£50 and under

• Self 2020
  
• Hardback, 1st edition
  
• New
  

The Amazon is much more than a river. It is the visible appearance, infinitely rich in analogies, of the reality of things. This seems obvius, when poetic languages intervenes to describe reality, the latter loses its documentary sharpness and is converted into a creative fantasy, especially in the specific sense that the river embodies the ironic and sombre essence of the universe.

I have contemplated this river and its affluents in small doses, and small steps, because like a bashful child, it only showed its epidermis; this I found irritating.

But traveling so sedately meant that all that surrounded me remained hidden until the river itself disgorged all its "splendours" along its various stretches: globetrotters, beggars, preachers, drunken aborigines, ruined foremen, minor politicians, lumberjacks, monks, soldiers, melancholic prostitutes... I find it strange that the beautiful image of this river, is in reality a beautiful imperfection. And Fordlândia, Henry Ford's attempt to transform the jungle into a fantasy of the american Mid West, is the perfect imperfection: a perfect failure of the American Way of Life.'

- JM Ramirez-Suassi

Edition of 350 numbered copies.  Signed copy.

• FW 2019
  
• Softcover, 1st edition
  
• New
  

This book addresses the history of hydrogeological events in the Dolomite mountains and, more broadly, how our cultural memories of such incidents are shaped. The publication explores how human habitation persists in locations that have established patterns of landslides, floods, and other such possible catastrophes. The work comprises a blend of research and archival images, texts, and recent photographs woven together to address the themes of Destruction, Protection, Experience, and Resilience in areas with centuries-long cycles of human vulnerability in the face of natural disasters.  ‘Are They Rocks or Clouds’ balances information, history and visual pleasure as the reader is asked to confront the risks we take, as humans, in our effort to live comfortably while also pushing the limits of how we interact with the natural world.

• Self 2018
  
• Hardback, 1st edition
  
• New
  

Another excellent collection of earlier work by Koji Onaka.  With a foreword by Daido Moriyama.

Edition of 500 copies.  Signed.

• Self 2020
  
• Hardback, 1st edition
  
• New
  

Small book by Koji Onaka featuring a set of coloured vintage photographs.

Edition of 500 copies.  Signed copy.

• Self 2019
  
• Hardback, 1st edition
  
• New
  

Delightful small book featuring some of Koji Onaka's memorable photos of cats from around the world.

Signed copy.

• TBW 2019
  
• Hardback, 1st edition
  
• New
  

Found in Japan’s oldest book of poetry, Ayu no Kaze is a sailor’s phrase meaning “the wind of promise.” Much like the ancient word “ayu” translates to “the sea brings various things to the land” so too has the phrase spread throughout the islands of Japan, weaving through common people's lives, in folk songs sung by fishermen, merchants, travelers and immigrants alike.

After moving to the US, Shimazaki returned to Japan time and again to visit her native land. Choosing to work by herself in the early morning, roaming from northern, through central, to coastal Japan, scarcely any people inhabit her photographs of the summer and winter countryside. 

Alone through mild sun and fierce blizzards, her images are an exploration of a land left behind. A diary of yearning and serenity, Shimazaki’s gaze poetically alludes to life transitions that are at once privately intimate and deeply universal. The photographs land softly, quietly belying the magnitude of the elements, both inner and outer, that charge through the landscapes and her lens -  as she puts it “no matter the changes in our lives and culture, Ayu no Kaze returns every year. It speaks to me of eternity.”

• Another Place Press 2019
  
• Softcover, 1st edition with print
  
• New
  

"I have reoccurring dreams of the world’s end. Fascinating and frightening at once, they always begin with strange light phenomena in the sky. I look up, and everything I know about everything changes. I began to experiment with trying to manifest these subconscious sights, without fabricating or adding anything but rather by playing with existing light and context. While the inspiration from these visions arise from very personal experience, the curiosity as to whether others may have similar dreams is perhaps what captivates me the most. The fear of our world ending, countered with the curiosity of new and undiscovered worlds… I wonder if this juxtaposition of ideas is something that connects us."

- Robin Ek

Special Edition, limited to 35 copies - each with an A4 inkjet print signed by Robin (see image)

• VOID 2019
  
• Hardback, 1st edition
  
• New
  

“The series ‘17 18 19’ is drawn from a bag of negative film salvaged from a recycling plant on the outskirts of Beijing in 2010. The bag contained an archive of over 15,000 scratched black and white negatives, shot at one of the city's detention centers between 1991 and 1993.”

Edition of 750 copies. Printed with silver ink on black paper.

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• VOID 2019
  
• Softcover, 1st edition
  
• New
  

‘Sleep Creek’ is a landscape filled with trauma and beauty. It’s a place where animals are only seen when they’re being hunted and humans balance between an unapologetic existence and an abyss of secrecy. These images manipulate a landscape that is simultaneously autobiographical, documentary, and fictional: a weaving of myth and symbol in order to be confronted with the experiential. Following the rituals of those within it, ‘Sleep Creek’ is an obsession between the subject and the photographer — a compulsion to reveal its shrouded Nature.”

