Photobooks by Women

• Mack 2026
• Hardback, 1st edition, 144p
• New

TIME TO KILL is an evocative interrogation of gendered aging, unpacking the ideals of beauty, caretaking, and maternal and domestic duty imposed on women over the course of their lives. It unfolds through a compelling combination of image and text, with photographs encompassing portraits of women, landscapes, and spaces both vast and claustrophobic, as well as still lifes in which plants, domestic objects, and weapons are absurdly combined, alluding to impermanence and cultural double standards.

This distinctive visuality is interwoven with letters written by Parlato to an ambiguous, ageless, and perhaps illusory recipient. Through these entwined mediums, the artist looks both out and in, reckoning with a wild variety of physical and emotional experiences including the disjuncture between the way we see ourselves and the ways others see us as we age. Bodily transformation and the passing of time are pictured as both brutal and freeing as Parlato carves out a psychological space to contend with her fears and fantasies around aging in ways verging on the eerie and surreal. Building on the rich visual language of Parlato’s celebrated book Who is Changed and Who is Dead (2021), TIME TO KILL examines selfhood, motherhood, sacrifice, and visibility in an unflinching confrontation with what it means to be mortal.

Signed copy.

• David Zwirner Books 2025
• Hardback, 1st edition, 92p
• New

Diane Arbus: Sanctum Sanctorum brings together forty-five photographs made in private places across New York, New Jersey, California, and London between 1961 and 1971.

Through her singular combination of intelligence, charisma, intuition, and courage, Diane Arbus (1923–1971) was frequently invited into personal realms seldom seen by strangers. Though made in intimate settings, the photographs collected in this volume convey no sense of intrusion or trespass―instead, they reveal an unspoken exchange between photographer and subject, a moment of recognition in which confidences emerge freely and without judgment.

Arbus’s desire to know people embraced a vast spectrum of humanity. Her subjects featured in Sanctum Sanctorum include debutantes, nudists, celebrities, aspiring celebrities, socialites, transvestites, babies, widows, circus performers, lovers, female impersonators, and a blind couple in their bedroom. Through a fresh consideration of little-known photographs among works that may be more familiar, this publication invites viewers to discover aspects of even well-known images that have previously gone unnoticed.

• Stanley Barker 2025
• Softcover, 1st edition, 88p
• New

The most consequential moments are rarely dramatic. What stays with us, what makes us feel truly seen, is often small, domestic, and endlessly repeated. Judith Black’s photographs, made at home in the early 1980s of her four young children and their stepfather, remind us of this simple truth.

In 1980, after a divorce, Judith moved her family to Cambridge, Massachusetts, and took a job at the darkroom at MIT. Their home wasn’t grand, but it was theirs, a place to begin again. Not long after settling in, they found a worn old armchair left on the side of the road and gave it a place by the window. It became a spot of rest and quiet theatre, a vantage point from which Judith watched her children grow, day by day, frame by frame.

This new book gathers every photograph she made of that single chair. What begins as cast-off furniture becomes, through her attentive eye, a kind of threshold: a simple thing that holds a whole world. There is a truth here that is easy to overlook, that by staying close to the ordinary, by returning to the same corner of a room, we might learn to see more clearly. And that the measure of a life is so often found not in grand gestures, but in the worn fabric of a chair, the shifting light, the hush of children growing older under our watch.

Where the Light Came In has been carefully designed to feel like an object of devotion; the kind of object a parent might make at home. Each photograph has been silkscreened with a soft gloss varnish, echoing the sheen of prints lovingly pasted into an album. Handwritten notations run through the pages, intimate and unguarded. The book itself is coverless, its exposed binding sewn and held in place with quiet precision, a gesture of care and vulnerability.

"The chair, a curbside find on garbage day, was covered with a swath of dark brown corduroy to hide its tattered arms and worn cushions. It sat by the entryway door and caught brief moments of early morning light from the dusty living room bay window that looked over the alley separating our apartment from our neighbour." - Judith Black

• the(M) éditions / IBASHO 2025
• Softcover, 1st edition
• New

"This series explores the psychological imprint of migration and uprooting that have marked my life. The title is inspired by the keyboard shortcut I use to write in Japanese, an indirect evocation of my origins.

This series brings together a multiplicity of subjects: architectural fragments, an old passport photo of my grandfather, faces of unknown relatives in the family album... Incoherent geometric forms emerge in the images to amplify this sensation of non-belonging, disturbing the gaze through their strangeness.

With Ctrl Shift + J, I invite the viewer to introspection, to confront their own experiences of displacement and the search for a place to be oneself."

- Sayuri Ichida

• the(M) éditions / IBASHO 2025
• Softcover, 4th edition, 160pp
• New

This new book is a revised and expanded edition of the book so it goes, so it goes, itself a revised and expanded edition of the book so it goes, which won the Nadar Prize in 2019. This edition features a completely renewed series of images and a new cover.

In this book, Miho Kajioka presents work relating to the concepts of time, memory, and place. As in her previous works, the series reveals intuitive images of fragments from her daily life, across different periods. It was while reading Kurt Vonnegut's novel, Slaughterhouse-Five, that Miho Kajioka became truly interested in this subject. Miho Kajioka is fascinated by chronology and the meaning of events. According to her, photography captures moments and freezes them; displaying prints is like playing with the sense of time and getting lost in this chronology.

