All Books

• 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.

• Errata 2012
  
• Hardback, books on books edition
  
• New
  

Krass Clement's Drum, photographed in an Irish pub on a single evening with only three and a half rolls of film, is now considered one of the most important contributions to the contemporary Danish photobook. Revolving around one principal character - a hunched, weather beaten old man who sits alone with his drink, Drum comments on community, the outsider, alienation and the terrors of being alone. Books on Books #16 presents every page spread from Clement's masterwork with an essay by the photo historian Rune Gade called Halting, Without Halting: On Krass Clement's Photobook Drum. 9.5 x 7 in. 55 Duotone illustrations. With essays by Rune Gade, Jeffrey Ladd.

Sealed copy.

• Thames & Hudson 2026
  
• Hardback, 1st edition, 320p
  
• New

A major reassessment of Walker Evans that shows him as a photographer both of his time and very much ahead of it.

Walker Evans (1903–1975) is one of the great enduring figures of modern photography. His vivid images are inseparable from the history of the medium and the history of the USA. The subject matter was quintessentially American – small-town life, typical buildings, commercial signs and anonymous citizens – but Evans brought to them the curiosity and fascination of an outsider. His exacting eye defined an era while also questioning it. Pop artists and Conceptualists saw Evans as a pioneer and precursor, and his sensibility continues to inspire countless younger image makers.

Walker Evans offers a broad overview of his work and its lasting influence on generations of artists. It brings together key photographs and projects spanning his entire career – from self-portraits of the 1920s to his Polaroid experiments in the 1970s – along with books and other publications that reflect his tireless capacity for observation. Together, the works reveal a creator who not only documented the world around him but also invited viewers to question the nature of photography and the perception of reality itself.

• Skeleton Key Press 2026
  
• Hardback, 1st edition, 144p
  
• New

Burnt Eyes is a thoughtful exploration of nostalgia, memory, and the intricate connection between place and identity. This beautifully printed, linen-bound collection features the striking black-and-white photography of Gilles Nicolet, paired with resonant poetry by Tanur Shah, creating an intuitive interplay between photography and verse that invites personal interpretation. The book offers a nuanced portrayal of Africa, with each of Nicolet’s photographs serving as a heartfelt tribute to the people and places that have quietly shaped his identity. Nicolet challenges the oversimplified notions of the continent while exploring the intertwined themes of beauty, memory, and belonging, highlighting the complexities of longing, loss, and the concept of home. Overall, the flowing sequence of images and poems throughout this volume suggests narratives rich in intricacy, waiting to be unraveled.

In the foreword, David Pilling, Africa editor and Financial Times columnist, captures the essence of this collection: “The photographs and poems in Burnt Eyes pulse with the sadness of nostalgia. A yearning for what has slipped away and can never be retrieved.” The work uncovers the silences and overlooked spaces that convey powerful stories about our experiences. The photographs evoke moments of solitude and contemplation, encouraging a connection to the emotions and memories that resonate within us, irrespective of our personal landscapes. Ultimately, Burnt Eyes lingers in the consciousness, prompting reflection on the actual and metaphorical landscapes that shape our understanding. It embodies the enduring spirit of Africa and the intimate stories we carry with us, wherever we may go.

• Roshin Books 2026
  
• Hardback, 1st edition, 88p
  
• New

Photographer Yasutaka Kojima, who has long explored global cities like Tokyo and New York, has chosen Berlin as his next stage. Within the layered gaps between buildings—resembling architectural Matryoshka dolls—he discovers moments that transcend time. These belong to neither the past nor the future, but exist only in the present. This concept resonates with Nakaima, a core Shinto idea referring to the "eternal now."

Shinto is Japan’s indigenous spirituality that finds divinity in nature and all things. In this work, Western architectural space intersects with a quiet Eastern sensibility, revealing the "eternal now" hidden within the streets of Berlin.

Though smaller in population than the previous two metropolises, Berlin retains the imprint of former East German urban planning. Its broad avenues and distinctive architectural structures create a uniquely expansive sense of scale—marked by a quiet strength and striking uniformity. In confronting this density, what gradually revealed itself was the city’s particular rhythm of time: slow, steady, and deeply felt.

At the heart of the work lies the Hof—the inner courtyard characteristic of Berlin’s architecture. Buildings unfold like Matryoshka dolls, layered two or three deep, with courtyards concealed between them. Neither fully interior nor exterior, these spaces dissolve the contours of past and future, allowing only the immediacy of the present to surface. Here, the boundary between self and other softens, quietly resonating with Nakaima—the ancient Shinto concept of the eternal present.

Text in English and Japanese.

Signed copy.

