Recent arrivals

• Mack 2018
  
• Hardback, 1st edition
  
• New
  

The Moth derives from one black-and-white picture that Jem Southam made in about 1983: a solitary man standing on Gwithian beach in St Ives, Cornwall. From this singular, meditative moment, the book of otherwise unpeopled, colour photographs unravels like a succession of memories, drifting back and forth through time. Over the course of 30 years, Southam intermittently returned to the west of Cornwall to explore a place steeped in marine and mining history, and in the mythology of Celtic saints who exiled to Cornish shores. His poetic sequence of images, inspired by the alliterative verse of the old English poems The Wanderer and The Seafarer, moves from vistas of meadows to water streams, forgotten homes and farm dogs awaiting their food. Now and then, Southam’s fluctuating current of pictures is punctuated by a sublime moment in the rural landscape, only to be eclipsed by the hazy memory of The Moth.

Signed copy.

• Roshin 2022
• Hardback, 3rd edition
• Fine

Yukichi Watabe’s “Stakeout Diary” is a close-up documentation of two Japanese police detectives investigating a grisly murder in Mito, the capital of Ibaraki Prefecture, in 1958. With the mutilated body of the victim confirmed as a Tokyo resident (and a hand towel of a Tokyo-based hotel was found with the corpse), the investigation led the two detectives—one from the Tokyo Metropolitan Police Department, the other a Mito local—to hold stakeouts in various downtown areas of Tokyo.

Watabe’s photographs of the detectives slowly solving the case and finding the murderer ooze with so atmosphere and character that the series almost seems unreal. In photographs that would not seem out of place in an early Kurosawa film, we see the detectives interview witnesses, ride around the city in busses and trains, think things over in cafes and offices, and converse over cigarettes and food.

While some of Watabe’s photographs were published in a magazine at the time, the series itself was not published until 2011, five years after the photographs were rediscovered by chance in a Tokyo bookshop. The version by Japanese publisher roshin books features prints especially made for this book using negatives borrowed from Yukichi Watabe’s son.

3rd edition in fine condition.

• Morel Books 2009
• Softcover, facsimile edition
• Near fine

A facsimile of Arthur Rimbaud’s 1873 self published book Une Saison En Enfer, the Mörel edition contains Patti Smith's illustrations of Rimbaud, as well as a selection of photographs from the illustrious late Robert Mapplethorpe, selected by Patti Smith.
In both French and English (translations by the late/great Oliver Bernard) 

Near fine used copy.

• Match & Co 2016
• Hardback, 1st edition
• New

After Dazai and Daido Moriyama: Terayama, the third entry in Match & Company’s literary collaboration series with Daido Moriyama. Photographs by Daido Moriyama are paired with Oda Sakunosuke’s 1946 short-story “At the Horse Races” to pay tribute to one of Japan’s literary treasures.

“For this project, I paired photos of Osaka, taken by Daido Moriyama, with the short story “At the Horse Races”, written by Sakunosuke Oda in 1946, and edited them into this book. […]
I told Moriyama I wanted to create a book that, by pairing them together, would give an entirely new layer of expression to both his photographs of Osaka and the words of Sakunosuke Oda.

My trick to let two artists, each with a strong personality, meet within the space of a book to stimulate each other, has worked.”

• Cafe Royal 2017
• Softcover, 1st edition, 36p
• New

First printing of this rare zine.

• Deadbeat Club 2022
• Hardback, 1st edition
• New

When politicians and pundits talk about the heartland, or the heart of the country, they’re generally not pandering to places like Roger Richardson’s Middletown, which is located in Orange County, in New York’s Hudson Valley. Yet the people and places in Let Me Sow Love exist right smack in the middle of myriad 21st-century American realities. Refreshingly, though, there’s not so much as a whiff of polemic in Richardson’s photographs. As the title suggests, this is a book full of what feel like genuine and compassionate interactions and engagements, as opposed to the now-expected confrontations. You sense right away that Richardson knows this place intimately, and these are his people. As a result, Let Me Sow Love presents with remarkable clarity a compelling portrait of an utterly realistic human community at a unique and radically insecure moment in the country’s history.

The late Philip Levine, arguably the greatest working-class poet of the late 20th century, once said that his goal was to write poems so transparent that “no words are noticed. You look through them into a vision of the people, the place.” Time and again, Richardson realizes Levine’s vision through his photographs, and it’s a vision that will be achingly familiar to anyone who grew up in or has spent time in strikingly similar working-class cities and towns all over the United States.

Signed copy.