• Note Note Editions 2025
• Hardback, 1st edition, 112p
• New

Atlas of Echoes is the first monograph on the work of Dutch artist Sarah van Rij. The book immerses the reader in her entire oeuvre, bringing together her black-and-white and colour photography, as well as the collages created since 2018, and in doing so charts the journey from her beginnings as a photographer to her most recent work. Whether captured on a camera or an iPhone, her images explore a wide range of subjects — urban and natural landscapes, everyday objects, the human figure – at the same time as they advocate the singular and coherent aesthetic that has become the artist’s visual signature.

Designed in close collaboration with the artist, with an index offering an analytical and playful reading of her work, Atlas of Echoes reveals the singular formal vocabulary behind van Rij’s practice.

• Editorial RM 2025
  
• Hardback, 1st edition, 130p
  
• New
  

Anna Cabrera and Angel Albarrán are among the most innovative and renowned photographers of their generation. Windows to the Unexpected is the second book in a trilogy that began with the bestselling book Remembering the Future, where the authors explore complexities of form and narrative in photography. This book delves into the tension between the visible and the unforeseen, inviting viewers to question what they see and uncover what lies beyond the image.

Inspired by Julio Cortázar’s essay of the same name, this volume examines how the unexpected emerges in images without warning, challenging conventional perceptions of reality. The unexpected is not manufactured but revealed, transforming photography into a space of multiple interpretations, where the extraordinary is hidden within the ordinary.

• Editorial RM 2025
  
• Softcover, 1st edition, 88p
  
• New
  

4 Sides of The Table was made from 2022-24. In the spring of 2017, I was with my mother in an empty room. The light of the sun was shining through the windows. Her best friend June was at her bedside reading poetry aloud. My mother died a few hours later. Since I could no longer take pictures of my mother, it seemed natural to me to photograph June. I photographed her hands, her legs, from the back, from the front, partial views etc. feeling I could convince myself she was my mother more easily by photographing her in parts rather than in showing her whole figure.

During the months that I was visiting June, her daughter unexpectedly passed away. I thought after that she might not want to continue our time together taking pictures, but she did. The camera gave us the freedom we needed to imagine we belonged to each other.

4 Sides of The Table Is about the time it takes to eat a loaf of bread, for light to pass through a room, and or for someone to die and how we can recreate or extend that time. I wanted a way of holding on to what has passed and what’s hard to keep, even if only in an empty hand.

Note that this delicate book has quite fragile corners.

• Libraryman 2025
• Hardback, 1st edition
• New

Two new identities: Mother and Motherless. The collision of birth and death marks the inception of what has become a long-running commentary, nearly a decade in the making.

In-Passing began in 2015, the year Lisa Sorgini (b. 1980, Australian) became a mother to her first child, shortly followed by the loss of her mother to illness.

Initially, the creation of images served as both a determined witness to a new reality and a therapeutic outlet for her grief and awe. The images are saturated with the profound metamorphosis that accompanies motherhood, representing the corporeal and psychological shifts that redefine the self. Reminiscent of the adolescent journey, this evolution of identity navigates a liminal space where the maternal self simultaneously vanishes and is reborn—a quiet reinvention at the threshold of both loss and renewal.

In its most apparent form, it is a visceral account of the chaos and intimacy within the familial space during her children’s formative years. Each image speaks to the complexities, intimacy, and emotional landscapes of the mother-child universe.

Beyond this, there lies the pursuit of something more elusive—an intangible force that lingers at the periphery of memory and consciousness. It embodies the unspoken weight of motherhood, shaping each experience in ways that are deeply felt but not always easily understood.

The book contains a preface written by Lisa Sorgini.

• Thames & Hudson 2025
• Hardback, 1st edition, 304p
• New

Published to accompany a major touring exhibition, this is the most comprehensive survey to date of the groundbreaking American photographer Helen Levitt.

Over six decades, Helen Levitt (1913–2009) explored the streets of her native New York with a handheld camera. Influenced by Henri Cartier-Bresson, she found inspiration in the theatre and spontaneity of the street, capturing everyday moments in urban life and forging a distinct visual language from her private observations. Exuding a keen warmth and sensitivity for human gesture and movement, her photographs capture, in James Agee’s words, the ‘pure spontaneity of true folk art’.

Accompanying a major touring exhibition of Levitt’s work, the first of its kind to draw from her complete archive, this ambitious publication showcases her entire output. It not only includes her best-known photographs, but also features rarely seen early works from her first year using a Leica and all fifty works from the original edit of her classic 1965 photobook A Way of Seeing, with record prints preserved by Levitt herself.

Essays by a range of scholars and specialists hone in on key thematic, technical and biographical aspects of Levitt’s life and work, including an examination of the photos she took during her trip to Mexico in 1941, her innovative use of colour in the 1950s and her late work from the 1980s, providing an authoritative insight into one of the most influential photographers of the 20th century.

• Void 2025
• Softcover, 1st edition, 232p
• New

‘Fishworm’ is about dykes digging through trash.

