Our picks

• T&M 2021
• Hardback, 1st edition
• New

Yamamoto Masao lives in Yamanashi Prefecture, Japan, in a house surrounded by forests over three thousand feet above sea level. His lifestyle matches his art, entirely devoted to capturing the “small things in silence” that life and nature offer his gaze.

When in 2013 we took Masao and his wife Reiko for the first time to the Ardèche, on the invitation of Annie and Bernard Mirabel, affinities became evident immediately.

The same love for nature and the ties with the mountain, not that far different from their life in Yamanashi: the same wooded hills on the horizon, the same lights in space in the evening garden. Since then there have been various visits, simply for the pleasure of it, but also to fill up this silent contract between the hosts and the guest: bringing a stone to the edifice that the Fabrique du pont d’Aleyrac has been building for years, inviting artists to work on the Ardèche.

Yamamoto wanted to meet people here and photograph them. Using small settings he depicted imaginatively what seemed important in their lives: the animals they raise, the countryside they live in.

ーー Didier Brouse

This book includes an unpublished text by Marie-Hélène Lafon, who was awarded the Renaudot Prize in 2020.

Text in English with a booklet in Japanese.

Beautifully signed copy.

• Mack 2021
• Hardback, 1st edition
• New

Winner of the 2021 MACK First Book Award

“A raw and introspective portrayal of Harris’ experience as an autistic, non-binary, transgender artist, tracing their struggles with mental illness, self-love and gender identity.” – British Journal of Photography

“At first the focus of my project was my gender transition, but along the way I found out that it’s about an ongoing search for myself: being a human with feelings, who is continuously developing.” — Marvel Harris
 
MARVEL describes the journey of Marvel Harris’ personal battles with mental illness, self-love, acceptance, and gender identity, all told through a searing collection of self-portraits spanning the course of five years. These photographs present a new-found visual language; a tool with which Marvel was able to express those emotions that, on account of his autism, he previously struggled to make sense of. The process of making these portraits allowed him to connect to the world around him at the time he needed it most.
 
Winner of the MACK First Book Award 2021, MARVEL is an important new voice which contributes to an increased awareness of the issues surrounding gender identity and mental health. In doing so, this deeply personal book demands a more tolerant attitude from society towards transgender people and those who don’t identify as entirely male or female.

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

• Nazraeli 2021
• Hardback, 1st edition
• New

“This book is an early vignette from Michael Kenna’s far-reaching photographic odyssey. Some of these photographs, made almost forty years ago, are familiar, even famous, but many have never been seen before. They have been lying in wait, stored in a series of negative files. Normally, Kenna travels extensively and is not able to keep up with printing his extensive collection of negatives. It took the Covid pandemic and lockdown for him to search through his archives, rediscover these long-forgotten images, and print them in his darkroom. These photographs reveal a Northern England from Kenna’s youth that, for the most part, no longer exists.” — From the Introduction

Michael Kenna was born in the small industrial town of Widnes in northwest England. The youngest of six children, Kenna grew up in a poor, working-class, Irish-Catholic family. He attended a seminary school for seven years with the intention of becoming a priest, after which he studied at the Banbury School of Art and later at the London College of Printing, before moving to the USA in the late seventies.

The adjoining counties of Lancashire and Yorkshire, where Kenna photographed in the early eighties, have much in common regarding their industrial development. Fiercely competitive, they share a border, a spine of mountains known locally as the Pennines, which helps to produce rain. The rise of a powerful cotton and wool industry, and the building of innumerable mills, canals, railways, chimneys and terraced worker houses, have been attributed in part to these high levels of precipitation. The local textile industry proliferated until the second half of the twentieth century, when there was a sudden, rapid decline and eventual decimation. It was during this precise time period that Kenna returned to the area to photograph, during the day and also at night.

