All Books

• FW 2020
  
• Softcover, 1st edition
  
• New
  

This is the third publication in which Awoiska probes deeply into the essence of the remote unspoiled natural worlds where her images are created. The book is published alongside the music composition ‘The Living Mountain’ written by Thomas Larcher as composer-in-residence at the Concertgebouw in Amsterdam (2019-2020). The music piece draws inspiration from photographs that Awoiska made for Larcher in the mountains of his native Tirol (Austria). The monochrome landscapes are combined with reproductions of Larcher’s scores and remnants. The title for both the composition and this book is taken from Nan Shepherd’s book of poetic prose on the Cairngorms mountains that she wrote in 1942 and which was first published in 1977. 

‘Regardless of how personal the starting point of my work may be, in the end I hope my images touch the strings of a universal knowledge, something lodged in our bodies, our guts, an intuition that reminds us of where we came from ages ago. A memory of our core existence, our bedrock, unyielding certainty in a very precarious world’.

- Awoiska van der Molen

Signed copy.

• Setanta 2020
  
• Softcover, 1st edition with print
  
• New
  

Luka Khabelashvili is a self-taught photographer from Gori, Georgia. Shooting mainly digital, Luka is not afraid of tools like Photoshop to enhance his work. He manipulates his scenes and subjects often creating something abstract or surreal. Luka talks about “derealization” or distorting our reality.

48 Page softcover 21cm x 16cm book with card wraparound cover in and edition of 250 copies.

This copy also contains a signed and numbered 156mm x 125mm Giclée print on Hahnemühle paper (one of an edition of twenty five) tipped in to the end page.

• Setanta 2020
  
• Softcover, 1st edition with print
  
• New
  

Luka Khabelashvili is a self-taught photographer from Gori, Georgia. Shooting mainly digital, Luka is not afraid of tools like Photoshop to enhance his work. He manipulates his scenes and subjects often creating something abstract or surreal. Luka talks about “derealization” or distorting our reality.

48 Page softcover 21cm x 16cm book with card wraparound cover in and edition of 250 copies.

This copy also contains a signed and numbered 156mm x 125mm Giclée print on Hahnemühle paper (one of an edition of twenty five) tipped in to the end page.

• Setanta 2020
  
• Softcover, 1st edition with print
  
• New
  

Luka Khabelashvili is a self-taught photographer from Gori, Georgia. Shooting mainly digital, Luka is not afraid of tools like Photoshop to enhance his work. He manipulates his scenes and subjects often creating something abstract or surreal. Luka talks about “derealization” or distorting our reality.

48 Page softcover 21cm x 16cm book with card wraparound cover in and edition of 250 copies.

This copy also contains a signed and numbered 156mm x 125mm Giclée print on Hahnemühle paper (one of an edition of twenty five) tipped in to the end page.

Shopping for someone else but not sure what to give them?

We offer gift cards for £10, £25, £50 and £100.  If you would like a custom amount, please get in touch. 

Gift cards are delivered by email and contain instructions to redeem them at checkout.

• Mack Books 2020
• Hardback, 1st edition
  
• New
  

In Perfect Day, Txema Salvans photographs Spain's holiday-makers in unexpected corners of the postindustrial landscape. Sunbathers congregate in car parks, swimming pools are nestled between encroaching buildings, and cranes and cooling towers loom over beaches. In these surreal, banal and humorous scenes, Salvans reveals how the pursuit of leisure persists in spite of the ominous pressures of the built environment, expressing a deeply human determination to adapt, and find repose, against the odds.

• RRB 2020
  
• Hardback, 1st edition with 5x5 signed print
  
• New
  

Peter Mitchell’s Early Sunday Morning is made up of over 90 previously unpublished images, each one selected from a cache of five hundred negatives which have sat undeveloped for over 30 years.

Early Sunday Morning, edited and sequenced by John Myers, shows a different Leeds to Mitchell’s earlier publications. It is neither the sombre look at destruction seen in Memento Mori, nor the detached view of ‘the man from mars’ of A New Refutation of the Viking 4 Space Mission, but a more intimate document of Mitchell’s own Leeds.

The book reveals the layers of the city’s history, exposed by the changes to the urban landscape that epitomised the 1970s and 80s. Hundred-year-old terraces and cobbled streets sit flanked by concrete flats, with newly cleared ground to either side are presented with Mitchell’s typical graphic framing.

“It is as if Peter Mitchell has taken the atmosphere and mood of Edward Hopper’s famous painting and established it as a matter of documentary fact in the north of England at a moment when collapse can lead to further desolation or possible renewal. So these beautiful pictures are drily drenched in history – social, economic and photographic.”  - Geoff Dyer

Early Sunday Morning is available in an edition of 1500 copies, including 100 copies with signed and limited pigment print.

Due in stock early June 2020, reserve your copy which comes with a 5"x5" signed and dated print (Harold Terrace)

• RRB 2020
  
• Hardback, 1st edition with print
  
• New
  

Peter Mitchell’s Early Sunday Morning is made up of over 90 previously unpublished images, each one selected from a cache of five hundred negatives which have sat undeveloped for over 30 years.

Early Sunday Morning, edited and sequenced by John Myers, shows a different Leeds to Mitchell’s earlier publications. It is neither the sombre look at destruction seen in Memento Mori, nor the detached view of ‘the man from mars’ of A New Refutation of the Viking 4 Space Mission, but a more intimate document of Mitchell’s own Leeds.

