Photobooks by Women

• Tall Poppy Press 2026
  
• Hardback, 1st edition, 100p
  
• New

Distant Calls in Fading Light is Christine Ward's debut monograph. Weaving together years of her practice across Australia, Norway and the world, the book is structured like a fairy tale - the viewer leaves home, falls into somewhat of a new world. Equally inspiring and intimidating, this is a deliberately moody collection of photographs that aim to showcase the common threads across Christine's work: appreciation of nature, a celebration of the more intense parts of the world, and an asthetic that is as unique as it is compelling.

• Little More 2022
• Softcover, 1st edition, 104p
• New

Published on the occasion of a large-scale solo exhibition in Sakiko Nomura’s hometown of Shimonoseki, this photobook features older as well as completely new photographs by one of Japan’s most distinguished female photographers. A former assistant to Nobuyoshi Araki, Nomura is known for pictures which glow with strength and intensity and are rooted in stillness and delicacy. Whether she portrays withering flowers, shifting fabrics, flashes of skin, palpable absences, or heavy gazes, Nomura’s images play with longing, eroticism, and allusions. With its generous selection of works from her entire 30-year career, Blue Water captures the essence of Nomura’s photography.

• Benrido 2026
• Set of 6 collotype prints
• New

Chieko Shiraishi is a photographer whose work focuses on the primal landscapes of everyday memories. Her signature work, “SHIMAKAGE (Island Shadow),” is a series of monochrome prints featuring island and seaside landscapes from around Japan. This latest portfolio marks the second installment, following the highly acclaimed 2023 edition. Created using a technique that manually adjusts the tonal balance directly on photographic paper, the works have a fairly dark tone, making it difficult to distinguish between day and night, the present or a generation ago. The images stand as faint silhouettes against a hazy background.

Signed to the inside of the portfolio case.

Set of 6 black and white collotype prints printed by Benrido, Inc.

Print Size: 25.4 x 20.3cm. Case Size: 20.6 x 25.8 x 0.8cm


In the 1880s, the collotype printing process was introduced to Kyoto and in 1905 Benrido began producing collotypes. Collotype is one of the earliest forms of printing techniques and was invented in France in 1855 by Alphonse Poitevin as a method for photographic fine art printing.  Due to the high level of print and archival quality, it has since been used primarily as a way to reproduce and preserve Japan’s National Treasures and cultural properties. Today Benrido Collotype Atelier remains as one of only a few studios left in the world capable of producing fine colour collotype prints.

Video courtesy of the publisher.

• Origini Edizioni 2026
• Softcover, 1st edition. 73p
• New 

In Juno, Louise Honée translates her immediate natural surroundings into an inner landscape. She explores the fleeting beauty in the passing of time by slowly capturing moments where emotion and landscape converge. Guided by the cyclical rhythm of the seasons, Juno becomes a reflection on memory, transience, and the gentle promise of new life. In this poetic contemplation, her feminine presence- like a mother, a lover, a young girl and a woman at the same time, as goddess Juno was- intertwines as a reminder that everything moves, fades, and begins anew.

1st edition of 250 handmade numbered copies.

Video courtesy the publisher.

• TBW 2025
  
• Softcover, 1st edition, 66p
  
• NEW

In 1970, while a student at the Harvard Graduate School of Education, Susan Meiselas was living in a boarding house at 44 Irving Street in Cambridge, Massachusetts. What began as a class project evolved into a deeply empathetic portrait of community domestic life. Meiselas photographed her neighbors in the building—many of them strangers—inside their rooms, initiating a collaborative exchange by sharing contact sheets and inviting written responses. These reflections appear alongside the photographs, offering insight into how her subjects saw themselves. 

Boarding houses like 44 Irving Street were transitional spaces, yet Meiselas found individuality and self-expression in each room. Her portraits—full of personal detail and visual texture—reveal a rich inner life often hidden in shared housing. The handwritten letters act as a kind of written punctum, a counterpoint to the image that pierces the surface with honesty and introspection. 

This early body of work helped shape Meiselas’s enduring approach to photography as a form of connection and dialogue. “It wasn’t about the formalism of photography,” she notes. “It was about the narrative and the connectivity.” 

44 Irving Street, 1970–1971 marks the first time this complete series has been published in book form.

• VOID 2026
• Hardback, 1st edition, 176p
• New

‘Genocídio do Yanomami’ (Yanomami Genocide) brings together previously unpublished photographs made between 1971 and 1989 by artist Claudia Andujar. The photographs were made among the Indigenous Yanomami people who live in the remote forest of the Orinoco River basin in southern Venezuela and the northernmost reaches of the Amazon River basin in northern Brazil.

Andujar’s work ‘Yanomami Genocide: Death of Brazil’ was first presented in April 1989 at the São Paulo Museum of Art (MASP) as an installation with colour slides projected onto plastic screens and mirrors. The photographs were originally black and white, and the artist’s re-illumination of the images reshaped their meaning, instilling urgency for that moment and the years that followed. Andujar’s aim was to raise awareness of the situation faced by the Yanomami, who at the time suffered from disease brought to their land by illegal gold miners. In this new book, Andujar has again recontextualised the images, bringing them into the present and reshaping their meaning for dissemination to a contemporary audience, as the Yanomami remain in peril.

The photographs in the book show both the Yanomami and the landscape they inhabit. They were created with a variety of experimental techniques to visually represent the shamanic culture. They are often high contrast with dramatic light and shadow, distorted, cropped, imbued with a sense of movement, menace, and the otherworldly. The images of people focus on fragments of bodies or close-cropped portraits, hinting at intimacy and the psychological.

