All Books

• Mack Books 2025
• Hardback, 1st edition, 172p
• New

• Moom 2025
• Hardback, 2nd edition, 240p
• New

“I am Bang, and Hsien is my big brother. We are only a year apart in age. Due to our parents’ inability to care for us, Hsien, at the age of two, was sent to live with our grandmother in Chiayi. I, on the other hand, was sent to Chiayi at the age of six when our parents decided to divorce.” - from Tsai Ting Bang’s afterword

Born from the Same Root is presented as a gatefold book, with the left side dedicated to the photographer, Tsai Ting-Bang (A-Bang), and the right side to his brother (A-Hsien). The sequence of images moves from childhood family photos to the vastly different lives they lead as adults. As you turn the pages, the dividing line continually separates the two brothers, symbolizing how, despite sharing the same origin, they have developed into two completely different people. A-Bang chases after worldly success through artistic creation, while A-Hsien, working manual jobs, battles depression and delves into a deeper internal search for meaning. Yet, despite seemingly moving toward opposite extremes, the connection of their shared bloodline continues to pull them towards each other.

This work was initially published as a limited-edition handmade photobook by Shuhezi, with only 100 copies made. It won the Singapore Photography Book Award and was shortlisted for the Arles Photobook Award.

In 2024, Born from the Same Root received the Paris Photo Aperture Foundation Photobook Award, becoming the first Taiwanese creator to win this prestigious prize.

Hardback 2nd edition, limited to 500 copies.

Signed and numbered copy.


Video courtesy of Aperture Foundation.

• Nazraeli Press 2025
• Softcover in acrylic engraved slipcase, 1st edition, 180p
• New

Immersed in a monochromatic landscape of surrealism, Tin Lizards is a testament to the enduring allure of train travel. Each location featured was reached by train, departing from Robert LeBlanc's home base in Los Angeles. As the rhythmic clatter of steel on steel propels LeBlanc forward, he captures the essence of exploration and discovery, weaving a captivating tapestry of photographs from the places he encounters, showcasing the delicate balance between stillness and movement. Tin Lizards is a harmonious collaboration between artistic vision and wanderlust. In this world of monochromatic surrealism, dreams collide with reality, as memories are etched in silver halides, and the world becomes a canvas for contemplation and wonder. From the solitude of his sleeper car to the enchanting hush of small towns and the bustling energy of major cities, LeBlanc adeptly frames these diverse landscapes with an artistic eye that finds beauty in even the quietest moments. This body of work invites us to embark on a poignant voyage, one where the soul of the country reveals itself through the gentle embrace of train travel.

Presented in collaboration with Carhartt Work In Progress, Tin Lizards is printed on silver art paper, its edges bathed in crimson and encased within a crafted acrylic vessel. This inaugural edition is limited to 600 copies and launched in tandem with a co-exhibition with Carhartt WIP and Fahey/Klein Gallery. A set of 20 special editions accompanies the release, each pairing the volume with archival prints and housed in a hand-numbered acrylic box.

• Setanta 2025
• Softcover, 1st edition, 48p
• New

"My photographic work begins with slowness — with looking, waiting, and allowing the image to form gradually. I’m drawn to the quiet edge of things: the way light hovers on a branch, how a shadow moves across a face, or how a single gesture can hold a sense of myth or memory. These moments are often subtle, almost invisible at first, but they stay with me until I find a way to bring them into form.

Process is not separate from meaning in my practice — it is how I come to understand what I’m seeing. I work with both analog and digital tools, often blending darkroom techniques with layered imagery. I’m interested in how light behaves through different materials, how an image can soften or distort through time, and how a photograph can hold something both tender and unresolved.

Figures, natural elements, and symbolic objects recur across my work — not to tell stories, but to create a sense of presence. I think of these images less as documents and more as emotional landscapes. They offer places to pause, to feel, to remember.

In making them, I try to stay open — to let the process guide me as much as I guide it. That openness is what I hope the viewer can feel: a moment suspended, attentive, and quietly alive."  - Sara Silks

Sara Silks is the twenty-third in an ongoing Bi-Monthly series publishing the work of emerging photographers.

48 Page softcover 21cm x 16cm book with card wraparound cover in an edition of 350 copies.

• Setanta 2025
• Softcover, 1st edition, 48p
• New

"My photographic work begins with slowness — with looking, waiting, and allowing the image to form gradually. I’m drawn to the quiet edge of things: the way light hovers on a branch, how a shadow moves across a face, or how a single gesture can hold a sense of myth or memory. These moments are often subtle, almost invisible at first, but they stay with me until I find a way to bring them into form.

Process is not separate from meaning in my practice — it is how I come to understand what I’m seeing. I work with both analog and digital tools, often blending darkroom techniques with layered imagery. I’m interested in how light behaves through different materials, how an image can soften or distort through time, and how a photograph can hold something both tender and unresolved.

Figures, natural elements, and symbolic objects recur across my work — not to tell stories, but to create a sense of presence. I think of these images less as documents and more as emotional landscapes. They offer places to pause, to feel, to remember.

In making them, I try to stay open — to let the process guide me as much as I guide it. That openness is what I hope the viewer can feel: a moment suspended, attentive, and quietly alive."  - Sara Silks

Sara Silks is the twenty-third in an ongoing Bi-Monthly series publishing the work of emerging photographers.

The special edition also contains a 19x14.7cm signed and numbered Giclée print (one of an edition of thirty) - select from dropdown.

Special editions begin shipping 18th July.

• Journal 2025
• Hardback, 1st edition, 152p
• New

When Anders Petersen was a student at Christer Strömholm’s photo school in Stockholm 1966-68, Christer went through Anders’ contact sheets and marked a C on the few photos he could come to terms with.

“I copied several of the negatives marked with C, small strange and hard images that were really just imitations of Christer’s own. They were vulnerable, and I liked them. But they felt as if they didn’t belong to me. After some searching through the contact sheets, I was overwhelmed with all sorts of other photos, ones that neither Christer nor I had previously cared about. Perhaps the eyes become softer over the years and more forgiving. The visual perception changes and the sheets open up to a different interpretation. Not many of the C-marked images remain in this final selection.”

