£50 and under

• Sokyusha 2023
  
• Hardback, 1st  edition
• New

A rare time capsule from the 1980s

The story of Daido Moriyama’s photobook “1980s Remnants” begins in 1987, when Moriyama handed Michitaka Ota (of photobook publisher Sokyusha) a box filled with one thousand of his photographs. Some photos from the box were published in “A Journey to Nakaji” later that year and, more than ten years later, in the 1999 photobook “Dreams of Water.” Moriyama insisted that Ota keep the box of photographs, and so they stayed in a corner of Ota’s apartment. A recent conversation brought the box back to mind, and finally, writes Ota, “I was pleased to find that I now can give them some shape.”

Even though the more than 30 years that have passed between the creation of these photographs and their eventual publication becomes part of their charm and magic, these 1980s Moriyama snapshots – of streets and textures and the beauty of urban chaos and, somewhat atypically, plants and floral wildlife – remain fascinating in their own right.

Edition of 300 copies.

• Hatje Cantz 2009
• Hardback, 1st edition
  
• Near fine

• Setanta 2023
  
• Hardback, 1st  edition
• New

10 Miles West by Josh Edgoose is a document of the photographer’s home and surrounding community. Containing over ten years of photographs of South-West London, 10 Miles West started with images Edgoose captured during his daily commute. Over the subsequent years they became a diary and a growing archive of life in these communities.

Through the use of colour, humour and an empathetic approach to his photography, Josh delves into the intimate stories of the people, the landscapes and the untold narratives that make these lesser-known London boroughs so special, making us join in his connection with his local area. 

• Osiris 2023
  
• Hardback, 1st edition, 120p
• New

“Dawn in Spring” brings back the earliest works of Japanese photographer Asako Narahashi.　Originally shot in 1989, a decisive period not only for the then-unknown artist, Narahashi exhibited the images from her “Dawn in Spring” series four separate times throughout the year. Including previously unshown images, this book represents the first time her series is made available in print.

After taking part in Daido Moriyama’s “FotoSession” workshop in the mid-80s, 1989 was the year her time as a university student would end. With an undecided future ahead of her, Narahashi travelled through Japan – Kumamoto, Miyakejima, Hakata, Yokohama, Hachinohe, Yuzawa, Tokyo… – and inadvertently laid the foundation for her photographic career. Despite the long time between these photographs and her breakthrough in the latter half of the 90s, the black-and-white images in “Dawn of Spring” already reveal the acute sensibilities of this exceptional artist.

“Dawn in Spring. I can’t for the life of me remember how I arrived at this title. Perhaps because it happened to be spring; maybe the words were already resting at the tip of my tongue and just felt right to me. I had no real idea where to travel or what to photograph. I think I simply let the flow, the momentum, my encounters and my desire to escape decide it all … Having come face to face with my contact prints, negatives and 8x10s after all these years, I realized once again that this is where it all began for me.”
― from Asako Narahashi’s artist statement

• Trespasser 2023
  
• Softcover, 1st edition
• New

In his debut monograph, Emiliano Zúñiga Hernández depicts his domestic life and surroundings in the mountains of Costa Rica. 

From the artist:
We ran a healing center, a garden for people to come and rest from their struggles. When it had eventually dissolved, I was wounded. Having once been the healer, I was too afraid to ask for help. Where we lived in the mountains, people would often exclaim how lucky I was to live in such a paradise, one which, for me, carried the ghost of a broken ideal. It became a cave of guilt and shame. Natsuko and the animals, the small slant of light that shone through the cracks of my depression, were emblematic of the freedom I longed for. Through them I could dig my way out and reencounter the beauty of what we really are in this world. I could find my role again.

Edition of 1000 copies. 10x15 inches. 72 pages. 36 tritone and 5 color plates on uncoated paper.

Signed copy.

• Self 2020
  
• Softcover, 2nd edition
  
• New
  

No System is back!

Including over 200 of Vinca Petersen’s photographs, diary entries and ephemera, No System tells the story of a 10-year journey around Europe in the 1990’s putting on illegal free raves and festivals with other Techno Travellers.

“We are not rebelling against, so much as living outside the system. Free music to anyone that wants it is what we give and we need nothing back but space to roam.

Tribal beats have surrounded our planet for thousands of years. Technology is our addition to this continual rhythm. Age is no concern, background irrelevant. We exist now and in the future. Welcome to our way of living…”

Signed copy.

• Mack 2023
• Hardback, 1st edition
  
• New

Los Angeles: Landscapes of Four Ecologies, Volume 1

For the past decade, photographer Mark Ruwedel has been compiling an epic photographic account of the natural environment of his home city of Los Angeles. From the stark Californian coast to the vast expanses of the interior – many of which have been further lain bare by wildfires – Ruwedel tracks a unique ecology in constant, if subtle, dialogue with the human life that surrounds it: one where wildness is designed, contested, permitted, or resisted to varying degrees of success. In this first of four volumes, Ruwedel follows the Los Angeles River from Big Tujunga Wash to the Pacific Ocean. Using patient, forensic large- and medium-format photography in black and white, Ruwedel recalls the legacy of nineteenth-century photographer-cartographers such as Carleton Watkins and Timothy O’Sullivan, as well as land artists and New Topographics photographers of the 1970s, while forging his own elucidating relationship with the landscape. The series title Landscapes of Four Ecologies recalls architectural critic Reyner Baynam classic study Los Angeles: The Architecture of Four Ecologies, which describes the city as ‘one of the ecological wonders of the modern world’. The scale of this four-part project, Ruwedel’s most ambitious to date, is an artistic statement in itself: ‘When I say epic,’ he explains, ‘I am thinking of a project that is too large, which has porous boundaries, which is almost out of control.’