“Created over the past 7 years, collecting stuff people have thrown away or forgotten about —mostly photos— sifting through abandoned house debris, upturned moldy cardboard boxes, the mouse shit-filled hunting camp at the end of the road, a local politician’s discarded gay porn collection, a junk shop near the waterfall, yard sale trash piles. The result is a jumbled, revised, chopped and screwed history (antique-y2k) of old mill towns in the Sandy River Valley and villages nestled in the pines. If you feel slightly uneasy here, so do we, being gay and trans women in a rural place, trying to find belonging in the same types of places we've lived our whole lives. Piecing the images together is an attempt to make sense of where you fit in a culture that doesn’t always want you, and how you can love a place that doesn’t always love you back. The images in ‘Fishworm’ were found within a 60-mile radius of the artists’ home in rural central Maine. Everything is scanned with an old xerox found sitting in the rain outside of the town fire department on Heavy Dump Day in 2024.” — Pia & Jesse

• Void 2025
• Hardback, 1st edition, 160p
• New

Artist Siri Kaur has been photographing her family for over 30 years, and her youngest sister, Simran, is the central focus of her forthcoming book, Sistermoon. Kaur’s photographs are combined with those from her family archive to create an unconventional album, illustrating the cycles of life and transformation, whilst questioning who observes, who is seen and who belongs.

Kaur’s biography informs her work. The book opens with a timeline of photographs from her mother’s traditional family, taken in the 1950s by her grandfather. Kaur herself was born into a cult—one image in the book depicts her parent’s wedding at the Happy Healthy Holy Organization, or 3HO in 1976. After Kaur's family left the cult, her father established a rural living community in Vermont where her siblings remain today. Kaur simultaneously belonged to the family and was also an outsider. Her relationship with her family, in particular her sister, was formed and strengthened by creating photographs together. Photography enabled her to observe, catalogue, and connect.

• The Eriskay Connection 2025
• Softcover, 1st edition, 80p
• New

is an eclectic collection of photographs taken by Oriane Thomasson (FR) across various landscapes, interwoven with archival images. Through these visual correspondences, she constructs a photographic fiction of the legend of Atlantis.

The myth of Atlantis, as recounted by Plato in Timaeus and Critias, describes a magnificent, vast, and prosperous island blessed with fertile land and abundant natural resources. Its inhabitants, descendants of Poseidon, lived in a society organised in harmony with nature. Over time, their ambition drove them to expand their empire and exploit new resources, provoking the wrath of Zeus. As punishment, he unleashed a devastating cataclysm that submerged the island beneath the waves. To this day, the myth continues to inspire archaeological theories and countless fictional narratives, and proves to be just as relevant today.

Through this free reinterpretation, Thomasson creates her own narrative, composed of a photographic series and an original science fiction short story titled ‘The Meteors’. Together they trace a before-and-after, the allure of a ‘lost paradise’ and the marks of its collapse, revealing how evidence and invention together shape the writing of history. The work bridges what is known and what is imagined – what remains and what is missing – and treats archaeology and history not as neutral repositories but as story-making practices whose documents become material for the book’s fiction.

Atlantis, just like Thomasson’s previous book Paradis, opens up a space for the imagination, where, from the shadow of submersion, new forms emerge. The series is built on cycles of disappearance and resurgence. Between the mysterious, unsettling world of the depths where Atlantis now belongs, and the enchanting images of this paradise of abundance. The book is printed on four different types of paper, each corresponding to a specific category of image: a warm-toned paper for images evoking the island of Atlantis and its classical Greek landscape; a thin, translucent paper referencing disappearance and oblivion, used for traces of a lost Atlantean culture; a bright white paper for images that convey a state of transition, from sinking landscapes to a man with a fish head; and a coated paper printed full-bleed for underwater imagery, to emphasise the submersion of the once-prosperous city.

• Benrido 2025
• Set of 6 collotype prints
• New

UK-based Japanese artist Ichida’s work explores the complexities of emotion by capturing the human form and sculptural objects, reflecting her own memories and life experiences. “Absentee,” featuring Ichida’s own body as the subject, evokes a sense of absence, or detachment from oneself or reality, as the word “absentee” suggests. This selection features six works from this series, published in 2022

Cased set of 6 Black and White Collotype Prints.

Print size: 20.3 x 25.4 cm

Portfolio size: 20.6 x 25.8 x 0.8 cm

Video courtesy of Benrido, Inc. 

• Loose Joints 2025
• Hardback, 1st edition, 88p
• New

Using large-format cameras and experimental darkroom techniques, The Great Room is a profoundly personal series by interdisciplinary artist Katherine Hubbard in collaboration with her mother. In 2020 — a year defined by introspection, caretaking, and the upheaval of the COVID-19 pandemic — Hubbard's mother began experiencing severe memory loss, later diagnosed as LATE, a brain disease mimicking the symptoms of Alzheimer's.

In collaboration with her mother, Hubbard transforms her family home — a space both overwhelming and deeply familiar — into a psychological landscape. These cluttered rooms  become a layered stage where her mother serves as partner in an ongoing exploration of the real and performed. Together, they create photographs that engage with daily rituals such as bathing, organising, and watching TV: compositions that blend seamlessly with unguarded intimacy. This photographic series ruptures the quotidian in an exploration of care work, memory, grief, and the entropy of loss.

Hubbard’s practice pushes against the flattening of the photographic image, critically engaging performance, sculptural elements, and the implicit power dynamics in the social contract between the photographer and her subject. This is the first time Hubbard has consistently photographed another person. Here, photography becomes more than documentation; it is an entanglement of touch and gesture; the domestic and the maternal; which confront the pain of losing the familiar essence of her mother. In addition Hubbard creates experimental body contact prints in the darkroom with her mother that trace the textures of skin and the physicality of aging. These tactile works materialise ability and the weight of time, celebrating the complexity of their relationship while questioning the roles of artist, subject, and collaborator. In The Great Room, Hubbard reimagines the home as a space where photography transforms care and the slow grief of dementia into a powerful act of presence and love.