• Tall Poppy Press 2026
  
• Hardback, 1st edition, 100p
  
• Imperfect - see below

Distant Calls in Fading Light is Christine Ward's debut monograph. Weaving together years of her practice across Australia, Norway and the world, the book is structured like a fairy tale - the viewer leaves home, falls into somewhat of a new world. Equally inspiring and intimidating, this is a deliberately moody collection of photographs that aim to showcase the common threads across Christine's work: appreciation of nature, a celebration of the more intense parts of the world, and an asthetic that is as unique as it is compelling.

Imperfect copy with badly bumped spine end.  Pages inside unaffected by exterior damage.

• Mack Books 2025
• Hardback, 1st edition, 320p
• Imperfect - see below

American photographer David Armstrong (1954–2014), best known for his intimate black-and-white portraiture, is recognised as a member of the ‘Boston School’ of photography, a group of artists who studied in the city from the mid-1970s to the mid-1980s.

This publication marks the first posthumous exhibition catalogue of Armstrong’s work. Organised and edited by the David Armstrong Archive, the catalogue is published to coincide with exhibitions at Kunsthalle Zurich in 2024 and LUMA Arles in 2025. The book focuses exclusively on his never-before-published contact prints, featuring 286 images reproduced at a 1:1 scale. The prints, from between 1974 and 1994, showcase many of his iconic portraits of friends in Provincetown, Boston, and downtown Manhattan, including those of Nan Goldin, Cookie Mueller, Mark Morrisroe, Rene Ricard, Gary Indiana, Jack Pierson, Tabboo! (Stephen Tashjian), Christopher Wool, Philip-Lorca DiCorcia, Teri Toye, Greer Lankton, Johnny Thunders, and others.

Display copy with some light marking to the linen cover, and faint corner wear.  Inside as new. See photos.

• Akio Nagasawa 2026
• Softcover, new edition, 60p
• New

"New York is a city that I like a lot - perhaps a little bit more even than I like Tokyo. I've only been there one single time, but for me New York isn't just a place somewhere in the world - New York is for me the world itself. It certainly is a melting pot of people, concrete, steel and glass, but it is at once charged with an indefinable sort of tenderness and sadness. That tenderness and sadness lingers in a quite unique shape inside myself, which is why I sometimes think of the lights of New York like one reminisces about a lover. As I have a severe fear of flying, unfortunately I can't just hop on a plane and fly over to New York whenever I feel like doing so. When I went there last time, I shot 1,500 pictures with my half-frame camera, which ended up locked away mostly without being shown anywhere. It appeared to me that I'd like to try and collect them in an album that's like an album of a lover's pictures, and as Shimizu Gallery offered to provide the setting for the production of that album, my dream finally came true. I keep thinking that, if Tokyo, the place on "this side" that is so close yet at once so irritatingly far, is "my country", then New York is for me a far but familiar place on the other side, or in other words, "another country".

– Daido Moriyama (originally published in Another Country in New York, 1974 edition)

The latest title in the silkscreen-printed cover, hand-bound series. This new edition revisits the legendary copy book self-published by Daido Moriyama for a printing show in 1974.

Following the 2013 reprint edition published by Akio Nagasawa Publishing, this volume newly includes a large number of contact sheets that had never been reproduced before.

Numbered edition of 350 signed copies, with a silk-screen printed canvas cover.

• 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.

• Loose Joints 2026
• Hardback, 1st edition, 144p
• New

Wet Ground is a long-term body of work by British-Iranian artist Aria Shahrokhshahi, developed through repeated stays living and volunteering in Ukraine since 2019. Made from inside the war rather than in response to it, Shahrokhshahi’s activist approach rejects spectacle in favour of proximity, focusing on the rhythms, contradictions and fragile continuities of daily life shaped by prolonged violence and uncertainty.

Shot in stark black and white, Shahrokhshahi moves beyond the visual shorthand of war imagery to present scenes that are often inscrutable, absurd, domestic, performative or oblique. A recurring focus on youth and subculture finding ways to survive and thrive reflects the radical and improvised paths life in Ukraine takes in the present moment. Wet Ground lingers in the spaces around conflict, where threat, loss and anticipation shape the daily existence of a generation of young Ukrainian men and women, even as they continue to carve out moments of resistance, rebellion and joy.

The book’s title links Shahrokhshahi's survival of a rocket strike while assisting in a medical evacuation of civilians from a frontline town, where wet ground prevented the detonation of a missile, to the unstable terrain of a country undergoing rapid and violent transformation, in which safety and danger exist in close proximity and the ground itself feels unreliable. Developed alongside Shahrokhshahi’s ongoing humanitarian work in Ukraine and extending the fundraising efforts of his previous publications and exhibitions, Wet Ground is accompanied by his immersive documentary While We Heal, as well as his ongoing sculptural and installation-based works from Ukraine, forming an embodied account of a country resisting erasure while life continues under pressure.

