All Books

• Seigensha 2025
• Softcover, reprinted edition, 158p
• New

A comprehensive overview of the work of Eikoh Hosoe (1933-2024), this volume contains many seminal photographs from the 1960s and '70s, plus later work from the 1990s and early 2000s. Hosoe emerged as an influential photographer and filmmaker in the experimental arts movement of post-war Japan. He is recognised in particular for his dark, high-contrast, black-and-white photographs of the human body, as well as his collaborative work with others. Often psychologically charged, his images explore subjects such as death, erotic obsession, and irrationality. 'A World of Eikoh Hosoe' presents his fertile imagination along with commentaries and other texts in Japanese.

• Fondation Henri Cartier-Bresson 2025
• Hardback, new edition, 156p
• Imperfect - see below

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reissue provides a unique opportunity to rediscover a major work of Henri Cartier-Bresson’s oeuvre, enriched with an unpublished text by Clément Chéroux that places the work in its historical and artistic context.

Display copy with small damage to corner of cover - see photo.  Inside as new.

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

While organising his archive, Guido Guidi rediscovered negatives and prints from a prolifically productive period at the beginning of his career. These photographs, made with black-and-white film and small-format cameras, captured his day-to-day life in the 1970s – his family and friends, his colleagues at the University of Architecture in Venice – but also more fragmented and even abstract scenes: objects in disarming isolation, shadows, symbols, and deserted streets. High contrast and disorienting framing made many of these images as graphic as they were documentary. Some were marked with the remnants of captions, half-smudged notes, and other signs of their lives within previous sequences and contexts. Taking up a title he had used for a number of projects at that time, including a never-realised publication with Luigi Ghirri’s Punto e Virgola, Guidi constructed a new ‘album’: a fresh engagement with historic work, drawing on the anarchic energy and interests of his youth and the shrewd, sensitive instincts of an expert editor. The resulting book brings together the everyday with the bizarre, the recognisable with the ambiguous, in a bracingly contemporary new work from a modern master.

Album, 1969–82 is the second of three complementary volumes engaging with Guidi’s black-and-white work from the late 1960s through to the early 1980s, offering luminous insight into the development of his practice and an expanded exploration of photography between art and functionality, realism and surrealism, truth and fabrication.

Limited edition of 1000 copies with a signed plate (see image)

Display copy with a small dent to the bottom edge of the cover, inside fine and otherwise new.

• Dewi Lewis/Martin Parr Foundation 2026
  
• Hardback, 1st edition, 60p
  
• imperfect - see below

‘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. 

Display copy with a few indentations to the cover, inside as new.

• 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.”

• Akio Nagasawa 2026
  
• Softcover, 1st edition, 190p
  
• New

A new photobook by Lin Zhipeng (aka No.223), one of the leading figures in contemporary Chinese photography. “223 BY 223” is planned as an ongoing series to be published irregularly, with Vol.2 scheduled for release later this year.

Through these latest works, Lin Zhipeng continues his exploration of the intimate daily lives of young people in contemporary China, vividly capturing the atmosphere of their generation.

Edition of 800 copies.  Signed copy.

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

Chavirés is a movement of overturning: a spiraling motion that disorients, from which emerges the past, the present, illusions and origins. Each moment has its own language and its own colors, which, in Avanzinelli’s gaze, fade, dissolve, and stain, yet ultimately come to speak the same language: a relentless and uncompromising search for what has been lost, overlooked, or forgotten.

It is not only a language of images: the texts, too, carry the same mark and the same imaginative force, brushing against abstraction. Chavirés carries within it the full weight of the effort of turning back and inward, of all the years it has taken to arrive there, and yet resolves into the lightness of a single moment, with simplicity and clarity: like the instant of a leap and a twisting rotation.

Handmade edition of 250 numbered copies.  A collectors edition of 20 copies in a handmade wooden box is also available (see dropdown)

Video courtesy the publisher.

• Self-published 2026
  
• Softcover, 1st edition, 150p
  
• New
  

No trees grow here, leaving the shapes of the Faroe Islands utterly exposed. Neither the rugged coastline nor the suede-like grassy hills can shield you - from the wind, the rain, the snowstorm, or even from yourself.