• Nazraeli Press 2025
• Hardback, 1st edition, 76p
• New

"These pictures describe a long-ago time, and yet in looking at them I become once again the young photographer who took them on a hot summer day, sweat and dust pungent on the breeze; in the distance, I can hear the laughter of children who are now middle-aged.” — Sage Sohier, from the introductory interview by Mark Steinmetz

Easy Days is the third title in Sage Sohier’s trilogy which also includes Americans Seen and Passing Time. Made between 1978 and 1986, the 56 photographs presented in Easy Days capture the prosaic moments of ordinary people, always with respect and often with humor.

Sohier finds her subjects in the open spaces of parking lots, front yards and public streets, and in the quieter confines of modest homes, back yards and porches. She depicts “the boredom of hot summer days” with a precise attention to the surroundings, with cold drinks, propane grills, sprinklers and pets each providing small comforts and revealing the quiet tempo of the days. Sohier’s observation that “images…gain a historical perspective over time that adds to their interest,” is proven true in this collection of black and white images.

• New Heroes 2025
• Hardback, 1st edition, 112p
• New

"Saved by a Deer" is more than just a collection of photographs and words; it's a heartfelt expression crafted by Canadian photographer Chiara Zonca, serving as a love letter to the rural island she fondly calls home. Through this project, Zonca delves into the ethereal landscapes of coastal British Columbia, using them as a metaphorical gateway to self- discovery. Unlike conventional nature photography, Zonca's images transcend mere objectivity; they serve as vivid reflections of her deep emotional connection to the land, offering a glimpse into her soul. Through a captivating blend of self-portraits and meticulously captured natural elements, Zonca paints a vivid tapestry of sense of place, brought to life through vibrant colors and rich textures. 

• Journal 2025
• Hardback, 1st edition, 128p
• New

Joey Judita Abrait’s second book is about men, nature, friendship, death and life.

“On my first visit to the farm, the “Sanctuary” I was appalled and intrigued at the same time. On the one hand shabbiness, neglect around the living quarters and abandoned farmhouses nearby, on the other hand a feeling of elevation and spirituality in the air and the surrounding countryside … There were no rules except a few: to be however you like without exceeding the needs of the group, to take care of your own mess and to be part of the annual cleaning and planning weekend.”

• Journal 2025
• Hardback, 1st edition, 108p
• New

“I moved from London to Gotland, Sweden in 2019. My grandmother was 93 years old and she and I started going on regular car outings. She liked it best when I drove on old roads through the parishes.

On a cold winter’s day, when we passed the cross erected in the forest grove on the road between Endre and Dalhem, my grandmother told me about the last execution that took place there in 1863. ‘Many people had come to watch the spectacle.’ One of them was her grandmother. The man who was beheaded was a murderer, and ‘wise women’ collected his blood in vessels they had brought with them. Blood from a murderer was considered to have great powers and magical properties.

After several car journeys and many conversations, I also began to visit the National Archives regularly and read everything I could find about Gotland folklore and its healing and protective rituals. How might these cures, remedies, rituals and traditions have been like?

The COVID-19 pandemic came and went. It showed how little we actually know about disease and viruses. New and closer wars broke out and showed how unprotected we actually are. I looked further into folklore and found inspiration.”

- Jessica Lindgren-Wu

• FW: Books 2025
• Hardback, 1st edition, 306p
• New

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

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

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

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

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

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

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

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

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

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

- Siân Davey

UNSIGNED.

• Stanley Barker 2025
• Hardback, 1st edition
• New

During times of darkness and moments of deep turmoil in her personal life, Dutch photographer and mother of six, Marjolein Martinot, found herself lost, searching for a renewed sense of self. Each evening, she sought solace in nature, walking to a nearby river in the South of France with her camera in hand. There, she captured the quiet beauty of the natural world in the golden light of dusk, forming connections with the animals and families she en- countered at the river’s edges—jumping, splashing, climbing, and swinging from the trees.


What began as a ritual of aimless wandering and photographing soon became a form of visual journaling—a quiet meditation on healing and transformation. The water, ever-flowing and unpredictable, mirrored her own emotional state, while the families she met, however briefly, embodied the warmth and belonging she longed for.


Through these intimate, unguarded moments—children mid-leap, ripples catching the last light of day, trees bending towards the water, and horses galloping in the fading glow—Martinot began to piece together a new sense of self. Her photographs, though
 deeply personal, transcend autobiography, offering a universal reflection on resilience, connection, and the subtle magical beauty of the everyday.”

Out of print, last few copies.

• Setanta 2025
• Hardback, 1st edition, 128p
• New

This photographic project by Marta Bevacqua traces the evolution of a childhood dream — sparked by a novel at age twelve — into a lifelong connection with Svalbard. Between 2016 and 2024, she returned five times, always in winter, drawn to the Arctic’s stark beauty and constant transformation.

Each visit reveals a new aspect of the landscape: from the polar night to the first return of sunlight, from snowstorms to melting ice. In a place where nature sets the rhythm, nothing stays the same.

Bevacqua’s imagery blends landscape photography with symbolic elements — like a red sweater marking human presence — alongside polaroid experiments and surreal visions of the Arctic moon. Her work reflects on memory, solitude, and the fragile balance between humans and nature.

More than a fulfilled dream, Svalbard became a refuge — a place of return and reflection. A visual meditation on silence, time, and the signs nature leaves behind.