• Aperture 2026
• Hardback, 1st edition, 160p
• Imperfect - see below

Lee Friedlander’s latest monograph captures the irony and complexity of American life, past and present.

Since the 1960s, Lee Friedlander has created incisive, often witty photographs of the American social landscape, shaping our appreciation of the quirks, charms, and idiosyncrasies of everyday life. In his latest monograph, Life Still, he brings together rarely seen and never-before-published images from his vast archive alongside compelling new work, staging a visual dialogue between past and present. From fractured, disorienting reflections in shop windows and car mirrors to deadpan observations of domestic scenes and street signage, Friedlander’s polychronic vision of American ubiquity is as comforting as it is alienating. Through the contradictions in the commonplace, Friedlander presents us with the enduring riddle of US culture: How does America seem, at once, so small and big, quiet and loud, phony and true? In Life Still, he reveals that these stubborn paradoxes of the American consciousness—the irony, humor, and self-conflict—remain as vivid today as they always have been.

Display copy with small mark to cover.  Inside as new.  See photo.

• Kominek 2026
• Softcover, 3nd edition, 256p
• New

• Setanta 2026
• Hardback, 1st edition, 120p
• New

“There are certain places which the fairies have power over at night and if anybody goes into them after dusk, he cannot come out until morning though he may be walking all night.”

Stray Sod investigates the phenomenon of the same name in Irish folklore: enchanted patches of earth that will lead astray whoever steps on them. Inspired by first-hand accounts found in the Irish National Archives, Maria Lax reimagines rural Irish landscapes through this otherworldly lens.

The stories therein describe instances in which individuals are forced to navigate a world characterised by sudden shifts into unfamiliarity and strangeness. A world in which established reference points distort and slip away, causing great distress to those experiencing it. Stray Sod draws timely parallels between these stories and the destabilizing effects of the fast-changing political and technological environment of today.

“Many of the stray sod accounts seem to take place during periods of great change, such as a time of grieving, but can be equally seen as a metaphor for depression, addiction, shifting political landscapes or rapid technological advancements that have the power to completely upend our lives. They are stories about becoming lost; about the invisible realities that can change our lives overnight, and the unknown landscapes through which we must travel.”

Coptic Bound (Exposed Spine) Hardback.  

Limited signed copies available, see dropdown.

• 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.

• Mack Books 2026
  
• Hardback, 3rd printing of 1st Mack edition
  
• New
  

In the follow-up to his critically acclaimed debut monograph Sleeping by the Mississippi, Alec Soth turns his eye to another iconic body of water, Niagara Falls. But as with his photographs of the Mississippi, Soth’s pictures of Niagara are less about natural wonder than human desire. “I went to Niagara for the same reason as the honeymooners and suicide jumpers,” says Soth, “the relentless thunder of the Falls just calls for big passion.” While the subject may be hot, these are quiet pictures. Using a large-format 8x10 camera, the photographs are rigorously composed and richly detailed. Working over the course of two years on both the American and Canadian sides of the Falls, the editing is tight and surprising. Soth depicts newlyweds and naked lovers, motel parking lots and pawn shop wedding rings. Throughout the book, Soth also includes a number of love letters from the subjects he photographed. We read about teenage crushes, workplace affairs, heartbreak and suicide. Oscar Wilde wrote of the Falls, “The sight of the stupendous waterfall must be one of the earliest, if not the keenest, disappointments in American married life.” In Soth’s Niagara, we see both the passion and the disappointment. His pictures are a remarkable portrayal of modern love and it’s aftermath.

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

• Aperture 2026
• Hardback, 1st edition, 160p
• New

Lee Friedlander’s latest monograph captures the irony and complexity of American life, past and present.

Since the 1960s, Lee Friedlander has created incisive, often witty photographs of the American social landscape, shaping our appreciation of the quirks, charms, and idiosyncrasies of everyday life. In his latest monograph, Life Still, he brings together rarely seen and never-before-published images from his vast archive alongside compelling new work, staging a visual dialogue between past and present. From fractured, disorienting reflections in shop windows and car mirrors to deadpan observations of domestic scenes and street signage, Friedlander’s polychronic vision of American ubiquity is as comforting as it is alienating. Through the contradictions in the commonplace, Friedlander presents us with the enduring riddle of US culture: How does America seem, at once, so small and big, quiet and loud, phony and true? In Life Still, he reveals that these stubborn paradoxes of the American consciousness—the irony, humor, and self-conflict—remain as vivid today as they always have been.