• VOID 2019
  
• Softcover, 1st edition
  
• New
  

After the loss of her mother the artist experiences the interruption of her own timeline on one end while having to fulfill her own role as a mother to the other end. In that end, motherhood in Dede’s universe is not connected only to warmth or joy but to cold, ice surfaces that need to stand the pressure of an overheated world.  

‘Mayflies’ dramatises the creative process of mourning. Through multiple chirographic mutations of the imagery, the experience of loss in intertwined layers is represented throughout the work. Faces and bodies lingering in the shadows between conscious and subconscious in an attempt to let themselves be inert as Marcel Proust advices:

“When you are used to this horrible thing that they will forever be cast into the past, then you will gently feel her revive, returning to take her place, her entire place, beside you. At the present time, this is not yet possible. Let yourself be inert, wait till the incomprehensible power... that has broken you restores you a little, I say a little, for henceforth you will always keep something broken about you. Tell yourself this, too, for it is a kind of pleasure to know that you will never love less, that you will never be consoled, that you will constantly remember more and more.”

• Torch Press 2019
  
• Softcover, 1st edition
  
• New
  

The photographs in Primal Mountain – a signature work of artist Yuji Hamada – appear at first glance to depict mountain sceneries. But looking closer, one realizes these are not a mountain in the literal sense; they are mountains composed of artificial materials near and dear to us. Hamada often handles the themes of “truth and falsehood,” together with “the seen and the unseen” in his works. One day, as he was coupling these motifs with experiences of the Great East Japan Earthquake disaster in 2011, Hamada received a postcard from a friend – a photograph of a mountain. Hamada found himself amazed by the beauty and the sense of falsehood present in the photo: and began to doubt that the mountains depicted there were even truly mountains at all – thus catalyzing his shooting process for Primal Mountain. What do mountains have that cause us, as human beings, to recognize them as such? The landscapes fabricated in his photographs convince our brains that the sights are those as found in nature – providing a pleasant, intriguing experience for the reader.

Primal Mountain makes use of double-leaved binding: the reverse side of each page depicts an enlarged shot of the picture on the front, allowing readers a view of the back-image by peeking through the side. The binding recreates mountains and valleys, with its construction simulating this motif of “the seen and the unseen” – as the reader flips through the pages, they gently sway in the realm between reality and fantasy. It causes one to question: what does it mean to see? Following the photographs is a text contributed by author Seigow Matsuoka, whose own work influenced Hamada's thought process on the subject matter.

Signed copy.

• FW 2019
  
• Softcover, 1st edition
  
• New
  

Michael Ashkin works across a range of media – painting, photography, sculpture, video, and text. Uniting these diverse practices is a conceptual focus on the way that notions of space and place, landscape and self, are shaped by wider political and economic forces. ‘were it not for’ is combining a 670-line text with 218 photographs of the Mojave Desert. This combination creates a a powerful sense of unease throughout the document, which is exploring the idea of fear and haunting as an effect of the violent legacies contained within the landscape, and as a function of the technologies that we use to represent it.

• FW 2019
• Softcover, 1st edition
  
• New
  

‘This World and Others Like It’ investigates the role of the 21st century explorer by combining computer modeling with analogue photographic processes. Drawing upon the language of 19th Century survey images, Nikonowicz questions their relationship with current methods of record making. Thousands of explorable realities exist through rover and probe based imagery, virtual role-playing, and video game software. Within the contemporary wilderness, robots have replaced photographers as mediators producing images completely dislocated from human experience. This suggests that now the sublime landscape is only accessible through the boundaries of technology.

Recipient of the jurors’ special mention at the 2019 Paris Photo Aperture Foundation Photobook Award.

• Libraryman 2019
  
• Hardback, 1st edition
  
• New
  

The idea for I Close My Eyes, Then I Drift Away by Katrien De Blauwer (b. 1969, Belgian) was founded as a commission for De Blauwer to anatomise archival works of François Halard (b. 1961, French) into a new and rare narrative. With a seductive and dreamlike state, bordering femininity and masculinity, she lets the observer immerse by the means of power structures and illusions, with nuances and parables to the contrasting career of Halard’s, yet with the most imaginable awe.

All photographs appearing in this book were taken by François Halard and accumulated on July 3rd, 2019 by Katrien De Blauwer in Arles, France. All artworks were made in Antwerp, Belgium by Katrien De Blauwer. The concept for this book was conceived by editor and designer Tony Cederteg, who also wrote the preface for the book.

First edition of 1,000 copies.

• Deadbeat Club 2019
  
• Hardback, 1st edition
  
• New
  

Stiya is the newest body of work from the Brooklyn based artist, Cole Barash. He uses a unique hyper-focused approach in a study of two pure forms of raw energy, a Nor'Easter storm and the birth of a child.  Through composition and sequence, this work considers the experience of these two worlds as one.

At first, I hadn’t made the connection between the two events and was naturally drawn out into photographing the storm and the aftermath. I spent a few days hiking the dunes, the beaches, the ponds and woods, focusing on areas that had been impacted by the storm and areas that hadn’t changed at all. Later realizing that in its seclusion, the space of a storm can be much like the space of a delivery room. The pressure, the buildup, the excitement and fear that come along with witnessing this incredible transformation of energy. Both spaces exclusive to the elements involved in conceiving the change, I was so curious. What was this going to look like?