Kenna’s early photographs of England launched his career and brought him international acclaim; yet it wasn’t until last year, 2020, that he revisited this particular body of work to find many unprinted images. These discoveries are exquisitely presented in this important new Nazraeli Press monograph, Northern England 1983–1986.

Beautifully printed on a natural textured art paper, accompanied by an introductory text by Dr. Ian B Glover, the seventy-five plates are reproduced in quadratone and bound into cotton cloth-covered boards reminiscent of the era.

• Stanley Barker 2021
• Hardback, 2nd edition, 1st printing
• Near fine to fine

Following the birth of his son Atlas, Christopher Anderson stepped away from war photography, turning his camera towards an intimate reflections of family life, resulting in his 2013 book Son. 

Stanley/Barker is proud to publish a beautifully reimagined edition which adds a second chapter of 80 new pages to the story, following Christopher and Atlas's relationship up to the present day. The book includes both Anderson's original images from Son (2013) plus 40 never before seen images.

“These photographs are an organic response to an experience that is at the same time the most unique and the most universal of experiences: the birth of a child. At the same time that I was experiencing the intense joy of new life, my father was diagnosed with lung cancer. It’s fair to say that I found myself reflecting on obvious themes of life and death. Through my son, my role as the son took on new meaning and my senses were hyper tuned to the evidence of my own life passing. Then these photographs just sort of happened. They are a record of love and a reflection on the seasonal nature of life.”  - Christopher Anderson 

1st printing of the Stanley Barker edition.  Final copies - sealed.  Faint corner wear.

• Mack Books 2021
• Hardback, 1st edition
• New

‘We live our lives in widening circles, rarely appreciating their nature and how they bring us back. In a year, my daughter will be leaving home and is no stranger to a similar wanderlust I once knew. As a father, I always felt it was important to instill a profound sense of place, to identify with a certain place as home, even as these ideals have, over recent years, taken on relative meaning. I photograph close to home as memory loses structure, its architecture, trying to make light speak from the fixed edges of rooms long vanished.’ - Raymond Meeks

Inspired by his daughter’s entrance into adulthood and her imminent departure from home, Raymond Meeks studies the centrifugal forces of the places we live – how they anchor us, repel us, and return to us – through scenes that appear both fragile and immovable. In these photographs, gardens give way to thicket, houses are suspended on stacked railroad ties, and telephone wires and train lines suggest the networks we build to find our way through the world’s wilderness.

Among these domestic landscapes are portraits of Meeks’ daughter, which capture the introspection and inquisitiveness of early adulthood while paying tribute to the ultimate mystery of their subject’s consciousness. Following the success of Meeks’ previous book, ciprian honey cathedral, Somersault is a concise, poetic reflection on home and the ties that bind us to it — all the stronger as they fade into the half-light.

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

• Deadbeat Club Press 2021
• Hardback, 1st edition
• New

As the title of Kovi Konowiecki’s debut monograph – and in its place, another – reminds us, we are always and forever subject to the twin certitudes of transience and change. As is the artist, who has moved back and forth between California, Mexico, Europe, and the Middle East, all of which places are part of the fabric of this sprawling, unscripted book. 

Here we are confronted with the geographical and emotional margins of society and the mind: the external and internal boundaries that inhibit both human movement and human potential. The photographs portray individuals and communities that exist in a liminal space between belonging and abandonment, many of which exert feelings of desolation.

But what might seem on the surface political is made intensely personal through Konowiecki’s purposeful reliance on emotional connections in the pictures rather than specific relationships of place or subject. As he says, this work comes as a “happy accident, inspired by the frequent travels that nourished a sharp eye for the liminal types of communities to which I am drawn: people I have met in my wanderings, passersby in the street, a horse trained in a small Arab village, and untended gardens.”

The “unscripted” nature of the work has an impact on the form of the book, in particular in the variety of genres and colors, from landscape photography to portraiture and from black and white to color. The various forms of expression serve as ways to materialize the ideas at the core of the project and to break down barriers or restrictions within the photographic medium.

