Last Copy

• Harry Abrams 1989
• Hardback, 1st edition
• Near fine

This major monograph was published on the occasion of a retrospective exhibition at the Seattle Art Museum. Many of the photographs in this beautifully printed book were presented here for the first time. “In the twenty years following his first museum exhibitions, Friedlander has developed his art in a surprising number of directions. Through travel and commissions, he has taken his camera off the street and into many new areas; but he continues to build on his initial feelings and discoveries made in the street, where he was the confident stranger juggling observation and participation, diffidence and intrusion.”

Near fine copy with faint wear to edges of cover and light yellowing of page edges as to be expected, otherwise a very fine copy.

• 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.

• 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.

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

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

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

• Three Books 2025
  
• Softcover, 1st edition, 206p
  
• New

"It wasn’t a dream.  He really came back"

"The Dialogue of Two" is the nearly three-year story of photographer Akihito Yoshida's grandmother until her death at the age of 88, left alone after Yoshida's cousin Daiki, who lived with her, took his own life. The photobook evolves around a ‘tale’ that the grandmother told the photographer over and over again before her death.  "The Dialogue of Two" is a story of how those who have lost their loved ones face the dead and live in dialogue with them.

Signed copy.

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

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

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

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

• Mack Books 2019/2025
  
• Softcover, 2nd edition
  
• New
  

"Halpern is a photographer of place […] but he recognizes that place is a matter of personality: the little details, the minor moments, by which identity, collective or otherwise, is revealed." – The New Yorker 

Gregory Halpern’s “most impactful images" – The Guardian

"As America turns towards the midwest to understand its own political climate, [Gregory Halpern's] work feels precisely relevant." – The Independent

In this new edition of Omaha Sketchbook, Gregory Halpern returns to his lyrical yet equivocal account of the American heartland. Compiled over fifteen years of photographing Omaha, Nebraska, the book forms a prescient meditation on America, the men and boys who inhabit it, and the mechanics of aggression, inadequacy, and power. In loosely collaged spreads that reproduce his construction-paper sketchbooks, Halpern takes pleasure in dissonance and unexpected harmony, playing on a sense of simultaneous repulsion and attraction to the place. Halpern has significantly altered the first iteration of the book with a new cover and thirty-five previously unseen photographs, breathing life into his original notion that this project is a working sketchbook he will return to and revise periodically.

2nd edition.  

Imperfect copy with very small damage to the edge of the cover.  Otherwise a sealed new copy.

Note: 1st edition shown in video, contents are the same.

• Witty Books 2025
• Hardback, 1st edition, 88p
• New

In the Mantuan dialect, passacör translates as “afternoon nap”. These photographs are intended to serve as visions from an intensely vivid dream, dreamt beneath the hazy sunshine just south of the River Po. Fed by fleeting memories of a rambling road-trip with local friends – which wound its way through the towns and villages and fields and floodplains of their beloved Oltrepò Mantovano – it is now difficult for me to decipher whether they are figments of a real world or one that was imagined. Yet together they reflect a profoundly true experience of a unique and special place that I found to be both meaningful and magical, and quietly hint at the lives, stories, histories, tales and traditions that are deeply embedded within this remarkable region, as well as those which more widely reside within our shared and collective unconscious.

• Witty Books 2025
• Softcover, 1st edition, 72p
• New

Inspired by a heightened experience of time and space with a society in limbo during the pandemic, the scenes in 2020-MMXX depict moments of boredom, introspection and delicate human interaction.

Multiple-angle photography is used as a tool to accentuate the sense of elongated time and deconstruct the illusion of space in pictures. Through subtle gestures, the images reveal that they are photographed at precisely the same instant by multiple analog cameras operated simultaneously. A single moment in time perceived from different perspectives calls into question the myth of the “decisive moment” and the credibility of a singular, authoritative way of seeing. These meta-images refer to their own processes of perception and relationship to their observers.

Dancing around the fragility of a moment suspended in time, every point of view is unique, revealing something its counterpart cannot, reminding us that there is always something the photograph hides—that there are other angles to every story and different stories to every angle.

