All Books

• Setanta 2020
  
• Hardback, 1st edition
  
• New
  

Into the Fire is Matt Stuart’s second book of photographs following on from his critically acclaimed ‘All that life can Afford’.

Into the Fire documents the daily lives of people who live in Slab City, an off-grid community based on a former military base in the Sonoran desert, just north of the Mexican border.

It is home to travellers, dog lovers, thieves, military veterans, artists and inventors. Its population numbers thousands throughout the winter, in the summer, when temperatures can exceed 120°F (49°C) it dwindles into the low hundreds. True ‘Slabbers’ are the people who have managed to survive two summers. These are the people Matt befriended and photographed.

This is a world where people build earth covered bunkers to live in and bathe in muddy desert springs, tyres are used as decorative wreaths, and a fork in the road is signposted with an oversized plywood fork.

Slab City invites people to come as they are. Most Slabbers struggled in a world of paying rent and small talk, disadvantaged by their lack of social conformity. The Slabs provide refuge.

Accepting others flaws is a step towards accepting yourself.

SIGNED COPY.

• Setanta 2020
  
• Hardback, 1st edition
  
• New
  

Into the Fire is Matt Stuart’s second book of photographs following on from his critically acclaimed ‘All that life can Afford’.

Into the Fire documents the daily lives of people who live in Slab City, an off-grid community based on a former military base in the Sonoran desert, just north of the Mexican border.

It is home to travellers, dog lovers, thieves, military veterans, artists and inventors. Its population numbers thousands throughout the winter, in the summer, when temperatures can exceed 120°F (49°C) it dwindles into the low hundreds. True ‘Slabbers’ are the people who have managed to survive two summers. These are the people Matt befriended and photographed.

This is a world where people build earth covered bunkers to live in and bathe in muddy desert springs, tyres are used as decorative wreaths, and a fork in the road is signposted with an oversized plywood fork.

Slab City invites people to come as they are. Most Slabbers struggled in a world of paying rent and small talk, disadvantaged by their lack of social conformity. The Slabs provide refuge.

Accepting others flaws is a step towards accepting yourself.

SIGNED COPY

• Dewi Lewis 2009
• Hardback, 1st edition
• Used: Very Good (See below)

We English is a glorious portfolio of landscapes revealing the English at leisure, presented in an exquisite oversize edition. It is the result of one year’s travel around England by Roberts, documenting its landscape on a large format 5x4 camera. Informed by the photography of his predecessors Tony Ray Jones, John Davies and Martin Parr, by the romantic tradition of English landscape painting, and by the human landscapes of LS Lowry. Roberts discovers an England that’s quirky and touching, and remarkably beautiful. This is the most significant contribution to the photography of England since John Davies’s ‘The British Landscape’. His work is set in the context of the representation of England in Art by writer and historian, Professor Stephen Daniels.

Used copy with some light shelfwear to cover,  inside near fine.

Signed copy.

• Jane & Jeremy 2020
• Hardback, 1st edition with print
• Near fine - see below

“Watching from an indiscreet distance, I felt a twinge of voyeuristic guilt mixed with a sudden, poignant recollection of my own adolescent fumblings. Above all, I sensed the thrill of an anthropologist chancing upon the bizarre mating ritual of the children of the English upper middle class.”– Bob Carlos Clarke

Bob Carlos Clarke (1950–2006) was a prolific photographer, who was best known for his striking images of women which drew comparisons to Helmut Newton. This series of Public School Balls (notoriously orgiastic parties for rich teenagers) was shot in 1994 at the Hammersmith Palais, London. Containing 33 images, the series encapsulates the abandonment of youthful innocence.

Edition of 200 copies with small print as shown.    Some light scuffing/shelfwear to cover, inside as new.

• Mack 2014
• Hardback, 1st edition
• Good - very good (see below)

At first sight, reality appears chaotic and anarchic. If events have any kind of logic to them, it lies well hidden behind an overlay of banality so thick as to make it invisible. And yet, at certain exceptional moments, life slackens and reveals itself. The automaton allows its innards be glimpsed, and its mechanism becomes momentarily evident as the logic of chaos.

