"Made over the last year, this series of Polaroid chemigrams is a celebration of nature and that despite the darkness of the past year hope is growing and peeking up thought the soil to bring us joy and solace.
My garden, as well as the plants that I grow outside and inside our home, have always given me comfort. Something that calms my mind, quiets the noise when nothing else can, in this past year even more so. Lockdown gave me the time to work on these images of flowers. Allowing me to push my process, seek new textures and visual landscapes, and create vibrant daydreams that I could lose myself in.
These experiments were made from: Flowers grown Flowers received Flowers I have seen. Each flower carries with it the memory of a moment, place or person."
- Zara Carpenter.
Special edition of 26 copies including a unique Polaroid chemigram of a flower and an obi on the cover. Signed and numbered alphabetically from A-Z.
Note: Polaroids shown are for example purposes, each is unique and assigned at random.
Takashi Hara’s photobook “Yagi to toge” (Goat and Thorns) does not unlock itself to the viewer on the first quick browse-through. Its dark, slow photographs, taken with a medium-format Holga on black-and-white film, do not seem connected on first glance. But there is something about these pictures that hints at a deeper space hiding behind the surface; the longer one looks at the deep blacks and dazzling whites, the pictures reveal their true richness. As the pages add up and the impressions begin to overlap, Hara builds a strange new world of his own, of feelings like unease and allure – a world that evades being fully captured in words, one that can only be glanced at through photography.
“Looking at Yagi to Toge again after these thoughts, I strongly realized that photography exists somewhere beyond logic. Now I see why I could only say that his works gave me the impression of trying to grasp at the air. Indeed, Takashi Hara’s feelings are directly reflected in these photographs.” –– from writer Yoshitaka Takahashi’s essay (included in Japanese & English translation)
In 1977, Stephen Shore travelled across New York state, Pennsylvania, and eastern Ohio – an area in the midst of industrial decline that would eventually be known as the Rust Belt. Shore met steelworkers who had been thrown out of work by plant closures and photographed their suddenly fragile world: deserted factories, lonely bars, dwindling high streets, and lovingly decorated homes. Across these images, a prosperous middle America is seen teetering on the precipice of disastrous decline. Hope and despair alike lurk restlessly behind the surfaces of shop fronts, domestic interiors, and the fraught expressions of those who confront Shore’s 4x5” view camera. Originally commissioned as an extended photographic report for Fortune Magazine in the vein of Walker Evans, Shore’s multifaceted investigation has only gained political salience in the intervening years. Shore’s subjects – including workers, union leaders, and family members – had voted for Jimmy Carter the year preceding his visit; now he found them disillusioned with the new president, fated to leave behind the Democratic party and become the ‘Reagan Democrats’. Through unfailingly engrossing images by one of the world’s acknowledged masters, Steel Town provides an immersive portrait of a time and place whose significance to our own is ever more urgent.
The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.
'The majority of my subject matter’s motivation is rooted in the westernization of my home country in the 1990s. During that time, the goal was to forget Slovenias socialist past and make capitalism a success story. Growing up with American imagery and values on TV and in music and print, the American spirit was communicated through established symbols. This resulted in an attraction to the American symbolism, which I started incorporating into my photographic work when I moved to the so-called “land of the free.” The dream was realized, but the realities were much different from those presented to me as a child.' - Dino Kuznik
Dino Kuznik is a New York based photographer, originally from Slovenia, Europe. He uses photography as a medium to immortalize aesthetically unique scenes, which emphasize composition and colour. One of the key driving factors behind his personal work is solitude, state of mind – on only attainable after total immersion within the environment he works in.
Edition of 300 copies. This copy also contains a signed and numbered 150mm x 200mm Giclée print on Hahnemühle paper (one of an edition of thirty) tipped in to the end page.
Half a century ago, Hashimoto Shoko photographed blind female musicians called the goze who toured and performed in the rural areas along the Sea of Japan. [Note: In Japanese, goze is pronounced as in “rosé”]
The goze would visit farmhouses and sing a short song accompanied by shamisen at the entrances in the day time. At night, they would sing songs in different lengths, including narrative songs for the villagers who would gather, and they were rewarded with rice and other crops and money.