We were on high alert to be prepared and expect the worst. Receiving notifications, one after another that the Nor’Easter storm Stella was coming. With record breaking winds at 75 miles per hour in Wellfleet, MA where two days prior, we had welcomed our first child, Iya into the world.

The labor lasted four long days and in that time I was drawn to the obscurities in the room. The mirror was especially interesting, providing an alternative perspective to the room and to the relationship between the medical personal and my wife. The variety of shapes and tools, the strong bodily language and communication that was happening in the final stages of delivery to the heroic and monumental moments of my child taking her first breath of fresh air. I was intrigued by all the elements that came together to create the landscape where I was going to have the most important and beautiful experience of my life.

• Origini Edizioni 2019
  
• Softcover, 1st edition
  
• New
  

This book is a galaxy of flashbacks, memories of light, sometimes intelligible, sometimes barely mentioned. A cinematographic variation of photography fast and melancholic as fragments of a life rethought from the window of a moving train.

Edition of 200 signed and numbered copies only.

• Origini Edizioni 2019
• Softcover, 1st edition
  
• New
  

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• Origini Edizioni 2019
• Softcover, 1st edition
  
• New
  

This is a travel into the extreme West of Europe: Portugal, "the border of earth". The vision of its decadent and melancholic charm, with an eye that covertly touches the actuality of the Mediterranean countries. This is the first chapter of a project that Palazzi will dedicate to the countries of Mediterranean Europe.

• RRB/ICVL 2019
  
• Softcover, 1st edition
  
• New
  

Zanjir is a conversation imagined between the artist Amak Mahmoodian (1980-present) and the Persian princess and memoirist Taj Saltaneh (1883 - 1936). In Zanjir, Amak Mahmoodian draws on imagery from King name's collection from the 19th Century held at Golestan archives in Tehran and photographs she took in Iran to explore feelings of loss and separation from family and homeland. Through memories and dreams, Zanjir mythifies absence and presence. The present which continuously exists in past, and the past which continuously exists in present. 

• Setanta 2019
  
• Set of 50 cards
  
• New
  

Photographer Snap Trumps, is a set of 50 cards featuring trivial facts about 50 different contemporary photographers in a card pack.

Featured photographers include Alec Soth, Martin Parr, William Eggleston, Nan Goldin, Cindy Sherman and many more.

• The Ice Plant 2019
  
• Hardback, 1st edition
  
• New
  

In Christmas Day, Bucks Pond Road, his second book with The Ice Plant, Brooklyn-based photographer Tim Carpenter (born 1968) revisits the Central Illinois topography of his first monograph, Local Objects, with a sequence of 56 black-and-white medium-format photographs, all made on a single winter morning. In Local Objects he meandered this semi-rural Midwestern landscape through changing seasons in an abstract sequence, but here Carpenter follows a straightforward path, literally taking the viewer on a two-hour walk from point A to point B. Nothing much happens along this brief narrative arc—there are fallow fields, standing water, dormant trees, the occasional tire track on worn pavement—yet Carpenter explores the stillness of this outdoor space with a palpable, almost erotic anticipation, revealing intimate subtleties as the journey unfolds. Made with an intensity of attention and a lightness of touch, the photographs in Christmas Day, Bucks Pond Road are less about the confines of this specific time and place than about a poetic strategy for narrowing the distance between human desire and the factual content of the everyday world.

Recommended.

• Skinnerboox 2019
  
• Hardback, 1st edition
  
• New
  

In February 1993, Peter Watkins’s mother walked from Zandvoort beach into the North Sea to her death.

The Unforgetting is the artist’s long-term exploration of trauma, loss, and shared familial memory, all woven into a series of works that have been created over a number of years, and now for the first time come together in the form of a book.

At its core, the project explores the tragic loss of his mother to suicide following an intense period of mental instability and institutionalization.

The personal charge with which these images are made remains disguised, however, encouraging a dialogue between the universal and the highly personal – a photograph of cans of Super-8 withhold the images they contain; ceremonial glasses appear transparent and emptied of liquid; and the reoccurring motif of suspension and weightlessness comes to counteract the anchored and definitive quality of the still life works.

These object assemblages have a totemic and monumental appearance. Isolated from a greater whole, their reimagining through the representational capacity of photography moves them into the realm of the associative, the artefact, and positions them as fragments of evidence.

Wood is present throughout and points to the Germanic, the folkloric, of growth and of time itself, both passing and splitting.

These works are universal in their stoic unwillingness to disclose their deeply personal roots; but woven beneath their surfaces are the stories and narratives that come to constitute the biography of the departed.

This series finds its core, therefore, in the interplay between presences and absences – the absence of the mother, and the traces of her life explored in states of Unforgetting.

• Art Paper Editions 2019
  
• Hardback, 1st edition
  
• New
  

Conference of the Birds’ shows an outtake from an analysis of the correlation between time and place and of the historical Iranian landscape. How do places appear and disappear? How do we attach meaning to a certain site and in what way photography can deal with deconstructed icons in comparison to the (a-)historical palm tree sticking out its tongue?

A small desert village has been photographed obsessively and captured from every angle possible. Elements are positioned in the frame so that they are repeated in the next.