Afterword by Gerry Badger, who writes: “… The pictures contained here were made between 1967 and 1970 in Paris, Genoa, Stockholm and Hamburg, and many of them have been hitherto unpublished … Anders Petersen is in relatively rare company in that he can be regarded as one of the best photographic portraitists. This book can be considered yet another example of why that is undoubtedly the case …”

• Journal 2025
• Softcover, 1st edition, 120p
• New

Published in conjunction with the exhibition and film The Left Shore at the Nationalmuseum in Stockholm, 12 June 2025 - 11 January 2026. The exhibition and film bring together photographer Anders Petersen and filmmaker Johan Renck, where the latter has selected images from Petersen’s production from different periods. Johan Renck is also responsible for the selection of images in this book. The meeting was initiated by Angie Åström, who is also curator of the exhibition at the Nationalmuseum.

• Skeleton Key Press 2025
• Hardback, 1st edition. 152p
  
• NEW

In her fifth monograph, A Naturalist Guide to Magic, Norwegian photographer Anja Niemi again embodies a solitary, self-cast character. However, this time, the spotlight drifts toward the essence of nature itself. Niemi’s black-and-white photographs, set against expansive cinematic landscapes, transcend mere imagery to become a hopeful exploration of returning to the instinctual bond between humans and the natural world.

The narrative follows the fictional character, The Naturalist, on a transformative journey of discovery, initially inspired by Niemi’s experiences with a young horse, Mercury. Through lyrical imagery interspersed with Niemi’s poetic notes, the book captures the profound dialogues that can occur between different species, showcasing the magic often overlooked in everyday life. As The Naturalist navigates her adventure, she uncovers a language of connection she had forgotten, learning vital lessons about kindness, equality and the significance of listening.

A Naturalist Guide to Magic invites readers to reflect on the lessons we can learn from the natural world and its sentient beings. It serves as a gentle reminder of how far we have strayed from our instinctive connections with nature and its invaluable wisdom we often disregard. It encourages us to develop a deeper appreciation for the world around us and become more harmonious participants in the natural order.

Signed copy.

• Skeleton Key Press 2024
• Hardback, 1st edition. 112p
  
• NEW

Øyvind Hjelmen’s 30-year practice in photography—as any fortunate gallery director, book publisher, editor, critic, or friend can attest to—has been his presentation of an entire portfolio of photographs contained within a matchbox-sized container. Being Here, Hjelmen’s fourth monograph, a clothbound limited edition of 360 signed and numbered copies, expands and recontextualizes this experience in book form. After opening with a poem by Nobel laureate Jon Fosse, the book takes readers on a visually poetic and interior journey of Hjelmen’s enigmatic photography. The collection reflects a human desire or inclination (similar to photography itself) to leave a mark, to express “I was here” or “We were here,” even if only momentarily. Like Hjelmen’s portfolios, the expertly printed photographs in Being Here are reproduced small but reveal a surprising amount of clarity and possess a quiet resonance. As the open narrative unfolds page by page, evocative themes emerge: home, travel, awakening, abandonment, transcendence, wandering, loneliness, reflection, and memory. The book allows viewers to decode the layers and narratives while inevitably drawing their feelings, memories, and associations into the personal yet universal images. Being Here is a unique book that may be the most true-to-form expression of Hjelmen’s photographic journey.

Signed copy.

• Akio Nagasawa 2025
• Softcover, 1st edition, 120p
• New

"Most of the images that I have been capturing in my photographs, have appeared in the journal “Record” over the twenty years from its launch up to this latest issue, No. 60. In other words, rather than a “Record,” one may actually understand it as my “ID” proper. In addition to the photos shot here in Japan, there are quite a few that I took in other countries, and with 120-180 pages each, each volume of this journal is very much a personal record and memento of my own life and memories.

Me, I will again be clicking away with my camera tomorrow, and the day after that. After all, photography is such a wonderful thing."

- extract from the afterword by Daido Moriyama

Signed copy.

Due in stock mid July, available for pre-order now.

• Fw:Books 2025
• Softcover, 1st edition, 128p
• New

Mountain ridges forming a jagged path towards the horizon. A small mountain lake reminiscent of a womb. Rampantly proliferating barren tree roots. In the photographic project Between the Mountain and the River by Rick van der Klooster, nature is simultaneously overwhelmingly beautiful, eerie, mysterious, and bursting with symbolism.

When he was still a boy, Van der Klooster’s mother, who died at a young age, often took him to her favourite destination: the Alps in western Austria. For the project Between the Mountain and the River, Van der Klooster revisited this area, with the camera serving as his intermediary. During his travels, which took place between 2018 and 2023, he experienced how nature not only mirrored his personal sadness and loss, but also offered comfort and hope. For the first time in years, the artist was able to hear his mother again, in rustling pines and whispering mountain streams. ‘The landscape returned to me what I had lost,’ he explains.

In his work, Van der Klooster is often searching for metaphoric qualities in nature. The series Between the Mountain and the River aims to highlight the spiritual importance of nature to human beings. In his photographs, the mountain landscape is much more than just a place of leisure; it is a portal to a different world, where no-one really dies as long as the landscape remains alive.

• Guest Editions 2025
• Hardback, 1st edition, 88p
• New

The first photobook from US artist Brian Chorski explores the American West and it's role in providing a place to find freedom. Over the course of several summers, Another Patch of Sky moves dream-like through open and undefined spaces, in search of nothing but escape. Without asking for explanation or reason, the only question is whether the land can provide the same. To offer solice without judgement. Absorb without reflection. Exist as a pure object of our desire and desperate need to be somewhere else.

• Guest Editions 2025
• Hardback, 1st edition, 196p
• New

"While we destroy the natural world around us, we have become masters of a stage-managed, artificial ‘experience’ of nature—a reassuring spectacle, an illusion."

Over six years, across four continents, Zed Nelson has examined how we humans immerse ourselves in increasingly simulated environments to mask our destructive divorce from the natural world. From theme parks, zoos and natural history museums, to national parks, African safaris and alpine resorts, this work reveals not only a global phenomenon of denial and collective self-delusion, but also a craving for a connection to a world we have turned our back on.

In a fraction of our Earth’s history, we humans have altered our world beyond anything it has experienced in tens of millions of years. Scientists are calling it a new epoch, The Anthropocene – the age of human. We have concentrated in cities and divorced ourselves from the land we once roamed and from other animals. Yet we cannot face the true scale of our loss.