• Ediciones Posibles 2025
• Hardback, 1st edition, 128p
• New

“Tout est Possible” (Everything is Possible) tells the story of one of the most astonishing scams in history. In 1925, Victor Lustig (1890–1947), a professional swindler of Austro-Hungarian origin who arrived in Paris from the United States, found inspiration while leafing through a newspaper. An article discussed the deterioration of the Eiffel Tower and the high cost of its maintenance for the city council. The piece ended with an ironic question: “Will we have to sell the Eiffel Tower?”

Lustig did not hesitate. That sentence shaped a plan that would become one of the boldest deceptions of the twentieth century: to sell the Eiffel Tower… and persuade someone to buy it.

Fascinated by this story, Maite Caramés begins an investigation that leads her to wander through Paris following Lustig’s traces. Among archives, locations, and fragments of memory, she reconstructs his story and the Paris of the 1920s in a photographic series that emerged almost serendipitously: while watching the tower on the verge of disappearing into the city’s fog.

One hundred years after Lustig’s feat, Caramés discovers that the most photographed monument in the world was indeed once on the brink of disappearance… and that there is no object that cannot be looked at, photographed, and discovered once again.

The book blends elements of film noir and detective fiction within the subtle interval between reality and imagination, while Lustig himself recalls—in the first person—the memory of those glorious days.

Signed copy.

• Roma / Fundación MAPFRE 2026
• Softcover, 1st edition, 192p
• New

Catalogue of the first major traveling retrospective devoted to Dutch photographer Dana Lixenberg. Spanning more than three decades, American Images presents a nuanced exploration of contemporary American society through Lixenberg’s editorial portraits, and a selection of her most significant projects. From the emblematic Imperial Courts, initiated in the aftermath of the 1992 Watts uprising, to her portraits made in Jeffersonville (Indiana) and Shishmaref (Alaska), Lixenberg captures the essence of humanity across diverse and complex contexts. Her images transcend mere appearance; they tell stories of inequality, identity, and resilience.

• Side gallery 1980
• Set of 6 postcards
• Used: Good

Rare curio from 1980, a set of 6 postcards produced to accompany the exhibition organised by the Side Gallery and toured by the Arts Council of Great Britain.

Some wear to edges, slight marking and yellowing as to be expected.

• the(M) éditions 2026
• Softcover, 1st edition, 128p
• New

"I am trying to recapture the excitement of the early photographers, that joy of play, of interacting with light and matter. That is where it all started. I think about the status of the imprint, of the trace. What kind oft race will we leave behind? What survives accidents, fashions,life cycles, decades, centuries? These questions are at the heart of my approach." - Alexandra Catiere

In her new book, "Tout en ce lieu me survivra" ( Everything Here Will Outlive Me), Alexandra Catiere explores the memory of the landscape by layering images and traces of time. Through an experimental approach to analog printing, different temporalities meet and interact within a single image. The landscape emerges in motion, shaped by what endures, fades, or reappears.

Edition of 500 numbered copies.

Signed copy.

• Disko Bay 2026
• Hardback, 1st edition, 164p
• New

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.

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

For forty-five years, the Icelandic photographer Ragnar Axelsson has observed the farmers of his homeland during the sheep roundups. This centuries-old tradition takes place every autumn and is often carried out on horseback or on foot. In his third publication with Kehrer Verlag, Axelsson presents powerful, atmospheric blackand-white photographs that impressively document the interaction between people and their animals, as well as with the rugged landscape. Majestic rolling hills, besieged by roaring snow and rainstorms, rough lava rock, and massive rock formations convey a realistic and compelling image of the extraordinary connection between humans and nature

• Zone 2025
• Hardback, 1st edition, 116p
• New

Alone Together is an introspective photographic project by Devin Oktar Yalkın reflecting on the passing of home and the sense of longing that follows. Set in the family house in Brigantine, New Jersey, the book unfolds through a series of monochrome images that trace the subtle remnants of a life once lived there.

The monograph explores themes of impermanence and renewal, revealing how domestic spaces, once filled with emotion and routine, gradually turn into vessels of memory. Haunting and contemplative, Alone Together reminds us how spaces remember us, and how, in turn, we carry them.

• Kamel Mennour 2012
• Softcover, 2nd edition, 288p
• New

This second edition of Daido Moriyama-Remix is published on the occasion of the William Klain/Daido Moriyama exhibition at the Tate Modern end of 2012. The book was first published in 2004 by Kamel Mennour Gallery Paris, and features a wide selection of black and white and colour images taken over the entire span of Moriyama's career.

