Our picks

• Stanley Barker 2024
• Hardback, 1st edition. 104p
• New 

Chris Killip is widely regarded as one of the most influential British photographers. Skinningrove is the last publication Killip worked on before his passing in 2020. Known for his passion for photography books, he oversaw all elements of this book, which features many unseen images. We are very proud to now release this unique publication into the world.

Born in the Isle of Man in 1946, he began his career as a commercial photographer before turning to his own work in the late 1960s. His book, ‘In Flagrante’, a collection of photographs made in the North East of England during the 1970s and early 1980s, is now recognized as a landmark work of documentary photography. 

The village of Skinningrove lies on the North-East coast of England, hidden in a steep valley it veers away from the main road and faces out onto the North Sea. The photographs that Chris Killip made of its, fiercely independent hard working-class community, between 1982 and 1984 are possibly Killip’s most intimate work.

“Like a lot of tight-knit fishing communities, it could be hostile to strangers, especially one with a camera. “Now Then” is the standard greeting in Skinningrove; a challenging substitute for the more usual, “Hello.” The place had a definite edge, and it took time for this stranger to be tolerated. My greatest ally in gaining acceptance was Leso (Leslie Holliday), the most outgoing of the younger fishermen. Leso and I never talked about what I was doing there, but when someone questioned my presence, he would intercede and vouch for me with, “He’s OK.” This simple endorsement was enough.

“I last photographed in Skinningrove in 1984, and didn’t return for thirty years. When I did I was shocked by how it had changed, as only one boat was still fishing. For me, Skinningrove’s sense of purpose was bound up in its collective obsession with the sea. Skinningrove fishermen believed that the sea in front of them was their private territory, theirs alone. Without the competitive energy that came from fishing, the place seemed like a pale reflection of its former self.” - Chris Killip

Slight bump to one corner (very faint).  See example photo.  Otherwise sealed/new.

• Stanley Barker 2024
• Hardback, 1st edition, 104p
  
• New

In the Summer of 1980, Lisa Barlow was following the curve of Connecticut’s Route 69 in a beat-up rental car, when she came across a giant cross looming above the highway.

Barlow had heard about Holy Land U.S.A. but never encountered the painstaking replica in miniature of Jerusalem with illustrative scenes from the Bible, replete with precepts and biblical quotations engraved in cement. 

There was Pilate’s house, the Inn with a “No Vacancy” sign, a mummified lump spray painted white representing Lot’s wife turned to salt, and a repentant looking Lucifer locked in a small dog cage. Built 20 years earlier with concrete, plaster, wire and wood, the diorama had been sparingly repaired with modern materials such as plastic and aluminium siding. The Stairway to Heaven, cracked asphalt steps ascending the hill, had a cyclone fence along one side, and the Garden of Eden was completely obscured by thick vines under a tin sunshade. It was from there that Balow first saw the city of Waterbury spread beneath her, its church spires and factory smokestacks in odd juxtaposition with Holy Land’s little foot high buildings at her feet.

“Before long, it was more than a fascination with Holy Land that kept luring me back to Waterbury. It was the people who captured my attention, my imagination and eventually, my love. This is the story of that year in pictures.” Lisa Barlow 

Barlow’s images of Waterbury and its uniquely American idiosyncrasies are enthused with a rare empathy combined with a visual complexity that continues to unfold with each viewing. 

• Ibasho 2024
• Softcover, 1st edition, 104p
  
• New

This is Sudi's first artist book with which she shows how much photography means to her. She was very much influenced by her father, who used to turn off the lights in the house, while casting light onto a small courtyard. Sudi and her father cherished the serene view of the garden through the curtain. 'It was a simple yet tranquil and peaceful moment.'

Using photography, Sudi captures the connection between herself and the universe, in this way documenting her own reality. Regardless of where she is, she trusts her instincts and captures spontaneous, real, fleeting moments without any manipulation. Simply a rapid-eyed response to an unconscious resonance between the scene and her inner self.

Limited edition numbered of 240 copies.  Signed copy.

• the(M) éditions / Ibasho 2024
• Softcover, 1st edition, 104p
  
• New

Watanabe’s second artist book features entirely new images from his latest series ‘Beyond What You See'. Like Japanese writer Haruki Murakami, Watanabe depicts the subjects in his photographs in-between the mystical and the real world, creating a sense of confusion in the viewer. Watanabe’s work has also something similar to the Japanese concept of ‘ma’, a moment of silence or emptiness for awareness and contemplation. His work stimulates the viewer to pause, reflect and engage with the world around us.

Limited edition of 400 numbered copies.

• Self-published 2024
• Softcover, 1st edition. 82p
  
• New

"Bone by bone, hair by hair, Wild Woman comes back. Through night dreams, through events half understood and half remembered…” ― Clarissa Pinkola Estés

Printed on Fedrigoni Arena smooth extra white , handbound in a Japanese stab binding by the artist

Edition of 150 signed and numbered copies.

• Overlapse 2024
• Softcover, 1st edition. 224p
  
• New

The Island is distant in the Mediterranean sea, and 675 metres in height. It’s inhabited by an uncertain number of 30 to 60 people, year-round, with no hospital, no cars, no priests or police. Some islanders never consider leaving while others tried, only to return to their lives in the remote bubble. There are untold stories, complex family trees, and historical lore surrounding the community existing on loaves of hallucinogenic-laced bread.

Bound into an ‘unconventional’ book structure, Thinking like an Island reflects on a geographical, social and temporal space, on a system and its moveable logic. Avoiding the typical representation of an island as utopia or dystopia, this work looks at the continuous process of identity construction; clash and coexistence, choice and confinement, innovation and resistance. The experience proves to be stratified, plural and dense; a vertigo of increasing complex,

As our economic and social systems prove less sustainable, Chiapparini and Marrese ask if the island, where everything is reduced to minimum necessity, could be an idealistic model for surviving the crises that engulf us. Their work includes diary extracts, quotes from residents of the island, and exploratory photographs of mysterious landscapes and portraits. The book takes a poetic, philosophical approach to comprehending the wider world through the perspective of a solitary microcosm.