Signed copy.

• Photo Editions 2021
• Softcover, 1st edition
• New
  
  

“The sheep stopped in their eating and looked timidly at us;
and the cattle, their heads turned from the wind and sleet,
stared angrily as if they held us responsible for both annoyances;
but, except these things, and the shudder of the dying day in every blade of grass, there was no break in the bleak stillness of the marshes.”

- Charles Dickens, Great Expectations

Situated on the Thames Estuary in southeast England, the North Kent Marshes are an overlooked but vital swathe of land. For centuries, trade has flowed in through the estuary and the surrounding wilderness harbours a rich history. In the 18th century, plague outbreaks ravaged Europe and ships were quarantined in the nearby Medway. The low-lying terrain provided the ideal conditions for smugglers, as small vessels would target ships transporting goods to the capital, allegedly sneaking the contraband down underground tunnel networks once ashore. It was against this illicit backdrop that Charles Dickens set the early parts of Great Expectations (1861), where the escaped convict Magwitch takes refuge in the marshes. 

Since 2011, Martin Amis has been photographing in the same marshland near his home, finding solace in the landscape through walking. This Land is the result of many walks over the past decade – much in the period from March 2020, coinciding with the UK’s first coronavirus lockdown. Devoid of people, Amis’ images invite a reconnection with nature: derelict industry reclaimed by the wild, grazing sheep and lone birds drifting across a monotone sky. Despite an undertone of loss and absence, Amis portrays a land that is continually being shaped by the elements and the civilisations that pass through it. If we listen closely, we might almost hear the shouts of the night watch over the gulf of time and the creaking prison hulks that once inspired Dickens.

Double hit silver wraparound softcover
24 x 30cm, 76pp
Tritone offset printed on Munken Lynx Rough

A Special Edition is also available here.

• Imageless 2021
• Hardback, 1st edition
• New

• Mack 2021
• Hardback, 1st edition
• New

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

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

Signed to the title page in pencil.  

• Mack 2021
• Hardback, 2nd Mack printing
• New

First published in 1992 to wide critical acclaim, Pictures From Home is Larry Sultan’s pendant to his parents. Sultan returned home to Southern California periodically in the 1980s and the decade-long sequence moves between registers, combining contemporary photographs with film stills from home movies, fragments of conversation, Sultan’s own writings and other memorabilia. The result is a narrative collage in which the boundary between the documentary and the staged becomes increasingly ambiguous. Simultaneously the distance usually maintained between the photographer and his subjects also slips in an exchange of dialogue and emotion that is unique to this work.

Significantly increasing the page count of the original book, this MACK design of Pictures From Home clarifies the multiplicity of voices – both textual and pictorial – in order to afford a fresh perspective of this seminal body of work. Emphasising the cinematic motion of the family’s home videos, the Super-8 film stills have been newly digitised and magnified, with select scenes running full-bleed across double-page spreads. Meanwhile, Sultan’s photographs of his parents as they go about their daily lives – against the quintessential backdrop of the Reagan-era American dream – are supplemented with previously unpublished images. Most significantly, the book honours Sultan as the oft-hailed ‘King of Colour Photography’.

"What drives me to continue this work is difficult to name. It has more to do with love than with sociology. With being a subject in the drama rather than a witness. And in the odd and jumbled process of working, everything shifts: the boundaries blur, my distance slips, the arrogance and illusion of immunity falters. I wake up in the middle of the night, stunned and anguished. These are my parents. From that simple fact, everything follows." – Larry Sultan

• 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.

SIGNED COPY.

