All Books

• IIKKI 2024
• Hardback, 1st edition
• New

Irene Zottola is a Spanish photographer and visual artist who explores the limits of analog photography to generate a world of dreamlike and poetic character, often accompanying her images with text. As an educator, she uses photography as a tool for social intervention with vulnerable groups.

Lejos de la Tierra is the second book by the Spanish photographer, and accompanies music by the Danish musician and artist øjeRum, a colloboration initiated by IIKKI between June 2024 and November 2024. A download code for the music is included wth the book.

• Aperture 2024
• Hardback 1st edition. 144p
• New

Diana Markosian’s Father is an intimate and engrossing diaristic portrayal of estrangement and reconnection, recounted through documentary photographs, family snapshots, text, and visual ephemera.

Father presents the photographer’s journey to another place and another time, where Markosian attempts to piece together an image of a familiar stranger—her long-lost father. The book explores her father’s absence, her reconciliation with him, and the shared emptiness of their prolonged estrangement. The images, made over the course of a decade, take place in her father’s home in Armenia. In Markosian’s first monograph, Santa Barbara (Aperture, 2020), the photographer recreates the story of her family’s journey from post–Soviet Russia to the US in the 1990s. Father uses both documentary photographs and archives of objects, letters, and vernacular images to probe the fifteen years of absence and separation from the photographer’s childhood. In this voyage of self-discovery, Markosian touchingly renders her longing for connection to a man she barely remembers and who asks her, when she finds him, “Why did it take you so long?”

• Los Sumergidos 2024
• Hardback, 2nd edition, 112p 
• New

“Carpoolers is a deceptively powerful photobook, so well constructed that we’re suddenly eager to see more of Carpoolers remains a highly critical and vital body of work in which we may dissect capitalism, labor, and urban expansion in the first decades of the Twenty-First Century. This fourth volume of Carpoolers is entirely different from proceeding volumes. The emphasis of the book’s various volumes is in their interchangeability, their constant re-appraisal of Monterrey, and their illustration in this case of what is at the heart of Cartagena’s dialogue: the Mexican people themselves”.
–– From the essay by Brad Feuerhelm for Carpoolers #4

2nd edition.

• Charcoal Press 2024
• Hardback 1st edition
• New

Jeff Dworsky dropped out of school at 14, bought a Leica at 15, and moved to a small island in Maine at 16. 

He became a fisherman.
He met a girl, got married, and moved to an even smaller island.

He built a life.

He dug a well. Built a boat. Planted a garden. Set foundation stones. Built a house. Built traps. Raised sheep. He fathered three children.

His wife left the island and the life they had built.

He stayed and raised the children.

He fished for 40 years.

He is there still, on a small island in Penobscot Bay.


Signed copy.

• Nazraeli Press 2025
• Hardback, 1st trade edition. 
• New

Nazraeli Press first published Americans Seen in 2017, as part of their limited-edition NZ Library series. This remastered trade edition makes this extraordinary body of work available to a larger audience.

The photographs in Americans Seen were made between 1979 and 1986, when Sage Sohier was a young photographer living in Boston. As Sohier writes in her introduction, “In that pre-digital and less paranoid era, families — and especially children and teenagers — used to hang out in their neighborhoods. A kind of theater of the streets emerged from the boredom of hot summer days and it was a great time to photograph people outside. Undoubtedly my own childhood afternoons, often spent in my neighbor’s basement creating theatrical productions with the four kids who lived there, helped to form my vision of the play of children as a kind of rite or performance. That our audience was comprised of our dogs never discouraged us.”

Over the next seven years, Sohier made portraits of people living in Boston’s many working class and ethnic neighborhoods, as well as in the towns she visited each summer during her annual road trips: one through small town Pennsylvania via dilapidated Newburgh, New York, another to mining areas in rural West Virginia, and once to Mormon enclaves in Utah and Idaho. During long Boston winters, Sohier would head south and photograph in the citrus-producing regions of inland Florida, or through the Florida panhandle to New Orleans and Cajun country.

• Chose Commune 2024
• Softcover, 1st edition
• New

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

• Stanley Barker 2024
• Hardback, 1st edition. 88p
• Imperfect - see below

• Powerhouse 2005
• Hardback, 1st edition
• Good- see below

Mark Cohen first came to the attention of the photography world in 1973 with a solo exhibition at the Museum of Modern Art, New York. This iconic show proved to the art world that Cohen was the heir apparent to the explosive street photography of the 60s. Now, after more than thirty years, Cohen’s complex and influential body of work is presented for the first time in Grim Street, an astonishing collection of Americana as original and effective as the work of Robert Frank, Garry Winogrand, or Weegee.

Cohen’s photography confronts the viewer with a startling beauty, rapidly shifting from rough and confrontational to quiet, respectful, and serene. In Grim Street, filled with what Cohen calls “grab shots,” you can easily imagine the photographer guilefully patrolling the streets of Wilkes-Barre, the Pennsylvania mine-town he calls home. His camera, often prefocused and shot from the hip, scrolls around its subjects searching for tidbits of delectable detail. Then suddenly thrusting out towards its subjects, a strobe bursts, capturing a violently cropped spot of stockinged legs creeping around a corner, or a woman’s bared teeth and stretched lips. In these images emerges a cluttered world of visceral, sexualized encounters with the human body.