The photographs move in closely to the landscape of a palm tree village. The village is small and serene. Palm trees appear all over the place, they are burned, bend, dry and dead. They resemble pillars and artefacts that are left behind on various historical sites and they can be associated with land art installations.

Edition of 500 copies.

• Morel 2019
  
• Softcover, 1st edition
  
• New
  

"In 2015 and 2016 I spent a lot of time walking in the morning, up and down the hills in Los Angeles, sometimes listening to the city and other times listening to news radio on my phone, always looking for things to photograph or maybe just observe before returning to the studio. There I’d stop the voices - the voices reading the news, my own voice in my head - with music, and for the rest of the day I would paint what I had felt and seen (or what I felt I’d seen). Over the next two years, back in London and then New York, my morning walks have continued - and have become essential moments out of time, when the world seems to be burning and collapsing around me. These works are the result of my walks in a time of upheaval - and in this sense they reflect a practice of paying attention to the here and now, but also refracting the present through a process of reflection that acknowledges past happiness and fears future catastrophe."

- Nick Waplington


Signed copy.

• Chose Commune 2019
• Hardback, 1st edition
  
• New
  

Amour diaries photographer Claudine Doury thirty year quest along the banks of the Amur River in Russia. She journeyed along its banks in 1991, 1997 and 2018, making images that meet together in this book. As generations pass, the surroundings of the river shift and the traditions of the Siberian-descended people – wither.

During her ‘odyssey’, the ties Claudine Doury patiently wove with the families and landscapes around the river translated into powerful and timeless images. Amour brings together her black and white and colour photographs with archival images, and reveals the photographer’s intimate and sensitive relationship with this territory and its history.

‘All they know is that in winter people arrive from the far north on reindeers to buy some bread, but not even the old men know what sort of people they are or where they come from.’

Anton Chekhov, The Island: A journey to Sakhalin, Washington Square Press, 1967

Text in French and English.

Signed copy.

• Journal 2019
• Hardback, 1st edition
  
• New
  

“My father wakes me at three o’clock in the morning as agreed. I’m not sure what’s most exciting, to be up watching TV in the middle of the night, or that man is landing on the moon. No matter which, the grainy black-and-white television image of Neil Armstrong in a space suit floating down the ladder has stuck on my retina. While man takes the giant leap, 380 439 kilometres from our living room, I take a small step to expand my very own universe.”

In his third book Simon Johansson focus on children and remember his own childhood. The pictures are taken 2002-19.

Text in Swedish and English.

• Self 2019
• Hardback, 1st edition
  
• New
  

“Ok, so The River’s Suck is this sort of Lynchian ‘Landscape Noir,’ where casual observations and broken thoughts, gathered during a walk along a local river fining down after an end-of-winter flood, have been re-imagined into a kind  of ambiguous environmental parable. Some kind of cryptic allegory on the invisible liquid of life, oxygen, and it’s presence and flow through everything: water, air, land, bodies. A lead metaphorical role is played by the ubiquitous discarded plastic bottle; an organic looking item of litter that looks like a stranded fished that has drowned in air, its impermeable skin preventing any natural recycling and return to the landscape it had been floating through. It’s seeing the global or universal in the local and mundane. Images of the type of things that often subcontiously catch  the eye are made obvious, made to detour the intellect and simply speak directly; thought triggers like lines of lyrics making a song.”   - Mark Mattock

The River’s Suck is Mattock’s fourth self published work in his unique post pastoral visual language.

Signed copy.

• Steidl 2019
• Hardback, 1st edition
  
• New
  

In John Gossage's words this is a book “with a particular context, of photographs to settle the feeling that I did not understand my home. To do that I set out, starting in 2003, to see what clarity my pictures might bring.” And so came into being these photos of scenes, things, minor events and the look in the eyes of the young, all taken in everyday non-iconic places throughout his travels across America. “Should Nature Change,” taken from the Book of Isaiah, is for Gossage both a declaration and a warning: “I am a humanist, like most of us are, I can’t really step back to see the beauty and order of all this; closeness brings chaos and dread in this case. We have done harm to the place we live, I’m told, but it seems to me that we have done the most harm to ourselves and our best-laid plans. The planet has a plan to fix this, if we don’t.”

Recommended.

• Steidl 2006
  
• Hardback, 1st edition
  
• New
  

Haunts can be seen as part two of a trilogy which began with Trying to Dance, JH Engström’s artist’s book project which was short-listed for the 2005 Deutshe Börse Photography Prize. At the back of Trying to Dance JH Engström wrote “I’m always looking for presence. Whenever I try, my doubts get unmasked….” These doubts and questions are prelevant in Haunts, but in this volume Engström focuses more on public spaces and life in the streets. At the center of JH Engström’s pictures is a strong feeling of being in an endless present tense. The confrontation between “now” and the photographer’s memories is inevitable. And he doesn’t try to separate emotions from objectivity. His images embody their questions..

