Last Copy

• TIS 2025
  
• Softcover, 1st edition, 76p
  
• New
  

Balarama Heller’s Sacred Place was created in the predawn hours, when the veil between the spiritual and material realms is thinnest. It is a deeply personal yet universally resonant pilgrimage exploring faith, memory, and spiritual transformation. Born into the Hare Krishna movement in America, Balarama Heller grew up within a world of devotion, ritual, and upheaval—moving through communes, countercultures, and moments of both transcendence and disillusionment. Returning to Vrindavan, India, the heart of the religion, Heller, guided by Joseph Campbell’s idea that sacred places reveal “eternity shining through time,” crafts an alchemical tapestry of archetypes both ancient and new. Sacred Place sifts through the magnetism forged by millennia of pilgrims—Heller himself among them—seeking to touch the Infinite glimmering through the present.

Signed copy.

• Thames & Hudson 2025
• Hardback, 1st edition, 192p
• NEW

This intimate photo chronicle by Polly Samson documents both the recording of David Gilmour's No. 1 album Luck and Strange and the acclaimed tour which saw the Pink Floyd legend playing sellout shows in Rome, London, LA and New York.

Samson, who is Gilmour’s partner and creative collaborator, as well as an acclaimed novelist / photographer in her own right, captures the process as the album takes shape: from conception and recording, off-duty and studio immersion, to release and live performance; from candid behind-the-scenes shots, to theatrical stage moments. We see an artist at work, the collaborative process, the moments of light relief – and the focus as the work takes flight.

The book features the unmistakable hand lettering of Anton Corbijn on the cover and throughout, plus an interview by rock photographer Jill Furmanovsky with Polly Samson that sheds light on a photographer’s craft, as well as providing insights into Samson's relationship with Gilmour. The foreword is written by the late Alan Yentob.

Signed by both authors to a book plate.

• Stanley Barker 2025
• Flexibound, 1st edition, 80p
• New
  

In the summer of 1949, Susan Weil introduced her partner Robert Rauschenberg to the process of exposing blueprint paper at her family home on Outer Island, Connecticut. What began as a playful experiment rooted in Weil’s childhood memories grew into a striking series of large-scale works created together. Weil and Rauschenberg laid sheets of light-sensitive paper in the sun, arranging everyday objects and human figures to capture fleeting silhouettes and delicate traces of presence.

This new publication brings together the complete blueprint works from this short but influential period, alongside rare photographs by Life magazine photographer Wallace Kirkland, who documented Susan and Robert’s collaboration in New York — images that quietly hint at the erasure women artists so often faced, even in their own stories.

At the heart of the book is a new interview between Susan Weil and writer Lou Stoppard, exploring the long summer on Outer Island and the years the couple spent working side by side as young artists in New York and Paris. The book stands not only as an archive but also as a record of a relationship — a creative partnership that unfolded into marriage, parenthood and, eventually, separation, as their lives and practices moved apart.

For all women who were abstract artists, you were investigating your complicated thoughts about being an individual and everything. It wasn’t so simple or direct as being a statement — ‘I want my place in the world’ — but it was about trying to be at one with your own work and take it seriously and have a sense of force.”- Susan Weil 

• The Eriskay Connection 2025
• Softcover, 1st edition, 320p
• New

With Love. From an Invader. – Rhododendrons, Empire, China and Me is an intensive field study. Every other day for a year, Yan Wang Preston (CN/GB) went to a particular love-heart-shaped Rhododendron ponticum bush and photographed it. The ritual walks offered her time and space to experience, observe, and explore the land from different perspectives. She not only looked, listened, touched, and played, but also used a variety of methods to highlight the ‘invisible’ aspects of the otherwise bare landscape. Her infrared motion-sensitive cameras saw more than 20 different animal species, while her sound recorder heard over 45 different bird species in the area.

Other than observing and documenting, she also selected another tiny rhododendron shrub to have ‘hands on’ interactions. She collected all its fallen leaves in autumn, its seed capsules and aborted flower buds in winter, its fading flowers in spring and summer. This lengthy process of collecting in the field led to further embodiment with the British landscape and enabled Wang Preston to respond subjectively and intuitively to the materials, resulting in a complementary series Autumn Winter Spring Summer.

These Rhododendron ponticum plants are located at the outskirt of Burnley in Lancashire, UK. The plants thrive in this area as a legacy of the local hunting estate during the 19th century, when the plants were grown to provide cover for the game. British rhododendrons are all introduced plants, brought from southern Europe and East Asia for science and horticulture. Once the subject of the “rhodo-craze” in the Victorian era, the plant’s reputation has changed dramatically since the mid-20th century. Although still common and a much-loved sight in most British gardens, one hybrid species, the ponticum variety, is frequently labelled as non-native invasive in conservation management, targeted to be removed with often violent means. For example, Forestry and Land Scotland has ‘used chainsaws, pesticides, and considerable human power to remove this unwelcome alien.’

Certainly not the only species treated this way, the Rhododendron ponticum is a case study for such naturalised hierarchy between the native and the non-native. This unquestioned hatred of the non-native rang alarm for Wang Preston. Like millions of others, she is a migrant in the United Kingdom. The contested perceptions of rhododendrons suggest that politics is at play within the apparent objectivity of science and the definition and ownership of the British landscape. What is a ‘national’ British landscape and its associated ‘national ecology’? Who defines it? And in whose favour? Wang Preston sought to understand both rhododendrons and her own position in this land. What she finds, through the making of With Love. From an Invader. and Autumn Winter Spring Summer, is that the rhododendrons in this area are certainly not invasive. Rather, they are a keystone species that plays a central role in the local ecology.

With Love. From an Invader. celebrates the life and resilience of the rhododendron. The book creates space to contemplate the intimacy, beauty, and strength of nature, and the eternity of time within an ecological and political framework. It is a love letter from a non-native species to the cosmopolitan ecology of contemporary Britain. It is also a love letter to the British land from its non-native inhabitants who make it a home for its multicultural residents, both human and non-human.

With Love. From an Invader. is published in collaboration with the Royal Botanic Garden Edinburgh and includes two historical image collections from their archive. Wang Preston’s eclectic projects are complemented by essays by Emma Nicolson, Alan Elliott, Bergit Arends, Matthew Gandy, Monty Adkins, Michael Pritchard, Liam Devlin, and Wang Preston herself, an interview with Cosima Towneley, and a poem by Kate Kinoshita. The essays in the book underscore the interdisciplinary approach, bridging art, ecology, post-colonial studies, and cultural memory. Together, they encourage readers to explore how plant life reflects histories of exchange, resistance, and survival, enriching the

• Mack 2025
• Softcover, 1st edition, 96p
• New

Synthesis is a striking artist’s book that brings together six years of work by acclaimed Japanese multimedia artist Mari Katayama. Created between 2019 and 2025 – a period marked by the birth of her daughter and a return to Gunma, the rural province where she grew up – the book brings together nine photographic series, including the brand new Tree of Life, all produced in her home studio. This space becomes both a site of meditation and a stage for transformation. 