Used copy with wear, fading and small tear to dustjacket.  Page edges yellowed with age as expected.  Overall good to very good copy of this rare book.

• Steidl 2011
• Hardback, 1st Steidl edition, 108p
• Used: near fine

• Mack Books 2024
• Hardback, 1st Mack edition, 320p
• Imperfect see below

First published in 1996 to enormous acclaim, Richard Billingham’s Ray’s a Laugh is one of the most significant photobooks of the turn of the twentieth century, as well as a cornerstone work of the Young British Artists generation. Formed of starkly intimate images of Billingham’s often chaotic parental home under the heavy effects of alcoholism and poverty, the book was produced in the 1990s with editors Michael Collins and Julian Germain. This new edition restores Billingham’s original vision for his deeply personal work for the first time. Including numerous unseen images and a distinct approach to sequencing inflected by Billingham’s training as a painter: it constitutes a ‘director’s cut’ and reintroduces a vital and consistently challenging work for a new era.

This signed edition includes a slip signed by the artist and glued into the inside back cover.

Small bump to one corner of cover - see photo example - pages inside are unaffected and this is otherwise a sealed copy of the signed slip edition of this book.

• GOST 2024
• Hardback, 1st edition, 88p
• New

• Twin Palms 2024
• Softcover, 1st edition, 412p
• New

Mike Brodie’s first monograph, A Period of Juvenile Prosperity touched down more than a decade ago, depicting his fellow rail-riders and drifters in a rebellious and wildfire pursuit of adventure and freedom. “Brodie leapt into the life of picture-making as if he was the first to do it,” Danny Lyon wrote about the book in Aperture. Next came Tones of Dirt and Bone, a collection of earlier SX-70 pictures Brodie made when photography first led him to hopping freights, when he was known as “The Polaroid Kidd.” And then Brodie seemed to disappear from the art world as suddenly and mysteriously as he’d first appeared. Maybe his vanishing was another myth. Maybe it was just a necessary retreat. “I was divorcing myself from all that,” he says. “I was growing up. I was pursuing this other life.”

In Nashville he became a diesel mechanic. Fell in love. Moved across the country again. Got married. Bought land on the long dusty Winnemucca road Johnny Cash sang about. Started his own business. Built a house. Put down roots. And when that life exploded, the open road called again. Throughout almost all of it, his cameras were with him, and at last those pictures are coming to light.

If Michael Brodie’s first monograph was a cinematic dream, Failingis the awakening and the reckoning, a raw, wounded, and searingly honest photographic diary of a decade marked by love and heartbreak, loss and grief — biblical in its scope, and in its search for truth and meaning. Here is the flip side of the American dream, seen from within; here is bearing close witness to the brutal chaos of addiction and death; here are front-seat encounters with hitchhikers and kindred wanderers on society’s edges, sustained by the ragtag community of the road. Failing often exists in darkness but is tuned to grace. Brodie’s eye stays forever open to the strange and fleeting beauty that exists in forgotten places — the open country and the lost horizons that sweep past dust-spattered windows in a spectral blur.

"Looking back, it's as if it never really happened. I was never a photographer holding a camera but a vessel to tell a story. It's like it all existed within a dream, and this is just God's plan for my life."

• Twin Palms 2024
• Hardback, 2nd edition, 96p
• New

'pines grow pulling the old dreams through the soil pinesap climbing into its limbs lifting a ladder like solitude'

Inspired by the life and work of the poet and land surveyor, Frank Stanford, these photographs of hermetic homes and men living in solitude were taken in the Ozark Mountains of Arkansas and Missouri

By capturing the foggy landscapes, cluttered interiors, and rugged men that are tucked away in the dark woods, Jasper explores a fascination with running away from the everyday. The work bounces between fact and fiction, exhibiting the reality and myth of what it means to be truly apart from society.

2024 2nd edition.  

• Libraryman 2024
• Hardback, 1st edition, 96p
• New

This is a story of three houses, three women and three bedrooms. The houses are located on the same street.

At my parents house I have a separate bedroom with a big cupboard.
At my grandmother’s house, I share the bed with her.
At the neighbors there are two rooms: one big and one small. Sometimes we sleep in the same bed.

I have a recurring dream: I can’t clean up my room at my parents house, nor can I find my clothes. They must be in one of the three bedrooms.

- Katrien De Blauwer (b. 1969, Belgian)

• “It is like walking past a house you used to live in: the fact that it still exists, so concrete, makes everything that has happened since seem somehow insubstantial.”

• Rachel Cusk, excerpt from Outline

The book contains a text written by musician and singer Shirley Manson (b. 1966, Scottish).

