ALL BOOK

• Loose Joints 2026
  
• Hardback and 2 softcovers set
• New

Ethridge’s cult early studies of the American everyday return in a three-volume set revealing the origins of his style.

Loose Joints is proud to present In the Beginning, a three-volume set reuniting Roe Ethridge’s three formative, self-published books – County Line, Orange Grove and Spare Bedroom – originally released in 2004–05 and long out of print. Across these early volumes, Ethridge stages a sharp, playful inquiry into the American everyday. From rotting Florida citrus orchards to half-built suburban interiors and the static hum of strip-mall signage, each book turns on a clear typological register, where the familiar slides easily into the strange. Ethridge sets his pictures in a dialogue with photographic archetypes – catalogues, calendars, studio models, kitsch displays – using them to probe how images shape, naturalise and sometimes fracture American life.

Ethridge’s early books all emerge from loose typologies that, in their slippages, probe and complicate the aesthetics of American visual culture. From 2004, Orange Grove distills photographs made in a dilapidated Florida orchard into a study of slow collapse, a familiar symbol of American plenty quietly withering on the tree. Self-published simultaneously, 2004’s Spare Bedroom begins Ethridge’s career-long practice of jumbling and juxtaposing the commercial and the personal, in which an early commission for a furniture company unravels into a jagged mix of domestic scenes, catalogue imagery and loosely staged interiors. Finally, County Line (2005) turns to the liminal spaces of Queens and Nassau County, abstracting the language of the strip mall into a concrete-poetry of word-photographs that sit against other images evoking the blurry edges of the suburban sprawl.

Taken together, the three books form a weave of contrasts, where moments of banality tilt towards the uncanny and the absurd. These early publishing experiments trace the emergence of Ethridge’s now-signature method: slanting, doubling and displacing images until they cohere with unexpected force or deliberately fall apart.

Reissued twenty years later, In the Beginning reads as a prefiguration of the more than fifteen books and catalogues that would follow. It marks the opening chapter of an artist who would go on to become one of contemporary photography’s most influential practitioners – revealing the restless, incisive eye that shaped everything to come.

• Three Books 2025
  
• Softcover, 1st edition, 268p
  
• New

• Chose Commune 2025
• Hardback, 1st edition, 192p
• New

An unexpected collection of over 100 images spanning time and the history of representation, Clin d’œil brings together nearly every variation of that precious organ that allows us to see, to look, to discover — or simply to observe.

Following Jeux de mains, the first collaboration between Cécile Poimboeuf-Koizumi — publisher, curator and co-founder of Chose Commune — and Stephen Ellcock —  curator, writer, researcher, and online collector of images — this second volume focuses on the motif of the eye in art. Present across all cultures and eras, the eye fascinates with its rich symbolism: spiritual, political, intimate, or mysterious. From Antiquity to contemporary art, over a hundred images, selected intuitively and without chronological order, form this visual constellation. This book celebrates the diversity of artistic perspectives on this small organ that has, over time, become a powerful universal symbol.

• Witty Books 2025
  
• Softcover, 1st edition, 168p
  
• New

The Line of Water explores memory as a shifting, fluid entity, where trauma is not just a wound but a catalyst for transformation. Through a poetic and metaphysical reflection on transience and loss, the project examines how the territory—both physical and emotional—absorbs, reshapes, and transmits traces of the past, generating new languages of remembrance and creation.

Sara Palmieri, a visual artist working primarily with photography, investigates the material and symbolic potential of images. Her practice extends into sculpture and performance, using experimental processes to explore how territory and personal narratives shape collective memory, questioning the ways in which images construct and deconstruct reality.

