Our picks

• Dalpine/Ice Plant/Torch Press 2020
  
• Hardback, 1st edition
  
• New
  

Further delving into the photographic language that originated with Paloma al aire(2011), in Estudio elemental del Levante (carried out between 2010 and 2020) Ricardo Cases articulates the meanings rendered by his immediate environment, the Levante region (Spain), where he finds expressions of all phenomena, of all relations.

Beyond the classic icons of tourism – beach and paella –, Cases observes a series of hallmarks with deeper and more subtle meanings. That is where other symbols of Levante like the music bands, the palm groves and the construction industry make their appearance. As does the story of the red palm weevil (rhynchophorus ferrugineus): a parasite from Southeast Asia that attacks palm trees, causing them to wither and die.

The palm tree, the charanga and the red palm weevil form a triangle that represents the spiritual map of modern Spain's systemic crash, of a violent and screeching collision. The combination of it all generates a dissonant symphony. Like a desperate alarm signal, the grating shriek of metal can be heard in the images themselves.

In this book, which is based on the principle of collage, images appear to have been affected by the blight and are partially faded. Superposition creates a raving musical score whose structure is chaos, provisionalness. In short, Estudio elemental del Levante is a requiem for a way of life that enjoyed its period of mad splendour.

• Stanley Barker 2020
  
• Hardback, 1st edition
  
• New
  

Christopher Anderson’s first child, Atlas, was born in 2008. He began photographing that experience in a completely organic and naive way. It was the natural action of a new father trying to stop time and not let one drop of the experience slip through. As a photographer, he had never photographed his own personal life. It never occurred to him that these photographs would be part of his “work”. They were external from what he considered his Photography. He was about two years into making those photographs when it dawned on Anderson that these photographs were, in fact, his life’s work and that everything he had done up to that point was a preparation for making those pictures.  

They became the book, SON, published in 2012 which portrayed a moment in time in Williamsburg Brooklyn, post 911 and the 2008 economic crash when artist lofts still made up the community before the luxury condos squashed the landscape. 

Pia could be called the spiritual sequel to that book. But this time, it marks a new era and search for hope in the Trump/ COVID19 reality. This time, Anderson’s daughter, Pia, is the protagonist and muse, and the backdrop is his French family’s return to Paris (Anderson became a naturalized French citizen in 2018). 

“The images portray a father-daughter relationship as well as a photographer-subject collaboration as the Pia’s takes control of her character. The passage of time comes with a certain melancholy, but also a declaration of hope that guides the photographs.” - Christopher Anderson 

• Nobody 2020
  
• Hardback, 2nd edition
  
• New
  

A pillar knocked into the ground next to a stream in a flat, open landscape, trees and houses visible in the distance, beneath a vast sky. That is the backdrop to all of Stephen Gill´s photographs in this book. We see the same landscape in spring and summer, in autumn and winter, we see it in sunshine and rain, in snow and wind. Yet there is not the slightest monotony about these pictures, for in almost every one there is a bird, and each of these birds opens up a unique moment in time. We see something that has never happened before and will never happen again. That it takes place in the midst of a landscape characterised by repetition, in which time is cyclical, sets up a keen existential dynamic: on the one hand, everything has happened before, there’s nothing new under the sun; on the other, every moment is unique and carries the hallmark of the miracle: what happens happens only once and never again.

But this wasn’t what I thought about the first time I looked at these photographs. In fact, I barely thought at all, for I was shaken, as a person so often is when confronted with an extraordinary work of art. I’d never seen birds in this way before, as if on their own terms, as independent creatures with independent lives. Ancient, forever improvising, endlessly embroiled with the forces of nature, and yet indulging too. And so infinitely alien to us.

- Karl Ove Knausgård

The Pillar / Winner of the 2019 Les Rencontres de la Photographie author book award.

Signed copy.  2nd edition.

• Aperture 2020
• Hardback, 1st edition
  
• New
  

In Let the Sun Beheaded Be, photographer Gregory Halpern focuses on the French Caribbean archipelago of Guadeloupe, a French overseas region with a complicated and violent colonial history. 

Renowned for his photographic meditations on place, Halpern presents a compelling portrait of Guadeloupe and its inhabits, focusing on local histories and experiences.  Let the Sun Beheaded Be commingles life and death, nature and culture, and beauty and decay in enigmatic color images of the archipelago’s residents and lush landscape, as well as monuments related to the brutality of its past.

The project is part of Immersion, a program of the Fondation d’entreprise Hermès, in partnership with the San Francisco Museum of Modern Art and the Fondation Henri Cartier-Bresson.