This work reflects on how, at a time of environmental crisis, a consoling version of nature has been packaged as a curated ‘experience’ – an illusionary spectacle designed to obscure and reassure.

• Libraryman 2025
• Hardback, 1st edition, 80p
• New

Eriko Masaoka (b. 1983, Japanese) began taking photographs at the age of 20, by visiting small villages across Japan, and while living on a ranch in Hokkaido and in an Ainu community—the latter, of which experiences, shaped her artistic direction.

Without a specific intention in mind, Masaoka decided on her destinations, followed her thoughts, and continued her journey while taking pictures. Subsequent to a decade in the making, this story was concluded.

In this book, people, animals, man-made objects, herself, and nature all have souls and emit life as living organisms, as if in an animistic worldview; comparing all life to a drop of rain and celebrating all life that may be short and fleeting.

The photographs were taken in Hokkaido, Okinawa (and its surrounding islands of Iriomote and Aguni), Kagoshima, Kikaijima, the Tōhoku region (Akita, Aomori, Nagano and Niigata), Tokyo, Osaka, Mount Kōya, Rotterdam in the Netherlands, Gullfoss in Iceland, and the Azores of Macaronesia.

The book contains a preface, in Japanese, written by Eriko Masaoka, with an English translation.

First edition of 700 copies.

• Chose Commune 2025
• Hardback, 1st edition, 168p
• New

Between agitation and lightness, Fusako Kodama depicts the effervescence of modern Japan. From 1960 to 1980, she captures the atmosphere of places and the energy of people. 

Movement is constant; disorder occurs at times; gestures are carefree and instinctive: Fusako Kodama captures forward momentum. Her spontaneous photographs summon surprising perspectives where subjects appear slightly out of sync.

Between restlessness and lightness, Fusako Kodama portrays a certain effervescence of modern Japan. From 1960 to 1980, she captures the atmosphere of cities and villages inhabited by animated beings. Through her unusual and spontaneous framing, the prolific photographer casts a gaze that is both gentle and vibrant over twenty years of Japan.

1960-1980 is the first book by Fusako Kodama published in the West, where she is still relatively unknown. This work aligns with the ongoing efforts of Chose Commune, which aims to shed light on contemporary Japanese photographers beyond their country of origin.

• Kehrer 2010
• Hardback, 1st edition, 104p
• Near fine

Photographer Andrej Krementschouk tells a moving story about homeland and homelessness, roots and identity. The setting is a dilapidated old cottage in the center of a small Russian town, where a group of orphanage-raised homeless people have made a home for themselves on the fringes of society. When Krementschouk chanced upon this group in 2006, they invited him inside and he made some touching observations, capturing despair and addiction on the one hand, but also warmth and tenderness. "Come bury me" – with these words one of the women bid farewell to Krementschouk when he promised to come back to visit the following year. Upon his return in winter 2008, he found nothing but a burned-out shell and learned from the group's sole survivor that the house and its inhabitants had fallen victim to arson. A new building is now going up on the site. This book is dedicated to the memory of the singular people who once made their home there.

New but with faint rubbing to corners of cover.

• Steidl 2011
• Hardback, 1st edition, 326p
• Used: very good - see below

This is the first book of Sternfeld’s largely unseen early colour photographs. In 1969 Sternfeld began working with a 35 mm camera and Kodachrome film, and First Pictures contains works from this time until 1980. Here Sternfeld develops traits that appear in his mature work: irony, a politicised view of America, concern for the social condition. But there are also pictures that bear little relation to his later work: colour arrangements that parallel those of Eggleston, as well as street photography which Sternfeld ceased making in 1976. The photographs in First Pictures were made at a time when colour photography was struggling to assert itself against the authoritative black and white tradition, making this book a revelation both in Sternfeld’s oeuvre and in the history of contemporary photography.

Used book in very good condition but with marking to cover and light handling wear.  Inside excellent, near fine.

• Setanta 2025
• Hardback, 1st edition,192p
• New

• Delpire & Co 2025
• Hardback, 1st edition, 216p
• New
  

Upon visiting Iceland in 2019, Kawauchi encountered geysers like the breadths of Earth, glaciers surpassing human time, and the inner space of a dormant volcano that was reminiscent of the inside of a womb. She had thus experienced the connection to this planet she had never felt before. Iceland was her point of departure; she continued to experience similar sights such as the nature around her home after the COVID-19 pandemic and the winter land of Hokkaido. She opened her majestic solo exhibition “M/E On this sphere Endlessly interlinking” and showcased a fraction of the “M/E” series. Even today, this body of work is been exhibited around the world.

The title “M/E” comes from the first letters of the words “Mother” and “Earth”, “Mother Earth” if read in sequence, and also hints at the word “Me”. It reminds us of the certainty that nature as an infinite existence and the small ubiquitous occurrences from our daily lives are not unrelated, but inseparably connected. As the most recent body of work by Kawauchi who returned to her point of origin –the connection between nature and human beings– and thus took a different look at the world during this turbulent time, this series goes beyond “Ametsuchi” and “Halo” through which she had established her perspective by contemplating nature. Bound by Hans Gremmen, the book appears to be a singular book object. A beautifully written essay, the like of a heartfelt letter, by author, photographer, and art historian Teju Cole concludes this publication.
　

Text in French and English.

• The Ice Plant 2024
• Hardback, 1st edition, 192p
• New

In 2023, Swedish photographer Gerry Johansson roamed the state of Maine with a Rolleiflex, curious to make new pictures in a region of America he first encountered in the work of Paul Strand five decades ago — he found Strand’s views of New England “boring” at the time — and also wondering, “Why is American photography so focused on the west?” Johansson’s Maine echoes the formal restraint of his earlier books, notably American Winter, Spanish Summer, MeloniMeloni, and Pontiac, sequencing nearly 200 black-and-white duotone photographs alphabetically by their oddly poetic northeastern town names (Bath, Friendship, Purgatory, etc). Somehow, as in all Johansson’s work, none of the Maine pictures draws more attention than any other, and the flawless and playful compositions never seem to repeat — Johansson’s endlessly inventive arrangements of architecture and landscape orient the viewer in a specific geographic and cultural place while generously sharing his way of seeing, ambling, and thinking with a camera.

Unsigned.