• RRB 2024
• Hardback, 1st edition, 64p
• New

Since the late 1950s, photographer David Hurn has taken photographs of people engaged in the act of reading. He had captured moments of repose and absorption in cafes and bars, at dog shows and railway stations, strip clubs, museums, the seaside, film sets, parks and streets. His new book—On Reading—brings together these images for the first time and is 40 years in the making.

The photographs in On Reading  were made across the world—from Hurn’s home country of Wales to across much of Europe to as far afield as Qatar, the US and New Zealand. Many were made whilst on assignment, including a photograph of The Beatles on the set of A Hard Days Night, another at Queen Charlotte’s debutante Ball in London and several at Hay Festivals over the years—but many others were also made as Hurn went about his daily life. The reading material may have changed from books and magazines to mobile phones, but the joy and power of reading remains a constant across the nearly 70 years of photographs contained in the book. 

Signed copy.

Due back in stock 22nd January, available to pre-order now.

• Stanley Barker 2024
• Hardback, 1st edition, 80p
• New

Pia-Paulina Guilmoth’s Flowers Drink the River reveals a dreamscape where mud, earth and stone envelop, and the forest floors are wet with glowing dew. Using a large format camera and careful analogue techniques, Pia finds an entrancing, mystical presence in her daily experiences amidst the forests, fields, and rivers of her home. Pia’s hazy images, filled with light aberrations and glowing spectres, leave us suspended mid-ritual. 

Flowers Drink the River spans the first two years of Pia’s gender transition, as she photographs her small community in rural Maine, and the beauty and terror of living as a trans woman in a small right-wing town. Scenes of moths and floating spider silk, mud-drenched bodies intertwining, a burning house, girlfriends pissing on each other from tree branches, nocturnal animals, and euphoric rituals adorn flash-soaked landscapes. Under the moon, the boundaries between people, animals, and the land soften and blur. Flowers Drink the River is an animistic search for beauty, resistance, safety, and magic in a world often devoid of these things. It’s a love note to rural working-class people, trans women, lesbians, queer people and the backwoods of central Maine. Pia finds beauty and belonging as she creates a utopia hidden just barely out of reach. 

Pia’s photographs begin with patient acts of co-creation. She stages delicate sculptures out of spider silk, flowers, and other natural materials, then she waits as the land and water, wind, light, or a stray moth, begin to interact with them in unpredictable ways. Sometimes the creation takes the form of building trust with animals, carefully, over many nights.

“each night for a week in august i would sit in the tall, tick-infested grass behind the orchard covered in Scent Killer Gold, wearing a ghillie suit, holding a tray full of crushed apples in one hand, and a 30 foot makeshift shutter release cable attached to my 4×5 camera in the other hand. the same family of deer would get more comfortable with my presence each night. eventually they were eating the ripe fruit from my hands. the following tuesday i would have my first hrt consultation. i was keeping it a secret, knowing there was no way i could safely transition in this place, but also no way i could hide my changing body over the following months and years.” - Pia-Paulina Guilmoth

Presented as large format 3/4 Swiss bound volume, Flowers Drink the River's cover is replete with reproductions of an aged pink craft paper that Pia found stashed in an abandoned house down the road from her home. She then covered a spider web found along the river in a powdered red pigment and adhered it to the paper. Over this a cloth nameplate has been added, while the inside cover features a tipped on facsimile 4x5" contact print that she made in her bathroom.

• GOST 2024
• Hardback, 1st edition, 144p
• New

The city of Atlanta in the US has endured constant change throughout its history. It has been destroyed and rebuilt several times over, survived slavery and racial segregation to become the cradle of the Civil Rights Movement, and recently recast the state of Georgia as a blue wave in a sea of neighbouring red states. The Makeshift City by Joshua Dudley Greer shows a contemporary Atlanta in a state of flux—both a unique city with a specific history and culture, and a generic American metropolis struggling to forge its identity.

The photographs in the book were made between 2020-2024—a period which encompassed the seismic events of the COVID-19 pandemic, the rise to prominence of Black Lives Matter, struggles for abortion rights, increased income inequality and the Stop Cop City movement. This backdrop provided the motivation for Greer to witness certain economic and political forces as they manifested themselves in the landscape, architecture and community in one of the largest and most progressive cities in the American South. Although the structure of the city changed dramatically during this period, the systems which governed it often remained immutable, constrained by capital interests and the two political parties see-sawing for power.

The images in The Makeshift City document Atlanta’s downtown street corners, suburbs, exurbs, film sets, cemeteries, rivers, and construction sites. They show landscapes ruptured by development and carved by highways, inhabitants improvising outdoor gyms, mosques and offices, sterile new-builds, empty lots and crumbling mansions. Greer weaves together all of these elements into a singular narrative that suggests the tensions of the past and the realities of the present.

‘I watched people go about their daily lives in spite of everything that might act against them. There were times of resilience, activism, selflessness, and joy. But there were also moments of banality, privilege and ignorance, even disdain. I’ve tried to make photographs that acknowledge the totality of experience that may beset one particular place during one particular time. Of course, I know I am unable to do this. There is so much about Atlanta that I don’t understand, and perhaps, probably, never will.’