The book reveals the layers of the city’s history, exposed by the changes to the urban landscape that epitomised the 1970s and 80s. Hundred-year-old terraces and cobbled streets sit flanked by concrete flats, with newly cleared ground to either side are presented with Mitchell’s typical graphic framing.

“It is as if Peter Mitchell has taken the atmosphere and mood of Edward Hopper’s famous painting and established it as a matter of documentary fact in the north of England at a moment when collapse can lead to further desolation or possible renewal. So these beautiful pictures are drily drenched in history – social, economic and photographic.”  - Geoff Dyer

Early Sunday Morning is available in an edition of 1500 copies, including 100 copies with signed and limited pigment print.

Special edition of 100 signed copies including signed and limited pigment print of 'Burtons washing line'

Due in stock mid June 2020, reserve your copy now. 

• Aperture 2020
  
• Hardback, 1st edition
  
• New
  

The North American frontier is an enduring symbol of romance, rebellion, escape, and freedom. At the same time, it's a profoundly masculine myth — cowboys, outlaws, Beat poets. Photographer Justine Kurland reclaimed this space in her now-iconic series of images of teenage girls, taken between 1997 and 2002 on the road in the American wilderness. "I staged the girls as a standing army of teenaged runwaawys in resistance to patriarchal ideals," says Kurland. She portrays girls as fearless and free, tender and fierce. They hunt and explore, braid each other's hair, and swim in sun-dappled watering holes—paying no mind to the camerea (or the viewer).Their world is at once lawless and utopian, a frontier Eden in the wild spaces just outside of suburban infrastructure and ideas. Twenty years on, the series still resonates, published here in its entirety and including newly discovered, unpublished images.

Justine Kurland (born in Warsaw, New York, 1969) received a BFA from the School of Visual Arts and an MFA from Yale University. Her work is in the public collections of the Whitney Museum of American Art, Guggenheim Museum, and International Center of Photography, New York, among other institutions. Her monograph, Highway Kind, was published by Aperture in 2016.

• TBW 2020
  
• Hardback, 1st edition
  
• New
  

Between 1983 and 1987 along the California/Mexico border, Ken Light took his Hasselblad camera and flash and rode along with US Border Patrol agents in the middle of the night as they combed the Otay Mesa looking for “illegal aliens.” He was there when they were apprehended – captured by authorities as well as the photographer’s flash. The black and white images are stark, impromptu mug shots in the desert, taken at a moment of extreme vulnerability, when hope gave way to despair, migrants caught in a cruel game of hide and seek.

Light’s photographs and José Ángel Navejas’ first hand, compelling memoir, presented in both English and Spanish, offer testimony of the harrowing night border crossing of those desperately seeking a chance at a better life. A day after Navejas first crossed the US border from Mexico, he was caught and deported back onto the streets of Tijuana. Undeterred, he crawled back through a tunnel to San Diego, where he entered the United States forever.

In piercing words and in strobe lit images caught against the dark of night, Midnight La Frontera’s immediacy underscores the struggle and defiance of those who make the perilous hike for days and weeks in search of the American Dream.

• Jiazazhi 2020
• Hardback, 3rd edition, 1st printing.
  
• New
  

"Carrying out this photograph project is because of the inspiration after reading the novel River of the North written by Zhang Chengzhi. Attracted by the powerful words in this novel, I decided to take a walk along the Yellow River to experience and feel the father-like broad and wide brought from this river, so that I could find the root of my soul .while along the way, the river from my mind was inundated by the stream of reality. The river, which once was full of legends, had gone and disappeared. That is kind of my profound pessimism. Nevertheless, as a vast country with a long history, its future is always bright. There is a descent in the matrix; there is her own nutrition to feed her babies; there is the power of creation to cultivate them strongly. The weak moaning finally will be drowned by the shout for joy. From this point of view, it seems, all shall be optimistic."

• Another Place Press 2020
  
• Softcover, 2nd edition with print
  
• New
  

‘The Bridgend suicide incidents are a set of suicides involving young people in Bridgend County Borough in South Wales, UK. Reports speculated that a "cult suicide" was to blame. As of December 2008, there have been twenty-four known deaths in or from Bridgend county since January 2007, though police have found no evidence to link the cases together. Many of the suicide victims were teenagers between the ages of 13 to 17.’ - Wikipedia

The idea for Suicide Machine came about in 2009 whilst checking into Gatwick Airport, London for a flight. After looking at my passport the desk attendant asked, "Bridgend, isn't that where all the suicides are?" It then dawned on me that the town where I was born, grew up in and still live, was now infamous, nationally.

So finally in 2013 I decided to start documenting “The Town With No Hope” and the people who, like me, live there. What is it that makes a 'normal' town like Bridgend end up with such a bad reputation? On the surface it is just like any other town. In fact, it's probably a step above other towns due to its near-perfect location, lying alongside the M4 corridor, a mere two and a half hours drive from London. Additionally, Bridgend sits just ten minutes away from beautiful coastlines and wonderful valleys, and is twenty minutes equidistant between Wales' two main cities of Cardiff and Swansea.

The aim of the project is to rediscover Bridgend and determine if it’s as generic, oppressive and regressive as the tabloids and other media outlets made out at the time of the suicides. What does the future hold for Bridgend; a town that is slowly being constricted by supermarkets and out of town developments? Does happiness exist here? Why has there been an exodus of most of my friends? Is aesthetic regeneration really the answer? And also, what kind of town will my daughter ultimately grow up in?

Special edition of 25 signed copies with a signed and numbered A4 print.

• Stanley Barker 2020
  
• Softcover, 1st edition
  
• New
  

Beginning in 1976, the American photographer GARY GREEN immersed himself in New York City’s burgeoning downtown music scene. 