• Eigensinn 2021
• Softcover, 1st edition
• New

My mother moved to her new partner’s place with me in the middle of the forest called „Bremerhof“ when I was about 14 years old. I really didn’t get along with my stepdad. Not because he wasn’t my real dad or anything, but simply because we were as different as two persons can be. I also have to admit that it probably wasn’t easy for him either. He cared about money and things being organized while the only thing on my mind was skateboarding. We were completely talking at cross-purpose and both of us felt misunderstood like little boys all the time. My poor mother… 

One year later my half brother was born, Jascha. It felt awkward to me. Everything felt awkward to me at that time. I wasn’t sure how I was supposed to interact with him. About three years later I moved out and was happy to be on my own. 

After a while my mother broke up with my stepdad, so she moved with Jascha to an old farmhouse 200 meters away. I really liked Jascha but the few times I was visiting weren‘t enough to get to know him. He once told me that one day he will own a kiosk in order to make a living, which really impressed me. I gave him a skateboard but he wasn’t too much into it and always left it outside in the rain. 

Signed copy.

• Mack 2021
• Hardback, 1st Mack edition
• New

“The force of Graham’s Beyond Caring photographs remains undiminished. [...] one of the most commanding and gravest monuments to Thatcher’s Britain produced by any British artist” – David Chandler

Originally self-published in 1985, Paul Graham’s renowned series, ‘Beyond Caring’, was made in the waiting rooms and corridors of the Social Security and Unemployment offices around the UK, documenting the long waits, queues and poor conditions of an overburdened system, to produce a powerful series of photographs conveying the hardship people experienced. Denied official permission to make the work, Graham’s photographs were taken discreetly, usually without looking through the camera, resulting in a spatial disorientation that emphasised the unmoored distress of vulnerable citizens. The work shocked many on its release – leading Magnum photographers were outraged by its use of colour in a classic documentary topic, while others celebrated how it straddled the world of activism and art (it was exhibited at both Trade Union conferences and the Museum of Modern Art, New York). Graham forged a fresh form of engaged photography, mixing elements of social documentary, ‘new colour’ and reportage to create a striking body of work that endures to this day. Many decades have passed since their making in 1984, but these images have grown not only in photographic importance, but also as a unique historic record of the mid-1980s unemployment crisis in the UK. This edition of Beyond Caring is part of Graham’s iconic 1980’s trilogy of UK books, being republished by MACK, which also includes A1 – The Great North Road(2020) and Troubled Land (Fall 2021).

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

• Stanley/Barker 2020
• Box set of 45 facsimile polaroids, 1st edition/2nd printing
• New

Often considered Jim Goldberg’s seminal body of work, Raised By Wolves collages ten years of photographs, texts, films and installations into an epic narrative of the lives of runaway teenagers in San Francisco and Los Angeles in the late 1980s and early 1990s.

In Fingerprint, Goldberg exhibits many never-before-seen Polaroids from the project, which served as drafts for photographs he would later make, as well as gifts for the subjects themselves. The images are sometimes scrawled with text proclaiming the identities, challenges, and resilience of the teens, and other times capture a quiet reality of life on the street.  

Encased in a limited edition box set, the 45 loose leaf facsimile Polaroids create a freshly intimate and fragmented account of this classic body of work.

• the(M) éditions 2021
• Softcover, 1st edition
• New

Limited edition of 545 numbered copies.

• Stanley Barker 2021
• Hardback, 1st edition
• New

In October 1979, Pope John Paul II came to the Boston Common. Susan Kandel was there taking pictures of families who’d come to see him, carrying on with work she had started months earlier photographing families at Revere Beach.  Among the people she photographed that day on the Common were two women and the five children they’d brought with them. They told Kandel that she should come take pictures at their homes, since they had younger kids who hadn’t come that day.  She eagerly took them up on their offer. 

“These two families lived around the corner from each other in Everett, Mass., and I returned to their homes many times over the next ten years or so.  And I sought out other families who might let me come photograph them at home as well.  I approached folks in grocery stores and bowling alleys, Woolworth’s and corner stores, telling them that I’d give them some pictures in exchange for allowing me to come photograph them at home.  Although I got a lot of quick refusals and looks of suspicion, I also managed to get invited to many homes.  And sometimes there were repeat invitations.” - Susan Kandel

Through her work Kandel discovered that each home she entered was a distinct world unto itself, and each home offered up stories. 