Excellent out of print title featuring some of the best Moriyama work shown in a dazzling full bleed extended montage.  

Sealed.

Note: Contains some graphic content.

• Benrido 2026
• Set of 6 collotype prints
• New

Chieko Shiraishi is a photographer whose work focuses on the primal landscapes of everyday memories. Her signature work, “SHIMAKAGE (Island Shadow),” is a series of monochrome prints featuring island and seaside landscapes from around Japan. This latest portfolio marks the second installment, following the highly acclaimed 2023 edition. Created using a technique that manually adjusts the tonal balance directly on photographic paper, the works have a fairly dark tone, making it difficult to distinguish between day and night, the present or a generation ago. The images stand as faint silhouettes against a hazy background.

Signed to the inside of the portfolio case.

Set of 6 black and white collotype prints printed by Benrido, Inc.

Print Size: 25.4 x 20.3cm. Case Size: 20.6 x 25.8 x 0.8cm


In the 1880s, the collotype printing process was introduced to Kyoto and in 1905 Benrido began producing collotypes. Collotype is one of the earliest forms of printing techniques and was invented in France in 1855 by Alphonse Poitevin as a method for photographic fine art printing.  Due to the high level of print and archival quality, it has since been used primarily as a way to reproduce and preserve Japan’s National Treasures and cultural properties. Today Benrido Collotype Atelier remains as one of only a few studios left in the world capable of producing fine colour collotype prints.

Video courtesy of the publisher.

• Benrido 2026
• Set of 6 collotype prints
• New

This is a collotype portfolio set of six pieces selected from Toshiya Watanabe’s “Somewhere not Here” series. Using an infrared filter, the images turn leaves white and the sky black, capturing real landscapes such as flowers, birds, and bridges, yet exuding a dreamlike quality, creating fantastical images that seem to lead viewers into the depths of the artist’s imaginary consciousness.

Signed to the inside of the portfolio case.

Set of 6 black and white collotype prints printed by Benrido, Inc.

Print Size: 25.4 x 20.3cm. Case Size: 20.6 x 25.8 x 0.8cm


In the 1880s, the collotype printing process was introduced to Kyoto and in 1905 Benrido began producing collotypes. Collotype is one of the earliest forms of printing techniques and was invented in France in 1855 by Alphonse Poitevin as a method for photographic fine art printing.  Due to the high level of print and archival quality, it has since been used primarily as a way to reproduce and preserve Japan’s National Treasures and cultural properties. Today Benrido Collotype Atelier remains as one of only a few studios left in the world capable of producing fine colour collotype prints.

Video courtesy of the publisher.

• Dewi Lewis/Martin Parr Foundation 2026
  
• Hardback, 1st edition, 60p
  
• NEW

‘The pictures from The Last Resort still hold very well. When I get to the Pearly Gates, those are the ones I’d probably get out first!’ – Martin Parr

This special book is being published in association with the Martin Parr Foundation to coincide with an exhibition being shown at the Foundation’s Bristol-based gallery to honour Martin Parr following his death in December. Shot around the English seaside town of New Brighton between 1983 and 1985, The Last Resort was one of the pioneering bodies of work driving British colour documentary photography and established Martin as one of Britain’s most influential photographers.

The book includes a selection of images from the iconic Last Resort series, as well as extensive archive material including photographs, contact sheets and items of ephemera from Martin’s personal collection. Isaac Blease, Archivist at the Foundation, explores the background to the project, the influences that led Martin to move from black and white photography to colour, and the initial exhibition of the work in Liverpool and then at the Serpentine Gallery in London. Peter Brawne, the  designer of the original 1986  book discusses how the design process was developed as well as the experience of working with Martin. Finally there is a short text by Susie Parr, Martin’s wife, in which she describes her perspective of New Brighton and of the first exhibition of the work at Liverpool’s Open Eye Gallery in 1985. 

• Dewi Lewis 2026
  
• Hardback, reprinted edition, 84p
  
• NEW

When Martin Parr’s The Last Resort was first published and exhibited in 1986 it divided both critics and audiences alike. Some saw it as the ‘finest achievement to date’ of colour photography in Britain whilst others viewed it as ‘an aberration’. With the benefit of hindsight there is little doubt that it transformed documentary photography in Britain and placed Parr amongst the world’s leading photographers. The book is now recognised as a ‘classic’ and copies of the first edition are highly sought after by collectors worldwide. Whilst this edition keeps the same images and sequence as the original, it includes a text commissioned from Gerry Badger who re-examines the work and its impact on British Photography. Gerry was co-author, with Martin, of the three volume The Photobook: A History.

