Photobookstore

• Mack 2021
• OTA bound softcover, 1st edition
• New

“[Van Manen's] images look raw and incredibly modern, the people captured within them unaware, skewiff, unposed and playful ... we are left with a very particular take on personal and the poetic.” – AnOther

“Using a simple snapshot camera, [Van Manen] portrays the wild calm of the landscape and the brutal intimacy of the lives and deaths of its dwellers.” – The Independent

Since the 1970s, Dutch photographer Bertien van Manen has created intimate and poignant photographs of commonplace scenes, produced during extended trips to Europe, America, China and the former Soviet Union. Van Manen has established herself as a unique voice in documentary photography, her visual language imbued with empathy and respect for the everyday lives of her subjects. This book presents an extensive overview of Van Manen’s work, alongside diary entries and previously unpublished selections from her archive.

The book has been edited and designed by renowned Dutch designer Hans Gremmen to offer a unique insight and overview of Van Manen’s history, establishing this publication as the ultimate reference work on her oeuvre.

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

Due in stock early August, reserve your signed edition now.

• Akio Nagasawa 2021
• Softcover, 1st edition
• New

'There was a woman called Naomi in the Nishiki area in Nagoya.
She was a person who loved cars. I often took her for a drive.
It’s already three years since she disappeared from Nishiki.
Even now, I still think of her sometimes.
This is a profile of her as she appears in my memory.'

Naomi is the third volume of a four books new series by Daido Moriyama 'Woman in the Night'.

Silkscreen canvas covered signed and numbered edition of 350 copies only.   Due in stock mid-late August, reserve your copy now.

• Void 2021
• Hardback, 1st edition
• New

"Tragedy in classical theory is supposed to inspire both pity and terror, but the daily horror and violence of world news often leave us struggling to produce those responses. No one can really feel on cue the emotions apparently required of us by a daily news stream of anniversaries of bombings and economies on the brink. But a hippo being shot with a tranquilizer dart in a flooded city street is another matter entirely".

- Jonathan Jones

Late on 13 June 2015 heavy rainfalls hit Tbilisi and the nearby areas. By the morning, 19 people would be dead. Many families were now homeless, a zoo destroyed, and a city in shock. The city became a wilderness full of dangerous beasts. The zoo lost more than 300 animals. The majority, killed by flooding. Several survivors — a hippopotamus, big cats, wolves, bears, and hyenas—escaped from destroyed pens and cages to the streets of Tbilisi. Some were killed, others recaptured and brought back to the zoo. Many Georgians condemned the foreign media’s focus on the zoo and their indifference to the stories of the human victims. Catholicos-Patriarch Ilia II, an influential head of the Georgian Orthodox Church, in his Sunday sermon, blamed the floods on the "sin" of the former Communist regime. Which, he said, built the zoo in its current location using money raised from destroying churches and melting down their bells.

Francesco Merlini uses the photographic medium to transform reality into what seems fantastic. Creating metaphors and symbolisms. Making photographs look surreal and suspended between perception and meaning. With 'The Flood', the photographer attempts to dare the viewer's self-confidence. Making them read this story from a new point of view.

• Void 2021
• Hardback, 1st edition
• New

“The truth is, I found being a stripper liberating. Who would have thought it?! It allowed me to shed sexual inhibitions; it gave me a huge pool of strong female friends who were intelligent, radical, open and great fun; it empowered me with a decent income that allowed me to be independent, supported me through my university degree and offered a tremendous creative opportunity that has resulted in a lifetime of positive artistic recognition and eventually this very book.”

- Cammie Toloui

The project was photographed in the early 90s when Cammie Toloui was working as a stripper at the Lusty Lady Theater in San Francisco to fund her photojournalism degree at San Francisco State University.

Customers who paid to view her naked body and watch her perform sex acts on herself were offered a discounted price if they consented to being photographed. The resulting series of black and white photographs, baroque-like in their dramatic lighting, are free of any prejudice. Instead, they are compellingly imbued with a deep sense of curiosity and understanding, with each photograph revealing a broad spectrum of sexuality, fetishes, and often-private aspects of masculinity.