By day a photographer’s assistant, he spent his nights at Max’s Kansas City and CBGB documenting some of the decade’s most iconic musicians and figures. Included in this collection are Lou Reed, Andy Andy Warhol, Joey Ramone, Richard Hell, Johnny Thunders, Patti Smith, Tom Waits and Debbie Harry, as well as those on the scene who witnessed musical history being made. 

This new book presents a unique vantage point on a place and time whose impact on music and culture cannot be overestimated. 

Signed copy.

• Deadbeat Club 2020
  
• Softcover, 1st edition
  
• New
  

David Billet and Ian Kline made the pictures in Rabbit / Hare on a road trip to Texas. And right away that statement is going to create a certain set of expectations among viewers of this book. Perhaps no other region in the United States comes with such a strong set of preconceived notions. So yes: you’ll see ten-gallon hats, a wayward confederate flag. Even a baptism in a watering trough.

But the real glory of Rabbit / Hare is how surely its makers have defied easy stereotypes: these pictures do not derive their palpable life from mere subject matter. In this book, butterflies and back hair are equally magical and mundane, as they should be. Qualities of light are equally qualities of sensibility. The human beings in the pictures gently revel in the pleasures of riding horses, or smoking cigarettes, or exposing skin to sun and air.

And similarly we see Billet and Kline revel in their intuition and in the quality of their inquiry. They share not only their delight in seeing a cat or a bird enjoying the light, but (somehow) also the very delight experienced by the animal itself. We understand the intimate physical communion of some ragtag street wrestlers not because of the description but rather because of the evocation of sweat and muscles and asphalt.

Rabbit / Hare will not tell us anything about how to evaluate any particular state or region or electorate. What we see instead is how to meet the world with open minds and open hearts and to make something lasting of that meeting. 

• Self 2020
  
• Hardback, 1st edition
  
• New
  

"I've never hit an animal while driving before. Neither a dog, nor a fox, nor a hare. Not even once for 20 years a bird smashed into my windshield. And, suddenly, "boom"! Smack after smack, a dozen, if not dozens of bird bodies drop beneath the dust of cloud on a gravel road. First time in my life, here in Kazakhstan. Then the second, third, until it became a common sight. I saw tiny sparrows, number of large birds, also giant eagles laying down. It certainly wasn’t a coincidence. It's a collective suicide!"

I set off on my trip through Kazakhstan and Kyrgyzstan. No specific destination, no marked points on the map, no arranged accommodation. The goal was to be on the road. Curving around mighty Altai and Tien Shan mountains, surrounded by incredibly blue lakes, or simply running straight across boundless steppes. People accidentally met on the road were also the aim. Kind and hospitable like nowhere else, but also proud and raw, shaped by the hardships of communist era. Finally, the goal was to spend these few months behind the wheel, to fulfil the childhood dream of being on the road. So that I could make the time stop. So that I could capture everything I saw in a book.

Photographs and poem © Sebastian Rogowski

Edit and sequencing: Rafał Milach

Book design © Ania Nałęcka / Tapir Book Design

Edition of 500 copies

• Buchkunst Berlin 2020
  
• Hardback, 1st edition
  
• New
  

War photographs astounding in their modernity, which oscillate between surreal-looking moments of beauty and the pure reality of war. A journey into the “heart of darkness”, now published for the first time in book form.

Dieter Keller (1909–1985) was close friends with artists from the New Objectivity and the German Bauhaus movements. These contacts shaped his artistic vision and significantly influenced his photographic compositions. In 1941/42, Keller served as a German soldier in Ukraine and Belarus. Despite a strict military ban on photographing civilians and war victims, he managed to secretly shoot several rolls of film during this period which he eventually smuggled to Germany.

From early on, Keller used serial and informal photography to create filmlike image sequences that encourage a subjective experience of reality. Even by today’s standards, Keller’s photography adheres to a modern-looking visual aesthetic, which on one hand proves the visual influence of his artistic friendships, but also clearly demonstrates that the photographer uses aesthetic perception as a key to his own reality processing and mental coping. As such, his disturbing photographs are embedded in an art history discourse with the European graphic tradition of representing the cruelty of war, as depicted in the horrifying scenarios by Hieronymus Bosch, Francisco de Goya, or Otto Dix.

Text in English and German.

Recommended..

• Buchkunst Berlin 2020
  
• Hardback, 2nd edition
  
• New
  

The photographs of the liberation of Berlin and the first days of peace by the Russian war photographer Valery Faminsky are both a historically valuable contemporary document and artistically impressive.

The archive of Valery Faminsky (1914-1993) recently found in Moscow is a unique discovery. Taken in Berlin between April 22nd to May 24th 1945, the photographs show the ruins of the city, and the everyday life of its population and the Russian troops. Recorded without any pathos or propaganda, these photographs have a humanitarian perspective on the longing for peace, and the reality of war. Both the authenticity and the closeness to the events allow the viewer to witness these historic moments intimately.

Judging by the outstanding artistic quality of his photographs, Valery Faminsky is on a par with his with his contemporaries like Yevgeny Chaldej and Robert Capa.

Now these pictures are available for the first time in a comprehensive new book with text in both English and German.

2nd edition.

• Hehe 2019
  
• Softcover, 1st edition
  
• New
  

Rinko Kawauchi created this nostalgic, serene series of images for French fashion brand agnés b. Featuring her daughter Kaoru, soon to be seven, Kawauchi reminisces about her own childhood, her process of growing up, and the future that lies ahead for the young girl. In the second half of the book Kawauchi looks back at her own life at that age, dressing her daughter in a red cardigan as a visual link to memory. A dialogue that has connected parents and children for generations unfolds. In a tender afterword, she writes to her childhood self, “In 40 years, you will be enjoying life with your daughter. And though it took time to get to this point, it was all worth living for”.