Inspired by the Polesine flood of 1951—the most devastating in Italian history—the project considers the territory as an archive of memory, where water, earth, and inherited stories act as living agents of transmission. The image itself becomes a perceptive surface where opposites merge: visible and invisible, past and present, submerged and emerged. The book-object, curated by Fiorenza Pinna, expands this exploration into a spatial, visual, and tactile experience. The material shifts, transparencies, and overlays disrupt the reading flow, mirroring the instability of history and perception. In this interplay between image and matter, the book itself becomes a territory of creation, where memory takes on new forms and new languages emerge from the fractures of the past

Display copy with faint bend to corner and light marking to cover.  See photos.

• Timeshow Press 2016
  
• Softcover, 1st edition
  
• Fine

French photographer Maki’s photobook Guyu, published by the French Timeshow Press, showcases the artist’s contrast-rich black-and-white street photography. The subjects range from streets in Shinjuku to hectic nude shots and views of trees. The photobook features an essay by Clement Paradis in French and English.

"Guyu in japanese, means “allegory”. For Maki, the figure of speech is a photographic category. At the core of his photography practice, lies the question of re-presentation, of the relationship to space... The involvement of known elements in new sets - or the opposite. During his travels in Japan of the past 15 years, Maki stayed tireless, circulating through metropolitan cities, from island to island, with a rear base in Tokyo, Shinjuku district - a point of "eternal return" for the Japanese photographers. […]

Maki's photography is made of figures, and figures of speech, forming a kind of social novel of the Japanese territory. Here, photography is definitely not a transparent language: the photographer's work gives it its thickness, which is not that of an icon but that of the "demon of analogy," a skillful weaving between the allegorical mental world and the objective world around us. […]

That is what unfolds over the double pages of Guyu, this dense atmosphere of Japanese cities where sometimes the world seems to curve around the individual in a movement whose end can only be photography. Maki's approach starts with a non-resistance to the experience. It shows in Guyu, page after page, and so the energy of the perfectly controlled photographic grain ends up as a dark matter in the galaxy of Japanese cities.

— from the publisher’s statement

Edition of 300 copies.  Signed copy.

• Akio Nagasawa 2018
  
• Softcover, 1st edition, 120p
  
• New

"As I get older with the camera in my hand, I realize that all the different things that I depict in my photographs are ultimately rooted in my childhood memories, the various things I have seen and experienced in the postwar years of the early 1950s.
My memories of wandering from one town to another for a while after the war have piled up at the bottom of my conscious mind, and it appears to me that they are reflected in the myriad images I’ve been capturing as a street snap photographer, responding to my index finger as it releases the shutter. In other words, regardless of whether I was aware of it at the place and time of shooting, it seems that the majority of my photographs represent an instant communion with the here and now that is established through some kind of time tunnel."  - Daido Moriyama

Signed copy.

• Akio Nagasawa 2016
  
• Softcover, 1st edition, 88p
  
• New

October 29 was for me a Saturday just like any other Saturday. As usual, I put my camera into the pocket of my jacket in the morning, and walked down to the coffee shop near the park at Ikebukuro station’s West Exit to have my coffee, while shooting the occasional picture as I leisurely passed through familiar sceneries.
...
While sitting there and absent-mindedly sipping my coffee, a certain thought literally flashed across my mind. It was a thought that had never occurred to me before. The idea was to fill one issue of Record exclusively with the photos taken on this particular day. For a very long time I’d been bragging about how I’d only need a single day to shoot enough material to fill an entire photo book, but in reality it never was that easy. But as this was the plan that I hatched over my coffee, it dawned on me that I had no other choice this time.

– Daido Moriyama, afterword 

Signed copy.

• Loose Joints 2021
• Softcover, 1st edition
• used - good see below

For nearly two decades, Lichtenstein has worked in varied subgenres within photography’s historical archetypes: marginalized contemporary landscapes, refracted still life, performance-based portraiture and process-oriented abstraction. In Recorder, Lichtenstein embarks on an ambitious three-part series of images that recycle and reorient themselves within the limits of technology and photographic vision. 

