Photobookstore

• Bookshop M 2025
• Hardback, 1st edition, 168p
• New

Daido Moriyama: Stray Dog — The Rediscovered Slides

A rare visual record, rediscovered after 25 years.

In 1999, Daido Moriyama: Stray Dog was held at the San Francisco Museum of Modern Art, a groundbreaking exhibition that later toured the U.S. and Europe. It marked a pivotal moment in Moriyama’s career, launching him onto the international stage. As part of the show, 140 of Moriyama’s own hand-selected works were transferred onto slide film and presented as a slideshow.

Now, a quarter century later, the original film has been unearthed—prompting the creation of this long-awaited publication.

The book faithfully reproduces all 140 images from the original slideshow. Its cover features Moriyama’s iconic Stray Dog, Misawa in two versions: a standard print (LEFT) and its reverse (RIGHT), reflecting the duality that emerged as the photo spread through the world after it was taken in 1971.

Also included are essays by four internationally renowned curators who share their personal encounters with Moriyama’s work. Each story is followed by a rare commentary from Moriyama himself, reflecting on the past through their words. (All texts in English.)

Includes a separate booklet with full Japanese translations of all texts.

Signed copy.

Please advise if you have preference for left or right printed image on the front cover.

• MFA Boston 2025
• Hardback, 1st edition, 160p
• New

Called "a poet with a camera" by Edward Steichen, Robert Frank (1924–2019) was one of many artists who searched for creative freedom in postwar Paris. It was while he was living in the city in 1949 that Frank produced a seminal volume in his oeuvre: a rare, personal photobook made for his then-girlfriend, artist Mary Frank (née Lockspeiser). In Mary’s Book, the photographer chronicled his time in the city with his poetic, insightful and inquisitive eye, and experimented for the first time with combining text and image.

This singular object proved an important bookmaking exercise for Frank, and remains as evidence of his maturing artistic vision, which led to one of the most influential photobooks of the 20th century, The Americans (1958).

Mary’s Book reproduces this love letter in full for the first time, accompanied by insightful essays from leading scholars. This facsimile clothbound volume, inscribed "this is for you" in Frank’s handwriting, re-creates the series of unbound pages nestled within one another, filled with handwritten notes and hand-cut prints. Readers can experience the Paris of the late 1940s through the visual harmonies of Robert Frank.

Note that care shoud be taken when removing the facsimile edition from the main volume - it is easy to remove but must be gently pulled away.

• Libraryman 2025
• Hardback, 1st edition, 80p
• New

Eriko Masaoka (b. 1983, Japanese) began taking photographs at the age of 20, by visiting small villages across Japan, and while living on a ranch in Hokkaido and in an Ainu community—the latter, of which experiences, shaped her artistic direction.

Without a specific intention in mind, Masaoka decided on her destinations, followed her thoughts, and continued her journey while taking pictures. Subsequent to a decade in the making, this story was concluded.

In this book, people, animals, man-made objects, herself, and nature all have souls and emit life as living organisms, as if in an animistic worldview; comparing all life to a drop of rain and celebrating all life that may be short and fleeting.

The photographs were taken in Hokkaido, Okinawa (and its surrounding islands of Iriomote and Aguni), Kagoshima, Kikaijima, the Tōhoku region (Akita, Aomori, Nagano and Niigata), Tokyo, Osaka, Mount Kōya, Rotterdam in the Netherlands, Gullfoss in Iceland, and the Azores of Macaronesia.

The book contains a preface, in Japanese, written by Eriko Masaoka, with an English translation.

First edition of 700 copies.

• Chose Commune 2025
• Hardback, 1st edition, 168p
• New

Between agitation and lightness, Fusako Kodama depicts the effervescence of modern Japan. From 1960 to 1980, she captures the atmosphere of places and the energy of people. 

Movement is constant; disorder occurs at times; gestures are carefree and instinctive: Fusako Kodama captures forward momentum. Her spontaneous photographs summon surprising perspectives where subjects appear slightly out of sync.

Between restlessness and lightness, Fusako Kodama portrays a certain effervescence of modern Japan. From 1960 to 1980, she captures the atmosphere of cities and villages inhabited by animated beings. Through her unusual and spontaneous framing, the prolific photographer casts a gaze that is both gentle and vibrant over twenty years of Japan.