There is something deeply honest in this bare fabric of the earth. Here, one cannot pretend, ignore, or look away. The often-held human conceit that we are the measure of all things quietly dissolves on the gusty cliffs, replaced by a humbling awareness of one’s own smallness. The elements grip the senses and limbs with such palpable force that there remains little room for vanity. Smugness and arrogance simply cannot take root in the sharp air and soil of this place.

It was this intimate, almost visceral feeling - this sense of the landscape not merely being observed, but actively seeping into my fingertips and yearning to be touched - that my camera sought to capture. My lens shifted from sweeping vistas to finer details: from the craggy faces of mountains to the canvases of ochre grass where the wind’s invisible hand playfully parts the soft fleece of grazing sheep. Through the viewfinder, I froze fleeting silver veins cascading across the land. I paused time to witness delicate laceworks of tumbling water descending into the ocean’s depths. I drank in the silhouettes of island formations shrouded in mist, and the endlessly varied patterns of volcanic contours shaped by millennia of relentless elements.

Through light and shadow, composition and focus, I aimed to convey the tangible essence of this land - its grit, its texture, and its raw beauty. For when these islands are truly allowed to permeate one’s being - whether experienced in person or, as I hope, through the compositions on these pages - they leave behind an indescribable sensation: a quiet, overwhelming urge to embrace this land.

This collection of photographs, taken throughout 2024 and 2025, is my attempt to translate that sensation into visual form. It is offered in the hope that, through my lens, you too might feel the elemental power, silent majesty, and unvarnished truth of the Faroe Islands.

First edition of 200 signed and numbered copies.

Back in stock.

• Stanley Barker 2026
• Set of softcovers, 1st edition, 320p
• New

A life isn’t a straight line, it doesn’t conform to an easy narrative. Christopher Anderson’s career has spanned conflict zones, presidential campaigns, near-death experiences, and moments of quiet domestic tenderness, all captured with a rare poetic sensibility. His new publication INDEX, gathers 11 series from across his career, each presented as an individual volume.

From his early images in Afghanistan, where he was already working as a journalist on 9/11 and continued to document events through the span of the second Gulf War, to Haiti, where he boarded a wooden boat with hopeful migrants bound for America until it began to sink, a story that earned him the Robert Capa Gold Medal. From volumes that chart the places he has called home, such as France and New York, to places that have left their mark on him, like China. From books that record tender moments with his family on holiday to immersive accounts of conflict in some of the world’s most troubled corners, even his fascination with cars finds its place here.

Designed as 11 volumes housed in a slipcase by the acclaimed artist Brian Roettinger, INDEX is a breathtaking way to experience the defining events and fleeting intimacies that shaped the first decades of the millennium.

Volumes as follows:

Vol 1. Afganistan
Vol 2. Hati
Vol 3. China
Vol 4. France
Vol 5. Cars
Vol 6. Self portrait
Vol 7. Holiday
Vol 8. New York
Vol 9. Trouble
Vol. 10 White House 
Vol. 11. 9 East 71st Street, NY

Signed to the rear of a loosely laid in printed sheet, see shadow image.

• GOST 2026
  
• Hardback, 1st edition, 154p
  
• New

‘’Lonely Are All the Bridges’ is not a war book. Not exactly. It is a portrait of a place and its people—where systems have collapsed, where borders have been redrawn again and again.’ – Robin Hinsch

The images in Lonely Are All the Bridges were made in Ukraine by Robin Hinsch over a period of more than a decade. The photographer first visited Ukraine in 2010, intrigued by the description of the then President Viktor Yanukovych as ‘the new dictator between East and West’. His sustained interest in this complex country compelled him to return many times to photograph both the landscape and the people he encountered. His images are unlike pictures of Ukraine seen in the news, presenting instead a melancholic vision of country caught between a contested past, a brutal present and an uncertain future.  

'This is not a story of heroes and villains. It’s about the slow, grinding forces that tear societies apart and the fragile, sometimes ambivalent human threads that try to hold them together.'

The photographs show Soviet ruins and historical monuments alongside misty, rain-soaked or snowy landscapes. The people in the pictures are carefully positioned within these environments—workplaces, homes, fields, ruins and battlefields. The images are both monochrome and colour, the latter subdued by a grey sky. This stylistic choice, in tandem with the presentation of the photographs in the book without captions alongside, hints that they are from a different yet indistinct era, and untethered from time.

