ALL BOOKS ZERO

• Photo Editions 2021
• Softcover, 1st edition with print
• New

In anywhere but here, Alison McCauley expresses the restless feeling that has haunted her throughout her life: that the place she is in isn’t where she should be, and a conviction that the next place will be better. Taken from 2008-present, these images—taken in various locations around the world—are a deeply personal reflection of the artist’s emotions, photography being a cathartic means of coming to terms with her constant desire to move. As someone who has always led a semi-nomadic lifestyle, McCauley seeks to explore the idea of not belonging. Though she feels like she is supposed to belong somewhere, McCauley doesn't want to, as she recognises that it is the wonder of this belonging that is the impetus behind her work.   

Devoid of geographical and temporal reference points, the images are figuratively and literally blurred to emphasise that this is not about a location or time, but rather a state of mind. For the viewer the series takes on a narrative of its own, unfolding like a dream sequence: a body submerged in water, a flurry of balloons released into the open sky, city lights streaming through a hotel room, and fleeting scenes captured from a car window. Just as she is drawn to movement, it is these liminal spaces that the artist gravitates towards – the chaos, the stillness, and the magic in between. “The work comes from reality, but it’s a reality that’s distorted by subjectivity,” says McCauley. “It’s an expression of my state of mind during these restless off-moments.” 

Special edition of 25 signed copies, with a signed and numbered A4 print on Hahnemühle William Turner textured paper.  See the alternative special editions available here.

Extra special edition, print made in November 2023, books signed on press in 2021.

• Photo Editions 2024
• Softcover, 1st edition, 104p
• New

“the way the light shimmers on the surface and the dark flip side of it all”

Shimmers by Alison McCauley features an enigmatic sequence of images captured in the Côte d’Azur between 2013 and 2023.  The Côte d’Azur is a destination that’s invaded by visitors and tourists year upon year. It offers a hedonistic lifestyle that attracts many in search of escapism, pleasure and fast money; a great deal happens in the shadows here.

“While working on this series, I often had a quote from Somerset Maugham in my head. He referred to the French Riviera as ‘a sunny place for shady people.’ This connected with what I saw and felt. It’s this contrast between the beautiful, shimmering surfaces and the dark, flip side that intrigues me. Shimmers is my love letter to this place … but it’s a pragmatic, eyes wide open kind of love.” 

- Alison McCauley

Printed in a mix of duotone and silver printing, Shimmers dares you to enter the dark heart of the French Riviera.

Special edition of 25 copies, with a signed and numbered A4 print on Hahnemühle William Turner textured paper.  See the alternative special edition here.

• Mack Books 2024
• Softcover, 1st edition
• New
  

‘I am writing this note while you’re still asleep. It’s still early enough that I can open the windows in my room. By the time you read this, I’ll be at work. Please pardon the strange formality of writing to you when I could just have said to you in person what I want to say. But since I have failed to say it, it is reasonable to conclude that I am having some difficulty speaking.’

Bringing together a sequence of subtle and disquieting photographs with a dozen compact short stories, Pharmakon is a surprising new work from the singular mind of Teju Cole. The photographs were taken across the globe and extend the oblique point of view he developed in Fernweh (2020). Interspersed among the images are texts that emerge like intimate signals from our age of crisis, mining further the exquisite linguistic control that characterizes Cole’s novels Open City (2011) and Tremor (2023). The result is a work of strange beauty that startles and consoles in equal measure.

Unsigned.

• Photo Editions 2022
• Hardback, 1st edition, 88p
• New

“The deeper I dug, the more the city shared it’s secrets with me.”

In his debut monograph, Nick Gervin presents a surreal look into the flip-side of American culture, all captured on the stage of the small city of Portland, Maine.

In December 2008, Gervin suffered a traumatic head injury after being assaulted, an event that would dramatically alter the course of his life. Barely able to afford rent after having recently been laid off from work in the fallout of the recession, he swiftly spiralled into poverty and addiction – a situation exacerbated by his injury, the second head trauma he’d experienced in his lifetime. Diagnosed with Post-Concussion syndrome, Gervin developed severe sensitivity to light and sound and experienced debilitating migraines which left him feeling like a “prisoner in his own body”. Favouring the dark, quiet nights over the chaos of daytime, it was during these periods of solitude and broken sleep that Gervin rediscovered photography, nocturnally roaming the streets with his camera and finding a renewed sense of purpose in the process.

What followed was a ten year pursuit of photographing the many layers of his home city which saw him capturing everything from protest marches to wrestling bouts to drunken night-time brawls and even venturing down into the long forgotten subterranean networks of tunnels beneath. As Gervin explains, “I was driven by my anxieties, trying to stay sober while I attempted to make sense of what I saw. I was making a record of a place in time; a portrait of a city that I’ve grown a deep attachment to. As time went on and I felt compelled to continue the work, I realised it was not just myself but also the city and it’s Portlanders that were at a crossroads.”

Tritone offset printed hardback with oversized reverse french fold dust jacket, 240x285mm.

Special edition of 25 copies with a 10"x8" signed and numbered archival print as shown, see the alternative special edition here.

• Important Flowers / Mack 2026
  
• Hardback, 1st edition, 240p
  
• New

In the 1970s and 1980s, while working as an art and photography teacher in Long Island, Joseph Szabo made photographs of his students, struck by the energy of a generation discovering itself in an era of rebellion and counterculture. Szabo’s black-and-white images evoke a dreamworld of adolescence as observed by a trusted outsider. Teens pose and smoke with a playful insouciance, lounge on the beach, and party at a Rolling Stones concert. Intrigued by the ambiguities of adolescent life, Szabo portrays a phase of transition shaped by self-consciousness and self-expression, and gestures to the inner depths beyond the reach of his camera. 