1960-1980 is the first book by Fusako Kodama published in the West, where she is still relatively unknown. This work aligns with the ongoing efforts of Chose Commune, which aims to shed light on contemporary Japanese photographers beyond their country of origin.

• Kehrer 2010
• Hardback, 1st edition, 104p
• Near fine

Photographer Andrej Krementschouk tells a moving story about homeland and homelessness, roots and identity. The setting is a dilapidated old cottage in the center of a small Russian town, where a group of orphanage-raised homeless people have made a home for themselves on the fringes of society. When Krementschouk chanced upon this group in 2006, they invited him inside and he made some touching observations, capturing despair and addiction on the one hand, but also warmth and tenderness. "Come bury me" – with these words one of the women bid farewell to Krementschouk when he promised to come back to visit the following year. Upon his return in winter 2008, he found nothing but a burned-out shell and learned from the group's sole survivor that the house and its inhabitants had fallen victim to arson. A new building is now going up on the site. This book is dedicated to the memory of the singular people who once made their home there.

New but with faint rubbing to corners of cover.

• Steidl 2011
• Hardback, 1st edition, 326p
• Used: very good - see below

This is the first book of Sternfeld’s largely unseen early colour photographs. In 1969 Sternfeld began working with a 35 mm camera and Kodachrome film, and First Pictures contains works from this time until 1980. Here Sternfeld develops traits that appear in his mature work: irony, a politicised view of America, concern for the social condition. But there are also pictures that bear little relation to his later work: colour arrangements that parallel those of Eggleston, as well as street photography which Sternfeld ceased making in 1976. The photographs in First Pictures were made at a time when colour photography was struggling to assert itself against the authoritative black and white tradition, making this book a revelation both in Sternfeld’s oeuvre and in the history of contemporary photography.

Used book in very good condition but with marking to cover and light handling wear.  Inside excellent, near fine.

• Chose Commune 2024
• Softcover, 1st edition
• imperfect - see below

Spanning three years (2020-2023), between the skin and sea emerges at a time of great collective upheaval. The hyper-local takes centre-stage; made among the artist’s immediate communities, tales of entanglement, relation, connection and intimacy unfold. Leaning into the shadows, the photographs trace networks of love, grief, kinship, shelter and repair.

Display copy with very small bump to one corner - see photo.

• Twin Palms 2025
• Hardback, 1st edition, 96p
• New

In his debut monograph, American photographer Henry O. Head reimagines the peaks and valleys of a defining teenage friendship in the Ozarks where he spent his adolescence. From spring 2023 through summer 2024, Head revisited the terrain of northwest Arkansas and southwest Missouri. He returned to Ponca and Jasper, Purdy, Monett and Pioneer— wild country with limestone bluffs shot through with quartz, where cottonmouths coil on exposed roots by slow creeks, and alligator gar glide like phantoms through the dark.

Twelve Acres recalls boyhood outside of city limits, in the shadows of sycamores, away from institutions and the pressures of social order. In a progression through the seasons, a restlessness presses in, a longing to stave off the rupture of entering an adult reality, with its responsibilities and mundanity. In this meditation on personal history, worlds quiver in a chaos of past and present forms and stark flashes of image begin to wobble in an opaque well. Tops spin. Animals with thirst cup liquid light. Memory remains an ineffable mystery. Twelve Acres is a reverie, wherein the past re-emerges as boys with tick-bitten feet, ears ringing from homemade explosives, clothes stained by the smoke of shoplifted cigarettes, and arms stretched toward higher branches.

• Setanta 2025
• Hardback, 1st edition,192p
• New

• Delpire & Co 2025
• Hardback, 1st edition, 216p
• New
  

Upon visiting Iceland in 2019, Kawauchi encountered geysers like the breadths of Earth, glaciers surpassing human time, and the inner space of a dormant volcano that was reminiscent of the inside of a womb. She had thus experienced the connection to this planet she had never felt before. Iceland was her point of departure; she continued to experience similar sights such as the nature around her home after the COVID-19 pandemic and the winter land of Hokkaido. She opened her majestic solo exhibition “M/E On this sphere Endlessly interlinking” and showcased a fraction of the “M/E” series. Even today, this body of work is been exhibited around the world.