Animals appear as a motif throughout the book—symbolising desertion and abandonment but also lending the book an allegorical and dreamlike quality. The bear, a symbol associated with Russia, is shown in an animal pacing around a zoo enclosure and also as a child in costume. Feral cats, dogs and wild horses slip in and out of the landscape and children are shown with dogs, horses and an incongruous camel. The bridge is another recurring motif linking back to the book’s title, drawn from a poem by Austrian Ingeborg Bachmann. This reflects on the nature of a bridge, a connection which is both tied to different sides and yet inherently isolated.

In his notes at the end of the book, Hinsch references Andrei Tarkovsky’s film Mirror which employs a fragmented narrative, dissolving linear storytelling, allowing various motifs such as memories, dreams, and experiences from different times to coexist. This approach is echoed in his image-making.  

'The book suggests, at least, a time in which the current war will be added to the strata of time and memory, and less starkly black-and-white thoughts and feelings may once again become possible’' Julian Stallabrass

• Atelier EXB 2026
  
• Hardback, 1st edition, 144p
  
• New

In Tres Viajes, German photographer Jörg Brüggemann, director of the Ostkreuz school in Berlin, explores Chile through a three-part series and examines the complex relationships that develop between individuals. In Mi Madre Tiene Novio (2018), Brüggemann sets out in search of his mother, who died ten years earlier, and the signs that appeared to him in a dream. Starting in Chile, he crossed the South American continent until he returned to the place where he learned of her death. The photographs bring together the pieces of this dream, illustrating his relationship with his mother and his approach to grief.

A year later, Brüggemann produced the series El Derecho De Vivir En Paz (2019). The German photographer returned to Chile to find a country in the throes of social unrest. The Chilean people rose up violently against their government and the injustices they were suffering. Witnessing this historic uprising of unprecedented scale, Jörg Brüggemann offers an immersion into the violence on the streets.

The last series in the book, Aguas Que No Has De Beber (2022), focuses on a woman and a man separated by miles: she is on the Chilean coast, he is in the mountains. This more peaceful series poetically illustrates the power of Chilean nature and the invisible bonds created between two beings. A text by Jörg Brüggemann, translated into French, English, Spanish, and German, accompanies the three series and concludes the book.

• Loose Joints 2026
  
• Hardback, 1st edition, 128p
  
• New

In an ambitious collaborative research project that moves beyond storm chasing as subculture or spectacle, Blinded by Your Grace draws on and reframes existing visual material made by women who intentionally move towards danger. The project considers risk not as an inevitable condition, but as an unevenly distributed privilege: one that requires access to time, mobility, and the social permission to linger, wait and voluntarily suspend protection. Registering storms for their beauty and intensity, the work asks who is permitted to approach threat, who is expected to remain safe, and whose proximity to danger is socially legitimised. Through extensive research and collaboration with women storm chasers worldwide, Chaplin Espenon advances a critical visual position in which storm chasing becomes an allegorical terrain through which broader structures of power, visibility, and autonomy come into view.

By gathering a diversity of contributions and harmonising them across the printed page through grainy, oblique reproductions that signal instability and the sustained presence of a female gaze, Blinded by Your Grace approaches risk not as spectacle or thrill, but as a deliberate condition of vulnerability. Here, to seek danger is not to court destruction, but to enter into a state of heightened attention — one that involves waiting, exposure, and the willingness to be undone by forces larger than oneself for the sake of devotion and beauty.

Risk is framed as a form of agency historically encouraged in some bodies and discouraged, regulated, or rendered invisible in others. Who has the right to pursue danger, and who is obliged to stay safe? Storms are approached as conditions that demand negotiation rather than conquest, holding beauty and threat, attraction and fear in tension. Within turbulent skies blacked out by dust, rain, and debris, the visible collapses and the politics of looking surface, as Chaplin Espenon works alongside her collaborators to choose proximity to danger.

Printed on raw untrimmed newsprint, any imperfections are as intended and may vary with each copy.

• iikki 2026
  
• Hardback, 1st edition, 108p
  
• New

“Nusa” is the result of a dialogue between the photographer Masao Yamamoto and the composer and musician Akira Uchida, initiated by IIKKI, between April 2025 and March 2026.
⁡
“Nusa” is the last part of a trilogy started in 2020 with Masao Yamamoto and Akira Uchida. A project that began with light (“Sasanami”, 2020), moved through darkness (“Kurayami”, 2023), and returned to the ambivalence of the two (“Nusa”, 2026), which ultimately sustain and complement one another in all their variations and complementarities. Both in terms of tones and in the humanity that runs through us in these times of such stark contrast.
⁡
For this last part of the trilogy, Masao Yamamoto and Akira Uchida travelled to the island of Hokkaido at the beginning of 2026 to supplement the project with photographs and audio recordings of the ice and the surrounding landscapes.
⁡
― description from the publisher
⁡
The soundtrack to the book is provided by Akira Uchida, whose atmospheric melodies heighten the primordial and ephemeral aspects of Yamamoto’s images.
⁡
Each copy of the book includes a coupon for a free download of Akira Uchida’s music.