• Red Hook 2020
  
• Hardback, 2nd edition
  
• New
  

“The story of Communism is the story of the twentieth century. For many, the Soviet Union existed, like their childhood, as a fairy tale where many of the realities of life were hidden from plain view. When the Berlin Wall finally fell, so too did the illusion of that utopia. Wonderland is a photographic exploration that portrays both the reality beneath the veneer of a utopian USSR and the affirmation of hope that should never be abandoned. And like all fairy tales try to teach us: the hard lessons of self-reliance.”

New edition of this sought-after book.  Larger size than previous editions to match Departure Lounge.  176pp.

Signed copy.

• Sokyusha 2020
• Softcover, 2nd edition
  
• New
  

"My new book The Dreaming contains 86 black and white images selected from my 27 years’ career in photography and traveling. When I turned 50 last year, I decided to go through all the black & white negatives I had taken so far. Every moment of the journeys may have been vision of dreams – that’s what I thought when I tracked down my archive and such a thought gave me a hint to make this book."

- Yasuhiro Ogawa

2nd Edition of 500 copies.  Signed copy.

This copy comes with an added large handmade collotype print as shown, printed at Benrido Atelier, Kyoto.  Image is 25cm x 16cm, on paper size 36cm x 31cm.  

• Mack Books 2020
  
• Hardback, 1st edition
  
• New
  

This book presents Alessandra Sanguinetti’s return to rural Argentina to continue her intimate collaboration with Belinda and Guillermina, two cousins who, as girls, were the subjects of the first book in her ongoing series, The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams. 

In this second volume, The Illusion of An Everlasting Summer, we follow Guillermina and Belinda from ages 14 to 24 as they negotiate the fluid territory between adolescence and young adulthood. Still surrounded by the animals and rural settings of their childhood, Everlasting Summer depicts the two cousins’ everyday lives as they experience young love, pregnancy, and motherhood - all of which, perhaps inevitably, results in an ever-increasing independence from their families and each other. Similarly, we can sense a shift in Sanguinetti's relationship to the cousins and the work they make: from insular childhood collaborators to three women with lives branching in different directions. Though the passage of time is one of the most palpable tensions at work in these photographs, An Everlasting Summer deepens Sanguinetti's exploration of the timeless, universal language of female intimacy and friendship.


The signed edition includes an extra image plate signed by the artist on the inside back cover.

• Mack 2020
  
• Hardback, 1st edition
  
• New
  

What is there between the branch and apple when it falls?
We have seen it—we would recognize it anywhere.  Yet of an evening we are told
nothing is there.                                
                                                                                                              Wright Morris

Raymond Meeks is renowned for his use of photography and the book form to poetically distill the liminal junctures of vision, consciousness and comprehension. In ciprian honey cathedral, he brings this scrutiny close to home, delicately probing at the legibility of our material surroundings and the people closest to us. 

Meeks has long been fascinated by the way we construct the world around us; how we carry our possessions, these accumulated comforts, inheritances, markers of material success; how we adorn homes with trees and shrubs, a mantle clock to count the hours. Stumbling across an abandoned house or unkempt lawn becomes a search for common clues to tiny hidden transgressions. 

This question of knowledge and understanding is perhaps most drastic in our solipsistic reality. Meeks also photographed his partner, Adrianna Ault, in the early mornings before she awoke, on the threshold at which daily domestic life converges with the deepest state of sleep. This plight of supine trance is a place of reprieve beneath the surface of consciousness, free from the chaos and uncertainty of the sentient world above, and alludes to the veiled threat that, ultimately, we are utterly unknowable to one another.

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

.

• Mack 2020
  
• Hardback, 1st edition
  
• New
  

12 Hz — the lowest sound threshold of human hearing—suggests imperceptible forces, from plate tectonics to the ocean tides, from cycles of growth and decay in the forest, to the incomprehensibility of geological spans of time. The photographs in Ron Jude’s  12 Hz  allude to the ungraspable scale and veiled mechanics of these phenomena, while acknowledging a desire to gain a broader perspective, beyond the human enterprise, in a time of ecological and political crisis.

12 Hz  consists of images of lava tubes and flows, tidal currents, glacial ice and welded tuff formations: pictures describing the raw materials of the planet, those that make organic life possible.  The images were made in multiple locations – from the high lava plains, gorges and caves in the state of Oregon, to the glaciers of Iceland and lava flows of Kilauea in Hawaii.

Jude’s photographs don’t attempt to tell us how to live or what we’ve done wrong, nor do they reduce the landscape to something sentimental, tame and possessable. Rather, they endeavour to describe and reckon with forces in our physical world that operate independently of anthropocentric experience. The photographs in  12 Hz  work in service to a simple premise: that change is constant, whether we are able to perceive it or not. By stepping back to look at the larger system of flux—of which we are only a small part—this book evokes us to find our own pulse, as it were, and assert an appropriately scaled sense of being within the hierarchy of this system.

The signed edition includes an extra image plate signed by the artist on the inside back cover.