In these intricately composed self-portraits, Katayama places her own body in relation to hand-sewn sculptures, threaded forms, and delicate paper collages. The resulting images are dense with material and memory, each one an act of making in which identity, history, and gesture are stitched together. ‘How do we perceive others, and how are we perceived by others?’ she asks. ‘What is “correct”? What is “natural” and “artificial?”’ 

Across the book, her practice unfolds as a continual act of transformation – where nothing is fixed or discarded, but rather reshaped and carried forward. This process resonates with the philosophical notion of synthesis in its dialectical sense: a holding-together of opposites, where past and future, beginning and end, presence and absence, are preserved and transcended in new form. At its core, Synthesis is a fierce and intimate celebration of the body – not as static or whole, but as a shifting, powerful site of beauty, resilience, and becoming. 

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

• Recto Verso 2011
  
• Hardback, 1st edition
  
• Used: Good-Very good
  

"All photographs were made in the region around Carrara, Italy, where one finds the age-old marble industry – in fact this industry dates back to 70 BCE.

By visiting the area for over a period of more than twenty years, I have been able to investigate the quarries from different angles, all organically related with each other. When I started, I was struck by the fantastic light in the quarries; then I became fascinated by the material itself and the traces the work process left behind. As a result I started to see the quarry as one, big sculpture, in which coincidence played a major role - the work process in the quarry itself led to interesting shapes and structures that were condensed into abstract sculptures through the lens. Finally, also influenced by the work of The New Topographics, I saw and recorded the immense damage done to nature in this impressive western part of the central Apennines. Aloof beauty seemed to have to go hand in hand with cruel attacks on the landscape. Thus, a new, other landscape has come into being that may be read as a metaphor for human interaction with nature."

Used copy with light scuffing to cover and wear to one spine end.  Signed to rear of included small print.

• Chose Commune 2025
• Hardback, 1st edition, 168p
• New

Between agitation and lightness, Fusako Kodama depicts the effervescence of modern Japan. From 1960 to 1980, she captures the atmosphere of places and the energy of people. 

Movement is constant; disorder occurs at times; gestures are carefree and instinctive: Fusako Kodama captures forward momentum. Her spontaneous photographs summon surprising perspectives where subjects appear slightly out of sync.

Between restlessness and lightness, Fusako Kodama portrays a certain effervescence of modern Japan. From 1960 to 1980, she captures the atmosphere of cities and villages inhabited by animated beings. Through her unusual and spontaneous framing, the prolific photographer casts a gaze that is both gentle and vibrant over twenty years of Japan.

1960-1980 is the first book by Fusako Kodama published in the West, where she is still relatively unknown. This work aligns with the ongoing efforts of Chose Commune, which aims to shed light on contemporary Japanese photographers beyond their country of origin.

• Twin Palms 2025
• Hardback, 1st edition, 96p
• New

In his debut monograph, American photographer Henry O. Head reimagines the peaks and valleys of a defining teenage friendship in the Ozarks where he spent his adolescence. From spring 2023 through summer 2024, Head revisited the terrain of northwest Arkansas and southwest Missouri. He returned to Ponca and Jasper, Purdy, Monett and Pioneer— wild country with limestone bluffs shot through with quartz, where cottonmouths coil on exposed roots by slow creeks, and alligator gar glide like phantoms through the dark.

Twelve Acres recalls boyhood outside of city limits, in the shadows of sycamores, away from institutions and the pressures of social order. In a progression through the seasons, a restlessness presses in, a longing to stave off the rupture of entering an adult reality, with its responsibilities and mundanity. In this meditation on personal history, worlds quiver in a chaos of past and present forms and stark flashes of image begin to wobble in an opaque well. Tops spin. Animals with thirst cup liquid light. Memory remains an ineffable mystery. Twelve Acres is a reverie, wherein the past re-emerges as boys with tick-bitten feet, ears ringing from homemade explosives, clothes stained by the smoke of shoplifted cigarettes, and arms stretched toward higher branches.

• Delpire & Co 2025
• Hardback, 1st edition, 216p
• New
  

Upon visiting Iceland in 2019, Kawauchi encountered geysers like the breadths of Earth, glaciers surpassing human time, and the inner space of a dormant volcano that was reminiscent of the inside of a womb. She had thus experienced the connection to this planet she had never felt before. Iceland was her point of departure; she continued to experience similar sights such as the nature around her home after the COVID-19 pandemic and the winter land of Hokkaido. She opened her majestic solo exhibition “M/E On this sphere Endlessly interlinking” and showcased a fraction of the “M/E” series. Even today, this body of work is been exhibited around the world.

The title “M/E” comes from the first letters of the words “Mother” and “Earth”, “Mother Earth” if read in sequence, and also hints at the word “Me”. It reminds us of the certainty that nature as an infinite existence and the small ubiquitous occurrences from our daily lives are not unrelated, but inseparably connected. As the most recent body of work by Kawauchi who returned to her point of origin –the connection between nature and human beings– and thus took a different look at the world during this turbulent time, this series goes beyond “Ametsuchi” and “Halo” through which she had established her perspective by contemplating nature. Bound by Hans Gremmen, the book appears to be a singular book object. A beautifully written essay, the like of a heartfelt letter, by author, photographer, and art historian Teju Cole concludes this publication.
　

Text in French and English.

• Charcoal Press 2025
• Hardback, 1st edition, 144p
• New

Engraved in ghostly black and white, Anna Arendt’s debut monograph, Vanishing, conjures a world of dreamlike dread and beauty.

Arendt was born in the German Democratic Republic. She was 24 when The Wall fell, her daughter was 2. Her parents were born 1940 in Germany, children of war. Both of her grandfathers had been soldiers, who had been in Poland between 1940 and 1942. One came back 2 years after the war was over, the other one never returned. Arendt later discovered that her husband’s father, photographer Sid Grossman’s family came from the area in Poland that her two grandfathers were sent during the war.

As a child, she found a secret shelf that contained photo albums of her family. "It is where I discovered the power of a picture. A picture taken in summer 1940. A young family, my grandmother, her baby and my grandfather in a German uniform. A picture full of contradictions, carrying ambivalent feelings even until today."

Photographed mostly between Germany and Poland over 15 years, the work slides back and forth through time like a blood memory. Walking naked through the dark forest, wolves circling, howling. A daughter becoming a mother becoming a grandmother becoming a child. Haunted villages, and souls in jeopardy. The harsh reality of the past merges seamlessly with moments of rapture that feel plucked from a Grimm fairy tale.

Vanishing is an unforgettable depiction of how beauty and brutality coexist in the hearts of men and beasts.

Signed copy.

• Hopper & Fuchs 2024
• Softcover, 1st edition, 240p
• New

ECHTZEIT offers a unique glimpse into Dirk Braeckman’s most recent photographs, accompanied with the museum’s collection and texts written by Clément Chéroux, director of the Foundation Henri Cartier-Bresson, and Tamara Berghmans, curator of the exhibition. 