The region where Atlanta stands today was originally Creek and Cherokee territory. The location was chosen to be a railroad terminus and the city was founded in 1837 as a transport centre. Atlanta was destroyed both in the Civil War by General William T. Sherman’s troops and again in a great fire of 1917—the mythical Phoenix rising from ashes adopted as the city’s official symbol. Throughout its history, Atlanta’s layout and growth was shaped and influenced by slavery, racial discrimination and segregation. And yet, Atlanta also became known as ‘The Black Mecca’ for its thriving Black businesses, political leadership, higher education and entertainment. Atlanta’s current population growth, real estate development and racialised gentrification set the stage for a new chapter, one that sits within an uneasy political era pointing toward an uncertain future.

Signed copy.

• Morel Books 2024
• Softcover, 1st edition, 300p
• New

Afropean: A Journal gives an alternative interrail map of Europe, taking the reader to places like Cova Da Moura, the Cape Verdean shantytown on the outskirts of Lisbon with its own underground economy, and Rinkeby, the area of Stockholm that is eighty percent Muslim. Pitts visits the former Patrice Lumumba University in Moscow, where West African students are still making the most of Cold War ties with the USSR, and Clichy Sous Bois in Paris, which gave birth to the 2005 riots, all the while presenting Afropeans as lead actors in their own story.

Johny Pitts presents an ongoing visual documentation to the lives and cultures of Black Europeans bringing together twenty years of photography, notebooks and ephemera. Adding new layers of understanding of the Black experience in Europe, and spanning cities such as Paris, Berlin, Lisbon, Brussels, Amsterdam and Stockholm, Pitts delves even deeper into the lives, histories, and cultures of Afropeans. 

Spanning a 5 month itinerary around Europe on trains searching for a different side of the continent and answers about his own mixed-race identity, Pitts blends photography with personal ephemera - such as tickets, diary notes, maps, postcards and many more collected over his journey - and featuring a selection of brand new essays written by the artist. 

Signed copy.

• IBASHO & the(M) éditions 2024
• Softcover, 1st edition, 124p
• New

Air, flowers and colours is Mika Horie's  second artist book co-published by IBASHO & the(M) éditions.

For this book Horie immersed herself in nearly-forgotten traditions such as kimono-making, the tea ceremony, and even duck hunting. Particularly fascinated by the intricate beauty of the Obi and the entire kimono-making process, she met with artisans who specialise in crafting silk yarns and Obi. Over two months, she raised silkworms to gain a deeper understanding of the silk production process. During this time, she also experienced the enchanting world of native wildflowers and plants during her weekly tea ceremony practice. Her tea instructors shared profound Zen wisdom while discussing the seasonal decorations in the tea room, revealing the deep significance and beauty of each arrangement. These teachings enriched her creativity, inspiring fresh ideas and imagery she eagerly anticipated exploring.

Throughout this journey, she delved deeply into the rich and complex facets of Japanese culture, uncovering uncharted aspects of the island's history. She hopes that her newest book, “Air, Flowers, and Colours”, provides readers with an insightful glimpse into her profound connection to her identity and ancestral heritage. 

Each copy of the book is different, for it has  its own cyanotype print of a poetic scenery on handmade paper, which makes each book a unique experience. For the interior, the perception of the original is perceived by the artistic photography that almost makes it look like the original, and enhanced by the choices for ink and paper. The rough edges of the book emphasise the character of the handmade paper and its softness. 

Edition of 300 signed copies.  Each copy unique.

• Origini Edizioni 2024
• Softcover, 1st edition, 96p
• New

'Cross the garden and step over the palisade. Descend into the high grass until the end of the field. Enter the wood. It is here that L’Aval begins. A couple of small steps through the forest pushing into clearings, an invisible path. Alternating slopes gentle and steep. There is an abandoned hamlet: five crumbled houses that the ivy consciously devours. Descend until you awake the river. A barrier. A couple of shoelaces left until you stop walking. Steps as if your feet were to slow down time. So I counted them. Little by little. Steps like a measure unit on a map. Water flowing downstream to never come back and the slow movement of wind in the trees, a continuous discovery of the area. An exploration. Step by step.'

Handmade edition of 250 signed and numbered copies.  Text in French and English.


Video courtesy of the publisher.

• VOID 2024
• Hardback, 2nd edition, 136p
• New

• VOID 2024
• Softcover, 1st edition, 88p
• New

• VOID 2024
• Softcover, 1st edition, 160p
• New

• Lamaindonne 2023
• Hardback, 1st edition
• New

In 2015, a lone male wolf traveled from high in the Italian Alps to make its permanent home in south central France. This remarkable return brought an end to a century-long absence of the predator in the region, peaking the interest of photographer Julien Coquentin who became fascinated by its reappearance.

The history of the wolf in the region is rich, its myth permeates local folklore settling ghostlike over the pastoral countryside. For Coquentin, the return of the wolf opens a portal to the past. The nature of the woods he once strolled through has changed; flesh has reappeared where once only myth existed. Through the use of text and image, the photographers new book Orielle Coupée explores the enigmatic return of the wolf.

Signed copy.