• Roshin 2020
  
• Hardback, 1st edition
  
• New
  

"Down there in the subways, I see traces of Jack Kerouac'

– Daido Moriyama

Edition of 800 copies (of which only 60 copies have the cover shown, available exclusively from Photobookstore).

Supplied with a signed postcard.

• Stanley Barker 2020
  
• Hardback, 1st edition
  
• New
  

When Judith Black moved to Cambridge, Massachusetts in 1979 with her four children, a friend asked her if they were going to be all right there. Frankly, she didn’t know.

They had just moved into a dilapidated apartment in a neighborhood that the real estate lady admitted was as good as they were going to find. The small convenience store down the block had “fuck you” fiercely spray painted on the clapboard - a less than encouraging welcome for a family that had grown up in the bucolic hippie house they shared with Black’s siblings in New Hampshire. Things didn’t seem very promising for a single mother with little income and a houseful of young children.

Over the the next two decades, Black would make a series of images that chronicled the lives of her young children, and her relationship with them.

“I quickly realized that I was not going to be able to roam the streets to make photographs. I had limited time between working at MIT as an assistant, attending classes, and being a mother. Our apartment was dark, but it became my studio.” - Judith Black

• RRB 2020
  
• Hardback, 1st edition
  
• New
  

Czesław Siegieda, born the son of Polish immigrants to England in Leicestershire in 1954, showed an interest in photography from an early age. From his teens he photographed the Polish community he grew up in, moving through fêtes and funerals with an ease only available to an insider.

The images in the book, taken between 1974 and 1981, show the staunchly Catholic traditions and national customs so faithfully maintained by the community as they rebuilt their lives following the trauma suffered during and after the Second World War. Whilst many of Siegieda’s images display a sharp eye for the absurd and all are marked by a visible affection for his subjects, his photographs of his close family are notable for their intimacy. His mother Helena, though physically robust, looks careworn and vulnerable, clutching a bucket of vegetable peelings or a picture of the Virgin Mary like a life raft whilst her husband (Czesław’s stepfather) hovers in the background, as if ready to lend a hand if needed but not wishing to intrude.

For many years the archive remained private, initially out of respect for the sensitivities of his parents’ generation: nervous of their position as ‘guests’ in a foreign land, they were determined not to draw attention to themselves. This initial impulse of discretion soon gave way to the more prosaic demands of life and work. For decades the negatives sat unheeded in a drawer until, in 2018, two years after his mother’s death, Siegieda decided that it was time to bring them out into the world. The process of digitising the archive went hand in hand with the creation of a website and the release of images on social media, posting photographs on Instagram in the expectation that they might be of niche interest to a small number of followers. The response was as overwhelming as it was unexpected; the photographs attracted the attention of many notable photographers, including Martin Parr, who encouraged Siegieda to publicise the work more widely.

The book contains over 80 images from this archive, with an essay by author and historian Jane Rogoyska as well as a foreword by Martin Parr. 

Limited edition of 600 copies.

• RRB 2020
  
• Hardback, 1st edition with print
  
• New
  

Czesław Siegieda, born the son of Polish immigrants to England in Leicestershire in 1954, showed an interest in photography from an early age. From his teens he photographed the Polish community he grew up in, moving through fêtes and funerals with an ease only available to an insider.

The images in the book, taken between 1974 and 1981, show the staunchly Catholic traditions and national customs so faithfully maintained by the community as they rebuilt their lives following the trauma suffered during and after the Second World War. Whilst many of Siegieda’s images display a sharp eye for the absurd and all are marked by a visible affection for his subjects, his photographs of his close family are notable for their intimacy. His mother Helena, though physically robust, looks careworn and vulnerable, clutching a bucket of vegetable peelings or a picture of the Virgin Mary like a life raft whilst her husband (Czesław’s stepfather) hovers in the background, as if ready to lend a hand if needed but not wishing to intrude.

For many years the archive remained private, initially out of respect for the sensitivities of his parents’ generation: nervous of their position as ‘guests’ in a foreign land, they were determined not to draw attention to themselves. This initial impulse of discretion soon gave way to the more prosaic demands of life and work. For decades the negatives sat unheeded in a drawer until, in 2018, two years after his mother’s death, Siegieda decided that it was time to bring them out into the world. The process of digitising the archive went hand in hand with the creation of a website and the release of images on social media, posting photographs on Instagram in the expectation that they might be of niche interest to a small number of followers. The response was as overwhelming as it was unexpected; the photographs attracted the attention of many notable photographers, including Martin Parr, who encouraged Siegieda to publicise the work more widely.

The book contains over 80 images from this archive, with an essay by author and historian Jane Rogoyska as well as a foreword by Martin Parr. 

Special edition 30 copies with signed and limited silver gelatin 10"x8" print of 'Pitsford Hall, Northamptonshire, England | 1978'  (Violin players image)

• Skinnerboox 2020
  
• Hardback, 1st edition
  
• New
  

"Giacomo Brunelli stalks the streets of New York with his old film camera, often for ten hours a day, looking for characters and details that are adrift in time.

His work has an air of nostalgia to it, and a film noir sensibility. The images are dark, shadowy, moody and a bit menacing — as if we’re looking through the eyes of a night detective, a voyeur or a stalker.

