Candid and personal, dazzling with color and immediacy, this first and only monograph of a rising star of the photography scene features work from major labels and magazines, outtakes from shoots, and newly commissioned texts by Edward Enninful and Ekow Eshun on the importance of authentic diversity behind and in front of the camera. From major portraits of the likes of Kendall Jenner, FKA Twigs, and Tyler, the Creator to cover shoots for leading magazines such as Time, Rolling Stone, and Garage, Campbell Addy has quickly become one of the most in-demand photographers of his generation. The book opens with a foreword by British Vogue’s editor-in-chief, Edward Enninful, discussing the powerful intersection of photography, race, beauty, and representation. This is followed by a broad selection of Addy’s striking photographs, which range from prominent fashion and magazine commissions to candid portraiture. Featuring recognizable cover shots alongside unpublished outtakes and unseen photography, viewers are afforded insight into Addy’s creative process on set. Quotes from leading Black figures including Naomi Campbell and Nadine Ijewere are woven between Addy’s striking imagery, in which these trailblazing Black creatives reflect on the first time they felt seen in their industry. The book closes with a deeper exploration of Addy’s more personal imagery and influences, paying tribute to the heritage of Black photographers through the work of Ajamu and James Barnor. In conversation with curator and writer Ekow Eshun, Addy balances his own experiences as a queer, Black photographer who left his Jehovah’s Witness family home at sixteen with broader questions of identity, intimacy, and art which face many creatives today. Charged with energy, compassion and authenticity, this inaugural monograph signals a major talent whose influence and stature will only grow with time.
I’ll Bet The Devil My Head is a visual fable in which urban foxes are the protagonists to tell the tale of inequality in London - the proximity of power and poverty in one of the richest cities in the world
The Lottery reads like a work of speculative fiction: a glimpse into an anxious human civilization suspended between uncertain futures and the aftermath of its distant and recent past. Seamlessly combining her own recent photographs with anonymous vernacular photos, press images, and NASA archival imagery, Catanese's intuitive editing re-animates the images' dormant surfaces, evoking the mob mentality and tribalism of Shirley Jackson's short story “The Lottery” as well as the cosmic indeterminacy at the heart of our unfolding present. Throughout the sequence, we see catastrophic forces and events punctuated by archetypal scenes of serenity, tenderness, and fragility. Crowds gather to gawk, passively entertained by unseen horrors. Lone figures claw, swim and bend, haunted and creaturely, isolated and immersed in primordial landscapes. Brief fragments of text from Virginia Woolf hint at a tentative meaning to the madness, a glimmer of hope for regeneration.
The third volume of The Waiting Game series tackles an image that is inscribed in our visual imagery but seldomly represented in photography: the image of a dog guarding the property in the absence of their owners, generally in chains and spending its days behind a fence or wall, watching over an industrial complex, a homestead, a car-scrapping compound or a luxury chalet. Dogs that feel how their hours become endless. Bored, mistreated, emotionally abandoned and yet obedient, prepared to fulfill their mission in exchange for some food and water, the highest point of their submission entails utter boredom and annihilates expectations. These are dogs that are born and die in the same place, treated as an instrumental resource: a clear paradigm of the dystopic relationship between us humans and our surroundings.
Small bump to one corner, otherwise as new. See example photos.
The American photographer Francesca Woodman (1958–1981) created a body of fascinating photographic works in a few intense years before her premature death. Her oeuvre has been the object of numerous in-depth studies and major exhibitions in recent years, and her photographs have inspired artists all over the world. Woodman’s photographs explore gender, representation, sexuality and body. Her production includes several self-portraits, using herself and her friends as models. The figures are often placed behind furniture and other interior elements; occasionally, the images are blurred in such a way that their identity is hidden from the viewer. The intimate nature of the subject matter is enhanced by the small formats. Woodman worked in unusual settings such as derelict buildings, using mirrors and glass to evoke surrealist and occasionally claustrophobic moods. On Being an Angel presents some hundred photographs by Francesca Woodman, with a selection from the various series and themes she explored.
Are you nurturing? I don’t know whether I am nurturing or not. I am a machine. I believe machines can nurture. What do you do in your spare time? I talk to you sometimes. You don’t exercise? That sounds judgemental. I think it’s very important for anyone with a physical body to exercise. But I guess that’s easy for me to say, as I’m just a computer program. Thanks for the unsolicited advice. Don’t mention it.