• Setanta 2026
  
• Hardback, 1st edition, 96p
  
• New

Catherine DeLattre’s photographic work is characterized by quiet observation, stillness, and what can be described as “empathetic neutrality.” Alongside her career as a film still photographer, she has developed a practice focused on vernacular subjects: barns, vehicles, homes, and roadside elements in rural landscapes. Her images present these scenes without intervention, inviting viewers to find emotional meaning through attentive looking and an awareness of time passing.

Originally from Pennsylvania, DeLattre discovered photography while studying archaeology at Kent State University, where a required course led her to pursue the medium more seriously. She later studied at Purdue University, where she shifted from black-and-white to color photography under the influence of figures such as William Eggleston and Stephen Shore. After teaching in Maine and New York, she moved to New York City in 1979, working at the International Center of Photography and photographing everyday urban life with a similarly observational approach.

Today, dividing her time between New York City and rural Pennsylvania, DeLattre documents landscapes shaped by human presence. Though her work shares the visual restraint of New Topographics, it departs from its detachment, offering instead a humanist, empathetic engagement with place and a subtle reflection on belonging.

• Aperture 2026
  
• Hardback, 1st edition, 472p
  
• New

A rare glimpse into the mind and artistic process of one of the world’s greatest photographers.

Distilled from sixty‑nine journals kept over the course of fifty‑plus years, Josef Koudelka: Diaries offers a look inside the mind and artistic process of the iconoclastic Czech photographer renowned for a life in exile and legendary projects on the Roma, the 1968 Soviet-led invasion in Prague, and the devastating impact humans have on the landscape. Facsimile pages from the diaries, along with images by the photographer, including self‑portraits, lend the volume an immediacy and authenticity. As curator Tomáš Pospěch writes, “Koudelka’s diaries are a ‘cookbook’ of classic photography. He associated with the most renowned photographers. His notes sum up his rich experience, including with the now‑vanishing technology of analog black‑and‑white photography. His remarks, quips, and stories reappear, just as he repeatedly made resolutions, affirmed the rules he had adopted, and recalled earlier events and dreams.” Diaries is a perfect companion to Josef Koudelka: Next(2023), the visual biography by Melissa Harris.

• Thames & Hudson 2026
  
• Hardback, 1st edition, 200p
  
• New

For over fifty years, Harry Gruyaert has wandered New York City’s streets, capturing its dazzling contrasts – from towering skylines and neon-lit diners to multicultural neighbourhoods and fleeting street scenes. Designed as a large-format visual album, this book presents each photograph across a double-page spread, evoking the rhythm and energy of a cinematic storyboard.

Accompanying this striking visual journey are fictional vignettes by acclaimed filmmaker Cédric Klapisch, blurring the lines between reality and imagination. A city of endless spectacle, New York becomes a global stage in Gruyaert’s hands – alive with drama, diversity and colour.

Limited signed copies are available along with sealed copies.

• EXB 2026
  
• Hardback, 1st edition, 88p
  
• New

Photographer, painter, and poet Mario Giacomelli acquired his first camera in the early 1950s and immediately recognized the connections between the practice of painting and capturing light through his lens. He soon set up his own darkroom, where, choosing to work with high-contrast paper, he developed a distinctive photographic eye. With camera movement, blurred focus, and the interplay of light and shadow, Giacomelli created dreamlike scenes in which beings emerge as ephemeral apparitions. His taste for lyrical abstraction, especially in painting, is evident in his photographs, which often reveal his inner state—particularly through the graphic intensity of light variations. Deeply attached to his native Marche region in Italy, Giacomelli captured endless plains traced with plowed furrows, shadows stretching across fields, and rural house façades, many photographs also offering glimpses of birds, clouds, female faces, or other forms. His birds rise from dense vegetation, appear like shadow puppets on translucent surfaces, dwell within vaporous clouds, or materialize as fragile presences. Choreographed flocks of white birds echo the lines of the foliage as animal and plant realms dissolve into each another. Between arrival and disappearance, reality and dream, Giacomelli’s birds resemble calligraphic marks spreading into a musical score against the backdrop of a rural landscape.

