Our picks

• 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.

• 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.

• Photo Editions 2024
• Softcover, 1st edition, 104p
• New

“the way the light shimmers on the surface and the dark flip side of it all”

Shimmers by Alison McCauley features an enigmatic sequence of images captured in the Côte d’Azur between 2013 and 2023.  The Côte d’Azur is a destination that’s invaded by visitors and tourists year upon year. It offers a hedonistic lifestyle that attracts many in search of escapism, pleasure and fast money; a great deal happens in the shadows here.

“While working on this series, I often had a quote from Somerset Maugham in my head. He referred to the French Riviera as ‘a sunny place for shady people.’ This connected with what I saw and felt. It’s this contrast between the beautiful, shimmering surfaces and the dark, flip side that intrigues me. Shimmers is my love letter to this place … but it’s a pragmatic, eyes wide open kind of love.” 

- Alison McCauley

Printed in a mix of duotone and silver printing, Shimmers dares you to enter the dark heart of the French Riviera.

A choice of special editions with a print are available to purchase here.

For trade enquiries, please get in touch here

• Photo Editions 2024
• Softcover, 1st edition, 104p
• New

“the way the light shimmers on the surface and the dark flip side of it all”

Shimmers by Alison McCauley features an enigmatic sequence of images captured in the Côte d’Azur between 2013 and 2023.  The Côte d’Azur is a destination that’s invaded by visitors and tourists year upon year. It offers a hedonistic lifestyle that attracts many in search of escapism, pleasure and fast money; a great deal happens in the shadows here.

“While working on this series, I often had a quote from Somerset Maugham in my head. He referred to the French Riviera as ‘a sunny place for shady people.’ This connected with what I saw and felt. It’s this contrast between the beautiful, shimmering surfaces and the dark, flip side that intrigues me. Shimmers is my love letter to this place … but it’s a pragmatic, eyes wide open kind of love.” 

- Alison McCauley

Printed in a mix of duotone and silver printing, Shimmers dares you to enter the dark heart of the French Riviera.

Special edition of 25 copies, with a signed and numbered A4 print on Hahnemühle William Turner textured paper.  See the alternative special edition here.

Less than 10 remain.

• Photo Editions 2024
• Softcover, 1st edition, 104p
• New

“the way the light shimmers on the surface and the dark flip side of it all”

Shimmers by Alison McCauley features an enigmatic sequence of images captured in the Côte d’Azur between 2013 and 2023.  The Côte d’Azur is a destination that’s invaded by visitors and tourists year upon year. It offers a hedonistic lifestyle that attracts many in search of escapism, pleasure and fast money; a great deal happens in the shadows here.

“While working on this series, I often had a quote from Somerset Maugham in my head. He referred to the French Riviera as ‘a sunny place for shady people.’ This connected with what I saw and felt. It’s this contrast between the beautiful, shimmering surfaces and the dark, flip side that intrigues me. Shimmers is my love letter to this place … but it’s a pragmatic, eyes wide open kind of love.” 

- Alison McCauley

Printed in a mix of duotone and silver printing, Shimmers dares you to enter the dark heart of the French Riviera.

Special edition of 25 copies, with a signed and numbered A4 print on Hahnemühle William Turner textured paper.  See the alternative special edition here.

• TBW 2023
• Softcover, 2nd edition
• Near fine to fine - see below

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

Final few copies with very faint wear to spine end (inside totally unaffected), otherwise sealed new copy.

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

• GOST Books 2024
• Hardback, 1st edition
• New
  

Since 2012 photographer Mark Power has travelled across the US to create a complex visual narrative of the cultural and physical landscape of the US—a country in the midst of change. Good Morning, America (Volume IV) is the penultimate in an ongoing series of five books.

‘I left the United States as the Centers for Disease Control and Prevention confirmed the country’s first cases of Covid-19. That was in February 2020 and not long afterwards we published Good Morning, America (Volume III), which obliquely referred to the events as they unfolded, albeit from a distance. Almost two years passed before I was able to take my first post-pandemic flight back. By then my lust for travel seemed to have deserted me, but after landing in Denver I went back to work with a vengeance… ‘I knew a post-Covid landscape wouldn’t look any different; it certainly didn’t in Britain, and the US was likely to be much the same. The world had moved on and it was remarkable how soon I’d forgotten about life during the pandemic.’

Power moved slowly through Kansas, Missouri, Iowa, Nebraska and Wyoming before heading back to Colorado. In a later trip he travelled to Alaska and then another lengthy trip to Connecticut, Massachusetts, New Jersey and upstate New York. This new book includes some of these new images alongside those taken on previous trips. Power has described the process to be like ‘assembling a large and complicated jigsaw puzzle with little idea of what the final picture will be.’