Hand-Signed copy.

• VOID 2023
• Softcover, 1st edition
  
• New

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

• Setanta 2023
• Hardback, 1st edition
  
• New

"For an hour you could feel the tension winding up in the hall like tape on a spool, fuelled by lager and bravado, and at eight o’clock, when the lights went down, it was as if someone had hit the pause button. Plunged into momentary darkness, the hall held its collective breath. 

‘Fighting’ Brian McCue, a small man in baggy shorts, the upper half of his body covered in tattoos, removed the gown embroidered with the words ‘Charlie’s Bar’, and rested against the ropes as if in a trance, while a little man in a black trilby hat jabbered kill-him stuff in his ear. 

McCue had travelled down from Blackpool that morning in a rented Ford Orion witli four friends. He is 32 years old, 5ft 4in, and was once, he tells you with some pride, the smallest professional heavyweight in Britain. 

This is in the past tense, not because anybody smaller has come along in the meantime, but because Brian is no longer professional. Nowadays he works as a nightclub doorman. in Blackpool. The money he will earn tonight is something extra. His opponent, Michael Taylor, 35, from Woolwich, south London, is a nightclub doorman too. He is also a scrap metal merchant, and sometime professional strip-o-gram (policemen and ‘Chippendales’ a speciality), who says he will fight ‘anyone, anywhere’ for the money. Michael is dead straight about this. ‘I ain’t that good a fighter, but I make it hard for those that are.’ " - extract from Mick Brown's article Rough Diamonds.

• Setanta Books 2023
• Hardback, 2nd edition
  
• New

GLORYLAND is an intimate story of the last West Virginia serpent-handling church tucked deep within the Appalachian Mountains. Welcome to this rare world of old mystic religious America on the verge of extinction.

1st Setanta edition.  

Replica bible hardcover presented in a custom box with embossing. 

• Jiazazhi 2023
• Hardback, 1st edition
  
• New

We can only imagine how mind-blowing it would have been to have witnessed the arrival of the first ever automobiles in China. Over a century ago, city folk and ordinary farmers must have stopped whatever they were doing to admire the mysterious vehicle which moved seemingly without human effort. Some said it was driven by ‘evil spirits’. But then, they had said the same about the invention of the camera and its magic mirror years before. Others, with a slightly better sense of humour, called it a ‘foreign house walking’, or even wittier, a ‘fart cart’, for the black smoke that invariably dissolved into the air behind it.

It’s a common mistake however to believe that by the early 1900s, the Chinese population was hostile towards foreign products or modernity. Generally speaking, they enthusiastically embraced new trends that were then pragmatically woven into the fabric of everyday life. Luxury imports were used by elites as visual evidence of social status, while cheap imitations satisfied the demand for new products among ordinary people: both were absorbed into a culture that without the tangible and craved the new. [1] 

In Hangzhou for example, large crowds at the West Lake marvelled at photographic slide shows demonstrating that ‘the eyes can take the audience to many places’. By the 1930s, the city had dozens of photographers. Ordinary people could have their portrait taken in black and white while those with more cash had theirs painstakingly tinted by hand. Inside the photo studio, efforts were made to recreate a modern atmosphere with painted landscape backgrounds and foregrounds of the latest machinery in fashion. From the first motorcycles in the 1940s, to tanks in the 1950s, planes in the 1960s and televisions in the 1980s, the eagerness for new technology has proven to be a continuous cultural habit that can still be felt today.

This album consists of 35 photographs I collected at antique markets and via websites in China over the past decade. The colourful graphics are copied from an album originally produced in the 1960s which offers a historical tour along the banks of the famous West Lake. The portraits capture the futuristic appeal that machines like cars, planes or televisions once had. Like the invention of the internet, smartphone or e-bike in recent decades, most innovations slowly slip away into the common present.

- Ruben Lundgren

Text in Chinese/English.

• Deadbeat Club 2023
• Hardback, 1st edition
• New

Legendary photographer Toshio Shibata’s first monograph with Deadbeat Club is a true collaboration between artist and publisher. “I feel like this is a new interpretation of how I moved my subject from the night to the day,” he says of the book. “It even feels like some kind of destiny.” It’s a welcome fate for Shibata’s numerous admirers and collectors, as these 70 black-and-white photographs were made between 1980 and 1988 and have remained largely unpublished and unseen for some 35 years.

The structural concept is seemingly simple: a progression through a sequence of nighttime photographs into a set of images made in the day, but – as always with Shibata – nothing is as straightforward as it first appears. Intense light sources, both indoor and outdoor, make the nocturnal scenes even stranger than they would be if enveloped in darkness. As for the daylight pictures, heavy masses of constructed earth and stone serve to ground us in a world that is anything but bright and airy. And in the pivot between day and night lies a foreboding tunnel that subsumes both the luminous and the murky.

As the title Day For Night implies, it is in Shibata’s camera that light and darkness swap roles. “The title gives another layer to the book,” he says. “I knew that technique since my childhood through watching ‘Rawhide’ on TV but until now I’d never seen my own work with such an eye.” The result is a book that confounds expectations, not only for its viewers, but even for its maker.

Unsigned.

