Last Copy

• GOST 2024
• Hardback, 1st edition, 182p
• New

’Nothing Personal’ shows the back office of war, which is the complete opposite of a battlefield: an oversized playground for adults with wine, finger foods and shiny weapons. Dead bodies here are mannequins or pixels on screens of a huge number of simulators. Bazookas and machine guns are plugged into flatscreens and war action is staged in an artificial environment in front of high-ranking guests, ministers, heads of states, generals and traders.’

Teryoshin deliberately obscures the faces of the business men and women present as it is not his intention to fix blame on individuals. Thea nonymised arms dealers can be seen as a metaphor for a business operating in the shadows and under the radar of the media. His photographs are playful and often focus on bold graphic angles and visual humour such as drinks put down alongside machine guns and geopolitics tote bags. The casual nature of his observations combined with the bright innocent colour palette which runs throughout the imagery is a sinister contrast to the goods on sale. Teryoshin’s use of flash helps him to highlight certain elements and is reminiscent crime scene photography.

Teryoshin first began photographing all types of fairs—agriculture, pets, funerals—because his photography school in Dortmund, Germany was next door to a giant expo hall. In 2016 he ended up at a hunting fair—Hunt and dog—and was surprised how guns, in this instance hunting rifles, attracted old and young visitors. After publishing his series Sons and guns, he became curious to find out what happens at professional arms fairs. He first gained media access to Eastern Europe’s biggest arms fair MSPO in Kielce, Poland in September 2016 due to his work for VICE Germany and the project began. Over a period of years he visited expositions in Poland, Belarus, South Korea, France, Germany, South Africa, China, UAE, Peru, Russia, Vietnam, USA and India.

‘Nowadays companies use slogans like, ‘70 years defending peace’ or, ‘Engineering a better tomorrow.’ It is hard to imagine, that some people in the weapons industry believe these things. Still there is a remarkable quote from the inventor of the machine gun Richard Gatling that says: ‘It occurred to me that if I could invent a machine – a gun – which could, by its rapidity of fire, enable one man to do as much battle duty as 100, that it would, to a large extent, supersede the necessity of large armies and consequently, exposure to battle and disease be greatly diminished.’ Ironically, rather than decreasing the number of soldiers on the battlefield, his invention led to unimaginably greater bloodshed.’

Signed copy.

• TBW 2023
• Softcover, 2nd edition
• NEW

What it looks like when a mother in South Florida raises seven kids on her own while photographing their every move.

Note: Flexibound 1st edition shown in video - contents are identical.

• Akio Nagasawa 2024
• Softcover, 1st edition 36p
• New

One day in 1977, Daido Moriyama headed himself to the train from Yokohama to Shinjuku.
Waiting for the train, he pointed his camera across the platform at Yokohama Station and Shinjuku Station.

A project from one day in 1977.

Signed and numbered edition of 350 copies with a silkscreen printed canvas cover.

• Aperture 2023
• Hardback, 1st edition
• New

• the(M) éditions / IBASHO 2023
• Hardback, 1st edition
• New

In this photographic and sentimental wandering, the second chapter of Chloe Jafé’s trilogy, the French photographer paints a portrait with great accuracy of this island, isolated from the rest of Japan. In Okinawa, which was destroyed during WWII, time seems to have stopped. Jafé commits to reveal the stigmata of a past that still binds the facades and faces and the dark corners of an island where pirates in distress and good-time ladies continue to flock.

Her work brings to light men and women ostracised from society, who have established performance as a religion, unveiling their peculiarity in all its tenderness and its distress. 

Signed copy.

• Mack 2021
• Hardback, 1st edition
• near fine - see below

The British Isles is an account of thirteen years of life across the United Kingdom, as seen through the lens of Jamie Hawkesworth. In this sprawling sequence of portraits and landscapes, Hawkesworth surveys the characters and terrains that make up the everyday fabric of his home country: schoolchildren and shopworkers, markets and estates, priests and professionals, cities and construction sites.

These photographs chart an alternative history of this eventful period of British history; a period punctuated by austerity, referenda, celebration, and conflict. And yet as much as a historical document this book is an exercise in curiosity, presenting a radically democratising portrait of the United Kingdom in which individuals, buildings and natural scenes are imbued with Hawkesworth's generous and dignifying eye. 

Signed to the title page in pencil.  

Display copy with some small marks to cover - barely noticeable.  See photo example.

• Akio Nagasawa 2014
• Softcover, 1st edition, 24p
• New 

Oversize (355 x 260mm) softcover featuring a small selection of plates from William Klein's Tokyo 1961 (new edition). 

Signed by William Klein.

• Sokyusha 2020
  
• Hardback, 1st edition, 1st printing
  
• New
  

Shikawatari (Deer Crossing” is Chieko Shiraishi’s long-awaited new work, released five years after her photobook Shimagake. In this black-and-white work, Shiraishi presents a series of poetic images taken in wintry Dōtō in Eastern Hokkaido. The central theme is a herd of deer that Shiraishi encountered while travelling; the shy animals wander the snowy landscapes, across frozen lakes and barren forests. Shiraishi keeps her distance to the animals. In some photos, they let her come near, but they always keep a watchful eye on her. She encounters other animals as well – large birds, foxes – and wide, clear landscape shots give us a sense of the surroundings. Shiraishi’s series masterfully creates a sense of wonder, as if one is at the doors to a world of magic realism, as if the deer have decided to permit us access to an otherwise secret part of the natural world.