• Good Fight 2025
• Hardback, 1st edition, 120p
• New

The haunting stillness of Swedish winter serves as the inspiration and backdrop for Markus Naarttijärvi’s debut monograph A Surrender.

Shot over 1,000 consecutive days, Naarttijärvi navigates spaces stuck in a liminal twilight — somewhere between death and rebirth, where human industry dissolves into nature’s embrace. Each photograph is a step in a journey of appreciation between growth and decay, society and wilderness, resistance and surrender.

With patience and persistence, Naarttijärvi transforms collapse and new growth into a meditation on impermanence while reminding us that sometimes, the only way out is through.

23 × 31 cm.  Edition of 500 copies. Stitched open spine binding with tipped-in image on the cover.

Comes with an exclusive choice of signed print, size 13x18cm (5"x7") - choose print selection from the dropdown.

Back in stock.

• Akaaka 2022
• Hardback, 1st edition, 248p
• New

This book contains the works published by the Japanese photographer Shigeo Gocho (1946–1983) during his lifetime. Arranged in chronological order, the reader follows Gocho’s work from his 1971 debut photography series “Days” on to “Self and Others,” “Familiar Street Scenes” and “Childhood,” as well as the two painting series “Spiritual Travels” and “Memories of Water.”

Born in 1946, Gocho suffered an illness that impaired his physical development and shortened his expected lifespan. Starting with “Days” in 1971, his remarkable photography in black-and-white and color has earned him recognition as one of the most important photographers of the 20th century. Through various portraits and snapshots, Gocho used the camera to observe the inherent history and politics hidden within daily life in the city, to explore the ways in which emotions are shared between people, to question the role of the photographer in relation to their subject, or examine the way we observe others.

In addition to the photographs, “Shigeo Gocho: Works” also includes the original forewords for his series as well as an appendix with an extensive essay by Yukiko Tomiyama, a chronology of Gocho’s life and a list of his works (please note that only the appendix is available in English translation).

“What Gocho captured was not a world in which people were placed in special circumstances. They are scenes of omnipresent stories and politics seen by anyone in the course of everyday life in a certain age and in a certain place. They are never exaggerated or dramatic things. But it is exactly because they are commonplace that they are able to stimulate and stir people’s memories and feelings. They are able to awaken what has fallen into the innermost depths of the heart, beckoning us on to new narratives.”
― from Yukiko Tomiyama’s essay “Living on the Edge”

• Akaaka 2024
  
• Softcover, 1st edition, 112pp
  
• New

Japan promised by law to adhere to the Three Non-Nuclear Principles not to possess, produce, or permit the introduction of nuclear weapons. But nuclear weapons were brought here. Nuclear bombs were stored and retrieved here. Something that shouldn't be had existed here. Nagasawa's photographs of this place bring to our attention faint memories that lie behind what is shown in the photographs. The people who knew that time are disappearing, giving way to a new generation of Bonin Islanders. It is a past of loss and forgetfulness. Nagasawa has unearthed and made visual the secret room-a void severed from time and space.

Nagasawa photographed the series on the island of Chichijima, part of a remote archipelago south of mainland Japan.

For twenty-three years after the end of World War II, Chichijima was occupied by the U.S. military. During this time, only military personnel, their families, and the people already living there were allowed on the island. Most of what happened in this period remains unknown, but it was later revealed that the U.S. placed a nuclear warhead called “Mary’s Lamb” on the island.

In his series, Nagasawa enters the bunker where Mary’s Lamb was once kept. His photographs interrogate the halls, the floors, the flaking paint, the rusting metal surfaces, as if asking them for clues or their memories.

Slipcased softcover, H224mm x W343mm.  Text in English and Japanese.

• Akaaka 2022
  
• Softcover, 1st edition, 64pp
  
• New

Receiving high acclaim both within Japan and overseas, Yoshihiko Ueda has continued to present work on the frontline throughout his career of 40 years. His oeuvre profoundly reflects his consistent perspective, thoughts, and personality as a photographer. Portraits, forests, family, rivers, buildings, human remains from the Jomon period, portraits of "paper," apple trees... Expressing a desire to "discover how the world came to be" and to "affirm the transience that permeates the impermanence within which we live," Ueda's photographs are a manifestation of many years of meticulously developing his concepts and exploring various motifs.

In Latin, mater means mother/source, Mäter derives from the Indo-European root word mehter (mother), and has the same etymology as the English word mother. The original meaning of the Latin word materia is "tree trunk." The trunk is thought to be the "womb" of life, and materia originates from the word mater.

• Charcoal Press 2025
• Hardback, 1st edition, 144p
• New

Engraved in ghostly black and white, Anna Arendt’s debut monograph, Vanishing, conjures a world of dreamlike dread and beauty.

Arendt was born in the German Democratic Republic. She was 24 when The Wall fell, her daughter was 2. Her parents were born 1940 in Germany, children of war. Both of her grandfathers had been soldiers, who had been in Poland between 1940 and 1942. One came back 2 years after the war was over, the other one never returned. Arendt later discovered that her husband’s father, photographer Sid Grossman’s family came from the area in Poland that her two grandfathers were sent during the war.

As a child, she found a secret shelf that contained photo albums of her family. "It is where I discovered the power of a picture. A picture taken in summer 1940. A young family, my grandmother, her baby and my grandfather in a German uniform. A picture full of contradictions, carrying ambivalent feelings even until today."

Photographed mostly between Germany and Poland over 15 years, the work slides back and forth through time like a blood memory. Walking naked through the dark forest, wolves circling, howling. A daughter becoming a mother becoming a grandmother becoming a child. Haunted villages, and souls in jeopardy. The harsh reality of the past merges seamlessly with moments of rapture that feel plucked from a Grimm fairy tale.

Vanishing is an unforgettable depiction of how beauty and brutality coexist in the hearts of men and beasts.

Signed copy.