“I smuggled my camera into work and got up the courage to ask my first customer if I could take his picture, offering him a free dildo show in exchange. He didn’t seem at all hesitant, and in fact I was shocked when he came back the following week, asking if I would take his picture again. This was an important lesson in the workings of the male ego and served me well for the next two years as a stripper, and the rest of my career as a photographer.”  - Cammie Toloui

Today, the series retains a deeply powerful urgency and importance because of how Cammie Toloui took control of and inverted the male gaze, turning it back on itself, at a time where the male gaze was an overarching dominant force within daily life, both culturally and socially.


SOLD OUT - more copies due in mid-August, available to pre-order now.

• Eigensinn 2021
• Softcover, 1st edition
• New

'In March 2020 I started experimenting with adding paint to my pictures and immediately fell in love with it. I guess it was because working with paint was completely new for me and therefore I allowed myself to make mistakes and felt more open to coincidences than I normally do, but with the photograph underneath it, I still had a base of something familiar.

I remember a night where I stumbled upon Gerhard Richters overpainted photographs while searching for inspiration and being so excited about his work I couldn't sleep properly the whole night. The next morning all my friends woke up to a dozen of text messages from me expressing how much I feel like I found a treasure. I immediately went to the next art supply store and bought even more paint and tools to experiment with. 

So for a couple of months, all I did was going through my archive in order to find new pictures, taking a walk to the next copy shop or drugstore to get them printed, and painting all over them while feeling the excitement of seeing my own photographs for the first time again. I loved to see how the photograph changed, how the paint pointed out different parts of it or destroyed the actual image and drew the attention completely to itself. With some photographs, it worked so well that I felt like they just now began to make sense, some others I tried to paint over multiple times and it just didn't feel right and so I tried my way through.

Being way too optimistic as I sometimes am when I feel excited about an idea, I thought making a book out of these photographs will probably be easy, since they're all overpainted now and somehow have to share the same context and work well together... After two very randomly put-together dummies, I had to admit to myself that it is not as easy as I thought it would be and that I'd have to find a concept, at least a vague one. Don't get me wrong, this was the first time I did something like this and I don't think it turned out perfect, but I do know that I have done everything I basically could and that I'm very happy with it. And I guess that's what matters in the end.'

- Asli Oezcelik

12x9cm, slipcased book.  With 5 different covers, assigned at random.  

Signed copy.

• Photon 2021
• Hardback, 3rd edition
• New

'I cast my lens onto some of the most iconic emblems of the American West: the car, the road, the gas station and the most totemic of all, the landscape. The motivation behind my choice of subject matter is rooted in the westernization of my home country in the 1990s and the subsequent lack of national identification. At that time, the goal in Slovenia was to shed its socialist past and make capitalism a success story. This shifting atmosphere resulted in confusion over what was archetypically Slovenian and was felt most strongly by the young generation I was a part of. It was easier to identify with established, westernized realms, particularly in popular culture. Growing up with American imagery and values on TV, the American spirit was communicated to us through visually established symbols of the “world’s most powerful country”.

My relocation to California in 2013 further solidified my aesthetic. SBTW is, in fact, a personal and artistic exploration of the emblematic symbols of Americana from my youth in opposition to my adult identity. The prevailing narrative is centered around a nostalgic vision of the American dream from my childhood, contrasted with the reality of living in the US and applying for an artist visa. The iconic landscape in my work becomes a backdrop for an exploration of this unique cultural position within it. My photographs offer a highly aestheticized portrayal of what I find most familiar, in what is essentially an unknown landscape to me. This acts as a contrast to the conflict I feel in regard to my identity.

Photographing the familiar in the new speaks of a need for a utopian vision, while alluding to a generational sentiment of longing for an uncomplicated childhood in unpredictable times. Yet through the seemingly soft and innocent photographs, I aspire to convey the solitude of my position, depicted in the cracks of this idealized Americana.'

- Dino Kuznik

• Deadbeat Club Press 2021
• Hardback, 1st edition
• New

As the title of Kovi Konowiecki’s debut monograph – and in its place, another – reminds us, we are always and forever subject to the twin certitudes of transience and change. As is the artist, who has moved back and forth between California, Mexico, Europe, and the Middle East, all of which places are part of the fabric of this sprawling, unscripted book. 