The title “M/E” comes from the first letters of the words “Mother” and “Earth”, “Mother Earth” if read in sequence, and also hints at the word “Me”. It reminds us of the certainty that nature as an infinite existence and the small ubiquitous occurrences from our daily lives are not unrelated, but inseparably connected. As the most recent body of work by Kawauchi who returned to her point of origin –the connection between nature and human beings– and thus took a different look at the world during this turbulent time, this series goes beyond “Ametsuchi” and “Halo” through which she had established her perspective by contemplating nature. Bound by Hans Gremmen, the book appears to be a singular book object. A beautifully written essay, the like of a heartfelt letter, by author, photographer, and art historian Teju Cole concludes this publication.
　

Text in French and English.

• The Ice Plant 2024
• Hardback, 1st edition, 192p
• New

In 2023, Swedish photographer Gerry Johansson roamed the state of Maine with a Rolleiflex, curious to make new pictures in a region of America he first encountered in the work of Paul Strand five decades ago — he found Strand’s views of New England “boring” at the time — and also wondering, “Why is American photography so focused on the west?” Johansson’s Maine echoes the formal restraint of his earlier books, notably American Winter, Spanish Summer, MeloniMeloni, and Pontiac, sequencing nearly 200 black-and-white duotone photographs alphabetically by their oddly poetic northeastern town names (Bath, Friendship, Purgatory, etc). Somehow, as in all Johansson’s work, none of the Maine pictures draws more attention than any other, and the flawless and playful compositions never seem to repeat — Johansson’s endlessly inventive arrangements of architecture and landscape orient the viewer in a specific geographic and cultural place while generously sharing his way of seeing, ambling, and thinking with a camera.

Unsigned.

• Stanley/Barker 2025
• Hardback, 1st edition, 120p
• New

Nikolay Bakharev was born in the late 1940s in Soviet Siberia—a moment when artistic expression was strictly regulated. Orphaned at the age of four, he was placed in state care, where he first encountered photography after stumbling upon a plastic Smena camera.

In 1970, Bakharev was assigned to a job in a steel factory in Novokuznetsk, a Siberian city dominated by heavy industry. Soon after, he began working as a photographer for state-run Household Services, making official portraits in schools, factories, and public institutions.

As the Soviet Union began to unravel in the early 1980s, Bakharev turned to private portraiture. He traveled to near by river and lake beaches, such as Cheryomushk, where workers and families gathered to relax. These beaches were among the few public spaces in the USSR where any form of nudity was tolerated. “Almost any image of a naked body was considered pornography, which was against the law,” he says. Here, he created a deeply human archive of unvarnished Soviet life: intimate, unguarded portraits of people in moments of quite tenderness—parents embracing their children, couples pressed close, friends drinking in the afternoon light.

Bakharev’s camera served as means of connection. “There must be a mutual relationship,” he said. “They need to understand that I am not watching my sitters—it’s as if I’m part of the picture… A picture should not be beautiful, but interesting, then you can find beauty. Beauty is in the human relationships that are formed.”

Bakharev is also the author of Novokuznetsk published by Stanley/Barker in 2016, and has previously been nominated for Deutsche Börse photography prize for his 2011 exhibition at the Venice Biennale 

• Good Fight 2025
• Hardback, 1st edition, 120p
• New

The haunting stillness of Swedish winter serves as the inspiration and backdrop for Markus Naarttijärvi’s debut monograph A Surrender.

Shot over 1,000 consecutive days, Naarttijärvi navigates spaces stuck in a liminal twilight — somewhere between death and rebirth, where human industry dissolves into nature’s embrace. Each photograph is a step in a journey of appreciation between growth and decay, society and wilderness, resistance and surrender.

With patience and persistence, Naarttijärvi transforms collapse and new growth into a meditation on impermanence while reminding us that sometimes, the only way out is through.

23 × 31 cm.  Edition of 500 copies. Stitched open spine binding with tipped-in image on the cover.

Comes with an exclusive choice of signed print, size 13x18cm (5"x7") - choose print selection from the dropdown.