They provoke an unspoken narrative, offering up clues to an unknown mystery.

True to his love of old things and old ways, Brunelli shoots with a 1962 Miranda camera and prints in his darkroom."

- Jim Casper, for Lens Culture


Edition of 500 copies.

• Chose Commune 2020
  
• Hardback, 1st edition
  
• New
  

The story behind 78 tells of a promise kept after the passing of the Japanese master of photography Issei Suda, to publish a book with an original approach. Although the project originated in January 2019, 78 presents a selection of unseen photographs selected from the Suda archive in November 2019. Shot between 1971 and 1983, these photographs have never been published until this day.

In this book, Suda’s unique and profoundly urban vision unfolds in a series of contrasts and allusions. The unexpected presence of animals and children’s mischievous looks fill up the streets, adding a sense of strangeness to these everyday scenes. From Tokyo to its surrounding prefectures, the photographer’s striking world is immersed in urban energy, bringing out – with a hint of humour – its spirit. The same energy can also be found in Suda’s trademark deep and contrasted blacks, a unique hallmark of his work.

“It was only upon our return to France that I realised Suda had passed away at 78, the exact number of prints we had intuitively selected on that autumn afternoon. This book is a tribute to the great photographer he was.”

- Cécile Poimboeuf-Koizumi

Recommended.

• Loose Joints 2020
  
• Hardback, 1st edition
  
• New
  

People of the Mud is a powerful new series by Berlin-based US-Dominican artist Luis Alberto Rodriguez, made collaboratively amongst the communities of County Wexford in Ireland, where ancient tradition and modern life rub shoulders daily.

With a background in professional dance, Rodriguez’s work pays tribute to the metaphorical weight of centuries of physical labour behind cultivating the landscape and maintaining cultural heritage. Images of scarred limbs and hands, weathered faces and choreographed bodies appear as a cartography of this labour, reflecting how culture both shapes and is shaped by individuals. Elsewhere, we see the exaggerated glamour of modern female Irish dancers taken out of the glitzy ballrooms and into the fields, creating a rupture across time and space.

While in Wexford, Rodriguez was struck by the intense physicality of the sport of hurling. Considered to be the fastest sport on grass, while watching slow-motion footage of hurling Rodriguez saw that within seconds the players would go through pushing, shoving, grabbing, hugging, knocking each other down and then lifting one another up. Rodriguez worked with players to reform these gestures: creating sculptures out of bodies, directing and literally layering players upon one another. 

• Session Press 2020
  
• Softcover, new edition
  
• New
  

We Have No Place to Be (originally published by Soshisha in 1982) launched Hashiguchi’s illustrious 40-year career, and remains widely regarded as one of the photographer’s seminal early works. This new edition from Session Press, supervised and edited by Hashiguchi himself, is comprised of 139 b&w photographs, including more than 30 previously unpublished images. 

In the early 1980s, Hashiguchi began to document the plight of the young with his debut work, Shisen. Stifled by the mounting pressures posed by an increasingly oppressive education system and home life, these youths sought out their own identities on the streets of Tokyo—a lost tribe desperate for self-expression, repelled by a society that sang the praises of abundant riches and stability. Turning his lens on the global stage, Hashiguchi traveled through Liverpool, London, Nuremberg, West Berlin, and New York in a quest to further chronicle communities of disenfranchised youths abroad. In these five cities, Hashiguchi witnessed the complex cocktail of self-destructive discord lurking beneath the superficial excesses of city life. Revealing the entrenched drug addiction, racism, anti-immigrant sentiment, unemployment, and poverty that pervaded urban centers then as now, Hashiguchi’s photos challenge the viewer to reexamine what we have both become and lost.

The complexities of youth have served as a captivating theme throughout the annals of photographic history. Photographers such as Danny Lyon, Bruce Davidson and Larry Clark made masterpieces with their investigations into the subcultures of renegade bikers, street gangs, and rebellious adolescents teetering on the dramatic cusp of adulthood. However, Hashiguchi is distinguished by a uniquely unwavering dedication to this theme. The sheer breadth of his travels in Tokyo and the West alike, coupled with a rapt intensity for documenting the “troubled youth” of the 1980s, evinces a scale and specificity rarely attempted and arguably even unrivalled.

Since its initial publication in 1982, We Have No Place to Be has influenced generations of artists and photographers in Japan. One such artist and close friend is none other than Yoshitomo Nara, who has contributed an essay reflecting upon the legacy of the publication since its original release as well as his own time spent as a youth in Europe during the ‘80s.

• Sokyusha 2020
• Softcover, 1st edition
  
• New
  

"My new book The Dreaming contains 86 black and white images selected from my 27 years’ career in photography and traveling. When I turned 50 last year, I decided to go through all the black & white negatives I had taken so far. Every moment of the journeys may have been vision of dreams – that’s what I thought when I tracked down my archive and such a thought gave me a hint to make this book."

- Yasuhiro Ogawa


Edition of 500 copies.

Signed copy.

• Self 2020
  
• Hardback, 1st edition
  
• New
  

• Tira 2020
• Softcover, 1st edition
  
• New
  

This book is published within the project OMNE, to coincide with the exhibitions in Italy 2019-2020;  At home in Sweden, Germany and America.

The twenty photographs presented in this book were taken during photographic explorations in Sweden, Germany and the United States, the fruit of almost thirty years of work by the artist, and bring together a selection of unpublished pictures that are not in his well-known trilogy Sverige, Deutschland and Amerika. The sequence is in strict alphabetic order, following the names of the places Johansson came to on his way across each of the countries, and at the same time introduces a chronological reading that recalls key phases of his life.
 