• Sokyusha 2020
• Hardback, 1st edition
• New

Takashi Hara’s photobook “Yagi to toge” (Goat and Thorns) does not unlock itself to the viewer on the first quick browse-through. Its dark, slow photographs, taken with a medium-format Holga on black-and-white film, do not seem connected on first glance. But there is something about these pictures that hints at a deeper space hiding behind the surface; the longer one looks at the deep blacks and dazzling whites, the pictures reveal their true richness. As the pages add up and the impressions begin to overlap, Hara builds a strange new world of his own, of feelings like unease and allure – a world that evades being fully captured in words, one that can only be glanced at through photography.

“Looking at Yagi to Toge again after these thoughts, I strongly realized that photography exists somewhere beyond logic. Now I see why I could only say that his works gave me the impression of trying to grasp at the air. Indeed, Takashi Hara’s feelings are directly reflected in these photographs.” –– from writer Yoshitaka Takahashi’s essay (included in Japanese & English translation)

Signed copy.

• Mack 2021
• Hardback, 1st edition. 128pp
• New

In 1977, Stephen Shore travelled across New York state, Pennsylvania, and eastern Ohio – an area in the midst of industrial decline that would eventually be known as the Rust Belt. Shore met steelworkers who had been thrown out of work by plant closures and photographed their suddenly fragile world: deserted factories, lonely bars, dwindling high streets, and lovingly decorated homes. Across these images, a prosperous middle America is seen teetering on the precipice of disastrous decline. Hope and despair alike lurk restlessly behind the surfaces of shop fronts, domestic interiors, and the fraught expressions of those who confront Shore’s 4x5” view camera. Originally commissioned as an extended photographic report for Fortune Magazine in the vein of Walker Evans, Shore’s multifaceted investigation has only gained political salience in the intervening years. Shore’s subjects – including workers, union leaders, and family members – had voted for Jimmy Carter the year preceding his visit; now he found them disillusioned with the new president, fated to leave behind the Democratic party and become the ‘Reagan Democrats’. Through unfailingly engrossing images by one of the world’s acknowledged masters, Steel Town provides an immersive portrait of a time and place whose significance to our own is ever more urgent. 

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

• Mack 2021
• Hardback, 1st edition, 120pp
• New

From 1988 to 1991 Dawoud Bey made a series of portraits of African Americans in the streets of various American cities. Using a large format tripod mounted camera and a unique positive/negative Polaroid film that created both an instant print and a reusable negative, he asked a cross section of the populations of these communities to pose for him, creating a space of self presentation and performance in the streets of the urban environment. As part of every encounter, Bey gave each person a small black-and-white Polaroid print for themselves as a way of reciprocating and returning something to the people who had allowed him to make their portrait. Defying racial stereotypes, the resulting portraits reveal the Black subjects in all of their psychologically rich complexity, presenting themselves openly and intimately to the camera, the viewer, and the world.

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

• Mack 2021
• Hardback, 1st Mack edition
• New

For more than two decades, Alessandra Sanguinetti has been photographing the lives of Guillermina and Belinda, two cousins living in rural Argentina, as they move through childhood and youth toward womanhood. This volume, originally published in 2010 and reissued now as the first instalment of a trilogy, chronicles the first five years of their collaboration. Sanguinetti’s images portray a childhood that is both familiar and exceptional. The farmlands of western Buenos Aires province are a particular mix of the modern and traditional, where life is lived in consonance with animals and rugged landscapes. Against this backdrop, Guille and Belinda go through the childhood rites of dressing up and make believe, exploring and appropriating the world around them as they go. As they slip between roles, alternately performing for and being caught by Sanguinetti’s camera, the profound bond between the two girls is unmistakable. Approaching the precipice of early adolescence, their games are imbued with the poignant weight of their dreams and desires as the world of play meets that of reality. By depicting the lives of women and girls within the conventionally masculine world of Argentinan gauchos and farmers, Sanguinetti’s book interrogates the frameworks of mythologies of all kinds, honouring lives that are usually unseen. The Adventures of Guille and Belinda is a portrait of rural childhood at once quiet and poetic, in which the fantastic and the mundane are intimately entwined.