224 pages across four integrated softcover books (two sized 17×10.5 and two sized 8.4×22 cm)

Video courtesy the artists.

• GOST 2024
• Hardback, 1st edition. 372p
  
• New

The History War is a book of photographs, collages and ephemera which beings with a timeline tracing Ukraine’s evolution from the 5th century and its long struggle for independence. The book is divided into six narratives documenting the events and people Larry Towell encountered in his many journeys to Ukraine

Towell first visited Ukraine at the time of the Maidan uprising in 2014, witnessing the final days of the violent clashes between the protestors and police in Kyiv. His photographs show the civilians behind makeshift barricades with home-made weapons, the heavily shielded police and the aftermath of the dead in a half-destroyed Maidan Square. It was this event which led to Towell’s long-term commitment to Ukraine and compelled him to return over the years.

The second chapter focuses on Towell’s time in the wastelands of Chernobyl, site of history’s worst nuclear disaster in 1986 which resulted in many Soviets losing faith in the system. The following chapters focus on Towell’s time on eastern Donbass—a region of neglected coal miners and de-occupied ruins, an embed with the Ukrainian Army in Bakhmut, time with separatists in Donetsk and Luhansk, and finally, the Russian invasion of Ukraine, including the exhumation of civilian
graves and crimes against humanity in Bucha.

Described by Towell as ‘one person’s book on Ukraine’ The History War challenges the possibilities of a photobook and demonstrates how storytelling can be woven together by different fabrics. Taking on the format of a scrapbook, Towell combines
personal notes with ephemera—postcards, found family pictures, playing cards, cigarette packets and rubbish left behind by Russian soldiers to supplement his images.

‘I believe this project is an important testament to a political crisis that will shape international relations and reverberate through the decades to come. It also challenges a world oversaturated with news pictures.’

Signed copy.

• Prestel 2024
• Hardback, 1st edition. 160p
  
• Imperfect - see below 

Published as a collection for the first time, these arresting and poetic and images of Northern Ireland reveal a rarely examined facet of the oeuvre of a celebrated twentieth century war photographer.

Akihiko Okamura became a renowned war photographer during the first years of the Vietnam war and later, as he documented wars in Biafra and the Middle East. In 1969, he moved from Southeast Asia to Dublin. From there, Okamura traveled frequently to Derry and other parts of Northern Ireland to document the country’s “Troubles.”

This beautifully produced book brings together for the first time Okamura’s Irish work, which was almost entirely unpublished before now. Presented in full page plates without text, Okamura’s images are imbued with soft, muted colors that contrast with the violence of the situation in which they were conceived. Brimming with feelings of fear, dread, anticipation, and resignation, these images reveal Okamura’s humanity and curiosity, his concern with day-to-day existence, and the absurdities, incongruities, and disruptions of life during wartime: women preparing afternoon tea outside bombed rowhouses; girls dressed in their Sunday best leaving flowers at a roadside shrine; a collection of empty milk bottles destined to become incendiary devices.

Illuminating essays by renowned photographic historians and experts place this astounding collection in context with Okamura’s larger body of work and situate these images within the history of both the medium and the country.

English edition.   

Imperfect copy with bumped end of spine - see photo.  Otherwise new and sealed.

• Self-published 2024
  
• Softcover, 1st edition
  
• New
  

The Portuguese word “Saudade” refers to that bittersweet feeling of longing, melancholy, desire, and nostalgia for a beloved yet absent person or place.

I spent my adolescent years in Brazil, mostly in remote parts of Minas Gérais and Goiás. Although I moved to Rio as soon as I finished my studies in Europe, it was those formative pre-teen and teenage years, surrounded by forests, rivers and cattle ranches, that had the most profound effect on me. The moment I arrived, I felt an instant connection to the land, to the fauna and flora and to the people.

Despite the fact that I lived in Brazil during the brutal military dictatorship, my memories have mostly been idealised. They are usually nurturing, comforting and inspiring, in spite of the feeling of violence that permeated much of the country at that time. 

Working on this project has been a cathartic process. It has helped me reconcile my loss of this beloved place as well as the sense of loss, that occurred the moment I left, of part of my identity. The project has helped me come to terms with the fact that part of my brain will forever be filled with a language I still dream in but hardly ever have the opportunity to speak. This project is a way for me to communicate my love for this country. 

Over the past few years, whenever a scene or moment reminded me of my life in those places in the 70s and 80s, I photographed it. Together these images, made in various other countries, have become a visual expression of my saudade of Brazil. 

Handmade signed and numbered edition of 14 copies only, 21x15cm, with 3 signed postcard size prints on heavyweight matte paper.

• Stanley Barker 2024
  
• Hardback and softcover in slipcase, 1st edition, 168p
  
• New
  

For the past five years, Robbie Lawrence has travelled throughout Scotland and the United States photographing the Highland Games. His highly anticipated new book Long Walk Home examines the cultural significance of the traditional community tournament and questions the very notion of what it is to be from a place.

“The Games have always interested me, not just visually, but also as a vehicle for considering how we as Scots allow history to inform our modern identity. At first, I struggled to look past the myth-making and nationalism often espoused in the Games. I was trying to document these events objectively, without clarifying  how I felt about them. What you see in the pages of these two volumes is an attempt to engage with the myriad of fabricated ideas surrounding the modern Highland Games. Whether on a dusty sports field in Denver or at the local park at Burntisland, the Games is at its core a coming together of friends and family to enjoy sports, dance and music.” - Robbie Lawrence

Presented as a limited edition double-volume publication, including a hardback book of candid images of the Games, and a second Singer-sewn volume of portraits of the Games participants, alongside an extended text by award-winning poet John Burnside, which teases apart the threads of how Scots and the Scottish diaspora have remoulded the form of the Games to suit their cultural needs. Burnside passed away shortly after completing his beautiful text.