• RRB 2020
  
• Hardback, 1st edition
• New
  

Peter Mitchell’s Early Sunday Morning is made up of over 90 previously unpublished images, each one selected from a cache of five hundred negatives which have sat undeveloped for over 30 years.

Early Sunday Morning, edited and sequenced by John Myers, shows a different Leeds to Mitchell’s earlier publications. It is neither the sombre look at destruction seen in Memento Mori, nor the detached view of ‘the man from mars’ of A New Refutation of the Viking 4 Space Mission, but a more intimate document of Mitchell’s own Leeds.

The book reveals the layers of the city’s history, exposed by the changes to the urban landscape that epitomised the 1970s and 80s. Hundred-year-old terraces and cobbled streets sit flanked by concrete flats, with newly cleared ground to either side are presented with Mitchell’s typical graphic framing.

“It is as if Peter Mitchell has taken the atmosphere and mood of Edward Hopper’s famous painting and established it as a matter of documentary fact in the north of England at a moment when collapse can lead to further desolation or possible renewal. So these beautiful pictures are drily drenched in history – social, economic and photographic.”  - Geoff Dyer

Sealed copy.

Special edition of 30 copies with a signed and numbered A4 print (see image).

• Mandarake 2020
  
• Hardback, 1st edition
  
• New
  

Momo Okabe's first domestic photo book is now published six years since Dildo (2013) and Bible (2014), both published by Session Press in New York. With no advertising or publicity, her works have become highly acclaimed and have won various national and international awards.

After that, Momo Okabe kept her distance from the contemporary photographic scene and continued to take photographs in her own way, and her pregnancy and birth became an opportunity to announce this work. This book contains photographs taken in Japan between 2014 and 2019. This great experiment includes friends, regular landscapes, and her pregnancy and birth as an asexual. Red, blue, yellow, purple ... these photographs of various colors are her very personal record, and at the same time they appear to us as a special story revealing emotions.

Edition of 550 copies.  Unsigned.

• Mandarake 2020
  
• Hardback, 1st edition
  
• New
  

Momo Okabe's first domestic photo book is now published six years since Dildo (2013) and Bible (2014), both published by Session Press in New York. With no advertising or publicity, her works have become highly acclaimed and have won various national and international awards.

After that, Momo Okabe kept her distance from the contemporary photographic scene and continued to take photographs in her own way, and her pregnancy and birth became an opportunity to announce this work. This book contains photographs taken in Japan between 2014 and 2019. This great experiment includes friends, regular landscapes, and her pregnancy and birth as an asexual. Red, blue, yellow, purple ... these photographs of various colors are her very personal record, and at the same time they appear to us as a special story revealing emotions.

Edition of 550 copies.  Signed copy.

• Setanta 2020
  
• Hardback, 1st edition
  
• New
  

Into the Fire is Matt Stuart’s second book of photographs following on from his critically acclaimed ‘All that life can Afford’.

Into the Fire documents the daily lives of people who live in Slab City, an off-grid community based on a former military base in the Sonoran desert, just north of the Mexican border.

It is home to travellers, dog lovers, thieves, military veterans, artists and inventors. Its population numbers thousands throughout the winter, in the summer, when temperatures can exceed 120°F (49°C) it dwindles into the low hundreds. True ‘Slabbers’ are the people who have managed to survive two summers. These are the people Matt befriended and photographed.

This is a world where people build earth covered bunkers to live in and bathe in muddy desert springs, tyres are used as decorative wreaths, and a fork in the road is signposted with an oversized plywood fork.

Slab City invites people to come as they are. Most Slabbers struggled in a world of paying rent and small talk, disadvantaged by their lack of social conformity. The Slabs provide refuge.

Accepting others flaws is a step towards accepting yourself.

• Setanta 2020
  
• Hardback, 1st edition
  
• New
  

Into the Fire is Matt Stuart’s second book of photographs following on from his critically acclaimed ‘All that life can Afford’.

Into the Fire documents the daily lives of people who live in Slab City, an off-grid community based on a former military base in the Sonoran desert, just north of the Mexican border.

It is home to travellers, dog lovers, thieves, military veterans, artists and inventors. Its population numbers thousands throughout the winter, in the summer, when temperatures can exceed 120°F (49°C) it dwindles into the low hundreds. True ‘Slabbers’ are the people who have managed to survive two summers. These are the people Matt befriended and photographed.

This is a world where people build earth covered bunkers to live in and bathe in muddy desert springs, tyres are used as decorative wreaths, and a fork in the road is signposted with an oversized plywood fork.

Slab City invites people to come as they are. Most Slabbers struggled in a world of paying rent and small talk, disadvantaged by their lack of social conformity. The Slabs provide refuge.

Accepting others flaws is a step towards accepting yourself.