“While travelling through the wilderness in Dōtō, I encountered a herd of deer crossing the frozen lake in a row, silently. While gazing at the herd, I found a providential, beautiful law of nature, and I felt as though I had witnessed something sacred which is a part of nature. The wilderness of “Dōtō” provides a feeling of oneness with the majestic natural world that I had never before experienced.” - Chieko Shiraishi

1st printing, new condition.  Unsigned.

• EXB/GOST 2023
• Hardback, new edition, 144p
• New
  

Bruce Gilden first journeyed to Haiti in 1984 to document the famous Mardi Gras festivities in Port au Prince. Fascinated by the country, he returned many times and his landmark monograph Haiti, a culmination of these photographs made during this period was first published in 1996. Gilden has continued to return to Haiti, and this new expanded edition of his book includes over thirty additional photographs made up until 2010, completing Gilden’s vision of the county.

Though only an hour’s flight from Miami and the US mainland, Haiti remains the least-developed country in the Western Hemisphere. Haiti was freed from French colonial control and slavery in the early 19th Century but this independent came at a cost of an ‘independence debt’ which was not paid off until 1947. In addition, chronic instability, dictatorships and natural disasters in recent decades have left it as the poorest nation in the Americas.

 The carnival which first drew Gilden to the country continues to be a symbol of resilience and determination in the face of struggle. It is the unique energy of the country which led Gilden off the beaten track to photograph its inhabitants, streets, stray dogs, markets, slaughterhouses, barber shops, funerals and celebrations. In line with Gilden’s well-known style, the photographs were made as close as possible to his subjects. The result is an underlying sense of tension and movement, as Gilden leads the viewer to encounter the country as he did on his journeys through its streets.

 ‘And yet, you tell him, this country is hanging on to its last breath. Teeming, throbbing under the sun, sex aroused, bursts of life in mourning garb, relentlessly trying to mute the trumpets of death. Eppur si muove. And yet, the country is still going. In the eyes of the women and men who inhabit it. In the smiles of its children. In the hope deeply rooted in their hearts, which refuse to give up. Even backed up against the wall. In their songs. In their dances. In their everyday words. In their ability to swap the havoc of distress for stardust.’  - Louis-Philippe Dalembert.

• Wides Shuppan Co 1999
• Softcover, 1st edition, 140pp
• Good - see below
  

Rare Moriyama title.  Used copy with some light wear to dustjacket and yellowing to page edges.

Signed copy.

• VIKA Books 2023
• Hardback, 1st edition
• New

• Kominek 2022
• Softcover, 2nd edition, 256p
• New

• GOST 2023
  
• Hardback, 1st edition, 176p
• New
  

Every summer for over 40 years, Shelby Lee Adams travelled to the mountains of Eastern Kentucky to take photographs. Now in his 70s, Adams has returned to his archive of unpublished images taken between 1974 and 2010. His aim was to print those which may have been previously overlooked, concerned that if he did not print them in his lifetime, the photographs would never be made. Nearly 90 of these unpublished photographs are included in his new book From the Heads of the Hollers portraying the culture and people of his native land.

Signed copy.

• GOST 2023
• Hardback, 1st edition
• Imperfect see below

Over the course of 15 years, Magnum photojournalist Ian Berry travelled the globe to document the inextricable links between landscape, life and water. This new book brings together a selection of the resulting images which collectively tell the story of man’s complex relationship with water—at a time when climate change demonstrates just how precariously water and life are intertwined.

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

Scarce Krass Clement title.

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

• Libraryman 2023
• Hardback, 1st edition
• New

I’ve never observed Benedict Brink (b. 1985, Australian) step towards perfection, I get a sense of disdain for anything too clean, or right-angled. People often mistake her for a man because of her name. I think perhaps, it’s also due to this crude-commitment type-way of seeing. Benedict defies any traditions of how an image of a body may be expected to be represented through a female lens — or male lens for that matter — she skews predictability. The power lies in achieving this while the pictures still hold a soft and tender quality. The body becomes a busted sculpture, suspended in air and seen out of the corner of my eye. Is she close, or is the lens long? Regardless, I always feel the touch of skin, or the temperature that day. It’s an interesting push-pull to be met with an immediacy in her images, combined with a distance. Opposing forces attract. She respects the subject, allowing them privacy.

- Excerpt from the foreword written by filmmaker Kersti Jan Werdal.

First edition of 500 copies.

• L'Artiere 2016
• Hardback, 1st edition
• Good - see below

“The book “PATH IN BETWEEN” is the visual record of the author’s process of recovering memories with clues found on paths his father used to take and places his family used to visit. When he attempted to trace memories of his late father, Hajime Kimura realized that most of them were missing. Because of this, his photos were shot with a half-framed camera. Each image consists of two shots divided by a thick black border. The continuous sequence of the images seems to repeatedly suggest the photographer’s impossible attempt at recovering a lost past. One can come close to faded memories, but cannot reconstruct them perfectly. Kimura almost reaches the essence of his father’s true character–– the man he barely tried to get to know when he was still alive–– but never quite. A mythical father figure emerges through the vague silhouettes of memories that occasionally cross the page.