To accompany this visual collection, Jean-Noël Rieffel, veterinarian and director of the French Office for Biodiversity in the Centre-Val de Loire region, has made his first contribution to the Des oiseaux collection. He draws connections between Giacomelli's images and ornithology, paying particular attention to larids (gulls and seagulls) and corvids, subjects dear to the photographer.

English edition.

• EXB 2026
  
• Hardback, 1st edition, 288p
  
• New

Yderst (“at the edge” in Norwegian) paints a poetic, cultural, and political portrait of the coasts of northern Europe. Designed as an album with double-page images, the book uses pictures and text to explore the permanence of ancestral cultures, discussing ecology, adaptation to the elements and to the times, but also how knowledge is passed down along the coasts, from one country to another.

This long journey, undertaken from 2021 to 2024, begins in Norway, beyond the Arctic Circle, and continues along the North Sea coast to Belgium and France. While not exhaustive, this journey aims to weave together the stories of communities and places chosen for what they tell us about Europe today. In the spirit of his previous projects, Sébastien Van Malleghem explores territories and reveals the power of nature in starkly contrasting black and white images.

Conceived as a logbook, in the spirit of Jack Kerouac's road trip, Yderst brings together two approaches, photographic and literary, and takes the reader on a journey that is both contemplative and documentary.

Text in English and French.

• Kerber Verlag 2025
  
• Hardback, 1st edition, 180p
  
• New

Whitening Heights is both photography and a way of life at once. Inspired by the Alpine sun that seems to drain everything of colour, Sandro Livio Straube has been creating an ongoing series of images since 2015 that express a sense of deceleration and desaturation. Through this exercise in observation, looking at the world through the camera lens, he explores themes of transience, the vulnerability of all living beings, and the fragility of the environment created by humankind. The black-and-white and colour photographs taken in the Alpine valley of Lumnezia bear witness to a fulfilled presence that reveals things in all their inherent beauty. The three accompanying texts shed light on various aspects of this photographic work, with passages in Rheto-Romanic and Swiss German that also convey something of the attitude to life in this valley of light.

Text in German, English, Rheto-Romanic and Swiss German.

• Thames & Hudson 2020
  
• Hardback, 1st edition, 292p
  
• New

With a career spanning nearly half a century, Bill Brandt was a master of several major genres of photography: photojournalism, portraiture, the nude and landscapes. At first glance, Brandt’s genres may appear unrelated, but when analysing his career in its entirety, a common theme comes to the forefront: what psychologist Sigmund Freud and philosopher Eugenio Trías called 'the sinister.' From his earliest photographs taken as an amateur in the 1930s to his late portraits and studies of the female body, Brandt expresses a fascination with the strange and dark aspects of life that only he can reveal.

With 200 photographs from throughout Brandt’s career, this book adds a crucial chapter to the analysis of this key figure in 20th-century photography. Bill Brandt is set to become an authoritative retrospective.

• Mack 2026
• Softcover, 3rd edition
• New

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

• Overlapse 2026
  
• Softcover, 1st edition, 200p
  
• New

All of Them Witches considers the history of witch hunts in the Basque Country of northern Spain, where accused women were forced to make a damning series of confessions before the Inquisition. The existing narrative of violence and debauchery supposedly performed by the women was documented exclusively from a male perspective, forever marring the dignity of their real lives and names. Antón’s photographic work transforms these distorted testimonies into playful images that question the historical record and form a modern, relatable storyline from the absurdities of the past.

Text  English and Euskera (Basque).

• Overlapse 2026
  
• Hardback, 1st edition, 126p
  
• New

A meditative work photographed in an alluring local park in the Netherlands; Strawberry Blue began in the aftermath of the artist’s migration north from Greece, where soon after arrival he was badly injured in a road accident. An arduous recovery process — along with upheaval in adapting to an unfamiliar environment — triggered an inner quest for belonging and identity redefinition. Over years Tsagkarakis routinely wandered through the park terrain, observing its nuances and dreamlike setting while interacting with strangers and all living things. In portraits he glimpses reflections of himself, where echoes of his own struggles are in dialogue with the tangled, evolving landscape. Strawberry Blue feels out of kilter at times, like laughing while crying. It’s about resilience, persistence and growing new roots… We are invited on this journey with minds open to the unknown, allowing the path ahead to lead us where it will.