Alongside her artistic practice, Andujar co-founded in 1978 the Pro-Yanomami Commission (CCPY), which denounced the devastation caused by illegal miners, supported health programmes, and campaigned for the demarcation of Yanomami land. Working closely with leaders such as Davi Kopenawa, this effort culminated, after 14 years of campaigning, in the official recognition of the Yanomami Indigenous Territory in 1992. Today, in addition to the illegal miners established on Yanomami land, Indigenous populations continue to be affected by the policies of governments that have normalised genocide.

‘Genocídio do Yanomami’ (Yanomami Genocide) was developed in close collaboration with Andujar’s gallery, Galeria Vermelho, in São Paulo, Brazil.

Edition of 750 copies, hardcover with french folds.

• Skeleton Key Press 2026
  
• Hardback, 1st edition, 136p
  
• New

As We Speak, the third book by Maura Sullivan, is an intimate conversation between her and her subjects. Characterized by their analog grain, the images create an atmospheric narrative that transports viewers to a world where stories unfold with each page turn.

These photographs were born in small apartments, on rooftops, in the streets during travels, and in hidden escapes where Sullivan and her subjects sought to connect. Begging and borrowing light and time, the photographer and the subject made these images that offer a window into dreams, the past, and the unspoken. In these stolen moments lives a freedom and soulfulness that resonates within us all.

How do we speak if we have no adequate language? These frames invite us to step into places, to gaze into faces, and to become part of a conversation beyond words. By some alchemy, these images hold our unexpressed emotions. We gaze upon that which eludes thoughts and language, revealing hidden layers of human connection and the voices of those we’ve lost.

As We Speak can be seen as a kindred companion to Sullivan’s out-of-print first book, Things We Remember (Skeleton Key Press, 2021). This new, mysterious, and elegant collection of visual storytelling invites readers to explore the intricacies of what is known and what is yet to be discovered. It is for anyone seeking to connect with the nuances of human experience, where each image speaks volumes beyond the limits of language.

• 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.

• Aterlier EXB 2025
  
• Softcover, 1st edition, 240p
  
• New

The first woman to receive the Robert Capa Gold Medal, which recognizes a reporter for their courage and independence, Catherine Leroy was one of the few female photographers to cover the Vietnam War between 1966 and 1968. She was just 21 years old when she flew to Saigon with a one-way ticket, carrying only a Leica camera and a hundred dollars. The young woman quickly befriended American soldiers and shared their daily lives—they belonged to the same generation. For three years, she covered the conflict close to the action. She followed patrols on missions, sharing the soldiers' rations and makeshift sleeping quarters.

Her tight framing and close proximity to the Marines capture the faces and bodies caught up in the turmoil of gunfire. In the heat and mud of the Vietnamese jungle, Catherine Leroy captures moments of courage, fear, and tension, but also friendship, solidarity, and the distress of young men struck down by the violence of the battlefield. Her lens captures the ferocity of the fighting, the despair of the Vietnamese people, and the devastation on both sides of the conflict. Taken prisoner in Hué by North Vietnamese soldiers during the Tet Offensive, she produced an exceptional report and made the cover of Life magazine. Her photographs were seen around the world.

The only civilian woman to parachute with the US Army, Leroy paved the way for her fellow female war reporters. Her images, published in prestigious international magazines, bear witness to the sharpness of a unique photographic eye: that of one of the very first women to be involved in combat in a predominantly male professional world. Her audacity, curiosity, and keen eye give her photographs extraordinary visual power. This book, which includes Catherine Leroy's correspondence with her parents from 1966 to 1968, reveals the emergence of a young photojournalist and recounts her journey of discovery: a life combining political, social, and feminist commitment.

• 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.

• 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.

• EXB 2018
  
• Hardback, 1st edition, 328p
  
• New
  

English edition of this sold out title.

• Zen Foto 2014
• Softcover, 1st edition. 84p
• New

Rumando is in a room, standing staring into a mirror. But this mirror is enchanted. It not only reflects reality, but also retrieves lost memories, indeed memories of Rumando herself. It opens up a path into a strange world. Anxiety and fear, dark desire and pleasure, decadence and madness, and then death and the void are revealed and magnified by this mirror. Rumando lies under a curse of memory and fate, as tendrils of darkness suffocate her body and soul. She disintegrates under the pull of a magnetic field emanating from the alien world in the enchanted mirror.

Edition of 500 copies, long out of print.

Sealed copy.

• 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

• 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

Display copy with faint bend to corner and light marking to cover.  See photos.

• 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.

• 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

• Origini Edizioni 2025
• Softcover, 2nd edition, 80p
• New

This is a corpus of images that explores the definition and origin of the poetic landscape as it relates to memory and the passage of time. The geography of the place becomes a depiction of a peculiar natural beauty that emerges as a recollection rather than a faithful representation of its physical form. The natural world is transformed into a set of symbolic portraits that reflect the emotional connection to various pasts, the senses, the complexities, the nostalgic and invisible stories woven into the humane.

The creation of a new context is proposed inside the book by incorporating poems by the Greek poet Dimitris Leontzakos. The poems do not impose a way to interpret the pictures nor the pictures define the form and the content of the poems. Instead, a multilayered flow of poetry appears to co-exist. The relationship created by the poems and the images transforms that context into a completely new and organic, a non-linear narrative.

Handmade numbered and signed 2nd edition of 100 copies.

• 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.