First published in various volumes between the 1970s and the 2000s, Szabo’s pictures influenced many photographers and filmmakers. In this definitive new book, he brings together renowned and unseen work to form an unforgettable portrait of a generation and a timeless depiction of coming of age. 

With new texts by commissioning editor Sofia Coppola and Kim Gordon.

The signed edition includes an extra image plate signed by Joseph Szabo and glued into the inside back cover.

• Self 2025
• Hardback, 1st edition
• New

The Roma people, often referred to as Europe's forgotten nation, have endured centuries of displacement, discrimination, and marginalization. Originating from northern India over a thousand years ago, the Roma began a long and complex journey across continents—driven by a mixture of forced migration, persecution, and the search for a place to call home. Today, millions of Roma live across Europe, yet they remain on the periphery of society, both literally and figuratively.

Edition of 100 copies.  Signed copy.

• GOST 2026
  
• Hardback, 1st edition, 176p
  
• New

Holy Cow! is a romp through 20 years of family photographs by Melonie Bennett. The black and white images in this unconventional family album were made between 1990-2011. They depict the rituals, traditions, dramas, laughter, gatherings, the dogs and the drunken exploits alongside quieter moments of reprieve—they show the rollercoaster of human life. 

‘In high school, I was shy and naive. When my father spread manure in fields that bordered classmates’ homes, I wanted to be invisible. Being the oldest, I thought I had to behave. I never dared to party or skip school. It wasn’t even an option. My siblings sure made up for it—they were wild. But I found my groove. I took a high school darkroom class, at the same time that I took on the role as the designated driver for family and friends to parties. This gave me the license to observe and take pictures of what other people, including my family were doing. And I didn’t have to drink! What a gift from God.’

Bennett and her siblings grew up on a dairy farm and although the family lived under constant stress, they coped by laughing, eating, fighting then talking and pretending everything was okay. She has always been drawn to photograph the absurd and unexpected—a dog wearing cowboy boots, boys playing cards in bras, going home at 2am after a moose hunt, college kids streaking through the farmland and the juxtaposition of pregnant and beer bellies. Humour and irony were highly prized in the Bennett household, giving relief from a daunting heaviness. Intertwined with the photographs are recollections and stories by the photographer’s brother, Merritt.

‘As photographing my family became more routine, Merritt thought it would be clever to start gifting me a single, unwrapped roll of film on these occasions. He would just laugh and say ‘that’s all you’re getting’—mocking me, my picture-taking and loving the ribbing he was doling out. But in fact, each time he had spent six bucks on me and had to make the effort to shop—this proved he loved me, right? I told him he should save his money and write down his stories as my gifts instead.'

• Thames & Hudson 2016
  
• Hardback, 1st edition, 144p
  
• New

Although he is best known for his work in black and white, often capturing a bohemian world of free-spirited adventure, Plossu has also shot in colour throughout his career.

This book showcases 88 bold and cinematic colour photographs, many of which are previously unpublished, dating from the 1970s and early 80s, when Plossu was resident in the US. Strikingly rendered using the Fresson carbon printing process, these images depict an unmistakably American landscape of motels and rodeos, deserts and highways; a realm that is both rugged and dreamlike, haunted by the mythic imagery of the Old West. They combine to form a memorable and atmospheric collection of work by a supremely talented photographer.

• Mack Books 2026
• Hardback, 1st edition
  
• New

In his latest artist’s book, Yorgos Lanthimos further develops his inimitable visual language and his rapidly growing body of photographic work with a beguiling collection of still photographs made around the sets and locations of his 2025 feature Bugonia. Shot spontaneously between takes, Lanthimos’s photographs present a story untethered to the film and its narrative conventions and once again he uses the possibilities of the book form to explore new modes of storytelling. Moving between offbeat compositions, uncanny portraiture, and evocative landscapes and reflections, Lanthimos weaves a tale of mystery and illusion, death and renewal, imbued with the psychological intensity and eerie modality characteristic of his work. 

The physical form of the publication  invokes the unspooling of a film reel, using an accordion or leporello fold to create a sculptural object. The resulting sequence unfurls a narrative of foreboding, violence, and rebirth, told through a progression of black-and-white into colour imagery. VISCIN’s unique visuality sees Lanthimos draw on these broad strands of his oeuvre to form a distinctive and enigmatic new world. 

Silkscreen printed leporello bound hardcover, 16.5 x 20 cm.

• Mack 2026
• Hardback, 1st edition, 256p
• New

Kashmir has been at the centre of disputes between India, Pakistan, and China since the partition of India and dissolution of the British Raj in 1947. Each country has laid claim to the land despite the persistent struggles for self-determination of those who inhabit the region. Snowdocuments Sohrab Hura’s repeated visits to the Indian-administered region of Kashmir over a five-year period, recording its passage through the three distinct phases of its winter: Chillai Kalan (harsh cold), Chillai Khurd (small cold), and Chillai Bache (baby cold).

Hura’s images trace the progression of these phases, with snowmelt evoking the wearing down of illusions and continual changes of the contested state. Across photographs of Kashmir’s landscapes and communities, picturesque imagery often gives way to residual markers of conflict and violence. Kashmir has been promoted as a paradisical tourist destination to Indian nationals, and above all as a place they can experience snow. All the while it has remained one of the most heavily militarised regions in the world. This dichotomy between beauty and brutality serves as Hura’s inspiration for the project, which is the first in a pair of twin publications exploring the social, economic, and political landscapes of Kashmir, in Snow, and Barwani, Madhya Pradesh, in a forthcoming volume, through the extremity of their seasons.