• Aperture 2023
• Hardback, 1st edition
• New

• Libraryman 2023
• Hardback, 1st edition
• New

Staged on a farm in rural Japan, externaling Higashikawa in Hokkaido, Osamu Yokonami’s (b. 1967, Japanese) images demonstrate his particular use of photography as an artistic medium. Working with straightforward camera angles, Yokonami transforms ordinary bodies, farming tools and the local produce into haunting images—unexpectedly absurd and familiar. Headless figures, an aubergine-masked face, an abandoned baby on a paper bag, a topless character submissively kneeling in the grass while balancing two large tomatoes on their back. The series suggests a performative and complicit moment between the photographer and the people portrayed. As one feels the vulnerability of the subject facing the lens, one wonders: who is playing who in this image?

The book contains a foreword written by editor and designer Tony Cederteg.

First edition of 1,000 copies.

• Libraryman 2023
• Hardback, 1st edition
• New

I’ve never observed Benedict Brink (b. 1985, Australian) step towards perfection, I get a sense of disdain for anything too clean, or right-angled. People often mistake her for a man because of her name. I think perhaps, it’s also due to this crude-commitment type-way of seeing. Benedict defies any traditions of how an image of a body may be expected to be represented through a female lens — or male lens for that matter — she skews predictability. The power lies in achieving this while the pictures still hold a soft and tender quality. The body becomes a busted sculpture, suspended in air and seen out of the corner of my eye. Is she close, or is the lens long? Regardless, I always feel the touch of skin, or the temperature that day. It’s an interesting push-pull to be met with an immediacy in her images, combined with a distance. Opposing forces attract. She respects the subject, allowing them privacy.

- Excerpt from the foreword written by filmmaker Kersti Jan Werdal.

First edition of 500 copies.

• L'Artiere 2016
• Hardback, 1st edition
• Good - see below

“The book “PATH IN BETWEEN” is the visual record of the author’s process of recovering memories with clues found on paths his father used to take and places his family used to visit. When he attempted to trace memories of his late father, Hajime Kimura realized that most of them were missing. Because of this, his photos were shot with a half-framed camera. Each image consists of two shots divided by a thick black border. The continuous sequence of the images seems to repeatedly suggest the photographer’s impossible attempt at recovering a lost past. One can come close to faded memories, but cannot reconstruct them perfectly. Kimura almost reaches the essence of his father’s true character–– the man he barely tried to get to know when he was still alive–– but never quite. A mythical father figure emerges through the vague silhouettes of memories that occasionally cross the page.

When we see a diptych combining two completely different shots, we notice that large part of Kimura’s memory is missing. And, because the nature of memory itself is always ambiguous, real memories have occasionally been replaced by desired ones. Time and action accumulate in the past. They turn into a congregation of recollections. Human beings therefore are living with an enormous amount of memories and repeat a process of accumulation all their lives. If a remembrance is used as a clue to recognize our past and our individual existence, then the partial or entire loss of memory is, in a sense, a missed opportunity to recognize who we are. Existence in itself is lost –– our own and the one of the people we love.

Kimura also produced another series depicting his late father titled “Man and Dog.” In the series the “man” is actually his father, but the fact that he did not use the word “father” indicates his prolonged and distant emotions towards him. While his father was still alive, the photographer never took particular notice of the trivial conversations they exchanged with each other, he never closely examined his own view towards him. Ironically, his gaze towards his father became more distant when he became his photographic subject. However, as distant as his gaze might be, Kimura’s observing eye became more intimate. In a way a simple rule seems to unfold: one has to be close to his photographic subjects, but having a strong feeling towards them doesn’t necessarily constitute a successful photographic act. First of all photography is a medium that requires physical distance from a subject. A photographic image is created from this innate conflict, yet can also trigger exquisite emotions in a viewer. This effect is beautifully represented in this book.

In the last two to three years, Kimura seems to have been obsessively creating these series about his father. In this book, the photographer’s act of searching for memories through the act of taking pictures, emerges with a minimal and simple style. It seems as though he is trying to re-live with his father through his idealized and blurred memories, through a never-ending search for something that is almost invisible.”

Imperfect copy with bump to one corner - otherwise still sealed/unread.

• IKKI Books 2023
• Hardback, 1st edition
• New

• Osiris 2019
• Hardback, 1st edition
• New

In his photobook “Holy Onion”, Japanese photographer Motoyuki Daifu concentrates on his mother, photographed while she peels an onion in the family’s kitchen (both mother and kitchen are familiar to us from Daifu’s previous works portraying his family’s life).

In 35 continuous photographs, Daifu captures his mother peeling onions, frame by frame. The photographs are taken only moments apart, as Daifu’s mother cuts into the onion in her hand, scratches her nose, look at the camera, back at the onion, wipe her eyes. The book’s accordion design, with some images separated by white pages, others grouped together, adds to the continuous nature of the sequence. As the images progress, small details in the setting change, and by the end of the book, the plate with onion peels is again empty, the process ready to start all over again. With “Holy Onion”, Daifu pays close attention to the intricacies of mundane tasks and accentuates the beauty within (almost automatic) everyday routines.

The book also features an essay by Chris Fujiwara (in English).

• Mack 2017
• Hardback, 1st edition
• New
  

The Mechanism is a melancholic series of black-and-white photographs that form a sci-fi story about contemporary life. Bringing together images made in multiple cities, the work deals with themes of technology, surveillance and urban society. Lange attempts to trace the effects of technological developments on human experiences, using architectural tropes to build a narrative loaded with the threats and promises of the future. Cutting back and forth between close-up views and cityscapes, The Mechanism offers a filmic sequence of photographs that is at once affective and estranging.

