"Life is not the opposite of death, but a continuum. Evolutionary nature is an engine of mystery- of things we do not and cannot know. Every step is simultaneously an act of destruction and of creation, of life. There is consolation in the fact that we are always living in the ruins of what went before”
- Ben Rawlence, The Treeline
Handmade edition of 250 signed and numbered copies.
American photographer Jim Mangan began The Crick as a photographic survey of the unorthodox architecture of Fundamentalist Church of Jesus Christ of Latter-Day Saints (FLDS) houses in the Utah-Arizona border town of Short Creek. He soon found that the bigger story lay in a group of teenage boys navigating their disintegrating community, fractured after leader Warren Jeffs was imprisoned in 2011. These subjects were children at the time of the fallout, who remained with their families in Short Creek as others elected to leave the town altogether.
The Crick is a meditation on religious succession, patriarchal systems, zealotry and fraternity in the life built by these young men. Mangan’s pictures transport the reader into an alternate reality of the boys’ making: where they explore the rugged terrain of southern Utah, northern Arizona and southern Nevada on horseback, emulating old-time explorers of the Western frontier. His “ecological and sociological approach” to this series, spanning five years, depicts the playfulness of youth against the capricious landscape of the American West. In both their real and imaginary worlds, these subjects have gained a knowledge of and closeness to nature that has largely been lost in the conventions of modern life.
55 tritone plates, 13 four colour plates printed on uncoated paper with gilded edge in gold and a synthetic leather wrapped hardcover with embossed detail.
The British photographer Michael Kenna, known for his detailed monochrome landscape photographs, has been visiting Hokkaido every year to photograph things invisible to the eye—memories, traces left behind by now-gone people, captured in the snow covering the land, in unnamed trees, fences, stakes and other motifs.
This portfolio consists of a selection of seven photographs shot in 2020. It is the first time Kenna’s works have been printed in collotype, lending a new layer of wabi-sabi to his work. Set of 7 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
Signed to the black case in silver pen by Michael Kenna (prints are unsigned)
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.
Chieko Shiraishi’s 'Shimakage' is literally translated as ‘Island Shadow’ and this work brings together varying images taken from Japan’s surrounding islands and coastal areas. These images are an old retouching technique known as ‘Zokin-gake’ which was previously popular amongst amateur photographers in Japan during the 1920s and 30s. As a result, the images beautifully evoke a faded memory, the landscapes appear and disappear within the image from the photographers own memory, standing as faint silhouettes against the backdrop of an obscured memory.
Set of 6 Black & White Collotype Prints. Print size: 20.3 x 25.4 cm. Portfolio case size: 20.6 x 25.8 x 0.8 cm
An intimate story reflecting on Ukrainian and Odesan culture through the prism of food and family, that is intrinsically a self-portrait of someone wrecked by childhood traumas. Through a period spent in close quarters with her parents in Odesa, photography became a means for Alex to communicate and connect with her mum and dad during a difficult time in their lives. She took pictures day-to-day, at home and in the street markets, while also creating a utopian universe through her lens — where life is beautiful and her parents become their dream selves in front of the camera. Meat, Fish & Aubergine Caviar embraces the complexity of family dynamics through mutual experience and visceral revelations.
Alex’s mum Yevheniia shares three of her most infamously delicious recipes, in detail, and the book’s wire-bound format is inspired by community-made cookbooks that are meant to be shared amongst friends and neighbours.
“Recently, Château Palmer gave me a chance to visit the domain, to meet the winemakers and to appreciate its geographical location along the fertile banks of the Garonne. To taste, literally as well as figuratively, the philosophy and the heritage of the Chateau: the circular development of these magnificent wines. I was very impressed by the site, the people, the soil, the animals, the culture, and the dedication. I propose a poetic interpretation of these elements, like a composer translating feelings into notes or a winemaker interpreting what nature gives us. On the spot, I intend to keep my senses awake. I am convinced that the work must impose itself. By straining my ear to the ‘spirit of the place’, by learning what this earth wants from me.” - Paul Cupido
Séléné is the Greek goddess of the Moon in Greek mythology. It is often associated with beauty, purity and cosmic order. Ancient paintings often represent her as a young woman holding a torch or a crescent moon.
Edition of 800 signed and numbered copies. Text in English and French.
Garry Winogrand is known primarily for his spontaneous and energetic street photography in black-and-white. What is lesser known is that Winogrand also shot more than 45,000 color slides between the early 1950s and late 1960s. These photographs were often taken between assignments, when the photographer, working on his own, developed and refined an approach to his medium that was increasingly open, independent, and radical. He routinely photographed with two cameras strapped around his neck, one loaded with color film, the other with black and white.