• Nazraeli Press 2025
• Hardback, 1st edition, 68p
• New

“From 2021 to 2023, I photographed around two reservoirs in the Central Valley of California experiencing a twenty-three year megadrought. The Reservoir weaves together images of the drying lakes and people seeking a leisurely day at the beach. They bring their dogs, babies and baby carriages, inner tubes, kayaks, rafts, umbrellas, coolers, and tents. As the summer progresses and the waterline recedes, families walk over a mile to reach the beach. At times, the sky is colored with smoke from nearby forest fires. The photographs in The Reservoir are part of an ongoing exploration in my work of how droughts, climate change, and ever-present anxiety collectively maps onto life in the American West.” — Mimi Plumb

It could be the last of our days, the way the water is receding, and the sun unrelenting. The reservoirs, once vast and overflowing, shrink before our eyes; the distance to reach the lapping shores growing vaster with every page. Humanity traveling that distance, what was once yards, now a mile or more. Mimi Plumb, in her new book, The Reservoir, follows the trail of people dotting the parched landscape, recording the plight, the pilgrimage, and the reward. The light is magical. The scenes are sublime. The moments are suspended. The sequence of images leads us to the water’s edge and lets us decide if we want to keep going or not.

Mimi Plumb is part of a long tradition of socially engaged photographers concerned with California and the West. She received a 2022 Guggenheim Fellowship in support of her current project, The Reservoir.

• Asia One 2025
• Hardback, 2nd edition, 160p
• New

"HK:PM" is Greg Girard’s ode to nocturnal Hong Kong between 1974 and 1989, the earliest work of the photographer’s long relationship with Asia. A journey exploring the underside of a city he first visited as a teenager in 1974 and and later lived in for 15 years. The photographs in HK:PM are imbued with the noir allure and seedy pastels of Hong Kong in its prime. HK:PM shows people at work, people at play, and simply getting on with their lives, mostly with the particular atmospheric backdrop of Hong Kong at night. A world onto itself, a place where jetliners almost touch the buildings when they come in for landing, where your desires can be met at an instant, and where people from all over the world pass through. Not portraying the glamour that some may associate with the city, instead we are invited to see how this place may have been tough for some, however driven by the hope that is the “Hong Kong Dream.” Attracted to the hidden and often dark beauty in everyday life, Girard is a champion of the common man as he explores “the often overlooked features that define daily life for its residents.” “I started taking photographs at night as soon as I picked up my first camera. I never really thought of them as “night” pictures. It was just a different kind of light, whether neon, fluorescent, moonlight or the light of the city reflected off an overcast sky. But Hong Kong was alive at night in a way that other places weren’t,” says Girard.

• Steidl 2025
• Hardback, 1st edition, 144p
• New

Consisting solely of previously unpublished photographs, The Way Back is a deep dive through Bruce Davidson’s 60-year career. The book chronologically presents photos made between 1957 and 1992, showcasing Davidson’s exceptional versatility―from his earliest assignments to later seminal bodies of work including his year-long study of teenage members of a “Brooklyn Gang” (1959), his extensive coverage of the American Civil Rights Movement in “Time of Change” (1961–65), and his breakthrough portraits of the residents of a single block in Harlem in “East 100th Street” (1966–68). Series such as “Subway” (1980) and “Central Park” (1992) furthermore confirm Davidson as a quintessential chronicler of New York City.

Regardless of his motif, what emerges through this retrospective is Davidson’s overt sensibility and empathy for his subjects, his commitment to documenting them in depth over time, and to capturing their beliefs, communities and subcultures. Unlike his peers who photographed events that constituted history, Davidson focused on the people within these histories. Now, drawing near the end of his long career, Davidson offers this book as a parting look at his artistic passage, an elegiac goodbye as well as a requiem: evidence how his vision, experienced over decades, has shaped our understanding of the world.

• Akaaka 2022
• Hardback, 1st edition, 248p
• Imperfect - see below
  

This book contains the works published by the Japanese photographer Shigeo Gocho (1946–1983) during his lifetime. Arranged in chronological order, the reader follows Gocho’s work from his 1971 debut photography series “Days” on to “Self and Others,” “Familiar Street Scenes” and “Childhood,” as well as the two painting series “Spiritual Travels” and “Memories of Water.”

Born in 1946, Gocho suffered an illness that impaired his physical development and shortened his expected lifespan. Starting with “Days” in 1971, his remarkable photography in black-and-white and color has earned him recognition as one of the most important photographers of the 20th century. Through various portraits and snapshots, Gocho used the camera to observe the inherent history and politics hidden within daily life in the city, to explore the ways in which emotions are shared between people, to question the role of the photographer in relation to their subject, or examine the way we observe others.

In addition to the photographs, “Shigeo Gocho: Works” also includes the original forewords for his series as well as an appendix with an extensive essay by Yukiko Tomiyama, a chronology of Gocho’s life and a list of his works (please note that only the appendix is available in English translation).

“What Gocho captured was not a world in which people were placed in special circumstances. They are scenes of omnipresent stories and politics seen by anyone in the course of everyday life in a certain age and in a certain place. They are never exaggerated or dramatic things. But it is exactly because they are commonplace that they are able to stimulate and stir people’s memories and feelings. They are able to awaken what has fallen into the innermost depths of the heart, beckoning us on to new narratives.”
― from Yukiko Tomiyama’s essay “Living on the Edge”

Imperfect copy with small bump to spine end - see photo - otherwise as new.

• RRB 2019/2025
  
• Hardback, 2nd edition
  
• NEW
  

Early Works covers the early part of Parr’s career, comprised of images shot between 1970 and 1984, mainly in the north of England and Northern Ireland.

The book contains many of Parr’s iconic early images, as seen in earlier publications such as Bad Weather and A Fair Day. The work weaves Parr’s better known black and white work with over 20 previously unpublished images, adding new breadth and perspective to Parr’s prolific body of work.

2nd edition.  Signed copy.

• Witty 2025
• Hardback, 1st edition, 104p
• New

“All things in life that once existed tend to re-create”.

“Borderland” represents an intimate research in a familiar place where I grew up since my tender years. Here I would find refuge in my grandparents’ house and feel a strong love coming from them, nature and all the living creatures in the land those silent hills where I felt free to express myself. To me everything is bordered in this rural village on Tuscan-Emilian Apennines, and it is this dimension of indefiniteness that pushes me to a relentless pursuit for the traces of a time that I have not lived enough or that I have lived too much.

My past blends with my present and suggests my future steps. I do not know whether I should listen to it or let myself be carried away by the fresh wind the same one that accompanied me and my grandfather and our conversations about existentialism during hot summer nights, while marvelling at the beauty of the constellation, lying downhill on a wet meadow.