• Steidl 2012
  
• Hardback, revised edition
  
• New
  

On the Mines is a re-designed and expanded version of David Goldblatts influential book of 1973. Goldblatt grew up in the South African town of Randfontein, which was shaped by the social culture and financial success of the gold mines surrounding it. When these mines started to fail in the mid-sixties Goldblatt began taking photos of them, which form the basis of On the Mines. The book features an essay on the human and political dimensions of mining in South Africa by Nobel laureate Nadine Gordimer, whose writing has long influenced Goldblatt. The new version of the book maintains the original three chapters The Witwatersrand: a Time and Tailings, Shaftsinking and Mining Men, but is otherwise completely updated, in Goldblatts words, to expand the view but not to alter the sense of things. There are thirty-one new mostly unpublished photos including colour images, eleven deleted images, a postscript by Gordimer to her essay, as well as a text by Goldblatt reflecting on his childhood and the 1973 book. On the Mines is the first of many titles in an ambitious collaboration between the photographer and Steidl that will publish Goldblatts life work in a series of re-prints and new books. David Goldblatt is a definitive photographer of his generation, esteemed for his dispassionate depiction of life in South Africa over a period of more than fifty years. Born in Randfontein in 1930, Goldblatt worked in his fathers menswear business until 1963 when he took up photography full time. Goldblatts work concerns above all human values and is a unique document of life during and after apartheid. His photographs are held in major international collections, and his solo exhibitions include those at the Museum of Modern Art in New York in 1998, and the Fondation Henri Cartier- Bresson in Paris in 2011. In 1989 Goldblatt founded the Market Photo Workshop in Johannesburg to teach visual literacy and photography especially to those disadvantaged by apartheid.

• Xavier Barral 2015
  
• Hardback, French edition
  
• New
  

One of the Polaroid's acknowledged masters, Guy Bourdin (1928-1991) brought to the medium an uncanny ability to combine the snapshot feel with a strong patina of glamour, and of course plenty of sexiness. A protégé of Man Ray, and best known today for his controversial fashion photography, Bourdin like his teacher often brought an edge of menace or discomfort to his eroticism, with surrealistic props and implied narratives. Like the Surrealists, he often devised ways to bisect the female form, usually by cropping out above the waist; all these traits of Bourdin's fashion photography are to be found here, in this selection of 98 Polaroids, most of which have never previously been published. Ranging in formality from casual seaside erotica to darkened interiors with disembodied legs and arms poking into the frame, these images step outside the safety of the fashion shoot, conjuring a real-life realm steeped in an ominous sexuality.

• Koenig 2019
  
• Softcover, 1st edition
  
• New
  

This publication brings together the work of German photographer Joachim Brohm (born 1955), credited with being one of the first photographers in Germany to work exclusively in color, and American photographer Alec Soth (born 1969). Joachim Brohm & Alec Soth: Two Rivers focuses on the emblematic series both artists have shot in river regions: Brohm's Ruhr series (1980-83) and Soth's Sleeping by the Mississippi (2000-04). 

Other work included in this volume, such as Ohio, Dessau Files and Culatra by Brohm, and Songbookand Niagara by Soth, represent fictitious places and allow for a broader view of the oeuvres of the two photographers. Given a special position in the book is Brohm's portrait series Flash Ohio (1984), published here for the first time, exactly 35 years after its creation. Vince Leo and Wolfgang Ullrich contribute texts.

• Spector 2019
  
• Softcover, 1st edition
  
• New
  

Enghelab Street, Revolution Street, is located in the centre of Tehran—a main artery in the city’s cultural life with a host of bookshops. The publication presents a variety of photographic and propaganda books collected by Iranian artist Hannah Darabi. Drawing on works published between 1979 and 1983—years corresponding to the short period when freedom of speech prevailed at the end of the Shah’s regime and the beginning of the Islamic government—she takes us to the heart of an intense artistic and cultural period in Iranian history. Darabi has developed a visual essay accompanied by a critical apparatus written by Chowra Makaremi. The publication with its extensive landscape of books gives us the opportunity to look at rare printed matter for the first time.

English edition.

Winner of the 2019 Paris Photo Aperture Foundation Best Photography Catalogue.

• Super Labo 2019
  
• Softcover, 1st edition
  
• New
  

In a world where filters give us solace, OMG! I’m being killed, is the baby that was birthed in response to 2019. This book is Petra’s ultimate fashion magazine - one that she feels is a good representation of the truth about the age we live in. Filled with unpublished editorials and new works this book offers horrendously satisfying images.

• Overlapse 2019
  
• Hardback, 1st edition
  
• New
  

The Saxons of Transylvania documents a fading civilization with a mix of archival images, new photographs, illustrations and storytelling. In their second book photographed in Romania, Martínez + Sáez focus on ethnic German Saxons returning to Transylvania to preserve their distinct culture and heritage built over eight centuries. Indigenous to the region, their conflicted story is told through legend and history, and with current texts, revealing an uncertain future for what is now a dispersed group of people.

New settlers arrived in ‘the land beyond the forests’ beginning in the mid-12th century. According to legend, a Pied Piper lured local children away from the German town of Hamelin; they disappeared into a mountain and travelled underground until emerging from a cave in Transylvania where they settled into seven cities. The tale is believed to be inspired by the colonization of Central European territories by King Géza II of Hungary, when young Germans were led to Transylvania to fortify border towns. The skilled ‘Saxons’ built a productive society there and for generations lived peacefully alongside Hungarians, Romanians and Roma, while nurturing their specific identity.