“We do not need to be born in a place – we do not even need to have seen it – to enter into its mythology, because myths are not historical. Myths are elective – not at the level of consciousness, not as an informed, self-aware choice, but as the expression of something more fundamental and, at the same time, more lyrical. History is what sets us in our place, binding us to social norms and conventions and limits; myths let us roam, they make space for the imagination, for re-invention, for a sense of belonging that is not conferred by a clan name, or a verified birth certificate – and by now, in much of the world, including Scotland, Scottishness is as much myth as it is history, which means that we must guard it carefully, retell it beautifully and, more than anything else, love it wisely.” - John Burnside 

One hardback book and one singer-sewn book, both housed in a silk-screened slipcase .

• Loose Joints 2024
  
• Hardback, 1st edition, 144p
  
• New

Loose Joints is excited to present Días, a tonal collage of places and days by Spanish photographer Pia Riverola. Renowned for her evocative, hazy imagery, the delicately-sequenced Días uses motion, blur, and dappled light to create a sensory and synaesthetic experience, transporting you to a memory long-forgotten, plucked from time. Riverola's dreamy images, soaked in atmosphere, evoke feelings of distance and travel: from neon-lit rainy Japanese nights, a Mediterranean breeze lifting a Spanish tablecloth, or Italian drizzle softly falling beneath an umbrella in a Roman garden.

A self-taught photographer, Riverola's images contain a casual offhandedness; candid like an overheard conversation, intimated and muffled like a late-night call with a friend, celebratory and in wonder of the world. As if peeling away the layers, the days of toil and tribulation to see the world anew, Días feels cleansing and deep in its essence, joyful yet sombre in the way Riverola's oblique evocations roll away before your eyes. With Días, Riverola continues to explore her passion for capturing the essence of place, inviting readers to immerse themselves in the poetic beauty of her journeys. 

• Void 2024
  
• Hardback, 1st edition, 168p
  
• New

In 1667 a 12-year-old girl, Gertrud Svensdotter, was accused of walking on water in Älvdalen, Sweden. This event marked the beginning of the Swedish witch-hunts, a period of mass hysteria and horror in Älvdalen and its neighbouring regions. The book ‘Gertrud’ by artist Maja Daniels uses photography to reconfigure the history and myth of these events, igniting a contemporary dialogue around Gertrud.

Edition of 900 copies.

• Void 2024
  
• Hardback, 1st edition, 176p
  
• New

"Epitome is a fairly personal visual journey—my attempt to look at some things more than once. It consists of pictures shot in war-torn places I was visiting in two subsequent years (2022–2023) and pictures printed from my archive of previous years. The process of making the palm-sized prints became, for me, a meditation, an urge to find personal balance and a contemplative search for meaning in a wartime reality. While navigating the wounded land, I look for a glimmer of hope in people and places. I keep coming back to the same trinity that absorbed me—the soil, body, and warmth of a distant landscape. For me, uncertainty, fragility, and chaos, but also tenderness and hope, are the real essence of the series."—Vic Bakin

Edition of 750 copies.

• Roshin Books 2024
  
• Hardback, 1st edition, 80p
  
• New
  

Born in Aomori in 1924, Ichiro Kojima depicted the lives of people living in the harsh environment of Japan’s Tohoku region. Under the vast sky, he faced the landscapes spread before him with his camera in hand.
 
His career as a photographer lasted only about ten years. Kojima, who passed away suddenly at the age of 39, left behind a dramatic world that still resonates with us today. Despite his attempts to distance himself from the images of Tsugaru, Kojima could never escape the persistent imagery of the Tohoku region that followed him everywhere.
 
This book offers a new perspective on Kojima’s journey, appealing both to those already familiar with his work and those discovering it for the first time.

Text in English and Japanese.  Edition of 1000 copies.

• Trolley Books 2024
  
• Hardback, 1st edition, 112p
  
• New
  

“Why don’t we fill our back garden with wildflowers and bees, and the people we meet over the garden wall – we’ll invite them in to be photographed by you.” This is what my son Luke announced in the kitchen, midwinter, our back garden abandoned for at least ten years. I was sitting at the kitchen table, navigating a family deep in crisis.

What came next was a pilgrimage: an on-going act to cultivate a space grounded in love, a reverential offering to humanity. This is what became The Garden. 

In a short window of time, we worked intensively to clear our long-neglected garden. During the process, we intensively researched native flowers, soil and biodiversity. We sourced organic local seeds and sowed under the moon cycles, bio-dynamically.

We offered prayers along the way. We invited the pollinators and nature spirits. Luke and I obsessively shared our dreams, our insights and visions. We called in our ancestors to support and strengthen our vision. We collected stories from the people we met over the garden wall whilst we worked, which soon came to feel like an intimate, confessional space. 

We then watched the flowers emerge, silently appearing from every corner of the garden. Mullein, meadowsweet, wild carrot, giant sunflowers and thousands of poppies and cornflowers. We built structures for climbing gourds, tromboncinos, and sweet peas to clamber over. 

And as the flowers opened, they called in the community; the mothers and daughters, grandparents, the lonely, the marginalised, teenagers, new lovers, the heartbroken and those that had concealed a lifetime of shame. They became enfolded into the story of the garden, creating and partaking in the story equally. 

As the garden evolved it became an expression of joy, interconnectedness, yearning, sexuality, and defiance. The garden became a metaphor for the human heart itself.  

Those who entered the garden reflected back to me my history and who I had become.

Everyone has a place in our garden. I am the garden. Those who enter are the garden. Without distinction, without separation.