Everything that surrounds me wants to get close to me, just like then, rethinking the legacy of a relationship created in time: with this aim, begins a process of interpreting reality without a celebratory, symbolist nor documentary intent. Rather, it turns out to be an evolution aimed at a deep redemption of my past and present being, producing at the same time an emotional tension that, just as on an extremity, hovers between joy and pain. In such research, which aims to establish a reality and dream, I try to retrace over time fragments of an existence regarding family, growth and belonging.

- Filippo Barbero

With a text by Aaron Schuman.  

• Origini Edizioni 2025
• Softcover, 1st edition, 80p
• New

This is a corpus of images that explores the definition and origin of the poetic landscape as it relates to memory and the passage of time. The geography of the place becomes a depiction of a peculiar natural beauty that emerges as a recollection rather than a faithful representation of its physical form. The natural world is transformed into a set of symbolic portraits that reflect the emotional connection to various pasts, the senses, the complexities, the nostalgic and invisible stories woven into the humane.

The creation of a new context is proposed inside the book by incorporating poems by the Greek poet Dimitris Leontzakos. The poems do not impose a way to interpret the pictures nor the pictures define the form and the content of the poems. Instead, a multilayered flow of poetry appears to co-exist. The relationship created by the poems and the images transforms that context into a completely new and organic, a non-linear narrative.

Handmade numbered and signed first edition of 150 copies. 23x38 cm.

• Akaaka 2025
• Hardback, reprinted edition, 168p
• New

Masahisa Fukase's timeless masterpiece "Yoko" finally available again

Originally published in 1978, Masahisa Fukase's "Yoko" stands as a defining series in his body of work, yet it had long been out of print. Now, nearly half a century later, this extraordinary photobook returns, brought to life with the full support of Yoko Miyoshi (formerly Fukase), Fukase's model and muse, and under the careful supervision of Tomo Kosuga, director of the Masahisa Fukase Archives. This new reprint edition faithfully includes all photographs and texts from the original edition.

Additionally, it includes contemporaneous texts referenced at the time of the original publication, an essay by Masako Toda (photography critic and historian), and a heartfelt message from Yoko Miyoshi on the occasion of this reissue. Every aspect of the book's design and composition has been meticulously crafted to reaffirm the significance of this masterpiece and the passage of time it has endured.

Fukase and Yoko met in 1963 and were married in 1964. In the 1960s, they lived together as newlyweds at the Soka-Matsubara public housing complex, where Fukase began photographing Yoko. In the 1970s, he continued to capture her in various locations, including his hometown of Hokkaido, her birthplace of Kanazawa, as well as Izu, Kyoto, and other places. In the autumn of 1973, Fukase created a series titled "Untitled (From the Window)," capturing Yoko's elegant poses every morning as she left for work, taken from the fourth-floor window of their home using a telephoto lens. These photographs were published intermittently between 1964 and 1976 in the magazine Camera Mainichi.
In 1974, Fukase's works were included in the "New Japanese Photography" exhibition at the Museum of Modern Art (MoMA) in New York. During this period, the couple traveled to New York, and the scenes from this journey were also captured in his photographs.

For this new reprint edition, the book's format has been expanded to amplify the presence of each photograph, and the cover has also been renewed. In addition, the pages featuring ravens – ominous yet poetic symbols that seemed to foretell the future of the couple – are now arranged with greater stillness and deliberation, inviting viewers to engage more deeply with every image.

In revisiting "Yoko," one must ask: What, ultimately, did Fukase capture through his lens? Against the backdrop of the era's spirit, the photobook contemplates the essential question of photography - the nature of relationships between two individuals.

• Akaaka 2025
• Hardback, reprinted edition, 128p
• New

Homo Ludens, Masahisa Fukase's first photobook, finally revived after half a century.

This anthology of photographs, taken over more than ten years and edited by Camera Mainichi editor Shoji Yamagishi, is a collection that marks the origin of Fukase's work and is filled with images and essence that would shape Fukase's later creations, is structured into six sections, each vividly capturing the interplay between photography and life.

"To" (Slaughter) features images of Yoko Wanibe, whom Fukase accompanied to a slaughterhouse, juxtaposing the dismemberment of livestock with Yoko posing in a black cloak. "Kotobuki" (Congratulation) straightforwardly depicts his life with Yoko shortly after they got married, in a manner reminiscent of a private novel. "Gi" (Frolic) portrays the underground scene in Shinjuku where Fukase had gone after leaving the home he shared with Yoko, and the lifestyle of young people living together as a group. "Mei" (Memento), one of his earliest works, looks back on the pregnancy of his former partner, Yukiyo Kawakami, with whom he lived for eight years. Meanwhile, "Haha" (Mother) and "Fu" (Music) capture scenes of Yoko and her mother.

Throughout these sections, Homo Ludens conveys the mutual interplay of all living things, and the contradictory yet interconnected phenomena of life and death, meeting and parting. Fukase's lens is turned towards himself and those close to him, the images explore the essence of life as a form of play, with raw and unflinching honesty. This first photobook stands as a powerful testament to Fukase's vision.

This new reprint edition includes all photographs and texts from the original version and was designed with a focus on emphasizing the relationship between the images and surrounding negative space. This approach serves as a timeless response to Fukase's vision. Homo Ludens remains a significant work, with this new edition offering a renewed perspective not only on Fukase's oeuvre but also on the act of seeing itself and our own existence.

• Nazraeli Press 2025
• Hardback, 1st edition, 144p
• New

Lucas Foglia’s newest book and exhibition, Constant Bloom, traces the world’s longest butterfly migration, just discovered by scientists. Each year, Painted Lady butterflies travel between Africa, the Middle East, and Europe in search of blooming flowers. They have followed this route for millions of years.

Now, with climate change altering when and where wildflowers bloom, Painted Ladies rely on flowers in our parks, farms, and gardens. As Foglia followed the butterflies from Kenya to Norway, he also met people experiencing unseasonal droughts, floods, or freezes. Many were refugees traveling to Europe along the same route as the Painted Ladies.

In Constant Bloom, the longest butterfly migration becomes a metaphor for connection across international borders. 

This beautifully printed book from Nazraeli Press gracefully explores the world and the urgent global issues of our time. With all text in English, French, and Arabic, Constant Bloom includes essays by curator Willemijn van der Zwaan and the scientists of the Worldwide Painted Lady Migration Project.