In his new work, El porqué de la naranjas [why oranges], Spanish photographer Ricardo Cases does not document the surface symptoms of reality, but instead renders the non-visible, the mechanistic. In his immediate surroundings – the fertile region of Levante in Spain – the photographer reveals ephemeral moments that might otherwise go unnoticed. Out on the streets he sets out to make visible the laws that regulate the universe, hunting down the elementary participles in the same vein as a nuclear physicist attempting to identify the Higgs particle. Cases uses the landscape as a laboratory, a place where these mechanisms can manifest themselves freely. The work is not a portrait of Levante itself, but of the spirit of Levante, and thus of the spirit of Spain as a whole.

Display copy with dent to spine and some marking/shelfwear to cover (see example photo).   Inside is very fine/unread.  

• 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.

SIGNED COPY.

• RM 2015
• Softcover, 1st edition
• Near fine

Dodo began with the discovery of previously unseen offcuts from the film Catch-22 in the Paramount Pictures vaults. Broomberg and Chanarin have reedited this material, transforming the seminal film into a nature documentary set in Mexico in 1968.

Near fine display copy with faint marking/shelfwear to cover.  Bilingual edition.

• Dewi Lewis 2020
• Hardback, 1st English edition
• Near fine.

Anders Petersen is a world-renowned photographer, noted for his intimate and personal documentary-style black-and-white photographs.

Petersen explores the fringes of society, and his images depict a raw, and sometimes disturbingly brutal, social portrait. Taken in the south of France,FrenchKiss is characteristic Petersen, exuding the poetic sadness, restlessness, and sense of urgency that runs through all his work. Petersen first became known for his series Café Lehmitz, the book of which is now regarded as seminal in the history of European photography. He has published more than twenty books and has been exhibited widely.

Near fine used copy.  Inside very fine.

• Koenig 2014
• Softcover, 1st edition
• Good - Very good (see below)

Anders Petersen (born 1944) has been photographing the city of Rome since the mid-1980s. He has returned numerous times, and in 2005 he was invited for the Rome Commission, a prestigious commission that has previously been awarded to leading photographers such as Josef Koudelka, Graciela Iturbide, Alec Soth and many others. He returned in 2012, and decided to photograph his lover, Julia, who was briefly visiting him there. Rome begins with Petersen's portraits of Julia, which develop into a broader investigation of the city's lesser-known monuments and byways, its cars, bars and citizens, as Petersen revisits the locations he had documented seven years previously, acutely conscious of his own mortality. These photographs, mostly taken over the course of one week with a small, unobtrusive camera, constitute a fascinating culmination in Petersen's love affair with Rome.

Used copy with wear to cover spine ends and edges.  Inside very fine.

• Stanley Barker 2021
• Hardback, 1st edition, 128pp
• New

In 1986, the American artist Judith Black was awarded a Guggenheim Fellowship with the intention of documenting a cross-country road trip with her four children. Unlike Robert Frank’s iconic Guggenheim-funded road trip 30 years earlier, Black’s mission was much more intimate. Rather than documenting America, her intention was to photograph her children, friends, and family as she traversed the country. Her itinerary included stops in New York, Chicago, San Francisco, and various sights along the way.

During the trip, Black visited her aunt at the Michigan cabin, where as a child Black and her family went each August to avoid the brutal summer heat of her hometown Springfield, Illinois. Ironically, it was there at the age of seven that Black purchased her first Brownie camera, while staying with her grandmother. 

After returning to Massachusetts, Black continued photographing family and friends during vacations, recording various celebrations, birthdays, reunions, and births.

“Sweet memories and histories embedded in each photograph.” - Judith Black 

• Xavier Barral 2021
  
• Hardback, 1st edition
  
• New
  

To celebrate the 10th title of the collection, we are publishing a new series of photographer Rinko Kawauchi. Last spring, she turned her lenses on swallows at the the birth season, and more particularly, on small nests the birds build away from prying eyes, made of ground, clay, water and dry herbs to protect their clutches. With all the poetry and sense of detail that characterize her work, Rinko Kawauchi reveals the magic of our daily life and the ephemeral beauty of suspended moments. The swallows, thanks to their sharp wings, perch everywhere with great ease and elegance, filled with an opalescent light.