• The Eriskay Connection 2025
• Softcover, 1st edition, 80p
• New

is an eclectic collection of photographs taken by Oriane Thomasson (FR) across various landscapes, interwoven with archival images. Through these visual correspondences, she constructs a photographic fiction of the legend of Atlantis.

The myth of Atlantis, as recounted by Plato in Timaeus and Critias, describes a magnificent, vast, and prosperous island blessed with fertile land and abundant natural resources. Its inhabitants, descendants of Poseidon, lived in a society organised in harmony with nature. Over time, their ambition drove them to expand their empire and exploit new resources, provoking the wrath of Zeus. As punishment, he unleashed a devastating cataclysm that submerged the island beneath the waves. To this day, the myth continues to inspire archaeological theories and countless fictional narratives, and proves to be just as relevant today.

Through this free reinterpretation, Thomasson creates her own narrative, composed of a photographic series and an original science fiction short story titled ‘The Meteors’. Together they trace a before-and-after, the allure of a ‘lost paradise’ and the marks of its collapse, revealing how evidence and invention together shape the writing of history. The work bridges what is known and what is imagined – what remains and what is missing – and treats archaeology and history not as neutral repositories but as story-making practices whose documents become material for the book’s fiction.

Atlantis, just like Thomasson’s previous book Paradis, opens up a space for the imagination, where, from the shadow of submersion, new forms emerge. The series is built on cycles of disappearance and resurgence. Between the mysterious, unsettling world of the depths where Atlantis now belongs, and the enchanting images of this paradise of abundance. The book is printed on four different types of paper, each corresponding to a specific category of image: a warm-toned paper for images evoking the island of Atlantis and its classical Greek landscape; a thin, translucent paper referencing disappearance and oblivion, used for traces of a lost Atlantean culture; a bright white paper for images that convey a state of transition, from sinking landscapes to a man with a fish head; and a coated paper printed full-bleed for underwater imagery, to emphasise the submersion of the once-prosperous city.

• Stanley Barker 2025
• Hardback, 1st edition, 104p
• New
  

In 1959, Arthur Tress began taking his camera with him on walks through the Ramble, an overgrown corner of Central Park that had become New York’s best-known outdoor meeting place for queer men. Designed as a picturesque woodland in the nineteenth century, by the late 1960s it had grown wild, a hidden, half-forgotten place of chance encounters in the middle of the city.

For a little over a year, Tress returned again and again, recording the everyday choreography of cruising and creating what is now recognised as the earliest known photographic record of outdoor cruising in a natural setting.

His images show the flow of men through the Ramble, some caught from a distance, others posed or gently staged in small scenes. He saw these photographs not just as documentation but as a kind of queer still life, part allegory, part dream.

Long unseen, The Ramble is now considered a vital piece of New York’s queer history, part ethnography, part fantasy. More than fifty years later, it stands alongside a new generation of queer landscape projects that share its quiet focus on how bodies, longing, and hidden places shape each other.

The Ramble is the first publication of this remarkable archive: an early portrait of a hidden world, a city’s wild corner, and an artist searching for himself among the trees.

• Journal 2025
• Hardback, 1st edition, 128p
• New

Joey Judita Abrait’s second book is about men, nature, friendship, death and life.

“On my first visit to the farm, the “Sanctuary” I was appalled and intrigued at the same time. On the one hand shabbiness, neglect around the living quarters and abandoned farmhouses nearby, on the other hand a feeling of elevation and spirituality in the air and the surrounding countryside … There were no rules except a few: to be however you like without exceeding the needs of the group, to take care of your own mess and to be part of the annual cleaning and planning weekend.”

• Dashwood / Session Press 2025
• Hardback, 1st edition, 232p
• New

Over the past four decades, Takashi Homma has become one of the most influential figures in Japanese photography. From his early exploration of Tokyo’s suburban landscape in Tokyo Suburbia (1998) to conceptual investigations of architecture, nature, and urban history, Homma’s work continues to challenge and expand photography’s role in visual culture. His influence extends far beyond Japan, with exhibitions and publications that contribute to a global conversation around identity, place, and the evolving language of the photobook.