Text in French

• Nobody 2024
• Softcover, 1st edition
• New

"A pillar knocked into the ground next to a stream in a flat, open landscape, trees and houses visible in the distance, beneath a vast sky. That is the backdrop to all of Stephen Gill´s photographs in this book. We see the same landscape in spring and summer, in autumn and winter, we see it in sunshine and rain, in snow and wind. Yet there is not the slightest monotony about these pictures, for in almost every one there is a bird, and each of these birds opens up a unique moment in time. We see something that has never happened before and will never happen again. That it takes place in the midst of a landscape characterised by repetition, in which time is cyclical, sets up a keen existential dynamic: on the one hand, everything has happened before, there’s nothing new under the sun; on the other, every moment is unique and carries the hallmark of the miracle: what happens happens only once and never again.

But this wasn’t what I thought about the first time I looked at these photographs. In fact, I barely thought at all, for I was shaken, as a person so often is when confronted with an extraordinary work of art. I’d never seen birds in this way before, as if on their own terms, as independent creatures with independent lives. Ancient, forever improvising, endlessly embroiled with the forces of nature, and yet indulging too. And so infinitely alien to us."

- Karl Ove Knausgård

This hand assembled new artists book produced by Stephen Gill, features 30 unpublished and new small c type prints from The Pillar, each book has a unique printed dust jacket incorporating lino cut and mono prints by Stephen, all housed in music scores. 

132 x 198 mm. Edition of 180 signed and numbered copies. Each book features 30 6"x4" Tipped in c-type machine prints on crystal archive paper.

• Deadbeat Club 2024
• Hardback, 1st edition. 84p
  
• New

"Soft eyes", the late Henry Wessel once wrote in describing the way he went about looking for photographs, “is a physical sensation. You are not looking for something. You are open, receptive. At some point you are in front of something that you cannot ignore.” In this smart and tender act of homage, Wessel’s photographs (many of them previously unpublished) are combined with the work of two younger California photographers, Austin Leong and Adrian Martinez, and the resulting work is a surprising exploration of influence as well as a study of the sorts of connective tissue that provide a throughline in photography’s long and fascinating history of lineage. In some sense, Soft Eyes is a case of two photographers chasing a dead man’s shadows, but Leong and Martinez are both disciplined and devoted, and Wessel’s shadows are all over his old stomping grounds of Northern and Southern California, eternally pooling in expected and unexpected places and hiding in plain sight under the bleaching California sun. Wessel’s great gift was in making startling photos out of things and moments the average person might not notice, and his visual vocabulary was striking for its modesty; in a place long stereotyped for its hedonism, he had a quiet, almost Quaker aesthetic, and he was drawn to vernacular architecture, the seemingly prosaic, and the sort of social stasis (and static) that make all human activity and accomplishment look like a diorama in a museum of dreams. He was fiercely loyal to his Leica 35 mm camera, his wide-angle lens, and Kodak Tri-X film. He had his territory, staked out his place, and spent his career plumbing his preoccupations.

Given those self-imposed parameters—and those preoccupations—he has always been ripe for discovery by younger California photographers eager to carry on his work and explore the remnants of the world he left behind. As is evidenced here, there’s plenty of Wessel World still out there waiting for anyone lurking around with a 35 mm camera and soft eyes, and it’s a world where the photos of Leong and Martinez can almost effortlessly coexist with those of Wessel, while subtly—as curator Allie Haeusslein notes—extending Wessel’s sui generis visual vocabulary into the present.

Signed by both photographers, and stamped by the Henry Wessel estate.

• Loose Joints 2024
• Hardback, new edition, 120p
• New

Tunbjörk's iconic 2001 photobook of corporate melancholy is re-published in a luxurious slipcased edition, alongside an exclusive, unreleased series. 

Loose Joints is honoured to announce the posthumous re-publication of Office by legendary Swedish photographer Lars Tunbjörk, alongside the release of LA Office – an unpublished series completed shortly before his passing. Tunbjörk's iconic series from the turn of the 21st century delves into the bureaucracy, disorder, and mundanity of office culture with masochistic delight, capturing the soul-sapping environments of corporate spaces with unparalleled insight.

Over five years, Tunbjörk explored offices across Stockholm, New York, and Tokyo, photographing 'like an alien' in the soulless, banal uniformity of these workplaces. He sought to capture that lingering sadness in what he called "the most common – but closed and secretive – place in the Western world." While the winds of change may have transformed the grey dividers into WeWork couches or the clunky dialup PC into a sleek, pocketable touchscreen tablet, Tunbjörk's images capture a contingent sense of ennui and isolation still prescient in an era of bullshit jobs, quiet quitting and working from home.

This two-volume series is redesigned by Tunbjörk's close collaborator, graphic designer and art director Greger Ulf Nilson. Nilson reworks his original 2001 design of Office, presenting a fresh perspective alongside a separate book of unseen works in LA Office, both housed in a slipcase. The book is published in collaboration with Lars Tunbjörk Foundation.