• Akaaka 2022
• Hardback, 1st edition, 248p
• New

This book contains the works published by the Japanese photographer Shigeo Gocho (1946–1983) during his lifetime. Arranged in chronological order, the reader follows Gocho’s work from his 1971 debut photography series “Days” on to “Self and Others,” “Familiar Street Scenes” and “Childhood,” as well as the two painting series “Spiritual Travels” and “Memories of Water.”

Born in 1946, Gocho suffered an illness that impaired his physical development and shortened his expected lifespan. Starting with “Days” in 1971, his remarkable photography in black-and-white and color has earned him recognition as one of the most important photographers of the 20th century. Through various portraits and snapshots, Gocho used the camera to observe the inherent history and politics hidden within daily life in the city, to explore the ways in which emotions are shared between people, to question the role of the photographer in relation to their subject, or examine the way we observe others.

In addition to the photographs, “Shigeo Gocho: Works” also includes the original forewords for his series as well as an appendix with an extensive essay by Yukiko Tomiyama, a chronology of Gocho’s life and a list of his works (please note that only the appendix is available in English translation).

“What Gocho captured was not a world in which people were placed in special circumstances. They are scenes of omnipresent stories and politics seen by anyone in the course of everyday life in a certain age and in a certain place. They are never exaggerated or dramatic things. But it is exactly because they are commonplace that they are able to stimulate and stir people’s memories and feelings. They are able to awaken what has fallen into the innermost depths of the heart, beckoning us on to new narratives.”
― from Yukiko Tomiyama’s essay “Living on the Edge”

• Akaaka 2024
  
• Softcover, 1st edition, 112pp
  
• New

Japan promised by law to adhere to the Three Non-Nuclear Principles not to possess, produce, or permit the introduction of nuclear weapons. But nuclear weapons were brought here. Nuclear bombs were stored and retrieved here. Something that shouldn't be had existed here. Nagasawa's photographs of this place bring to our attention faint memories that lie behind what is shown in the photographs. The people who knew that time are disappearing, giving way to a new generation of Bonin Islanders. It is a past of loss and forgetfulness. Nagasawa has unearthed and made visual the secret room-a void severed from time and space.

Nagasawa photographed the series on the island of Chichijima, part of a remote archipelago south of mainland Japan.

For twenty-three years after the end of World War II, Chichijima was occupied by the U.S. military. During this time, only military personnel, their families, and the people already living there were allowed on the island. Most of what happened in this period remains unknown, but it was later revealed that the U.S. placed a nuclear warhead called “Mary’s Lamb” on the island.

In his series, Nagasawa enters the bunker where Mary’s Lamb was once kept. His photographs interrogate the halls, the floors, the flaking paint, the rusting metal surfaces, as if asking them for clues or their memories.

Slipcased softcover, H224mm x W343mm.  Text in English and Japanese.

• Akaaka 2023
  
• Hardback, 1st edition, 112pp
  
• New

"I am fond of taking photograph fragile things: butterflies, plants, relics, and lost people. Additionally, I am enchanted by the eternal elements: the moon, rivers, tides, and fossils.

Maybe it's because of the fragility and regret of life, or because of my own nature, honestly, I have yet to fully comprehend. However,  the continuous passing of my dear ones compels me to articulate these experiential facets of existence.

Whether it is due to the fragility and regret of life or simply a natural inclination, I still do not fully understand. Nevertheless, the successive  passing of my dear ones have compelled me to articulate these experiential facets of the existence.

Taking photographs for me,  is an extension of my memories and imagination: unfolding, closing, concealing, and, confusion... Within the dark box lies an infinite abundance of the past and secrets. And when I pick up the camera and face the world, the tide of the past spreads out like this.

In my life, photography is akin to a ship. Though it has weathered and decay with time, it still has the capacity to embrace me even when darkness descends."

- Xing Lei

• Akaaka 2022
  
• Softcover, 1st edition, 64pp
  
• New

Receiving high acclaim both within Japan and overseas, Yoshihiko Ueda has continued to present work on the frontline throughout his career of 40 years. His oeuvre profoundly reflects his consistent perspective, thoughts, and personality as a photographer. Portraits, forests, family, rivers, buildings, human remains from the Jomon period, portraits of "paper," apple trees... Expressing a desire to "discover how the world came to be" and to "affirm the transience that permeates the impermanence within which we live," Ueda's photographs are a manifestation of many years of meticulously developing his concepts and exploring various motifs.