Comes complete with a selection of car stickers.

Edition of 1000 copies.

Signed copy.

• Self 2019
  
• Softcover, 1st edition
  
• New
  

New limited editiion publication published to commemorate   Gerry Johansson receiving the Lars Tunbjörk Foundation Prize 2019. The photographs of Borås  (Lars Tunbjörk home town)  were taken in 1997 and in 2019.

Edition of 350 copies.

Signed copy.

• Mack Books 2020
  
• Softcover, 1st edition
  
• New

In the early 1970s, Lew Thomas set out to disrupt photography in San Francisco. Tired of the mystical thinking and emotionalism that had underscored Bay Area photography since the 1940s, Thomas pursued a photographic practice grounded in ideas gleaned from conceptual art and Structuralist philosophy. A cohort of other photographers, including Donna-Lee Phillips and Hal Fischer, embraced Thomas’ mission, joining him in what became known as the ‘Photography and Language’ movement, named after a book and group exhibition of the same title produced by Thomas in 1976.

Thomas, Phillips and Fischer were all extremely active in the mid to late 1970s. In addition to making their own artwork, they published essays, reviewed shows and organized exhibitions. Under the name NFS Press, Thomas published a number of books designed by Phillips, including Structural(ism) and Photography (1978), which featured Thomas’ work; Eros and Photography (1977), which was edited by Phillips, and two books of Fischer’s work: Gay Semiotics (1978) and 18th Near Castro Street x 24 (1979).

Published in conjunction with an exhibition featuring photographs by these three artists that will be on view at the San Francisco Museum of Modern Art January 4 – August 9, 2020, this volume assesses their work, their relationship to one another and their place in the history of photography in the 1970s.

• Mack Books 2020
  
• Hardback, 1st edition
  
• New
  

"These images are arresting, seductive and sometimes risqué; liberating them from their original contexts, Gegisian has combined them into riotous collages, matching colour, form and subject to reveal some of their hidden logic" – Calvert Journal

In Handbook of the Spontaneous Other, Aikaterini Gegisian brings together a diverse range of found photographic material produced in Western Europe and the USA during the 1960s and 1970s. Composed of a series of 59 collages, the book playfully recontextualises images from popular culture that Gegisian has sourced — from pornographic magazines, tourist catalogues and National Geographic spreads — in order to subvert the way that the body, nature and pleasure have been represented in Western capitalist fantasies.

Divided into nine chapters that follow a metaphysical narrative of colour and sensation, the book ultimately seeks to locate a ‘spontaneous other’; a notion of the self and of pleasure that exists beyond the confines of popular culture and its dominant modes of representation.

Signed copy.

• Mack Books 2020
  
• Softcover, 1st edition
  
• New
  

Deeply affected by Donna Haraway’s writing, New Skin is Mayumi Hosokura’s proposition for a new way of thinking about identity, the body and desire. Its origin is one single, large-scale digital collage which Hosokura created using clippings from old gay magazines, statues, and found selfies, together with her own photographs — specifically choosing to use images of male figures only. Subsequently cut into 12 separate pieces the resulting fragments blur the boundaries between man and woman, human and animal, living and non-living beings; hybrid works that reimagine what it means to be human and which unsettle social conventions of desire. Drawing on feminist theory and current technological innovations, New Skin anticipates the future of the body in a time of advancing digital and bio-technologies.

Paperback with Japanese fold, printed with metallic inks.

Signed copy.

• Kaunas 2019
  
• Softcover, 1st edition
  
• New
  

Every moment contains multiple possibilities, though sometimes we cannot feel it. Small decisions, small gestures, and small actions ripple outwards from our bodies into the lives of others, collapsing the many possibilities into the determination of reality. With a casual and careless stroke, we can crush the spirit of another in passing without any awareness of having done so. Equally, we can unknowingly radiate to others the inspiration and joy to live another day. Our deepest acts of both cruelty and kindness may in fact be invisible to us. 

In The Kindness of One, photographer Margaret Lansink and poet Rene van Hulst contemplate the great potential within a single person’s act of kindness. The couple were inspired by events in 1940, during World War II, in which thousands of Jewish people were trapped in Kaunas, Lithuania between the advancing German troops and the Russian army taking over the Baltic states. On July 24th, the Dutch counsel in Kaunas, Jan Zwartendijk, took personal action and, even though he did not know the Jewish refugees, began to issue visas. In only two weeks, he issued 2,345 visas and saved the lives of more than 6,000 people. The Japanese counsel of Kaunas, Sugihara, likewise issued visas that enabled the people to travel through Russia and reach Japan by boat.

Compared to the scale of history, most days in modern life are banal, filled with administrative tasks like checking email, doing office work, and running household errands. Yet what is a visa but some small piece of administration?

In her black and white images, Lansink traces the feeling of everyday saviours like Zwartendijk through an intuitive view of Kaunas and Japan. She mixes scenes from ordinary daily life with shots of blurred confusion, and layered scenes with reflections that hold us apart from what we see. In his series of short poems, van Hulst muses on the potential of our human existence: we are all afraid and alone, together. In combination, the photographs and words dwell in the possibility of any given moment for a person to choose fear, apathy, and anger, or to choose compassion and kindness. Gently, they urge for kindness.

Signed copy.

• IBASHO / the(M) Editions 2020
• Hardback, 1st edition
  
• New
  

In the infinite flow of everything, people come and go in our lives. While the presence of some can be so subtle that we hardly register when it begins or ends, with others it’s far clearer: they enter, or leave, with a bang.