Signed copy.

• Stanley Barker 2023
• Hardback, 1st edition
• New
  

In 1975 Tod Papageorge made a cross-America trip that ended on the beaches of Los Angeles. There, taken by the light, he produced some of his first medium-format (6 x 9 cm) photographs. In 1978 he returned to Los Angeles to expand on those first pictures and, in 1981 and 1988, on shorter visits, added yet again to this body of work. Here, he writes about “At the Beach”:

“I think that part of what these beach pictures are about is the difference between our preconceptions of a place and what, when we get there, that place turns out to be. In this case (of Los Angeles and its coastline), I think it’s also fair to suggest that those preconceptions are particularly strong, shaped as they irresistibly have been by the movies and popular music. So, as a first point, what I wanted to do on this project was examine those preconceptions (at least as I conjured them) through the descriptive power of photography in order to pin down what two semi-myths - the world of surfers and the life of southern California beaches –‘really’ looked like.

“To describe a place and yet at the same time reinvent it is a double intention on the part of the photographer that we should be used to by now when we look at and think about photographs. It seems to be a contradiction built into interesting pictures, if not the medium of photography itself. With these pictures, then, I worked with the belief that the closer I came to describing the literal nature of the place and people I was photographing, the more surprising the pictures that came out of that process might be. All while transforming (I hoped), the casual, unselfconscious physicality of these beachgoers moving from the boardwalks onto the sand and back again into form and meaning.

“I'm speaking of what I hoped for the photographs, of course - they may not describe these things at all. But whether I'm right or wrong about these particular pictures, it should go without saying that a good photograph must, in some palpable sense, distinguish what it describes.”

• GOST 2023
• Hardback, 1st edition
• New
  

Kiss it! is the result of a long-term collaboration between photographer Abbie Trayler-Smith and Shannon, a young woman living with obesity. Over the course of 12-years, Trayler-Smith documented Shannon’s journey from teenager to adult—navigating friendships, family, first-boyfriends, prom nights, holidays and jobs. Shannon has been the central inspiration for Trayler-Smith’s long-term project, ‘The Big O’ focusing on obesity in school-age children and young adults.

‘At age eleven, I felt judged, criticised, and not approved of… others saw only my imperfect body, not the fact that I was funny and clever and warm. I came to believe that if I wasn’t fat, somehow everything else in my life would be problem-free. As I stepped into adolescence, all of this became my identity. Fast forward to the age of thirty-three. I was working as a photographer at a press conference for a launch of health services to teenagers and there she was—Shannon, with a voice I had never found, reading a poem addressed to the professionals, pleading to be understood and not judged. I saw the mutuality between us and the difference. She was the brave teenager I had never been able to be.’  – Abbie Trayler-Smith

Signed copy 

• GOST 2023
• Hardback, 1st edition
• New
  

Kiss it! is the result of a long-term collaboration between photographer Abbie Trayler-Smith and Shannon, a young woman living with obesity. Over the course of 12-years, Trayler-Smith documented Shannon’s journey from teenager to adult—navigating friendships, family, first-boyfriends, prom nights, holidays and jobs. Shannon has been the central inspiration for Trayler-Smith’s long-term project, ‘The Big O’ focusing on obesity in school-age children and young adults.

‘At age eleven, I felt judged, criticised, and not approved of… others saw only my imperfect body, not the fact that I was funny and clever and warm. I came to believe that if I wasn’t fat, somehow everything else in my life would be problem-free. As I stepped into adolescence, all of this became my identity. Fast forward to the age of thirty-three. I was working as a photographer at a press conference for a launch of health services to teenagers and there she was—Shannon, with a voice I had never found, reading a poem addressed to the professionals, pleading to be understood and not judged. I saw the mutuality between us and the difference. She was the brave teenager I had never been able to be.’  – Abbie Trayler-Smith

• Loose Joints 2023
• Hardback, 1st edition
• Imperfect - see below
  

Mysticism, spirituality and corporeal liberation meet in the studio for Rodriguez’s powerful new series exploring control, purity and identity.

In O., acclaimed Dominican-American artist Luis Alberto Rodriguez strips down his choreographed, embodied approach to photography through a series that explores the free-fall of life, the construction of identity, and their connections with spiritual destiny. Influenced by French mystic thinker Simone Weil, Rodriguez draws a line between his stripped-down portraits and Weil’s life’s work, in search of purity and the relationship between suffering and transcendence. The title of the book – the letter O – speaks to this transcendence – between a noise, a gasp, an exhale, a cycle, all sounds, an open symbol, a zero, a reset.

Using a cast of different bodies, ages, backgrounds and identities, Rodriguez sculpts a series of nudes oscillating between power and a loss of control. Rodriguez challenges his subjects to let go: bodies contort and collapse while returning to poise, lifting to grace, and reaching into purity. How much control do we have over the direction we are headed? How soft is the landing?

Rodriguez frames his striking nudes in dialogue with images of tasseography – the practice of divination through coffee-cup reading that runs through Rodriguez’s Dominican heritage – to spiritually engage with the force and beauty of those who appear, and disappear, before his camera. O. envokes the volatility of our current moment, our states of self-preservation, and the future that is yet to come.

Imperfect: Small bump to rear corner - pages inside unaffected. See photo.