When we see a diptych combining two completely different shots, we notice that large part of Kimura’s memory is missing. And, because the nature of memory itself is always ambiguous, real memories have occasionally been replaced by desired ones. Time and action accumulate in the past. They turn into a congregation of recollections. Human beings therefore are living with an enormous amount of memories and repeat a process of accumulation all their lives. If a remembrance is used as a clue to recognize our past and our individual existence, then the partial or entire loss of memory is, in a sense, a missed opportunity to recognize who we are. Existence in itself is lost –– our own and the one of the people we love.

Kimura also produced another series depicting his late father titled “Man and Dog.” In the series the “man” is actually his father, but the fact that he did not use the word “father” indicates his prolonged and distant emotions towards him. While his father was still alive, the photographer never took particular notice of the trivial conversations they exchanged with each other, he never closely examined his own view towards him. Ironically, his gaze towards his father became more distant when he became his photographic subject. However, as distant as his gaze might be, Kimura’s observing eye became more intimate. In a way a simple rule seems to unfold: one has to be close to his photographic subjects, but having a strong feeling towards them doesn’t necessarily constitute a successful photographic act. First of all photography is a medium that requires physical distance from a subject. A photographic image is created from this innate conflict, yet can also trigger exquisite emotions in a viewer. This effect is beautifully represented in this book.

In the last two to three years, Kimura seems to have been obsessively creating these series about his father. In this book, the photographer’s act of searching for memories through the act of taking pictures, emerges with a minimal and simple style. It seems as though he is trying to re-live with his father through his idealized and blurred memories, through a never-ending search for something that is almost invisible.”

Imperfect copy with bump to one corner - otherwise still sealed/unread.

• Grani Edizioni 2023
• Softcover, 1st edition
• New

'Right to believe by Fyodor Telkov, a Russian photographer, describes some religious communities of the Old Believers.

Russian religious movement that opposed the choices of Orthodoxy in its country by continuing to exercise the ancient practices of the Russian Church prior to the entry into force of the reforms, never returning within the official Orthodox Church. Over 80 photos that demonstrate how strong and profound their right to believe in ancient practices is.'

• 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).

• Stanley Barker 2023
• Hardback, 1st edition
• New
  

In 1975 Tod Papageorge made a cross-America trip that ended on the beaches of Los Angeles. There, taken by the light, he produced some of his first medium-format (6 x 9 cm) photographs. In 1978 he returned to Los Angeles to expand on those first pictures and, in 1981 and 1988, on shorter visits, added yet again to this body of work. Here, he writes about “At the Beach”:

“I think that part of what these beach pictures are about is the difference between our preconceptions of a place and what, when we get there, that place turns out to be. In this case (of Los Angeles and its coastline), I think it’s also fair to suggest that those preconceptions are particularly strong, shaped as they irresistibly have been by the movies and popular music. So, as a first point, what I wanted to do on this project was examine those preconceptions (at least as I conjured them) through the descriptive power of photography in order to pin down what two semi-myths - the world of surfers and the life of southern California beaches –‘really’ looked like.

“To describe a place and yet at the same time reinvent it is a double intention on the part of the photographer that we should be used to by now when we look at and think about photographs. It seems to be a contradiction built into interesting pictures, if not the medium of photography itself. With these pictures, then, I worked with the belief that the closer I came to describing the literal nature of the place and people I was photographing, the more surprising the pictures that came out of that process might be. All while transforming (I hoped), the casual, unselfconscious physicality of these beachgoers moving from the boardwalks onto the sand and back again into form and meaning.

“I'm speaking of what I hoped for the photographs, of course - they may not describe these things at all. But whether I'm right or wrong about these particular pictures, it should go without saying that a good photograph must, in some palpable sense, distinguish what it describes.”

• GOST 2023
• Hardback, 1st edition
• New
  

Kiss it! is the result of a long-term collaboration between photographer Abbie Trayler-Smith and Shannon, a young woman living with obesity. Over the course of 12-years, Trayler-Smith documented Shannon’s journey from teenager to adult—navigating friendships, family, first-boyfriends, prom nights, holidays and jobs. Shannon has been the central inspiration for Trayler-Smith’s long-term project, ‘The Big O’ focusing on obesity in school-age children and young adults.

‘At age eleven, I felt judged, criticised, and not approved of… others saw only my imperfect body, not the fact that I was funny and clever and warm. I came to believe that if I wasn’t fat, somehow everything else in my life would be problem-free. As I stepped into adolescence, all of this became my identity. Fast forward to the age of thirty-three. I was working as a photographer at a press conference for a launch of health services to teenagers and there she was—Shannon, with a voice I had never found, reading a poem addressed to the professionals, pleading to be understood and not judged. I saw the mutuality between us and the difference. She was the brave teenager I had never been able to be.’  – Abbie Trayler-Smith

• GOST 2023
• Hardback, 1st edition
• New

Over the course of 15 years, Magnum photojournalist Ian Berry travelled the globe to document the inextricable links between landscape, life and water. This new book brings together a selection of the resulting images which collectively tell the story of man’s complex relationship with water—at a time when climate change demonstrates just how precariously water and life are intertwined.

• GOST 2023
• Hardback, 1st edition
• New

Over the course of 15 years, Magnum photojournalist Ian Berry travelled the globe to document the inextricable links between landscape, life and water. This new book brings together a selection of the resulting images which collectively tell the story of man’s complex relationship with water—at a time when climate change demonstrates just how precariously water and life are intertwined.

• Loose Joints 2023
• Hardback, 1st edition
• Imperfect - see below
  

Mysticism, spirituality and corporeal liberation meet in the studio for Rodriguez’s powerful new series exploring control, purity and identity.