• Zen Foto  2024
• Softcover, 1st edition, 168p
• New

The photographs in Tamiko Nishimura's 2024 publication "Looking Back" were taken between 1968 and the 1970s. They range from photographs taken while Nishimura was still a student at a photography school, to explorations of Okinawa before the Reversion Agreement came into effect in 1971, to her travels in northern Japan. Her snapshots are at once historical time capsules and expressions of Nishimura's desire to see and experience. Though rooted in the snapshot tradition, Nishimura employs a diverse and engaging photographic language to capture her subjects, from flowers growing along a road to close-ups of a crying baby or a stunning shot of a couple holding hands and embracing the sunset. Throughout the book, Nishimura's photographs seem imbued with a strangely sentimental mood, as if she were looking back from a future perspective at the moment of their creation.

“I photographed every day and travelled a lot. Looking back, it was the time when I took the most pictures. Perhaps because I had been longing for the north since childhood, I often went to Tohoku, Hokkaido and Hokuriku in winter to experience the snowy season […]
In April 2024, I went to New York for the first time for my solo exhibition. I shot 12 rolls of film in one week, taking photographs in the car from the apartment I was staying in Brooklyn to the gallery in Manhattan, and walking around near the apartment.
I couldn't help but laugh as I was taking snapshots at the market in the park near my apartment, thinking that I was doing just the same, fifty years ago.”
― from Tamiko Nishimura’s afterword

• Zen Foto  2020
• Softcover, 1st edition, 156p
• New

Part two of Tamiko Nishimura’s photographic journey through 1960s-80s Japan.

Japanese photographer Tamiko Nishimura has never ceased to travel, and has never stopped documenting her journeys in photographs. Since her first photobook Shikishima in 1973, she has continued to develop her own style of snapshot photography, capturing her surroundings, her impressions as well as her personal life in brilliantly composed photographs. In this second volume of snapshots taken between 1968 and 1989, Nishimura, accompanied by her young daughter, takes us with her to Okinawa, Tohoku, Hokkaido, the Joto and Johoku areas of Tokyo, and many other regions in Japan. In each of her photographs, Nishimura manages to weave together layers of stories and moods, creating images that echo both the external as well as her internal world.

“As we walked along the seashore, we saw a solitary lady gathering seaweed on the rocks in the cold wind. She noticed us and gave us some freshly picked seaweed in a plastic bag. After arriving at our accommodation, I asked the owner to add them to our miso soup for dinner. The flavor of the sea was fragrant; I was grateful for its deliciousness.” — from Tamiko Nishimura’s afterword (included in Japanese & English translation)

• Tall Poppy 2025
• Softcover, 1st edition, 112p
• New

To Be Developed, To Be Continued is a book about changing visibility as a tween becomes a teenager, and the ever-changing relationship between mother and daughter, youth and age, who is seen and who is not. Through photographing her daughter/muse, Odette England’s images are both collaborative and playful - with the photographer and her daughter often obscuring what can be seen and how easily it can be seen.

Accompanied by England’s adaptation of text by Season Butler, the work is not trying to bottle the moment or hold onto a fleeting period, but is celebrating the changes in a person and their relationships to others and the world. Change is temporal and inevitable, and for that reason is savoured here. The design of the book mimics this, made all the more precious because it of the softness of construction and paper.

• Self 2025
• Hardback, 2nd edition, 108p
• New

Since 2020 Jackie Mulder has been working on her ongoing project 'Thought Trails'. With her unique approach to photography and mixed media art, she aims to challenge the viewer's perception of photography and push the boundaries of the medium. Her creative process always starts with a self-made photo or the combination of several photos, followed by very labour-intensive operations in which she deconstructs and reconstructs, leading to unique multi-layered works of art, mostly very tactile. She lets the thread or pen connect and separate as an abstraction for a life of memories, searching and thinking. 

2nd edition of 1000 copies.

Signed copy.

• Fw:Books 2025
• Hardback, 1st edition, 192p
• New

Heap-O-Livin’ features a selection of images by Wyoming photographer and diarist Lora Webb Nichols (1883-1962). Nichols created and collected approximately 24,000 negatives and 65 years of diaries throughout her lifetime in the town of Encampment.

In addition to the industrial and economic aspects of this sparsely populated ranching and copper mining town, Lora’s images and diaries documented the lives of the girls and women within private households.

Despite the inherent isolation created by geography, the long brutal winters, and the patriarchal ideology that undervalued the role of women in Encampment in the late 19th and early 20th century, a robust female-led community emerged that provided a network of spiritual and emotional support. This was cultivated through the habitual visitations of immediate and extended family and friends into each other’s homes during their transition from children to wives and mothers. In Nichols’ sphere, these visitations often involved the act of picture-making.

Lora photographed their duties as mothers and homemakers but also made photographs that reveal the pleasure they experienced in simply being in each other’s company.

“Heap-O-Livin’” is following the sold out book‘Encampment, Wyoming’

• Fw:Books 2025
• Softcover, 1st edition, 168p
• New

‘Black Stone Burns’ interweaves the complex stories of the communities and people whose lives have been irrevocably shaped and moulded by the global mining industry and rampant extractivism. Spanning four years, five countries, and three continents, the project starts with family stories and pictures from Olga Sokal’s hometown of Bełchatów in Poland. She continues to the lost American dreams of Appalachian coal mining towns and then investigates the United Kingdom’s fraught history with coal through an analysis of advertising and greenwashing. Finally, Sokal’s journey takes her to the vast coal mines of China and the environmental degradation caused by large-scale extraction.