Here we are confronted with the geographical and emotional margins of society and the mind: the external and internal boundaries that inhibit both human movement and human potential. The photographs portray individuals and communities that exist in a liminal space between belonging and abandonment, many of which exert feelings of desolation.

But what might seem on the surface political is made intensely personal through Konowiecki’s purposeful reliance on emotional connections in the pictures rather than specific relationships of place or subject. As he says, this work comes as a “happy accident, inspired by the frequent travels that nourished a sharp eye for the liminal types of communities to which I am drawn: people I have met in my wanderings, passersby in the street, a horse trained in a small Arab village, and untended gardens.”

The “unscripted” nature of the work has an impact on the form of the book, in particular in the variety of genres and colors, from landscape photography to portraiture and from black and white to color. The various forms of expression serve as ways to materialize the ideas at the core of the project and to break down barriers or restrictions within the photographic medium.

Signed copy.

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

“The sheep stopped in their eating and looked timidly at us;
and the cattle, their heads turned from the wind and sleet,
stared angrily as if they held us responsible for both annoyances;
but, except these things, and the shudder of the dying day in every blade of grass,
there was no break in the bleak stillness of the marshes.”

- Charles Dickens, Great Expectations

Situated on the Thames Estuary in southeast England, the North Kent Marshes are an overlooked but vital swathe of land. For centuries, trade has flowed in through the estuary and the surrounding wilderness harbours a rich history. In the 18th century, plague outbreaks ravaged Europe and ships were quarantined in the nearby Medway. The low-lying terrain provided the ideal conditions for smugglers, as small vessels would target ships transporting goods to the capital, allegedly sneaking the contraband down underground tunnel networks once ashore. It was against this illicit backdrop that Charles Dickens set the early parts of Great Expectations (1861), where the escaped convict Magwitch takes refuge in the marshes. 

Since 2011, Martin Amis has been photographing in the same marshland near his home, finding solace in the landscape through walking. This Land is the result of many walks over the past decade – much in the period from March 2020, coinciding with the UK’s first coronavirus lockdown. Devoid of people, Amis’ images invite a reconnection with nature: derelict industry reclaimed by the wild, grazing sheep and lone birds drifting across a monotone sky. Despite an undertone of loss and absence, Amis portrays a land that is continually being shaped by the elements and the civilisations that pass through it. If we listen closely, we might almost hear the shouts of the night watch over the gulf of time and the creaking prison hulks that once inspired Dickens.

Double hit silver wraparound softcover
24 x 30cm, 76pp
Tritone offset printed on Munken Lynx Rough

A Special Edition is also available here.


For trade enquiries, please get in touch here

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

“The sheep stopped in their eating and looked timidly at us;
and the cattle, their heads turned from the wind and sleet,
stared angrily as if they held us responsible for both annoyances;
but, except these things, and the shudder of the dying day in every blade of grass,
there was no break in the bleak stillness of the marshes.”

- Charles Dickens, Great Expectations

Situated on the Thames Estuary in southeast England, the North Kent Marshes are an overlooked but vital swathe of land. For centuries, trade has flowed in through the estuary and the surrounding wilderness harbours a rich history. In the 18th century, plague outbreaks ravaged Europe and ships were quarantined in the nearby Medway. The low-lying terrain provided the ideal conditions for smugglers, as small vessels would target ships transporting goods to the capital, allegedly sneaking the contraband down underground tunnel networks once ashore. It was against this illicit backdrop that Charles Dickens set the early parts of Great Expectations (1861), where the escaped convict Magwitch takes refuge in the marshes. 

Since 2011, Martin Amis has been photographing in the same marshland near his home, finding solace in the landscape through walking. This Land is the result of many walks over the past decade – much in the period from March 2020, coinciding with the UK’s first coronavirus lockdown. Devoid of people, Amis’ images invite a reconnection with nature: derelict industry reclaimed by the wild, grazing sheep and lone birds drifting across a monotone sky. Despite an undertone of loss and absence, Amis portrays a land that is continually being shaped by the elements and the civilisations that pass through it. If we listen closely, we might almost hear the shouts of the night watch over the gulf of time and the creaking prison hulks that once inspired Dickens.