Dirk Braeckman defies easy description: leading contemporary Belgian photographer whose work is part of numerous collections across the globe and has been exhibiting worldwide for four decades. Braeckman is notorious for his silverish-grey-toned, large-scale prints and has been seeking to manipulate the medium of photography since he began over forty years ago, drawing out a certain slowness and space within his work. 

In 2017, Dirk Braeckman represented Belgium at the 57th Venice Biennale and The Royal Family of Belgium commissioned a permanent installation in the Sphinx Room of the Royal Palace in Brussels. In 2021 Braeckman took part in the 34th Bienal de São Paulo ‘Though it’s dark, still I sing’.

• Akio Nagasawa 2011
  
• Softcover, 1st edition, 52p
  
• New

Now that summer had come to the three dull buddies, real men as they were, they braced themselves up and decided to go on a summer trip.
"I wanna see alligators," one of the men said.
"I'd like to go to a queer kind of place," said the second.
"I think I would prefer to see something nasty," the third one said.
Well in that case, the eastern side of the lzu peninsula, up north near the mainland, is definitely the place to go.
Alligators one can see at the Atagawa Tropical & Alligator Garden (Banana Wani-en),
the Ayashii Museum (Ayashii Shonen Shojo Hakubutsukan) in Ito is pretty queer,
and there's no nastier place around than the Atami Adult Museum (Atami Hihoukan).
The three simpletons boarded a bright red Mazda Axela- wherever that came from - and embarked on their overnight trip to eastern lzu.
It was such a fun time they had on their summer excursion!

– Daido Moriyama, afterword 

Signed copy.

• Van Zoetendaal 2021
• Hardback, 1st edition. 384p
  
• Used: near fine
  

The first product to bear the Minox name was a subminiature camera, conceived as early as 1922 (Riga) but only invented and produced later by the Baltic German Walter Zapp in 1936. From 1937 to 1943, the Minox camera was manufactured by the Latvian VEF (Valstselektrotehniskā fabrika). However, following World War II, the camera was redesigned and started production in Germany. Walter Zapp originally intended the Minox to be a camera anyone could use, especially those new to photography. Nevertheless, the prohibitively high cost of production soon led Minox to become more widely associated as an amateur photographer’s luxury gadget. Shortly thereafter, and none too surprisingly, it entered the ranks of espionage as a spy camera. The ultralight aluminum device’s 80x27x16 mm format could easily be concealed in clothing, hollow books, bags, and suitcases. During the Cold War, intelligence operatives used them to take snapshots of classified documents and maps. And the number of movies in which this little spy camera stars are endless. For example, in On Her Majesty’s Secret Service (1969), James Bond uses the Minox to covertly capture the locations of deadly biological warfare agents. At 8×11 mm, the Minox also has the smallest-sized negatives in analog photography. The delicate silvery surface is 88 mm2 on a polyester base. To load his Minox camera, photographer Mark van den Brink (Netherlands, 1965) cut(s) the plastic film to size by hand. He purchased the camera thinking that he could – like a voyeur – inconspicuously photograph the world around him, even from the comfort of an easy chair.

12.3 x 3.3 x 15.5 cm hardback with open spine binding.

Used copy in near fine condition, with just faintest of rubbing to cover.

• Nazraeli Press 2025
  
• Hardback, 1st edition, 16p with print
  
• New
  

Lookout on Highway 74 is a collection of 12 photographs taken by American photographer Mimi Plumb in the 1980s. She often visited the lookout during the holidays while visiting her in-laws in Palm Desert, obsessed with photographing a tiny sliver of road in the vast San Jacinto and Santa Rosa Mountains below. Her interests expanded to include the people, young and old, visiting the site, seemingly mesmerized as she was by the stark beauty of the landscape.

Mimi Plumb is part of a long tradition of socially engaged photographers concerned with California and the West. She received a 2022 Guggenheim Fellowship in support of her current project, Reservoir.

Small format hardback 6" x 8 1/2", 16 pages.

Lookout on Highway 74 is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.

• Nazraeli 2025
  
• Hardback, 1st edition
  
• New

“In my opinion, Bob Kolbrener is the most brilliant California landscape photographer since Ansel Adams.”— Gary F. Kurutz, Curator Emeritus of Special Collections, California State Library

Our second monograph on the work of Bob Kolbrener presents a selection of his large-scale black and white photographs of the American West. A companion book to his critically acclaimed monograph California published by Nazraeli Press in 2021, Sky Country comprises over 50 of Kolbrener’s most powerful works, many published here for the first time.

An established US photographic artist, Bob Kolbrener (b.1942) was inspired, then protégé, then a colleague to the great landscape maestro Ansel Adams, and is himself now one of the USA's most distinguished contemporary black and white photographers of its incredible vistas. His work shows the essence of the Great American West, the cathedral-like Yosemite National park, and seascapes of California's churning Pacific coastline.

Printed in duotone on special matte-coated art paper, and bound in linen with a tipped-in cover plate, Sky Country opens with an introduction by Ann Jastrab. It is published on the occasion of Kolbrener’s solo exhibition at Center for Photographic Art, Carmel opening in February, 2025.

• Editorial RM 2022
  
• Softcover, 1st edition
  
• Used: near fine
  

n Solus Vol. I, Pieter Hugo reflects on the values that constitute the fashion industry’s shifting aesthetic through a series of straightforward portraits of street-cast models. Hugo found himself captivated by sitters with unconventional and atypical looks, particularly before they underwent fashion’s machinations of wardrobe, makeup and hair. Drawn to this uniqueness and recalling the sense of not-belonging that is part of the intense experience of youth, Hugo’s invitation to the models was “Simply present yourself”. The resulting photographs embrace vulnerability and frailty as much as they do the agency and idealism of their subjects.

Commenting on the gap between what may be understood as “yourself” and “model”, Hugo notes: “They seem so different to how I felt at their age. I was much more cynical, more nihilistic. They are more comfortable in their bodies than I ever was.”

Display copy some light wear and few faint marks to the cover.  Inside very fine. 

• Eriskay 2016
  
• Softcover, 1st edition
  
• Used: very good
  

(Un)expected is a memorable photo project about the coping process of surviving relatives of suicides in West Flanders.

In 2008 the mother of documentary photographer Peter Dekens (BE) took her life and just recently a friend did the same. West Flanders, the region where he grew up, has one of the highest suicide rates in Europe, one and a half times higher than the European average and twice as many as the Netherlands. Every month in West-Flanders 20 people commit suicide.

During his research Dekens came into contact with people who had experienced a suicide of a loved one. For some this happened totally unexpected, for another the traumatic event was not ­unexpected at all.

(Un)expected contains five stories about the grief of survivors of suicide and the way people cope with their loss in different ways: the sadness, the grieving process, but also the attempts at finding a new way to live.

There is the story of Hanne who takes a daily walk to the woods for months to sit by the tree where Ime took his life. We see how Dekens’ father who continues to perform household tasks on autopilot after his wife’s death. How José repeatedly feels the emotion on the train ride as she passes the spot where Steven left his life. The pain and the fight against depression of Kris who lost her son. And the children of Walter who have to cope with the loss of their mother.