- Siân Davey

Signed copy.

• Trolley Books
  
• Hardback, 2nd edition, 224p
  
• New
  

"For a very long time motherhood was considered somewhat taboo in the art world. As long as I can remember, female role models I admired openly talked about their choice of career over family. Some might have had children but never talked about their insecurities or sacrifices. Artist and talent awards age limits usually are 35 or younger. But as soon as a woman turns 30 she is often viewed as old and her biological clock ‘is ticking’. The years to make the choice between having children or being successful are short and coincide with the years when one or the other might happen but none are guaranteed.

When I realised I was pregnant, I had no idea what awaited me. How messy and how raw, how unpredictable and how out of control motherhood really was compared to the images I had in my mind from films, photos, paintings done by men. Then I was an emerging artist, traveling around and going to art fairs and exhibition openings. Now I am a mother of two working on borrowed time hoping the years I’ve lost mothering can be written into my CV without guilt or shame.

This work in progress, which will always be a work in progress, is about becoming, understanding, and remembering. Trying not to forget all those things that once seemed so important, and the minute you think you know it another challenge appears. How can something so universal as motherhood be so lonely? How come we all have to experience it and there are no answers to all those struggles? What about our bodies, our hormones, our thoughts, our friends, our loves? Our careers, our homes, our dishes, our laundry, our sexual desires? What happened to our freedom, our showers, our sleeping hours?

I love being a mother. I also loved being an artist."

- Andi Galdi Vinko

Hardback with exposed spine, 224 pages, 16.5 x 22cm

2nd edition with pink endpapers.

• Trespasser 2024
  
• Hardback, 1st edition, 188p
  
• New

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

11.75x14.75 inches. 188 pages. 90 tritone plates on uncoated paper. Cloth cover and foil stamp text. Page edges painted black.

Please note there have been a few production issues with this books as follows.

Due to the pages edges being painted black there is a possibility of a few stray paint marks/black dots on the uncoated paper pages.   The black linen cover also has a tendency mark very easily during handling of the book.  We are checking all copies of the book that we will send out, to ensure that customers receive copies without serious errors, but note that minor imperfections may well exist in the copy you receive, so please consider this before purchase.  This does not detract from the high quality of the production or enjoyment of this title, which in our opinion is without doubt the best photobook of the year.

• Mack 2024
  
• Softcover, 1st edition, 144p
  
• New

In I’ll let you be in my dreams if I can be in yours, photographers and longtime partners Carolyn Drake and Andres Gonzalez embark on a collaborative journey along the US–Mexico border, creating an imaginative portrait of life in these borderlands. Traversing towns and waterways together they photographed the same subjects from different perspectives, capturing everyday scenes that appear both staged and ad hoc. The resulting series of uncanny image pairings illuminates the serendipity of human connection while confronting the challenges of relating to one another, finding balance, and defying conventional identities.  

Through this striking sequence, Drake and Gonzalez reflect on their different family histories of migration and identity and the ways their backgrounds both intersect and diverge. Deliberately eschewing the temptation to follow a singular narrative or freeze a fleeting moment in time, their images instead suggest the multifarious nature of existence along the border.

Signed by both artists.

• GOST 2024
  
• Hardback, 1st edition, 88p
  
• New

Adam Ferguson began photographing Australia’s interior in 2013 in an attempt to dispel sentimental and outdated narratives around the ‘Outback’—a place central to the identity and development of modern day Australia. His photographic survey, made over a 10-year period, depicts fading traditional events, shrinking small towns, Aboriginal connection to Country, the impacts of globalisation and the adversity of climate change to illustrate the complex realities of contemporary life in the ‘Outback’.

The ‘Outback’ has no demarcated border but refers to Australia’s vast and sparsely populated interior—73 percent of Australia’s territory, more than two million square miles—is inhabited by just 5 percent of its 24 million people. In spite of its relatively small population it is an important and diverse segment which defines the character of the country and has been  mythologised in poetry, song, literature and screen. 

Ferguson was originally inspired by Richard Avedon’s portrait project, ‘In the American West’—which shattered romantic notions of the west. Ferguson’s project is similar in scope and ambition but stylistically divergent. As the project evolved it became evident that portraiture alone could not narrate the stories of the people he met. 

‘Part of the experience of living in this huge, sweeping landscape is the relationship each individual has with the land and environment. It made sense to position everybody in the spaces they  occupy. I wanted to construct a scene which complemented, or reinforced the stories of the people I photographed.’

Signed copy.

• Trespasser 2024
  
• Hardback, 1st edition, 108p
  
• New

Set amid the extreme heat and sprawling concrete of Tucson, Arizona, Dogbreath is a photobook that depicts a series of restless adolescents as they navigate a fraught and changing world. Through photographs of urban decay, sun-faded neighborhoods, scenes of mosh pits, and punk youths alongside their feral dog counterparts, the book paints a sympathetic view of teenagers adrift in what remains of their adolescence. Interspersed with elliptical texts about a mysterious boy named Dove, who speaks of underground pagans, scrap salvaging, and the search for gold, Dogbreath presents an enigmatic, psychologically engaging portrait of youth on the edge.

11.5x15 inches. 108 pages. 55 tritone plates on uncoated paper. 3 variations of cloth cover with tip-in image and foil stamp text. 

Please note that when you purchase this book, the colour will be selected at random.

• Eriskay Connection 2024
  
• Hardback, 1st edition, 112p
  
• New

“The tiny creatures that run the world,” is how myrmecologist Edward O. Wilson described insects. They are nature’s cleaners, food for many other species and are essential for the pollination of plants, including our crops. For years, their populations have been plummeting dramatically due to habitat loss and the use of pesticides. It is vital that we stay connected with them and that is why they deserve a stage to put their importance and beauty in the limelight.