• Stanley Barker 2020
  
• Hardback, 1st edition
  
• New
  

Every summer from the late 1970s through the mid ’80s SERGIO PURTELL would buy an inexpensive roundtrip ticket from New York to London, and from there get a Eurail pass. Traveling cheaply, he could move freely around Europe.

Wandering made sense to Purtell. At the age of 18 he fled an imminent dictatorship in Chile. He fell in love with photography, and his art history classes convinced him that he needed to see Europe. When he got there, he was reminded of his life in Santiago: the mannerisms, the customs, the architecture, the relaxed attitude towards life, the mornings in cafes, and afternoons lounging by the cool of a fountain, and finishing the day at the local bar with a glass of wine.

“A young man sets out to find his Love. As he traverses the European continent, he learns to forget the past, live in the present, and appreciate the journey. How does one fall in love? By being present, an act that is unavoidable when making pictures in the world. In photography, love is not blind—although many things can, deceptively, go unnoticed: a small gesture, the radiance of a glance, the texture of skin, the shape of a neck, a flitting blush, downcast eyes, a modest grace. Love can be a connection to something greater than ourselves, or the thing that shows us who we are. It requires relentless dedication. The fountains merge with the river and rivers with the ocean and the waves embrace each other.” - Sergio Purtell

During languid summers around forty years ago (it’s the era of Madonna and Eric Fischl), a young Sergio Purtell crisscrossed Europe searching for scenes where marble mixes with skin. Passing through a landscape of fountains and classical piazzas (and on occasion dropping in on a café), Sergio made frames full of sensuous gestures and complex relationships. With the publication of his first book, the brilliant sun that Sergio captured in silver so long ago can be seen again. - Mark Steinmetz

• Morel 2020
  
• Hardback, 1st edition
  
• New
  

What began as an initial desire to photograph the insides of church basements quickly expanded into a much broader series examining the fundamental search for community in America.The activities depicted range from Boy Scout meetings to New Age spiritual practices to corporate team building exercises and were all made in multipurpose community spaces that are ubiquitous throughout the United States. I became intrigued by the way one activity bleeds into another, creating a symbolic space of communal introspection. Put simply, these photographs are about the search for purpose and meaning in a world that both demands and resists interpretation.

• Zen Foto 2019
  
• Softcover, new edition
  
• New
  

A new edition of Chinese artist Muge’s tranquil photobook “Ash”, released by Japanese publisher Zen Foto Gallery.

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished “with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.”

When I used the large format camera to re-understand my hometown as it is now, I’ve discovered that all things in the real world derive from our internal desire: the Karma cycle of yearning for nature, destroying nature, and mending nature (...) These images are taken from the understandings gleaned from my daily life, conveying the traces of time and history in nature, and a person’s thoughts of the future when faced with reality. — Muge

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• La Maison de Z 2019
  
• Softcover, 1st edition
  
• New
  

In the series“Lost Souls” that Sun Yanchu begun in 2013, the subject, or object, can be loosely described as landscape, but it feels like much more. As through the evolution of “shanshui” painting in China, in his work, nature serves as metaphor or vehicle for conveying a state of mind. This may be the photographer’s state of mind, but equally that of his generation, the society in which he exists, or the general aura of the times.

On the basis of “Lost Souls”, the book “Even Us, Even Me” includes also a medley of “Obsessed” and Sun’s latest work of “Ficciones”, to make its strongest appeal through its underlying sense of confirming the existence of a world outside of ourselves. The quivering images draw us in. We feel the vibrations of elemental energy coursing through the panoramas, sweeping us along on its currents. We get lost in their motion, taken out of ourselves, while simultaneously recalling times when we have been out in the embrace of nature, bracing the wind and realizing how good, if hard at times, it is to be alive.

• Twin Palms 2020
  
• Hardback, 4th edition
  
• NEW
  

At 17 Mike Brodie hopped his first train close to his home in Pensacola, FL thinking he would visit a friend in Mobile, AL. Instead the train went in the opposite direction to Jacksonville, FL. Days later, Brodie rode the same train home, arriving back where he started. Nonetheless, it sparked something and Brodie began to wander across the U.S. by any means that were free - walking, hitchhiking and train hopping. Shortly after, Brodie found a Polaroid camera stuffed behind a carseat. With no training in photography, the instant camera was an opening for Brodie to document his experiences. As a way of staying in touch with his transient community, Brodie shared his pictures on various websites gaining the moniker “The Polaroid Kidd” [sic]. When the Polaroid film he used was discontinued, Brodie switched to 35mm film and a sturdy 1980’s camera. Brodie spent years crisscrossing the U.S. amassing a collection, now appreciated as one of the most impressive archives of American travel photography. When asked about his approach to travel and photography Brodie has said “sometimes I take a train the wrong way or…whatever happens a photo will come out of it, so it doesn’t really matter where I end up.”

4th edition of this contemporary classic photobook.