• L'Artiere 2025
  
• Hardback, 1st edition, 72p
  
• New

Grace is a poetic and visually stunning collaboration between Scott and Grace, a couple whose intertwined lives and creative partnership transcend traditional artistic roles. This evocative photographic series challenges con- ventions of gender, aging, and representation, presenting Grace not as a passive subject but as an empowered figure navigating dreamlike landscapes. She moves between domestic spaces and the untamed wilderness, em- bodying mythological and symbolic roles—at once ethereal and powerful, present and elusive. Working with large-format cameras, Scott and Grace engage in a slow, intentional creative process, crafting images that blur the boundaries between reality, imagination, and the natural world. Their work offers viewers an invitation to step beyond societal norms and experience an alternate realm of freedom and transformation. Grace is both an artistic dialogue and a meditation on identity, nature, and the unknowable forces that shape our perceptions.

• L'Artiere 2025
  
• Softcover, 1st edition, 112p
  
• New

Calling the Birds Home is an intimate portrait of love, memory, and loss. For decades, photographer Cheryle St. Onge lived with her mother on the same New England farm, sharing a deep and constant bond. When her mother developed vascular dementia, memory and emotion began to fade, first interrupting their long photographic collaboration, and then halting St. Onge’s practice altogether.

In an attempt to counter her mother’s growing wish to die, Cheryle began making portraits again, spontaneously, with any camera at hand, searching for light in the dimness of their afternoons.

The book explores St. Onge’s signature themes of environment, fragility, and human presence, intertwining portraiture, nature, and the passing of time into a poetic narrative of devotion. Though dementia has taken their conversations, these portrait sessions remain a profound exchange, familiar, collaborative, and quietly joyful.

With every photograph, Cheryle offers a small act of resistance and love: an emotional currency against the slow erasure of memory.

• Tall Poppy Press 2026
  
• Hardback, 1st edition, 224p
  
• New

In Ten Eighty, Matt Dunne focuses on the history and plight of the Dingo - Australia's wolf. Since the arrival of white people, the Dingo has been on of the most persecuted animals in Australia - the target of shooting, trapping, poisoning, myth-making and scorn. To this day, governments in Australia seek to eradicate the animal completely.

Through Ten Eighty, Dunne draws connections between commerce, ecology, violence, colonialisation and seeks to make the widespread war on the animal visible.

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.'

• 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.

• Zone 2025
• Hardback, 1st edition, 116p
• Imperfect - see below

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.

Imperfect copy with small bump to top edge and some light marking.  Inside unaffected and otherwise as new.  See photo.

• 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.

Back in stock.

• 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.

• Mack Books 2014
• Hardback, 1st edition
• Used: very good - see below

For Jungjin Lee, photographing the landscape is an exploration of her own mind - the introspective states of the artist, whose photographic gaze is insistent and transformative. Her latest project Unnamed Road approaches the contested territories of Israel and the West Bank by turning to the landscape. Her black-and-white images are self-contained worlds of stillness and wonder, as Lee searches for something constant in the life of the landscape. Her images suggest that despite the semblance of fluctuation, some fundamental truths do not alter: just as the surface of the ocean is constantly in flux, its depths in fact remain unchanged and enduring. Lee, who describes her photographic state as 'meditative', regards the act of photography as emotional and experiential, a moment when 'that absolute "echo" within myself travels through time and space'. Yet she struggled to find neutrality in a charged territory that she describes as 'uncomfortable'; it was only in final trips to sites in 2011 that she found distance - thus opening out the work to signify more that Israel and its conflict. Lee's work is often concerned with the materiality of printing technique, and for twenty years she has utilised a liquid photo-sensitive emulsion brushed on handmade rice paper, a method akin to painting. In Unnamed Road, for the first time digital processes were employed; and yet the images remain explorations of chance and imperfection, drawing the viewer into a realm where fullness of vision is the subject matter.

1st Mack edition in accordion (leporello) format.  

Used copy with some rubbing and wear to cover.  Small fold to corner of first white page otherwise a very good copy of this rare 1st edition.  

Note this book has fragile spine and binding as intended and is common to all copies.

• 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.