Signed to the title page.

• Zen Foto 2025
  
• Hardback, 1st edition, 96p
  
• New

With “The Wind Prays for Sublime Stillness,” Tokyo-based publisher Zen Foto presents the series that earned Toshiya Murakoshi a nomination for the Kimura Ihei Award in 2023, when he first exhibited this body of work.

Murakoshi, born and raised in Fukushima, has photographed landscapes in and around his home prefecture since the beginning of his career. The works in this book form the fourth part of an ongoing series he has been making in Fukushima since March 2011, shortly after the Great East Japan Earthquake and Tsunami devastated the region.

With “The Wind Prays for Sublime Stillness,” Murakoshi sharpens his sensibility once more: the enigmatic allure of his quiet, initially unassuming landscapes feels more pronounced, yet without compromising their sensual depth or textural richness.

“Murakoshi’s photographs capture something that cannot be easily described in words. One finds a clue in the image, draws it towards oneself, and enters into it …Every photograph in this book was taken within [Fukushima]. This is an important and unwavering truth. It’s hard to tell what most of the forms in these photographs look like. The shades of grey appear between black and white, and even the black areas aren’t completely black; it’s as if something is hiding in the depths of the black.” — from novelist Akiko Ohtake’s afterword “Not There, But Somewhere Else”

• Editorial RM 2025
  
• Hardback, 1st edition, 96p
  
• New
  

When I was starting out I could experiment and take risks. That is when I most enjoyed mywork as a photographer. I wouldn’t be surprised to find that I produced my best work attimes when I felt that I was still learning, that I was a beginner. Once I thought I knew what I needed to do and applied it to various subjects, I lost that freshness and sense of surprise: I had to secure the results and could no longer experiment in the same way. Throughout my fifty-five years as a photographer I have beena beginner several times: when I wanted to learn how to take portraits, when I started to work in colour, or when I took my first photographs of wild horses.

In 1968, at the age of twenty-two, I was studying Business Administration in Germany,but after seeing Henri Cartier-Bresson’s Spanish photographs I decided that I wouldbecome a photographer instead of a businessman. I had left Spain because I didn’t wantto do the compulsory military service under the Franco dictatorship, so I had to return toSpain with my tail between my legs, ready to do the military service after all. There were no photography schools at the time, and I learnt by pounding the streets in the town of Cuenca, while waiting to begin my military service, four years older than my fellow recruits. I worked for four hours in the morning and another four in the afternoon, following theopening hours of shops and offices. Children would follow me on the street, asking to have their picture taken; at that time taking pictures of children was considered perfectly normal. When it was time to go to boot camp I smuggled in a small Leica IIIf (from 1953 and still without a film advance lever) and took pictures surreptitiously. Had I been caught I would still be behind bars. After my military service I started to get to know Spain and I also took a trip to Yugoslavia with my first wife. Later, when she was offered a scholarship at theLondon School of Economics, we left for London. I started collaborating with agencies and magazines and could no longer be considered a beginner.

This book contains the images which taught me how to be a photographer. Now I wish I could feel like a beginner again, not to make myself younger, (although that would be good too), but to regain the sense of experimentation, discovery, adventure, and transcendence which drove my work at the time.

C. H.

Available as new and sealed or display copy with mark to rear of cover - see photo.

• Mack 2025
• Hardback, 1st edition, 392p
• New

• Mack 2021
• Hardback, 1st edition
• New

‘Like that of all serious artists, [Schulz-Dornburg's] work [is] more than how it can be described: a keen political intelligence combined with a poet’s feeling for light, stone, form and shimmering horizons.’ – The New York Times

In 1983, Ursula Schulz-Dornburg accompanied two ethnologists and an architect on a research trip to Tana Toraja on the central Indonesian island of Sulawesi. Initiated by the Royal Tropical Institute of Amsterdam, the trip was intended to “explore the changing patterns in architecture and symbolism among the Sa‘dan Toraja”. On the way back from Rantepao to Ujung Pandang airport, Schulz-Dornburg passed the distinctive houses of the Bugis or To-Ugiq people, perched on the yellow paddy fields. Fascinated by their complex, expressive architectures, she began to photograph the houses in the short time she had before leaving, realising that the structures would likely not exist in their traditional form for much longer. The result is a body of work that not only surveys the houses’ physical forms but also considers wide-ranging ideas of physical and emotional homebuilding and the precarious place of tradition in the present day.

Poised between heaven and earth and standing above the water when the rice fields are flooded, the Bugis houses reflect the creation myth of their people, in which the gods of the upper and lower worlds came together to create man to populate the uninhabited middle world. The farmers depicted by Schulz-Dornburg are likewise suspended between historic tradition and the impending pressures of the contemporary world. As they go about their work or greet her camera, they and their homes are held in the balance between past and future, mythology and everyday reality.

With these shrewd and sensitive images, Schulz-Dornburg captures life as it is built and lived within a particular culture and landscape, offering a searching reflection on the places we call home.

The signed edition includes a slip signed by the artist and bound into the inside back cover.

• Origini Edizioni 2018
• Softcover, 1st edition, 100p
• New
  

What of the neighborhood homes awash
In a silver light, of children hunched in the bushes,
Watching the grown-ups for signs of surrender,
Signs that the irregular pleasures of moving
From day to day, of being adrift on the swell of duty,
Have run their course? O parents, confess
To your little ones the night is a long way off
And your taste for the mundane grows; tell them
Your worship of household chores has barely begun;
Describe the beauty of shovels and rakes, brooms and mops;
Say there will always be cooking and cleaning to do,
That one thing leads to another, which leads to another;

- Excerpt from The Continuous Life by Mark Strand

Taking it's name from a line in the poem The Continuous Life by Mark Strand, Tell The Children by Andrea Geremia tells the story of a birth of a family.