• Loose Joints 2023
• Hardback, 1st edition
• New
  

Yana Wernicke documents with subtle grace the close bonds between two young women and the farm animals that they rescue, love, play with and care for, in a series mixing German romanticism and modern ethics.

John Berger’s landmark Why Look at Animals? describes the ‘species loneliness’ of modern man: how the ancient relationships between humans and nature have broken down, reducing the existence of animals to marginalised objects, as commodities, and as Other. Concerned with modern humanity’s yearning for a deeper connection to ecology, Wernicke’s series is a touching portrait of two young women who have established profound relationships with animals. Rosina and Julie each independently save animals from certain death and create bonds of love and trust with animals typically considered solely for their economic value.

In German, Companions, or Weggefährten, is a hybrid word that translates literally as ‘those who walk the path together’. Through tenderness, touch and intuition, Wernicke’s camera follows that path – of joy, emotions, tenderness and play between humans and animals – striving to close the gulf between our emotional consciousness and those of the other animals we live alongside.

• Xavier Barral 2012
• Hardback, 1st French edition
• Used: good - see below
  

"She was called successively Rachel, Monique, Szyndler, Calle, Pagliero, Gonthier, Sindler," reads the first lines of Sophie Calle: Rachel Monique, embroidered on the cover. "My mother liked people to talk about her. Her life did not appear in my work, and that annoyed her. When I set up my camera at the bottom of the bed in which she lay dying--fearing that she would pass away in my absence, whereas I wanted to be present and hear her last words--she exclaimed, 'Finally.'"

Sophie Calle: Rachel Monique tells the story of Monique Szyndler, Sophie Calle's mother who died in 2007, through diary excerpts and photographs selected by the artist from family albums. Described as "haunting" and "a mystery novel that tirelessly searches for a missing person," the Rachel Monique project honors a daughter's complicated relationship with her mother and the artist's deeply felt grief.

This volume, presenting Calle's installation of Rachel Monique at the Palais de Tokyo, was designed in close collaboration with the artist. The cover text is embroidered to create a precious object, and all of the texts relating to the installation are beautifully embossed. Sophie Calle: Rachel Monique is a highly personal and moving book, intimate and universal in its expressions of mourning and memory.

French edition (no english text).

Bump to edge of cover - see photo - pages largely unaffected.

• Eriskay 2023
  
• Hardback 1st edition
  
• NEW

'When I was two years old, my father went into the woods, with the intention of never coming back.'

Peter Pflügler takes us on an intimate journey through the labyrinth of a family secret. The suicide attempt of his father was concealed for twenty years. And yet he has always somehow known.

Carefully investigating the traces of this silent, dark story, he created images that live on the brink of comfort and irritation, between love and pain. Leafing through this slightly uncomfortable landscape, the viewer is invited to look further and discover texts and images hidden between the pages.

Now is not the right time is about the impossibility of secrets, about what we share when we hide, and about intergenerational trauma. It is a work about pain inflicted out of love, the complexity of silence and the inexplicable sadness of a boy.

'Mom… Dad… this is your trauma that you kept wrapped up in countless colourful blankets and yet handed over to me in a loving embrace. I will carry it with care.'

Signed copy.

• Skinnerboox 2015
  
• Hardback 1st edition
  
• Near fine
  

That it is not about ‘hurried’ photography, not really about contemplation, but as Ezio D’Agostino says himself, ‘about a photographic process which derives from my archaeology training’. This means confronting time and pacting with it. The archaeologist, such as the photographer, divides the territory so that he can better explore it. The archaeologist digs it, then, with a layered and depth approach, he reveals the layers that will provide elements of interpretation and knowledge. Through his frame (which belongs only to him and which seldom has the scientific knowledge of the archaeologist), the photographer, too, divides, slices and cuts the space we know and we experiment so that we can see it differently, with other perspectives. This lack of spectacular reveals a cut tree trunk surrounded by dying grass, which still resists while a poor plant, leaning on a green fence, tries, whereas dying, to climb out from a metallic gate. A bit further, in-depth, by the pool numbers define a podium, a winner and his runner-ups. Then, soft chalk houses on a blackboard, half erased, a child’s drawing, a small bird lost on the red back of a plastic chair, waste behind a transparent and red plastic garbage bag, chromias and signs. A calm reading of a world which is not, sharp angles, material meeting, reflection and, as always, light such as the one that makes drops of water vibrating when they get away from some humble string lights. - Christian Caujolle

Still sealed - faint shelfwear only.

• Self 2017
• hardback 1st edition
  
• Used: Near Fine
  

"J.B. about men floating in the air" was inspired by the story of two Lithuanian-American pilots who tried to set a new world record by flying over the Atlantic into Eastern Europe in the early 1930s. I found a reference to the attempt in a Joseph Brodsky poem and decided to create my own ‘parallel world’ in black-and-white images.

My story is about the dream of every person to break out from the vice of all kinds of prohibitions and fly away to a distant unknown in search of unlimited freedom and find there his true motherland and real home.

Also it is a story about a personal attempt doomed to fail to find a way to himself through time and space, breaking the invisible boundary between himself and his mirror twin, the mortal Castor and immortal Pollux.

At first I made a series of mockumentary photographs to get the effect of stopped time, but then decided that it was necessary to increase a gap between the documentary and imaginary world, therefore I added a few collages and drawings.

In the result the book was made in Leporello format, which allows the viewers to choose how to browse the images and find their own ending in this story.

2nd edition of 300 numbered copies.  Signed.   Faint shelfwear to white cover.