Rogier Maaskant’s (NL) enchanting images unveil a diverse array of insects in flight during twilight and nighttime – in forests and above fields, ditches, and ponds around Rotterdam. By using strobe light, his single exposures provide a unique view of the flight of caddisflies, moths, lacewings, dragonflies, gnats, and various other species that illustrate the rich biodiversity.

For Sense of Presence, Maaskant collaborated with scientists and butterfly experts. His work is in line with the current era of renewed interest in nature and a widespread awareness of the need to protect it.

With an essay by Auke-Florian Hiemstra, science communicator at Naturalis, Leiden.

Signed copy.

• Mack Books 2024
  
• Hardback, 1st edition, 112p
  
• New

Over two decades, Gregory Halpern has been photographing in and around his hometown of Buffalo, New York, meticulously crafting the series of photographs that forms his latest monograph. King, Queen, Knave is an idiosyncratic vision of a city amidst its contradictions, defying familiar narratives of post-industrial decline and embracing an enigmatic strain of reality verging on surrealism. Halpern’s mesmerising sequence unfurls as a stage across which distinct and unpredictable characters appear in and amongst solitary buildings, snowdrifts, and sun-bleached scenes of everyday transcendence. 
 
The images often locate their subjects within the specificities of the season and balance a historical project with the immediacy of a moment in its individual radiance. Embracing themes of reversal and ascension, Halpern confronts the complexities of his birthplace and of contemporary America at large, seeing beauty intertwined with ugliness and redemption with despair. This lyrical new work is testament to the endless complexity of a place at once familiar and unknown.

Signed copy.

Out of print.

• Self 2024
• Softcover, 1st edition
• New 

"My brother is a beacon. Reinoud has Down’s syndrome. When he was five years old, I arrived in his life: a world shaped differently, in which the wisdom of the body has not been lost and the spirit is not constricted by reason.

His world is magnetic, it pulls and feels safe. There within, things can take on other forms: minuscule becomes magnanimous, and what is considered immense is scaled to minor. In his world everything is rooted, unconditioned and unconditional. He holds no judgements, no desires for more, he is not burdened by the compulsion of efficiency. In his world, sadness and joy can spill through into a single moment. And his existence is unquestioned, it just is. 

I observe his world, I merge within his world. In reality and in imagination. And the camera observes too. From close and afar."

- Caroline Kist

Edition of 200 signed and numbered copies.

• Editorial RM/PHREE/Ediciones Posibles 2024
• Hardback, 1st edition. 80p
• New 

"I Imagined It Empty" offers readers a deeply moving and introspective exploration of life, loss, and the enduring connections we forge with the spaces we inhabit. Immerse yourself in an emotional journey inspired by the author's personal experiences and the last photographs taken of her mother, capturing the beauty that emerged in her final days of life. Explore poetic and nostalgic imagery that subtly conveys the notion that our homes hold the spirits of those who lived in them, filling the space with memories beyond the physical presence. A beautiful, original design by one of the best photobook designers in the world today. I imagined It Empty was inspired by several pictures the author had taken of her mother in 2017, briefly before she passed away. “My mother rarely let me photograph her except in the last week of her life when she changed her mind. Each day as she approached her death, she became more beautiful.” The book is a silent and moving contemplation of life beyond life and the desire to find solace and presence within the walls of the place that we choose to call home. The loss of dear ones is reflected in the sense of belonging to a place, a house full of history, which also carries on the life of others. “I know that I will not live in this house forever. The house will hopefully outlive me, but I wonder if a part of me will outlive the house.”

English edition.

• Mack Books 2024
• Hardback, 1st Mack edition, 320p
• New

First published in 1996 to enormous acclaim, Richard Billingham’s Ray’s a Laugh is one of the most significant photobooks of the turn of the twentieth century, as well as a cornerstone work of the Young British Artists generation. Formed of starkly intimate images of Billingham’s often chaotic parental home under the heavy effects of alcoholism and poverty, the book was produced in the 1990s with editors Michael Collins and Julian Germain. This new edition restores Billingham’s original vision for his deeply personal work for the first time. Including numerous unseen images and a distinct approach to sequencing inflected by Billingham’s training as a painter: it constitutes a ‘director’s cut’ and reintroduces a vital and consistently challenging work for a new era.

Hand-signed by Richard Billingham to the first white page.

• Mack 2024
• Softcover, 1st edition. 80p
• New 

Lindokuhle Sobekwa began this project after finding a family portrait with his sister Ziyanda’s face cut out. He describes her as a secretive, rebellious, and rough presence, and recalls the dark day when she chased him and he was hit by a car: she disappeared hours later and returned only a decade later, ill. By this time Sobekwa had become a photographer and realized the family had no picture of her: ‘One day I saw this beautiful light coming in through the window shining on her face. I lifted up the camera to catch the moment and she shot me an evil look and said: “Stop! If you take that picture I’m going to kill you!” So I lowered my camera. I still wish I had taken the shot.’ Ziyanda died soon after.

Employing a scrapbook aesthetic with handwritten notes, I carry Her photo with Me is a means for Sobekwa to engage both with the memory of his sister and the wider implications of such disappearances – a troubling part of South Africa’s history. The book complements his wider work on fragmentation, poverty, and the long-reaching ramifications of apartheid and colonialism across all levels of South African society.

Includes a long-form essay by writer and scholar Neelika Jayawardane.

Hand-signed copy.

• Witty Books 2024
• Softcover, 2nd edition, 96p
• New

Max Miechowski’s Land Loss follows the artist’s deep interest in the British landscape, exploring themes of time, community and resilience. These absorbing portraits, landscapes and delicate details are captured with Miechowski’s characteristic sensitivity, presenting a quiet space of contemplation. In the work, natural cycles and geological erosion act as gentle and sometimes abrupt reminders of loss and impermanence. As Miechowski learns by observing this seaside community, “we too are as temporary as the cliffs”. At a time of social and ecological upheaval, Land Loss reconnects us to the environment, and creates an extended metaphor where great uncertainty, compassion and care is carried by the landscape. Recalling his experience of visiting, photographing and witnessing this changing community.