• VOID 2025
• Softcover, 1st edition, 84p
• New

‘The Snow Abides’ is a personal investigation into absence, oblivion, and death, but it also explores the persistence of memory and life after death, even though the substance has changed. Seeking answers in the universal order and mysteries of the cosmos, it becomes the sole means to unveil the invisible laws that govern our microcosm — “two entities, where one is a scaled reproduction of the other, and due to their resemblance, they form an indivisible whole—an unity where the parts are in relation to the entirety”.

What happens to the memory of those who are no longer with us, to the substance of their memories? Are these fragments of living memories connected to us and somehow eternal, renewing their form through interaction with us? Can we preserve the memories of another person, becoming indirect, reflected witnesses?

Some verses by Robert Walser serve as the fil rouge, weaving through a heterogeneous collection of images: photos captured with a smartphone or expired films, serving as aide-mémoire for a personal journey; a pixelated photo of a deer taken by a friend shortly before her passing, still residing on the camera I use; the absent gaze of my mother in an old photo from my father’s film archive. In addition, images from NASA archives engage in an ongoing dialogue with illustrations by the Paracelsian physician Robert Fludd.

Limited edition of 100 copies, set of handbound booklets in a slipcase

• Setanta 2025
• Softcover, 1st edition, 48p
• New

"My photographic work begins with slowness — with looking, waiting, and allowing the image to form gradually. I’m drawn to the quiet edge of things: the way light hovers on a branch, how a shadow moves across a face, or how a single gesture can hold a sense of myth or memory. These moments are often subtle, almost invisible at first, but they stay with me until I find a way to bring them into form.

Process is not separate from meaning in my practice — it is how I come to understand what I’m seeing. I work with both analog and digital tools, often blending darkroom techniques with layered imagery. I’m interested in how light behaves through different materials, how an image can soften or distort through time, and how a photograph can hold something both tender and unresolved.

Figures, natural elements, and symbolic objects recur across my work — not to tell stories, but to create a sense of presence. I think of these images less as documents and more as emotional landscapes. They offer places to pause, to feel, to remember.

In making them, I try to stay open — to let the process guide me as much as I guide it. That openness is what I hope the viewer can feel: a moment suspended, attentive, and quietly alive."  - Sara Silks

Sara Silks is the twenty-third in an ongoing Bi-Monthly series publishing the work of emerging photographers.

The special edition also contains a 19x14.7cm signed and numbered Giclée print (one of an edition of thirty) - select from dropdown.

• Skeleton Key Press 2025
• Hardback, 1st edition. 152p
  
• NEW

In her fifth monograph, A Naturalist Guide to Magic, Norwegian photographer Anja Niemi again embodies a solitary, self-cast character. However, this time, the spotlight drifts toward the essence of nature itself. Niemi’s black-and-white photographs, set against expansive cinematic landscapes, transcend mere imagery to become a hopeful exploration of returning to the instinctual bond between humans and the natural world.

The narrative follows the fictional character, The Naturalist, on a transformative journey of discovery, initially inspired by Niemi’s experiences with a young horse, Mercury. Through lyrical imagery interspersed with Niemi’s poetic notes, the book captures the profound dialogues that can occur between different species, showcasing the magic often overlooked in everyday life. As The Naturalist navigates her adventure, she uncovers a language of connection she had forgotten, learning vital lessons about kindness, equality and the significance of listening.

A Naturalist Guide to Magic invites readers to reflect on the lessons we can learn from the natural world and its sentient beings. It serves as a gentle reminder of how far we have strayed from our instinctive connections with nature and its invaluable wisdom we often disregard. It encourages us to develop a deeper appreciation for the world around us and become more harmonious participants in the natural order.

Signed copy.

• Nazraeli Press 2025
• Hardback, 1st edition, 68p
• New

“From 2021 to 2023, I photographed around two reservoirs in the Central Valley of California experiencing a twenty-three year megadrought. The Reservoir weaves together images of the drying lakes and people seeking a leisurely day at the beach. They bring their dogs, babies and baby carriages, inner tubes, kayaks, rafts, umbrellas, coolers, and tents. As the summer progresses and the waterline recedes, families walk over a mile to reach the beach. At times, the sky is colored with smoke from nearby forest fires. The photographs in The Reservoir are part of an ongoing exploration in my work of how droughts, climate change, and ever-present anxiety collectively maps onto life in the American West.” — Mimi Plumb

It could be the last of our days, the way the water is receding, and the sun unrelenting. The reservoirs, once vast and overflowing, shrink before our eyes; the distance to reach the lapping shores growing vaster with every page. Humanity traveling that distance, what was once yards, now a mile or more. Mimi Plumb, in her new book, The Reservoir, follows the trail of people dotting the parched landscape, recording the plight, the pilgrimage, and the reward. The light is magical. The scenes are sublime. The moments are suspended. The sequence of images leads us to the water’s edge and lets us decide if we want to keep going or not.

Mimi Plumb is part of a long tradition of socially engaged photographers concerned with California and the West. She received a 2022 Guggenheim Fellowship in support of her current project, The Reservoir.