• Akio Nagasawa 2023
• Softcover, 1st edition
• New
  

Yesterday, my daughter drove me and my wife to Kami-Ooka, a town south of Yokohama. We had already been there two weeks earlier, and as I had no business accompanying the ladies on their shopping spree, I spent a little over an hour walking around with my camera, in the area around the station that is crowded with people and tall buildings. Quite naturally, the tour also led me to a place that I always visit, and that I have decided to refer to as my “oasis number three.” On one side of a 50-meter stretch of a narrow alley between the back of a store and the Keihin Kyuko line, there are several juice stands, and sandwiched between them, a number of ashtrays are admirably standing and waiting for smokers like myself. There’s always a bunch of folks, guys and ladies alike, puffing away on their cigarettes as if there was no tomorrow. One of the bars has some concrete steps in front of it that are just right for sitting on, and in that “oasis,” I like to spend some quality time smoking while observing the neighborhood through my pocket camera, and taking the occasional snapshot. There are quite a lot of ladies, and also many blue-collar type guys, and they all come together here for a chat and a puff.

Back home, I found myself alone in the kitchen at night, and while having another cigarette or two, I reviewed the results of my own shooting spree in the alleys of Kami-Ooka. “I guess two or three of them will be alright for Record,” I concluded while thinking about the next issue. I remembered also photographing a long line of people and wondered what they were queueing up for, while lighting another cigarette. Another day in the life of the photographer that I am was casually drawing to an end. And tomorrow, I thought, I’m going to take a stroll around Ofuna.

(Number one and two of my own private oases are places that I carry in my heart, and I won’t tell anyone about them, unless they’re heavy smokers just like me!)

– from the afterword by Daido Moriyama

Signed copy.

• Setanta 2023
• Hardback, 1st edition
• New
  
  

In his series Back to the Arcade, Franck Bohbot’s mastery of color, and ability to frame a narrative is on full display. Through his lens, arcades open to the viewer like a tightly woven short film, noire-esque even. There is a feeling of criminality within the photos, as if you’ve found your way into a speakeasy, where acts are taking place — hidden, fringe, and celebrated by those lucky few able to produce the password for the doorman. And in the midst of this are the machines themselves: grouped together in collections by those obsessed with them, tantalizing to touch, to play. Bohbot’s eye shows us this side of Los Angeles, where current-day inhabitants have grouped together to experience the arcane, to be solitary yet in groups, to revel in the fantastical pursuit of dreams. All of this is bathed in Bohbot’s unique light, much like the city of Los Angeles itself, a place where joy chases the sun, and when it sets, the occupants of the city find the hidden places.

Back to the Arcade is a masterful series that captures time. The time it takes for Bohbot’s fully opened lens to record the scant light inside each arcade. The time
the subjects of the photos spend in front of each machine. And the idea of time itself, seemingly standing still inside these arcades.

Signed to a sticker applied to the title page.

• Stanley Barker 2023
• Softcover, 1st edition
• New

The pictures in Jason Lee’s forthcoming monograph were made in the summer of 2017 on a drive from his then adopted home state of Texas to Los Angeles, where he’d lived prior and from where he set out to start photographing from the road in 2006.
 
TX | CA 17 is the first time Lee has published images from a single outing. They are presented in geographical and (rough) chronological order—North Texas, NM, AZ, the California desert, and finally DTLA, where we see the gentleman awaiting his bus. The exposures were made primarily along and surrounding Highways 287, 40/66, 62, and 10.

“Many of these places I’ve come to know quite well, with some documented frequently before and since this particular drive. It’s always a pleasure revisiting the familiar—these somehow comforting landmarks; these reminders—and equally exciting to discover new sights, make new pictures, and collect new memories. So you keep going. After sixteen years of photographing outside, I remain fascinated by the American landscape and all its parts both beautiful and curious.” - Jason Lee

• Photo Editions 2023
• Hardback, 1st edition
• New

The photographs in Folly, the debut photobook from Jamie Murray, were born from a series of conversations with individuals who have been incarcerated. Discussions of what had led to punishment, navigating the prison environment and the transition to freedom flowed towards philosophy, ideas of discipline and punishment, intertwined with questions around natural order and spirituality. The resulting allegorical photographs in Folly refer, both directly and indirectly, to what was said and how these conversations affected Murray.  

Murray first began speaking to the individuals in 2017 in an attempt to understand more about their experience with the aim of making a documentary series within a prison. Most had been in numerous prisons over long periods of their life, often multiple times, and Murray hoped to document these meetings and brought along his camera. Some individuals would allow portraits, and others not. As the conversations evolved, so did the project, as the encounters led him to reflect upon his own life, choices and history with meandering thoughts and emotions relating to what had been discussed.

The pictures in the book begin with an imposing folly - an ornamental structure of no purpose, both foolish and excessively costly. The images that follow, a pile of coins glistening in the undergrowth, gathered crows, a fish gasping for breath outside water, rows of butterfly pupae, interweaved with haunting portraits of some of the individuals evoke a fractured narrative, a rumination on these conversations and the relationship between man and nature, co-existence and interference. 

A special edition with signed print is available here.

For trade enquiries, please get in touch here

• Overlapse 2023
• Softcover, 1st edition, 208p
• New

Desire Lines looks at migration as an inherently human act – one that has defined human history and the geopolitical framework of our planet. Shipley’s photographs are seen in dialogue with interviews from migrants and long-term residents, 20th century oral histories and 19th and 20th century archival photographs. This mix of time and perspective highlights a region long marked by migration, individual desire and preservation, but also systemic dominance and colonial control, hidden in hundreds of square miles of remote terrain.