Each book in the series has represented a shift in mood or tone. This latest book has seen the human presence subtly move from the peripheries or the incidental in the landscape to being a more integral part of some images. The tone of the book is more optimistic than previously, and the human presence diminishes a sense of isolation so often present in the vast landscape.

 In the background on his recent trips the political landscape had shifted with the election of Joe Biden as 46th President. Power was aware that although domestic US politics seemed less dramatic and eventful under the new president, that the country remained divided with the next election around the corner.

Out of print, final copies.  A few signed copies remain - see dropdown.

• Thames & Hudson 2024
• Hardback, 1st edition, 208p
• New
  

When Harry Gruyaert first visited Morocco in 1972, it was love at first sight. On every return visit, he has tried to relive that initial feeling of enchantment, the splendid harmony between form and colour, people and nature.

• Mack Books 2020
  
• Hardback, 1st edition 1st printing.
  
• Imperfect - see below

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.

Imperfect: Sealed 1st printing but with very small bump to one corner - see photo example

Note that there a few white dots to the dark area of two plates - this is common to all copies of the 1st printing, not just these imperfect copies.


Signed edition shown in video.

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

“In the summer of 1987, I was 26 years old, a couple years out of graduate school, and living in a derelict apartment outside of Boston. I had received an artist’s residency in the South of France, and so, in August, I flew to Paris. I stayed a few weeks with close family friends in a top floor apartment on the Avenue de Wagram. My friends were working in fashion and film, and I was told my bed had once belonged to Jane Fonda before she became Barbarella. The weather was getting colder, and they gave me a brown corduroy jacket to wear that Jean Seberg (Godard’s Breathless, Preminger’s Bonjour Tristesse) had cried on. I would eat some breakfast and run around Paris photographing all day—hardly eating because I had no money—returning to their apartment for dinner and a glass of champagne. 

Later in the year, I went to the South to begin my artist’s residency at the Camargo Foundation, in Cassis, a town on the sea not far from Marseille. The writer Virginia Woolf, the pointillist Paul Signac, the fauvists André Derain and Raoul Dufy, and the Provençal poet Frédéric Mistral, had spent extended periods of time in Cassis. I took day trips from Cassis to Arles, Aix, Marseille, and Nice, and could process my film in the simple darkroom that was supplied to me.

In 1987, there were no cell phones or digital cameras. To meet up with someone you had to set a time and a place and each of you had to stick to the plan. The seasons seemed to linger around more, and in general, everyone seemed to have more time. The parks, museums, and subways were less crowded. The rhythm of daily life was more relaxed. People were worried in 1987, but not as worried as we are now.” – From the Introduction by Mark Steinmetz

This wonderful collection of previously unpublished photographs by Mark Steinmetz, made some 35 years ago during an extended stay in the South of France, provides welcome insight into his earliest years as a working artist. It comprises over 60 photographs beautifully printed in duotone on Japanese Kasadaka art paper, and bound in Burgundy linen. Limited to only 1,000 casebound copies, France 1987 will sell out quickly.

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

In anywhere but here, Alison McCauley expresses the restless feeling that has haunted her throughout her life: that the place she is in isn’t where she should be, and a conviction that the next place will be better. Taken from 2008-present, these images—taken in various locations around the world—are a deeply personal reflection of the artist’s emotions, photography being a cathartic means of coming to terms with her constant desire to move. As someone who has always led a semi-nomadic lifestyle, McCauley seeks to explore the idea of not belonging. Though she feels like she is supposed to belong somewhere, McCauley doesn't want to, as she recognises that it is the wonder of this belonging that is the impetus behind her work.   

Devoid of geographical and temporal reference points, the images are figuratively and literally blurred to emphasise that this is not about a location or time, but rather a state of mind. For the viewer the series takes on a narrative of its own, unfolding like a dream sequence: a body submerged in water, a flurry of balloons released into the open sky, city lights streaming through a hotel room, and fleeting scenes captured from a car window. Just as she is drawn to movement, it is these liminal spaces that the artist gravitates towards – the chaos, the stillness, and the magic in between. “The work comes from reality, but it’s a reality that’s distorted by subjectivity,” says McCauley. “It’s an expression of my state of mind during these restless off-moments.” 

Special edition of 25 signed copies, with a signed and numbered A4 print on Hahnemühle William Turner textured paper.  See the alternative special editions available here.

Extra special edition, print made in November 2023, books signed on press in 2021.