This publication is part of the Des oiseaux (On birds) collection celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable. 

English edition.

Due in stock late June 2021, reserve your copy now.

• Super Labo 2021
• Hardback, 1st edition
• New

123 Polaroids is not simply a selection of 123 images from 223’s extensive and fabulous collection of Polaroid work, on which he embarked in the early 2000s from his hometown of Guangzhou, China. It is a deep dive into his intimate memories of dear ones, his inexpensive Polaroid films and his travels across China, Tibet, South East Asia, Japan and Europe. It is a panoply of his love, fashionable nudity, of expressive glaring portraits, of colorful landscapes and people, of embracing bodies in playful melancholy, of eroticism, of a sense of absence and untold more, all fashioned by the touch of the stunning imperfections of this medium and the master’s talent.

223 once told me that labeling or selecting 1, 2 or 3 of his photographs as the best ones would be extremely difficult because each one speaks about a memory, an intimate moment from a period in his life. To those words, I add that the beauty of a photograph is not just the image, with its composition, colors, albedo, and perfection or simplicity –– it is also an entanglement of actual memories, and of the sensations the image can ignite. In that light, 123 Polaroids conveys the intent and breadth of a poet, uniquely giving voice to the intercourse of 223’s intimate souvenirs, ignited sensations and 123 Polaroids.

Available with a choice of grey or pink cover, please specify preference if you have one.

Due in stock late June 2021, reserve your copy now.

• Blow up Press 2021
• Softcover, 1st edition
• New

The true story of a mother's love for her daughter, inscribed in the history of the end of the World War II and its aftermath, told by a grandson, in whose life its elements sound echo like.

The end of the WWII. Polish-German borderland. A young German woman falls in love with a Polish guy. Back then, this kind of relationship between enemies was prohibited: both of them could be killed, if that would be discovered. Moreover, she gets pregnant and is hiding her pregnancy. After the war, she is imprisoned in the camp for Germans. She gives birth to the author’s mum but, because of her poor conditions, is not able to raise her and has to give her away. 

The European borders were changed after the WWII by the decision of a few key political figures and almost all Germans were expelled (the largest forced migration in history). The woman, hoping to be reunited with her daughter, decided to stay but had to gain Polish nationality. For her, as ex-German, life in Poland was extremely difficult. She lived in the shadow of guilt and memories of what had happened in Poland during the WWII. All her family had been expelled. And it took many years for her to be with her daughter together again.

“The story of my grandmother is a story about losing identity, family, and country in the face of traumatic historic events. It represents the situation of many people and nations finding themselves struggling with finding their own identity after the war in the shadow of Nazism.Ironically, the story of my grandmother unfolds some similarities with my own. Living abroad for many years I experienced disconnection and isolation and struggled with finding my new identity. Also, there is the story of the absence of my daughter who I haven't seen for almost 3 years now.” 

- Tomasz Laczny

• Super Labo 2021
• Softcover, 1st edition
• New

“City Confessions #2 London is a mostly recent study on the city of London. Although some photos in this book go back over 20 years, the majority were taken over the past decade on numerous trips. Since the mid 1990’s, once or twice a year I find myself in London for a few days or weeks at a time and end up on long walks shooting photos with my Leica. The pictures in this book were chosen to highlight a particular shade of London I have always found interesting, Moments of weariness, furtive glances and subtle gestures within a densely populated city center as the swarms of people perform the ceremony of getting through another day.”

-Ed Templeton

The City Confessions series is a collaboration between photographer Ed Templeton and the book publisher SuperLabo based in Tokyo. Each volume presents a photographic story about a specific city that Templeton has spent significant time working in over multiple years. The series will be released periodically and later be slipcased together as offered as a set. Although the work is often documentary in nature, these books are not meant to be a comprehensive documentation of a city but rather a visual diary describing the rhythms of an urban center as Templeton wanders the streets making photographic notations on the social fabric, architecture, and details of interest. Each edition features a specific edit and sequence of photographs offering Templeton’s observation of a city and the humans existing within it, like a film set on location where the scenes play out with a cities’ well known landmarks in the background.