Desire Lines follows old and new movements through the desert landscape of the Sonoran borderlands of the United States and Mexico: paths taken by migrants and border agents, of missionaries and conquistadors, of indigenous people and industrialists. The messy and at times violent collision of peoples has created a region that defies the harmfully simplistic narratives so frequently attributed to our borders.

Shipley’s photographs focus on the disorienting experience of this landscape – a place of beauty or danger depending on the perspective of those moving through it. Deceptively empty, the landscape is under constant watch, heavily surveilled and controlled, with an ever-increasing military presence that has seeped into the lives of residents in surrounding communities.

• Dewi Lewis 2022
• Hardback, 160p
• New

Originally published in 1983 by Jonathan Cape, Sirkka-Liisa Konttinen’s Byker is recognised as a seminal body of work and a modern classic of photography. Konttinen documented a close-knit community in Newcastle in an area that was her home for seven years and which was destined for wholesale redevelopment. The work gained national recognition as a key photographic account of a rich working class culture on the eve of its destruction. The book was selected by The Observer as one of the top ten books of the year.

Sirkka-Liisa Konttinen is a Finnish-born photographer and filmmaker and a founder member of the Amber Film & Photography Collective and the Side Photographic Gallery based in Newcastle upon Tyne. Along with Byker, her other long term projects in photography and film include Writing in the Sand, Letters to Katja, The Coal Coast, Song For Billy, Step by Step, Keeping Time, Byker Revisited, Today I'm With You and Still Here.

In 2011 Konttinen’s photography and Amber’s films were inscribed in the UNESCO UK Memory of the World Register as being of outstanding national value and importance to the United Kingdom

• Mack 2023
• Hardback, 1st edition
• New

‘I wanted to do something so absolutely different, and physical, and in a certain way, kind of ill-conceived… I took my camera and went underwater in a bunch of pools. And made pictures.’

Between 1978 and 1982, in a departure from the collaborative conceptual work that he had become known for, Larry Sultan photographed people learning to swim in public pools in San Francisco. Initially inspired by black-and-white documentary photograhs he found in a Red Cross swimming manual, Sultan soon began exploring an urge to create pictures that were physical, sensual, immersive, and painterly. The resulting work is saturated with colour and inflected by the unpredictable forms and chance abstractions which emerge through the distorted refractions of the water as a second lens. Often beautiful and regularly unsettling in their ambiguity, the series builds to create a feeling of sensory immersion alive with the fluid and uncertain atmospheres to which Sultan was drawn.

This collection presents all the pictures from the series Sultan himself chose and exhibited, and expands to include additional images he marked on contact sheets as well as further selections from his archive which he likely never even reviewed.

• Marion Goodman 2004
• Softcover, 1st edition, 53p
• Fine

Published on the occasion of the inaugural exhibition of Woodman's work at Marian Goodman Gallery. The book includes a text by Benjamin H. D. Buchloh and a foreword by writer and friend of the artist, Betsy Berne.

Fine copy of this 2004 catalogue, unread.

• Self-published 2023
• Hardback, 1st edition
• New

Pang’Ono Pang’Ono explores the emotional and physical toll on women in Malawi in their quest to access clean water. The title — Pang’Ono Pang’Ono or little by little — is borrowed from a colloquial Chichewa expression referencing time and urging patience — used here to metaphorically reflect on the sentiment around water. With a population of nearly 21 million people, Malawi is one of the smallest and least-developed countries in Africa. Although the country has an abundance of water — with around 24,404 square kilometres flowing through its fertile land, including Lake Malawi, the third-largest freshwater lake on the continent — providing clean water to every single citizen is a national problem. One in three people live without it. Considered a domestic chore, the responsibility of securing water falls predominantly on the shoulders of women. The series was produced over a period of 10 days working on commission with WaterAid in Malawi.

Edition of 500 signed and numbered copies.

• Editorial RM 2022
• Hardback, 1st edition
• New

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.

• GOST 2023
• Softcover, 1st edition, 384p
• Imperfect - see below

Published to coincide with the twentieth anniversary of the US-led invasion of Iraq, Glad Tidings of Benevolence brings together Moises Saman’s photographs taken in Iraq during this period and the following years, with documents and texts relating to the war. Exploring the construction—through image and language—of competing narratives of the war, the book represents the culmination of Saman’s twenty years of work across Iraq.

‘My photographs are not intended to represent an objective account of the Iraq war against which to compare the texts. Rather, the book grapples with my own role and power as a narrator – particularly one with access to foreign publications – and the biases and limitations inevitably embedded in my work.’

Imperfect: Very small and faint bumps to 2 corners.  

• Stanley Barker 2023
• Flexibound, 1st edition
• New

“It only took three ballerina-like leaps to cross the lawn and reach my grandfather’s screen door. He lived with my grandmother in a small house on property shared with my parents in New Jersey. Waiting at the door, he scooped me up like one of the squirming lambs he weighed in the barn. I was 8.