Every image in Lichtenstein’s layered artist book departs from a singular work: Welcome Water, where Lichtenstein collaborated with J. Stoner Blackwell to make flatbed scans of the artist’s delicate sculptures derived from disposable carrier bags, which were then cut out and stitched into a sprawling sculptural floorpiece. Meditating on the waste and burdensome environmental significance of these single-use plastic objects, Lichtenstein accumulated and activated the detritus of Welcome Water, using the negative cutouts and test-prints of the work to recycle them into new photographic forms.

The results are three series that are both distinct and inseparably intertwined: Holes, a series of black-and-white images reworking Blackwell’s delicate laser-cut interventions to the carrier bags; Grounds, a physical layering of leftover cutout shapes, pinned and affixed, leaving a gaping void at the photographic centre; and finally, Untitled, Lichtenstein’s boldest foray into abstraction, where her source materials were repeatedly printed and scanned, sometimes up to thirty times, to create a giddying and vertiginous collaboration with the entropy of print technology. These works are layered with ink, program errors, exaggerations and obfuscations, eventually liberating her source material into pure free-form visual abstraction.

Lichtenstein creates images that are at once challenging and seductive, setting forth a chain reaction of feedback loops in which pictorial space is filled and mutated through collaboration with and against the limits of imaging technologies. Recorder contains profound depths and coalescent shapes that never fully resolve themselves, but within this profundity a clear thread can be drawn, connecting the push-and-pull of photography’s tendency to both record and obscure, with a meditation on waste, consumption, and the environmental changes set loose by the anthropocene. 

With limited 8×10" print (unsigned) of an exclusive unpublished work by the artist. Giclée print on Hahnemühle Rag.

Used copy - Book has light wear to edges/corners.

• Jim Mortram 2017
  
• signed print
• fine

A3 (42x30cm) sized print by Jim Mortram on heavyweight photo paper.  Signed and dated to the reverse.  

• Photo Editions 2022
• Softcover, 1st edition, 92p
• New

The coastline is an intrinsic part of British identity. Associated with freedom and escape, coastal towns have always drawn those seeking respite from landlocked cities, with seaside resorts serving a primary purpose: to entertain. In Silent Coast Rob Ball shows a different reality. Travelling the length of the English coastline, he captures the structures built along the edge – and in the process reflects on their vulnerability in the face of change.

Out of season these coastal resorts seem far removed from the fun they were designed to offer, revealing carefully manufactured environments, fortified by borders and surveillance. Silent Coast exposes the fragility that exists beneath the facade, a coast open to shifting economic forces and rapid environmental change. Devoid of people, the monochrome scenes reflect on the homogeneity of the coast; without place or time markers, resisting identification yet remaining deeply familiar.

Swiss-bound, tritone offset printed softcover, 28x24cm.

Slipcased special edition of 25 signed copies with a 10"x8" signed and numbered archival pigment print on Hahnemule Photorag.

See the alternative special edition here.

• Self published 2024
• Hardback, 1st edition 280p
  
• New

An exploration of Los Angeles’ neighborhoods and transient nature through an extensive typological record of its once-loved sofas.

• Stanley Barker 2018
• Hardback, 1st edition
  
• Fine
  

Mark Steinmetz’s new book Past K-Ville is a poetic collection of photographs dating from the mid-1990s, that were made on road trips throughout the American South: Memphis, Atlanta, New Orleans, Chattanooga, and Athens, Georgia. Spray-painted rumours of romance punctuate a world comprised largely of teenagers and young couples.

"I love the South for its warmth and chaos. The vegetation down here grows rampant; the light is softened by humid air. The people are for the most part friendly and they are comfortable in their bodies. They tend to be more open to being photographed by a stranger. The unexpected happens here a lot." - Mark Steinmetz

Recommended.