• Bluecoat Press 2023
• Hardback, 1st edition, 220p
  
• New

Book of the Road celebrates the 50th anniversary of Daniel Meadows’ pioneering 1970s documentary project Free Photographic Omnibus. Driving over 10,000 miles in a double-decker bus, the wild-haired young Meadows spent 14 months mapping the length and breadth of England, photographing 958 people and offering a free print to each of his subjects. Along the way, amongst countless breakdowns, parking tickets and random acts of kindness, he had chance encounters with the likes of Led Zeppelin’s Robert Plant. Meadows’ determination allowed him to assemble all this material into a cartographic census of an evolving nation.

“This country is changing quickly… we might soon forget those interesting relics of the past that are disappearing under the redevelopment of the future.” This future is now here, and Meadows’ pictures remain as relevant as ever. Book of the Road cements the Free Photographic Omnibus as an essential document of 1970s England – an urgent and timeless visual record.

Just 21 years old when he set up the Free Photographic Omnibus, Daniel Meadows is now one of Britain’s greatest documentary photographers. He worked mostly on instinct, and many of his DIY techniques anticipate documentary media’s progress in the following decades. He remembers sewing a tape recorder into an old tweed jacket so that he could photograph while also capturing audio. The original bus – a low-bridge decker from Barton Transport – cost him just £360. Meadows’ subjects collected their free portraits the following day, after he had spent many restless hours developing film and printing in the bus’ makeshift darkroom.

 Book of the Road gives readers the stories behind the photographs, from battles with angry parking attendants, nights of acute loneliness and moments of joy. This mix of images, diary entries and audio transcripts offers a unique commentary into the 1970s social climate – as well as Meadows’ mindset during the project. In Southampton in 1974 he met Florence, a part-time cleaner who he remained close with for five decades, eventually speaking at her funeral. “It was one of the great privileges of my life,” Meadows recalls.

The book offers a survey of English life when modernisation was seeping into everyday values and communities. Cobbled streets in tight-knit parishes and bustling city centres accompany familiar green pastures, but Meadows also takes us behind the curtain at marble competitions, circuses and beauty contests. Throughout, his subjects of all ages and social classes stand proudly for the camera, unaware that they were to become part of history.

• Atelier EXB 2023
• hardback, 1st edition, 184p
• New

Albarrán Cabrera’s poetic universe invites us to immerse ourselves in nature, in the land of trees and on what trees can teach us about life.

The idea for the book comes from a text written by Hermann Hesse that can be described as one of the most beautiful love letters to trees. Hesse tells us that “when we listen to trees, we discover the meaning of life”, thus in this book Albarrán Cabrera explain that by shooting trees they have learnt not only how to listen to them but also to better understand themselves.

The images alternate between a palette of vivid colours, bordering on abstraction, and more monochrome tones, evoking a certain melancholy, plunging us into timeless landscapes. The result is a dreamlike, almost surreal world, unique to the Spanish duo. Far from idealizing nature, the photographers aim to magnify what already exists, quoting their words: “We believe that to be human is to understand nature not just as it really is, but also as we perceive it. If we are alert and observant, we will be able to understand it from these two standpoints. As if we are both seeing and been seen.”

Two texts by German novelist, poet and painter Hermann Hesse punctuate this visual corpus. A text by Yves Darricau, agricultural engineer and author, tells the story of the relationship between man and trees, from prehistoric times to the present day. It talks about how each has contributed to the development of the other in a relationship of interdependence that is now under threat, making us all aware of the importance of trees in the face of the challenges of our century.

English Edition.

• Dewi Lewis 2023
• Hardback, 1st edition, 104p
• New

Redolent with both sadness and hope Things Aren’t Always as Mother Reports is an extended series of colour portraits and landscapes made in the documentary style through which Paul Cohen interrogates the idea of family. It is a tense document about the here and now.

In the knowledge that photography can sometimes reveal what isn’t always apparent, Cohen made his sons the subject of this work in the hope that he might get to know them in a different way. By engaging in the ritual of photography with their father, Cohen’s sons become performers, enacting the traits of boyhood. The pictures raise questions in the mind of the viewer as to what these boys are about; what they are thinking, feeling and why?

Keen to observe how the place and time in which they live affects them Cohen pays close attention to how they navigate their world and where they sit within it. These pictures provide a glimpse into the boys. They also communicate the concerns of the photographer. Though nothing is explicit or explained, there is vulnerability here; happiness is always on the edge of being lost.

The cumulative effect of these pictures transcends a father’s deeply personal experience to communicate something more universal about boys growing up in the UK today.

Signed copy.