• Red Hook 2021
• Hardback, 1st edition
• New

• RM 2016
• Softcover, 1st edition
• NEW

We are living in the midst of a photographic renaissance in which we have become accustomed to consuming imagery with the same greed and gusto that we consume fast food. In order to cope with the deluge of images being force fed into our retinas on a daily basis we now consume images with- out digesting them properly, or at all. People rarely stop to take a closer look; to read, appreciate or question an image. Image Tsunami is a sizeable overview of the enormous collection of images that Kessels lives with, remixes and edits. It s a representation of the overload of imagery that is (rapidly expanding) in his head. The book can inspire others to make their own remixes of these images and maybe stop to appreciate a few along the way.

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

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

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

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

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

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

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

Edition of 250 copies.  Signed and numbered.

1 copy only per customer.

Video courtesy the publisher.

• VOID 2022
• Hardback, 1st edition
• New

“Whether a photo was taken yesterday or two years ago is immaterial. Inspired by theories of non-linear time, astrophysics and quantum mechanics, Julie van der Vaart has begun experimenting in the darkroom. [...] A photo is prosaically a record of the past, but now it remains eternally afloat in imaginary time.” - Merel Bem

• Mack 2021
• Hardback, 1st edition
• New

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

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

Special limited edition of 200 copies. 

Each comprising:

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

"The Dreaming contains 86 black and white images selected from my 27 years’ career in photography and traveling. When I turned 50, I decided to go through all the black & white negatives I had taken so far. Every moment of the journeys may have been vision of dreams – that’s what I thought when I tracked down my archive and such a thought gave me a hint to make this book."

- Yasuhiro Ogawa

Signed copy.  Final copies of the 3rd edition.

Comes with a 6'x4' postcard sized print (signed and stamped to the reverse), please choose from the dropdown.

• Aperture 2021
  
• Hardback, 1st anniversary edition
• As new

Ten years after publishing Illuminance in 2011, Aperture is delighted to bring this beloved book back into print, retaining Rinko Kawauchi’s original sequence and signature melding of keenly observed gestures, quotidian detail, and a finely honed palette.

On the book’s original release, Alec Soth declared Illuminance “an exquisitely produced monograph [that] should make Rinko a household name.” An expanded edition with additional texts by curator David Chandler; philosopher Masatake Shinohara; and Aperture’s creative director, Lesley A. Martin, this reissue contributes new context to and perspective on Kawauchi’s influential work. Extraordinarily poetic, brimming with imagination and sensibility, and following international acclaim, this exquisite ten-year anniversary edition will entice lovers of photography once again.

Signed copy.

• Benrido 2022
• Set of 6 collotype prints
• New

Fan Ho (1931-2016) was one of Hong Kong’s most renowned photographers. Having moved from Shanghai to Hong Kong in 1949, he captured Hong Kong streets and people’s daily lives during the 50s and 60s, amidst the city’s economic transformation. Fan Ho often composed his photographs with unique geometrical compositions and textures, while creating a sense of atmosphere with the interplay of light and shadow. With the collaboration between the Fan Ho Foundation and Blue Lotus Gallery, Kyoto Benrido has created a collotype portfolio containing six of Fan Ho’s signature works, with each print handmade by master printers in Benrido’s atelier.

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.

• GOST 2022
  
• Hardback, 1st edition
• New

The photographs in Gli Isolani (The Islanders) by Alys Tomlinson, inhabit a hinterland between fiction and reality. Over a period of two years, Tomlinson documented the traditional costumes and masks worn during festivals and celebrations on the islands of the Venetian lagoon, Sicily and Sardinia. The images will be published for the first time in this new book, Gli Isolani (The Islanders), and exhibited at Hacklebury Fine Art, London from 7 September – 29 October 2022.

Working with a large format 5×4 camera, Gli Isolani draws upon the visual language of Tomlinson’s previous projects, lending the black and white photographs a veil of timelessness. At the project’s genesis, Alys researched the literature and poetry connected to the history and culture of the islands of Italy, exploring tradition and identity, ancient myths, folklore and fairy tales. Set against crumbling stone and rural fields, the images depict the elaborate and uncanny costumes and masks worn for Holy Week, and other events and festivals, often inspired by pagan ritual and beliefs. The fantastical tales and precious costumes have been passed down many generations within these communities where customs run deep. The gestures and the costumes depicted in the photographs draw on the relationship between man and the land, the sacred and the profane, and good and evil.

‘Looking into them, I see ordinary people in extraordinary habits. Pagan and religious. Masked and exposed. Collapsing time, in front of your camera. Within this present-past continuous, devils and saints, hunters and creatures take hold of my rooms. Inhabit them, tacitly. I try to listen to the tales their eyes and gestures tell, to the timbres of the light reverberating in all of these pictures.’

– Sabrina Mandanici

Signed copy.