• Super Labo 2021
• Softcover, 1st edition
• New

Ari Marcopoulos’s new book Denied captures the artist’s distinctive vison of photography, one that is disarmingly intimate and spontaneous and ultimately grounded in an almost cinematic understanding of the way images accumulate significance when juxtaposed alongside one another. A diaristic record of work, travel, and artistic collaboration, the book, like all of Marcopoulos’s work, bears witness to the present moment we are currently living through and its inescapable relationship to other time and places. On one level Denied chronicles a trip from New York with a stopover in London to Athens, a place Marcopoulos spent a lot of his childhood vacations, staying with relatives. His uncle would take him to Olympiakos games, when the stadium resembled an ancient Greek stadium with instead of marble a concrete stepped arena, since long replaced by a modern stadium with a well-maintained green field instead of the brown dirt pitch of olden days. Marcopoulos’s book summons memories of these two states of Athens, where now affluence is hidden in a few neighborhoods while the rest of the city crumbles.

Edition of 800 copies.

• Maison CF / RRB 2021
• Hardback, 1st edition
• New

The Roadmaker is a new retrospective book of work by photographer James Barnor drawing from across his career, demonstrating his modernism and inherent skill as a colourist. The publication of the book coincides with the exhibition James Barnor: Ghanaian Modernist at Bristol Museum and Art Gallery from 17 May 2021 as part of Bristol Photo Festival, and a major retrospective of Barnor’s work at Serpentine, London from 20 May 2021.

James Barnor (b.1929) was Ghana’s first international press photographer. He came from a family of photographers and established his own studio in Accra, Ever Young in 1950. He worked from this studio at the time of Ghana’s independence whilst also selling his pictures to the Daily Graphic and Drum magazines. He came to Britain in 1959, and whilst working in a factory, he took photography evening classes at the London College of Printmaking and lessons with the Colour Processing Laboratory in Kent. He went on to study at Medway College of Arts, where he gained employment as a technician, eventually returning to Accra in 1969, where he established X23, the city’s first colour photography studio. He returned to London in the 1990s.

In 2009 the 80 year-old photographer revealed his archive to two London curators. His archive is a remarkable document of post-war modernity spanning photographs from the time of Ghana’s independence, scenes of multi-cultural London, and later images recording a strong postcolonial identity in Ghana. The metaphor of the road in the book’s title, suggests the continuity between the past and the present, tradition and progress, and the links between generations and peoples of different contents present in Barnor’s work.

The book includes an essay by Dr Damarice Amao, photography historian and curator, and is translated into English by Mélissa Laveaux.

English edition of 1000 copies.

• Maison CF / RRB 2021
• Hardback, 1st edition
• New

The Roadmaker is a new retrospective book of work by photographer James Barnor drawing from across his career, demonstrating his modernism and inherent skill as a colourist. The publication of the book coincides with the exhibition James Barnor: Ghanaian Modernist at Bristol Museum and Art Gallery from 17 May 2021 as part of Bristol Photo Festival, and a major retrospective of Barnor’s work at Serpentine, London from 20 May 2021.

James Barnor (b.1929) was Ghana’s first international press photographer. He came from a family of photographers and established his own studio in Accra, Ever Young in 1950. He worked from this studio at the time of Ghana’s independence whilst also selling his pictures to the Daily Graphic and Drum magazines. He came to Britain in 1959, and whilst working in a factory, he took photography evening classes at the London College of Printmaking and lessons with the Colour Processing Laboratory in Kent. He went on to study at Medway College of Arts, where he gained employment as a technician, eventually returning to Accra in 1969, where he established X23, the city’s first colour photography studio. He returned to London in the 1990s.

In 2009 the 80 year-old photographer revealed his archive to two London curators. His archive is a remarkable document of post-war modernity spanning photographs from the time of Ghana’s independence, scenes of multi-cultural London, and later images recording a strong postcolonial identity in Ghana. The metaphor of the road in the book’s title, suggests the continuity between the past and the present, tradition and progress, and the links between generations and peoples of different contents present in Barnor’s work.