• Fabrik 2020
  
• Hardback, 2nd edition
  
• New
  

• FW 2020
  
• Softcover, 1st edition
  
• New
  

This is the third publication in which Awoiska probes deeply into the essence of the remote unspoiled natural worlds where her images are created. The book is published alongside the music composition ‘The Living Mountain’ written by Thomas Larcher as composer-in-residence at the Concertgebouw in Amsterdam (2019-2020). The music piece draws inspiration from photographs that Awoiska made for Larcher in the mountains of his native Tirol (Austria). The monochrome landscapes are combined with reproductions of Larcher’s scores and remnants. The title for both the composition and this book is taken from Nan Shepherd’s book of poetic prose on the Cairngorms mountains that she wrote in 1942 and which was first published in 1977. 

‘Regardless of how personal the starting point of my work may be, in the end I hope my images touch the strings of a universal knowledge, something lodged in our bodies, our guts, an intuition that reminds us of where we came from ages ago. A memory of our core existence, our bedrock, unyielding certainty in a very precarious world’.

- Awoiska van der Molen

Unsigned.

• RRB 2020
  
• Hardback, 1st edition with 5x5 signed print
  
• New
  

Peter Mitchell’s Early Sunday Morning is made up of over 90 previously unpublished images, each one selected from a cache of five hundred negatives which have sat undeveloped for over 30 years.

Early Sunday Morning, edited and sequenced by John Myers, shows a different Leeds to Mitchell’s earlier publications. It is neither the sombre look at destruction seen in Memento Mori, nor the detached view of ‘the man from mars’ of A New Refutation of the Viking 4 Space Mission, but a more intimate document of Mitchell’s own Leeds.

The book reveals the layers of the city’s history, exposed by the changes to the urban landscape that epitomised the 1970s and 80s. Hundred-year-old terraces and cobbled streets sit flanked by concrete flats, with newly cleared ground to either side are presented with Mitchell’s typical graphic framing.

“It is as if Peter Mitchell has taken the atmosphere and mood of Edward Hopper’s famous painting and established it as a matter of documentary fact in the north of England at a moment when collapse can lead to further desolation or possible renewal. So these beautiful pictures are drily drenched in history – social, economic and photographic.”  - Geoff Dyer

Early Sunday Morning is available in an edition of 1500 copies, including 100 copies with signed and limited pigment print.

This copy comes with a 5"x5" signed and dated print (Harold Terrace)

• Jiazazhi 2020
• Hardback, 3rd edition, 1st printing.
  
• Fine
  

"Carrying out this photograph project is because of the inspiration after reading the novel River of the North written by Zhang Chengzhi. Attracted by the powerful words in this novel, I decided to take a walk along the Yellow River to experience and feel the father-like broad and wide brought from this river, so that I could find the root of my soul .while along the way, the river from my mind was inundated by the stream of reality. The river, which once was full of legends, had gone and disappeared. That is kind of my profound pessimism. Nevertheless, as a vast country with a long history, its future is always bright. There is a descent in the matrix; there is her own nutrition to feed her babies; there is the power of creation to cultivate them strongly. The weak moaning finally will be drowned by the shout for joy. From this point of view, it seems, all shall be optimistic."

• Peperoni 2018
  
• Hardback, 1st edition
  
• New
  

‘Real Life Dramas’ is a time machine, its images transporting us 35 years into the past, transplanting our reality to an indeterminate place in the United States. Mary Frey’s hyperreal photographs capture charged banalities on large-format film, pictures of middle-class children, adolescents, and adults that together seem less of a reportage than a psychogram. She offers drama, in the sense of interpretations of human experience that are cogent and valuable on their own terms, but not the dramatic. The images are positioned somewhere between snapshot and enactment, intimacy and distance, yet nothing aspires or demands to be taken as more than it actually is.

• Deadbeat Club 2020
  
• Softcover, 1st edition
  
• New
  

David Billet and Ian Kline made the pictures in Rabbit / Hare on a road trip to Texas. And right away that statement is going to create a certain set of expectations among viewers of this book. Perhaps no other region in the United States comes with such a strong set of preconceived notions. So yes: you’ll see ten-gallon hats, a wayward confederate flag. Even a baptism in a watering trough.

But the real glory of Rabbit / Hare is how surely its makers have defied easy stereotypes: these pictures do not derive their palpable life from mere subject matter. In this book, butterflies and back hair are equally magical and mundane, as they should be. Qualities of light are equally qualities of sensibility. The human beings in the pictures gently revel in the pleasures of riding horses, or smoking cigarettes, or exposing skin to sun and air.

And similarly we see Billet and Kline revel in their intuition and in the quality of their inquiry. They share not only their delight in seeing a cat or a bird enjoying the light, but (somehow) also the very delight experienced by the animal itself. We understand the intimate physical communion of some ragtag street wrestlers not because of the description but rather because of the evocation of sweat and muscles and asphalt.