• Kehrer 2024
• Hardback, 1st edition, 240p
• New

The title Le bateau ivre (The Drunken Boat) refers to the poem of the same name by Arthur Rimbaud, in which he uses the image of a boat to represent a man’s journey through life. In a poetic photographic essay structured like a play in five acts, Martin Essl redraws the outline of a city in transformation and composes an abstract and contemporary map of Paris. »Le bateau ivre leads us on a Parisian tour that shows the eternal return of the same, like a curtain that opens and closes endlessly. As if diluted and transformed, under the influence of variations around cold colors, the Parisian space gradually becomes acqua alta, geographical, social, cultural, and temporal boundaries are dissolved.« (Sarah Sauquet)

Signed copy.

• Akio Nagasawa 2024
• Softcover, 1st edition. 70p
  
• New

'While taking snapshots on the streets, I sometimes find myself drawn to flowers and click the shutter button. This book is a collection of my ongoing commitment for those photos.'

– by Daido Moriyama

Silkscreen canvas covered limited edition of 350 signed and numbered copies.

• Overlapse 2018
  
• Hardback, 1st edition, 216p
  
• Used: near fine see below

A storybook revelation about Icelandic people who believe in magical beings like elves, trolls, fairies and monsters — that they are everywhere, living, and regularly interacting with humans. Bego travelled around Iceland, knocking on doors in a search for seers and believers to record this extraordinary book of electrified portraits, fairytale landscapes, and compelling, unforgettable stories.

Out of print.  Used copy with a few faint marks to the linen cover.

• Benrido 2024
• Set of 8 collotype prints
• New

Following the release of Hokkaido in 2023, this is Michael Kenna’s second mini-portfolio by Benrido, This portfolio is based on the pilgrimage of Shikoku region to visit the 88 sacred places associated with Kobo-Daishi (Kukai). It is said that if you walk the entire journey, it will take more than 40 days and cover a total distance of about 1,400 kilometers. Kenna has traveled to many sacred places in Shikoku multiple times since 2003, photographing pilgrimages, temples, rock gardens, offerings, lanterns, stone carvings of Buddha and more, with his own poetic perspective. This portfolio includes eight works, and is a series that gives off a different atmosphere from Hokkaido.

Set of 8 Black and White Collotype Prints

Print size: 20.3 x 25.4 cm

Portfolio size: 20.6 x 25.8 x 0.8 cm

Signed to the case by Michael Kenna

• Deadbeat Club 2024
• Hardback, 1st edition. 146p
  
• New

Magdalena Wywrot’s Pestka is a gravity-defying, through-the-looking-glass portrait of the life of a mother and her adolescent daughter, a series of time-lapse dispatches seemingly beamed from a hermetic space station suspended high above a planet (and Krakow, Poland) where time is literally standing still. The world outside the windows of Wywrot’s space station/apartment looks both distant and desolate and incredibly beautiful, almost devoid of a human presence. Yet the mother continues to take photos, while the daughter goes about her life and grows up before our eyes. A sort of rapture appears to have taken place outside, while an intimate metamorphosis (and an intimate surveillance) is slowly going on inside. A dreamlike sense of unsettling dislocation pervades the entire work. That sense will likely be familiar to anyone who has lived with a child and experienced firsthand the endless and startling transformations that occur—day by day and year by year—as a child grows into adulthood.

There is a fishbowl quality to Wywrot’s photos, which shapeshift, mercury-like, between Expressionism, Impressionism, and abstraction. The portraits are tender, mysterious, full of sparks of wonder and ecstasy, while the landscapes are disorienting, forbidding, vaguely apocalyptic, and often sublime. You have a sense of an unmistakable consciousness in the work, yet you’re never quite certain where you are, and there’s a moment somewhere in the book when you suddenly feel as if some giant, ambiguous lifeforce or spirit is lurking in the murky streets below, waiting for Wywrot to complete her work and turn her daughter loose on the planet.

Signed to an extra image plate applied to end papers - see photo.

• Nobody 2020
  
• Hardback, 2nd printing
  
• New
  

A pillar knocked into the ground next to a stream in a flat, open landscape, trees and houses visible in the distance, beneath a vast sky. That is the backdrop to all of Stephen Gill´s photographs in this book. We see the same landscape in spring and summer, in autumn and winter, we see it in sunshine and rain, in snow and wind. Yet there is not the slightest monotony about these pictures, for in almost every one there is a bird, and each of these birds opens up a unique moment in time. We see something that has never happened before and will never happen again. That it takes place in the midst of a landscape characterised by repetition, in which time is cyclical, sets up a keen existential dynamic: on the one hand, everything has happened before, there’s nothing new under the sun; on the other, every moment is unique and carries the hallmark of the miracle: what happens happens only once and never again.

But this wasn’t what I thought about the first time I looked at these photographs. In fact, I barely thought at all, for I was shaken, as a person so often is when confronted with an extraordinary work of art. I’d never seen birds in this way before, as if on their own terms, as independent creatures with independent lives. Ancient, forever improvising, endlessly embroiled with the forces of nature, and yet indulging too. And so infinitely alien to us.