2nd edition.

1st edition shown in video - contents are identical

• Stanley Barker 2023/2024
• Flexibound, 1st edition/3rd printing, 296p
• New
  

Trent Parke’s landmark publication Monument is a portal through which we bear witness to the disintegration of the universe over 294 expertly printed pages.

The monolithic publication is bound in leather bearing totemic coordinates to the planet Earth, blind stamped end sheets, black sprayed edges, and a loose steel plaque, that once removed, leaves the volume without language.

When Trent Parke moved to Sydney from a small Australian country town, his first impression was of the sheer volume of people. He would grab his camera and go out exploring at every opportunity, fascinated by the endless processions. At rush hour, he watched as the city workers moved in a great mass, all walking the great conveyer belt of life. In a trance-like state, treading the same path day after day, week after week, year after year… clocking on, clocking off, all under the spell of the city. Parke would stand on the edge of the wave, on the outside of a new world, looking in. As if watching a newly discovered species. 
 
 “At night I would watch the eclipse of moths, millions of them constantly circling the lights of the Sydney Harbour Bridge. At the same time, on my balcony, a miniature performance played out around the light above my head. The moths inevitably and without resistance were drawn to their ultimate demise. Spiralling out of control, like small spaceships caught in a tractor beam. Lured and blinded by the bright white light, they were taken out by hundreds of birds swooping in to snatch them from the air… spiders sat waiting on their webs. Built with precise coordinates across the face of the lights, they captured the hapless tiny creatures that slipped through. If any miraculously managed to survive that onslaught, they continued on, driven towards the flame, intoxicated by those burning hot light globes. Then suddenly an electrical charge in the still air. A small puff of smoke. Gone. Instant disintegration of a life form. Another blip in the universe. Another small spacecraft colliding with the blazing sun.”

- Trent Parke

Flexibound with embossed leather cover,  blind stamped end sheets, sprayed edges with multiple paper weights and gatefolds.

3rd printing which  includes several newly added never-before-seen images

• Stanley Barker 2024
• Hardback, 1st edition. 104p
• New 

Chris Killip is widely regarded as one of the most influential British photographers. Skinningrove is the last publication Killip worked on before his passing in 2020. Known for his passion for photography books, he oversaw all elements of this book, which features many unseen images. We are very proud to now release this unique publication into the world.

Born in the Isle of Man in 1946, he began his career as a commercial photographer before turning to his own work in the late 1960s. His book, ‘In Flagrante’, a collection of photographs made in the North East of England during the 1970s and early 1980s, is now recognized as a landmark work of documentary photography. 

The village of Skinningrove lies on the North-East coast of England, hidden in a steep valley it veers away from the main road and faces out onto the North Sea. The photographs that Chris Killip made of its, fiercely independent hard working-class community, between 1982 and 1984 are possibly Killip’s most intimate work.

“Like a lot of tight-knit fishing communities, it could be hostile to strangers, especially one with a camera. “Now Then” is the standard greeting in Skinningrove; a challenging substitute for the more usual, “Hello.” The place had a definite edge, and it took time for this stranger to be tolerated. My greatest ally in gaining acceptance was Leso (Leslie Holliday), the most outgoing of the younger fishermen. Leso and I never talked about what I was doing there, but when someone questioned my presence, he would intercede and vouch for me with, “He’s OK.” This simple endorsement was enough.

“I last photographed in Skinningrove in 1984, and didn’t return for thirty years. When I did I was shocked by how it had changed, as only one boat was still fishing. For me, Skinningrove’s sense of purpose was bound up in its collective obsession with the sea. Skinningrove fishermen believed that the sea in front of them was their private territory, theirs alone. Without the competitive energy that came from fishing, the place seemed like a pale reflection of its former self.” - Chris Killip

Out of print, final copies.

• Setanta 2024
• Hardback, 1st edition. 160p
  
• New 

"Space is a labyrinth. Paths always lead to other paths, which in turn lead to other paths and other paths. The photographs in this book, in a course without precise coordinates, without compasses and crossing invisible borders, stretch out in all directions, calling out to one another and connecting to form a spider's web of landscapes, human beings and curiosities. Malparaíso is an imaginary place, an Eden already lost which, as an artifice, must consolidate a "place" that forms part of the creative experience. The world, inscribed in the relativity of time, is seen only in fragments, but these fragments, as if they were the bifurcations of an infinite road, sow alarm signals until the book is tinged with a vague melancholy, a tableau vivant of our delirious idleness, a subtle allegory of our lethargy.

Exploring the classic motif of paradise, years ago I embarked on a journey that is as broad as it is personal, where racism, identity, migration, nature under siege, violence and precariousness always appear as the firm guiding threads of my photographs. My images suggest rage and pain, but also express the beauty, hope and humanity that are part of a complex reality."

- JM Ramirez-Suassi

Unsigned.

• Setanta 2024
• Hardback, 1st edition. 160p
  
• New 

"Space is a labyrinth. Paths always lead to other paths, which in turn lead to other paths and other paths. The photographs in this book, in a course without precise coordinates, without compasses and crossing invisible borders, stretch out in all directions, calling out to one another and connecting to form a spider's web of landscapes, human beings and curiosities. Malparaíso is an imaginary place, an Eden already lost which, as an artifice, must consolidate a "place" that forms part of the creative experience. The world, inscribed in the relativity of time, is seen only in fragments, but these fragments, as if they were the bifurcations of an infinite road, sow alarm signals until the book is tinged with a vague melancholy, a tableau vivant of our delirious idleness, a subtle allegory of our lethargy.