Signed copy.   Edition of 100 signed and numbered copies only, out of print rare handmade book.

Some handling wear to this copy and faint crease to one corner, overall near fine.

• Nobody 2007
• Hardback, 1st edition, 114p
  
• New
  

In Hackney Flowers Stephen Gill has again used his east London surroundings as the inspiration for his work. This time he has collected flowers, seeds, berries and other objects from various locations in Hackney, pressed them in his studio and photographed them alongside his own photographs and found ephemera. Some of the base photographs were also buried in Hackney Wick, and the consequent staining and decay has left its imprint upon the images, stressing the collaboration with place. A parallel series within the book shows members of the Hackney public with floral details imposed upon their person.

• Nazraeli 2021
• Slipcased hardback, 1st edition
• New

“This book is an early vignette from Michael Kenna’s far-reaching photographic odyssey. Some of these photographs, made almost forty years ago, are familiar, even famous, but many have never been seen before. They have been lying in wait, stored in a series of negative files. Normally, Kenna travels extensively and is not able to keep up with printing his extensive collection of negatives. It took the Covid pandemic and lockdown for him to search through his archives, rediscover these long-forgotten images, and print them in his darkroom. These photographs reveal a Northern England from Kenna’s youth that, for the most part, no longer exists.” — From the Introduction

Michael Kenna was born in the small industrial town of Widnes in northwest England. The youngest of six children, Kenna grew up in a poor, working-class, Irish-Catholic family. He attended a seminary school for seven years with the intention of becoming a priest, after which he studied at the Banbury School of Art and later at the London College of Printing, before moving to the USA in the late seventies.

The adjoining counties of Lancashire and Yorkshire, where Kenna photographed in the early eighties, have much in common regarding their industrial development. Fiercely competitive, they share a border, a spine of mountains known locally as the Pennines, which helps to produce rain. The rise of a powerful cotton and wool industry, and the building of innumerable mills, canals, railways, chimneys and terraced worker houses, have been attributed in part to these high levels of precipitation. The local textile industry proliferated until the second half of the twentieth century, when there was a sudden, rapid decline and eventual decimation. It was during this precise time period that Kenna returned to the area to photograph, during the day and also at night.

Kenna’s early photographs of England launched his career and brought him international acclaim; yet it wasn’t until last year, 2020, that he revisited this particular body of work to find many unprinted images. These discoveries are exquisitely presented in this important new Nazraeli Press monograph, Northern England 1983–1986.

Beautifully printed on a natural textured art paper, accompanied by an introductory text by Dr. Ian B Glover, the seventy-five plates are reproduced in quadratone and bound into cotton cloth-covered boards reminiscent of the era.

Signed and numbered edition of 100 copies, presented in a custom cloth covered slipcase.

• Jiazazhi 2023
• Hardback, 1st edition
  
• Near fine

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

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

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

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

- Ruben Lundgren

Text in Chinese/English. Display copy in near fine condition.

• Photo Editions 2022
• Hardback, 1st edition, 88p
• New
  
  

“The deeper I dug, the more the city shared it’s secrets with me.”

In his debut monograph, Nick Gervin presents a surreal look into the flip-side of American culture, all captured on the stage of the small city of Portland, Maine.

In December 2008, Gervin suffered a traumatic head injury after being assaulted, an event that would dramatically alter the course of his life. Barely able to afford rent after having recently been laid off from work in the fallout of the recession, he swiftly spiralled into poverty and addiction – a situation exacerbated by his injury, the second head trauma he’d experienced in his lifetime. Diagnosed with Post-Concussion syndrome, Gervin developed severe sensitivity to light and sound and experienced debilitating migraines which left him feeling like a “prisoner in his own body”. Favouring the dark, quiet nights over the chaos of daytime, it was during these periods of solitude and broken sleep that Gervin rediscovered photography, nocturnally roaming the streets with his camera and finding a renewed sense of purpose in the process.

What followed was a ten year pursuit of photographing the many layers of his home city which saw him capturing everything from protest marches to wrestling bouts to drunken night-time brawls and even venturing down into the long forgotten subterranean networks of tunnels beneath. As Gervin explains, “I was driven by my anxieties, trying to stay sober while I attempted to make sense of what I saw. I was making a record of a place in time; a portrait of a city that I’ve grown a deep attachment to. As time went on and I felt compelled to continue the work, I realised it was not just myself but also the city and it’s Portlanders that were at a crossroads.”

Tritone offset printed hardback with oversized reverse french fold dust jacket, 240x285mm.

Special edition of 25 copies with a 10"x8" signed and numbered archival print as shown, see the alternative special edition here.

• Photo Editions 2021
• Softcover, 1st edition with print
  
• New

“The sheep stopped in their eating and looked timidly at us;
and the cattle, their heads turned from the wind and sleet,
stared angrily as if they held us responsible for both annoyances;
but, except these things, and the shudder of the dying day in every blade of grass, there was no break in the bleak stillness of the marshes.”

- Charles Dickens, Great Expectations

Situated on the Thames Estuary in southeast England, the North Kent Marshes are an overlooked but vital swathe of land. For centuries, trade has flowed in through the estuary and the surrounding wilderness harbours a rich history. In the 18th century, plague outbreaks ravaged Europe and ships were quarantined in the nearby Medway. The low-lying terrain provided the ideal conditions for smugglers, as small vessels would target ships transporting goods to the capital, allegedly sneaking the contraband down underground tunnel networks once ashore. It was against this illicit backdrop that Charles Dickens set the early parts of Great Expectations (1861), where the escaped convict Magwitch takes refuge in the marshes. 