Double hit-silver wraparound softcover
24 x 30cm, 76pp
Tritone offset printed on Munken Lynx Rough

Special edition of 25 copies, with a signed 10x8" archival pigment print on Hahnemule Photorag.  See the alternative special edition available here.

In stock now, shipping begins July 19th.

The regular edition of This Land is available here.

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

“The sheep stopped in their eating and looked timidly at us;
and the cattle, their heads turned from the wind and sleet,
stared angrily as if they held us responsible for both annoyances;
but, except these things, and the shudder of the dying day in every blade of grass,
there was no break in the bleak stillness of the marshes.”

- Charles Dickens, Great Expectations

Situated on the Thames Estuary in southeast England, the North Kent Marshes are an overlooked but vital swathe of land. For centuries, trade has flowed in through the estuary and the surrounding wilderness harbours a rich history. In the 18th century, plague outbreaks ravaged Europe and ships were quarantined in the nearby Medway. The low-lying terrain provided the ideal conditions for smugglers, as small vessels would target ships transporting goods to the capital, allegedly sneaking the contraband down underground tunnel networks once ashore. It was against this illicit backdrop that Charles Dickens set the early parts of Great Expectations (1861), where the escaped convict Magwitch takes refuge in the marshes. 

Since 2011, Martin Amis has been photographing in the same marshland near his home, finding solace in the landscape through walking. This Land is the result of many walks over the past decade – much in the period from March 2020, coinciding with the UK’s first coronavirus lockdown. Devoid of people, Amis’ images invite a reconnection with nature: derelict industry reclaimed by the wild, grazing sheep and lone birds drifting across a monotone sky. Despite an undertone of loss and absence, Amis portrays a land that is continually being shaped by the elements and the civilisations that pass through it. If we listen closely, we might almost hear the shouts of the night watch over the gulf of time and the creaking prison hulks that once inspired Dickens.

Double hit-silver wraparound softcover
24 x 30cm, 76pp
Tritone offset printed on Munken Lynx Rough

Special edition of 25 copies, with a signed 10x8" archival pigment print on Hahnemule Photorag.  See the alternative special edition available here.

In stock now, shipping begins July 19th.

The regular edition of This Land is available here.

• Mack 2021
• Hardback, 1st edition
• New

Between 1990 and 1998, Guido Guidi made five separate trips to Milan and its surrounding areas. Cinque viaggi brings together the photographs made there, forming an investigation of one city and its peripheries in the throes of economic and social transformation. As Guidi follows the canal from out in the suburbs toward the city centre, his attention and visual language move from the vernacular to the metropolitan, from wider horizontal views to vertical ‘cuts’ in the urban fabric, from entire buildings and scenes to glimpsed façades and doorways. Along the way, we also encounter inhabitants: a group of young men gathered in a Pasolini-like scene on a bridge in the city’s outskirts; occasional passers-by working, shopping, or stopping to smoke on the city streets; disconnected couples and disparate individuals whose loose citizenship coheres the urban sprawl.

While previous books, such as Per Strada (2018) and Tra l'altro(2020), demonstrated Guidi’s fascination with the rural and small-town landscapes of his native region, Cinque viaggi turns to metropolitan Italy, documenting the dramatic socio-economic changes that have transformed it over the course of the nineteenth and twentieth centuries. Remnants of rural civilisation and traces of urban expansion are embedded among the first signs of de-industrialisation. These 110 large-format works, many of which have never been seen before, reveal the layers of social and architectural history among which everyday life unfolds. Cinque viaggi offers an arrestingly subtle picture of Italy's recent past and rumination on its future.

Text in English and Italian.

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

• Mack 2021
• Hardback, 1st edition
• New

• Mack Books 2021
  
• Softcover, 1st edition
  
• New
  

On the islands in the Strait of Hormuz, off the southern coast of Iran, there is a common belief that the winds can possess a person, bringing illness and disease. The existence of similar convictions in some African countries suggests that the cult may have been brought to Iran from southeast Africa through the Arab slave trade. This history is rarely spoken about but these winds and the traces they have left on the islands and their inhabitants are the touchstone for Hoda Afshar's Speak The Wind. Through her subtle and perceptive images of the extraordinary landscapes, the people and their rituals, Afshar's beautiful and complex book attempts to picture the wind and its psychic entanglements, to form a visible record of the invisible.