In the 20th century wars and communism uprooted the people. During World War II they served in three armies (for Romania, Germany and Hungary) and became both victim and executioner. In 1945 more than 70,000 Transylvanian Saxons were apprehended by Soviet occupiers and deported to labour camps in Siberia. The new pro-Soviet government of Romania suppressed their historical rights and confiscated properties.

After the fall of communism in 1989, around 90% of the Saxons who remained fled Transylvania within a few months. Half a million people migrated to Germany and Austria, or to North America in search of a new life, and the deserted medieval villages their ancestors founded began to deteriorate. Now that very few Saxons remain in Transylvania, their history and legacy are in danger of disappearing entirely.

Today some who left Romania have returned in search of their roots and are working to preserve their heritage. This book highlights some of the last Saxons’ own stories surrounding their identity, memory, traditions and life experience.

• Mack Books 2019
  
• Hardback, 1st edition
  
• New
  

Shirley Baker developed her first photograph as a young girl ‘from the darkness of the coal shed’ in her hometown of Salford, Northwest England. From this moment, she developed a lifelong interest in documentary photography, amounting to a vast and celebrated archival collection that spans the length of her career, dating from the 1950s until 2000. Edited by Lou Stoppard, this book presents an extensive–and, uniquely, female–depiction of post-war life; an eccentric survey which combines her better-known street photographs of Manchester, Salford and Blackpool with previously unseen photographs that span the UK, all the way to the South of France, Italy and Japan. Instances of humour abound in the collection, casting a spotlight on the idiosyncrasies of British identity: a high street shopper cocks his head echoing the mannequin behind him, an older woman with cigarette-wrinkled lips looks into the lens with an almost comic stoicism, children play, mimicking adults. The changing landscapes, fashions, photographic styles and tones that make up the sequence are woven together by Baker’s singular attentiveness to moments of wit and warmth in daily life.

• Mack Books 2019
  
• Hardback, 1st edition
  
• New
  

Guido Guidi’s new book, In Veneto 1984-89, opens with a big eye framed in the blind of a shop window in Mestre, an eye which, by opening like a sort of warning, announces the origin of photography itself. This book contains a selection of hitherto unpublished photographs that Guidi took between 1984 and 1989, using a Deardorff 8X10. This was the first time he had used a large format camera for a whole project, which concentrated on an area in the central Veneto, an area known for having rapidly turned into a deeply uncertain, marginal landscape, one intimately hierarchy-free. The places he visited, in the provinces of Treviso, Vicenza, Padua and Venice, seem to be almost part of the same drawing, of the same place, bearing stark testimony to the process of change that has led to the transformation of a huge rural area, driving it into a form of fragmentation known as urban spread. The photographs in these much-loved places seem to re-evoke the three truths described by Robert Adams in “Beauty in Photography”: geography, biography, and metaphor.

Signed copy.

• Super Labo 2012
  
• Hardback, 1st edition
  
• New
  

"17 Days," openly suggests synchronicity: Events, large, small and everything in between, happen globally and simultaneously. The book does just that by documenting, in words and pictures, the hatching of four robins and their magical insouciance during 17 days in the middle of a year on the photographer's front porch.

• Here Press 2016/2019
• Softcover, 2nd edition
  
• New
  

Forty years ago, two men went missing in southwest Iceland. The facts of their disappearances are scarce, and often mundane. An 18-year-old set off from a nightclub, drunk, on a 10-kilometre walk home in the depths of Icelandic winter. Some months later, a family man failed to return from a meeting with a mysterious stranger. In another time or place, they might have been logged as missing persons and forgotten by all but family and friends. Instead, the Gudmundur and Geirfinnur case became the biggest and most controversial murder investigation in Icelandic history.

In the 1970s theories about the disappearances fixated on Iceland’s anxieties over smuggling, drugs and alcohol, and the corrupting influence of the outside world. The country’s highest levels of political power were drawn into the plot. But ultimately, a group of young people on the fringes of society became its key protagonists. All made confessions that led to convictions and prison sentences. Yet none could remember what happened on the nights in question. 

Now a public inquiry is uncovering another story, of how hundreds of days and nights in the hands of a brutal and inexperienced criminal justice system eroded the link between suspects’ memories and lived experience. 

Jack Latham photographed the places and people that feature in various accounts of what happened to Gudmundur and Geirfinnur after they vanished. He spent time with the surviving suspects, as well as whistle blowers, conspiracy theorists, expert witnesses and bystanders to the case. 

In ‘Sugar Paper Theories’, Latham’s photographs and material from the original police investigation files stand in for memories real and constructed. Professor Gisli Gudjónsson CBE, a former Reykjavik policeman and forensic psychologist whose expert testimony and theory of memory distrust syndrome helped free the Birmingham Six and Guildford Four – and are now central to the Gudmundor and Geirfinnur inquiry – provides a written account of the case.

Revised 2nd edition.

• The Gould Collection 2019
  
• Softcover, 2nd edition
  
• New
  

It Don't Mean A Thing is  the second volume in The Gould Collection, a series of books that brings together contemporary photographers with short story and prose writers.