In O., acclaimed Dominican-American artist Luis Alberto Rodriguez strips down his choreographed, embodied approach to photography through a series that explores the free-fall of life, the construction of identity, and their connections with spiritual destiny. Influenced by French mystic thinker Simone Weil, Rodriguez draws a line between his stripped-down portraits and Weil’s life’s work, in search of purity and the relationship between suffering and transcendence. The title of the book – the letter O – speaks to this transcendence – between a noise, a gasp, an exhale, a cycle, all sounds, an open symbol, a zero, a reset.

Using a cast of different bodies, ages, backgrounds and identities, Rodriguez sculpts a series of nudes oscillating between power and a loss of control. Rodriguez challenges his subjects to let go: bodies contort and collapse while returning to poise, lifting to grace, and reaching into purity. How much control do we have over the direction we are headed? How soft is the landing?

Rodriguez frames his striking nudes in dialogue with images of tasseography – the practice of divination through coffee-cup reading that runs through Rodriguez’s Dominican heritage – to spiritually engage with the force and beauty of those who appear, and disappear, before his camera. O. envokes the volatility of our current moment, our states of self-preservation, and the future that is yet to come.

Imperfect: Small bump to rear corner - pages inside unaffected. See photo.

• Loose Joints 2023
• Hardback, 1st edition
• New
  

Yana Wernicke documents with subtle grace the close bonds between two young women and the farm animals that they rescue, love, play with and care for, in a series mixing German romanticism and modern ethics.

John Berger’s landmark Why Look at Animals? describes the ‘species loneliness’ of modern man: how the ancient relationships between humans and nature have broken down, reducing the existence of animals to marginalised objects, as commodities, and as Other. Concerned with modern humanity’s yearning for a deeper connection to ecology, Wernicke’s series is a touching portrait of two young women who have established profound relationships with animals. Rosina and Julie each independently save animals from certain death and create bonds of love and trust with animals typically considered solely for their economic value.

In German, Companions, or Weggefährten, is a hybrid word that translates literally as ‘those who walk the path together’. Through tenderness, touch and intuition, Wernicke’s camera follows that path – of joy, emotions, tenderness and play between humans and animals – striving to close the gulf between our emotional consciousness and those of the other animals we live alongside.

• Xavier Barral 2012
• Hardback, 1st French edition
• Used: good - see below
  

"She was called successively Rachel, Monique, Szyndler, Calle, Pagliero, Gonthier, Sindler," reads the first lines of Sophie Calle: Rachel Monique, embroidered on the cover. "My mother liked people to talk about her. Her life did not appear in my work, and that annoyed her. When I set up my camera at the bottom of the bed in which she lay dying--fearing that she would pass away in my absence, whereas I wanted to be present and hear her last words--she exclaimed, 'Finally.'"

Sophie Calle: Rachel Monique tells the story of Monique Szyndler, Sophie Calle's mother who died in 2007, through diary excerpts and photographs selected by the artist from family albums. Described as "haunting" and "a mystery novel that tirelessly searches for a missing person," the Rachel Monique project honors a daughter's complicated relationship with her mother and the artist's deeply felt grief.

This volume, presenting Calle's installation of Rachel Monique at the Palais de Tokyo, was designed in close collaboration with the artist. The cover text is embroidered to create a precious object, and all of the texts relating to the installation are beautifully embossed. Sophie Calle: Rachel Monique is a highly personal and moving book, intimate and universal in its expressions of mourning and memory.

French edition (no english text).

Bump to edge of cover - see photo - pages largely unaffected.

• Skinnerboox 2015
  
• Hardback 1st edition
  
• Near fine
  

That it is not about ‘hurried’ photography, not really about contemplation, but as Ezio D’Agostino says himself, ‘about a photographic process which derives from my archaeology training’. This means confronting time and pacting with it. The archaeologist, such as the photographer, divides the territory so that he can better explore it. The archaeologist digs it, then, with a layered and depth approach, he reveals the layers that will provide elements of interpretation and knowledge. Through his frame (which belongs only to him and which seldom has the scientific knowledge of the archaeologist), the photographer, too, divides, slices and cuts the space we know and we experiment so that we can see it differently, with other perspectives. This lack of spectacular reveals a cut tree trunk surrounded by dying grass, which still resists while a poor plant, leaning on a green fence, tries, whereas dying, to climb out from a metallic gate. A bit further, in-depth, by the pool numbers define a podium, a winner and his runner-ups. Then, soft chalk houses on a blackboard, half erased, a child’s drawing, a small bird lost on the red back of a plastic chair, waste behind a transparent and red plastic garbage bag, chromias and signs. A calm reading of a world which is not, sharp angles, material meeting, reflection and, as always, light such as the one that makes drops of water vibrating when they get away from some humble string lights. - Christian Caujolle

Still sealed - faint shelfwear only.

• Self 2017
• hardback 1st edition
  
• Used: Near Fine
  

"J.B. about men floating in the air" was inspired by the story of two Lithuanian-American pilots who tried to set a new world record by flying over the Atlantic into Eastern Europe in the early 1930s. I found a reference to the attempt in a Joseph Brodsky poem and decided to create my own ‘parallel world’ in black-and-white images.

My story is about the dream of every person to break out from the vice of all kinds of prohibitions and fly away to a distant unknown in search of unlimited freedom and find there his true motherland and real home.