- Karl Ove Knausgård

The Pillar / Winner of the 2019 Les Rencontres de la Photographie author book award.

2nd printing.  Signed copy.

• Deadbeat Club 2024
• Hardback, 1st edition. 146p
  
• New

In the distance, there's the ocean. But here, it's the land of high, rounded mountains, of rivers, of pastures. Of those who cross, share and tend it. This land is the Basque hinterland. Straddling France and Spain, nestled between the Pyrenees and the Bay of Biscay, it's a proud land of wild beauty, often fantasized about and surrounded by a mystical mist, as if to better protect it from foreign eyes. 

Anne Rearick nevertheless crossed this misty barrier by setting foot for the first time, in 1990, in the small village of Donibane Garazi (Saint-Jean-Pied-de-Port). Since then, and for more than 30 years, Rearick has returned again and again, establishing a deep bond with the inhabitants over generations. And therein lies the strength of Rearick's work: a deep, sincere feeling for the people she photographs. It's not naive romanticism, but an open, tender and generous gaze, characteristic of her long-term work and her humanist vision of photography. Her honest understanding of the photographer's work is evident in her square compositions, where concentration of vision and subtle black and white tones harmonize to convey not only the beauty of the Basque country, but also the reality of its raw land and of its rural world we see evolving over the decades.

Gure Bazterrak, which if it were easy to translate the nuances of Basque language, could be transcribed as « our land », is the representation of the visceral attachment of the inhabitants to this land, and is Rearick's love song to those she has loved and still loves there. 

• Stanley Barker 2014/2024
• Hardback, 10 year edition, 120p
  
• New

Tod Papageorge's Studio 54 takes us inside New York's most infamous club. During the late 1970's 54 was the place to be seen, attracting thousands of people that regularly included models, actors, rock stars, artists, designers and politicians. Papageorge's exquisite photographs are filled with all the decadence and glamour that one would expect from 1970's New York.

While photographers were common, most were there to simply search out only the rich and famous, Papageorge's images transcend the obvious, transforming the glitter into something akin to poetry.

This new limited gold edition of Studio 54 celebrates 10 years since it's first publication in 2014.

“The 66 photographs in this book were made between 1978–80 in Studio 54, a New York discothèque that, through those years, was the place to be and be seen, as the celebrities, partygoers, and those crazy for dancing who filled it every night were happy to prove. Unsurprisingly, given its reputation (which quickly flamed into notoriety during a short, 33-month existence), it was difficult to get into: the imperturbable doormen who doled out access as if they were controlling passage into a fabulous kingdom made sure that it would be. Only the famous or socially connected could assume they’d find themselves shooed around the flock of hopeful celebrants milling on the street side of the velvet rope and guided through the door; otherwise, the thing most likely to help was to be beautiful. Once inside, though, everyone there seemed thrilled by the fact, no matter how they’d managed it, an excitement fed by the throbbing music and brilliantly designed interiors, which, on a party night, could suggest anything from Caliban’s cave to a harem.”

• Bluecoat 2024
• Hardback, 3rd edition
• New

All That Life Can Afford – the brand-new, third edition of this acclaimed title is now available from Bluecoat Press. This new volume brings together over 10 years of work, all made while navigating the streets of London and beyond. Despite being on its third edition, the book remains timeless. It has been fully redesigned by Tom Booth Woodger, who has increased the size of the new edition, which also features previously unseen images in the updated and refined sequence.
 
“More generally – and equally improbably – Matt Stuart has made one of the famously grey capitals of the world into a city of vibrant colour… In a working city, these colours are not just decorative; they are obliged, understandably, to do their share of compositional load-bearing and storytelling. The result? An endless blossom of momentary metamorphoses that are turned, in turn, into something permanent. Another name for this – for the skateboarder turned photographer – might be arrested development. No Entry signs invite us in. Red routes (no stopping) and yellow lines (no waiting) urge us to do exactly the opposite. And he lets us.” – Geoff Dyer, author of The Ongoing Moment
 
Matt’s photographs explore those rare magical moments when people, objects and locations work perfectly together to create images that explore the tender moments and human life in a busy capital city. Injected with humour, wit and boldness, Matt’s street photography has gained global recognition for its brilliance and unique qualities. In his own words: “Buy a good pair of comfortable shoes, have a camera around your neck at all times, keep your elbows in, be patient, optimistic and don’t forget to smile.”

Signed to a sticker applied to the title page.

• Mack Books 2024
• Hardback, 1st edition. 112p
  
• New

Yorgos Lanthimos’s filmography, lauded for its ambitious world-building and absurdist explorations of human relations, has established him as one of the most distinctive auteurs in contemporary cinema. I shall sing these songs beautifully draws on his renowned visual language to tell a haunting new story through photographs Lanthimos made on the set of his latest feature, Kinds of Kindness (2024), inhabiting an ambiguous space between the real locations of New Orleans and the otherworld of cinema. Interwoven throughout are new texts by Lanthimos which evoke the fragmented lyricism of Sappho, from whose poetry the book takes its title. 