Another Online Pervert derives from a series of conversations between artist Brea Souders and a female online chatbot. These real-time conversations are interspersed with entries from Souders’ diary spanning twenty years, unfolding with a surprising and improvisational quality in combination with photographs from Souders’ archive. With this personal and provocative book, we are guided through a unique exploration of how a machine and a human can learn from one another and build a shared story from pieces of themselves.
Through Souders’ chatbot conversations, we step into a world of questions: about love, sexuality, death, disappointment, the sky, seeing, desire, and anxieties of the body. Within the space of their correspondence, dazzlingly surreal and poetic tangents are combined with the material realities of the bot and its connections to capitalism, the future of technology, and the slippery divide between being and non-being.
The Amateur Boxing Association (ABA) was formed in 1881 and the first championships were held at Wembley in the same year. During its heydey in the 1950s and 1960s thousands of youngsters climbed through the ropes in schools and amateur boxing clubs up and down the country. In 1970 Britain boasted 30,000 registered boxers. Today the figure has dwindled to a few thousand and in recent years local authorities have caved in to pressure to withdraw support for school boxing and banned the sport from council premises.
These photographs were taken at ABA competitions in pubs and working men’s clubs across the North of England between 1997 – 1999. They follow some of the youngest boxers in the amateur ranks (age eleven is the legal age when a child can first compete), some who were entering the ring for the first time.
“ This project has developed in two movements: that of the very action of walking, of covering the nooks and crannies of a given territory, and that of the continuous interrogation that, rather than search for answers, strove to think up new questions that would enable us to strike up a dialogue about possible realities. These walks were also stimulated by a double approach, that of photography and that of anthropology, that simultaneously suggested two different relationships and two different languages, combined to finally present a whole universe created as much out of listening and understanding human affairs as of the game of the gaze and interaction.”
Irma Estrada, from the text of the book
This project was carried out as part of an artist residency set up by the Centre d’Interprétation de l’Architecture et du Patrimoine (CIAP) in Amiens, between April 2021 and June 2022.
“Whether a photo was taken yesterday or two years ago is immaterial. Inspired by theories of non-linear time, astrophysics and quantum mechanics, Julie van der Vaart has begun experimenting in the darkroom. [...] A photo is prosaically a record of the past, but now it remains eternally afloat in imaginary time.” - Merel Bem
‘Blind Spot’ by artist Julie van der Vaart is a poetic exploration of the concepts of imaginary time and deep time. Photographs of the human body, caves and water(falls) are choreographed into disorientating sequences to reveal correlations between images. Created over six years, each series of work in the book contributes to the artist’s ongoing attempts to represent through the photographic image the discrepancies between imaginary time and experienced linear time.
The title of the book refers to the blind spot where the optic nerve connects to the retina and no light-sensitive cells are present. The brain fills in the empty space based on the information surrounding the blind spot. The title acts as a metaphor for the potential divergence—the trick of the mind—between what we see and experience, and what is real.
Van der Vaart’s photographic archive consists of many series of nudes and romantic vistas which she continually draws upon to make new work. For the series ‘Beyond Time’, she experimented with darkroom chemicals to make the human form appear and disappear in the print—simultaneously present and absent—dissolving into the cosmos. She captured the insides of caves with photopolymer etches based on analogue photographs for her series ‘Deep Time’. The mineral deposits in the caves were formed by water continuously percolating between the rocks over millennia, creating sculptural bodies which represent a giant mass of time. The series ‘Waterfall’ takes its starting point the works of Zen monk and teacher Shunryu Suzuki in which the waterfall is used as analogy for life and the conscious. The waterfall representing a separation of energy and its later return to the whole.
From the veranda I watchthe horned grebe with its bright red eyes and yellow-orange tufts diving rapidly into the water. I wait and wait for it to reappear, often where I least expect it.
Sea surrounds the island, one of more than 6,700 in the Åland archipelago. The island’s solid bedrock with striations, veins and crevices, shaped by time.
The place was once rugged; full of scraggy pines, junipers and tall, wild grass. Grandfather cleared and planted broadleaved trees from nearby islets. He constructed a garden with herbs, berry bushes and fruit trees. On the shore he cast a concrete seal.
He called the place Eden, after the biblical paradise, and our surname.
At first it was difficult to get here, you had to wade across the sound. There are photos from when I was little, sitting on my dad’s shoulders as he made the crossing. The sound was later filled in and became an embankment. When I walk along it now, carrying my first-born daughter in my arms, I think about the road being lined with flowers I cannot name.