On most days, we sat at the kitchen table and spoke Ukrainian. My first request was always to see his famous scar, the one on the right side of his chest clinging to his ribs. After he lifted his shirt, he gently took my finger and traced the wound. The skin felt thick and stiff as we followed where the bullet had entered, along a ridge on his rib, and the indentation where it exited. Even though it was always the same 3 ½ inches, he liked when I measured it. And every time we took the measurement, he repeated the same story: I was a Sich Rifleman with my brother Teodor, fighting the Bolsheviks. Teodor got typhoid, and we buried him in the steppe. I had to leave Ukraine, my seven siblings, and my parents because I was a Ukrainian soldier.” - Katherine Turczan

Almost 20 years later, in the summer of 1991, the fragile bridge of memory between Turczan’s family and Ukraine was disintegrating. Her grandfather had died, and she had just learnt of her parents dementia. Scrambling to make sense of these losses, she set out with my 8x10 camera to find the place from where they came and the people they left behind. Her first trip to Ukraine coincided with the August coup in Moscow and Ukraine’s new independence. There, a rediscovered family welcomed Turczan: uncles, aunts, cousins, people she had only heard of. For months at a time, year after year, they gave Turczan places to stay, fed her, offered rides to locations, and often assisted her while she built my ongoing collection of portraits.

• Moderna Museet/König 2022
• Hardback, 4th edition
• New

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.

2022 4th edition.

• Akio Nagasawa 2023
• Softcover, 1st edition
• New

"Last fall, the photographer William Klein passed away in Paris.

An exhibition of my own and William Klein’s works attracted a large audience when it was shown at London’s Tate Modern back in 2012. Klein’s part of the exhibition was quite a diverse affair, as it featured next to photographs also paintings and films among others. Obviously, it was the highlight of the show. For my own part, with the exception of a few color prints, I mostly covered the walls with enlarged black-and-white photos.
It was about 60 years ago, that I was completely knocked down by the shocking experience that was browsing through the photo book NEW YORK, which inspired me to launch my own life and work as a photographer. With that in mind, when it came to doing that two-man show in London, flooding the place with black-and-white shots was all that I could possibly do in response to Klein’s work.

When he showed up for our first meeting in years, a big man in a big wheelchair, it just so happened naturally that we shook hands. That one moment was enough to fill my heart with emotions, and make me feel like shouting out that, for me, the exhibition had already concluded, even though it had in fact just opened. (...)"

– from the afterword by Daido Moriyama

Signed copy.

• Apperture 2022
• Hardback, 50th Anniversary Edition
• New

When Diane Arbus died in 1971 at the age of 48, she was already a significant influence—even something of a legend—for serious photographers, although only a relatively small number of her most important pictures were widely known at the time. The publication of Diane Arbus: An Aperture Monograph in 1972—along with the posthumous retrospective at The Museum of Modern Art—offered the general public its first encounter with the breadth and power of her achievements. The response was unprecedented. The monograph, composed of 80 photographs, was edited and designed by the painter Marvin Israel, Diane Arbus' friend and colleague, and by her daughter Doon Arbus. Their goal in producing the book was to remain as faithful as possible to the standards by which Arbus judged her own work and to the ways in which she hoped it would be seen. Universally acknowledged as a photobook classic, Diane Arbus: An Aperture Monograph is a timeless masterpiece with editions in five languages, and remains the foundation of her international reputation. A quarter of a century has done nothing to diminish the riveting impact of these pictures or the controversy they inspire. Arbus' photographs penetrate the psyche with all the force of a personal encounter and, in doing so, transform the way we see the world and the people in it.

• Mack 2023
• Hardback, 1st edition
• New

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.

Signed copy.

• Cafe Royal 2017
• Softcover, 1st edition, 36p
• New

First printing of this rare zine.

• Cafe Royal 2018
• Softcover, 1st edition, 36p
• New

Prestwich Mental Hospital presents a very early Parr social-documentary series shot in 1972, whilst he was studying at university.

First printing of this out of print zine.

• Cafe Royal 2015
• Softcover, 1st edition, 36p
• New

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.

Out of print zine, as new.

• Deadbeat Club 2022
• Hardback, 1st edition
• New

When politicians and pundits talk about the heartland, or the heart of the country, they’re generally not pandering to places like Roger Richardson’s Middletown, which is located in Orange County, in New York’s Hudson Valley. Yet the people and places in Let Me Sow Love exist right smack in the middle of myriad 21st-century American realities. Refreshingly, though, there’s not so much as a whiff of polemic in Richardson’s photographs. As the title suggests, this is a book full of what feel like genuine and compassionate interactions and engagements, as opposed to the now-expected confrontations. You sense right away that Richardson knows this place intimately, and these are his people. As a result, Let Me Sow Love presents with remarkable clarity a compelling portrait of an utterly realistic human community at a unique and radically insecure moment in the country’s history.

The late Philip Levine, arguably the greatest working-class poet of the late 20th century, once said that his goal was to write poems so transparent that “no words are noticed. You look through them into a vision of the people, the place.” Time and again, Richardson realizes Levine’s vision through his photographs, and it’s a vision that will be achingly familiar to anyone who grew up in or has spent time in strikingly similar working-class cities and towns all over the United States.

Signed copy.

• RM 2016
• Softcover, 1st edition
• NEW

We are living in the midst of a photographic renaissance in which we have become accustomed to consuming imagery with the same greed and gusto that we consume fast food. In order to cope with the deluge of images being force fed into our retinas on a daily basis we now consume images with- out digesting them properly, or at all. People rarely stop to take a closer look; to read, appreciate or question an image. Image Tsunami is a sizeable overview of the enormous collection of images that Kessels lives with, remixes and edits. It s a representation of the overload of imagery that is (rapidly expanding) in his head. The book can inspire others to make their own remixes of these images and maybe stop to appreciate a few along the way.