffer under it.

• VOID 2021
• Hardback, 1st edition
• New

"As gender roles and power structures begin to shift further and further away from their fabricated but very real empire, this work is a timely investigation into the fear and discontent found in the nation of straight white men that I am undoubtedly a part of.”

— Shawn Bush

This project surveys the American straight white male’s endless pursuit to sustain power and the institutions that enforce their supremacy. The pictures are a compilation of Bush’s own alongside an archive of gold prospectors and propaganda photographers that span from 1920 to the early 1970s. Bridging a century of photographs, this body of work juxtaposes systems that conceal their influence and preserve a violent regime alongside the burden of that heritage.

For the past ten years, Shawn has focused on Western systems of authority through the lens of masculinity. His bodily identity has allowed him to connect with male communities across the United States through traditionally masculine venues, though often starting in online forums where many males feel free to express their inner thoughts. In this space, it became clear how petrified many straight white men are of losing their socio-economic position to those who are not also straight white men, often employing a defend-at-all-cost attitude with a plan of attack.

After the first eight years making images while living in progressive city metros, Bush moved to Wyoming, USA, under the Trump presidency. Being immersed into the time capsule of the past that is Wyoming forced the artist to think about the present as an echo of the past and changed how I create, which is when he began to solely photograph using a large format camera, black and white film, and working in still life. Many of these photographs also use a bare bulb flash to connect the language used in the image archive to the present, creating a narrative that dissects a history rooted in colonialism and unable to confront its past on a collective level.