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

• Mack Books 2021
  
• Hardback, 1st edition 2nd printing.
  
• New
  

This book presents Alessandra Sanguinetti’s return to rural Argentina to continue her intimate collaboration with Belinda and Guillermina, two cousins who, as girls, were the subjects of the first book in her ongoing series, The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams. 

In this second volume, The Illusion of An Everlasting Summer, we follow Guillermina and Belinda from ages 14 to 24 as they negotiate the fluid territory between adolescence and young adulthood. Still surrounded by the animals and rural settings of their childhood, Everlasting Summer depicts the two cousins’ everyday lives as they experience young love, pregnancy, and motherhood - all of which, perhaps inevitably, results in an ever-increasing independence from their families and each other. Similarly, we can sense a shift in Sanguinetti's relationship to the cousins and the work they make: from insular childhood collaborators to three women with lives branching in different directions. Though the passage of time is one of the most palpable tensions at work in these photographs, An Everlasting Summer deepens Sanguinetti's exploration of the timeless, universal language of female intimacy and friendship.

2nd printing.

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

• moom 2021
• Hardback, 1st edition
• New

“In the middle of the night before the printing of this book, I started to go over everything that happened around me while I had my camera in hand. I had strong impressions of every event, but the outlines were all blurry, like they were stories told by someone else. As if in a dream, you know for a fact you were there to witness everything, but as soon as you wake up, it feels like nothing ever really took place.”

After All is Taiwanese photographer Huang Jun Tuan's third photobook, it is a compilation of his monochrome work over the years. These images seem tucked away in the crevice of a zeitgeist, carrying hues that only exist down one's own memory lane. Those fractions of life, once gazed upon in all sincerity, now solely exist within the premise of images.

This is the debut publication from moom editions.

Limited edition of 500 copies (already sold out with the publisher)

• Akio Nagasawa 2021
• Softcover, 1st edition
• New
  

The exhibition of works by Shomei Tomatsu and Daido Moriyama at the Maison Européenne de la Photographie (MEP) in Paris, which was repeatedly postponed for reasons related also to the spread of Covid-19, is finally opening.

When Tomatsu first approached me asking what I’d think about “the two of us doing a ‘Tokyo’ themed exhibition together,” I was shooting and doing other stuff in Okinawa. I had done quite a few exhibitions, but that would be my first one together with Tomatsu. Hearing his plans, I couldn’t think of any reason for turning the offer down, so I replied, “Yeah, sounds good. Would be great if we could make it an impressive show of our works – maybe in a shuffled style?” However, we eventually had to scrap that plan due to the totally unexpected event of Tomatsu’s passing about a year later. For me, a joint exhibition with him was a most desirable prospect, so it was highly regrettable, and also a bit discouraging. But then, another couple of years later, things took again some unforeseen turns, and now it seems that there has come a time and a place to not only realize that plan, but in my view, to do so under the best conditions we both could have asked for in terms of exhibition space and scale.

Finally, Tomatsu’s idea for a “two-man show” was to materialize, on the other side of the globe, in the form of an exhibition in Paris. Curated, produced and organized by MEP director Simon Baker and Akio Nagasawa from AKIO NAGASAWA Gallery, it takes the shape of a large-scale exhibition that features a significant number of photographs by Tomatsu and myself, albeit not in a shuffled style. In a word, it is one big “Tokyo” show. With the pandemic still going on, I’m looking forward to seeing how the people of Paris, and the people of Europe at large, will look at our exhibition. Even more than that, though, I wish Shomei Tomatsu could come to Paris to see it as well, considering that it was all his idea…

The photos in this 47th volume of Record show sceneries in the area around Tokyo Tower, which I was inspired to capture after spotting Tokyo Tower the other day, and spontaneously taking a picture of it. Needless to mention, it is again a set of “cityscapes with face masks.”

– Afterword by Daido Moriyama

Signed copy.