• Benrido 2026
• Set of 7 collotype prints
• New

The memory of the Fukushima nuclear disaster, triggered by the massive earthquake of March 11, 2011, remains deeply etched in people’s minds. Yet, even while bearing the scars of such devastating destruction, Fukushima has demonstrated remarkable resilience. This series features poetic new photographs by Michael Kenna—an artist who loves Japan’s natural landscapes and atmosphere—capturing the region as it has recovered from the disaster. The portfolio comprises seven specially selected images that reveal the Fukushima of today, including the sunrise over Inawashiro Lake—renowned for having some of the clearest water in Japan—and Terushima Island, which floats in the sea approximately 250 meters off the coast.

Set of 7 Black and White Collotype Prints

Print size: 20.3 x 25.4 cm

Portfolio size: 20.6 x 25.8 x 0.8 cm

• VOID 2026
• Hardback, 1st edition, 128p
• New

“There is an electrifying, if unnerving, energy to Kristina Rozhkova’s first collaboration with cult independent publisher Void. Both a protest and a record, ‘Gut Feeling’ is an unflinching look at what it means to hold something or someone against their will, as well as at their request.“

In June 2024 Kristina Rozhkova was arrested in Russia following a denunciation linked to a photoshoot, placed in a detention centre and later put under house arrest. Developed under conditions of incarceration, her latest book Gut Feeling, responds to a cultural climate of enforced state control, one that stifles dissent and attempts to restrict artistic freedom.

At the centre of the work is the site of the cage, both a literal physical condition and a symbolic social order. Turning to rabbits and rats confined to small cages and spaces, the artist develops a stark visual language to trace a lived experience of incarceration. Placed for two months alongside thirteen women in a pre-trail detention unit, bodies become clashing, hysterical animals held captive.

• Nazraeli 2021
• Hardback, 2021 edition
• Imperfect - see below

“Todd Hido finds the poetry in that strangeness, which consists of all the matter implied but unsaid in the margins of thrillers. It lurks in the high-tension wires, the high-intensity lights, the leafless trees and ambitious weeds, the hurricane fences and concrete knee-walls, the red night sky of light pollution. If in these pictures it is forever midnight and you are forever stranded and chilled and at a loss, you still have to pay attention to the way the prowler’s footprints hover in the snow around the window. The jumble of cars around the bungalow may mean that many adults live there, but it may mean something you don’t really want to know about. These pictures might represent views from the undercover surveillance car, if the driver drinking endless coffee waiting for someone to leave or to arrive were capable of appreciating the scene. The silence that permeates these pictures is before or after the fact, or a result of the muffling effects of weather, or else it is permanent, deathlike.” — From the Introduction by Luc Sante

A newly remastered edition of Todd Hido’s iconic and long-out-of-print second monograph, Outskirts.  Printed on heavy weight matte art paper, our new printing of Outskirts surpasses the original printing with more accurate color rendition and subtle nuances in tone and saturation. It will be an important addition to libraries and collections lacking access to the elusive 2002 edition, which itself solidified Hido’s position in the art world following on the heels of his groundbreaking first monograph, House Hunting. 

This remastered edition of Outskirts is limited to 3,000 copies.

Note that we are currently only shipping this book to the UK only due to it's large size making it impractical for international shipments.

IMPERFECT DISPLAY COPY WITH SCUFFING AND GENERAL WEAR TO THE DUSTJACKET - SEE PHOTOS.   INSIDE BOOK IS VERY FINE.

• Journal 2026
  
• Hardback, 1st edition, 188p
  
• New

This multifaceted debut book is a personal family story about identity, kinship and belonging across borders. Joonam is a Persian word meaning “my beloved”, “my soul”, “my life”.

Rebecca Shririn Jafari (b. 1986), with a background in photojournalism and based in Norway, works with photography, text and collage, and explores – often through personal narratives – what it means to grow up between two cultures. Migration is a recurring theme in her work. 

Text in English/Norwegian + some Farsi.

Edition of 300 numbered copies.

• Kyuryudo 2024
  
• Softcover, 2nd edition, 336p
  
• New

“Memories of Light” was published on occasion of the large-scale retrospective exhibition “Daido Moriyama: Memories of Light” at the Shimane Museum of Art (April 12 – June 26, 2023).