Since 2011, Martin Amis has been photographing in the same marshland near his home, finding solace in the landscape through walking. This Land is the result of many walks over the past decade – much in the period from March 2020, coinciding with the UK’s first coronavirus lockdown. Devoid of people, Amis’ images invite a reconnection with nature: derelict industry reclaimed by the wild, grazing sheep and lone birds drifting across a monotone sky. Despite an undertone of loss and absence, Amis portrays a land that is continually being shaped by the elements and the civilisations that pass through it. If we listen closely, we might almost hear the shouts of the night watch over the gulf of time and the creaking prison hulks that once inspired Dickens.

Double hit-silver wraparound softcover
24 x 30cm, 76pp
Tritone offset printed on Munken Lynx Rough

Special edition of 25 copies, with a signed 10x8" archival pigment print on Hahnemule Photorag.  See the alternative special edition available here.


The regular edition of This Land is available here.

• Akio Nagasawa 2019
  
• Softcover, 1st edition
  
• New
  

Last November, while the “Paris Photo” fair was on, I went to Paris for the first time in two years. The main reason for my trip was some business I had to do in connection with Paris Photo.

So I thought I’d take some snaps while I’m in the city, which I could use to fill a few pages of the next issue of Record. I eventually spent one of the five days I stayed in Paris devoting myself to shooting. While taking pictures in the Saint-Michel neighborhood, Rue Mouffetard, and the area around Moulin Rouge, my memory gradually transported me back 30 years, to the time when I lived in Paris for a brief moment.
At the time I had rented an apartment at the foot of the Rue Mouffetard, and day after day I would grab my camera and take to the streets to just wander around with no particular purpose.
It was 30 years ago that I suddenly went mad and got obsessed with that idea to rent a room in Paris, where I would set up something like a private gallery. I bothered Ms. Kazue Kuramochi, an acquaintance of mine who was based in Paris, and asked her to help me find a place. I did find one, but for a variety of reasons my dream of a gallery didn’t become reality, and I ended up spending my days roaming the streets instead. I didn’t speak any French to begin with, only some broken English, and I obviously didn’t have any friends in the city. So there I was, a guy who had just turned 50, totally bewildered, and with nothing else to do than keep pressing the shutter button of my camera.

However in retrospect, even though there are a few things that I do regret, in the long run I think it was just fine that way. After all, I have two photo books of Paris, and one of Marrakesh now. Paris at the time was right in the middle of celebrating the 200th anniversary of the revolution, and the entire city was bustling.

Armed with such thoughts and memories, I left the noisy Paris Photo venue behind me, and went out to capture the Parisian streetscape.

– Afterword by Daido Moriyama


Signed copy. 

• Roshin 2026
  
• Hardback, 1st edition, 80p
  
• New

Photographed in a meadow in Tono, a region often labeled a kind of “primal origin” of Japan, Ayaka Endo’s photobook “Pneuma” depicts a group of wild horses living there as part of an experimental site. Yet Endo was able to get up close to the horses. Captivated by a sensation she describes as “from somewhere before the world is grasped through meaning and language,” she captured a series of photographs that traverses the space between her inner and the outer world, rendering the scenes before her eyes in an almost superreal yet fantastical quality.

“As I approached, taking great care not to give them any reason to be afraid, I began to sense something taking place in the space between us. Although barely noticeable, I could feel it in the cadence of our breathing, as subtle sensations in the air and on the skin. My awareness, my consciousness, expanded into the space around me, and I started pressing the shutter in unison with their breath. We had formed a connection that was instinctive and certain, yet also fragile.

As I continued to photograph, there were moments when the gap between myself and the surrounding world suddenly became less clear, and the relationship between photographer and subject less distinct. The difference between myself and the horses no longer seemed to matter.”

• Disko Bay 2026
• Hardback, 1st edition, 164p
• Imperfect - see below

Disko Bay is exited to present This Much is True by Albert Elm following his acclaimed debut What Sort of Life is This. The book weaves together Elm’s energetic snapshots and dreamlike landscapes into an original body of work that employs a raw yet playful photographic language. Through this approach, Elm reflects on life as he experiences it—at home and abroad, at this particular moment in time, shaped by his age, circumstances, and surroundings.

• GOST 2025
• Hardback, 1st edition, 92p
• New

An Extremely Un-get-atable Place is a lyrical exploration and re-imagining of the time that George Orwell spent in a remote farmhouse called Barnhill on the Isle of Jura in the Hebrides, Scotland, where between 1946-1949 he lived and wrote his classic dystopian novel Nineteen Eighty-Four.

Photographer Craig Easton was invited to stay at Barnhill and there made a series of landscape and still life images with his large format 10x8 field camera. The photographs in An Extremely Un-get-atable Place are presented alongside extracts from Orwell's diaries & letters that he wrote during his life on the island.

This is the first book of 'An Island Trilogy' - three monographs to be published over the next two years all made in the Scottish Islands.

• EXB 2023
• Hardback, 1st edition 2nd printing, 416p
• NEW

This retrospective of Fukase’s work provides an overview of one of the most radical and important photographers of his generation. Edited by Simon Baker, the Tate’s first photography curator, and Tomo Kosuga, director of the Masahisa Fukase Archives. This comprehensive book showcases 26 of the artist’s series, including many previously unpublished works, on more than 400 pages. Fukase has been a seminal figure in contemporary Japanese photography since the 1960s. In 1974, he founded the Workshop Photography School together with figures such as Daido Moriyama, Eikoh Hosoe, Noriaki Yokosuka and Nobuyoshi Araki. Fukase kept experimenting and innovating throughout his career.