Winogrand Color presents 150 photographs selected from the archives at the Center for Creative Photography by the American film director, Michael Almereyda and former Museum of Modern Art curator, Susan Kismaric. It is the first monograph dedicated to the artist's rarely seen color work.
In stock now.
Note to customers: In our experience the folded nature of the dustjacket of this book results in a tendency to get small creases/folds in the dustjacket unless you are very careful when viewing the book.
With Mi’raj (Arabic for “ladder” or “ascension”), his first full length monograph with TIS books, J Carrier builds upon ideas explored in his book Elementary Calculus (MACK, 2012): notions of distance and destination, of hope and providence. He also scrutinizes more recent preoccupations: faith, futility, and the possibility of transcendence. Working over several years, Carrier chose to survey the Old City, East and West Jerusalem, and other areas in the West Bank, engaging directly with the real and tangible artifacts of thousands of years of history and belief. Using an iterative and recursive process, Carrier’s result is a deft photographic landscape woven from the fragments of parallel and divergent realities.
Following the death of her grandmother, artist Elena Helfrecht embarked on a photographic journey through her family’s estate in Bavaria. Employing the interiors, objects and archives, she began to explore the ideas of inherited trauma and postmemory—the relationship following generations have to the traumas of those who came before.
In her black and white photographs, Helfrecht uses the house and its contents to stage an allegorical play. The interiors and still lifes, which at first glance appear to show mundane objects and scenes, become increasingly unsettling: stalactite-like deposits drip sideways from walls, dark chasms open up beneath the floor boards, a snake coils around a dolls’ house and chairs hang from the beams. As the narrative progresses, motifs of eggs, birds and fleshy growths (a nod to the title, ‘Plexus’—a network of nerves or vessels) are interwoven with archival family photographs, hinting at links and connections between inscrutable symbols, people and places.
Helfrecht’s images symbolically allude to the unreal and imaginary creeping into recollections of personal and cultural histories. Confronting a past spanning four generations, ‘Plexus’ represents through photographs the intersecting and reverberating echoes of mental health, war and history.
The book features a short story by Camilla Grudova, who was named on the Granta Best of Young British Novelists list 2023. Grudova’s piece ‘The House Surgeon’ revolves around a disturbing growth that silently develops under the floorboards of a family home, drawing further upon the themes of inherited trauma presented through Helfrecht’s photographs.
With the publication of his serialized photo-essay Hikari to Kage (Light and Shadow) in the first issues of the magazine, Shashin Jidai, Daido Moriyama announced his return to photography after nearly a decade. Moriyama had been mired in an acute creative slump from his mid thirties, since the publication of his seminal book, Shashin yo Sayonara (Farewell Photography) in 1972. Unable to take nearly any photos for a prolonged period, he turned to illicit drugs, ultimately wasting away to little more than 40 kgs before he hit physical and emotional rock bottom. Lured back by Akira Hasegawa, Shashin Jidai’s editor, he was invited to contribute photographs for each issue. This began a long relationship between Moriyama and Shashin Jidai. He would ultimately make a total of six serialized essays that appeared through sixty-three issues (in every issue but one) until its’ demise in April 1988. During this period Moriyama worked almost exclusively for Shasin Jidai and was given a free hand to explore and experiment and in the process evolved a new aesthetic that still informs his photography today. Tragically, more than eighty percent of his negatives were lost from this pivotal body of work. In Daido Moriyama Shashin Jidai 1981–1988 the complete run of essays or chapters that appeared concurrently in Shashin Jidai are brought together for the first time, representing the only way to appreciate them without acquiring the original magazines themselves. Each complete essay is reproduced alongside a selected portfolio of images and written essays by Moriyama from each chapter as they appeared in the original magazines. Text appears in Japanese with English translation.
In over 400 pages it provides access to a pivotal period in the evolution of one of the most revered and influential photographers of the twentieth century, as yet undocumented in book-form.
Accompanying there is a short essay “The Photo Age: Daido Moriyama and Shashin Jidai” by Kotaro Iizawa. Translation throughout by Daniel González, Essays by Daido Moriyama, Text by Kotaro Iizawa, Design by Geoff Han, Editing by David Strettell and Miwa Susuda.
In anywhere but here, Alison McCauley expresses the restless feeling that has haunted her throughout her life: that the place she is in isn’t where she should be, and a conviction that the next place will be better. Taken from 2008-present, these images—taken in various locations around the world—are a deeply personal reflection of the artist’s emotions, photography being a cathartic means of coming to terms with her constant desire to move. As someone who has always led a semi-nomadic lifestyle, McCauley seeks to explore the idea of not belonging. Though she feels like she is supposed to belong somewhere, McCauley doesn't want to, as she recognises that it is the wonder of this belonging that is the impetus behind her work.