Rabbit / Hare will not tell us anything about how to evaluate any particular state or region or electorate. What we see instead is how to meet the world with open minds and open hearts and to make something lasting of that meeting. 

• Self 2020
  
• Hardback, 1st edition
  
• New
  

"I've never hit an animal while driving before. Neither a dog, nor a fox, nor a hare. Not even once for 20 years a bird smashed into my windshield. And, suddenly, "boom"! Smack after smack, a dozen, if not dozens of bird bodies drop beneath the dust of cloud on a gravel road. First time in my life, here in Kazakhstan. Then the second, third, until it became a common sight. I saw tiny sparrows, number of large birds, also giant eagles laying down. It certainly wasn’t a coincidence. It's a collective suicide!"

I set off on my trip through Kazakhstan and Kyrgyzstan. No specific destination, no marked points on the map, no arranged accommodation. The goal was to be on the road. Curving around mighty Altai and Tien Shan mountains, surrounded by incredibly blue lakes, or simply running straight across boundless steppes. People accidentally met on the road were also the aim. Kind and hospitable like nowhere else, but also proud and raw, shaped by the hardships of communist era. Finally, the goal was to spend these few months behind the wheel, to fulfil the childhood dream of being on the road. So that I could make the time stop. So that I could capture everything I saw in a book.

Photographs and poem © Sebastian Rogowski

Edit and sequencing: Rafał Milach

Book design © Ania Nałęcka / Tapir Book Design

Edition of 500 copies

• Buchkunst Berlin 2020
  
• Hardback, 1st edition
  
• New
  

War photographs astounding in their modernity, which oscillate between surreal-looking moments of beauty and the pure reality of war. A journey into the “heart of darkness”, now published for the first time in book form.

Dieter Keller (1909–1985) was close friends with artists from the New Objectivity and the German Bauhaus movements. These contacts shaped his artistic vision and significantly influenced his photographic compositions. In 1941/42, Keller served as a German soldier in Ukraine and Belarus. Despite a strict military ban on photographing civilians and war victims, he managed to secretly shoot several rolls of film during this period which he eventually smuggled to Germany.

From early on, Keller used serial and informal photography to create filmlike image sequences that encourage a subjective experience of reality. Even by today’s standards, Keller’s photography adheres to a modern-looking visual aesthetic, which on one hand proves the visual influence of his artistic friendships, but also clearly demonstrates that the photographer uses aesthetic perception as a key to his own reality processing and mental coping. As such, his disturbing photographs are embedded in an art history discourse with the European graphic tradition of representing the cruelty of war, as depicted in the horrifying scenarios by Hieronymus Bosch, Francisco de Goya, or Otto Dix.

Text in English and German.

Recommended..

• Roshin 2020
  
• Hardback, 1st edition
  
• New
  

"Down there in the subways, I see traces of Jack Kerouac'

– Daido Moriyama

Edition of 800 copies (of which only 60 copies have the cover shown, available exclusively from Photobookstore).

Supplied with a signed postcard.

• Stanley Barker 2020
  
• Hardback, 1st edition
  
• New
  

When Judith Black moved to Cambridge, Massachusetts in 1979 with her four children, a friend asked her if they were going to be all right there. Frankly, she didn’t know.

They had just moved into a dilapidated apartment in a neighborhood that the real estate lady admitted was as good as they were going to find. The small convenience store down the block had “fuck you” fiercely spray painted on the clapboard - a less than encouraging welcome for a family that had grown up in the bucolic hippie house they shared with Black’s siblings in New Hampshire. Things didn’t seem very promising for a single mother with little income and a houseful of young children.

Over the the next two decades, Black would make a series of images that chronicled the lives of her young children, and her relationship with them.

“I quickly realized that I was not going to be able to roam the streets to make photographs. I had limited time between working at MIT as an assistant, attending classes, and being a mother. Our apartment was dark, but it became my studio.” - Judith Black

• RRB 2020
  
• Hardback, 1st edition
  
• New
  

Czesław Siegieda, born the son of Polish immigrants to England in Leicestershire in 1954, showed an interest in photography from an early age. From his teens he photographed the Polish community he grew up in, moving through fêtes and funerals with an ease only available to an insider.

The images in the book, taken between 1974 and 1981, show the staunchly Catholic traditions and national customs so faithfully maintained by the community as they rebuilt their lives following the trauma suffered during and after the Second World War. Whilst many of Siegieda’s images display a sharp eye for the absurd and all are marked by a visible affection for his subjects, his photographs of his close family are notable for their intimacy. His mother Helena, though physically robust, looks careworn and vulnerable, clutching a bucket of vegetable peelings or a picture of the Virgin Mary like a life raft whilst her husband (Czesław’s stepfather) hovers in the background, as if ready to lend a hand if needed but not wishing to intrude.