Also it is a story about a personal attempt doomed to fail to find a way to himself through time and space, breaking the invisible boundary between himself and his mirror twin, the mortal Castor and immortal Pollux.

At first I made a series of mockumentary photographs to get the effect of stopped time, but then decided that it was necessary to increase a gap between the documentary and imaginary world, therefore I added a few collages and drawings.

In the result the book was made in Leporello format, which allows the viewers to choose how to browse the images and find their own ending in this story.

2nd edition of 300 numbered copies.  Signed.   Faint shelfwear to white cover.

• Dewi Lewis 2022
• Hardback, 160p
• New

Originally published in 1983 by Jonathan Cape, Sirkka-Liisa Konttinen’s Byker is recognised as a seminal body of work and a modern classic of photography. Konttinen documented a close-knit community in Newcastle in an area that was her home for seven years and which was destined for wholesale redevelopment. The work gained national recognition as a key photographic account of a rich working class culture on the eve of its destruction. The book was selected by The Observer as one of the top ten books of the year.

Sirkka-Liisa Konttinen is a Finnish-born photographer and filmmaker and a founder member of the Amber Film & Photography Collective and the Side Photographic Gallery based in Newcastle upon Tyne. Along with Byker, her other long term projects in photography and film include Writing in the Sand, Letters to Katja, The Coal Coast, Song For Billy, Step by Step, Keeping Time, Byker Revisited, Today I'm With You and Still Here.

In 2011 Konttinen’s photography and Amber’s films were inscribed in the UNESCO UK Memory of the World Register as being of outstanding national value and importance to the United Kingdom

• Marion Goodman 2004
• Softcover, 1st edition, 53p
• Fine

Published on the occasion of the inaugural exhibition of Woodman's work at Marian Goodman Gallery. The book includes a text by Benjamin H. D. Buchloh and a foreword by writer and friend of the artist, Betsy Berne.

Fine copy of this 2004 catalogue, unread.

• Aperture 2012
• Hardback, 1st edition
• Very good - Near fine

A growing appreciation of the photobook has inspired a flood of new scholarship and connoisseurship of the form―few as surprising and inspiring as The Latin American Photobook, the culmination of a four-year, cross-continental research effort led by Horacio Fernández, author of the seminal volume, Fotografia Pública. Compiled with the input of a committee of researchers, scholars, and photographers, including Marcelo Brodsky, Iatã Cannabrava, Pablo Ortiz Monasterio, and Martin Parr, The Latin American Photobook presents one hundred and fifty volumes from Argentina, Bolivia, Brazil, Chile, Colombia, Cuba, Ecuador, Mexico, Nicaragua, Peru, and Venezuela. The Latin American Photobook begins with the 1920s and continues up to today, providing revelatory perspectives on the undercharted history of Latin American photography, and featuring work by great figures such as Claudia Andujar, Barbara Brändli, Manuel Álvarez Bravo, Horacio Coppola, Paz Errázuriz, Graciela Iturbide, Sara Facio, Paolo Gasparini, Daniel González, Boris Kossoy, Sergio Larrain, and many others. The book is divided into thematic sections such as The City, Conceptual Art and Photography, and Photography and Literature, a category uniquely important to Latin America. Fernandez’s texts, exhaustively researched and richly illustrated, offer insights not only on each individual title and photographer, but on the multivalent social, political, and artistic histories of the region as well. This book is an unparalleled resource for those interested in Latin American photography or in discovering these heretofore unknown gems in the history of the photobook at large.

Display copy with some light wear to cover, inside fine.

• Moderna Museet/König 2022
• Hardback, 4th edition
• New

The American photographer Francesca Woodman (1958–1981) created a body of fascinating photographic works in a few intense years before her premature death. Her oeuvre has been the object of numerous in-depth studies and major exhibitions in recent years, and her photographs have inspired artists all over the world. Woodman’s photographs explore gender, representation, sexuality and body. Her production includes several self-portraits, using herself and her friends as models. The figures are often placed behind furniture and other interior elements; occasionally, the images are blurred in such a way that their identity is hidden from the viewer. The intimate nature of the subject matter is enhanced by the small formats. Woodman worked in unusual settings such as derelict buildings, using mirrors and glass to evoke surrealist and occasionally claustrophobic moods. On Being an Angel presents some hundred photographs by Francesca Woodman, with a selection from the various series and themes she explored.

2022 4th edition.

• Apperture 2022
• Hardback, 50th Anniversary Edition
• New

When Diane Arbus died in 1971 at the age of 48, she was already a significant influence—even something of a legend—for serious photographers, although only a relatively small number of her most important pictures were widely known at the time. The publication of Diane Arbus: An Aperture Monograph in 1972—along with the posthumous retrospective at The Museum of Modern Art—offered the general public its first encounter with the breadth and power of her achievements. The response was unprecedented. The monograph, composed of 80 photographs, was edited and designed by the painter Marvin Israel, Diane Arbus' friend and colleague, and by her daughter Doon Arbus. Their goal in producing the book was to remain as faithful as possible to the standards by which Arbus judged her own work and to the ways in which she hoped it would be seen. Universally acknowledged as a photobook classic, Diane Arbus: An Aperture Monograph is a timeless masterpiece with editions in five languages, and remains the foundation of her international reputation. A quarter of a century has done nothing to diminish the riveting impact of these pictures or the controversy they inspire. Arbus' photographs penetrate the psyche with all the force of a personal encounter and, in doing so, transform the way we see the world and the people in it.