Beginning with “Japan, A Photo Theater”, the catalogue orders Moriyama’s photographic work chronologically and embeds it within the artist’s biographical background. Over 200 pages filled with famous and lesser known photographs, “Memories of Light” traces the career of the exceptional Japanese photographer and explores the connections between Moriyama’s life and the works he produced.

In addition to detailed lists and data, the back of the book also includes personal photographs from Daido Moriyama’s family album as well as a statement by the artist and an extensive essay by Shimane Art Museum curator Noriko Tsutatani.

Please note that only Noriko Tsutatani’s essay is available in English. All other texts are only included in Japanese.

• EXB 2026
• Softcover, 1st edition, 140p
• New

Nuits Balnéaires has developed a multifaceted artistic practice: his photography, his preferred medium, borrows from other disciplines such as cinema, theatre, literature and poetry. For him, image creation is a hybrid space where reality and dreams coexist. The Malinké and Agni-Bona cultures, from which he originates, strongly influence his universe – tales, epics, proverbs, metaphors – and rub shoulders with contemporary arts: his works weave infinite geographies, drawing on the melting pot of ancient civilisations and confronting the complexities of the modern world. In 2024, Nuits Balnéaires created Eboro: a visual journey into the “beyond” (eboro in the Agni-Bona tradition). The photographic series tells the story of an exiled poet, inspired by his uncle, Noël X. Ebony, a figure of Ivorian literature in the 1980s who disappeared mysteriously. Following in the footsteps of this poetic heritage and his verbal experiences, Nuits Balnéaires composes a fiction in which a character (poet and fisherman) passes from the real world to the world of dreams. The photographer plays with symbols from ancestral Ivorian cultures, mixing them with motifs from the modern city (dehumanised suburbs). In a dreamlike atmosphere and an aesthetic that emphasises the power of colours (black and red symbolise passage and transition to the afterlife), the character of the exiled poet (like his uncle before him) leaves the city and crosses the desert before reaching the spirit world, where strange creatures wearing crimson headdresses await him. 

Eboro blends literary, pictorial, historical and symbolic influences. The fable speaks of isolation, exile, melancholy and age-old tradition. In this journey back to the source (the world of ancestors), Nuits Balnéaires questions the mechanisms of domination and the fragility of our cultural and spiritual heritage. His visual language plunges us into the confines of the tangible, between familiar spaces and more surreal ones. ‘A still image has an evocative power that does not depend on the unfolding of an action, but on what it suggests, on what the viewer projects onto it,’ explains the photographer. Eboro goes back in time and crosses borders, oscillating between unfathomable mystery and wonder; he reveals himself in a black and red book, printed on craft paper, punctuated with the words of poet Noël X. Ebony.

• Delpire 2026
• Hardback, 1st edition, 240p
• New

• Mack 2026
• Hardback, 1st edition, 160p
• Imperfect - see below

While organising his archive, Guido Guidi rediscovered negatives and prints from a prolifically productive period at the beginning of his career. These photographs, made with black-and-white film and small-format cameras, captured his day-to-day life in the 1970s – his family and friends, his colleagues at the University of Architecture in Venice – but also more fragmented and even abstract scenes: objects in disarming isolation, shadows, symbols, and deserted streets. High contrast and disorienting framing made many of these images as graphic as they were documentary. Some were marked with the remnants of captions, half-smudged notes, and other signs of their lives within previous sequences and contexts. Taking up a title he had used for a number of projects at that time, including a never-realised publication with Luigi Ghirri’s Punto e Virgola, Guidi constructed a new ‘album’: a fresh engagement with historic work, drawing on the anarchic energy and interests of his youth and the shrewd, sensitive instincts of an expert editor. The resulting book brings together the everyday with the bizarre, the recognisable with the ambiguous, in a bracingly contemporary new work from a modern master.