In Borders of Nothingness, Dutch photographer Margaret Lansink (b. 1961) dwells in the transitional ambiguity of her adult daughter’s decision to suspend contact with her, photographing landscapes and nude women whose disappearing presence raises the same haunted question: is this the moment you were gone?

As time passed, Lansink and her daughter reconnected to investigate whether their break could be mended. Lansink then began to revisit and reinterpret Borders of Nothingness in a physical practice that mirrored their emotional efforts of healing. Working from the Japanese practice of repairing ceramics with gold leaf, she combines her images, severs them, and mends their breaks with gold leaf to put hope into the possibility of a bond that is stronger and more beautiful because it had once been broken.

Edition of 300 numbered copies.  Signed copy.

• Deadbeat Club 2020
  
• Softcover, 1st edition
  
• New
  

Entangled encapsulates a pivotal moment for Maude Arsenault’s work, representing a shift in perspective and personal responsibility. “After years dedicated to creating glorified images of women,” she says of her success in fashion photography, “I came to question my role and influence in the transmission of models of femininity.” Albeit informed by a progressive, non-binary upbringing, this introspection is ultimately necessary now – in the context of motherhood as she raises three children including a young woman.

When speaking about Entangled, Arsenault invokes the French word carcan – meaning “ploy,” or “ambush,” or “ideological trap” – to explain the underlying motivation for making the spare and evocative pictures in this debut monograph. By which she means that becoming an adult and a parent have given her distance and perspective on the cultural demands made on the bodies and societal roles of young women, and particularly on life choices which have been constricted or even foreordained. Arsenault calls the work “a poem, an ode, a shout out,” and one senses that the quiet power of the book lies in contradictions still unresolved even as the author gains in experience and independence. “I feel often trapped in the person I have been trying to be my entire life,” she says in a touching and revealing statement, one that perfectly echoes the finely calibrated tensions and the tentative triumphs evoked in these pages. “Now I stand, shaky but alive, looking away at my world as a female with the best possible hope.”

Edition of 500 copies.

• Editions Bessard 2019
  
• Hardback, 1st edition with print
  
• New
  

"The Sea of Love is a book that samples the cultures I have lived in over the decades. Its also a book that samples the way I work, how that work has evolved and how processes of obsessive behaviour have been compressed into research via the device of the book. Its also a book that interrogates the human condition, desire, family, territorial peculiarity and otherness. The opening chapter is reflective of the brutal “you can only worship me, you cannot leave me” love the populist despot offers an entire population enforcing loyalty to Big Brother through fear, buttressed through a massive apparatus of security and repression, as well as systematic brainwashing.

The following chapter riffs off an open ended love obsession with Francisco da Goya’s La Maja. His depiction of her is a sea of love. The first time I saw her in the flesh, at the Prado Museum, I stood in front of her for hours, swimming through her, around her, longing for the impossible catharsis of requited love to break over me.
Each chapter needed to reflect the love narrative in my life driven as it is by diverse, impossible to anticipate contingencies. This career of mapping emotion as a photographic process has been on a long slow burn, muted or sensitised by shifts in geography and body chemistry with flexing seasonal spikes that are as unpredictable as they are endless. It took me years to ride this lovely dragon in a way that made any sense at all other than the raw first thought best thought addiction I had to that kind of life."

_ Max Pam

Edition of 1000 copies.

With signed print (see image).

• Mack Books 2020
  
• Hardback, 1st edition
  
• New
  

Transparencies: Small Camera Works 1971-1979 offers an alternative account of one of the most fabled episodes in photographic history: the cross-country journeys that produced Stephen Shore’s luminous new vision of the American landscape, Uncommon Places. Along with his large-format camera, Shore also brought a 35mm Leica on his travels. The images made with it, on luminous colour slide film, are intimate, spontaneous and personal, while retaining Shore’s studied formal sensitivity. In these entirely unseen photographs, a parallel iteration of an iconic vision emerges like a piece of music played in a new key.

The vocabulary is familiar: highways and homes, phone boxes, fast food and sun-strewn parking lots. But the alternative format unmistakably re-envisions these subjects through distinct experiments with composition, attitude, and colour. Transparencies uncovers both a detail-oriented survey of the American landscape of the 1970s and a rigorous, imaginative exercise in form by an undisputed modern master.

• Mack Books 2020
  
• Hardback, 1st edition
  
• New
  

In Picture Summer on Kodak Film, a poem by two sisters echos across Fulford’s photographs, comprised of recurring motifs: time, test strips, refracted light, rainbow colour, and distortion through shadows. Characters and places are repeated in kaleidoscopic compositions throughout this vivid sequence. Though taken across the world (in Canada, Italy, Japan, Mexico, Nepal, Thailand, USA and Vietnam), these photographs come together to create a singular visual language: one bright, timeless, fictional place. A place imbued with the unexpected beauty, humor and meaning, that one has come to expect from Jason Fulford.

Signed copy.

• Self 2020
  
• Hardback, 1st edition
  
• New
  

New book featuring an evocative series of Night photos by Jan Töve.

Edition of 600 copies.

Signed copy.

• Spector 2019
  
• Hardback, 1st edition
  
• New
  

In 2011 the American photographer Jeffrey Ladd moved to Cologne, Germany, and began photographing his surroundings while learning the basics of the German language. In the process, he collected lists of interesting German vocabulary words (professions, places, things, common terms, and the outdated), which he juxtaposes with his black-and-white photographs; two different types of language—one visual, one verbal—describing a sense of his new home. Borrowing the title from Mark Twain, The Awful German Language embraces a state where the combination of word and photograph can resonate or remain dissonant and confused depending on the individual reader. An index of definitions in English at the back of the book is provided as a learning tool, but one that requires some work on the part of the learner to decipher its code.