• Self-published 2022
• Hardback, 1st edition
• New

“Documents Jurisic’s attempt to trace the story of her aunt Gordana, a glamorous figure who left rural Yugoslavia in the 1950s and whose subsequent experiences involving false identities and espionage remain mysterious. Jurisic presents her careful, fruitful research in a series of illustrated notebooks that recall WG Sebald’s approach to memoir, history and reflection." (5* review of My Own Exhibition in The Irish Times by Aidan Dunne)

"the latest body of work by Dublin-based photographer Dragana Jurišić, an on-going series comprising five fascinating chapters due to culminate into a fictionalised biography. Combining text and photography, appropriated imagery intermingles ruthlessly with notebook texts, video and performance, across diverse creative processes and narrated through differing voices. Hybrid and complex, My Own Unknown defies classification – its overlapping of languages, registers and motifs reflect the eclectic and expansive aesthetic and intellectual world of its author, Dragana Jurišić." (Natasha Christia for 1000 Words Magazine).

1st edition of 670.

Signed copy.

• Cafe Royal 2018
• Softcover, 1st edition, 36p
• New

Prestwich Mental Hospital presents a very early Parr social-documentary series shot in 1972, whilst he was studying at university.

First printing of this out of print zine.

• Cafe Royal 2015
• Softcover, 1st edition, 36p
• New

The Amateur Boxing Association (ABA) was formed in 1881 and the first championships were held at Wembley in the same year. During its heydey in the 1950s and 1960s thousands of youngsters climbed through the ropes in schools and amateur boxing clubs up and down the country. In 1970 Britain boasted 30,000 registered boxers. Today the figure has dwindled to a few thousand and in recent years local authorities have caved in to pressure to withdraw support for school boxing and banned the sport from council premises.

These photographs were taken at ABA competitions in pubs and working men’s clubs across the North of England between 1997 – 1999. They follow some of the youngest boxers in the amateur ranks (age eleven is the legal age when a child can first compete), some who were entering the ring for the first time.

Out of print zine, as new.

• LBM 2013
  
• Softcover/newspaper, 1st edition
• Used: very good

From November 19 through December 3, The LBM Dispatch was on the road in the Lone Star State, exploring the people, places, and mythology of the megapolitan area known as the Texaplex. Our rambles in this 60,000-square-mile, roughly triangular territory, home to more than 70% of the Texas population, included the cities of Dallas, Fort Worth, Austin, Houston, Galveston, and San Antonio, as well as countless small communities where the Old South and the Wild West converge to create an utterly unique culture that continues to loom large in the national imagination. The results of those travels is Texas Triangle, which includes pictures and stories from the 50th anniversary of the J.F.K. assassination, Texas high school football playoffs, Thanksgiving in Houston, the birthplace of Jack Johnson, and the State’s 16th (and final) execution of 2013.

Still in original wrapping.  Faint wear only mainly to spine end - see photo.

• RM 2016
• Softcover, 1st edition
• NEW

We are living in the midst of a photographic renaissance in which we have become accustomed to consuming imagery with the same greed and gusto that we consume fast food. In order to cope with the deluge of images being force fed into our retinas on a daily basis we now consume images with- out digesting them properly, or at all. People rarely stop to take a closer look; to read, appreciate or question an image. Image Tsunami is a sizeable overview of the enormous collection of images that Kessels lives with, remixes and edits. It s a representation of the overload of imagery that is (rapidly expanding) in his head. The book can inspire others to make their own remixes of these images and maybe stop to appreciate a few along the way.

• Chose Commune 2022
• Softcover, 1st edition
• New

Mikiko Hara has her own way of secretly capturing the strangers who cross her path: a young man on the train, a couple holding hands, a little girl playing in a park… Sometimes their eyes meet briefly as she presses the shutter, but Mikiko Hara does not exchange with her subjects. Yet, these portraits reveal something infinitely personal, as if the photographer and her subjects were bound by an invisible pact: being in the right place at the right time.

Mikiko Hara’s approach, firmly rooted in a documentation of every- day life, extends in the intimacy of her living space: cut flowers in the sink, a strawberry shortcake in the fridge, her three sons dozing on the floor. The eye of the photographer, who is also a mother and wife, moves back and forth from the outside to the inside, from the public to the private sphere. Wherever she is, Mikiko Hara observes and tells stories like fragments of life.

At the initiative of the publisher – who made the selection in collaboration with the artist – these unpublished photographs from 1996 to 2021 have been assembled in this book, entitled Small Myths.

• Setanta 2022
• Hardback, 1st edition
• New

Joshua K. Jackson's latest monograph is set against the backdrop of our new chaotic society where we contend with often overwhelming feelings of fear, anxiety and loneliness, whilst simultaneously seeking to draw closer to each other in the hopes of a better world.

Communication is easier than ever. We can reach out to strangers and share our points of view with anyone, anywhere, any time. We scroll through seemingly endless tweets made by people we either admire or despise, espousing views we alternately champion and detest. Everyone has a voice, but at the same time loneliness abounds in overpopulated cities. Love is sought online, and hate flourishes in a virtual world that seems to grow even as the physical one shrinks.

Modernity promised us freedom, but instead we seem to stumble from one crisis to another, at the mercy of invisible threats. We are made afraid by the sinister machinations we hear reported from pundits on increasingly untrustworthy television sets, or the conspiracies proclaimed by even less trustworthy influencers on social media. The more we learn the less we seem to understand and our disconnection makes us feel trapped in an information overload which we cannot escape.