• Atelier EXB 2022
• Hardback, 1st edition
• New

Wandering in an imaginary city, Metropolia invites the viewer on a dreamlike stroll punctuated by enigmatic encounters. The urban space is apprehended in fragments, guessed over the silhouettes that we cross there. Mists, exploded grains, sometimes saturated lights, shades of grey, monochrome colors playing with cold blues or warm oranges, with Bogren the visual experience becomes sensitive.

He brings in color photographs for the first time, which punctuate the B&W: 

'The use of color was a way to rebel against myself, as the photographer explains in the interview of the book, to see if I could do something totally new. With black-and-white, I started to know a little too much about what I was doing, while color was like a foreign language that I learned slowly. But to tell you the truth, my color images are very monochromatic.'

Capturing intimacy, expressing the fragile, showing the impermanence of things: Martin Bogren's visual universe reveals the illusion of the world. His images capture on their surface a reality that dissolves but that the art of the photographer has been able to capture in extremis, by stealth.

English edition.

• Taka Ishii /Case 2017
• Softcover, 1st edition
• New
  

This catalogue accompanies Luigi Ghirri’s solo exhibition “Works from the 1970s” at Taka Ishii Gallery and is centered around photographs created during the 1970s, arguably Ghirri’s most important creative period. By redefining photography as a concept and as an act, Ghirri’s work has played an important role in expanding the possibilities of visual art. The photographs chosen for the catalogue, created and published by Taka Ishii Gallery and Case Publishing, capture and represent Ghirri’s views at the outer and inner world, the relationship between reality and metaphysical duality and the distance between reality and representation expressed in Ghirri’s works.

Ghirri spent his youth in the 1950s and 1960s, during a time of economic growth and cultural transition. He familiarized himself with art at this time, and through conceptual art, one of the most popular movements of the era, he began making photographs collaboratively with other artists pursuing photographic images that were not merely documentary recordings. Founded on experimentalism, Ghirri’s photographic practice is neither characterized by the professionalism of the studio photographer nor the amateurism of the photo fan. Through photography, he aimed to address the complexity and incomprehensibleness of the relation between the self and outside world. He trained his gaze at his subjects to acknowledge his positioning between the known and unknown.

The themes and concepts addressed in Ghirri’s works are exceptionally diverse, but his photographs constitute a series of dialectical explorations focused on “the gaze.” Through his practice, he ceaselessly, intensively, and gracefully explored the relation between reality and image. His photographs demonstrate that images, such as ads and posters in public spaces, can be analytically categorized into “images turned into reality” and “reality turned into images.” They also show that the partial extraction and erasure of the world through framing exposes the ambiguous boundaries of reality and the changing form of the landscape, and that images projected by the viewer both produce and erase the actual and fantastic. Ghirri’s photographs are products of a search for harmony and diversity carried out by examining metaphysical binaries, such as reality and appearance (or mimicry), actuality and representation, presence and absence, and inner and outer worlds, at the same level. They indicate that photographs are not faithful reproductions of the world, but rather an assemblage of fragments of the “seen” world. His works thus suggest that all photographs are testimonies of the gaze and pose an infinite number of questions about how we might think through the image.

• Super Labo 2022
• Hardback, 1st edition
• New
  

The photographs in It Was Once My Universe were created between December 16, 2018 and January 5, 2019 during Marie Tomanova’s first return home in over eight long years to her family farm in South Moravia, Czech Republic. It was not her choice to stay away from home for so long, but she could not return. And for her, it hurt to be away.

After graduating with an MFA in painting, Tomanova moved to the United States in 2011 and began to use photography as a means to work through her feelings of displacement living there. During this time in the United States, when things were difficult, she relived and idealized home in her mind, so when she actually went back to the Czech Republic in the winter of 2018, she was unprepared for the deep confusion and conflict she found in herself being home. During this time away, she felt she had become alien, and yet she still belonged. It was home, but so was New York City. John Berger writes, “To emigrate is always to dismantle the center of the world, and so to move into a lost, disoriented one of fragments.” It Was Once My Universe is about that. It is about contradictory feelings and disorientation. It is about home, family, memory, distance, and time.

• Stanley Barker 2022
• Flexibound, 1st edition
• New

Christopher Anderson began photographing his family in a completely organic way. His images were simply the natural action of a partner trying to stop time, and not let one moment of his relationships slip by.

As a photographer, he had never thought of his personal photographs as ‘work’ until photographer Tim Hetherington saw a photograph Anderson had made of his wife Marion and said, “this is about the passing of time”. Anderson began to see his personal images in a new light, and over time, would come to feel that these photographs were, in fact, his life’s work. Anderson's new book, Marion, marks the closing chapter of a trilogy of books that chronicles their lives, and loves in beautiful depth over the course of their partnership.