Portrait of J joins the rich tradition of socially engaged portraiture, echoing seminal works such as August Sander’s Face of Our Time, Irving Penn’s Small Trades, and, more recently, Wolfgang Tillmans’s Portraits, Rineke Dijkstra’s studies of adolescents and Paul Graham’s End of an Age. In Japan, similar approaches resonate in the work of Shomei Tomatsu, whose postwar portraits offered intimate glimpses into daily life; Yoshihiko Ueda’s Portrait, which documented leading cultural figures; and Hiroh Kikai’s Asakusa Portraits, as well as Issei Suda’s Tokyo-kei and Katsumi Watanabe’s Shinjuku Guntōden 66/73—all of which captured the individuality and quiet dignity of anonymous Tokyoites.

What distinguishes Portrait of J is its intentional focus on ordinary individuals photographed with the same care and reverence often reserved for cultural icons. Shot across a variety of familiar, recognizable locations, mainly in urban environments, Homma’s portraits have an illuminating quality that reveal a psychological depth in their subjects. His approach is less overtly political than Tomatsu’s, more nationally reflective than Kikai’s or Watanabe’s, and more humanistic than Ueda’s. His portraits are guided by empathy and a desire to observe people as they are—free from manipulation or staging. The result is a more inclusive, nuanced visual representation of Japanese identity—expanding the lens through which Japanese people are seen both within Japan and internationally.

While Japan has long fascinated audiences in the U.S., Europe, and beyond—often admired for its aesthetics, traditions, and technological innovation—the lived realities of its people are often idealized, misunderstood, or overlooked. Portrait of J is especially meaningful in that it offers a platform for a Japanese photographer to speak directly, intentionally, and reflectively through his work—presenting a grounded and authentic portrait of contemporary Japan.

At once systematic and deeply personal, Portrait of J is a quiet yet powerful milestone in Takashi Homma’s enduring career—and a poignant, timely archive of the people who shape Japan toda

• Timeshow Press 2016
  
• Softcover, 1st edition
  
• Fine

French photographer Maki’s photobook Guyu, published by the French Timeshow Press, showcases the artist’s contrast-rich black-and-white street photography. The subjects range from streets in Shinjuku to hectic nude shots and views of trees. The photobook features an essay by Clement Paradis in French and English.

"Guyu in japanese, means “allegory”. For Maki, the figure of speech is a photographic category. At the core of his photography practice, lies the question of re-presentation, of the relationship to space... The involvement of known elements in new sets - or the opposite. During his travels in Japan of the past 15 years, Maki stayed tireless, circulating through metropolitan cities, from island to island, with a rear base in Tokyo, Shinjuku district - a point of "eternal return" for the Japanese photographers. […]

Maki's photography is made of figures, and figures of speech, forming a kind of social novel of the Japanese territory. Here, photography is definitely not a transparent language: the photographer's work gives it its thickness, which is not that of an icon but that of the "demon of analogy," a skillful weaving between the allegorical mental world and the objective world around us. […]

That is what unfolds over the double pages of Guyu, this dense atmosphere of Japanese cities where sometimes the world seems to curve around the individual in a movement whose end can only be photography. Maki's approach starts with a non-resistance to the experience. It shows in Guyu, page after page, and so the energy of the perfectly controlled photographic grain ends up as a dark matter in the galaxy of Japanese cities.

— from the publisher’s statement

Edition of 300 copies.  Signed copy.

• Tall Poppy 2025
• Softcover, 1st edition, 112p
• New

To Be Developed, To Be Continued is a book about changing visibility as a tween becomes a teenager, and the ever-changing relationship between mother and daughter, youth and age, who is seen and who is not. Through photographing her daughter/muse, Odette England’s images are both collaborative and playful - with the photographer and her daughter often obscuring what can be seen and how easily it can be seen.

Accompanied by England’s adaptation of text by Season Butler, the work is not trying to bottle the moment or hold onto a fleeting period, but is celebrating the changes in a person and their relationships to others and the world. Change is temporal and inevitable, and for that reason is savoured here. The design of the book mimics this, made all the more precious because it of the softness of construction and paper.

• Thames & Hudson 2025
• Hardback, 1st edition, 440p
• New

Quartet explores Daido Moriyama’s early career through four foundational photobooks that highlight his place as one of Japan’s most radical photographers: Japan: A Photo Theater,  A Hunter, Farewell Photography and Light and Shadow.