• Stanley Barker 2023
• Softcover, 1st edition, 72p
• New

Christopher Anderson’s photographic fable Odyssey, takes us on a transcendental voyage, evoking a Homeric tale, that calls us from the sea to the rocks, into a dreamscape where light is sculpted across rock formations and figures.

Presented as an outsized limited edition Artists Book, Odyssey is a visual poem, expertly printed in a unique quad-elemental process, as an edition of 750 numbered copies.

“I didn’t set out to make this work, I was taken by the making of it. Perhaps there are themes that I was unconsciously juggling: the mystery of the unknown, fear of the adventure ahead, longing... As the images took form, I began to recognize some sort of fable. Not a story that I was telling, but one that was being told to me.”  - Christopher Anderson 

Signed and numbered edition of 750 copies only.  375 x275mm with french-fold jacket.

Final copies.

• Nitesha 2023
  
• Softcover, reprinted edition
  
• New
  

Provoke was first published in November 1968 as a dojin-shi, or self-published magazine. It was originally conceived by art critic Koji Taki (1928-2011) and photographer Takuma Nakahira (1938-2015), with poet Takahiko Okada (1939-1997) and photographer Yutaka Takanashi as dojin members. The subtitle for the magazine was “Provocative Materials for Thought”, and each issue was composed of photographs, essays and poems. After releasing the second and third issue with Daido Moriyama as a subsequent member, the group broke up with their last publication First, Abandon the World of Pseudo-Certainty - an overview edition of the three issues. Provoke’s grainy, blurry, and out-of-focus photographs were initially ridiculed as are-bure-boke and stirred a great deal of controversy, yet it had created a strong impact inside and outside of the photography world during that time. However, today, Provoke has become an extremely rare book and very few people have seen the original.

Published as part of The Japanese Box: Facsimile Reprint of Six Rare Photographic Publications of the Provoke Era*, Provoke's facsimile reprint has its photographic images cropped approximately 3 mm from the edges for bookbinding purposes. The reprint also does not include texts by Takahiko Okada due to copyright reasons. Provoke Complete Reprint by NITESHA maintains the original size of the images and includes all original texts, along with the ones by Takahiko Okada. In addition, the volumes will be accompanied by complete English and Chinese translations of the original Japanese texts as a booklet.

2023 printing.

• Trespasser 2023
  
• Softcover, 1st edition
• New

In his debut monograph, Emiliano Zúñiga Hernández depicts his domestic life and surroundings in the mountains of Costa Rica. 

From the artist:
We ran a healing center, a garden for people to come and rest from their struggles. When it had eventually dissolved, I was wounded. Having once been the healer, I was too afraid to ask for help. Where we lived in the mountains, people would often exclaim how lucky I was to live in such a paradise, one which, for me, carried the ghost of a broken ideal. It became a cave of guilt and shame. Natsuko and the animals, the small slant of light that shone through the cracks of my depression, were emblematic of the freedom I longed for. Through them I could dig my way out and reencounter the beauty of what we really are in this world. I could find my role again.

Edition of 1000 copies. 10x15 inches. 72 pages. 36 tritone and 5 color plates on uncoated paper.

Signed copy.

• the(M) éditions / IBASHO 2023
• Softcover, 2nd edition, 192p
• New

"Everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not show us. This interest can take the form of a quite intense feeling, a sort of conflict, one might say, between the visible that is hidden and the visible that is present."

-René Magritte

Photography duo Albarrán Cabrera uses photography as a tool to investigate reality. The images that make up their latest book ‘Photography Syntax’, function as the notebooks of their philosophical research. Together with the texts, the photographs testify to the use of photographic processes as a means of going deeper into the reasons and thoughts behind the images.

Texts in English by Albarrán Cabrera

2nd edition with cover as shown.

• Stanley Barker 2023
• Flexibound, 1st edition/2nd printing, 294p
• 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.

2nd printing. 

• Mack 2023
• Hardback, 2nd edition
  
• New

Alessandra Sanguinetti’s On the Sixth Day offers us a glimpse of life on a small Argentine farm from the perspective of its animals. Often photographed close to the earth, the images render the courage, struggles, and adventures of chickens, pigs, horses, and cows. We see them newly born, at play, vying with each other for food, their fate always uncertain as human presences inevitably loom above. With their rich, almost surreal colour, these photographs evoke traditional fables or classic children’s books in which animals enact human behaviours to teach moral lessons. Yet Sanguinetti portrays these animals as individuals in their own right, each with their own mysterious spirit, relating their lives from birth to death with an unsentimental and direct gaze.

First published in 2005 and now out of print, this new and expanded edition of On the Sixth Day includes additional unseen images.

Hand signed copy.