"It was never some sort of creative exercise. The photographs are expressions of love…a record of that expression. They are more than memories." - Christopher Anderson

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

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

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

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

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

Signed copy.

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

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

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

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

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

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

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

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

The regular edition of Closed is available here.

• AKIO NAGASAWA 2022
• Softcover, 1st edition, 72p
• New

"When I arrived in Sapporo in June, it was so cold that the light purple clusters of lilac in the alleys and under the eaves were trembling in the cold air. While other parts of Japan had entered the rainy season, here the wind just kept blowing for days on end, and the streets and avenues were tinted white instead. Keeping the promise that I had firmly made to myself, I grabbed my camera every morning and took to the streets, with the regularity of an office worker, and no intention to meet any friend or acquaintance. I spent most of these three months on my own. Other than the very basic daily conversations – buying a ticket at the station, ordering a coffee, or making the occasional phone call – I was just keeping my mouth shut. I soon ran out of sleeping pills, and as I didn’t drink, all I could do was spend the long nights reading books. The daily photo shootings weren’t really fruitful, and there I was, sitting in my freezing apartment, at my wit’s end with my progressing mix of depersonalization, aphasia and insomnia. So as, in other words, my lifestyle was from the very onset based on that fawning, illusional idea of escape and isolation, my only justification that was taking photographs, was easily reversed from the true intention that it used to be, to mere pretense. Those days of feeling guilty went by one after another, and before the summer ended, I decided to go back to Tokyo. At the end of the day, I haven’t made any progress whatsoever, but what I do have, as a proof of my endless walks to miscellaneous places, are 250 used rolls of film."

– from the afterword by Daido Moriyama

Signed and numbered edition of 600 copies, with a silkscreen canvas cover.

• Fuego 2022
• Softcover, 1st edition
• New

"I received a phone call in December 2017 and was told my father had passed away. In Buenos Aires, during the days that followed, I looked very closely at the family albums in his house. I then felt the need to make a book to honor him, as this was the object through which he also expressed himself.

I hope the reader lives the book as an experience. Whoever has it in their hands is encouraged to look at it closely and far away, to touch it, to look for combinations and find relationships in it. It is a book that invites the viewer to play. And I think that this is the best possible tribute to my father, inventor of the madeleine game (el juego de la madalena) and many others."

- Julieta Averbuj

"El juego de la madalena" is Julieta Averbuj's first book. It talks about the construction of memories and of remembrance as a changing path full of detours.

Signed to the slipcase. 

• Twin Palms 2021
• Hardback, 1st edition
• New

'In the middle of the night, I woke up to a loud noise. Grammy and I ran to the front porch. A car had crashed into a telephone pole. Grammy told me to go back inside. “Right now!!!” When I woke up the next morning, the car was gone.'

Several years ago I bought the photographic archive of Bob Boltz, of West Bend, Wisconsin. Boltz’s primary subject was car crashes; the shots were taken at night. Almost none of his pictures showed the people who’d been injured. Their absence is a haunting reminder of the couple who died outside Grammy Keaton’s home all those many years ago.

Boltz’s nighttime photographs have a richness similar to that of 1930s black-and-white crime films. I like to think he may have been an admirer of movies like Scarface, with Paul Muni, and The Public Enemy, starring James Cagney. Each car is lit with a nightmarish, chiaroscuro quality. His framing matches the technique of horror and suspense films in which shadows provide gloomy details of the surroundings. The photographs remind me of genres where light and dark represent good and evil. This book is a hymn to unsolved mysteries discovered in the dead of night.

– Diane Keaton

• Twin Palms 2013
  
• Hardback, 5th edition
  
• NEW

At 17 Mike Brodie hopped his first train close to his home in Pensacola, FL thinking he would visit a friend in Mobile, AL. Instead the train went in the opposite direction to Jacksonville, FL. Days later, Brodie rode the same train home, arriving back where he started. Nonetheless, it sparked something and Brodie began to wander across the U.S. by any means that were free - walking, hitchhiking and train hopping. Shortly after, Brodie found a Polaroid camera stuffed behind a carseat. With no training in photography, the instant camera was an opening for Brodie to document his experiences. As a way of staying in touch with his transient community, Brodie shared his pictures on various websites gaining the moniker “The Polaroid Kidd” [sic]. When the Polaroid film he used was discontinued, Brodie switched to 35mm film and a sturdy 1980’s camera. Brodie spent years crisscrossing the U.S. amassing a collection, now appreciated as one of the most impressive archives of American travel photography. When asked about his approach to travel and photography Brodie has said “sometimes I take a train the wrong way or…whatever happens a photo will come out of it, so it doesn’t really matter where I end up.”

5th edition of this photobook classic.