Rooted in the complexities of Japan during a transformative era from 1968 to the early 1980s, these seminal photobooks not only offer profound insights into the nation’s evolving cultural, economic and social landscape, but also trace the emergence and development of Moriyama’s distinct style.

Slipcased hardback.

• Fw:Books 2025
• Hardback, 1st edition, 192p
• New

Heap-O-Livin’ features a selection of images by Wyoming photographer and diarist Lora Webb Nichols (1883-1962). Nichols created and collected approximately 24,000 negatives and 65 years of diaries throughout her lifetime in the town of Encampment.

In addition to the industrial and economic aspects of this sparsely populated ranching and copper mining town, Lora’s images and diaries documented the lives of the girls and women within private households.

Despite the inherent isolation created by geography, the long brutal winters, and the patriarchal ideology that undervalued the role of women in Encampment in the late 19th and early 20th century, a robust female-led community emerged that provided a network of spiritual and emotional support. This was cultivated through the habitual visitations of immediate and extended family and friends into each other’s homes during their transition from children to wives and mothers. In Nichols’ sphere, these visitations often involved the act of picture-making.

Lora photographed their duties as mothers and homemakers but also made photographs that reveal the pleasure they experienced in simply being in each other’s company.

“Heap-O-Livin’” is following the sold out book‘Encampment, Wyoming’

• L'Artiere 2023
  
• 2 x Softcover in folder, 1st edition
  
• New
  

The pictures were shot by Anders Petersen in Napoli in the year 2022 during Spot home gallery’s first artist residency, curated by Cristina Ferraiuolo, in collaboration with Massimo Nicolaci.

Edition of 1500 copies. 

• The Ice Plant 2024
• Hardback, 1st edition, 192p
• New

In 2023, Swedish photographer Gerry Johansson roamed the state of Maine with a Rolleiflex, curious to make new pictures in a region of America he first encountered in the work of Paul Strand five decades ago — he found Strand’s views of New England “boring” at the time — and also wondering, “Why is American photography so focused on the west?” Johansson’s Maine echoes the formal restraint of his earlier books, notably American Winter, Spanish Summer, MeloniMeloni, and Pontiac, sequencing nearly 200 black-and-white duotone photographs alphabetically by their oddly poetic northeastern town names (Bath, Friendship, Purgatory, etc). Somehow, as in all Johansson’s work, none of the Maine pictures draws more attention than any other, and the flawless and playful compositions never seem to repeat — Johansson’s endlessly inventive arrangements of architecture and landscape orient the viewer in a specific geographic and cultural place while generously sharing his way of seeing, ambling, and thinking with a camera.

Unsigned.

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

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

– Daido Moriyama, afterword 

Signed copy.

• Journal 2012
  
• Hardback, 1st edition, 124p
  
• New

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

‘In 2012, I found a piece of material in a rock pool that changed my life. Mistaking this moving piece of cloth for seaweed, started the recovery of synthetic clothing from around the coastline of Britain for the next ten years.’
 
Photographs of British Algae: Cyanotype Imperfections is a typology of discarded clothing fragments found around the coast of the UK. A homage to the work of pioneering botanist and photographer Anna Atkins (1799-1871)—the unique cyanotype images in the book mimic different species of marine algae found in waters around Great Britain. Through the creation of this work, photographic artist Mandy Barker hopes to raise awareness of fast fashion, synthetic clothes, and the harmful effect of microfibres in the oceans.

Over the course of a decade Barker recovered over 200 ‘specimens’ of clothing from 121 beaches from locations as far north as John O’Groats in Scotland, to Land’s End in the South of England. Items ranging from jackets to dressing-up outfits, wigs and trainers, football shirts to underwear, were salvaged from beaches, rockpools and directly from the sea. The items were representative of millions of tonnes of clothes manufactured and discarded each year—sometimes without being worn at all. Every year, the fashion industry is responsible for more greenhouse gas emissions than all international flights and container ships combined.

For each alternative ‘specimen’ in the book Barker created a photogram of the clothing fragments using the cyanotype process to produce detailed Prussian blueprints. The project is inspired by the work of Victorian botanist and photographer, Anna Atkins who used cyanotypes in her groundbreaking book Photographs of British Algae: Cyanotype Impressions (1843) to produce detailed depictions of botanical specimens. By combining art and science, Atkin’s work illustrated the potential of photography and changed how people looked at science in the 1800s.