Exploring the classic motif of paradise, years ago I embarked on a journey that is as broad as it is personal, where racism, identity, migration, nature under siege, violence and precariousness always appear as the firm guiding threads of my photographs. My images suggest rage and pain, but also express the beauty, hope and humanity that are part of a complex reality."

- JM Ramirez-Suassi

Signed copy.

In stock now.

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

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

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

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

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

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

Signed copy.

• Mack Books 2018
• Softcover, 1st edition. 1st printing
• Fine

TTP is a series of photographs made by Hayahisa Tomiyasu from the window of his former student apartment in the German city of Leipzig. From his south-facing view we see a 'tischtennisplatte' or ping pong table used for a plethora of purposes – including a sun bed, a laundry counter, a kids' climbing frame, an exercise site, a family lunch spot, a refuge from busy streets, among various other uses – except from table tennis. Tomiyasu spent five years documenting the humble table and thanks to his sustained curiosity we observe the idiosyncrasies of human behaviour and social habits, as seasons change, scenes mutate and people come and go.

Fine condition, first edition / first printing.

• Loose Joints 2024
• Hardback, 1st edition
• New

Fortune uplifts the long-enduring nature of Black culture and traditions in the American South across ten years of portraiture rooted in history and the landscape.

Flour, water, and salt. These are the sole ingredients that make Hardtack: a Civil War-era food long-associated with survivalism, land migration, and its extremely long shelf life. Drawing from this history as a metaphor for the long-enduring nature of Black culture and traditions, Hardtack uncovers the roots that tie Fortune's native landscape to the conflicts and nuances associated with the post-emancipation Americas.

In the follow-up to his breakout monograph I can't stand to see you cry, Fortune borrows from the language of vernacular and archival photography to interrogate the historical relationship of his community to photography; rooted in the landscape, Fortune often uses sites of historical and cultural interest as a guide but not a subject, implying the deep ties that bind modern Black communities resiliently to their regions, in the face of both adversity and joy.

A significant theme in Hardtack is Fortune’s striking portraits of coming-of-age traditions. Inside, young bull-riders, praise dancers, and pageant queens inherit and gracefully embrace these forms of community ritual. Fortune's dignifying eye pays tribute to these cultural performances' rigour, discipline and creative flair, alongside the intergenerational conversation between young people and elders handing down these traditions. Collecting together nearly a decade of work, Hardtack continues Fortune’s weaving of documentary and personal history, marking a sincere expression of love and passion to a region that has nourished the artist personally and creatively, while also marking an important contribution to photographing the American South.

• Prestel 2024
• Hardback, 1st edition. 160p
  
• New 

Published as a collection for the first time, these arresting and poetic and images of Northern Ireland reveal a rarely examined facet of the oeuvre of a celebrated twentieth century war photographer.

Akihiko Okamura became a renowned war photographer during the first years of the Vietnam war and later, as he documented wars in Biafra and the Middle East. In 1969, he moved from Southeast Asia to Dublin. From there, Okamura traveled frequently to Derry and other parts of Northern Ireland to document the country’s “Troubles.”

This beautifully produced book brings together for the first time Okamura’s Irish work, which was almost entirely unpublished before now. Presented in full page plates without text, Okamura’s images are imbued with soft, muted colors that contrast with the violence of the situation in which they were conceived. Brimming with feelings of fear, dread, anticipation, and resignation, these images reveal Okamura’s humanity and curiosity, his concern with day-to-day existence, and the absurdities, incongruities, and disruptions of life during wartime: women preparing afternoon tea outside bombed rowhouses; girls dressed in their Sunday best leaving flowers at a roadside shrine; a collection of empty milk bottles destined to become incendiary devices.

Illuminating essays by renowned photographic historians and experts place this astounding collection in context with Okamura’s larger body of work and situate these images within the history of both the medium and the country.

English edition.

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

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

Text in French / English / Italian

• Libraryman 2024
• Softcover, 1st edition 128p
• New

The Long Shadow: Unwrapped ~ Marion Post Wolcott’s Labor and Love reveals the unpublished life and images of the American photographer Marion Post Wolcott¹ (b. 1910, d. 1990). Wolcott was the first woman hired as a full-time photographer for the Farm Security Administration in 1938 during America’s Great Depression. Three years later, having made more than 9,000 pictures, Wolcott received ultimatums from her husband, Lee Wolcott, and boss, Roy Stryker: choose love or photography. Wolcott quit her job and spent eleven years managing three dairy farms in rural Virginia. She became a farmer and a farmer’s wife. She raised four children, did housework, milked cows, learned to use machinery, and repaired farmhouses. One assumed that Wolcott gave up photographing. That assumption was wrong.

The Long Shadow is a homage-style reflection on a female icon of photography. Drawing from Wolcott’s archive of unseen intimate portraits and through conversations with her family, Anglo-Australian photographer Odette England (b. 1975) juxtaposes them with her photographs and prose rewritten from interviews and historical records. She responds to similarities between her and Wolcott’s ways of seeing. England’s daughter Hepburn (b. 2010) shares the story as a photographer and muse. This unique collaboration celebrates the unknown sides of a woman whose professional career ended in 1942 and who sought solace in making photographs in the shadows.

The book contains a preface and prose written by Odette England as well as 19 unpublished photographs by Marion Post Wolcott.

Edition of 700 copies.

Sealed.

• Blue Lotus Editions / Photo Editions 2024
• Hardback, 2nd edition, 100p
• New

Yasuhiro Ogawa’s new photobook Into the Silence captures the rugged yet timeless beauty of Japan’s northern region as he follows in the footsteps of the 17th Century poet Matsuo Bashō.

The story of Matsuo Bashō's journey through the northern provinces of Japan in the 17th century, is recounted in his travelogue "The Narrow Road to the Deep North,” ("Oku no Hosomichi”). In the summer of 1689, Bashō set out on his journey with his traveling companion Sora. They traveled on foot, carrying only minimal provisions and staying in humble lodgings along the way. Bashō was seeking inspiration for his poetry, and he found it in the natural beauty and cultural richness of the places he visited.