The book includes an essay by Dr Damarice Amao, photography historian and curator, and is translated into English by Mélissa Laveaux.

Special edition with a 22x22cm Pigment print (first image shown after cover), blind stamped with the James Barnor/ Galerie Clémentine de la Férronnière official stamp and produced in an edition of 150

• Atelier EXB 2021
• Hardback, 1st edition with tote bag
• New

Following the survey monograph, this publication is dedicated to Masahisa Fukase’s emblematic series on his two cats: Sasuke and Momoe, combining unpublished and iconic images. In 1977, Fukase turned his lenses on his new companion Sasuke. Growing up with felines, he decides with the arrival of this new cat in his life that it would become a photographic subject in his own right, fascinated by this creature full of life named after a legendary ninja. Sasuke disappears after ten days and the photographer sticks hundreds of small posters (as featured on the cover of the book) in his neighborhood. A person brings back his cat, yet it is not Sasuke but never mind he welcomes this new cat with as much affection. One year later, he takes a second cat named Momoe, entering the frame as well and he will never get tired of photographing their games. They become for the Japanese photographer a boundless experimental field leading to an extraordinary body of work in its technical and visual inventiveness.

As often in his work, this series shows a form of projection of the photographer into his subject. The cat, a faithful companion who never leaves him, takes the place of his wife, eternal heartache, later represented by the iconic fleeing crows.

His cats have been the subject of several books in his lifetime and Tomo Kosuga has dug into the photographer’s archives to conceive this ultimate book as the achievement of a series of publications devoted to his cats.

With tote bag.   Due in stock w/c June 21st, reserve your copy now.


Video courtesy of Atelier EXB.

• FW 2021
• Hardback, 2nd printing
• New
  

‘Encampment, Wyoming: Selections from the Lora Webb Nichols Archive 1899-1948’ features Nichols’ own work and the images by amateur photographers she collected in the early 20th century as the proprietor of a photofinishing business in southern Wyoming. Culled from over 24,000 photographs, the book provides a dynamic visual window into the social, domestic, and economic aspects of the American Western frontier and captures an elusive sense of place through the images of this community of friends, families, and strangers.

Second printing.  Recommended

• Stanley Barker 2021
  
• Hardback, 2nd edition
  
• New
  

Christopher Anderson’s first child, Atlas, was born in 2008. He began photographing that experience in a completely organic and naive way. It was the natural action of a new father trying to stop time and not let one drop of the experience slip through. As a photographer, he had never photographed his own personal life. It never occurred to him that these photographs would be part of his “work”. They were external from what he considered his Photography. He was about two years into making those photographs when it dawned on Anderson that these photographs were, in fact, his life’s work and that everything he had done up to that point was a preparation for making those pictures.  

They became the book, SON, published in 2012 which portrayed a moment in time in Williamsburg Brooklyn, post 911 and the 2008 economic crash when artist lofts still made up the community before the luxury condos squashed the landscape. 

Pia could be called the spiritual sequel to that book. But this time, it marks a new era and search for hope in the Trump/ COVID19 reality. This time, Anderson’s daughter, Pia, is the protagonist and muse, and the backdrop is his French family’s return to Paris (Anderson became a naturalized French citizen in 2018). 

“The images portray a father-daughter relationship as well as a photographer-subject collaboration as the Pia’s takes control of her character. The passage of time comes with a certain melancholy, but also a declaration of hope that guides the photographs.” - Christopher Anderson 

2nd edition.

• Eigensinn 2021
• Softcover, 1st edition
• New

My mother moved to her new partner’s place with me in the middle of the forest called „Bremerhof“ when I was about 14 years old. I really didn’t get along with my stepdad. Not because he wasn’t my real dad or anything, but simply because we were as different as two persons can be. I also have to admit that it probably wasn’t easy for him either. He cared about money and things being organized while the only thing on my mind was skateboarding. We were completely talking at cross-purpose and both of us felt misunderstood like little boys all the time. My poor mother… 

One year later my half brother was born, Jascha. It felt awkward to me. Everything felt awkward to me at that time. I wasn’t sure how I was supposed to interact with him. About three years later I moved out and was happy to be on my own. 