‘Seeing the potential to re-create new work in a similar way, I realised I could engage how people view science today, and in connection with the present-day consequences of climate change.’

To coincide with the 180th anniversary of Atkin’s book, Barker painstakingly created a replica of the original publication with 202 illustrations, each with the botanical specimen substituted with found garments or fibres. The publication Photographs of British Algae: Cyanotype Imperfections is a carefully edited version of this replica project and begins with outer garments of clothing, such as a waterproof and parka coat, ending with inner garments of underwear worn closest to the skin.

Signed copy.

• 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.

• Akio Nagasawa 2009
  
• Softcover, 1st edition, 48p
  
• New

Rare early Record issue.

Signed copy.

• 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.

• Nazraeli 2025
  
• Hardback, 1st edition
  
• New
  

Chicago by Mark Steinmetz, made between 1988 and 1991, provides a compelling portrait both of the city itself and of the time in which they were made.

Steinmetz’s relationship with Chicago is an important and evolving aspect of his artistic journey. While he is primarily associated with the South, Chicago has long been a city that has inspired his creative exploration. Chicago’s distinct neighborhoods, architecture, and energy offered Steinmetz a rich source of material, allowing him to capture the city’s quiet moments and intimate portraits of its residents. Chicago showcases a unique perspective of the city and and is an important chapter in Steinmetz’s ongoing dialogue with the broader American landscape.

Born in 1961, Mark Steinmetz lives in Athens, Georgia. He is a Guggenheim Fellow, with work in the collections of the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Art Institute of Chicago, and the Los Angeles County Museum of Art.

• Chose Commune 2020
  
• Hardback, 1st edition
  
• Fine
  

Afterlife is the sixth chapter of Vasantha Yogananthan’s long-term project A Myth of Two Souls inspired by the epic tale The Ramayana. Drawing inspiration from the imagery associated with this myth and its pervasiveness in everyday Indian life, Vasantha Yogananthan has retraced the legendary route from north to south India. A Myth of Two Souls is informed by the notion of a journey in time and space and offers a modern retelling of the tale.

Afterlife is centered around the bloody war between the army of Ravana and the army of Rama. As its title suggests, the chapter deals with death and reincarnation. With Rama’s cruelty finally revealed, the series can be read as a visual exploration of one man’s descent into the darkness of the soul. Although the pictures were shot in Rajasthan and Tamil Nadu over two editions of Dussehra — the Indian festival celebrating the victory of good over evil — they do not document the festivities. They focus on the trance people try to reach night after night, as if during one week they were allowed to escape their bodies to become somebody else.

Back to his studio, Yogananthan did collages by mixing several pictures together to put the viewer in a state of disorientation. The Ramayana has been continuously rewritten and reinterpreted through time, and for Yogananthan’s Afterlife has been retold by Indian writer Meena Kandasamy. Amma — the seventh and last chapter of A Myth of Two Souls — will be published next year and will mark the end of the project (2013-2021).

Signed to a sticker - see photo.

• 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.

• Nazraeli Press 2025
• Hardback 1st edition
• New

Published to coincide with an exhibition of the same name, Los Angeles x Shinjuku presents a face-to-face selection of work from Daido Moriyama’s ongoing Shinjuku, Tokyo series and Avo Tavitian’s photographs of Los Angeles made over the past three decades.

Born in Beirut, Lebanon, in 1954, Avo Tavitian’s journey to photography is marked by a profound connection to his changing surroundings. Shaped by the experience of moving to the Eastern shore of the United States with his family in the late 1960s, following the 1967 Middle East war, Tavitian developed a sense of being an outsider during his formative teen years in New Jersey and New York City, a sensibility that would later influence his work as a photographer after his relocation to Los Angeles in the mid-1980s.

Born in 1938 in Osaka, Japan, Daido Moriyama is a pivotal figure in contemporary photography, celebrated for his evocative black-and-white street photography that captures the essence of urban life. In recording the subcultures of Tokyo during his career he gravitated to the dense, dynamic and often gritty ward of Shinjuku. He employs a raw, spontaneous style characterized by high contrast and grainy textures. His iconic images explore themes of identity, memory, and the fleeting moments of everyday existence.