Devoid of geographical and temporal reference points, the images are figuratively and literally blurred to emphasise that this is not about a location or time, but rather a state of mind. For the viewer the series takes on a narrative of its own, unfolding like a dream sequence: a body submerged in water, a flurry of balloons released into the open sky, city lights streaming through a hotel room, and fleeting scenes captured from a car window. Just as she is drawn to movement, it is these liminal spaces that the artist gravitates towards – the chaos, the stillness, and the magic in between. “The work comes from reality, but it’s a reality that’s distorted by subjectivity,” says McCauley. “It’s an expression of my state of mind during these restless off-moments.”
Special edition of 25 signed copies, with a signed and numbered A4 print on Hahnemühle William Turner textured paper. See the alternative special editions available here.
Extra special edition, print made in November 2023, books signed on press in 2021.
In 1972, Melinda Blauvelt traveled to the small Acadian fishing village of Brantville, New Brunswick on Canada's Eastern coast. She lived with a fisherman and his family, ran a day camp, and made a series of remarkable, compassionate portraits of the Acadian community that summer and on three subsequent visits from 1972 to 1974. Her photographs are now published as a series for the first time.
Melinda Blauvelt was in the first class of women at Yale and then the first woman in Yale's MFA photography program where Walker Evans became her mentor. Blauvelt would later teach at Harvard and at the University of Virginia where she established the photography program. Her pictures are held by major museums throughout the United States. She lives today in a small village on the coast of Rhode Island.
“I bought a used Deardorff 4x5 camera and spent the summer making photographs in Brantville, where I lived with fisherman Ulysse Thibodeau, his wife Jeannette and their three young children. Weekdays were spent with the campers making puppets and performing “Le Corbeau et Le Renard”, playing Capture the Flag and Croquet. Weekends, Ulysse and Jeannette took us fishing for mackerel, to the beach and included us in family dinners, bingo, picnics, and birthday parties. Whenever I set up my Deardorff, the Thibodeaus, their extended family and other Brantville friends were my enthusiastic collaborators.” - Melinda Blauvelt
The images in Bill Henson’s cinematic new book The Liquid Night, derive from work the highly acclaimed artist shot on 35mm colour negative film in New York City in 1989. They present a kaleidoscopic, nocturnal journey through the frenetic, neon-lit streets of a long-lost America.
Click farms are shadowy operations that are responsible for artificially inflating the engagement metrics of content on social media, manipulating the algorithms with serious consequences – from influencing consumer behaviour to compromising the integrity of democratic processes.
Jack Latham’s audacious project seeks to expose the inner workings of click farms for the very first time. By juxtaposing the captivating with the covert, he challenges our perception of the digital landscape and urges us to question the authenticity of the content we encounter daily.
Edition of 750 copies. 134 pages with 20 fold outs. 4 different dustjackets, assigned at random.
Book of the Road celebrates the 50th anniversary of Daniel Meadows’ pioneering 1970s documentary project Free Photographic Omnibus. Driving over 10,000 miles in a double-decker bus, the wild-haired young Meadows spent 14 months mapping the length and breadth of England, photographing 958 people and offering a free print to each of his subjects. Along the way, amongst countless breakdowns, parking tickets and random acts of kindness, he had chance encounters with the likes of Led Zeppelin’s Robert Plant. Meadows’ determination allowed him to assemble all this material into a cartographic census of an evolving nation.
“This country is changing quickly… we might soon forget those interesting relics of the past that are disappearing under the redevelopment of the future.” This future is now here, and Meadows’ pictures remain as relevant as ever. Book of the Road cements the Free Photographic Omnibus as an essential document of 1970s England – an urgent and timeless visual record.
Just 21 years old when he set up the Free Photographic Omnibus, Daniel Meadows is now one of Britain’s greatest documentary photographers. He worked mostly on instinct, and many of his DIY techniques anticipate documentary media’s progress in the following decades. He remembers sewing a tape recorder into an old tweed jacket so that he could photograph while also capturing audio. The original bus – a low-bridge decker from Barton Transport – cost him just £360. Meadows’ subjects collected their free portraits the following day, after he had spent many restless hours developing film and printing in the bus’ makeshift darkroom.