After a while my mother broke up with my stepdad, so she moved with Jascha to an old farmhouse 200 meters away. I really liked Jascha but the few times I was visiting weren‘t enough to get to know him. He once told me that one day he will own a kiosk in order to make a living, which really impressed me. I gave him a skateboard but he wasn’t too much into it and always left it outside in the rain. 

• Eigensinn 2021
• Softcover, 1st edition
• New

My mother moved to her new partner’s place with me in the middle of the forest called „Bremerhof“ when I was about 14 years old. I really didn’t get along with my stepdad. Not because he wasn’t my real dad or anything, but simply because we were as different as two persons can be. I also have to admit that it probably wasn’t easy for him either. He cared about money and things being organized while the only thing on my mind was skateboarding. We were completely talking at cross-purpose and both of us felt misunderstood like little boys all the time. My poor mother… 

One year later my half brother was born, Jascha. It felt awkward to me. Everything felt awkward to me at that time. I wasn’t sure how I was supposed to interact with him. About three years later I moved out and was happy to be on my own. 

After a while my mother broke up with my stepdad, so she moved with Jascha to an old farmhouse 200 meters away. I really liked Jascha but the few times I was visiting weren‘t enough to get to know him. He once told me that one day he will own a kiosk in order to make a living, which really impressed me. I gave him a skateboard but he wasn’t too much into it and always left it outside in the rain. 

Signed copy.

• Guest Editions 2021
• Hardback, 1st edition
• New

Agua is the first photobook from Caribbean-born, Barcelona-based photographer Denisse Ariana Pérez. Driven by an obsession with humans and the human experience as a whole, her work looks to explore, expose and honour the beauty she sees in others. Water, which has always been present in both life and work, allows her to get closer by dissolving facades and removing walls to celebrate what is found within. From the colder currents of Scandinavia to the warm pink lakes of Senegal, Agua is an intimate and endless journey of human exploration that captures a vital and magical relationship between people and water. 

“I keep coming back to water scenes. I keep coming back to lakes, rivers and oceans. I like to explore the interaction of people with water. Water can disarm even the most armed of facades. Becoming one with water is not about rushing but rather about flowing. And flowing is the closest thing to being.”

10% of profits made from Agua with be donated to Face Africa. Bringing clean water and sanitation programs to rural communities across Africa, with a focus on women, education, health and sustainability. Read more about Face Africa here.

• Jiazazhi 2015
• Hardback, 1st edition
• Near fine

鼩鼱(Qu Jing) means shrew. This book tells about growth. After moving to Beijing for five years, Lin Shu wanted to put his pictures taken during life and travel into a book. He tries to express through these personal images everyone’s experience of loss and gain, let go and possession, sorrow and joy, during their growth. Brought up in Southeast China, Lin Shu was obsessed by animals in his childhood. Once occasionally he found a shrew (“Qu Jing” in Chinese) in a garden, and tried to catch it but failed. His girlfriend, who appears a lot in this book, is also a “shrew” he tries to catch all the time.

Sealed copy with very light wear to corners.

• Jiazazhi 2018
• Softcover, 2nd edition
• Near fine

The photographs in Pixy Liao’s photobook “Experimental Relationship Vol. 1” are a humorous yet sincere examination of Liao’s relationship with a younger man.

Raised in China, Liao had been brought up with the expectation that she will be the younger, less responsible part of a relationship. In the end, she got together with Moro, a man five years her junior. This divergence from the authority and power dynamic she had expected becomes a central part of her playful and very charming series.

“My photos explore the alternative possibilities of heterosexual relationships. Moro made me realize that heterosexual relationship doesn’t need to be standardized. […]
The purpose of this experiment is to break the inherent relationship model and reach a new equilibrium. Because my boyfriend is Japanese, and I am Chinese, this project also describes a love and hate relationship.” — from Pixy Liao’s introduction

2nd printing of 500 copies.