Album, 1969–82 is the second of three complementary volumes engaging with Guidi’s black-and-white work from the late 1960s through to the early 1980s, offering luminous insight into the development of his practice and an expanded exploration of photography between art and functionality, realism and surrealism, truth and fabrication.

Limited edition of 1000 copies with a signed plate (see image)

Display copy with a small dent to the bottom edge of the cover, inside fine and otherwise new.

• Side gallery 1980
• Set of 6 postcards
• Used: Good

Rare curio from 1980, a set of 6 postcards produced to accompany the exhibition organised by the Side Gallery and toured by the Arts Council of Great Britain.

Some wear to edges, slight marking and yellowing as to be expected.

• Mack 2026
• Hardback, 1st edition, 144p
• New

TIME TO KILL is an evocative interrogation of gendered aging, unpacking the ideals of beauty, caretaking, and maternal and domestic duty imposed on women over the course of their lives. It unfolds through a compelling combination of image and text, with photographs encompassing portraits of women, landscapes, and spaces both vast and claustrophobic, as well as still lifes in which plants, domestic objects, and weapons are absurdly combined, alluding to impermanence and cultural double standards.

This distinctive visuality is interwoven with letters written by Parlato to an ambiguous, ageless, and perhaps illusory recipient. Through these entwined mediums, the artist looks both out and in, reckoning with a wild variety of physical and emotional experiences including the disjuncture between the way we see ourselves and the ways others see us as we age. Bodily transformation and the passing of time are pictured as both brutal and freeing as Parlato carves out a psychological space to contend with her fears and fantasies around aging in ways verging on the eerie and surreal. Building on the rich visual language of Parlato’s celebrated book Who is Changed and Who is Dead (2021), TIME TO KILL examines selfhood, motherhood, sacrifice, and visibility in an unflinching confrontation with what it means to be mortal.

Signed copy.

• Mack Books 2025
• Hardback, 1st edition, 320p
• New

American photographer David Armstrong (1954–2014), best known for his intimate black-and-white portraiture, is recognised as a member of the ‘Boston School’ of photography, a group of artists who studied in the city from the mid-1970s to the mid-1980s.

This publication marks the first posthumous exhibition catalogue of Armstrong’s work. Organised and edited by the David Armstrong Archive, the catalogue is published to coincide with exhibitions at Kunsthalle Zurich in 2024 and LUMA Arles in 2025. The book focuses exclusively on his never-before-published contact prints, featuring 286 images reproduced at a 1:1 scale. The prints, from between 1974 and 1994, showcase many of his iconic portraits of friends in Provincetown, Boston, and downtown Manhattan, including those of Nan Goldin, Cookie Mueller, Mark Morrisroe, Rene Ricard, Gary Indiana, Jack Pierson, Tabboo! (Stephen Tashjian), Christopher Wool, Philip-Lorca DiCorcia, Teri Toye, Greer Lankton, Johnny Thunders, and others.

• Nazraeli Press 2025
  
• Hardback, 1st edition, 16p with print
  
• New
  

Lucas Foglia's Living on Lava chronicles the allure of Hawaii’s Big Island, where volcanic forces shape both the landscape and the lives of its inhabitants. Five volcanoes form the Big Island of Hawaii. Mauna Loa is the largest active volcano in the world. Kīlauea has been erupting continuously since 1983. People build homes on the lava after it cools, despite the possibility of molten rock flowing over the same land again. Between eruptions, the cleanest air on Earth blows in with the Pacific Ocean waves.

Lucas Foglia is a 2024 Guggenheim Fellow who creates stories about people in nature. His photographs are collected, exhibited, and published internationally. Living on Lava is his fourth book with Nazraeli Press.

Small format hardback 6" x 8 1/2", 16 pages.

Living on Lava is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.

• Eriskay 2016
  
• Softcover, 1st edition
  
• Used: very good
  

(Un)expected is a memorable photo project about the coping process of surviving relatives of suicides in West Flanders.