And yet, there are precious real life connections made all the time, and made all the more meaningful for their scarcity. People joining together, whether in protest, fighting for a better future for us all to live in, or gathering in joy, hands touching, celebrating our victories and achievements. Hope is what keeps us from drifting away from each other, it unites us despite the constant background noise in the belief of a better, more connected world.

• Stanley Barker 2022
• Hardback, 1st edition
• New
  

“In the middle of a December night a few years ago I was woken by the phone ringing downstairs. Nothing ever good comes of such a call and this time it was news that my younger brother had been admitted to hospital, and the doctor caring for him had rung to say he thought it unlikely he would live through the night. I drove to see him and sat with him through the early hours, in the eerie quiet of the emergency ward, until late in the morning when it appeared he would pull through.”

“When I got home that afternoon I decided to go for a walk by the river. As the dark of the dusk gradually gathered I sat on a log to sift through the thoughts and emotions of the day. Gradually I became absorbed in what was in front of me; the turbulence of the streams surface as the water raced around the bend, the waving of the reeds and the branches of the overhanging tree, and the pink of the clouds being pushed across the sky by a south-westerly breeze. When mallard ducks pushed out from the bank to swim across the river in search of a safe haven for the night, I picked up the small digital camera I had just started to use and quickly took a picture.”

"In the middle of another night, a couple of years after the first call, the phone rang again, with the same message. I went off to the hospital once more to sit by Andy’s side, however that time he did not make it through. As I write this on the cusp of the Spring Equinox in 2021, I have just come to the end of another season by the river – The Fifth Winter. It is hard to stop, such are the profound pleasures of witnessing and sharing the quiet wonders of a winter’s morning, on a bend in the river. ”

- Jem Southam

 For the past four winters the English artist Jem Southam has repeatedly visited a short stretch of riverbank along the floodplain of the River Exe. He stands and watches, as the dusk fades into darkness or as the light of dawn gathers, witnessing the different passage of each winter. In the evenings, long past sunset, swans, geese and ducks arrive on the river to spend the night in safety. In the mornings the birds wake, preen, feed and socialise as they prepare for the new day.

These periods of subtle drama have played out continuously for millennia, as the world spins and each new day dawns the spectacle repeats itself. However, it is endlessly varied, and in the photographs in this book, Jem Southam notates and narrates the subtle shifts and dramas of the theatrical space around him.  

• Deadbeat Club Press 2022
• Hardback, 1st edition
• Good - see below

 “Hollywood Boulevard, Walk of Fame, 1970s. You were there, with your camera, with your love of life and people. It seems you turned the sidewalk into a little stage, and everyone came for a momentary audition. Some wanted to be famous, some were ok with a walk-on part, most were just happy to see you.”

Display copy with general scuffing to black cover, and small bump to one corner. 

• Stanley Barker 2022
• Hardback, 1st edition
• Near fine - see below

“Local fairs and carnivals have a long history in America. Even as we lose our connection to our agricultural past, there is something timeless about gathering at the fair.” - Anthony Blasko

Since 2013 the American artist Anthony Blasko has been attending The Plant City Strawberry Festival, an 11-day community event celebrating the annual strawberry harvest in Florida, USA. 

Blasko’s beautifully rich images are produced at dusk, when the light starts to drop and the fair lights come on, bathing the attractions, vendors, and visitors, in the late afternoon light. 

Wrapping has been opened to check book condition.  Near fine.

• Stanley Barker 2022
• Hardback, 1st edition
• New

While at grad school in the early 1970’s Henry Horenstein would attend Speedway races, in New England to see his brother in law compete. In front of his camera the drivers would fly around the track in beat-up cars customised for racing at break neck speeds in the hopes of small town glory. 

Hornstine’s joyful images present us with a slice now of what the world of motor racing looked like then, before racing became big business, as it slowly morphed into Nascar - the worlds fastest growing sport. 

“I was still in grad school and I was looking for subjects. There had to be good pictures there for a wanna-be historian-with-a-camera. What better than an old-school sport that would certainly be extinct one day? I’m still waiting. My brother-in-law Paul raced stock cars—old. Paul’s cousin Dickie Simmonds owned the local Gulf station and modified the junkers that Paul drove at places like the Seekonk Speedway (Seekonk, MA) and the Thompson Speedway (Thompson, CT). Paul and Dickie had friends in low places.” - Henry Horenstein

Out of print - final copy.

• Mack Books 2022
• Hardback, 1st edition
• New

• 1605 Publishers 2022
• Hardback, 1st edition
• good - see below

'Beauty's counter weight
Dark eyes falling, gesture, hands.
Infinitely joining key & lock & later maybe man.
Newton's only perfect proposition quietly realized.
Simply said: the true & trembling task.'

"After Beauty" is inspired by a poem of an artist and a poet Walter Fields, which also begins the book. According to Sullivan, it's more than just beauty that makes someone beautiful, it's the person's character and the attitude towards life.

"There is something magical about publishing that somehow makes the work more real. I love the conversations between the images on a printed page and the stories that unfold as you move through a book. I am so thrilled to share the pages of this book with some of Walter Fields' poetry..." - Maura adds.

Edition of 500 copies.  Signed to a bookplate.

Small dent to top edge of cover and first few pages - see photos.  Otherwise as new.