Volume two presents fifty-eight photographs by Saul Leiter with the story It Don’t Mean a Thing by Paul Auster. Black-and-white and color photographs by Leiter from 1947 through the 1970s—with many images never before published—are paired with Auster’s tale of interlinked life events and chance encounters. Reflections on New York City, its urban rhythm, people and places, feature prominently in both artists’ work and provide a unifying focus for the book.

Text in English and Japanese.  2nd edition of 2000 copies.

This reprint edition is exactly the same as the 2017 limited edition, except for an updated perfect binding and a cover that condenses the dust-jacket and obi (found in the original limited edition) into a single printed softcover. In stock now.

• Ediciones Anómalas 2019
• Softcover, 1st edition
  
• New
  

• Mack Books 2019
  
• Hardback, 1st edition
  
• New
  

• Kominek
  
• Hardback, 2nd edition
  
• New
  

• Stanley Barker
  
• Softcover, 1st edition
  
• New
  

• Stanley Barker 2019
  
• Hardback, 1st edition
  
• New
  

• Journal 2019
• Softcover, 1st edition
  
• New
  

• Stanley Barker 2019
  
• Softcover, 1st edition
  
• New
  

• Jiazazhi 2019
  
• Hardback, 1st edition
  
• New
  

"These photos were taken on Dongshan Island, located in the Zhangzhou area of Fujian Province.

Modern urban's development tends to afflict those who leave with amnesia-they forget such a place ever existed. I can only follow behind them, using images to “resist” these unforeseen changes. My hometown has been influencing me and shaping me since the day I was born. Like the beginning of a story, I found an outfit passed down from my ancestors in my mother’s room. This is how my home interacts with me. Maybe the only thing I can see is what it wants me to see. Photographing my hometown was like traveling through a dingy memory, through an internal negativity.

In the works, I use the Bachimen Dam, Home, Food, Soil, Gods, and Sea to recreate the beacons of my hometown. I've combined these memories and fragments into a book. This process seemed able to distill the spaces, people, and objects onto the pages. By imposing and removing layers, this volume exposes the significance my hometown has to me - the work is a representation of my hometown in illustrations. It is a cross section of the gradual process of urbanization, allowing us to connect with a city that is frozen in place and reflect on what home means to us."

_ Zhu Lanqing

Signed copy.

• Charcoal Press 2019
  
• Hardback, 1st edition
  
• New
  

The photographs in Echo Mask were made primarily in the Maritime Northeast between Newfoundland and Maine, and around the mangrove islands and hardwood hammocks of the subtropical Southeast.

Inspired by natural history, mythology, and a primordial view of the natural world as a place alive and enchanted, photographer Jonathan Levitt went looking for the endangered and haunted places - natural landscapes still enlivened by intact habitat and the corresponding wild animals.

The resulting images: gannets soaring around their nests at Cape St. Mary’s; a humpback whale in the rain near Grand Manan Island at the mouth of the Bay of Fundy; wading bird rookeries in the cypress swamps near Chokoloskee in Florida, are presented in a sequence meant to evoke elements of animistic art and fossils of classical poetry from oral cultures - particularly synesthesia, transmogrification, onomatopoeia, and a non linear sense of time.

Edition of 1000 copies.

Signed copy.

• Akio Nagasawa 2019
  
• Softcover, 1st edition
  
• New
  

Issue no.42 of the long-running Record Series.

Signed copy.

• Mack Books 2019
  
• Hardback, 1st edition
  
• New
  

From its title to its formal arrangement of language, Brad Feuerhelm’s Dein Kampf suggests a commentary on our cyclical anxieties about ideology. Anxiety is implicit in his photographs and Berlin is their natural backdrop, being a city in which several ideologies collided in the twentieth century. The city exemplifies the quagmire of possibilities in which the tensions of historical narrative and contemporary political and ideological doubt are played out in visual motifs throughout the landscape. 

Fragments of the past and symbols of capitalist modernity underpin the work–banks, insurance companies and people as effigies of citizens appear as a cloaking miasma, the spectre of past, present and no future. The schema of the glitch and the appropriation methods in Feuerhelm’s work are subtle enquiries into the contemporary conditions of fear and confusion. Loose associations about changing futures under technology, religion, immigration and the future of the photographic image also loom large. Dein Kampf is Feuerhelm’s proposition about how we activate image and ideology in the book form.

Signed copy. 

• Editorial RM 2019
  
• Hardback, 1st edition
  
• New
  

UNIVERSOS, the new book by David Jiménez, offers a survey of some of the projects the photographer has undertaken over the past twenty-five years and more, such as Versus and Aura, as well as an advance glimpse of the work he is currently engaged in: Roma. The book traces the development of the creative processes through which Jiménez has shaped his personal style, which aspires to give expression to an intangible, dreamlike, magical world. Universos is an exploration of the photographer's visual universe, constructed around the resonances generated by phenomena and expressed through a dialogue of images. David Jiménez's work has been evolving over the years. He has gradually reduced the narrative component of his photographs, making them ever more abstract, and using photographs as visible mutations of memories, which offer the viewer an aesthetic experience in which images change their meaning. This book, which contains texts by David Campany, Alejandro Castellote, and Mario Montalbetti, accompanies the first retrospective exhibition of Jiménez's work at the Sala Canal de Isabel II in Madrid.