• Stanley Barker 2023
• Flexibound, 1st edition/1st printing, 294p
• 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.

1st printing.

• Trespasser 2023
• Hardback, 1st edition
• New

Photographs taken in rural Texas, most in Leon County.

O gaze into the fire
and be consumed with man's despair,
and be still, and wait.
And then see the world go on
with the patient work of seasons

– Wendell Berry

Edition of 1500 copies.

Out of print, final copies.

• Photo Editions 2023
• Hardback, 1st edition
• New

The photographs in Folly, the debut photobook from Jamie Murray, were born from a series of conversations with individuals who have been incarcerated. Discussions of what had led to punishment, navigating the prison environment and the transition to freedom flowed towards philosophy, ideas of discipline and punishment, intertwined with questions around natural order and spirituality. The resulting allegorical photographs in Folly refer, both directly and indirectly, to what was said and how these conversations affected Murray.  

Murray first began speaking to the individuals in 2017 in an attempt to understand more about their experience with the aim of making a documentary series within a prison. Most had been in numerous prisons over long periods of their life, often multiple times, and Murray hoped to document these meetings and brought along his camera. Some individuals would allow portraits, and others not. As the conversations evolved, so did the project, as the encounters led him to reflect upon his own life, choices and history with meandering thoughts and emotions relating to what had been discussed.

The pictures in the book begin with an imposing folly - an ornamental structure of no purpose, both foolish and excessively costly. The images that follow, a pile of coins glistening in the undergrowth, gathered crows, a fish gasping for breath outside water, rows of butterfly pupae, interweaved with haunting portraits of some of the individuals evoke a fractured narrative, a rumination on these conversations and the relationship between man and nature, co-existence and interference. 

A special edition with signed print is available here.

• Photo Editions 2023
• Hardback, 1st edition with print
• New

Special edition of 100 signed and numbered copies with a signed print - a choice of 4 prints is available, 25 of each - choose your print above.

Signed and numbered C-Type lustre prints, size 11” x 9”, hand printed by the artist and supplied in an archival conservation envelope.

The photographs in Folly, the debut photobook from Jamie Murray, were born from a series of conversations with individuals who have been incarcerated. Discussions of what had led to punishment, navigating the prison environment and the transition to freedom flowed towards philosophy, ideas of discipline and punishment, intertwined with questions around natural order and spirituality. The resulting allegorical photographs in Folly refer, both directly and indirectly, to what was said and how these conversations affected Murray.  

Murray first began speaking to the individuals in 2017 in an attempt to understand more about their experience with the aim of making a documentary series within a prison. Most had been in numerous prisons over long periods of their life, often multiple times, and Murray hoped to document these meetings and brought along his camera. Some individuals would allow portraits, and others not. As the conversations evolved, so did the project, as the encounters led him to reflect upon his own life, choices and history with meandering thoughts and emotions relating to what had been discussed.

The pictures in the book begin with an imposing folly - an ornamental structure of no purpose, both foolish and excessively costly. The images that follow, a pile of coins glistening in the undergrowth, gathered crows, a fish gasping for breath outside water, rows of butterfly pupae, interweaved with haunting portraits of some of the individuals evoke a fractured narrative, a rumination on these conversations and the relationship between man and nature, co-existence and interference. 

The regular edition of Folly is available here.

• Nazraeli 2023
• Hardback, 1st edition
• New

Jungjin Lee’s extraordinary new artist’s book, Voice, comprises 46 large-scale photographs made in 2018 and 2019. While the photographs were originally made in deserts, mountains, oceans and plains, the artist writes, “My images should be seen as metaphors, a form of meditation. I do not depict landscapes or nature. The desert allows me to see my inner self, and my goal is to make images of what I feel there: the eternal sense of being open and present to the world.”

Lee’s work has expanded the boundaries of the photographic process to create images that are simultaneously textural and minimalist. After printing an image on hand-emulsified cotton or mulberry paper, she then alters its finish, using technological processes that result in a distinct, high contrast image.

Born in Korea in 1961, Lee began photographing while a student at Hongik University in Seoul, where she earned a BFA in ceramics in 1984. After graduating, Lee worked as a photo journalist and freelance photographer. She earned an MA in Photography from New York University in 1991. While in New York City, Lee worked for the photographer Robert Frank. Later, she traveled across the country and was deeply moved by the American desert, which became the subject of several of her photographic series. 

• Origini Edizioni 2022
• Softcover, 1st edition
• New

In Geography of Abandonment, Raymond Meeks explores the elastic nature and meaning of home and place. Place to become, dwell within, leave and return to. “Place” imbued with memory, present reality, as well as the unknowns posed by the future. Meeks reveals his fascination with the ritualistic processes that inform notions of transcendence and grief. Our departures from home as a necessary abandoning while finding our way in the world, being returned to the emptiness of pure existence.