Dekens hopes that the book will play a socially useful role, and that it is seen by caregivers, ­general practitioners, specialists, nurses and ­students in psychology, psychiatry and social work. But above all, he would like the book to be a ­support for survivors and to make the taboo regarding suicide widely debatable.

Display copy with a few marks to the front cover and a blemish to the rear - see photos.  Inside very fine. 

Signed and dated 2016.

• Akio Nagasawa 2025
• Softcover, 1st edition
• New

'My own photo magazine Record is in its 19th year since relaunch, now getting to No. 59 in total. It was at Café Huit on top of a building in the middle of Shinjuku that has long gone, where I received a strong request from Mr. Akio Nagasawa, the current publisher, to relaunch that handmade and privately pressed zine that had failed and folded after the 5th issue, some 30+ years earlier. “Come on Moriyama-san, keep putting that Record out! I will make it, let’s start right away!” Those words, in that moment, revived my memories of the magazine that I had all but forgotten about, and all of a sudden I could see it right in front of me, shining in a bright new light. Without unnecessary ado, Mr. Nagasawa said “Okay, all you do is send me the photos you are taking these days, whenever you feel like it. Then we’ll just put them all in Record, and I won’t meddle with it.” For the next 19 years, most of the snapshots taken during the second half of my photographing life (except for the somewhat “commercial” stuff that sneaks in every now and then) have been collected in Record. Even the pictures that I brought home from travels and shootings abroad, ended up getting published in the form of one issue of Record. In other words, all of the myriad scenes of everyday life that I have captured with my camera in the later years of my life, have been converted into pages in that magazine, which means that everything in Record is a memory, a souvenir, a record in itself.

I really appreciate your enthusiasm, Mr. Nagasawa!

As long as my own spirits are high and my legs carry me, I will certainly keep on shooting.'

- Daido Moriyama

Signed copy. 

• TBW 2024
• Softcover, 1st edition. 124p
  
• New

In 2014 and 2015, Pieter Hugo met the subjects of his photographs in San Francisco’s Tenderloin and Los Angeles’s Skid Row districts. The high-key lighting of the relentless California sun characterizes these outdoor portraits made in the city streets. Bold colors and chiaroscuro form the language used by Hugo to complement the expansive gestures and curving forms of his subjects—wild and unrestrained. Hugo pairs this theme of abandonment with a style that invokes Dutch Golden Age or Baroque master painters such as Caravaggio or Frans Hals. The intensity of attention similarly brought to these sitters in their engagement with Hugo is palpable. The resulting photographs—so completely steeped in a careful handling of shape, form, color, and light—transcend beyond their specific moment in time to embody an overarching timelessness. Too frequently overlooked, Hugo brings our attention to these wildflowers blooming from the uncommon Californian land and its elusive promise of prosperity. Uninhibited and lawless, we bear witness to a truth that only they are capable of transmitting.

Proceeds from the sale of this book will go to Homeless Youth Alliance, which strives to empower young people experiencing homelessness to protect themselves, to educate each other, to reduce harm within the community, and to transition off the streets.

• TBW 2024
• Softcover, 1st edition
• New
  

TBW Books is pleased to present the second edition of Tender, the first monograph by artist Carla Williams. Made in private between 1984 and 1999 and kept mostly to herself for more than thirty years, the images in Tender comprise a complete, personal self-portrait of a young, queer, Black woman intimately exploring the realm of her own possibility. When Williams was eighteen and studying photography at Princeton, she began making the black and white and color portraits in Tender to create pictures in her own image. Her mind was filled equally with the canonical images of the medium’s male-driven history and the posing women discovered during her youth in her father’s pornography collection. Using her own body, Williams created the portraits she had never seen before. Made with instant Polaroid 35mm and 4x5 type 55 film formats, Williams profited from the near instant result to continuously play with her own expression and form. An act of tender commune with herself, these are every version of the artist on full display: provocative, playful, sensual, gentle, powerful, mean, glamorous, forlorn, funny. The photographs in Tender are ignited with the raw energy of a young artist on the cusp of adulthood and her own burgeoning sexual identity. Included in the book are essays by the artist and scholar Dr. Mireille Miller-Young.

Tender received the prestigious Paris Photo / Aperture Foundation First PhotoBook Award in 2023.

2nd edition.

• Loose Joints 2021
• Softcover, 1st edition
• used - good see below

For nearly two decades, Lichtenstein has worked in varied subgenres within photography’s historical archetypes: marginalized contemporary landscapes, refracted still life, performance-based portraiture and process-oriented abstraction. In Recorder, Lichtenstein embarks on an ambitious three-part series of images that recycle and reorient themselves within the limits of technology and photographic vision. 

Every image in Lichtenstein’s layered artist book departs from a singular work: Welcome Water, where Lichtenstein collaborated with J. Stoner Blackwell to make flatbed scans of the artist’s delicate sculptures derived from disposable carrier bags, which were then cut out and stitched into a sprawling sculptural floorpiece. Meditating on the waste and burdensome environmental significance of these single-use plastic objects, Lichtenstein accumulated and activated the detritus of Welcome Water, using the negative cutouts and test-prints of the work to recycle them into new photographic forms.

The results are three series that are both distinct and inseparably intertwined: Holes, a series of black-and-white images reworking Blackwell’s delicate laser-cut interventions to the carrier bags; Grounds, a physical layering of leftover cutout shapes, pinned and affixed, leaving a gaping void at the photographic centre; and finally, Untitled, Lichtenstein’s boldest foray into abstraction, where her source materials were repeatedly printed and scanned, sometimes up to thirty times, to create a giddying and vertiginous collaboration with the entropy of print technology. These works are layered with ink, program errors, exaggerations and obfuscations, eventually liberating her source material into pure free-form visual abstraction.

Lichtenstein creates images that are at once challenging and seductive, setting forth a chain reaction of feedback loops in which pictorial space is filled and mutated through collaboration with and against the limits of imaging technologies. Recorder contains profound depths and coalescent shapes that never fully resolve themselves, but within this profundity a clear thread can be drawn, connecting the push-and-pull of photography’s tendency to both record and obscure, with a meditation on waste, consumption, and the environmental changes set loose by the anthropocene. 

With limited 8×10" print (unsigned) of an exclusive unpublished work by the artist. Giclée print on Hahnemühle Rag.

Used copy - Book has light wear to edges/corners.

• Bullfinch 1994
• Hardback, 1st edition
• Used:good - see below

A fascinating celebration of street photography features works by such renowned masters as Atget, Stieglitz, Cartier-Bresson, and Robert Frank, as well as unknown photgraphers, and is filled with detailed text that chronicles the history of this energetic movement.

Used copy of the 1st edition with  mark/general wear and tear to the dustjacket.  Book inside very good.

• GOST 2024
• Hardback, 1st edition, 144p
• New

The city of Atlanta in the US has endured constant change throughout its history. It has been destroyed and rebuilt several times over, survived slavery and racial segregation to become the cradle of the Civil Rights Movement, and recently recast the state of Georgia as a blue wave in a sea of neighbouring red states. The Makeshift City by Joshua Dudley Greer shows a contemporary Atlanta in a state of flux—both a unique city with a specific history and culture, and a generic American metropolis struggling to forge its identity.