• Journal 2012
  
• Hardback, 1st edition, 124p
  
• New

• GOST 2025
• Hardback, 1st edition, 160p
• New

‘In 2012, I found a piece of material in a rock pool that changed my life. Mistaking this moving piece of cloth for seaweed, started the recovery of synthetic clothing from around the coastline of Britain for the next ten years.’
 
Photographs of British Algae: Cyanotype Imperfections is a typology of discarded clothing fragments found around the coast of the UK. A homage to the work of pioneering botanist and photographer Anna Atkins (1799-1871)—the unique cyanotype images in the book mimic different species of marine algae found in waters around Great Britain. Through the creation of this work, photographic artist Mandy Barker hopes to raise awareness of fast fashion, synthetic clothes, and the harmful effect of microfibres in the oceans.

Over the course of a decade Barker recovered over 200 ‘specimens’ of clothing from 121 beaches from locations as far north as John O’Groats in Scotland, to Land’s End in the South of England. Items ranging from jackets to dressing-up outfits, wigs and trainers, football shirts to underwear, were salvaged from beaches, rockpools and directly from the sea. The items were representative of millions of tonnes of clothes manufactured and discarded each year—sometimes without being worn at all. Every year, the fashion industry is responsible for more greenhouse gas emissions than all international flights and container ships combined.

For each alternative ‘specimen’ in the book Barker created a photogram of the clothing fragments using the cyanotype process to produce detailed Prussian blueprints. The project is inspired by the work of Victorian botanist and photographer, Anna Atkins who used cyanotypes in her groundbreaking book Photographs of British Algae: Cyanotype Impressions (1843) to produce detailed depictions of botanical specimens. By combining art and science, Atkin’s work illustrated the potential of photography and changed how people looked at science in the 1800s.

‘Seeing the potential to re-create new work in a similar way, I realised I could engage how people view science today, and in connection with the present-day consequences of climate change.’

To coincide with the 180th anniversary of Atkin’s book, Barker painstakingly created a replica of the original publication with 202 illustrations, each with the botanical specimen substituted with found garments or fibres. The publication Photographs of British Algae: Cyanotype Imperfections is a carefully edited version of this replica project and begins with outer garments of clothing, such as a waterproof and parka coat, ending with inner garments of underwear worn closest to the skin.

Signed copy.

• Important Flowers / Mack 2025
  
• Hardback, 1st edition, 88p
  
• New

For her first feature film, The Virgin Suicides, Sofia Coppola commissioned British fashion photographer Corinne Day to join her on set. Renowned for her unadorned, grungy photographs of iconic models of the 1990s, Day’s representation of female beauty met its match in Coppola, whose debut marked the first of her unaffected, empathetic depictions of womanhood. Edited from Day’s original negatives, this volume, which launches alongside The Virgin Suicides'twenty-fifth anniversary, gives mesmerising and unprecedented insight into Coppola’s enigmatic staging of the Lisbon sisters and their suburban trappings.  

In Day’s photographs, the lush mystique of Coppola’s set runs through images of the young actors at work and between takes, their candid posturing and pensive expressions reflecting the intimate and collaborative environment of the shoot. Fragments of the set and costume design appear suggestively – crucifixes, pink lace bras, homecoming dresses, beauty products, and toffee apples – all playing their part in Coppola’s depiction of the yearning and repression of adolescence. Completed with new texts by Sofia Coppola and Jeffrey Eugenides, this volume opens a fascinating dialogue between Eugenides’s original text and Coppola’s cult adaptation.

• Witty Books 2025
  
• Softcover, 1st edition, 168p
  
• New

The Line of Water explores memory as a shifting, fluid entity, where trauma is not just a wound but a catalyst for transformation. Through a poetic and metaphysical reflection on transience and loss, the project examines how the territory—both physical and emotional—absorbs, reshapes, and transmits traces of the past, generating new languages of remembrance and creation.

Sara Palmieri, a visual artist working primarily with photography, investigates the material and symbolic potential of images. Her practice extends into sculpture and performance, using experimental processes to explore how territory and personal narratives shape collective memory, questioning the ways in which images construct and deconstruct reality.

Inspired by the Polesine flood of 1951—the most devastating in Italian history—the project considers the territory as an archive of memory, where water, earth, and inherited stories act as living agents of transmission. The image itself becomes a perceptive surface where opposites merge: visible and invisible, past and present, submerged and emerged. The book-object, curated by Fiorenza Pinna, expands this exploration into a spatial, visual, and tactile experience. The material shifts, transparencies, and overlays disrupt the reading flow, mirroring the instability of history and perception. In this interplay between image and matter, the book itself becomes a territory of creation, where memory takes on new forms and new languages emerge from the fractures of the past.

• Deadbeat Club 2024
• Hardback, 1st edition. 146p
  
• New

Magdalena Wywrot’s Pestka is a gravity-defying, through-the-looking-glass portrait of the life of a mother and her adolescent daughter, a series of time-lapse dispatches seemingly beamed from a hermetic space station suspended high above a planet (and Krakow, Poland) where time is literally standing still. The world outside the windows of Wywrot’s space station/apartment looks both distant and desolate and incredibly beautiful, almost devoid of a human presence. Yet the mother continues to take photos, while the daughter goes about her life and grows up before our eyes. A sort of rapture appears to have taken place outside, while an intimate metamorphosis (and an intimate surveillance) is slowly going on inside. A dreamlike sense of unsettling dislocation pervades the entire work. That sense will likely be familiar to anyone who has lived with a child and experienced firsthand the endless and startling transformations that occur—day by day and year by year—as a child grows into adulthood.