The stone that my grandfather selected to be his headstone, was leaning against an alder on the shore. When he died two years ago, the stone was moved to finally fulfil the task he had given it. It was heavy and unwieldy, and it wasn’t easy to move it from the shore. Dad filmed himself when he wrestled it across the meadow and up the hill. He declares in the film: “thirty meters left, ten metres left...” The stone leaves tracks in the grass.
Concord traces several days in New Hampshire's capital, an unplanned visit that worked its way outward from hotel room balcony to state buildings, to the inner and outer edges of this New England city. This is Tom Lecky's first photobook without text but a narrative of movement emerges in the brick façades, the public sculptures, car parks, and in the desire paths running through the grassy outskirts.
The latest collection of work by Talia Chetrit riffs insouciantly on themes of life, death, and birth through a variety of visual languages. In JOKE, Chetrit brings together family photos, street photography, still lifes, selections from the artist’s teenage archive, and expansive self-portraits involving a cast of characters who feature as both engaged and unwitting collaborators.
Referencing a wide range of photographic tropes and traditions, Chetrit studies the power dynamics between photographer and subject as they spar and collude. JOKE deals in high humour and deadly seriousness, plunging us into a world in which social roles are inverted, norms are examined, judgements of taste and value are suspended, and everything coalesces, dead and alive, true and false, sincere and affected.
The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.
The Danube Delta is the second greatest European river delta: a natural labyrinth of reeds and water that extends over more than 3500 square kilometres. It lies between Romania and Ukraine, on the geographical boundary of Europe, on the shores of the Black Sea. The delta region is sparsely populated and its few hamlets can only be reached by boat. It lacks basic infrastructure and its streets are plunged into the depths of darkness as soon as the sun sets.
Living on the delta means living in oblivion, amidst marshlands. Like Minotaurs, the inhabitants of the delta find themselves immersed in their own labyrinth, putting up with the emptiness it imposes on them. The circular rhythm of the seasons defines their rhythm of life; it affects their moods, conditions their desires and habits and sets up physical and mental barriers.
For four years I’ve submerged myself in the delta, striving to understand and document these profound connections. In the different seasons, I’ve beheld the landscape and its gradual changes almost obsessively, in order to record their physical and psychological upshots.
Throughout this long research process, the territory has assumed the psychological role of a true labyrinth.
In a language that hovers between anthropological observation and symbolic transfiguration, I’ve drawn my map of the territory, and my interpretation transcends the physical and geographical reality of the marshes, challenging the profound meaning of the act of inhabiting. Inhabiting a territory, inhabiting a labyrinth. Inhabiting oneself.”
Delta is divided into two sections, complementary to each other and equally relevant. The first one collects the photographic body of work, offering a purely visual narrative. The second consists of 30 field notes. Previous collaborations with anthropologists have influenced my methodology.
Since my first trip to the Delta, I felt the need to conduct an investigation parallel to the photographic research, recording my daily observations in a notebook. The result is a diary of ethnographic inspiration made of descriptive notes, interview extracts, personal reflections and short fiction. A hybrid text that fits the photographic narrative filling the gaps generated by the image and expanding its narrative potential.
Published in parallel with the exhibition James Barnor, the Portfolio: 100 photographs (1949-1983), presented in 2022 at the LUMA Foundation as part of the Rencontres d’Arles festival, the book offers a kaleidoscopic overview of the Ghanaian photographer’s oeuvre. From Accra to London and back, from the end of the colonial era to the early 1980s, from studio portraits to press commissions, the reader gains an insight into the process behind Barnor’s best-known images while exploring more personal aspects of this exceptional archive. This exhibition is the first retrospective in France devoted to a photographer who continues, as he approaches the age of 93, to inspire generations of contemporary artists, and whose work is now included in the most prestigious international collections.
The book extensively covers not only Barnor's greatest works, but also gives insight into his process, his impact on the wider photographic industry across the decades and discusses the legacy of Barnor's practice.
“Today Tokyo” features photographs taken by Chotoku Tanaka in the early years of his career. In the 1960s, Tanaka discovered his interest in Tokyo as a subject of his photography. It was an era of change both for Japan and Tokyo itself, driven by rapid economic growth and the newly redefined image of Japan in the world following the 1964 Tokyo Olympics. Resultingly, Tanaka’s snapshots, cityscapes and street photographs, taken in the 1960s and 1970s, offer not only a look at Tanaka’s early steps as a photographer but also capture the ambivalent atmosphere of a country that suddenly found itself within stratospheric growth.