The photographs in the book were made between 2020-2024—a period which encompassed the seismic events of the COVID-19 pandemic, the rise to prominence of Black Lives Matter, struggles for abortion rights, increased income inequality and the Stop Cop City movement. This backdrop provided the motivation for Greer to witness certain economic and political forces as they manifested themselves in the landscape, architecture and community in one of the largest and most progressive cities in the American South. Although the structure of the city changed dramatically during this period, the systems which governed it often remained immutable, constrained by capital interests and the two political parties see-sawing for power.

The images in The Makeshift City document Atlanta’s downtown street corners, suburbs, exurbs, film sets, cemeteries, rivers, and construction sites. They show landscapes ruptured by development and carved by highways, inhabitants improvising outdoor gyms, mosques and offices, sterile new-builds, empty lots and crumbling mansions. Greer weaves together all of these elements into a singular narrative that suggests the tensions of the past and the realities of the present.

‘I watched people go about their daily lives in spite of everything that might act against them. There were times of resilience, activism, selflessness, and joy. But there were also moments of banality, privilege and ignorance, even disdain. I’ve tried to make photographs that acknowledge the totality of experience that may beset one particular place during one particular time. Of course, I know I am unable to do this. There is so much about Atlanta that I don’t understand, and perhaps, probably, never will.’

The region where Atlanta stands today was originally Creek and Cherokee territory. The location was chosen to be a railroad terminus and the city was founded in 1837 as a transport centre. Atlanta was destroyed both in the Civil War by General William T. Sherman’s troops and again in a great fire of 1917—the mythical Phoenix rising from ashes adopted as the city’s official symbol. Throughout its history, Atlanta’s layout and growth was shaped and influenced by slavery, racial discrimination and segregation. And yet, Atlanta also became known as ‘The Black Mecca’ for its thriving Black businesses, political leadership, higher education and entertainment. Atlanta’s current population growth, real estate development and racialised gentrification set the stage for a new chapter, one that sits within an uneasy political era pointing toward an uncertain future.

Signed copy.

• VOID 2024
• Softcover, 1st edition, 88p
• New

• VOID 2024
• Softcover, 1st edition, 160p
• New

• FW: Books 2024
• Hardback, 1st edition
• New

Bertien van Manen (1935-2024) photographed in the 1970’s female labor migrants, and the wives of labor migrants, who came to the Netherlands in the context of family reunification. She portrayed Turkish, Moroccan, Tunisian, Spanish, Yugoslavian, Portugese, Greek and Italian women. At home, work, parties and leisure activities, often struggling to survive in a foreign culture. These photographs resulted in her first book ‘Vrouwen te Gast’, published in 1979. In 2024 Bertien revisited her own photographs and texts to make a new, more contemporary, edit of her first work. For ‘I am the only woman there’ she updated the book with new discovered photographs from her archive and new texts, by herself and Kim Knoppers.

• Self published 2024
• Hardback, 1st edition 280p
  
• New

An exploration of Los Angeles’ neighborhoods and transient nature through an extensive typological record of its once-loved sofas.

• GOST Books 2024
• Hardback, 1st edition. 224p
• New

Chernobyl by photographer Pierpaolo Mittica is a document of the communities who inhabit and pass through the exclusion zone—an area covering approximately 2600 km2 around the site of the Chernobyl nuclear reactor disaster of 1986. Mittica first journeyed to Chernobyl in 2002, drawn like many to photograph the impact of the worst technological catastrophe of the modern era. He returned many times and rather than focusing on the ruins and relics, sought to tell the stories of those he encountered in this unique place.

‘Chernobyl is a unique world full of contrasts where stories of life and death intertwine and where nature is always the first to pay the price for man's impact on planet Earth. The ‘dead zone’ of Chernobyl today is full of life, life affected and mutated by the largest and most catastrophic technological accident that humanity has ever suffered, a humanity that has no voice and has suffered all the consequences.’

The photographs in the book—the culmination of six years work for Mittica beginning in 2015 —include those showing the daily lives of the ‘samosely’ who returned to their heavily contaminated villages after being evacuated following the disaster. The samosely numbers have dwindled to less than 200 octogenerians. As the last of the survivors die, the village culture, history and traditions of the province of Polessie will disappear with them.

Approximately four thousand people live in Chernobyl and Mittica’s photographs depict a selection of those who call the town home—the military and police personnel who control
the zone, scientists studying the impact of the disaster, the operators of the reactors that are still not decommissioned and those charged with the dangerous work of recycling the tonnes contaminated metal or rusty ‘gold’ which lies abandoned.

As well as the inhabitants, Mittica photographed those passing through the zone. The most recent to start to enter illegally are referred to as ‘stalkers’, groups of young Ukranians play survival games. They undertake the journey to reach the final destination of the ghost town of Pripyat walking about sixty kilometres through the woods, mostly by night to avoid the police. Also passing through were Hasidic Jews on pilgrimages to honour an important Hasidic dynasty which originated in Chernobyl with Rabbi Menachem Nochum Twersky, who was born in 1730. In addition, since 2011 when the zone was opened to tourists, about 60,000 people a year would cross the radiation border on ‘Chernobyl Tours’ to spend a day in the most notable places associated with the diaster.

Mittica, in recognition of the arbituary divide of the thirty kilometre radius of the exclusion zone, also spent time in areas just outside but similarly impacted by the disaster. The village of Radinka is just 300 metres from the zone’s border and its residents live with the devastating health effects of high levels of contamination.  

Signed copy.

• Setanta 2024
• Softcover, 1st edition. 48p
• New 

"The process of creating photos is a way for me to lean into my imagination - to bring things in the world together, to see what meaning comes out of that process.

• Atelier EXB 2024
• Hardback, 1st edition, 190p
• New 

Initiated by Clément Chéroux, this book and exhibition presented at the Henri Cartier-Bresson Foundation in Paris, examine Stephen Shore's work through the unexplored prism of vehicular photography. Since the 1960s, Shore has made most of his images from a means of locomotion, be it car, train, plane or even, more recently, drone. The journey, as important as the destination, becomes a pretext for experimenting and constructing a singular photographic work. In this way, Stephen Shore explores the vernacular of the contemporary landscape, and what it reveals about American society itself.

The book presents a dozen series in chronological order, from his B&W work in Los Angeles, when he was just 21, to his two major series American Surfaces and Uncommon Places, as well as the more recent Topographies, conceived in 2020-2021, with a camera mounted on a drone. These series are punctuated by excerpts from a long interview between Stephen Shore and Clément Chéroux. Each of them wrote a text on the subject of the photographic road trip, considered a genre in its own right in the history of photography, from Jacques Henri Lartigue to Man Ray, Robert Frank and Joel Meyerowitz.