Steering a perilous course between objectivity and voyeurism, Parr viewed the decaying holiday resort of New Brighton and its holidaymakers in a way that was new, unique and deeply disturbing. And he did so in colour, something which at the time was seen as revolutionary for documentary work. For some his camera seemed cold and cruel as it followed the working classes desperately pursuing their holiday dreams surrounded by dereliction and decay and wading through the apparently endless detritus of a pollution-ridden consumer society. Others felt it showed an affectionate, humorous and humanistic response from Parr. However it was viewed, it was undoubtedly a sharp, bitter satire of the Britain of the Thatcher years.

2026 11th printing.

• Fondation Henri Cartier-Bresson 2025
• Hardback, new edition, 156p
• New

For the first time in 70 years, the Fondation Henri Cartier-Bresson is reissuing this emblematic work by Henri Cartier-Bresson.

Published by Verve in 1955, three years after the resounding success of The Decisive Moment, The Europeans brings together 114 photographs taken by Henri Cartier-Bresson between 1950 and 1955 across ten European countries. Taken during assignments for Harper’s Bazaar, Life, Holiday, and Paris Match, these images form a unique visual testimony of post-war Europe in the midst of reconstruction.

From the revelers of Bastille Day in Paris to midnight masses in the Abruzzi, and from the funeral of George VI to the dockworkers of Hamburg, The Europeans does not aim to provide an exhaustive inventory, but rather composes a vibrant portrait of the inhabitants of a continent undergoing profound change.

Beyond national borders, the book evokes a broader sense of European identity, shaped as much by everyday life as by the major upheavals of the time.

The Europeans shared with The Decisive Moment a similar format, a sober and elegant layout, high-quality printing, and a cover designed by a renowned artist (Joan Miró for The Europeans, echoing Matisse’s cover for The Decisive Moment).

As with The Decisive Moment in 2024, the Fondation Henri Cartier-Bresson now offers a reissue of The Europeans in a smaller, more manageable and accessible format, while remaining faithful to the spirit of the original edition. Seventy years after its first publication, this reissue provides a unique opportunity to rediscover a major work of Henri Cartier-Bresson’s oeuvre, enriched with an unpublished text by Clément Chéroux that places the work in its historical and artistic context.

• Akio Nagasawa 2026
• Softcover, 1st edition, 104p
• New

“I’m so happy to have my camera!” or “I’m really grateful that photography exists!” – these are things that I sometimes say to myself, and while the idea is not new, I recently feel this more than I did before. Now you may suggest that it’s an age thing, and you do have a point there, but it’s a bit different. In fact, I have these things in mind every time I grab my camera and go out. When I walk around with my camera day by day, there is a delicate sense of pleasure that walks along with me as I copy and connect sceneries of streets and alleys through the photographs that I take. After all, it’s a photographer’s life that I’m living.

– Excerpt from the afterword by Daido Moriyama

Signed copy.

• Trespasser 2025
  
• Hardback, 2nd edition, 188p
  
• As new

Sons of the Living is a photobook about the land and people along the highways of America’s deserts. Photographed over the course of a decade in the American West’s arid and sweeping terrain, this work depicts a human capacity for endurance. Schutmaat offers an updated view of the “open road” that addresses a new era of uncertainty and anxiety. Amidst a backdrop of environmental decline, economic dispossession, and societal neglect, Sons of the Living draws attention to trouble on the road ahead and searches for our hope to withstand it.

11.75x14.75 inches. 188 pages. 90 tritone plates on uncoated paper.  

Hardback 2nd edition with dustjacket (unique to the 2nd edition)

Note: all books are as new but due to the size of the book, very faint rubbing/wear to dustjacket edges are possible. 

• Trespasser 2025
  
• Softcover, 2nd edition, 188p
  
• As new

Sons of the Living is a photobook about the land and people along the highways of America’s deserts. Photographed over the course of a decade in the American West’s arid and sweeping terrain, this work depicts a human capacity for endurance. Schutmaat offers an updated view of the “open road” that addresses a new era of uncertainty and anxiety. Amidst a backdrop of environmental decline, economic dispossession, and societal neglect, Sons of the Living draws attention to trouble on the road ahead and searches for our hope to withstand it.

11.75x14.75 inches. 188 pages. 90 tritone plates on uncoated paper.  

Softcover 2nd edition with dustjacket (unique to the 2nd edition)

Hardback edition shown in video, softcover content is identical.

Note: all books are new but due to the size of the book, very faint rubbing/wear to dustjacket edges are possible. 

• Loose Joints 2026
  
• Softcover, 1st edition, 112p
  
• New

Rude in the Good Way explores desire as both subject and method within Roe Ethridge’s complex visual bricolage of commercial glamour, errant snapshots, private sexuality and studio play.