Book of the Road gives readers the stories behind the photographs, from battles with angry parking attendants, nights of acute loneliness and moments of joy. This mix of images, diary entries and audio transcripts offers a unique commentary into the 1970s social climate – as well as Meadows’ mindset during the project. In Southampton in 1974 he met Florence, a part-time cleaner who he remained close with for five decades, eventually speaking at her funeral. “It was one of the great privileges of my life,” Meadows recalls.
The book offers a survey of English life when modernisation was seeping into everyday values and communities. Cobbled streets in tight-knit parishes and bustling city centres accompany familiar green pastures, but Meadows also takes us behind the curtain at marble competitions, circuses and beauty contests. Throughout, his subjects of all ages and social classes stand proudly for the camera, unaware that they were to become part of history.
Archive is the first book by Sofia Coppola, covering the entirety of her singular and influential career in film. Constructed from Coppola’s personal collection of photographs and ephemera, including early development work, reference collages, influences, annotated scripts, and unseen behind-the-scenes documentation, it offers a detailed account of all eight of her films to date. Mapping a course from The Virgin Suicides (1999), through Lost in Translation (2003) and Marie Antoinette (2006), to The Beguiled (2017) and her upcoming feature Priscilla (fall 2023), exploring Priscilla Presley’s early years at Graceland, this luxurious volume reflects on one of the defining and most unmistakable cinematic oeuvres of the twenty-first century.
An art book personally edited and annotated throughout by Coppola, Archive offers an intimate encounter with her methods, references, and collaborators and an unprecedented insight into her working processes. Accompanying the highly personal images and texts from Coppola’s archive is an extended interview with renowned film journalist Lynn Hirschberg discussing the remarkable oeuvre they reflect.
“Fashion” is a concept that represents what is trending at the moment. Paul Kooiker’s fashion photography, on the other hand, is characterised by its timelessness. The artist portrays the biggest fashion brands and today’s most famous faces, but transports them to a world of their own. Disconnected from time and place, his surreal images feel like film stills with stories we can only guess.
His photography transcends classic gender roles: his models adopt unusual poses and their faces are often left out of frame, obscuring their identity. At times, it is not even clear whether the subject is human or a doll. In order to capture the extravagance of luxury objects, Kooiker magnifies its means of presentation, like for example mannequins and displays, to such a degree that it is ultimately our desire itself that is captured by his camera.
Over the span of 10 chapters, he endeavors to articulate his perspective on fashion. This commissioned work, bearing the same title, was showcased prominently in a solo exhibition at the Museum Folkwang Essen in 2021 and at Foam Amsterdam in 2022.
Hyperborea presents unforgettable visual tales of life in the Siberian Arctic that photographer Evgenia Arbugaeva knew when she was growing up in Tiksi, a town on the shore of the Laptev Sea in the Republic of Yakutia. Her work discloses both the fragility and beautiful desolation of the land and those who inhabit it, and her rigorously composed photographs glow with rich otherworldly colour, bristle with the raw vibrancy of the climate and exhibit the quiet intensity of lives borne out in seclusion and extremes.
This beautifully produced photobook contains a decade of work, with photographs selected from across the full range of Arbugaeva’s series and extensive travels across the Russian Arctic coast and to connect with people living in these remote and inhospitable places. The photographs that she brings back from her long-term visits convey a world where everything seems connected: humans and nature, the sky and the land. An elemental space of deep solitude and slower pace of life. Her images invite us to contemplate a territory that has been a place of longing and imagination for many, which is now under existential threat from a multitude of environmental changes.
With an introduction by Piers Vitebsky, four texts by Arbugaeva to supplement the images, and a specially commissioned map to provide a sense of where Arbugaeva’s work is located, Hyperborea is a future collectible for all photobook fans and an introduction to a global audience of a very special talent in the world of photography.
In 2021, Irina Rozovsky and Mark Steinmetz were invited to take part in two photographic projects in Italy, one in Castelfranco Veneto (the Veneto region) and the other in Lecce (Puglia). The subject intended to drive the work was ‘nature’; a word with so many variations of meaning in the context of today’s diversified, fragmented landscape, which constantly reflects our lives as well as condition the way that we observe reality.
This book compiles a selection of the artists’ photographs of these two Italian regions so far apart from one another. These are places where nature reveals itself through different forms of expression and where the relationship between body and space, captured in a combination of light and shade, seems to take on an inconsistent and sometimes absolute value.
Insieme (together) tells of a photographic experience in Italy that was composed in the form of an intimate, personal diary. With the artists’ dual gaze gently organizing a narrative structure, Rozovsky and Steinmetz’s photographs sit alongside one another, alternating and rotating in harmony with a discontinuous, fluctuating rhythm, just as in life’s episodes. These pictures, which seem almost poised to capture unexpected events and unusual encounters but especially moments of a shared daily life, express a singular familiarity with the places being found, conveying the natural character of their authenticity.