Text in French only. (No english edition available)

• Kult Books 2024
• Hardback, 1st edition. 176p
• New 

In 1961, in the small Spanish village of San Sebastian de Garabandal, four young girls had an apparition of the Virgin Mary. They entered a state of ecstasy in which they became completely unaware of their surroundings and sensory perceptions. Reportedly, witnesses would pinch the girls, pierce their skin with needles, lift them up and drop them onto rough rocks, and yet they remained entranced. The light and presence of the Virgin is all they claim to have experienced. Twenty years later, in the town of Medjugorje, in Bosnia & Herzegovina, six children also had simultaneous visions of the Virgin, with similar ecstatic qualities.

In his debut book Noema, Michael Swann investigates the aura of place and religious experience by searching for signs of the Virgin Mary’s presence in these two locations. Alongside original photographs made at both sites, Noema also includes images that have been appropriated from video footage of the visionaries taken during their apparitions. These emphasise the impenetrability of the individual religious and phenomenological experience, and speaks to the separation between what is apparently being seen and what is photographable.

“Until the age of eleven I was a Catholic. Although I lost my faith, I felt no sense of loss. Many years later I was told a story of a friend, who heard the voice of God speak to her while she was alone in her bedroom. To move from belief to non-belief felt simple, but to pass in the other direction seemed to require a substantial spiritual encounter. Perhaps I could believe once more, if I were to receive a messenger from God.”

• Aperture 2021
• Hardback, 1st edition
• NEW

Following in the photographic lineage of Robert Frank, Stephen Shore, and Joel Sternfeld, Justine Kurland’s work examines the story of America―and the idea of the American dream juxtaposed against the reality. Her deep interest in the road, the western frontier, escape, and ways of living outside mainstream values pervade this stunning and important body of work. Since 2004, Kurland and her young son, Casper, have traveled in their customized van, going south in the winter and north in the summer, her life as an artist and mother finely balanced between the need for routine and the desire for freedom and surprise. Casper’s interest ―particularly in trains, and later in cars―and those he befriends along the way often determine Kurland’s subject matter. He appears at different ages in the work, against open vistas and among the subcultures of train-hoppers and drifters around them. Kurland’s vision is in equal parts raw and romantic, idyllic and dystopian. From highly symbolic pictures of trains moving across epic landscapes to allegorical depictions of mechanics and muscle cars, this book features the full scope of her road work―from her series This Train is Bound for Glory, to her most recent, Sincere Auto Care.

• Bluecoat Press 2024
• Hardback, 1st edition.
• New 

Originally shown at The Photographers’ Gallery in 1979, the exhibition garnered critical acclaim, solidifying the work as one of the most important of its generation.

Janine Wiedel is an internationally important documentary photographer whose work spans over five decades. Tutored by Ansel Adams and Nancy and Beaumont Newhall, she photographed the Black Power movement in the late 1960s and Berkeley People’s Park protest and riots of 1969. Arriving in England in 1970, she embarked on a continuous series of long-term projects including five years documenting Irish travellers. Her later work includes the Greenham Common Women’s Camp, the multicultural community squat in St Agnes Place, London, and the BAME and Rastafarian communities in Brixton. Her latest work includes six months photographing in the Calais ‘Jungle’ and Grande-Synthe refugee camp in Dunkirk. Always politically committed, Janine’s outstanding work is in the best traditions of humanist photography.

In 1977, Janine Wiedel set out in her VW campervan to photograph industry in England’s West Midlands – once the heart of the Industrial Revolution. A region that was home to thousands of businesses – from potteries and jewellers to coal mines, steel and iron works – was in steep decline; underinvestment over many decades in both premises and machinery had created a depressing situation where once world-leading businesses were no longer competitive internationally and facing a grim future.

Janine realised that this was a critical turning point in Britain’s industrial history and she set out to document the workers within their working environment. She was given remarkable access by the factories and was welcomed by the workforce, who greatly appreciated her interest in recording not just their daily work routines but also the bonding and social interaction that was so important in often grim factory environments.

Vulcan’s Forge finally honours the original exhibition at The Photographers’ Gallery in over 250+ pages of beautifully duo-tone printed photographs. The book isdivided into sections on each industry with extended captions and background information into each place.

Unsigned.  Faintest of rubbing to spine text - unread, new copy.

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

LOOK AT THE U.S.A. is a searingly honest portrait of post-9/11 America by Magnum photographer Peter van Agtmael. Broadly chronological, images from the front line of the wars in Iraq and Afghanistan are interspersed with conflicts at home, from protests against the Dakota Access Pipeline to the storming of the Capitol, and layered with van Agtmael’s personal reflections, critique and interviews with those he has encountered along the way.

• Nazraeli Press 2024
• Hardback, 1st edition 136p
• New

Published to coincide with a major 2024 traveling exhibition in Tokyo, Los Angeles and London, this gorgeous new monograph presents 100 of Michael Kenna’s most iconic photographs of the Japanese landscape, many published here for the first time. A perfect pairing of artist and subject, these photographs of Japan comprise perhaps Kenna’s best known body of work and have been the subject of countless exhibitions throughout the world. Michael Kenna first visited Japan in 1987 on the event of his inaugural exhibition there, and he has returned dozens of times and made thousands of photographs throughout the country’s vast and incredibly varied landscape. Our earlier monographs Japan and Hokkaido have been out of print for many years, so we are thrilled to announce this important new publication that includes work spanning Kenna’s decades-long love affair with the country. Japan / A Love Story is beautifully printed in duotone on natural coated art paper and quarter bound in linen and silk. It opens with an essay in Japanese and English by the renowned critic and historian Kohtaro Iizawa. 

“Japan has a long and rich tradition of reciprocal gift giving. I have been the grateful recipient of so much over so many years in Japan, and I know that I will never be able to give back in equal measure. I hope this work can be seen as a small token of my desire to do so. I also hope this work can be viewed as a homage to Japan and that it will serve to symbolize my immense ongoing appreciation and deep gratitude for this beautiful and mysterious country.” — From the Afterword by Michael Kenna

"He has been reflective when others have been militant, romantic when others have been skeptical. Such isolation can starve all but the most independent of talents, but for these it can provide a sanctuary where visions can develop undisturbed. Kenna is one of these.” — Joanna Pitman, The Times

• Chose Commune 2024
• Hardback, 1st edition 92p
• New

Rione Sanità (Naples), Santa Lucia (Cosenza), Torre del Greco. There are places in Southern Italy that carry scars of incurable wounds on the walls and on the flesh of its inhabitants. In those wounds lay the historical memory and the real face of people. Their names are Alfonso, Elena, Marco, Stefania, to name a few. Some are from the same districts and know each other, others don’t. But they have one thing in common: they’ve all met Ciro Battiloro, who has followed them into the intimacy of their home, with his camera and with his heart. He portrayed their everyday life by taking part in it. Never an intruder, Ciro Battiloro is a friend, a brother, and a confident. He doesn’t focus so much on the marginality, but rather on the extraordinary vitality. He has seen new lives being born, children becoming teenagers, and then parents in their turn. He also had to say goodbye. Silence is a Gift is about love and loneliness, life and death, pain and joy — but most importantly, about intimacy and resistance.