• Self 2019
  
• Softcover, 1st edition
  
• New
  

"If you can piss, you can paint."

This common expression on building sites captures the camaraderie, humour, and micro-hierarchy of the building trades. David O'Mara has worked as a painter and decorator in London houses for eighteen years, having arrived from Ireland as a Fine Art graduate with artistic ambitions. While trying to gain some recognition for his practice, he began painting and decorating as a pragmatic and necessary segue. David assumed his time at this occupation would be limited, a mere stop gap, but as time passed and he built up skills and contacts, he came to realise this may not be the case. To reclaim some engagement with his practice, David started bringing a small 35mm camera with him to work, photographing his co-workers and their shared labour. This book is the result of that journey to reconcile his practice, ambitions, and realities of working life. It is also a record of the close friends he has made over the years, and the jobs which have required their collective skills, energy and creativity. This is something of a rare document, an honest and fair representation of working class life on building sites produced by a member of that cohort.

Signed copy.

• Chose Commune 2019
  
• Hardback, 1st edition
  
• New
  

Stickybeak” is Julie Cockburn’s first comprehensive monograph. The book coincides with Cockburn’s solo show “Telling it slant” at Flowers Gallery in London, UK (12 September-2 November 2019)

We are all stickybeaks to some extent. Many of my fictional heroes and heroines spend their time sleuthing or, at the very least, nosing around in other people’s business; Miss Marple, Lieutenant Columbo, Margo Leadbetter. There are even tales of espionage in my not so distant family history. Anyone with a social media account engages in a bit of stickybeakery – it’s human nature to be inquisitive.

The works in this book were made over a period of twelve years, some one-off experiments, others part of ongoing series that I add to over time. Each piece began with the search for the perfect image, setting some vaguely rigorous parameters for myself. I selected used postcards, old photographs, foxed bookplates and my own childhood drawings. And each of these foundlings had a different history, an unknown or forgotten story to tell. By submitting to my interventions, they transformed from silent, redundant, orphans into material objects with a regenerated heartbeat.

I see this book as a continuation of that process. The publishers rooted through the hundreds of images in my archive in the same way I sift through pages of online marketplaces or the jumbled tables at car boot fairs. My industrious hand embroidery and intricate collages are given a light touch here, the sequence of the images alluding to a gentle, humorous narrative. We will all read it differently, pausing on those pieces that speak the loudest to us, in our own preferred language. But broadly, this whittled selection, our chosen game of consequences, investigates how we see ourselves and each other, and the multi-layered ambiguity of life.

Julie Cockburn

Text in English and French.

• Gallery 51, 2019
  
• Softcover, 1st edition
  
• New
  

In this new book and exhibition, 'cheveux longs… cheveux courts'  Katrien De Blauwer revisits herself as a young woman by creating personae and telling their stories as if they were her own. Additionally, a new set of her more erotic 'Dirty Scenes' is presented.

For the public, De Blauwer has become known as the "photographer without a camera", compulsively seeking out magazines from the 1920s through the 1960s, cutting them up and reassembling fragments into frugal yet powerful compositions. But already in her first solo show, 'Double', it had become apparent that the artist strove to transcend the limitations of the collage medium. The transformation De Blauwer had set in motion then, has now come full circle. She has been progressively shifting shapes; e.g. experimenting with more slender works, stressing their horizontality or verticality.

Her typical confrontation between two images, or two parts of one cut-up image, is gradually replaced by a deeper tension. Ever more frequently, just one image joins together – or is trapped by – monotone surfaces, which are black as ink or bright with colour. Furthermore, De Blauwer explicitly intervenes, leaving physical traces on her material. The wrinkling, tearing or folding makes the materials look old and used; the intuitive drawing (in pencil) and painting (in acryl) on the other hand, make the works look spontaneous and spirited, like childhood creations.

Only recently, the artist started work on something new: her so-called 'Dirty Scenes'. These erotic images come alive with indistinct movements. The tenderness of bodily interaction and contact between woman and man is central here, and it is underlined by much softer pastel colours. Could these gentle scenes be the phantasies of De Blauwer’s feminine protagonists?

One element that always remains unchanged in De Blauwer’s itinerary, is the omnipresent reference to film noir and European avant-garde cinema. This not only comes about through the filmic images she uses, but also through the way they are treated. De Blauwer 'edits' her fragments with scissors, pencil and brush, before throwing these scenes into a sequence that tells the story of a woman. These imaginative sequences – beginning and ending with a 'still' image – come into motion the moment we start walking through the exhibition or start leafing through the new book that accompanies this exhibition.

Ingeniously, the artist cuts away vital pieces of information, 'relating’ the scraps that are left, and thus urging us to open up to unforeseen insights. De Blauwer treats these fragments as if they were her own past life experiences. Combined with the popular imagery she uses, her personal 'Erinnerungsarbeit' attains the level of collective memory. This work, the remembering through reassembling, is a daily routine – if not obsession – for the artist. Her obsession with fragments is indeed so great, that even the title of this exhibition, as well as the names of its 'chapters' (ISABELLE, caroline, SOPHIE…), have sprouted from her notebooks, in which she collects text fragments from newspapers, magazines, etc.

New publication 'cheveux longs… cheveux courts' featuring exclusively new and unseen work.