In 2008 the mother of documentary photographer Peter Dekens (BE) took her life and just recently a friend did the same. West Flanders, the region where he grew up, has one of the highest suicide rates in Europe, one and a half times higher than the European average and twice as many as the Netherlands. Every month in West-Flanders 20 people commit suicide.

During his research Dekens came into contact with people who had experienced a suicide of a loved one. For some this happened totally unexpected, for another the traumatic event was not ­unexpected at all.

(Un)expected contains five stories about the grief of survivors of suicide and the way people cope with their loss in different ways: the sadness, the grieving process, but also the attempts at finding a new way to live.

There is the story of Hanne who takes a daily walk to the woods for months to sit by the tree where Ime took his life. We see how Dekens’ father who continues to perform household tasks on autopilot after his wife’s death. How José repeatedly feels the emotion on the train ride as she passes the spot where Steven left his life. The pain and the fight against depression of Kris who lost her son. And the children of Walter who have to cope with the loss of their mother.

Dekens hopes that the book will play a socially useful role, and that it is seen by caregivers, ­general practitioners, specialists, nurses and ­students in psychology, psychiatry and social work. But above all, he would like the book to be a ­support for survivors and to make the taboo regarding suicide widely debatable.

Display copy with a few marks to the front cover and a blemish to the rear - see photos.  Inside very fine. 

Signed and dated 2016.

• Bullfinch 1994
• Hardback, 1st edition
• Used:good - see below

A fascinating celebration of street photography features works by such renowned masters as Atget, Stieglitz, Cartier-Bresson, and Robert Frank, as well as unknown photgraphers, and is filled with detailed text that chronicles the history of this energetic movement.

Used copy of the 1st edition with  mark/general wear and tear to the dustjacket.  Book inside very good.

• Self 2015
• Hardback, 1st edition
• Used: Very good/good
  
  

"Eamonn Doyle’s second photo-book, ‘ON, follows last year’s ‘i’, a collection of street portraits from Dublin city centre. In ‘ON’, black and white figures stalk across Dublin streetscapes, by turns lost, menacing, wary, browbeaten or entranced – but always at odds in some way with their environment. As in ‘i’, the photographs were mostly taken on Dublin’s Parnell Street and O’Connell Street. But here the historic role of those two streets as zones of resistance, protest and insurrection is far more present. The very title of the book itself evokes a resistance – that doggedly existential kind identified by Samuel Beckett’s narrator in ‘The Unnameable’: ‘You must go on, I can’t go on, I’ll go on.’

The figures are dynamic – muscles taut, heads in mid-turn, bodies in motion. Some flee the photographic gaze itself. Others stare challengingly down the barrel of the lens. Most appear caught up in projects so intensely private that they have an air of total inaccessibility. Rarely does the photographic act intrude so little on the lives of its subjects. Paradoxically, the energy is sought at precisely those moments when the unruly subjects look most likely to tear the images asunder. The central drama of the book could thus be said to be its subjects’ struggle with representation – not necessarily against it but writhing, wriggling, jockeying with it.

The resulting images invariably draw attention to the photographic act. One never forgets that these images have been selected, framed, constructed. One is never tempted to identify the image with the subject of the image or to respond ‘I know exactly how that person feels.’ The interiority of the subjects is preserved; their dignity remains intact."

Blue cover.  Signed and numbered (046)

Small bump to spine end - see photo, and some light wear to cover, inside very fine.

• Stanley Barker 2018
• Hardback, 1st edition/1st printing
  
• Good - very good
  

Christopher Anderson’s photographs of the citizens of of Shenzhen, China, describe a megacity that didn’t exist thirty years ago, but today has some twenty million inhabitants. Working almost invisibly and bringing the viewer in close, into tightly cropped images that exclude all context except the ghostly light that illuminates the faces of his subjects. Anderson’s etherial portraits ask “Who are these individual people? What do they dream about?”