Working through his characteristically oblique, offhand style, Ethridge lets sexuality, identity, seduction and the camera drift into the same plane, never fully separating one from the other. Loosely woven fugues of images converge, always cheekily winking toward something just out of frame: technicolor flash typologies of mouldy peaches, hyper-composite images of Lindsay Lohan, and Chanel still lifes both luxurious and lurid move alongside intimate, dressed-down snapshots of Ethridge’s collaborator Lulu Sylbert, unresolved glimpses into painter John Currin’s erotically charged studio, sarcastic self-portraits, and constant callbacks to the unmistakable image world Ethridge has built over the past twenty years, where photographs refuse to be pinned down or left unstimulated.

These fragments ask us, like the title itself, what is rude and what is not. A polished image, a casual glitch, a throwaway snapshot, a luxury still life, a screenshot from a weather station webcam? Ethridge sharpens his polychronic world to a point where desire, consumption and self-presentation overlap so completely that the photographs begin to test our own appetites: what we see, what we want and how we perform.

• Loose Joints 2026
  
• Hardback and 2 softcovers set
• New

Ethridge’s cult early studies of the American everyday return in a three-volume set revealing the origins of his style.

Loose Joints is proud to present In the Beginning, a three-volume set reuniting Roe Ethridge’s three formative, self-published books – County Line, Orange Grove and Spare Bedroom – originally released in 2004–05 and long out of print. Across these early volumes, Ethridge stages a sharp, playful inquiry into the American everyday. From rotting Florida citrus orchards to half-built suburban interiors and the static hum of strip-mall signage, each book turns on a clear typological register, where the familiar slides easily into the strange. Ethridge sets his pictures in a dialogue with photographic archetypes – catalogues, calendars, studio models, kitsch displays – using them to probe how images shape, naturalise and sometimes fracture American life.

Ethridge’s early books all emerge from loose typologies that, in their slippages, probe and complicate the aesthetics of American visual culture. From 2004, Orange Grove distills photographs made in a dilapidated Florida orchard into a study of slow collapse, a familiar symbol of American plenty quietly withering on the tree. Self-published simultaneously, 2004’s Spare Bedroom begins Ethridge’s career-long practice of jumbling and juxtaposing the commercial and the personal, in which an early commission for a furniture company unravels into a jagged mix of domestic scenes, catalogue imagery and loosely staged interiors. Finally, County Line (2005) turns to the liminal spaces of Queens and Nassau County, abstracting the language of the strip mall into a concrete-poetry of word-photographs that sit against other images evoking the blurry edges of the suburban sprawl.

Taken together, the three books form a weave of contrasts, where moments of banality tilt towards the uncanny and the absurd. These early publishing experiments trace the emergence of Ethridge’s now-signature method: slanting, doubling and displacing images until they cohere with unexpected force or deliberately fall apart.

Reissued twenty years later, In the Beginning reads as a prefiguration of the more than fifteen books and catalogues that would follow. It marks the opening chapter of an artist who would go on to become one of contemporary photography’s most influential practitioners – revealing the restless, incisive eye that shaped everything to come.

• TBW 2025
  
• Softcover, 1st edition, 66p
  
• NEW

In 1970, while a student at the Harvard Graduate School of Education, Susan Meiselas was living in a boarding house at 44 Irving Street in Cambridge, Massachusetts. What began as a class project evolved into a deeply empathetic portrait of community domestic life. Meiselas photographed her neighbors in the building—many of them strangers—inside their rooms, initiating a collaborative exchange by sharing contact sheets and inviting written responses. These reflections appear alongside the photographs, offering insight into how her subjects saw themselves. 

Boarding houses like 44 Irving Street were transitional spaces, yet Meiselas found individuality and self-expression in each room. Her portraits—full of personal detail and visual texture—reveal a rich inner life often hidden in shared housing. The handwritten letters act as a kind of written punctum, a counterpoint to the image that pierces the surface with honesty and introspection. 

This early body of work helped shape Meiselas’s enduring approach to photography as a form of connection and dialogue. “It wasn’t about the formalism of photography,” she notes. “It was about the narrative and the connectivity.” 

44 Irving Street, 1970–1971 marks the first time this complete series has been published in book form.

• Dewi Lewis 2026
  
• Hardback, revised edition, 112p
  
• NEW

First published in 1996 Small World is one of the most popular and most important of Martin Parr’s books. It has been in print continuously since its first publication, thirty years ago. This revised edition includes more than 80 photographs and features many new photos as well as Martin Parr’s most iconic images.