2021 1st Mack printing.

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

• Stanley/Barker 2020
• Hardback, 2nd edition
• New
  

Born in the Australian steel city of Newcastle, one of TRENT PARKE’S only early childhood memories is accompanying his mother to pick his dad up from work, travelling through a landscape dominated by ship yards, chimneys, and the BHP steelworks. 

Throughout his career PARKE has always been interested in the transformative powers of light, but it was the ephemeral changing colours of dawn and dusk, the multitude or different reds that made him curious about the colour crimson. He discovered the colour that is used in commercial products is harvested from the crushed and boiled bodies of the female scale insect, the Cochineal. A tiny minute insect who inhabits the pads of the prickly pear cactus and who are farmed for their crimson dye. A dye now used primarily in cosmetics and food colouring. 

Scarlet, magenta, orange, and crimson, are the coloured dyes produced by the Cochineal and also seem to feature spectacularly in the colours of creation, as seen in an Eagle Nebula during the birth of a new star and recorded by the Hubble space telescope. These colours of birth and blood Parke also remembers from the bath water, the umbilical cord and placenta, at the birth of his sons. 

‘As soon as the female insect is delivered of its new numerous progeny, it becomes a meer husk and dies; so that great care is taken in Mexico, where it is principally collected, to kill the old ones while big with young, to prevent the young ones escaping into life, and depriving them of that beautiful scarlet dye, so much esteemed by all the world.’ - John Ellis, Esq; 1762.

After the first edition sold out in just five days this new evolved edition brings subtle changes to the mesmeric series. 

• Mack 2021
• Hardback, 1st edition
• New

In Plain Air is a lyrical portrait of Brooklyn’s Prospect Park as seen through Rozovsky’s studies of its visitors, each seeking escape from the din of the city beyond. The seed of the idea for the work was planted ten years ago when Rozovsky took a small motorboat around the park’s southern lake. Floating by the tree-lined shore, she saw what first felt like a mirage — families, lovers, friends, a multitude of cultures and ethnicities, all sharing the same land and moment. The quintessential American melting pot that stretched like a panorama in this equalising space was a visible reality.

Rozovsky’s colour photographs capture the interplay between city and nature, creating a vision of the park as a democratic and nurturing public space, one where the landscape and seasons form a protean backdrop to a complex social reality.

Signed to an extra image plate.

• Kominek 2020
• Hardback, 1st edition
• New

From 2012 to 2019 Mark Steinmetz took photos on the streets of Berlin. This work now comes together in the book Berlin Pictures.

Steinmetz visited Berlin between 2012 and 2019, each time photographing its streets and citizens with the care and compassion that he reserves for all of his subjects. Within his images of Berlin, we find the closeness of couples and strangers that we find in many of his works and yet, Mark adds a new layer to the work by investigating details of the city itselfits architecture and its streets align in Mark’s viewfinder and he renders each frame, inhabited or not, with an eye for the details of the moment. Berlin is a unique city and Mark adds a new layer, one less marginalized by the weight of history, but rather by the acceptance of its condition of present being in his Berlin Pictures.' - Brad Feuerhelm

Note: signed edition shown in video.

• Nobody 2020
  
• Hardback, 1st edition
  
• New
  

It was in 2017 that I began to have an inkling that a single fish might contain a universe of infinite proportions and how amazing a journey within its body could be. So I started to research everything I would need to embark on such an expedition. By January 2020 I had built a work top, obtained a microscope, a camera, optics, lights and fridge. Mentally, though, I was far from ready. I was lacking the courage, time, energy and mental strength to set out on this unknown voyage. 