Lanthimos makes all his photography, both still and moving, on analogue film, relishing the creative intimacy the medium involves. These previously unseen colour and black-and-white images became a part of the formation of his new film's world. Here, they become fragments that elaborate an entirely new story, rich with the tensions and unsettling atmospheres that Lanthimos has made his own. 

• PCT 2024
• Softcover, 1st PCT edition, 250p.
  
• New

New edition of the classic body of work, which saw Keizo Kitajima photographing New York in the 1980's.

Drawn to the land in which had dramatically changed the Japanese way of life since the war, Keizo Kitajima spent a period of six months wandering the streets of New York City. Here he met with the people whom embodied the very decadence which symbolised 80s New York. From the night clubs, parks, beaches and side streets, Kitajima's New York brilliantly captures a portrait of a city defined through the experiences of the many individuals and events, encountered throughout his journey.   

Originally published by Byakuya Shobo in 1982, Keizo Kitajima's New York has long been a sought-after photobook, this new book adds a series of colour images from 1986-1989, some of which were feautured in his equally sought-after book A.D. 1991.

This new edition features an afterword by Keizo Kitajima and an essay by Shino Kuraishi, in both Japanese and English.

In stock now.

• RRB 2024
• Hardback, 1st RRB edition, 96p.
  
• New

The granite spine of Cornwall acts as a watershed from which many rivers and streams flow north and south into the Atlantic and English Channel respectively. The Red River rises east of Troon and flows just six or seven miles, north then west, into the sea between Gwithian and Godrevy...

It is the purpose of this book to describe and evoke something of the distinct, rich history and culture of the valley. The work is divided into seven parts. These bear no relation to
any geographic, social or cultural divisions along the river but rather serve as a structure for realising a further ambition within the work – to reflect on a succession of myths concerning the history of our perception of the landscape which surround us.

- Jem Southam in the Red River

Revised edition of Jem Southam's iconic 1989 publication the Red River. The book contains 50 remastered images and revised texts, with a new afterword by Southam.

Hardcover Special Edition of 250 copies, containing a signed and limited 10x8" pigment print of Fortescue Shaft, The Great Flat Lode, Brea, printed by Jem Southam - see first image. Each print is signed and numbered in a limited edition of 250.

Note: softcover edition shown in video, contents are identical.

• Gallery 51 2024
• Softcover, 1st edition, 88p.
  
• New

Saul Leiter – Carte Postale features a rare collection of intimate, postcard-sized photographs by Saul Leiter. 

These works were recently uncovered by Leiter’s estate and offer an unprecedented view into his early artistic vision. Originally printed on postcard-sized paper by Saul Leiter, these small yet profound images reveal Leiter’s nuanced portrayal of daily life, from the bustling streets of New York City to the intimate interiors where he sought refuge. Through this collection, visitors are invited to witness Leiter’s skill in transforming ordinary moments into poetic expressions, finding grace in everyday life.

Saul Leiter began his career as a painter, a sensibility he carried into his photography throughout his life. His images are not merely snapshots; each photograph is carefully composed, capturing delicate interplay between light and shadow, which reveals the quiet beauty of urban life. Leiter’s ability to uncover the poetic essence of ordinary moments makes his work deeply relatable, resonating on a universal, human level.

This new book includes the images from the recently uncovered collection, alongside a unique addition: two detachable, postcard-sized prints, ready to be shared or displayed as cherished keepsakes.

• La Fábrica 2024
• Softcover, 1st edition
• New

In 1966, at the age of 28, photographer Joel Meyerowitz embarked on a journey that would take him to the United Kingdom, Ireland, Spain, France, Germany, Eastern Europe, Turkey and Greece. In total, he drove 20,000 miles through 10 countries and ended up taking 25,000 photographs. This trip was a transcendental experience and formative in shaping Meyerowitz's instinctive and brilliant identity that he is known for today. Europa 1966–1967 compiles a selection of photographs taken by Meyerowitz on his yearlong trip through Europe, offering an exciting glimpse of the “New Old World” that, having lately overcome the trauma of World War II, opened itself to modernity and progress.

Meyerowitz witnessed societies in transition, stuck between dictatorship and economic blossoming. Yet he also documented unshakable cultural traditions, such as when he lived with a flamenco-performing family in Francoist Spain for six months. The strength and freshness of Meyerowitz’s gaze and the new codes that were captured in these pictures inspired the next generation of photographers.

• FW: Books 2024
• Hardback, 1st edition
• New

Bertien van Manen (1935-2024) photographed in the 1970’s female labor migrants, and the wives of labor migrants, who came to the Netherlands in the context of family reunification. She portrayed Turkish, Moroccan, Tunisian, Spanish, Yugoslavian, Portugese, Greek and Italian women. At home, work, parties and leisure activities, often struggling to survive in a foreign culture. These photographs resulted in her first book ‘Vrouwen te Gast’, published in 1979. In 2024 Bertien revisited her own photographs and texts to make a new, more contemporary, edit of her first work. For ‘I am the only woman there’ she updated the book with new discovered photographs from her archive and new texts, by herself and Kim Knoppers.