There is a fishbowl quality to Wywrot’s photos, which shapeshift, mercury-like, between Expressionism, Impressionism, and abstraction. The portraits are tender, mysterious, full of sparks of wonder and ecstasy, while the landscapes are disorienting, forbidding, vaguely apocalyptic, and often sublime. You have a sense of an unmistakable consciousness in the work, yet you’re never quite certain where you are, and there’s a moment somewhere in the book when you suddenly feel as if some giant, ambiguous lifeforce or spirit is lurking in the murky streets below, waiting for Wywrot to complete her work and turn her daughter loose on the planet.

Unsigned.

• IIKKI 2024
• Hardback, 1st edition
• New

Irene Zottola is a Spanish photographer and visual artist who explores the limits of analog photography to generate a world of dreamlike and poetic character, often accompanying her images with text. As an educator, she uses photography as a tool for social intervention with vulnerable groups.

Lejos de la Tierra is the second book by the Spanish photographer, and accompanies music by the Danish musician and artist øjeRum, a colloboration initiated by IIKKI between June 2024 and November 2024. A download code for the music is included wth the book.

• Nazraeli Press 2025
• Hardback, 1st trade edition. 
• New

Nazraeli Press first published Americans Seen in 2017, as part of their limited-edition NZ Library series. This remastered trade edition makes this extraordinary body of work available to a larger audience.

The photographs in Americans Seen were made between 1979 and 1986, when Sage Sohier was a young photographer living in Boston. As Sohier writes in her introduction, “In that pre-digital and less paranoid era, families — and especially children and teenagers — used to hang out in their neighborhoods. A kind of theater of the streets emerged from the boredom of hot summer days and it was a great time to photograph people outside. Undoubtedly my own childhood afternoons, often spent in my neighbor’s basement creating theatrical productions with the four kids who lived there, helped to form my vision of the play of children as a kind of rite or performance. That our audience was comprised of our dogs never discouraged us.”

Over the next seven years, Sohier made portraits of people living in Boston’s many working class and ethnic neighborhoods, as well as in the towns she visited each summer during her annual road trips: one through small town Pennsylvania via dilapidated Newburgh, New York, another to mining areas in rural West Virginia, and once to Mormon enclaves in Utah and Idaho. During long Boston winters, Sohier would head south and photograph in the citrus-producing regions of inland Florida, or through the Florida panhandle to New Orleans and Cajun country.

• Loose Joints 2021
• Softcover, 1st edition
• used - good see below

For nearly two decades, Lichtenstein has worked in varied subgenres within photography’s historical archetypes: marginalized contemporary landscapes, refracted still life, performance-based portraiture and process-oriented abstraction. In Recorder, Lichtenstein embarks on an ambitious three-part series of images that recycle and reorient themselves within the limits of technology and photographic vision. 

Every image in Lichtenstein’s layered artist book departs from a singular work: Welcome Water, where Lichtenstein collaborated with J. Stoner Blackwell to make flatbed scans of the artist’s delicate sculptures derived from disposable carrier bags, which were then cut out and stitched into a sprawling sculptural floorpiece. Meditating on the waste and burdensome environmental significance of these single-use plastic objects, Lichtenstein accumulated and activated the detritus of Welcome Water, using the negative cutouts and test-prints of the work to recycle them into new photographic forms.

The results are three series that are both distinct and inseparably intertwined: Holes, a series of black-and-white images reworking Blackwell’s delicate laser-cut interventions to the carrier bags; Grounds, a physical layering of leftover cutout shapes, pinned and affixed, leaving a gaping void at the photographic centre; and finally, Untitled, Lichtenstein’s boldest foray into abstraction, where her source materials were repeatedly printed and scanned, sometimes up to thirty times, to create a giddying and vertiginous collaboration with the entropy of print technology. These works are layered with ink, program errors, exaggerations and obfuscations, eventually liberating her source material into pure free-form visual abstraction.

Lichtenstein creates images that are at once challenging and seductive, setting forth a chain reaction of feedback loops in which pictorial space is filled and mutated through collaboration with and against the limits of imaging technologies. Recorder contains profound depths and coalescent shapes that never fully resolve themselves, but within this profundity a clear thread can be drawn, connecting the push-and-pull of photography’s tendency to both record and obscure, with a meditation on waste, consumption, and the environmental changes set loose by the anthropocene. 

With limited 8×10" print (unsigned) of an exclusive unpublished work by the artist. Giclée print on Hahnemühle Rag.

Used copy - Book has light wear to edges/corners.

• Libraryman 2024
• Hardback, 1st edition, 96p
• New

This is a story of three houses, three women and three bedrooms. The houses are located on the same street.

At my parents house I have a separate bedroom with a big cupboard.
At my grandmother’s house, I share the bed with her.
At the neighbors there are two rooms: one big and one small. Sometimes we sleep in the same bed.

I have a recurring dream: I can’t clean up my room at my parents house, nor can I find my clothes. They must be in one of the three bedrooms.

- Katrien De Blauwer (b. 1969, Belgian)

• “It is like walking past a house you used to live in: the fact that it still exists, so concrete, makes everything that has happened since seem somehow insubstantial.”

• Rachel Cusk, excerpt from Outline

The book contains a text written by musician and singer Shirley Manson (b. 1966, Scottish).

• VOID 2024
• Hardback, 1st edition, 96p
• New

• VOID 2024
• Softcover, 1st edition, 160p
• New