Meeks’ work is informed by a constant recalibration between inner and outer world, the canny and the uncanny, the particular and the universal. In his hands, the camera is an instrument that dissects ritual and renders form, briefly making the world around us comprehensible, and rendering us comprehensible to ourselves. His personal and professional relationship with the photographer Adrianna Ault has been a primary source of inspiration and collaboration for Meeks over the years. Both artists struggle with the notion of personal meaning, especially as the years pass, children leave, and their own relationship with each other shifts and evolves. Meeks watches his partner, and poetically observes:

She seems to be expecting something, some form she could take possession of.

A borrowed form, perhaps, one that could express the real pain inside.
An absolute breaking and repurposing of truth.
A place where truth could be gotten at, but also where truth could be defended.

A burning experience of molding herself.
A sudden glimpse of her own being.

His photographs of Ault, and the photographs they have made together, convey a restlessness astir within the quotidian, a condition manifest in his work, and the experimental nature of his photographic approach and processes.

Edition of 250 copies.  Signed and numbered.

1 copy only per customer.

Video courtesy the publisher.

• 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. 

Special limited edition of 200 copies. 

Each comprising:

• Sokyusha / Blue Lotus Editions 2022
• Softcover, 3rd edition
  
• New
  

"The Dreaming contains 86 black and white images selected from my 27 years’ career in photography and traveling. When I turned 50, 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

Signed copy.  Final copies of the 3rd edition.

• Aperture 2012
• Hardback, 2021 printing
• New

The Ballad of Sexual Dependency is a visual diary chronicling the struggle for intimacy and understanding between friends, family, and lovers―collectively described by Goldin as her “tribe.” Her work describes a world that is visceral, charged, and seething with life. First published in 1986, this reissue recognizes the persistent relevance and freshness of Nan Goldin’s cutting-edge photography. Her lush color photography and candid style demand that the viewer go beyond the surface to encounter a profound intensity. As Goldin writes: “Real memory, which these pictures trigger, is an invocation of the color, smell, sound, and physical presence, the density and flavor of life.” Through an accurate and detailed record of her life, Ballad reveals Goldin’s personal odyssey as well as a more universal understanding of the different languages men and women speak, and the struggle between autonomy and dependency. Over the past twenty-five years, the influence of Ballad on photography and other aesthetic realms has continually grown, making the work a contemporary classic. Nan Goldin’s story of urban life on the fringe was the swan song of an era that reached its peak in the early eighties. Yet it has captured an important element of humanity that is transcendent: a need to connect. This new edition of Ballad has been printed using new scans and separations created by master-separator Robert Hennessey from Goldin’s original transparencies, rendering them with unparalleled sumptuousness and impact.

2021 printing of this classic photobook.

• Photo Editions 2022
• Hardback, 1st edition
• New

Across the UK, town centres are undergoing a major transformation. Over the past decade, empty storefronts have become an increasingly familiar sight as businesses disappear from our high streets, leaving an atmosphere of uncertainty in their wake. In 2021 alone, more than 17,000 stores shut down nationwide – the combined result of the growth of out-of-town retail, the rise of megastores and more recently a shift towards online shopping, all exacerbated by a global pandemic. 

While working on his previous project This Land, Martin Amis noticed the prevalence of closed premises, and began to explore this phenomenon further. Between 2019 and 2022, Amis photographed closed shops across Kent, gradually building a picture of how British towns are being reshaped by the decline of the high street. From pubs, post offices and bookshops to newsagents and social clubs, these spaces once served a vital role for communities. Focusing on the overlooked elements and architectural details, Amis captures the multiple layers of these buildings as they have morphed over the years, each revealing signs of social change.

Photographed in deadpan monochrome, these vacant storefronts are symbolic of a greater loss: the sense of community and cultural identity these spaces foster. The social spirit of local pubs and daily conversations in the corner shop are just some of the simple but crucial elements that help people feel less isolated and alone. In Closed, Amis presents a picture of the changing face of Britain through the microcosm of the high street. These ghost streets speak of the fragmentation of communities, an uncertain future and the ongoing evolution of Britain’s urban spaces.

Spiral-bound hardback, 240x285mm, 98pp. Tritone printing.

Signed copy.

A slipcased special edition, each with a unique print is available here.

• Photo Editions 2022
• Slipcased hardback, 1st edition with print
• New

Special edition of 50 signed and numbered slipcased copies each with a unique signed print - only one copy of each print is available - choose your print above.  