Tavitian and Moriyama both focus on framing everyday subjects, capturing moments on 35mm film while embracing the unpredictability of the medium. Their work reflects a deep fascination with urban landscapes and a curiosity about the mundane, as they seeks to document the changes and constants in his field of vision. Through their explorations, both photographers use the camera to navigate the complexities of belonging and identity in an ever-shifting human environment.

• 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.

• Gallery 51 2024
• Softcover, 1st edition, 88p.
  
• New

Saul Leiter – Carte Postale features a rare collection of intimate, postcard-sized photographs by Saul Leiter. 

These works were recently uncovered by Leiter’s estate and offer an unprecedented view into his early artistic vision. Originally printed on postcard-sized paper by Saul Leiter, these small yet profound images reveal Leiter’s nuanced portrayal of daily life, from the bustling streets of New York City to the intimate interiors where he sought refuge. Through this collection, visitors are invited to witness Leiter’s skill in transforming ordinary moments into poetic expressions, finding grace in everyday life.

Saul Leiter began his career as a painter, a sensibility he carried into his photography throughout his life. His images are not merely snapshots; each photograph is carefully composed, capturing delicate interplay between light and shadow, which reveals the quiet beauty of urban life. Leiter’s ability to uncover the poetic essence of ordinary moments makes his work deeply relatable, resonating on a universal, human level.

This new book includes the images from the recently uncovered collection, alongside a unique addition: two detachable, postcard-sized prints, ready to be shared or displayed as cherished keepsakes.

• Stanley Barker 2024
• Hardback, 1st edition. 88p
• NEW

• 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.

• Skeleton Key Press 2024
• Hardback, 1st edition. 112p
  
• NEW

Katia Berestova’s new book, Out of Time, invites viewers into a symbolic, dreamlike world that intricately blends beauty, decay, reflection, and transformation. As a self-taught and prolific artist, Berestova uses photography to actively engage with the ever-changing essence of life and its significance. Her art is a vocation, a continual process that intertwines with life itself, conveying the core of existence and giving rise to a personally initiated realm of beauty, spirit, and dream. The collection of works presented in Out of Time, curated from Berestova’s early to most recent works, weaves layers of meaning into a visual narrative with time as the common thread. Scenes often depict evidence of decay or are set against a backdrop of deterioration, rendered in black and white, bringing shadows into light, both technically and metaphorically. Ultimately, the book serves as a hopeful exploration of the pursuit of light and harmony in a dark world. It is representative of an ongoing interaction resembling the sign of infinity where everything flows in and out, demonstrating the profound and transformative power of art.

• Lamaindonne 2021
• Hardback, 1st edition
• New

From Berlin to Saint Petersburg, passing through Odessa or Italy, the ultimate location of this photobook is the night. Alisa Resnik crosses it, explores its entrails, on a path to meet it, in the desert streets and landscapes where few stealth figures creep in, in the pale interiors, and where fragile and sometimes ecstatic faces appear. Smothered glimmers of light to color splashes in the shadow, the photographer describes what could seem to be a form of wanderings, but turns out to be her path and her story. The story, subtle and quivering, of she who is not from anywhere and yet fully belongs to this nightly world. Through her powerful images, she reveals the beauty and the grace of that nightly world. And, like a hospitable home, it welcomes her and wraps itself around her. Along the pages of this long awaited photobook, Alisa Resnik takes us with her and we abandon ourselves to both the brutality and the gentleness of the night.

Signed to a sticker on credits page.   

Text in French

• Aperture 2020
  
• Hardback, 1st edition, 5th printing
  
• New

The North American frontier is an enduring symbol of romance, rebellion, escape, and freedom. At the same time, it's a profoundly masculine myth — cowboys, outlaws, Beat poets. Photographer Justine Kurland reclaimed this space in her now-iconic series of images of teenage girls, taken between 1997 and 2002 on the road in the American wilderness. "I staged the girls as a standing army of teenaged runwaawys in resistance to patriarchal ideals," says Kurland. She portrays girls as fearless and free, tender and fierce. They hunt and explore, braid each other's hair, and swim in sun-dappled watering holes—paying no mind to the camerea (or the viewer).Their world is at once lawless and utopian, a frontier Eden in the wild spaces just outside of suburban infrastructure and ideas. Twenty years on, the series still resonates, published here in its entirety and including newly discovered, unpublished images.