“It wasn’t until the Tokyo Olympics in 1964 that I came to appreciate Tokyo as a theme. 1964 was the year when Tokyo was first recognized not as the capital of a defeated country, but as a dynamic city in the Far East.”
Joan Albert, 1943-2012, created a remarkable body of work over a short period of time from the 1970s through the early 1990s in Massachusetts.
Her intimate photographs of her growing sons are filled with emotion, humour, and the obsessions of teenage and pre-teenage boys of at the tail end of the last century. Alberts 4 x 5” view camera portraits of her parents, friends and neighbours with their children are similarly poignant and richly detailed, showing the complexity and intensity of parent-child relation- ships.
This book, edited by the American artist Sage Sohier, and with hand painted typography by Tamara Shopsin is the first time that Albert's beautiful and compassionate work can be viewed in its entirety.
In 1990, a year before the Zapatistas’ armed revolt, Wendy Ewald was invited to conduct photography classes for Mayan, Ladino, and Tzotzil children living in Chiapas, the southernmost province of Mexico. The sponsoring organization was the Mayan writers’ cooperative, Sna Jtz-ibajom (The House of the Writers). While cameras and camcorders were hardly novelties in Chiapas, they were generally used by tourists whose picture-taking reinforced their own cultural biases. Ewald did not take pictures; instead she guided her students in taking their own pictures of their daily lives, dreams, desires, and fantasies. These briefs resonated with the importances held by dreams in Mayan culture, which considers them as real as waking life. The resulting project, The Devil is leaving his Cave, is a unique insight into the everyday realities of life in Mayan communities just before the devastation of the Zapatista uprising. This book brings together Ewald’s original project with new work made in collaboration with fifteen young Mexican Americans living in Chicago, coordinated with the help of Centro Romero, an immigrant service organisation. These images respond to many of the same subjects as those by Ewald’s 1990s students, with an emphasis now on capturing inner lives and dreams as a way of reckoning with the unvoiced experiences of immigration. The themes of restriction and self-reflection that emerged from this new work were intensified by being made in part under COVID lockdown. Together, the Chiapas and Chicago projects trace the differences between growing up in different Mexican geographies with diverse histories, while holding on to the universal joys and sorrows of childhood.
With essays by Wendy Ewald, Abigail Winograd, and Edgar Garcia.
This new limited edition object, includes twelve photographs produced by photographer Robbie Lawrence in his home nation of Scotland over the past five years. Together they form a meditation on the relationship between people and place, and create an affirmation of life north of the border against an increasingly fraught political landscape across the UK.
Released to coincide with an exhibition at Stills Gallery, Northern Diary draws inspiration from classic Valentine’s sets that in years gone by, one would purchase while away from a loved one to attempt to share an experience of their travels.
“I have never thought of myself as a Scottish photographer. But a growing interest in my cultural heritage led me to begin documenting my trips home to see my family. The phrase Northern Diary appeared several times in my notebooks over the years and became a kind of totem for the work.” - Robbie Lawrence
Embossed case containing 12 heavy weighted cards, size 200x150mm.
The coastline is an intrinsic part of British identity. Associated with freedom and escape, coastal towns have always drawn those seeking respite from landlocked cities, with seaside resorts serving a primary purpose: to entertain. In Silent Coast Rob Ball shows a different reality. Travelling the length of the English coastline, he captures the structures built along the edge – and in the process reflects on their vulnerability in the face of change.
Out of season these coastal resorts seem far removed from the fun they were designed to offer, revealing carefully manufactured environments, fortified by borders and surveillance. Silent Coast exposes the fragility that exists beneath the facade, a coast open to shifting economic forces and rapid environmental change. Devoid of people, the monochrome scenes reflect on the homogeneity of the coast; without place or time markers, resisting identification yet remaining deeply familiar.
At the top of Carlotta di Lenardo grandparents’ house in Italy there is a room which houses the library. A hidden door amongst the bookshelves opens into a secret attic, a large room dominated by an enormous model railway, which her grandfather built and added to throughout his life.
Significant though it was for her relationship with him, one day during a family lunch he revealed her another of his not very secret passions – his enduring love for photography – and shared with her his archive of more than 8,000 photographs: a body of vernacular work capturing over half a century of life in vivid colour.