By February, the world exposed and in the unimaginable grasp of the pandemic. Time moved in entirely new ways as so many were affected, taken ill and had their lives claimed. 

This void in time, with all movements restricted, somehow presented a platform from which I could finally launch my inwards fish journey. I was prepared to explore for an unknown period but first of all I had, of course, to catch a fish. Being really unskilled at fishing this took a total of nine trips and thirty hours. 

On the 10^th April 2020, at around 15.30, equipped with sleeping bags and instant noodles, my children and I arrived at a spot where flat rock, grass and shrubs meet the sea. I had almost got into the idea of never catching a fish by this point, so it was a sudden shock when a jolt was sent through the rod to my hands followed by a silver splash that appeared on the waveless water. My daughter Ada shouted, “Get the net dad!” and she saw the slight panic in my face as I had failed to remember the next thing required to land the fish. 

Knowing it would be a time-sensitive journey as decay commenced the following day, I started what was eventually a ten-week voyage. Nothing could have prepared me for what I was going to encounter along the way or how sick I was to become during the making of this work. 

- Stephen Gill

Signed copy.

• TBW 2020
• Hardback, 1st edition
• New

A foreboding meditation in the vein of Southern Gothic literature, Drake’s most recent body of work emerged through her collaboration with an enigmatic group of women loosely calling themselves “Knit Club.” The nature of the club is ambiguous. It is a cross between a gang, a cult of mysteries, and a group of friends bound by secrets only they share.

The book follows a narrative structure loosely borrowed from Faulkner’s As I Lay Dying–– that is to say, not one omniscient narrator but many disparate stream-of-consciousness voices. We sense the authorship of the photographs to be collaborative, the result of creative play between Drake and the club in which she found herself embedded, their process a kind of alchemy. In the style of the Gothic, Drake’s masterful use of color to create mood opens the door to the tension between the real and the supernatural. What we find, however, is not grotesque but something vital. A community that manages to exist outside the gaze or control of men. Women, children, and mothers, shrouded in masks and mystery to live a life on their own terms.

Following three critically acclaimed self-released books– Two Rivers (2013), Wild Pigeon (2014), and Internat (2017) –Knit Club is the first book Drake has made in collaboration with a publisher. Drake is the recipient of a Guggenheim fellowship, among many other awards, and became a member of Magnum Photos in 2019.

• Self-published 2021
• Hardback, 2nd edition
• New

January 25th, 2021 marks 10-years since the spark of the Tahrir Square protests that unseated former Egyptian President Mohamed Hosni Mubarak. On this occasion, I am releasing a newly edited & redesigned version of In the Shadow of the Pyramids. This release engages the original photographs in a new framework — upholding the historical prominence of the imagery while meditating on the paling memory of the revolution. 

In the Shadow of the Pyramids 2.0 is not a book I anticipated making.
It was born out of a sense of responsibility to honour my role of bearing witness to, and visually chronicling, one of the most important chapters in modern Egyptian history. This is coupled with a fervent necessity on my part as an Egyptian to conserve the memory of those life altering events and ensure they remain alive in our conscientiousness as Egyptians and compassionate world citizens. 

The 10-year anniversary edition stays true to the size and material architecture of its older sibling. However, reflecting the traces of time, its inside pages have undergone a radical transformation. In the Shadow of the Pyramids 2.0 tells a story reminiscent of the impact the past 10 years have had on the narrative around the revolution and the emotional toll this imposes on the reading of the imagery.

Edition of 500 copies. Hardcover with debossed title on front & back
Printed on uncoated paper / 449 pages with 101 fold outs.

In stock now.


Book images courtesy of Anke van der Schaaf / FopmaWier boekbinderij