Text in French / English / Italian

• Imagebeeld 2024
• Hardback, 1st edition, 104p
• New

The pond at Upton Pyne formed at the site of an eighteenth-century manganese mine.

Located on land owned by a local family who were involved in the mining venture, the first excavations began in March 1788. It was originally an open-cast mine employing just a few men who worked with ladders, picks, shovels, horses and carts. The quality of the ore in the load was rich, and once refined it was shipped from Exeter Quay to London and Bristol, where it was used predominantly in the production of glass. After a bright start the output of the mine steadily diminished and by 1823 it had ceased production, leaving a large pit, shallow on the east side near the road and becoming deeper towards the west, where it is overhung by a cliff.

Known locally as ‘The Black Pit’, it gradually filled with water to form a pond. Within living memory the land around the pond had been used to keep the village pigs and to grow vegetables. However, over the years, as so many relics of the Industrial Revolution, it became increasingly derelict, full of discarded household goods, a car, farm and garden waste and fallen trees.

This is a story in three parts. The first two are built around the three-year cycles of the two projects to improve the pond. The third is a short epilogue that places the site in a wider geographic perspective.

The pictures present a collection of histories. Within the broad sweep of time they encompass a thousand years of a large estate on the borders of a city that has since Roman times been a regional capital; the comings and goings of the Industrial Revolution; the decline of agricultural life with the advent of modern farming; and the urbanisation of village life.

Within the span of the six years the pond had risen and fallen, trees had collapsed while others grew, herons and a kingfisher had returned, the roof of the shed adjacent to the pond had fallen in, the collection of farm machinery had grown, and the number of ducks living in and around the pond had significantly increased.

Running as threads through the work are the myths that pervade our imaginations and motivate so many of our actions; and the wonder at what we too might leave behind.

Edition of 500 copies.

Signed copy.

• Dewi Lewis 2024
• Hardback, 1st edition, 296p
• New

Christer Strömholm is recognised as one of the major figures of 20th century European photography. Strömholm captured his surroundings in black-and-white images that display his integrity, understated humour and a highly personal aesthetic. With an unmistakable sensitivity to human suffering, based on his personal experience, he took photography in a new direction. Sean O'Hagan, writing in The Guardian, has described him "as the father of Swedish photography both for his abiding influence and for his role as a teacher." 

Born in Stockholm, Strömholm discovered photography via graphic art in the late 1940s. During the 1950s and 60s he lived much of the time in Paris, where he developed his particular style of street photography. It was here that he produced his most famous work, Les amies de Place Blanche, a tribute to a group of young transsexuals with whom he became friends and whose lives he shared over many months. They were very much outsiders, struggling to survive with their main source of income being from prostitution. In these legendary photographs, shot at night in available light, Strömholm merged street photography and portraiture, depicting them as the close friends they were, in intimate and honest portraits far from the spectacular or speculative.

Les amies de Place Blanche raises profound issues about sexuality and gender; and, in Strömholm’s own words, “it is about obtaining the freedom to choose one's own life and identity.”

Strömholm also went on numerous photographic expeditions to places around the globe in the early 1960s, including Spain, Japan, India and the USA. Early in his career, he began teaching in Stockholm, eventually setting up the legendary Fotoskolan, from which some 1,200 students graduated between 1962 and 1974.

Strömholm’s work has inspired many generations of photographers, though he did not become known to the broader public until 1986, with a major exhibition at Moderna Museet in Stockholm. Stömholm died in 2002.

• RRB 2024
• Softcover, 1st edition
• New

The images in Whilst The World Sleeps were created late at night using Play-Doh, an empty wine bottle as rolling pin, a knife and a chopping board. Eleanor Macnair began her Photographs Rendered in Play-Doh project on an experimental whim in 2013 and has since amassed both a large audience and an archive of nearly 400 recreated images. Whilst The World Sleeps draws from this archive to create an alternative photographic history told in just over fifty recreated images, many published here for the first time.

We all view hundreds of images each day—on screens, in newspapers, in adverts—but we scan them and move on. Macnair began recreating photographs, both the familiar and overlooked, in bright Play-Doh colours to encourage the viewer to slow down and engage with the original photographs. The project, first shared on tumblr then Instagram, questions how we read and value imagery in a digital age and creates a humorous entry point for the audience to encounter the often inaccessible worlds of art and photography.

The models are created in Macnair’s spare time, often late at night, using off-the-shelf Play-Doh. The only colours she mixes are the flesh tones which she keeps in an old Tupperware container. Each model is then photographed in natural light in her bin yard, with many adjustments to get the angle and lighting just right. Finally, each model is destroyed and the Play-Doh returned to its respective pot ready for the next model. 

Edition of 500 signed and numbered copies.

• GOST 2024
• Hardback, 1st edition, 264p
• New

What would you do if you had 24 hours to leave your home, what would you take, who would you go with, how would you leave and would you, in effect go?’

The year in which photographer Jillian Edelstein turned 40 she came across an image of her great aunt Minna, of whose existence she had been unaware. The photograph of Minna became the catalyst for a journey to unearth her family history and the discovery of an unknown branch of her family living in Ukraine. Here and There documents Edelstein’s family odyssey and expands to encompass photographs made throughout her career, inextricably linked by the thread of human displacement.

In 2002, the same year that Edelstein had discovered Minna's photograph, she was commissioned to photograph the South African Sangoma shamans, whose rituals employ the intermediary healing powers of their ancestors. A shaman told Edelstein that her own ancestors were in conflict, fuelling her growing determination to untangle her family's hidden history. Thus Edelstein began a journey that took her from her home in London to the heartland of the Ukraine, and to her grandfather’s birthplace in Latvia. In turn the journey led her to the shores of Lesvos, the West Bank, the Jungle in Calais, to the boat graveyard on the island of Lampedusa. In Here and There, Edelstein refracts images and stories of displaced people through the lens of her family’s own mystery—reaching the refugee history we all have in common, whether its details are known or not.  

‘And that’s the theme that runs through my family. A veritable diaspora. South Africa, Israel, Canada, Colombia, United States, Australia, Italy, Mallorca, Ukraine. How many continents can one family possibly inhabit? … I wonder how I would feel if, from the age of my late teens, I never got to see or hear of my siblings ever again.’

Edelstein’s grandfather, two brothers and their sister Minna had grown up in Sassmacken, Latvia, were separated as teenagers and never saw each other again. Minna’s life was a series of escapes from Germans in World War I, the Red Army in the Russian Revolution and during World War II from Ukraine to Uzbekistan where she died, the same year that Edelstein was born.

Signed copy.

• TIS 2023
• Softcover, 1st edition,176p
  
• New

With Mi’raj (Arabic for “ladder” or “ascension”), his first full length monograph with TIS books, J Carrier builds upon ideas explored in his book Elementary Calculus (MACK, 2012): notions of distance and destination, of hope and providence. He also scrutinizes more recent preoccupations: faith, futility, and the possibility of transcendence. Working over several years, Carrier chose to survey the Old City, East and West Jerusalem, and other areas in the West Bank, engaging directly with the real and tangible artifacts of thousands of years of history and belief. Using an iterative and recursive process, Carrier’s result is a deft photographic landscape woven from the fragments of parallel and divergent realities.