For much of the last decade, working from his home base of Fairfield, Illinois, Nathan Pearce has produced a series of mostly low-fi zines and books rooted in a tender and obsessive investigation of place. It's been apparent from the beginning that Pearce is invested in the rural southern midwest and the people who live there, and he has succeeded in finding in that place a world as interesting and exotic as anything a bored Midwestern kid would encounter in an ancient copy of National Geographic in the waiting room of an alcoholic dentist's office. Pearce's is a quiet world—one of those nowhere-to-go, nothing-to-do kind of places that tends to give over-stimulated types a panic attack.
In the quiet photographs gathered in High & Lonesome however, there is an unmistakable and almost subversive act of stewardship taking place, a cultivation of mysteries and devotion that both embraces and subverts the mythology of the rural Midwest. These are quiet photos, but not entirely silent; beyond them you can hear the watchwinding racket of the natural world, or the forlorn and distant surf of traffic. They're also eerily out-of-time; there's a photo of a January 1993 page from an advertising calendar that's an apt metaphor for a place that seems to be trapped in amber. There's very little in these pictures, in fact, to indicate the 21st-century is anything but a still-distant nightmare from a pulp science fiction novel. William Gass, in The Heart of the Heart of the Country, wrote, "Of course there is enough to stir our wonder anywhere; there's enough to love, anywhere, if one is strong enough, if one is diligent enough, if one is perceptive, patient, kind enough—whatever it takes." High & Lonesome is a master class in whatever it takes.
‘Levee’ by Adrianna Ault invites us to embark on a powerful journey of healing as she navigates the complexities of grief and loss after her mother’s passing. Along the serene Mississippi River, Ault finds solace in frozen moments that transcend time, capturing the very essence of life’s joys and heartaches. The series began as a way to better understand the surrounding landscape of New Orleans, where she was raised as a child. There she discovered how the city’s surrounding waterways expose the land to a constant state of vulnerability. The physical landscape is parallel to an emotional landscape rooted within the culture of New Orleans and its people.
Bruce Gilden first journeyed to Haiti in 1984 to document the famous Mardi Gras festivities in Port au Prince. Fascinated by the country, he returned many times and his landmark monograph Haiti, a culmination of these photographs made during this period was first published in 1996. Gilden has continued to return to Haiti, and this new expanded edition of his book includes over thirty additional photographs made up until 2010, completing Gilden’s vision of the county.
Though only an hour’s flight from Miami and the US mainland, Haiti remains the least-developed country in the Western Hemisphere. Haiti was freed from French colonial control and slavery in the early 19th Century but this independent came at a cost of an ‘independence debt’ which was not paid off until 1947. In addition, chronic instability, dictatorships and natural disasters in recent decades have left it as the poorest nation in the Americas.
The carnival which first drew Gilden to the country continues to be a symbol of resilience and determination in the face of struggle. It is the unique energy of the country which led Gilden off the beaten track to photograph its inhabitants, streets, stray dogs, markets, slaughterhouses, barber shops, funerals and celebrations. In line with Gilden’s well-known style, the photographs were made as close as possible to his subjects. The result is an underlying sense of tension and movement, as Gilden leads the viewer to encounter the country as he did on his journeys through its streets.
‘And yet, you tell him, this country is hanging on to its last breath. Teeming, throbbing under the sun, sex aroused, bursts of life in mourning garb, relentlessly trying to mute the trumpets of death. Eppur si muove. And yet, the country is still going. In the eyes of the women and men who inhabit it. In the smiles of its children. In the hope deeply rooted in their hearts, which refuse to give up. Even backed up against the wall. In their songs. In their dances. In their everyday words. In their ability to swap the havoc of distress for stardust.’ - Louis-Philippe Dalembert.
“If the Sea Islands belong to Carrie Mae Weems and rural Virginia to Sally Mann, this part of Wisconsin can now be said to belong to Erinn Springer.” - Casey Cep, The New Yorker
Erinn Springer returned to rural Wisconsin after the loss of a close family member, hoping to reconnect with her memories of home. Created with her family and strangers, the resulting series depicts the contrasts of the modern midwest where everyday occurrences get caught between past and present. Her portrayals of isolation and connection explore interior and exterior landscapes in a region that is mysterious yet familiar. A portrait of agrarian life, Dormant Season is a tender document of the intergenerational bonds of rural America: a mental space and physical place at the heart of an old dream and at the edge of a transformation.
Oversized hardback in a cardboard slipcase with tip-in.
Shipping from 15 December , available for pre-order now.