Justine Kurland (born in Warsaw, New York, 1969) received a BFA from the School of Visual Arts and an MFA from Yale University. Her work is in the public collections of the Whitney Museum of American Art, Guggenheim Museum, and International Center of Photography, New York, among other institutions. Her monograph, Highway Kind, was published by Aperture in 2016.

5th printing.

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

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

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

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

Text in French/English.

• Self 2023
• Hardback, 1st edition
  
• Fine

In a world of ‘alternative facts’ & ‘cognitive dissonance’ Turner’s photographs play with the idea of information voids & misunderstandings, inviting us to explore the shadows and obfuscations of a familiar, yet not quite recognisable world. Embedded within each photograph is a deep sense of ambiguity which gently challenges the viewer to reassess their own interpretation & calls into question the imposition of our own personal subjectivity on the world around us.

“There are those who would have us believe that the scariest of monsters dwell in the shadows & that we must be on permanent guard. I prefer to think that, while always striving to increase our understanding of the world, we can acknowledge and accept the things we do not know and bathe in the soothing powers of the shade.”

Turner’s work has a tactile, almost ethereal quality, which stems from his fastidious and experimental approach to the process of image making. These are images that are deeply ponderous in nature & often require repeated viewings which reveal the subtle details that unlock the work.

Signed copy.

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

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

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

Unsigned.

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

Cross Road Blues presents a selection of 33 photographs from UK-based Oli Kellett’s iconic series of the same name. Kellett began the project in 2016 during a visit Los Angeles, during which time the United States was literally at a political crossroads. The series evolved naturally from there, eventually taking on a more universal meaning as Kellett continued his work in other countries including Spain, Japan, Brazil and Mexico.

The binding context in each of Kellett’s images is their setting at a crossroads – a familiar place and metaphor for the tension we encounter throughout life. “We live in an era of fake news, political polarization and algorithmic echo chambers,” Kellett explains. “Our experience of the world is fractured as we live out multiple identities on and offline. But crossroads are a democratic place; we all have to wait.”

Kellett’s masterful use of use of natural light and subtle composition lends a cinematic quality to these unstaged scenes. The contrast between the anonymity of urban space and the individuality of  human experience reveals the artist’s deep interest in the human psyche. As the writer and philosopher Nigel Warburton writes in his introductory essay for the book: “The step each person is about to take seems far more momentous than simply crossing a street”.

An admirer of the great American painter Edward Hopper, who famously reflected American life in silent spaces and melancholic moments, Kellett creates mesmerizing photographs of everyday people waiting at crossroads, providing us with a powerful contemporary metaphor.

Oli Kellett’s first monograph, Cross Road Blues is published to coincide with a solo exhibition at HackelBury Fine Art, London. Beautifully printed on a natural art paper and bound in gray cloth over board, with a large tipped-in cover plate, this first printing is limited to 1,000 casebound copies.

• Akio Nagasawa 2023
• Softcover, 1st edition, 132p
• New"Even now that it’s the end of August, it’s still quite hot outside.

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

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

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

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

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

- Ruben Lundgren

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

• Fondazione MAST 2023
• Hardback, 1st edition, 108p
  
• New

Published by Fondazione MAST, this catalogue accompanies the first exhibition in Italy dedicated to the German artist Andreas Gursky.

Gursky’s large-scale images frame the contemporary landscape and define our experience of the world and this exhibition has been curated by reference to the parameters of the MAST collection – Manifattura di Arti, Sperimentazione e Tecnologia / Manufacture of Art, Experience, and Technology. The forty-one spectacular large-format photographs open up peculiar perspectives on the world of work, the economy, and globalisation, revealing striking views of production sites, goods handling centres, temples of consumption, transport hubs, energy and food production, and the financial industry.

Text by Urs Stahel.

Hardcover with slipcase.

Out of print.

• 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.