English Edition.

• Setanta 2025
  
• Hardback, 1st edition, 72p
  
• New
  

Rooted in personal history and collective memory, Migration Patterns offers a powerful reflection on the enduring presence of Southern Black culture in Northern California; particularly in the cities of Oakland, San Francisco, and Ruffin’s hometown, Richmond.

The project opens with Siobhan, a poem by Enjoli Flynn-Ruffin, and is accompanied by an essay from journalist and cultural critic Pendarvis Harshaw. Together, these texts frame the book not simply as a collection of photographs, but as a lyrical meditation on legacy, migration, and the evolving meaning of home.

As a descendant of Louisianans who moved west during the Great Migration, Ruffin explores how culture is carried across distance and time. How it adapts, resists erasure, and remains encoded in language, movement, and ritual. Rather than illustrating history in a didactic sense, Migration Patterns moves with a quiet intimacy, allowing traces of Southern identity to surface through atmosphere, memory, and presence.

Woven into the work is a contemplative tension between life and death, between arrival and departure. Ruffin stands in the stillness of both birth and mourning, asking what it means not only to migrate across land, but also across spiritual thresholds. In this sense, Migration Patterns becomes not just a document of physical relocation, but a reflection on the migrations we each undergo: into being, into legacy, and eventually, into memory.

The work is especially attuned to the emotional terrain of transition. It considers what is lost and what endures when communities are displaced or transformed, and how those shifts impact one’s sense of belonging. At its heart, Migration Patterns is a reflection on lineage: on what it means to be the continuation of a story, and on the responsibility of documenting that story with care.

With this monograph, Ruffin adds a vital voice to the canon of contemporary Black photography. One that bridges past and present, personal and communal, silence and testimony.

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

Artist Siri Kaur has been photographing her family for over 30 years, and her youngest sister, Simran, is the central focus of her forthcoming book, Sistermoon. Kaur’s photographs are combined with those from her family archive to create an unconventional album, illustrating the cycles of life and transformation, whilst questioning who observes, who is seen and who belongs.

Kaur’s biography informs her work. The book opens with a timeline of photographs from her mother’s traditional family, taken in the 1950s by her grandfather. Kaur herself was born into a cult—one image in the book depicts her parent’s wedding at the Happy Healthy Holy Organization, or 3HO in 1976. After Kaur's family left the cult, her father established a rural living community in Vermont where her siblings remain today. Kaur simultaneously belonged to the family and was also an outsider. Her relationship with her family, in particular her sister, was formed and strengthened by creating photographs together. Photography enabled her to observe, catalogue, and connect.

• IBASHO & the(M) éditions, 2025
• Hardback, 1st edition, 136p
  
• New

Norio Takasugi’s first artist book As the twig is bent, so grows the tree  is published by IBASHO & the(M) éditions and focuses on silver leaf artworks. 

Takasugi’s subjects are always nature related and although the photographic negative of an image remains the same, its reproduction produces subtle differences, resulting in unique pieces of work. In earlier works he had been experimenting with various analogue photographic techniques. A turning point came with his silver leaf works, where Takasugi merges classical photography with ancient Japanese craft of printmaking. Using screen printing and sulphur reactions on silver leaf, the artist creates luminous botanical and landscape images that blur the line between image and object, reproduction and uniqueness. Because of the unpredictability of the chemical reactions between the silver and the sulphur, the outcome is different every time and never perfect. Sepia tones and control strips embedded in the work serve as both aesthetic and technical markers, underscoring the handcrafted nature of each piece.

• Zen Foto  2024
• Softcover, 1st edition, 168p
• New

The photographs in Tamiko Nishimura's 2024 publication "Looking Back" were taken between 1968 and the 1970s. They range from photographs taken while Nishimura was still a student at a photography school, to explorations of Okinawa before the Reversion Agreement came into effect in 1971, to her travels in northern Japan. Her snapshots are at once historical time capsules and expressions of Nishimura's desire to see and experience. Though rooted in the snapshot tradition, Nishimura employs a diverse and engaging photographic language to capture her subjects, from flowers growing along a road to close-ups of a crying baby or a stunning shot of a couple holding hands and embracing the sunset. Throughout the book, Nishimura's photographs seem imbued with a strangely sentimental mood, as if she were looking back from a future perspective at the moment of their creation.

“I photographed every day and travelled a lot. Looking back, it was the time when I took the most pictures. Perhaps because I had been longing for the north since childhood, I often went to Tohoku, Hokkaido and Hokuriku in winter to experience the snowy season […]
In April 2024, I went to New York for the first time for my solo exhibition. I shot 12 rolls of film in one week, taking photographs in the car from the apartment I was staying in Brooklyn to the gallery in Manhattan, and walking around near the apartment.
I couldn't help but laugh as I was taking snapshots at the market in the park near my apartment, thinking that I was doing just the same, fifty years ago.”
― from Tamiko Nishimura’s afterword

• Journal 2014
• Hardback, 1st edition
• New

It began as a way of remembering the craftspeople and laborers of my adolescence - my ever changing colleagues, who came and went like the work and who taught me, in beautiful and sometimes desperate ways, how to grow things in a difficult land. This book is about the quiet hours and days, relationships that ebb and flow, flourish or fail, and what we do and, sometimes, about all we can do. - Ken Grant

Sealed copy.

• IIKKI 2025
• Hardback, 1st edition
• New

Paul Cupido's work explores the philosophical concept of Mu, which can be translated as ‘the fertile void,’ capturing the fleeting nature of existence through photography and film. Cupido’s photographs reflect transcendent moments, bridging personal experiences with universal themes of love, time, and impermanence.

Edition of 500 copies, out of print.