It is a biting, very funny satire in which Parr looks at tourism worldwide, exposing the increasingly homogenous ‘global culture’ where in the search for different cultures those same cultures are destroyed. In a world of ‘carbon footprints’, global warming and climate crisis, the issues that Parr raised almost thirty years ago when the book was first published are even more relevant today.

Whilst Parr’s larger‐than‐life troupe of tourists appear willing participants in an omnipresent consumer culture they are also bemused victims – at the mercy of larger social forces and locked into their insatiable craving for spectacle. Small World‘s citizens become a symbol of Western society’s prosperous freedoms, declaring their power and their rights to travel, to choose and to consume.

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

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

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

2nd edition.

Unsigned.

• EXB 2024/2025
• Hardback, 1st edition, 168p
• New

For centuries, ama - women divers - have fed the Japanese imagination. These free-divers collect abalone, shellfish and seaweed, the sale of which ensures their financial independence within the household. Kusukazu Uraguchi (1922-1988) has been photographing them in the Shima region, along the Pacific coast of Japan, for over thirty years since the mid-1950s. The fruit of extensive research among nearly 40,000 negatives - almost all of them previously unpublished - this remarkable archive of landscapes, portraits and underwater views tells the story of both the daily life and the special place of the ama community within Japanese society.

Uraguchi's images speak as much of cultural heritage as of modernity, as these communities have undergone profound changes in the wake of the wave of urbanization that swept Japan after the war. His photographic language - the plastic strength of his contrasting blacks and whites, his sense of deframing, gestures captured in their spontaneity - celebrates the freedom of bodies, solidarity and the spirit of independence.

To shed light on the many facets of this work, the visual corpus is accompanied by a text by Sonia Voss that unveils the mysterious world of this community, as well as a text by Chihiro Minato that contextalizes this work in the history of photography. A glossary, inspired by the writings of Japanese ethnologist Kiyoko Segawa and dedicated to the world of fishing and diving, reveals all the richness and technicality of their discipline.

English edition.  2nd printing 2025.

• Gagosian 2024
• Hardback, 1st edition, 96p
• Fine

This book was published on the occasion of Francesca Woodman at Gagosian, 555 West 24th Street, New York. The exhibition featured more than fifty lifetime prints made by the artist from approximately 1975 to 1980—many of which had not been previously exhibited—including three life-size diazotype prints from her Caryatid series and Blueprint for a Temple (II) (1980), the largest work she accomplished.

The catalogue illustrates all photographs in the exhibition and features details of Blueprint for a Temple (II). In her essay “Francesca Woodman: At the Edge,” Brooke Holmes offers a new interpretation of Woodman’s work, discussing her photographic representation of the body in space, use of classical themes, and interest in collage and metamorphosis.

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

‘Genocídio do Yanomami’ (Yanomami Genocide) brings together previously unpublished photographs made between 1971 and 1989 by artist Claudia Andujar. The photographs were made among the Indigenous Yanomami people who live in the remote forest of the Orinoco River basin in southern Venezuela and the northernmost reaches of the Amazon River basin in northern Brazil.

Andujar’s work ‘Yanomami Genocide: Death of Brazil’ was first presented in April 1989 at the São Paulo Museum of Art (MASP) as an installation with colour slides projected onto plastic screens and mirrors. The photographs were originally black and white, and the artist’s re-illumination of the images reshaped their meaning, instilling urgency for that moment and the years that followed. Andujar’s aim was to raise awareness of the situation faced by the Yanomami, who at the time suffered from disease brought to their land by illegal gold miners. In this new book, Andujar has again recontextualised the images, bringing them into the present and reshaping their meaning for dissemination to a contemporary audience, as the Yanomami remain in peril.

The photographs in the book show both the Yanomami and the landscape they inhabit. They were created with a variety of experimental techniques to visually represent the shamanic culture. They are often high contrast with dramatic light and shadow, distorted, cropped, imbued with a sense of movement, menace, and the otherworldly. The images of people focus on fragments of bodies or close-cropped portraits, hinting at intimacy and the psychological.

Alongside her artistic practice, Andujar co-founded in 1978 the Pro-Yanomami Commission (CCPY), which denounced the devastation caused by illegal miners, supported health programmes, and campaigned for the demarcation of Yanomami land. Working closely with leaders such as Davi Kopenawa, this effort culminated, after 14 years of campaigning, in the official recognition of the Yanomami Indigenous Territory in 1992. Today, in addition to the illegal miners established on Yanomami land, Indigenous populations continue to be affected by the policies of governments that have normalised genocide.

‘Genocídio do Yanomami’ (Yanomami Genocide) was developed in close collaboration with Andujar’s gallery, Galeria Vermelho, in São Paulo, Brazil.

Edition of 750 copies, hardcover with french folds.