• Kodoji Press 2021
• Softcover, 1st edition, 480p
• New

The Last Survivor is the First Suspect is at once a celebration and a requiem. The project, captured between 2005 and 2009 by photographer Nick Haymes, is a record of a drifting community of young friends based mainly between two distinct geographic points: Southern California and Tulsa, Oklahoma. The book's narrative merges a sense of joy in documenting burgeoning friendships and bonds, and a looming sense of dread that would ultimately culminate in a series of tragedies.

Weaving throughout Haymes intimate photographs are a series of digital screenshots which Haymes has identified as key to this moment in time, which offer the viewer a secondary narrative of engagement. Social media was still relatively young and Haymes became acutely aware of a new nodal sense of communication between these distinct groups of friends. Platforms such as MySpace, YouTube and online message boards engendered a sense of community by enabling connection, while also setting new and impossible standards and expectations. Diligently collected, these various forms of communication between the characters frame a foreboding.

In Haymes’ own introduction to the book he accounts how his camera allowed him to compensate for a sense of crippling shyness developed during his teenage years. ’I picked up a camera and hid, discovering I could once again be near people, intimate with them, without having to engage,’ he writes. To create this exhibition and publication, the artist has returned to a body of pictures, piecing together what happened to these people for himself. Here, Haymes invites us to form a contemporary engagement with this specific historic moment, where things are both different and the same in equal measure. L.P. Hartley famously opened his coming of age opus The Go-Between ’The past is a foreign country; they do things differently there.’ The Last Survivor is the First Suspect shows this sentiment with remarkable clarity.

Edition of 700 copies.

• MACK 2022
  
• Softcover, 2nd printing
  
• New
  

At the top of Carlotta di Lenardo grandparents’ house in Italy there is a room which houses the library. A hidden door amongst the bookshelves opens into a secret attic, a large room dominated by an enormous model railway, which her grandfather built and added to throughout his life.

Significant though it was for her relationship with him, one day during a family lunch he revealed her another of his not very secret passions – his enduring love for photography – and shared with her his archive of more than 8,000 photographs: a body of vernacular work capturing over half a century of life in vivid colour.

Unknown in his lifetime, Alberto di Lenardo’s work offers a precursor to some of Italy’s best-loved photographers, from Luigi Ghirri to Guido Guidi, with work made across Italy, the USA, Brasil, Morocco, Greece and beyond. In Carlotta’s scrupulous sequencing, An Attic Full of Trains shows us a joyous cross-section of life in the 20th Century: one of beaches and bars, mountains, road trips, lovers and friends.

Swiss-bound paperback with flaps. Bilingual text (English, Italian).

2022 2nd printing.

• the(M) éditions / IBASHO 2021
• Hardback, 1st edition
• New

• Jane & Jeremy 2021
• Hardback, 2nd edition
• New

In 2018 Matthew Thorne was invited by Australian Director Justin Kurzel (Snowtown, Macbeth) to create a photography project adjacent to the making of his feature film ‘True History Of The Kelly Gang’. This limited edition photo book is the result of that project: A collection of photos, poems and essays on the iconic Australian Ned Kelly story. A work that documents the most recent telling of the iconic colonial Australian legend of Ned Kelly.

145mm x 200mm

2nd edition of 100 copies, with signed print.

SIGNED COPY.

• Journal 2021
• Hardback, 1st edition
• New

“Bristningar (Rupture) is the middle part of Katinka Goldberg's trilogy of works, in which she is ‘exploring the tension between closeness and distance’, trying, no less, to locate herself both within herself and within the world. The trilogy began with her book Surfacing (2011) which examined the relationship between herself and her mother, in a complex and highly poetic way. In Bristningar, she is making collages, which, like Hans Bellmer's, deconstruct and reassemble the body, but do so with a very different aim, a healing rather than a destructive or pathological purpose. And also a process of add and subtracting, or rather, of adding in order to subtract. 

‘I am trying to answer the question; how much can you take away of yourself without disappearing? How close can you get before the closeness becomes a distance?’

Her intentions are both formal and psychological. On one level, she is pushing at the medium’s boundaries, pushing beyond the imperative of the camera and provoking a clash between photography, sculpture, and painting. On another, she is exploring different aspects of her psyche, using the same kind of allusive approach, but very different formal means to those deployed in her previous book. In Surfacing, it seemed to be a matter of trying to make peace with what seemed to be an obviously close and sometimes difficult relationship, a letting go perhaps. Bristningar seems more of a reaching toward, not to her mother but to herself. By making fragmented collages from the human body Goldberg would seem to be fashioning a visual metaphor, no less, for the process of psychoanalysis, tearing the soul apart, examining the pieces and the data, then reconstructing a more complete whole. In these fragmented and highly abstract collages, Goldberg is utilizing ‘the amputated and then reconstructed body as a way to visualize a fragmented identity that has been mended. Forming a reconstruction of oneself to be seen. Seeing as a way of belonging’.”

Gerry Badger

• TBW 2021
• Softcover, 2nd edition
• New

With Family Car Trouble, Gus Powell plays with the form of the novel, both as material object and as narrative vehicle for expressing interior life. The work records and reckons with the arrival of children, the departure of a father, and the maintenance of a difficult 1992 Volvo 940 station wagon. 

A new classic of the Automotive Bereavement Parenting genre.

New softcover edition (first edition was hardback).


Note: video depicts sold out hardback edition.