• 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.

• 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.

• Akio Nagasawa 2017
  
• Softcover, 1st edition, 112p
  
• New

I am crisscrossing the central Tokyo area taking snapshots in the streets more or less on a daily basis. Within this routine, every once in a while it happens that I am suddenly overcome by a sense of bewilderment, just like a student in his first year at a photography school. What exactly am I trying to see through the finder of my camera? What is that photo that I just shot? It’s questions as utterly naïve and elementary as these that occupy my mind in such situations.

– Daido Moriyama, afterword 

Signed copy.

• Chose Commune 2024
• Hardback, 1st edition. 304p
• New 

After publishing Leaving and Waving in 2021, which presented only a glimpse of Deanna’s Dikeman’s 3-decade journey to document her family, Chose Commune is proud to introduce the photographer’s larger series in an exhaustive 300-page book: Relative Moments.

In Relative Moments, Deanna Dikeman chronicles ordinary moments of her family’s activities. From gardening to cutting cake, from filling up the bird bath to mending a piece of clothing, from mowing the lawn to picking rhubarb, one gets to discover an everyday that might otherwise go unnoticed. In this book, which was generously edited and sequenced — 200 photographs in total — one is not only meant to see the moment shot in one photograph, but all the moments that compose the story.

This project captures a visual history of the photographer family’s life, yet, there is an ongoing narrative embedded in these photographs that conveys larger, more universal truths about American culture, familiarity, and the endless source of everyday wonder that surrounds us.

Text in French/English.

• Thames & Hudson 2024
• Hardback, 1st edition
• New

During his six-year journey across the United States creating the project that became American Geography, Matt Black collected objects in the locations he visited. Each location is designated as an area of ‘concentrated poverty’ – a US Census definition for places with poverty rates of 20% or higher. Over time, the objects he found and collected began to take on symbolic significance.

• Nazraeli Press 2024
  
• Hardback, 1st edition, 16p with print
  
• New
  

In 2015, Daido Moriyama stopped in Los Angeles to photograph the westside following a museum opening of his work in Houston. For two days, he photographed in Santa Monica, Venice and the Marina, in alleyways and private homes. The resulting photographs are presented in his newest contributions to our One Picture Book Series: Daido "Uno" (black and white) and Daido "Dos" (color).

Small format hardback 6" x 8 1/2", 16 pages. Limited to 500 numbered copies, each including a 5"x7" original print that has been signed by the artist.

• Stanley Barker 2019
  
• Hardback, 1st edition
  
• New
  

Christopher Anderson began photographing New York City cops in the wake of 9/11, as the visual landscape of the city he called home began to change. Bomb blast barriers went up, cops carrying larger guns seemed to be everywhere, and whilst the increased presence of security was designed, in part, to make New Yorkers feel safe, it reminded Anderson that something was deeply wrong. Then, in the wake of Occupy Wall Street, the death of Eric Garner and the election of Trump, Anderson found himself making photographs of cops on the streets of New York City once again, as a form of unconscious protest on a larger sense of authority. On assessing the images he was making, Anderson began to see them as something entirely different than a protest or commentary on power - there was almost a sentimentality.

“I saw a portrait of a working class, immigrant America. The uniform only served as a thread on which to hang a cross section sample. The photographs felt more like a love letter to New York” - Christopher Anderson

Signed copy.

• Nazraeli 2019
  
• Hardback, new edition
  
• Near fine
  

“Todd Hido’s large color photographs of suburbia are lonely, forlorn, mysterious… and strangely comforting. Hido photographs the interior rooms of repossessed tract homes, and the outsides of similar houses at night whose habitation is suggested by the glow of a television set or unseen overhead bulb. Seldom does the similar evoke such melancholy. Yet rather than passing judgment on his anonymous subjects, Hido manages to turn the banal into something beautiful, imbuing his prints of interiors with soft pastels, and allowing the exteriors to glow in the cool evening air.”

A newly remastered edition of Todd Hido’s iconic and highly sought-after first monograph, House Hunting is published to celebrate the upcoming 20th anniversary of this important book – certainly one of the most influential and oft-cited photography monographs of our time. Printed on heavy weight matte art paper, using cutting-edge technologies in both the pre-press and production phases, this new edition of House Hunting stays true to the original design and format while delivering even more accurate color rendition and nuances in tone and saturation. It will be a welcome addition to collections lacking access to the very scarce original printings; and to those fortunate enough to own a copy of the original edition, it further illuminates the images themselves that first catapulted the artist and his first monograph to fame.

A special edition of 250 copies, featuring a numbered and signed copy of the book presented in a custom slipcase. 

Final copy which has a few small marks to the slipcase and some light wear to the dustjacket caused by removing and inserting the book into the slipcase.  See photos.  Inside is fine.

UK ONLY for this book.

• Self 2015
  
• Hardback, 1st edition
  
• New
  

The essence of Last Stop is that you might take the same route every day but what you see, the ebb and flow on the street takes on a random nature, like a series of fleeting mini soap operas. The concertina book format reflects and mimics the flow of a bus journey, but more importantly, it gives the viewer the opportunity to create their own journeys by spreading the book out and combining different images together. This moves the book away from an author-led linear narrative to one of multiple possibilities.

Edition of 950 books
Double-sided, concertina book with slipcase
20 × 16 cm
176 pages
78 photographs

Final few copies.  Signed.