For many years the archive remained private, initially out of respect for the sensitivities of his parents’ generation: nervous of their position as ‘guests’ in a foreign land, they were determined not to draw attention to themselves. This initial impulse of discretion soon gave way to the more prosaic demands of life and work. For decades the negatives sat unheeded in a drawer until, in 2018, two years after his mother’s death, Siegieda decided that it was time to bring them out into the world. The process of digitising the archive went hand in hand with the creation of a website and the release of images on social media, posting photographs on Instagram in the expectation that they might be of niche interest to a small number of followers. The response was as overwhelming as it was unexpected; the photographs attracted the attention of many notable photographers, including Martin Parr, who encouraged Siegieda to publicise the work more widely.

The book contains over 80 images from this archive, with an essay by author and historian Jane Rogoyska as well as a foreword by Martin Parr. 

Limited edition of 600 copies.

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

The story behind 78 tells of a promise kept after the passing of the Japanese master of photography Issei Suda, to publish a book with an original approach. Although the project originated in January 2019, 78 presents a selection of unseen photographs selected from the Suda archive in November 2019. Shot between 1971 and 1983, these photographs have never been published until this day.

In this book, Suda’s unique and profoundly urban vision unfolds in a series of contrasts and allusions. The unexpected presence of animals and children’s mischievous looks fill up the streets, adding a sense of strangeness to these everyday scenes. From Tokyo to its surrounding prefectures, the photographer’s striking world is immersed in urban energy, bringing out – with a hint of humour – its spirit. The same energy can also be found in Suda’s trademark deep and contrasted blacks, a unique hallmark of his work.

“It was only upon our return to France that I realised Suda had passed away at 78, the exact number of prints we had intuitively selected on that autumn afternoon. This book is a tribute to the great photographer he was.”

- Cécile Poimboeuf-Koizumi

Recommended.

• Loose Joints 2020
  
• Hardback, 1st edition
  
• New
  

People of the Mud is a powerful new series by Berlin-based US-Dominican artist Luis Alberto Rodriguez, made collaboratively amongst the communities of County Wexford in Ireland, where ancient tradition and modern life rub shoulders daily.

With a background in professional dance, Rodriguez’s work pays tribute to the metaphorical weight of centuries of physical labour behind cultivating the landscape and maintaining cultural heritage. Images of scarred limbs and hands, weathered faces and choreographed bodies appear as a cartography of this labour, reflecting how culture both shapes and is shaped by individuals. Elsewhere, we see the exaggerated glamour of modern female Irish dancers taken out of the glitzy ballrooms and into the fields, creating a rupture across time and space.

While in Wexford, Rodriguez was struck by the intense physicality of the sport of hurling. Considered to be the fastest sport on grass, while watching slow-motion footage of hurling Rodriguez saw that within seconds the players would go through pushing, shoving, grabbing, hugging, knocking each other down and then lifting one another up. Rodriguez worked with players to reform these gestures: creating sculptures out of bodies, directing and literally layering players upon one another. 

• Session Press 2020
  
• Softcover, new edition
  
• New
  

We Have No Place to Be (originally published by Soshisha in 1982) launched Hashiguchi’s illustrious 40-year career, and remains widely regarded as one of the photographer’s seminal early works. This new edition from Session Press, supervised and edited by Hashiguchi himself, is comprised of 139 b&w photographs, including more than 30 previously unpublished images. 

In the early 1980s, Hashiguchi began to document the plight of the young with his debut work, Shisen. Stifled by the mounting pressures posed by an increasingly oppressive education system and home life, these youths sought out their own identities on the streets of Tokyo—a lost tribe desperate for self-expression, repelled by a society that sang the praises of abundant riches and stability. Turning his lens on the global stage, Hashiguchi traveled through Liverpool, London, Nuremberg, West Berlin, and New York in a quest to further chronicle communities of disenfranchised youths abroad. In these five cities, Hashiguchi witnessed the complex cocktail of self-destructive discord lurking beneath the superficial excesses of city life. Revealing the entrenched drug addiction, racism, anti-immigrant sentiment, unemployment, and poverty that pervaded urban centers then as now, Hashiguchi’s photos challenge the viewer to reexamine what we have both become and lost.

The complexities of youth have served as a captivating theme throughout the annals of photographic history. Photographers such as Danny Lyon, Bruce Davidson and Larry Clark made masterpieces with their investigations into the subcultures of renegade bikers, street gangs, and rebellious adolescents teetering on the dramatic cusp of adulthood. However, Hashiguchi is distinguished by a uniquely unwavering dedication to this theme. The sheer breadth of his travels in Tokyo and the West alike, coupled with a rapt intensity for documenting the “troubled youth” of the 1980s, evinces a scale and specificity rarely attempted and arguably even unrivalled.