Signed copy.

• VOID 2023
• Hardback, 1st edition, 112p
• New
  

‘Levee’ by Adrianna Ault invites us to embark on a powerful journey of healing as she navigates the complexities of grief and loss after her mother’s passing. Along the serene Mississippi River, Ault finds solace in frozen moments that transcend time, capturing the very essence of life’s joys and heartaches. The series began as a way to better understand the surrounding landscape of New Orleans, where she was raised as a child. There she discovered how the city’s surrounding waterways expose the land to a constant state of vulnerability. The physical landscape is parallel to an emotional landscape rooted within the culture of New Orleans and its people.

• Setanta 2023
• Hardback, 2nd edition, 128p
• New
  

Arcadia has been referred to in popular culture as a utopian vision for centuries. A fictional place which is fertile and bountiful. Held aloft by artists, poets and playwrights as a depiction of one’s individual paradise. Now eroded by times relentless indifference to change, it remains lodged in our collective psyche as a touchstone.

In his series by the same name Ian Howorth looks to use this existing cultural framework to explore his personal connections to his own utopian ideal of ‘home’. Having relocated many times as a child before finally settling in Britain, his relationship with this concept has been fraught. Often considering himself an outsider.

The images in this series capture a retro nostalgia and constantly question our preconceived ideas of beauty. Arcadia takes us from the serene if not metronomic seaside towns of the South to the Working Mens Clubs and forgotten factories of the North. Through his unique style and mastery of film, Ian highlights a contemporary Britain suffocated by its past whilst allowing the viewer to draw their own conclusions.

Signed copy.

• Setanta 2023
  
• Hardback, 1st  edition
• New

10 Miles West by Josh Edgoose is a document of the photographer’s home and surrounding community. Containing over ten years of photographs of South-West London, 10 Miles West started with images Edgoose captured during his daily commute. Over the subsequent years they became a diary and a growing archive of life in these communities.

Through the use of colour, humour and an empathetic approach to his photography, Josh delves into the intimate stories of the people, the landscapes and the untold narratives that make these lesser-known London boroughs so special, making us join in his connection with his local area. 

• Osiris 2023
  
• Hardback, 1st edition, 120p
• New

“Dawn in Spring” brings back the earliest works of Japanese photographer Asako Narahashi.　Originally shot in 1989, a decisive period not only for the then-unknown artist, Narahashi exhibited the images from her “Dawn in Spring” series four separate times throughout the year. Including previously unshown images, this book represents the first time her series is made available in print.

After taking part in Daido Moriyama’s “FotoSession” workshop in the mid-80s, 1989 was the year her time as a university student would end. With an undecided future ahead of her, Narahashi travelled through Japan – Kumamoto, Miyakejima, Hakata, Yokohama, Hachinohe, Yuzawa, Tokyo… – and inadvertently laid the foundation for her photographic career. Despite the long time between these photographs and her breakthrough in the latter half of the 90s, the black-and-white images in “Dawn of Spring” already reveal the acute sensibilities of this exceptional artist.

“Dawn in Spring. I can’t for the life of me remember how I arrived at this title. Perhaps because it happened to be spring; maybe the words were already resting at the tip of my tongue and just felt right to me. I had no real idea where to travel or what to photograph. I think I simply let the flow, the momentum, my encounters and my desire to escape decide it all … Having come face to face with my contact prints, negatives and 8x10s after all these years, I realized once again that this is where it all began for me.”
― from Asako Narahashi’s artist statement

• Gyldendal 2012
• Hardback, 1st edition
• Near fine - see below

Scarce Krass Clement title.

Some light rubbing to corners/spine ends.  Inside fine.

• Self 2015
• Hardback, 1st edition
• Used: Very good/good
  
  

"Eamonn Doyle’s second photo-book, ‘ON, follows last year’s ‘i’, a collection of street portraits from Dublin city centre. In ‘ON’, black and white figures stalk across Dublin streetscapes, by turns lost, menacing, wary, browbeaten or entranced – but always at odds in some way with their environment. As in ‘i’, the photographs were mostly taken on Dublin’s Parnell Street and O’Connell Street. But here the historic role of those two streets as zones of resistance, protest and insurrection is far more present. The very title of the book itself evokes a resistance – that doggedly existential kind identified by Samuel Beckett’s narrator in ‘The Unnameable’: ‘You must go on, I can’t go on, I’ll go on.’

The figures are dynamic – muscles taut, heads in mid-turn, bodies in motion. Some flee the photographic gaze itself. Others stare challengingly down the barrel of the lens. Most appear caught up in projects so intensely private that they have an air of total inaccessibility. Rarely does the photographic act intrude so little on the lives of its subjects. Paradoxically, the energy is sought at precisely those moments when the unruly subjects look most likely to tear the images asunder. The central drama of the book could thus be said to be its subjects’ struggle with representation – not necessarily against it but writhing, wriggling, jockeying with it.

The resulting images invariably draw attention to the photographic act. One never forgets that these images have been selected, framed, constructed. One is never tempted to identify the image with the subject of the image or to respond ‘I know exactly how that person feels.’ The interiority of the subjects is preserved; their dignity remains intact."

Blue cover.  Signed and numbered (046)

Small bump to spine end - see photo, and some light wear to cover, inside very fine.

• RM 2020
• Hardback, 2nd edition
• NEW
  

Born in 1957 in Gamagori, in the Japanese prefecture of Aichi, Yamamoto Masao is a photographer who began his art studies as an oil painter under the supervision of Goro Saito in his hometown. Yamamoto subsequently discovered that photography was the ideal medium for the theme that most interested him: images with the ability to evoke memories.

“Small Things in Silence” offers a perspective on twenty years of the career of one of Japan’s most important photographers. In the words of Yamamoto himself: “I try to capture moments that no one sees and make a photo from them. When I see them in print, a new story begins.”

• Osiris 2019
• Hardback, 1st edition
• New

In his photobook “Holy Onion”, Japanese photographer Motoyuki Daifu concentrates on his mother, photographed while she peels an onion in the family’s kitchen (both mother and kitchen are familiar to us from Daifu’s previous works portraying his family’s life).

In 35 continuous photographs, Daifu captures his mother peeling onions, frame by frame. The photographs are taken only moments apart, as Daifu’s mother cuts into the onion in her hand, scratches her nose, look at the camera, back at the onion, wipe her eyes. The book’s accordion design, with some images separated by white pages, others grouped together, adds to the continuous nature of the sequence. As the images progress, small details in the setting change, and by the end of the book, the plate with onion peels is again empty, the process ready to start all over again. With “Holy Onion”, Daifu pays close attention to the intricacies of mundane tasks and accentuates the beauty within (almost automatic) everyday routines.

The book also features an essay by Chris Fujiwara (in English).