• Mack 2026
  
• Hardback, 1st edition, 132p
  
• New

One morning in the summer of 2014, Irina Rozovsky woke up in a Serbian mountain village to the sound of hundreds of trumpets as a brass band festival set up in the hills. At once pleading and tragic, joyful and frenetic, the music set the tone for what would become Rozovsky’s journey through the Balkan region, including Montenegro, Bosnia and Herzegovina, Macedonia, Croatia, Greece, Romania, Bulgaria, and Albania. Profoundly drawn to the land and its people, Rozovsky created the intimate and equivocal photographs that form Mountain Black Heart. Rozovsky’s borderless vision drifts through railways, farms, open water, parking lots, fairgrounds, and graveyards, balancing vitality and life with suggestions of dark history and subtle signs of violence. Interspersed throughout are striking portraits of people and animals which emanate vulnerability and resilience. Through its loose, expressionistic approach and a compassionate engagement with the human and natural world, Rozovsky’s nomadic project pieces together a personal and kaleidoscopic view of a fragmented place.

Signed to the title page.

• Origini Edizioni 2026
• Softcover, 1st edition
• New

This is a journey invented by mind, with the images, people, and memories that inhabit it.

It is a notebook of deepest fantasies, pâle because they have been faded by time and memory.

Handmade edition of 500 numbered copies.  Text in English and French.

Video courtesy the publisher.

• EXB 2026
• Hardback, 1st edition, 104p
• New

A leading figure in contemporary photography, Hiroshi Sugimoto continually explores our relationship with time and perception through his photographic practice. The solo exhibition dedicated to him at the Soulages Museum in Rodez, from April 11 to September 13, 2026, engages his photographs in a dialogue not only with the building’s unique architecture but also with the work of Pierre Soulages, exploring shared themes: light, the primacy of black, and the horizon as a spatial and metaphysical structure.

The book Taking up the Melody, which accompanies the eponymous exhibition, explores Sugimoto’s work through the concept of honka-dori, borrowed from classical Japanese poetry, which refers to the act of revisiting a previous work in order to shift its meaning and revitalize its significance. This principle of reworking allows Sugimoto’s entire body of work to be viewed as a system of variations, where each image is constructed in a conscious relationship to preexisting forms and knowledge: the accumulation of time until the image fades (in the “Theaters” series), the reduction of the landscape to an abstract and ahistorical structure (in the seascapes of “Seascapes”), and the exploration of optical phenomena and the limits of vision (“Opticks”).

Taking up the Melody brings together iconic series—“Theaters,” “Opera Houses,” “Seascapes”—and more recent ones, such as “Brush Impression,” in which the artist moves away from photography to explore the calligraphic gesture through a polyptych of forty-eight drawings. These series are analyzed in two essays—written by Maud Marron-Wojewodzki, director of the Soulages Museum, and art historian Céline Flécheux—that explore how Sugimoto uses photography as a reflective medium. Here, the image appears less as the trace of a pre-existing reality than as a mental construction, in which time—conceived as accumulation, duration, or exhaustion—becomes a material in its own right.

English edition.

• EXB 2025
• Hardback, 1st edition, 120p
• New

In the book A Certain Nature, after Giverny, Jean Gaumy offers an original vision of painter Claude Monet's world-famous garden. Over the seasons, he has intensified his formal research into plants, creating black-and-white compositions that border on the painterly and the abstract.

A place of artistic fascination for over a century, the garden of painter Claude Monet (1840-1926) in Giverny is today one of the most emblematic sites of French cultural heritage, with its famous water lily pond, immortalized in the paintings of the Impressionist master. It was in this setting, steeped in history and beauty, that the great Magnum photographer chose to cast his eye. Benefiting from privileged access to the garden as a member of the Académie des Beaux-Arts (French Fine Arts Academy), he has turned it into a veritable laboratory for photographic experimentation over several years (from 2016 to 2024). As a keen observer of nature, armed with his iPhone, he develops a singular approach, somewhere between abstraction and naturalism, scientific sensitivity and visual poetry.

In this book, Jean Gaumy explores the richness of plants, their structures, rhythms and almost microscopic details. Through the alleys of Giverny, Gaumy not only photographs a place, he also retraces the thread of his memories and tells us a story: that of his childhood, marked by the simple joy of a family garden, a place of discovery and reverie, to which he tries to bring back to life through these images. An essay by Jean-Christophe Bailly examines Jean Gaumy's “photographic decisions” in relation to the collective imagination surrounding Giverny, and completes the book.

English edition.

• EXB / LE BAL 2025
• Hardback, 1st edition, 256p
• New

In January 2023, Donna Gottschalk met Hélène Giannecchini for the first time. Although they were separated by some forty years, they developed a closed bond. In search of images for her forthcoming book on friendship, Hélène explores Donna's archives and collects her words, her story. Deeply moved by Donna's life and photographs, Hélène set out to echo them.

Donna Gottschalk's work paints a social, political and intimate portrait of an invisible America, from the late 1960s to the 1980s. As a member of the queer community herself, and involved in the early lesbian rights movement, Donna focused on photographing people on the margins of society, with whom she lived, campaigned and worked: her relatives, friends, lovers and comrades in struggle. Her favorite mode of expression is the portrait, which she strives to capture without artifice. The people she photographs pose for her in an intimate setting, most often in her apartment, fully embracing their freedom. With a sensitive, committed and non-judgmental eye, Donna gradually builds up a family album, a collective memory.

Throughout the book, a text by Hélène Giannecchini activates, reveals and extends Donna Gottschalk's images. An essay by Julie Héraut, co-curator of the exhibition, entitled “Archive against oblivion,” looks back at the careers of the two women and the genesis of this four-handed project.

In “Being seen. On Donna, visibility, and me,” African-American photographer and art historian Carla Williams draws a parallel between her photographic practice and Donna's, a few decades apart. A selection of archives completes the picture.

English edition. 

• Mack 2026
• Softcover, 3rd edition
• New

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