• Little Big Man 2015
• Softcover, 1st edition
• New

Sou — Koji Takiguchi’s pure confrontation with family life and death

Much of Koji Takiguchi’s 2014 photobook “Sou” concerns itself with death. It opens with photographs of his wife and her dying mother, and shortly later Takiguchi’s father-in-law’s health declines until he passes away; the family cat Ponta, too, dies in the course of the book. But there are also spurts of vitality, with the pregnancy of Takiguchi’s wife and the birth of their child. Old images of his parents-in-law, photographed on top of a bed of dried flowers (created by his late mother-in-law), are interspersed and draw a direct connection between Takiguchi and his wife’s experience of life and those of her parents – opposite a wedding photograph of his wife we find two pictures of the in-laws on their wedding day, and photos of Takiguchi’s wife with the newborn mirror those of her as a baby being held by her mother. Takiguchi’s book addresses the brevity and cyclical nature of human existence and the pain and joy that comes at the outer edges of its cycle.

“Through this intelligent arrangement, Takiguchi has permitted the viewer a catharsis of sorts, by unflinchingly recording both his own harrowing and euphoric experiences, and deftly delivering a document of profound grace and depth. Sou delivers refutation to Barthes’ statement that ‘every photograph is [a] catastrophe,’ as Sou suggests that collective life itself is not only to end in the catastrophe, but to also begin in wonder. The past, present and future are in accordance, bittersweet, but an ultimately harmonious coexistence.” (from the publisher’s description)

The book concludes with an interview text about the series’ origins and Takiguchi’s intentions (lead by Dan Abbe).

Signed to an edition sticker.

• Kozu 2021
• Hardback, 1st edition
• New

The Ogmore is an unremarkable river. From its source at Craig Ogwr (527m) it runs approximately 28km before meeting up with the Bristol Channel at Ogmore-by-Sea. It is a river that has been a constant in my life. I grew up with it and know it well. As a child almost everything I did seemed to revolve around the river - swimming, fishing, camping alongside its banks, watching the annual raft-race and just general mischief. It has taken me many years to appreciate it and its role in local society, so I felt that this was my chance to pay tribute.

Ever since I can remember, the river has been fairly healthy, full of salmon, trout, and eel, but this hasn’t always been the case. It used to run black. Heavy industry (mainly coal mining) in the South Wales valleys caused all of the rivers to run black with coal dust. The rivers were damaged significantly, and since the closure of most of the mines in the 1970s & 80’s, an extensive clean-up operation has been underway. Vast improvements have been made, the river has recovered well and the fish have returned. However, due to its proximity to certain industrial sites, issues from invasive weeds, and general detritus, the river is still far from what is considered clean.

There were many challenges during the making of this work, and for a while I didn’t think it would ever be completed. Mid-way through, In 2019, I finished a character study - Pove the Great, about a troubled local called Steve Povey. Making that short series was a deeply unsettling experience; it had a profound effect on me and triggered an existential crisis. An arduous chain of events, which I won’t go into too much detail about, then followed; family tension, job worries, financial difficulties and a frustrating absence of opportunities within photography all contributed to me very nearly hanging up my camera for good. Thankfully I have a small network of supportive friends in the photography world who helped guide me through those dark, confusing times and I have, without doubt, changed for the better since the start of this project. I’ve certainly learned a valuable life lesson: family first, photography second.

Then (of course), came Coronavirus. The project was completed during the early onset of the pandemic, when the entire country underwent lockdown and fear was palpable. Fortunately, we live in close proximity to the river and could regularly visit as a family during our ‘daily exercise’. The river was our sanctuary during this time and it provided the fix of normality that we were so very desperate for. It’s reassuring to know that the river will now be a prominent part of my children’s lives too.

Family also seeps into the project title. I never had grandparents as they had all passed away before I was born, in 1974, and yet, I was always fascinated with my grandfather on my mother’s side, Evan Jones. I felt a connection to him and think it’s probably because he was the grandparent that was talked about the most. Evan was a coal miner in the Rhondda valley all of his life - until the grand age of 69, in fact. I’ve always wondered what he was like, “a sweet, lovely, little man,” according to my mother. I miss him even though I never knew him. I imagine sitting on a hill with him, overlooking the valley, talking about past times, the ‘stay in’ strike of 1935, the simple life they led and the hardship and oppression of working for the greedy pit owners. He would glaze over when prompted about the industry that destroyed his beautiful valley and in his strong Welsh accent, would begin: “Well, the river ran black, you see.”