• Quodlibet 2024
• Softcover, facsimile edition, 132p
• New

Viaggio in Italia, conceived by Luigi Ghirri and published in 1984, is a milestone in contemporary Italian photography, representing the ‘manifesto’ of the Italian Landscape School from the 1980s onward. It tells the story of a generation of photographers who moved away from exotic travel, sensationalist reportage and formalist analysis to focus on the everyday Italian landscape. This shift replaced the cliché of Italy as a unique and wonderful place with an “anti-heroic, anti-mythical, everyday and non-rhetorical” image, as Gabriele Basilico noted. Twenty photographers, many of whom have won international awards, participated: Olivo Barbieri, Gabriele Basilico, Gianantonio Battistella, Vincenzo Castella, Andrea Cavazzuti, Giovanni Chiaramonte, Mario Cresci, Vittore Fossati, Carlo Garzia, Guido Guidi, Luigi Ghirri, Shelley Hill, Mimmo Jodice, Gianni Leone, Claude Nori, Umberto Sartorello, Mario Tinelli, Ernesto Tuliozi, Fulvio Ventura, and Cuchi White. The volume includes an essay by Arturo Carlo Quintavalle and an article by Gianni Celati.

The new edition is a facsimile reproduction of the first one, published by Il Quadrante of Alexandria in 1984. All details of the original book have been faithfully preserved, adopting the design, text layout and sequence of the original images, material properties and page size. In order to achieve a more adequate rendering of the images, the reproduction of the photographs was made from the digitization of the original negatives or prints. The volume is accompanied by a 48-page booklet with an essay on the genesis and critical fortune of Viaggio in Italia edited by Matteo Balduzzi, Fabio De Chirico, Gabriella Guerci, and Matteo Piccioni, a note by Adele Ghirri, and French and English translations of the original texts by Arturo Carlo Quintavalle and Gianni Celati (published in Italian in the book).

• Soft Copy 2024
• Hardback, 1st edition, 80p
• New

"Doldrums explores the therapeutic embrace of nature—the transformative power it holds in nurturing the spirit and facilitating self-reflection. California, specifically the San Francisco Bay Area, with its storied history as a beacon of prosperity and possibility, emerges as a familiar and compelling backdrop. It’s a place where people have always been drawn, seeking not only financial windfalls but also the promise of a better life — a westward pull that echoes through time.

As I navigate the present, no longer burdened by the same fog of depression that led to the creation of this body of work, but rather fuelled by a hunger and longing for love and connection, Doldrums becomes a testament to the transformative power of time. Doldrums invites you to explore the depths of emotion, the transient nature of darkness, and the profound beauty that emerges from life’s most challenging chapters. Life, in its complex ebb and flow, often defies immediate classification as good or bad. Instead, it beckons us to focus on living and loving in the present, with hindsight providing the lens through which we truly comprehend the fullness of our growth and experiences." – Brian Kanagaki

45 Duotone Plates. 26.25cm x 32cm.  Edition of 400 copies.

• Hopper & Fuchs 2024
• Softcover, 1st edition, 240p
• New

ECHTZEIT offers a unique glimpse into Dirk Braeckman’s most recent photographs, accompanied with the museum’s collection and texts written by Clément Chéroux, director of the Foundation Henri Cartier-Bresson, and Tamara Berghmans, curator of the exhibition. 

Dirk Braeckman defies easy description: leading contemporary Belgian photographer whose work is part of numerous collections across the globe and has been exhibiting worldwide for four decades. Braeckman is notorious for his silverish-grey-toned, large-scale prints and has been seeking to manipulate the medium of photography since he began over forty years ago, drawing out a certain slowness and space within his work. 

In 2017, Dirk Braeckman represented Belgium at the 57th Venice Biennale and The Royal Family of Belgium commissioned a permanent installation in the Sphinx Room of the Royal Palace in Brussels. In 2021 Braeckman took part in the 34th Bienal de São Paulo ‘Though it’s dark, still I sing’.

• Hopper & Fuchs
• Hardback, 1st edition, 240p
• New

Refuge is the sixth book by Lara Gasparotto, covering the past years of her family life and trips abroad. Constructed from Gasparotto's personal collection of photographs, including oil pastel works, friends in nature, animals, her young daughter, and beautiful landscapes, it accounts for Gasparotto's adoration for dwelling in nature. An art book personally edited by Gasparotto, Refuge offers an intimate encounter with her day-to-day life using analog photos and was designed in collaboration with her sister Lissa Gasparotto who illustrated the flower on a linen-bound front cover.

Hardback with linen cover, printed on Munken Lynx.

Edition of 750 copies

• GOST 2025
• Hardback, 1st edition, 180p
• New

In 2014, photographer Chris Donovan began documenting his hometown of Saint John, New Brunswick on Canada’s east coast—a small, heavily industrialised city which is home to Canada’s largest oil refinery, one of the country’s wealthiest families, and one of its highest rates of child poverty. His photographs show the vibrant neighbourhoods and their inhabitants living in close proximity to and in the shadows of polluted industrial sites, and ‘the cloud factory’—an undefined industrial site which references both the refinery and large pulp mill in the city. Driven to explore environmental classism and injustices perpetrated on the city by others, Donovan’s aim is to expose the culture of censorship which has controlled the environmental narrative and tightened its grip on the community for decades.

As a boy growing up in the Saint John area, Donovan’s first job as a photographer was working at the local paper he had grown up reading—the Telegraph-Journal. He quickly realised the extent of censorship at the newspaper which at the time was published by Brunswick News Inc owned the Irving family—one of the richest families in Canada. In 2018, when he was no longer working for the paper, there was a butane leak from the Irving Oil Refinery, the largest in Canada. A neighbourhood was evacuated but the event received little media attention. Donovan went to speak to and meet those impacted by the leak and encountered a culture of fear amongst a largely impoverished population who feared retribution if they spoke out about the environmental catastrophe. Donovan had not set out looking for a connection to the region’s monopolised industrial ecomony but this is what he found—a censored environmental narrative which had tightened its grip on the community for decades.

Signed copy.

• GOST 2025
• Hardback, 1st edition, 160p
• New

‘In 2012, I found a piece of material in a rock pool that changed my life. Mistaking this moving piece of cloth for seaweed, started the recovery of synthetic clothing from around the coastline of Britain for the next ten years.’
 