• Setanta 2020
  
• Hardback, 1st edition
  
• New
  

“I’m from a small town in Northern Finland surrounded by a vast, sparsely populated wilderness. Most pass through the town on their way someplace else without ever knowing it was a hotspot for UFO sightings in the 1960’s.

Unaware of this history myself, it wasn’t until I read my grandfather’s book that I learnt of the incredible stories of supernatural events, bravery and struggle against hardship in what is largely a barren land. Already suffering from dementia, he was unable to answer any of the questions I had so I went looking for the answers. I turned to the people who had seen the mysterious lights, to newspaper archives and my family’s photo albums from the era.

The UFO sightings coincided with a time of great struggle for Northern Finland. People flooded from the countryside to the cities in search of jobs leaving abandoned houses scattered across this beautiful but harsh landscape. It’s no wonder that the UFO sightings embodied a fear of the future, the unknown and the inexorable shift in lifestyles and livelihoods going on around them. Some reacted to the mysterious lights with fear, some took them as a sign they were not alone.”

– Maria Lax

Some Kind of Heavenly Fire is Maria Lax’s first monograph. Inspired by her grandfather’s book she combines her own photography with family archive and newspaper cuttings to pass on the essence of the bewildering stories relayed to her throughout her youth. Using these elements the book weaves together a delicate and ambiguous narrative, about a small town with a big secret.

Edition of 750 copies.  Choice of mustard or dark green cover.

• Dewi Lewis 2019
  
• Hardback, 1st edition
  
• New
  

Centralia exposes hidden crimes of war as an indigenous people fight for their survival. In war, truth is the first casualty and Centralia explores the unsteady relationship between reality and fiction and how our perceptions of reality and truth are manipulated.

Combining tropes of documentary and fiction, art historian Emilia Terracciano, writing in 1000words magazine, has called Centralia a ‘hallucinatory reflection’ where an invisible conflict between a guerilla army, an indigenous people and the Indian state is associated with wider issues of environmental degradation. Such exploitation comes at a price: the transmogrification of violence into the de-facto language of politics. The voice of resistance is buried by alternate facts. Freedom is shrinking and what we say and who we are is being obscured.

Poulomi Basu is an Indian transmedia artist, photographer and activist. Widely published and exhibited, her work explores the way in which the formation of identity becomes entwined with geopolitics, revealing the hidden power structures buried deep within our societies. In 2018 the Centralia work was recognised through the award of the Photographic Museum of Humanity Grant Main Prize. A Magnum Foundation Social Justice Fellow and grantee, Poulomi is known for advocating the rights of women through her work and in 2019 Amnesty International noted her as an important and brilliant ‘human rights activist’. She also featured on ‘The Conversation’ (BBC World Service) alongside Lynsey Addario as one of the most significant contemporary war photographers. Her immersive VR films, Blood Speaks, are collected and distributed by the Tribeca Film Institute.

Out of print, final copies.

• Mack Books 2020
• Softcover, 1st edition
  
• New
  

In 2012, Benabderrahmane returned to her home country of Morocco after 12 years, crossing the dunes and plains to create Super-8 films mapping out the ever-changing landscape. The film stills collected in this book invite us to follow the path winding between tradition and modernity. We travel to the Bouregreg Valley, a new cultural centre which symbolizes the modernity and changing physiognomy of ancestral lands. Further afield, we discover the desert plains of Chichaoua, rocky and stripped back, where sleepy villages nestle in a place where time stands still.

From these familiar spaces and bodies, in which the history of contemporary Morocco is played out with all its contradictions, Benabderrahmane invites us to experience a sensitive, mineral and instinctive Moroccan history, where stones tumble, blood clots and where the artist’s gaze comes to a place at once familiar and ever-changing.

Signed copy. English edition.

• Mack Books 2010
  
• Hardback, 1st edition
  
• New
  

The picturesque vistas and apparent stability of Switzerland have made it an elusive subject for contemporary photography. Over a five-year period (2014 – 2019), Cole found a distinctly new way to look at a country that has been the quintessence of tourist experience for almost two centuries. Fernweh muses on the German word for a longing to be elsewhere. Cole’s meditative and scrupulously composed work, made with colour film, is evocative of the hidden history of the Alpine nation as well as of its highly curated terrain. Returning to Switzerland year after year, Cole shares the patience and mild palette of luminaries of contemporary European photography — but the constructivist tension in these images is all his own. With photographs shot in every corner of the country — from Vaud to Graubünden to Lugano — Fernweh creates a vision of Switzerland that, though largely devoid of human presence, is rich in human traces; none more so than Cole’s own distinct way of seeing.

Signed copy.

• L'Artiere 2019
  
• Softcover, 1st edition
  
• New
  

I photographed August Song during summers 2013- 1018 in rural parts of Sweden; venues hidden in the woods on the outskirts of the villages. A winding road leading into the forest, hidden away on its own and divided by a fence from the world out there / the outside world.

At the back, a stage with an orchestra playing patiently through the night. Two slow dances and then two quick –  song after song; all of them about love, while the crowd move slowly around the floor.

Surrounding it all a fence, and on the outside a parking lot hidden secretly underneath the pines. A place to get dressed,  putting make- up on, fight, drink and make love. Above, a dull summer night wich never completely hides the going on in the hollow.”

- Martin Bogren

Edition of 1000 copies.