Like Bashō before him, Ogawa set out on a journey through the Tōhoku region, unlike Bashō, who traveled on foot with pen in hand, Ogawa preferred to move by train with camera in hand.  His photographs capture the rugged beauty of the landscape, from snow-covered mountains to misty forests and along deserted roads with glimpses of wild oceans, often shot through foggy windows on a train in motion. Through his lens, Ogawa reveals a world that is both remote and timeless, a world in stillness and motion.

Despite the passage of centuries, the challenges faced by Bashō on his journey are still evident in Ogawa’s photographs. The loneliness and isolation of the road are palpable in the shots of empty trains, lone tracks or roads and desolate hotel interiors. So are the physical challenges of traversing rough terrain and inclement weather documented in his muted photographs.  There is a marked contrast between the beauty and tranquility of the landscape and the harsh realities of life in this remote region. From plain coastal towns to empty streets, Ogawa’s images reveal the toll that economic decline and depopulation have taken on the area. Yet there remains a sense of hope and resilience.

Hardback 2nd edition (1st was softcover)

Signed copy. 

Copies of Into The Silence, with a signed print are available here.

• Steidl 2016
• Hardback, 1st edition
  
• Used good:very good - see below

This book presents three independent bodies of work by Henry Wessel, each being a precise sequence arranged to give the viewer the experience of what it felt like to pass through the territory described.

The first series “Traffic” shows Wessel’s photos of drivers stuck in traffic as he commuted in the early 1980s from Richmond, California, to San Francisco in the morning rush hour. Wessel records the determination, impatience and blank boredom of his fellow drivers as they navigate a daily drill that seems at times daunting and hopeless. “Sunset Park” is Wessel’s series of night photos of the modest working-class neighborhood of Sunset Park in Santa Monica. Over four years in the mid-1990s, Wessel captured the nocturnal transformation of suburbia into a strange, sometimes eerie, landscape. In his words: “You can’t help but notice how the world is reconfigured by the lights at night. The spot lighting of particular areas, the lack of ambient light, the unnatural way that shadows are cast, all take us to an unfamiliar place…” Wessel’s final series “Continental Divide” takes the viewer on a ride from the dense, suburban flatlands of the Midwest, up across the Rocky Mountains, and down into the sparse desert landscape of the American West. Wessel depicts its houses, shacks, street corners, and the highway, reminding us of the inherent aesthetics of the everyday.

The photographic sequence is a fiction, an analogy for the thing it represents. It is about a particular experience that would not exist without the sequence. Henry Wessel

Used copy with faint bump to one corner, and other light wear to linen cover, inside fine.

• Kominek 2024
• Hardback, 1st edition, 160p
• New

• GOST 2024
• Hardback, 1st edition, 304p
• New

‘…what does it mean to live in a land where the people responsible for protecting its citizens can so often be involved in their deaths?’

In the US, approximately 1000 people continue to die each year in encounters with police.  More than any other industrialised nation. My America is an archive of and memorial to victims of these encounters. The photographs, taken at locations where citizens were shot or tasered by law enforcement officers, create a quiet but chilling critique of the contemporary United States. The scale of the book­­­­­­­­­­ attests to the scale of the problem yet Matar asks us to remember these are individuals.

'Of the over 300 sites I visited only seven had any type of memorial. Something about these lives not being recognised, even on the land itself, upset me most. As a nation, we weren't taking stock. We rarely, if ever, marked the ground.'

The black and white photographs in My America are of city parks, shopping malls, parking lots,  mobile homes, empty fields, and roadside highways. By photographing these banal landscapes Matar declares that what happened at the locations matters and questions the link between landscape and memory.

'Can a photograph tell us anything about what has happened before the photographer arrives… even if not, I believe there is value in documenting the ground where violence has taken place... Perhaps a photograph can offer ways to remember acts of injustice that have been forgotten or never made transparent.' 

Previously, Matar, an American living in London, spent years documenting sites of state sponsored violence in North Africa, Eastern and Southern Europe. In 2015 she turned her lens on her own country and began researching who, how, and where citizens were dying in police encounters in the US. She created detailed maps in her studio and compiled information about each victim who died in 2015 and 2016.

‘I wanted to address the issue of police violence in a way that wasn’t just polemic.' 

A small grant from the Ford Foundation enabled her to make six road trips over the next four years. She photographed in states with the highest numbers and/or highest rates per capita of lethal encounters—Texas, California, Oklahoma, and New Mexico—travelling alone on highways, back roads, and city streets to reveal something beyond statistics. After Matar finished photographing, she spent two additional years researching the legal outcome of each case. The result is a book designed with respect to the victims but also rich with information about the structural reasons why these events continue to occur at such a high rate.

'In a world where millions of pictures are taken each day, I still believe photographs can contain meaning; they can become evidence of things not seen or heard... if, as I believe, to photograph is a desire to know something deeply and beyond the surface, I must be quiet to see. And attending to something says I acknowledge it matters.'

Signed copy.

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

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

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

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

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

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

• Charcoal Press 2023
• Hardback, 1st edition
• New

The Seraphim is the second volume of the The Seven Seals septology by photographer Jesse Lenz. Delving deeper into the vision that started with The Locusts, the reader explores a realm of childhood enchantment where nature insists upon sets of fledgling counterparts. His children experience the joys, curiosity, and vulnerability of childhood alongside other creatures that seem to either be standing vigil over them, or stalking them from the shadows. The backyard becomes a labyrinth of passages as the children experience the cycles of birth and death in the changing seasons. The Seraphim depicts a brooding landscape in which life’s greatest mysteries can be witnessed through the prism of small, infinitesimal lives.

Signed copy.