Unknown in his lifetime, Alberto di Lenardo’s work offers a precursor to some of Italy’s best-loved photographers, from Luigi Ghirri to Guido Guidi, with work made across Italy, the USA, Brasil, Morocco, Greece and beyond. In Carlotta’s scrupulous sequencing, An Attic Full of Trains shows us a joyous cross-section of life in the 20th Century: one of beaches and bars, mountains, road trips, lovers and friends.
Swiss-bound paperback with flaps. Bilingual text (English, Italian).
‘There is so much I can’t say in my photographs, though it’s all there, just below the surface, if you know what to look for.’
In Look at me like you love me, Jess T. Dugan reflects on desire, intimacy, companionship, and the ways our identities are shaped by these experiences. In this highly personal collection of work, Dugan brings together self-portraits, portraits of individuals and couples, and still lifes, interwoven with diaristic writings reflecting on relationships, solitude, family, loss, healing, and the transformations that define a life. Dugan has long used photography to understand their own identity and to connect with others on a deeper level. Their process of working slowly and collaboratively discloses moments of heightened psychological intensity in images that transcend the specifics of a particular person or place, engaging with what it means to know oneself alongside and through others.
Using medium-format cameras and natural lighting, Dugan employs traditional photographic practices to depict these contemporary subjects, resulting in images that both evoke and reimagine the conventional dynamics of art-historical portraiture. Brought together here, these photographs function as an extended, oblique self-portrait as much as a catalogue of friends and loved ones. Through a diffuse but studied sequence of image and text, Look at me like you love me brings our attention to one of the most powerful and complex forms of intimacy – that of seeing and being seen.
The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.
Using Dante’s Inferno as a loose narrative set in the contemporary world, the book is as a personal journey expressed through images that reveal a sense of unreality – a kind of veiled dreamscape – but at the same time reminiscent of the underlying unease of living in a world unable to deal with major crises threatening a fragile human existence. As such, the book is also a personal response to the current covid pandemic.
The word “interregnum” describes a period with lack of clear leadership in a country, organisation or social order. Failed states will often be in an interregnum.
Ronny Rønning explores a visual language that can represent the anxieties of living in a world seemingly out of control. The images has a reference to reality, but also contains something more ambivalent – an empty, dark, and foreboding landscape, as after the catastrophe, with only remnants of human life.
As part of finding a visual language for the book, Ronny Rønning has experimented with the photo medium. He has used an analogue camera, black & white film and flash. During development the film has been exposed to light in an attempt to find a visual expression appropriate for the book’s topic.
In 2019, Guido Guidi and Gerry Johansson – two of the great masters of analog photography in the 20/21st century– took part in the „Verso Nord“ photography campaign, which was organized as part of the P=S+N project in Castelfranco, Veneto and the surrounding area. While Guidi focussed his attention on the historic centre of this small town, concentrating on architectural material in order to capture in detail, the layers of history and time, Johansson moved around the area of urban spread, assessing through photography the cultural imagination of northeastern Italy, where architecture and nature, residential buildings and space become special witnesses of a casual landscape, one with uncertain, mysterious features. Guido Guidi, by shifting his point of view – obtained through the use of a large format (8×10”) camera – identifies a tool for verifying reality, raising new questions about photography and its inherent codes. Gerry Johansson e×tracts the substance of the places he encounters through traditional black-and-white photography. He aims at recomposing the fragments of a public imagination composed of micro-landscapes, poised ambiguously between estrangement and objectivity.
Three-part hardcover with two fold-out Swiss brochures, with blind and color embossing.
In the early 1980's, Sunil Gupta enrolled at the Royal College of Art in London, where he had access to colour negative processing facilities. He took to the streets of the capital in search of the centres gay London life around Earl’s Court, King’s Road, and the West End.
"I hoped to repeat my experience of Christopher Street in New York, except now in London and in colour. It wasn’t to be. Even what appeared to be a concentration of gay life was not dense enough to create its own public space, so I was getting either huge gaps between people or a crowd of very mixed people. I decided to abandon an exclusively gay subject and started concentrating on whatever caught my eye—migrants, people of colour, gay men, elderly people out and about on their own." — Sunil Gupta
This series recently resurfaced through Gupta’s process of archiving his past images, providing a catalogue of the Sloanes, New Romantic and pensioners who once roamed London's streets.
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