Since its initial publication in 1982, We Have No Place to Be has influenced generations of artists and photographers in Japan. One such artist and close friend is none other than Yoshitomo Nara, who has contributed an essay reflecting upon the legacy of the publication since its original release as well as his own time spent as a youth in Europe during the ‘80s.

• Sokyusha 2020
• Softcover, 2nd edition
  
• New
  

"My new book The Dreaming contains 86 black and white images selected from my 27 years’ career in photography and traveling. When I turned 50 last year, I decided to go through all the black & white negatives I had taken so far. Every moment of the journeys may have been vision of dreams – that’s what I thought when I tracked down my archive and such a thought gave me a hint to make this book."

- Yasuhiro Ogawa


Edition of 500 copies.

Signed copy.  2nd edition.

• Self 2020
  
• Hardback, 1st edition
  
• New
  

• IBASHO / the(M) Editions 2020
• Hardback, 1st edition
  
• New
  

In the infinite flow of everything, people come and go in our lives. While the presence of some can be so subtle that we hardly register when it begins or ends, with others it’s far clearer: they enter, or leave, with a bang.

In Borders of Nothingness, Dutch photographer Margaret Lansink (b. 1961) dwells in the transitional ambiguity of her adult daughter’s decision to suspend contact with her, photographing landscapes and nude women whose disappearing presence raises the same haunted question: is this the moment you were gone?

As time passed, Lansink and her daughter reconnected to investigate whether their break could be mended. Lansink then began to revisit and reinterpret Borders of Nothingness in a physical practice that mirrored their emotional efforts of healing. Working from the Japanese practice of repairing ceramics with gold leaf, she combines her images, severs them, and mends their breaks with gold leaf to put hope into the possibility of a bond that is stronger and more beautiful because it had once been broken.

Edition of 300 numbered copies.  

• Mack Books 2020
  
• Hardback, 1st edition
  
• New
  

In Picture Summer on Kodak Film, a poem by two sisters echos across Fulford’s photographs, comprised of recurring motifs: time, test strips, refracted light, rainbow colour, and distortion through shadows. Characters and places are repeated in kaleidoscopic compositions throughout this vivid sequence. Though taken across the world (in Canada, Italy, Japan, Mexico, Nepal, Thailand, USA and Vietnam), these photographs come together to create a singular visual language: one bright, timeless, fictional place. A place imbued with the unexpected beauty, humor and meaning, that one has come to expect from Jason Fulford.

Signed copy.

• Dewi Lewis 2020
  
• Hardback, 1st edition
  
• New
  

Centralia exposes hidden crimes of war as an indigenous people fight for their survival. In war, truth is the first casualty and Centralia explores the unsteady relationship between reality and fiction and how our perceptions of reality and truth are manipulated.

Combining tropes of documentary and fiction, art historian Emilia Terracciano, writing in 1000words magazine, has called Centralia a ‘hallucinatory reflection’ where an invisible conflict between a guerilla army, an indigenous people and the Indian state is associated with wider issues of environmental degradation. Such exploitation comes at a price: the transmogrification of violence into the de-facto language of politics. The voice of resistance is buried by alternate facts. Freedom is shrinking and what we say and who we are is being obscured.

Poulomi Basu is an Indian transmedia artist, photographer and activist. Widely published and exhibited, her work explores the way in which the formation of identity becomes entwined with geopolitics, revealing the hidden power structures buried deep within our societies. In 2018 the Centralia work was recognised through the award of the Photographic Museum of Humanity Grant Main Prize. A Magnum Foundation Social Justice Fellow and grantee, Poulomi is known for advocating the rights of women through her work and in 2019 Amnesty International noted her as an important and brilliant ‘human rights activist’. She also featured on ‘The Conversation’ (BBC World Service) alongside Lynsey Addario as one of the most significant contemporary war photographers. Her immersive VR films, Blood Speaks, are collected and distributed by the Tribeca Film Institute.

Out of print, final copies.

• Nobody 2019
  
• Hardback, 1st edition
  
• New
  

A pillar knocked into the ground next to a stream in a flat, open landscape, trees and houses visible in the distance, beneath a vast sky. That is the backdrop to all of Stephen Gill´s photographs in this book. We see the same landscape in spring and summer, in autumn and winter, we see it in sunshine and rain, in snow and wind. Yet there is not the slightest monotony about these pictures, for in almost every one there is a bird, and each of these birds opens up a unique moment in time. We see something that has never happened before and will never happen again. That it takes place in the midst of a landscape characterised by repetition, in which time is cyclical, sets up a keen existential dynamic: on the one hand, everything has happened before, there’s nothing new under the sun; on the other, every moment is unique and carries the hallmark of the miracle: what happens happens only once and never again.

But this wasn’t what I thought about the first time I looked at these photographs. In fact, I barely thought at all, for I was shaken, as a person so often is when confronted with an extraordinary work of art. I’d never seen birds in