Archival pigment print on smooth cotton rag paper, image 20.5 x 20.5cm on 25.5 x 22.5cm paper. Book and print are housed in a die-cut grey board slipcase.  

Across the UK, town centres are undergoing a major transformation. Over the past decade, empty storefronts have become an increasingly familiar sight as businesses disappear from our high streets, leaving an atmosphere of uncertainty in their wake. In 2021 alone, more than 17,000 stores shut down nationwide – the combined result of the growth of out-of-town retail, the rise of megastores and more recently a shift towards online shopping, all exacerbated by a global pandemic. 

While working on his previous project This Land, Martin Amis noticed the prevalence of closed premises, and began to explore this phenomenon further. Between 2019 and 2022, Amis photographed closed shops across Kent, gradually building a picture of how British towns are being reshaped by the decline of the high street. From pubs, post offices and bookshops to newsagents and social clubs, these spaces once served a vital role for communities. Focusing on the overlooked elements and architectural details, Amis captures the multiple layers of these buildings as they have morphed over the years, each revealing signs of social change.

Photographed in deadpan monochrome, these vacant storefronts are symbolic of a greater loss: the sense of community and cultural identity these spaces foster. The social spirit of local pubs and daily conversations in the corner shop are just some of the simple but crucial elements that help people feel less isolated and alone. In Closed, Amis presents a picture of the changing face of Britain through the microcosm of the high street. These ghost streets speak of the fragmentation of communities, an uncertain future and the ongoing evolution of Britain’s urban spaces.

Spiral-bound hardback, 240x285mm, 98pp. Tritone printing.

The regular edition of Closed is available here.

• Photo Editions 2022
• Hardback, 1st edition, 88p
• New

“The deeper I dug, the more the city shared it’s secrets with me.”

In his debut monograph, Nick Gervin presents a surreal look into the flip-side of American culture, all captured on the stage of the small city of Portland, Maine.

In December 2008, Gervin suffered a traumatic head injury after being assaulted, an event that would dramatically alter the course of his life. Barely able to afford rent after having recently been laid off from work in the fallout of the recession, he swiftly spiralled into poverty and addiction – a situation exacerbated by his injury, the second head trauma he’d experienced in his lifetime. Diagnosed with Post-Concussion syndrome, Gervin developed severe sensitivity to light and sound and experienced debilitating migraines which left him feeling like a “prisoner in his own body”. Favouring the dark, quiet nights over the chaos of daytime, it was during these periods of solitude and broken sleep that Gervin rediscovered photography, nocturnally roaming the streets with his camera and finding a renewed sense of purpose in the process.

What followed was a ten year pursuit of photographing the many layers of his home city which saw him capturing everything from protest marches to wrestling bouts to drunken night-time brawls and even venturing down into the long forgotten subterranean networks of tunnels beneath. As Gervin explains, “I was driven by my anxieties, trying to stay sober while I attempted to make sense of what I saw. I was making a record of a place in time; a portrait of a city that I’ve grown a deep attachment to. As time went on and I felt compelled to continue the work, I realised it was not just myself but also the city and it’s Portlanders that were at a crossroads.”

Tritone offset printed hardback with oversized reverse french fold dust jacket, 240x285mm.

A choice of special editions are also available here.

For trade enquiries, please get in touch here

• Zen Foto 2014
• Softcover, 1st edition
• Fine

As I walked through these villages where everything had been washed away, including houses and sea walls, there were traces to indicate where once had been a road. People had started to walk again on these traces, reforming a path on top of the original. It was as if the road had a life of its own.I have taken countless photographs on roads that have been trodden by people over many ages. These roads become superimposed on the roads I see in the disaster region, and these also seem overlaid with the road from Anshan along which my family fled as refugees. - Kazuo Kitai

Text in English and Japanese.

• Charcoal Press 2022
• Hardback, 1st edition
• Imperfect - see below
  

From Where Loss Comes is an unblinking look at how sacrifice and belonging are deeply rooted in the human experience.

Sixty photographs and close to 9,000 words consider a pain and suffering that is private, sacrificial, and yet rattles against values that are thought of as being inalienable — our fundamental human rights.

It is a story of the root causes of female genital cutting and mutilation (FGM/C). The practice presents a tragic dialectic. By submitting to a personal loss, a woman may be assured of membership in a community. Her alternative is to remain intact and enter into exile. It is an impossible choice.

For this work, Pradip Malde (Tanzania, 1957) returned to his birth country after an absence of forty-six years. WITH Sarah Mwaga, founder of the Anti Female Genital Mutilation Network (AFNET), he traveled more than 3,000 miles over three years, visiting remote communities to converse with and to photograph activist women (victims of FGM/C), the sacred sites where these rituals take place, and the cutting tools used by ngariba (Swahilli for “circumcisers”) who have renounced the practice.