Dan Wood - December 2020

• This Book is True 2019
• Softcover, 3rd edition
• New

In 1964 a Zambian science teacher named Edwuard Makuka  decided to train the first African crew to travel to the moon. His plan was to use an alluminium rocket to put a woman, two cats and a missionary into Space. First the moon, then Mars, using a catapult system. He founded the Zambia National Academy of Science, Space Research and Astronomical Research to start training his Afronauts in his headquarters located only 20 miles from Lusaka.

This self published book was finalist of Paris Photo Aperture First book award in 2012, was finalist of the Deutsche Börse award and obtained the Infinity award from the ICP in NYC in the same year. The #18 in the list of The Greatest Photobooks of All Time for Source Magazine.

Signed copy of the 3rd edition.

• Lecturis 2020
• Softcover, 1st edition
• New

Thana Faroq is a Yemeni documentary photographer, storyteller, and educator who left her warn-torn homeland to seek asylum in the Netherlands. Her work mirrors her life and provides a visual echo of her voice as she gracefully negotiates themes of memory, boundaries, and violence. Faroq has a unique approach to working with her subjects, in that she regularly returns to them to continue sharing their journey. Many of these migrant, stateless individuals were with Faroq during her transitional period. ‘I Don’t Recognize Me in the Shadows’, her first book, traces her journey and explores how everything happened: the war, the escape, the transition, and the unfamiliar.

• Stanley Barker 2021
• Hardback, 1st edition
• New

After leaving Portsmouth, New Hampshire, the city where he was born and raised, Paul McDonough went first to Cambridge, Massachussets and then New York City, where his life as a photographer began in earnest.  And while he never tired of New York’s kaleidoscopic street scene, he felt the tug of the west, and of the sprawling, dreaming country that lay between the two coasts. 

From the 1960’s through the 1990’s McDonough made numerous photographic treks, seeking to capture people, animals, architecture, land-and-cityscapes — in short, the American life, pre-internet, pre-cell phone, that was thrumming all around him. 

As Hilton Als of the New Yorker so aptly put it: “McDonough’s project, it seems to me, is a kind of record of his life as a walker… his pictures are a map of experience, of his consciousness. He is a thinker who looks through the eye of his camera to distinguish truth from reality.”

• Setanta 2021
• Softcover, 1st edition
• New

Lauren Tepfer is a 21 year old photographer and director living and working in New York City. Having grown up in southern New Jersey, Lauren is particularly adept at capturing the essence of a teenager living in suburbia. She first began shooting portraits of her friends and family at the age of 13 and has since developed an evolving body of work. Lauren has had her photo work exhibited in both LA and NYC and her films screened in NYC. She is currently studying at Parsons School of Design where she is pursuing a BFA in photography.

“Growing up with a creative mind in the boundaries of a town populated by less than 7,000, I’ve learned to create my own magic and nurture it myself.

To me, capturing my suburban surroundings in photographic form is like a digital love letter. I connect most to genuine and intimate settings and I feel that small towns are where most of that energy blossoms from. Aside from giving me good feelings, I hope that my suburban narratives can provide comfort for those growing up feeling lonely or unaccounted for.”

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

• Self 2021
• Softcover, 1st edition
• New

“I know I stayed

But my dream will go

Carried by the wind, by the clouds, by the wings.”

This excerpt, translated from the original Portuguese, is from Song of the Island Boys by the Cape Verdean poet Aguinaldo Fonseca (1922-2014).  Two thirds of the Cape Verdean population live outside the archipelago and this poem is about those who remain.  Song of the Island Boys expresses the longing and dreams of departure of the Cape Verdeans who stayed. 

This book is dedicated to the many residents of the island of Santiago, Cape Verde who invited me into their homes and who graciously agreed to be photographed.

The photographs in this book were taken in 2014.

Photos printed on a 120 gram slightly rough cotton/paper mix paper.  The pages are either a warm grey or a warm sand beige, inspired by the breeze block buildings all over the island of Santiago and by the sandy earth near the capital Praia.

Handmade edition of 18 copies only.