“I have seen the future and it is now and it is China. There is no need for the past. It can be erased. A new happiness is being constructed, an approximation of joy, better than the real thing.”  -  Christopher Anderson

Christopher Anderson first gained recognition in 1999 when his poignant images of the rescue of Haitian refugees taken onboard a sinking wooden boat named the “Believe in God” won him the Robert Capa Gold Medal.  In 2005 he joined the renowned photo agency, Magnum. In addition to regular personal and editorial assignments Anderson is currently the first ever “Photographer in Residence” at New York Magazine.

Signed 1st printing.  Light shelfwear and faint scuffing to cover with small bump to bottom corner of cover (see photo) - inside unaffected.

• RRB 2019
  
• Hardback, 1st edition
  
• New
  

John Myers’ The End of Industry is the third and final volume of Myers’ work to be published by RRB Photobooks, forming a Catalogue Raisonne of his entire photographic output.

These photographs were taken between 1981 and 1988 in ‘The Black Country’ a part of England that was famous for making things from metal.

Changes occurred in the early 1980s that hit metal manufacturing particularly hard. A record number of bankruptcies resulted in high levels of unemployment. Factories either closed completely or realigned their business model to warehousing and retailing components that had been manufactured overseas. Foundries, forges and steelworks - not easily transformed into industrial units or office space - quickly morphed into housing estates, enterprise zones or retail parks.

The change was rapid and irreversible. A landscape that had been formed by the Industrial Revolution disappeared.

The End of Industry is available in a signed and numbered edition of 450 copies. Each book is accompanied by a 5x4” signed and dated silver-gelatin print of ‘Bricks Drying, William Mobberly Brickworks, Kingswinford, 1983’.

Special edition of 50 copies, which also includes a 10x8” signed, dated and limited silver-gelatin print of ‘Cupolas, Crqadley Casting, Cradley Heath, 1983’.

• Mack Books 2019
  
• Hardback, with print
  
• New
  

My entire family, whose image I see inverted in the frosted glass, will die one day. This camera, which reflects and freezes their images, is actually a device for archiving death’. – Masahisa Fukase

For three generations the Fukase family ran a photography studio in Bifuka, a small provincial town in the northern Japanese province of Hokkaido. In August 1971, at the age of 35, Masahisa Fukase returned home from Tokyo, where he had moved in the 1950s. He realised that the Fukase Photographic Studio, which his younger brother managed, combined with the growing family members, constituted the perfect subject for a series of portraits. Between 1971 and 1989, he returned regularly and used the family studio, the large-format Anthony view camera and the changing family line-up as the basis for the series. True to his style, Fukase often introduced third-party models and humorous elements to juxtapose the ineluctable reality of time passing and the dwindling family group. He continued the series through his father’s death in 1987, up until the closure of the Fukase studio due to bankruptcy in 1989, and the consequential dispersion of the family.

Family (Kazoku) was released in 1991, and was Fukase’s last book. It begins with a photograph of the family studio and the following 31 images are family portraits made in the studio in chronological order. The book includes an extensive text written by Fukase himself and a modern essay by Tomo Kosuga.

Embossed hardback bound in red buckram, housed in a silkscreened sleeve. Collotype print produced by Japanese atelier Benrido. Print size: 26 x 17 cm 

Limited edition of 150 copies, each comprising of a first MACK edition book and print [both numbered and stamped by the Masahisa Fukase Archives].

• Akio Nagasawa 2018
  
• Softcover, 1st edition
  
• New
  

As I get older with the camera in my hand, I realize that all the different things that I depict in my photographs are ultimately rooted in my childhood memories, the various things I have seen and experienced in the postwar years of the early 1950s.

My memories of wandering from one town to another for a while after the war have piled up at the bottom of my conscious mind, and it appears to me that they are reflected in the myriad images I’ve been capturing as a street snap photographer, responding to my index finger as it releases the shutter. In other words, regardless of whether I was aware of it at the place and time of shooting, it seems that the majority of my photographs represent an instant communion with the here and now that is established through some kind of time tunnel.

-from Daido Moriyama's afterword.

Signed copy.