In Latin, mater means mother/source, Mäter derives from the Indo-European root word mehter (mother), and has the same etymology as the English word mother. The original meaning of the Latin word materia is "tree trunk." The trunk is thought to be the "womb" of life, and materia originates from the word mater.

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

Engraved in ghostly black and white, Anna Arendt’s debut monograph, Vanishing, conjures a world of dreamlike dread and beauty.

Arendt was born in the German Democratic Republic. She was 24 when The Wall fell, her daughter was 2. Her parents were born 1940 in Germany, children of war. Both of her grandfathers had been soldiers, who had been in Poland between 1940 and 1942. One came back 2 years after the war was over, the other one never returned. Arendt later discovered that her husband’s father, photographer Sid Grossman’s family came from the area in Poland that her two grandfathers were sent during the war.

As a child, she found a secret shelf that contained photo albums of her family. "It is where I discovered the power of a picture. A picture taken in summer 1940. A young family, my grandmother, her baby and my grandfather in a German uniform. A picture full of contradictions, carrying ambivalent feelings even until today."

Photographed mostly between Germany and Poland over 15 years, the work slides back and forth through time like a blood memory. Walking naked through the dark forest, wolves circling, howling. A daughter becoming a mother becoming a grandmother becoming a child. Haunted villages, and souls in jeopardy. The harsh reality of the past merges seamlessly with moments of rapture that feel plucked from a Grimm fairy tale.

Vanishing is an unforgettable depiction of how beauty and brutality coexist in the hearts of men and beasts.

Signed copy.

• Nazraeli Press 2025
• Hardback, 1st edition, 68p
• New

“From 2021 to 2023, I photographed around two reservoirs in the Central Valley of California experiencing a twenty-three year megadrought. The Reservoir weaves together images of the drying lakes and people seeking a leisurely day at the beach. They bring their dogs, babies and baby carriages, inner tubes, kayaks, rafts, umbrellas, coolers, and tents. As the summer progresses and the waterline recedes, families walk over a mile to reach the beach. At times, the sky is colored with smoke from nearby forest fires. The photographs in The Reservoir are part of an ongoing exploration in my work of how droughts, climate change, and ever-present anxiety collectively maps onto life in the American West.” — Mimi Plumb

It could be the last of our days, the way the water is receding, and the sun unrelenting. The reservoirs, once vast and overflowing, shrink before our eyes; the distance to reach the lapping shores growing vaster with every page. Humanity traveling that distance, what was once yards, now a mile or more. Mimi Plumb, in her new book, The Reservoir, follows the trail of people dotting the parched landscape, recording the plight, the pilgrimage, and the reward. The light is magical. The scenes are sublime. The moments are suspended. The sequence of images leads us to the water’s edge and lets us decide if we want to keep going or not.

Mimi Plumb is part of a long tradition of socially engaged photographers concerned with California and the West. She received a 2022 Guggenheim Fellowship in support of her current project, The Reservoir.

• Asia One 2025
• Hardback, 2nd edition, 160p
• New

"HK:PM" is Greg Girard’s ode to nocturnal Hong Kong between 1974 and 1989, the earliest work of the photographer’s long relationship with Asia. A journey exploring the underside of a city he first visited as a teenager in 1974 and and later lived in for 15 years. The photographs in HK:PM are imbued with the noir allure and seedy pastels of Hong Kong in its prime. HK:PM shows people at work, people at play, and simply getting on with their lives, mostly with the particular atmospheric backdrop of Hong Kong at night. A world onto itself, a place where jetliners almost touch the buildings when they come in for landing, where your desires can be met at an instant, and where people from all over the world pass through. Not portraying the glamour that some may associate with the city, instead we are invited to see how this place may have been tough for some, however driven by the hope that is the “Hong Kong Dream.” Attracted to the hidden and often dark beauty in everyday life, Girard is a champion of the common man as he explores “the often overlooked features that define daily life for its residents.” “I started taking photographs at night as soon as I picked up my first camera. I never really thought of them as “night” pictures. It was just a different kind of light, whether neon, fluorescent, moonlight or the light of the city reflected off an overcast sky. But Hong Kong was alive at night in a way that other places weren’t,” says Girard.