Malde received a John Simon Guggenheim Foundation Fellowship in 2018 to complete the project. This book is dedicated to the life and work of Sarah Mwaga, who passed away in 2021 just as the book was at its final stages of production.

14"x 10" beautifully printed Swiss-bound hardback.

Display copy with some light wear to the linen cover.  Inside as new, signed.

• GOST 2022
• Hardback, revised edition
• New

‘In 1989, I discovered them in my own back yard, landhungry and dirt poor. They came looking for work in the vegetable fields and fruit orchards of Lambton, Essex, Kent and Haldimand-Norfolk Counties. I liked them a lot because they seemed otherworldly and therefore completely vulnerable in a society in which they did not belong and for which they were not prepared. Because I liked them, they liked me, and although photography was forbidden, they let me photograph them. That’s all there was to it.’

• TBW 2022
• Hardback, 1st edition 1st printing
• New

TBW Books is pleased to present River’s Dream, the latest monograph by Curran Hatleberg and a complete realization of the series exhibited at the 2019 Whitney Biennial. 

Hatleberg is known for traveling America, guided by intuition, to create scenes of American life and landscape. Working collaboratively with the people he meets, he recounts intimate stories of family and community. Here, in the follow-up to his first monograph Lost Coast (TBW Books, 2016), Hatleberg centers his narrative on the dog days of summer. Sweltering heat, dripping humidity, lush vegetation, and screaming insects– River’s Dream is a pulsing and episodic hallucination of life lived outdoors. In these sixty-five photographs, we move through swamps and groves, front yards and junkyards, encountering moments of haunting mystery and beautiful impermanence. Heightened by formal repetition, echo, and refrain, everyday scenes take on surreal, allegorical qualities. In the end, Hatleberg leaves us with the impression of memory, where the past is never gone, but appears and reappears endlessly, as in the flickering of a dream.

This book includes new texts by Natasaha Trethewey and Joy Williams commissioned for the publication. 

1st printing (red paper edges), limited to 1000 copies, out of print upon publication.

Signed copy.

• T&M 2022
• Hardback, 1st edition
• New
  

'This book “Tokyo Silence” is a collection of B&W photographs capturing the Tokyo street life between 2003 - 2006. Tokyo is thought to be one of the noisiest cities in the world, but through these photographs I want to show the other side of Tokyo - for me, this is a city where strange silence is prevailing in the depth of our life like water. 

During that period I was crazy about traveling in China. In China, everywhere you look there is chaos. Shouts of people on the overcrowded streets, the squawking of car horns echoing in the grey sky, roaring voices from the loudspeakers scattered all over the cities - I really loved those Chinese street noises and I remember walking each day as if struck by lightning.

After getting used to such chaotic noises in China, the silence of Tokyo sounded very unique to me. Every time I came back to Tokyo, I wondered how could the city be so quiet?  No one talks on the trains, no one shouts on the streets. Yes, Tokyo is a city of noise too, but I think the character of noise is inherently different between the two countries. Here in Tokyo, almost all of the noises are from autoplaying music such as background music from shops or video ads on huge screens. What would happen if all the autoplay music is suddenly muted? While walking on the Tokyo streets, sometimes I feel an illusion as if I were in the bottom of an aquarium, where a curious silence surrounds us.

Such a thought pushed me to shoot the Tokyo streets, with a monochrome film-loaded Leica in my hand. I wanted to capture such characteristic silence of Tokyo, and the silence settling down inside us deeply.'

- Yasuhiro Ogawa

Edition of 800 copies.  Signed copy.

• Photo Editions 2022
• Softcover, 1st edition, 92p
• New

The coastline is an intrinsic part of British identity. Associated with freedom and escape, coastal towns have always drawn those seeking respite from landlocked cities, with seaside resorts serving a primary purpose: to entertain. In Silent Coast Rob Ball shows a different reality. Travelling the length of the English coastline, he captures the structures built along the edge – and in the process reflects on their vulnerability in the face of change.

Out of season these coastal resorts seem far removed from the fun they were designed to offer, revealing carefully manufactured environments, fortified by borders and surveillance. Silent Coast exposes the fragility that exists beneath the facade, a coast open to shifting economic forces and rapid environmental change. Devoid of people, the monochrome scenes reflect on the homogeneity of the coast; without place or time markers, resisting identification yet remaining deeply familiar.

Swiss-bound, tritone offset printed softcover, 28x24cm.

A special edition is available here.