Photographs of British Algae: Cyanotype Imperfections is a typology of discarded clothing fragments found around the coast of the UK. A homage to the work of pioneering botanist and photographer Anna Atkins (1799-1871)—the unique cyanotype images in the book mimic different species of marine algae found in waters around Great Britain. Through the creation of this work, photographic artist Mandy Barker hopes to raise awareness of fast fashion, synthetic clothes, and the harmful effect of microfibres in the oceans.

Over the course of a decade Barker recovered over 200 ‘specimens’ of clothing from 121 beaches from locations as far north as John O’Groats in Scotland, to Land’s End in the South of England. Items ranging from jackets to dressing-up outfits, wigs and trainers, football shirts to underwear, were salvaged from beaches, rockpools and directly from the sea. The items were representative of millions of tonnes of clothes manufactured and discarded each year—sometimes without being worn at all. Every year, the fashion industry is responsible for more greenhouse gas emissions than all international flights and container ships combined.

For each alternative ‘specimen’ in the book Barker created a photogram of the clothing fragments using the cyanotype process to produce detailed Prussian blueprints. The project is inspired by the work of Victorian botanist and photographer, Anna Atkins who used cyanotypes in her groundbreaking book Photographs of British Algae: Cyanotype Impressions (1843) to produce detailed depictions of botanical specimens. By combining art and science, Atkin’s work illustrated the potential of photography and changed how people looked at science in the 1800s.

‘Seeing the potential to re-create new work in a similar way, I realised I could engage how people view science today, and in connection with the present-day consequences of climate change.’

To coincide with the 180th anniversary of Atkin’s book, Barker painstakingly created a replica of the original publication with 202 illustrations, each with the botanical specimen substituted with found garments or fibres. The publication Photographs of British Algae: Cyanotype Imperfections is a carefully edited version of this replica project and begins with outer garments of clothing, such as a waterproof and parka coat, ending with inner garments of underwear worn closest to the skin.

Signed copy.

• Aperture 2023
• Hardback, 1st edition
• imperfect/near fine - see below

• Important Flowers / Mack 2025
  
• Hardback, 1st edition, 88p
  
• New

For her first feature film, The Virgin Suicides, Sofia Coppola commissioned British fashion photographer Corinne Day to join her on set. Renowned for her unadorned, grungy photographs of iconic models of the 1990s, Day’s representation of female beauty met its match in Coppola, whose debut marked the first of her unaffected, empathetic depictions of womanhood. Edited from Day’s original negatives, this volume, which launches alongside The Virgin Suicides'twenty-fifth anniversary, gives mesmerising and unprecedented insight into Coppola’s enigmatic staging of the Lisbon sisters and their suburban trappings.  

In Day’s photographs, the lush mystique of Coppola’s set runs through images of the young actors at work and between takes, their candid posturing and pensive expressions reflecting the intimate and collaborative environment of the shoot. Fragments of the set and costume design appear suggestively – crucifixes, pink lace bras, homecoming dresses, beauty products, and toffee apples – all playing their part in Coppola’s depiction of the yearning and repression of adolescence. Completed with new texts by Sofia Coppola and Jeffrey Eugenides, this volume opens a fascinating dialogue between Eugenides’s original text and Coppola’s cult adaptation.

• GOST 2025
  
• Hardback, 1st edition, 128p
  
• New

Photographs taken in New York over 50 years ago by Mark Cohen will be published for the first time in Tall Socks. In July 1973 Cohen spent a month living in a dorm room at NYU while taking part in a film production workshop. His daily classes were short so he used his free time to walk around the city with his camera. Only a few of the images were printed at the time and the vast majority remained unseen, except as negatives, until now.

New York in the 1970s was notorious for high crime rates, social disorder, an unsafe subway and a declining quality of life. Economic stagnation had hit the city hard and many of the middle-class residents had left for the suburbs. This is often evidenced in Cohen’s photographs in the graffiti, litter and ruin present on the streets but his images also depict a New York which is full of life and on the move. Although the book’s sequencing follows no formal narrative, the pace of the images give the impression of walking around a city whose residents are in a perpetual state of transit with Cohen moving unobtrusively through this. There is change from block to block, from step to step, and details and impressions are observed. There is an undercurrent of threat in some of the images—the glare of a stranger and menacing subway stations—but also humour and joy found in a child’s tall socks, a lady with peacock feathers, an incongruous elephant or a girl carrying a plank of wood across a cobblestoned street.

Mark Cohen has been taking pictures since he was 14 and is best-known for his work made in his native city of Wilkes-Barre in Pennsylvannia where he would just go out of his door and start to work. He didn’t need to travel because there was an infinite set of possibilities and variations on the streets each day. The same working method applied to his short time in New York. He just had to walk.

Cohen has a singular photographic style resulting from holding his camera at hip level to intuitively photograph, often up close to his subjects. This lends his images an unusual perspective—they show the world viewed from the height of a child, focusing on objects or angles which are often overlooked, cropping figures and peering curiously into doorways and down streets. The familiar becomes both fresh and strange.

• Akaaka 2023
  
• Hardback, 3rd edition, 216pp
  
• New

"I never think that I can capture a certain subject by taking a photograph of it. What is important for me is how deeply I can enter into it, and to what degree I can cause it to reflect me. I want the very act of looking through the viewfinder to be a flesh-and-blood action... I strongly feel that photography can be freer, more open. I believe it is possible to relate to it in a way that encompasses my entire being."

- Masahisa Fukase, 1969

By focusing intently on his personal life, Masahisa Fukase carved out a unique place for himself in the history of Japanese photography in the 1960s. While exploring the origins of photography, Fukase developed a major practice among a group of artists associated with what later came to be known as shi-shashin ("I-photography").

Fukase pointed his camera at those in his immediate surroundings, including his wife and family; and while exposing his own private life, he consciously explored the madness that lay deep within himself. This madness led to remarkable and unparalleled works that combined Fukase's loving gaze for his subjects with his carefree sense of humor.

This book "Masahisa Fukase 1961-1991 Retrospective" boasts a substantial assemblage of works, including major Fukase works, such as "Yūgi (Homo Ludence)", "Yōko", "Karasu (Ravens)",  "Sasuke", "Kazoku (Family)", and "Bukubuku".

H220mm × W148mm. Text in Japanese and English.

2024 3rd edition.