When Hashimoto followed three elderly goze with his camera in the early 1970s through the seasons of spring, summer, autumn and winter, their existence was already nearly lost - the industrial and urban development in Japan at that time led to a decline in agriculture and rural population, directly impacting their livelihood.
This publication is a reprint of all the articles on the goze photographed by Hashimoto, which were originally published in Asahi Graph, a Japanese weekly pictorial magazine that continued from 1923 to 2000. Articles included are: “Goze, Sightless Female Singers” from May 8, 1970; “Four Seasons of Goze” series from October 26, November 2, November 9 and November 16, 1973.
This reprint includes English translations for all the articles and an additional essay written by Hasegawa Hiroshi.
Shikawatari (Deer Crossing” is Chieko Shiraishi’s long-awaited new work, released five years after her photobook Shimagake. In this black-and-white work, Shiraishi presents a series of poetic images taken in wintry Dōtō in Eastern Hokkaido. The central theme is a herd of deer that Shiraishi encountered while travelling; the shy animals wander the snowy landscapes, across frozen lakes and barren forests. Shiraishi keeps her distance to the animals. In some photos, they let her come near, but they always keep a watchful eye on her. She encounters other animals as well – large birds, foxes – and wide, clear landscape shots give us a sense of the surroundings. Shiraishi’s series masterfully creates a sense of wonder, as if one is at the doors to a world of magic realism, as if the deer have decided to permit us access to an otherwise secret part of the natural world.
“While travelling through the wilderness in Dōtō, I encountered a herd of deer crossing the frozen lake in a row, silently. While gazing at the herd, I found a providential, beautiful law of nature, and I felt as though I had witnessed something sacred which is a part of nature. The wilderness of “Dōtō” provides a feeling of oneness with the majestic natural world that I had never before experienced.” - Chieko Shiraishi
Gerry Johansson started his career as freelance photographer since the mid-1980s, and has been making quiet pictures around the world.
For Ehime, Johansson travelled Ehime prefecture where is located southwest of Japan with stunningly beautiful area to explore with nature. Johansson had visited Tokyo in the seventies and eighties, but 1999 was the first time for him to visit countryside region of Japan as he was invited for residency program. Compared to the big city Tokyo, Ehime has different aspect of Japan. He enjoyed to see how the symbols of traditional, culture, and respect for nature lives in modern society. He has shown some of Ehime photographs before in some books, but this is the complete edition of his Ehime series.
Edition of 800 copies.
All our current stock of this title come with a signed postcard.
The Locusts is the first monograph by photographer and publisher Jesse Lenz. His images transport the reader to rural Ohio where his children run wild in the fields, build forts in the attic, and fall asleep surrounded by lightsabers and superheroes. The microcosmic worlds of plants, insects, animals, and children create a brooding landscape where dichotomies of nature play out in front of his growing family. The backyard becomes a labyrinth of passages as the children experience the cycles of birth and death in the changing seasons. The Locusts depicts a world in which beautiful and terrible things will happen, but offers grace and healing within the brokenness and imperfection of life.
A major figure of Latin-American photography, Graciela Iturbide’s approach combines the documentary and the lyrical. Off-center compositions, graphic effects, and heavy shadows create a poetic universe where a feeling of strangeness is combined with one of harsh reality. The powerful equilibrium of her compositions produces skies filled with birds, comical, unexpected situations where chickens are pictured sitting wisely on market stalls, while elsewhere chirping flocks appear to invade the scene in agile, flowing movements. For Iturbide, living birds represent freedom. But death is never far away in her work, nor indeed is a certain sense of the surreal.
An organic dimension, linked to blood, flesh, mud, sweat, and the earth also permeates most of Graciela Iturbide’s images, for she has a special relationship with reality, choosing to capture unique moments with her lens. Birds and men cohabit and rub up against each other. From India to Mexico, gulls, eagles, pigeons, herons, and ravens invade man’s space or insinuate their way into it in a serendipitous, solitary fashion.
This publication is part of the Des oiseaux (On birds) collection celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable. Accompanying these photographs, the ornithologist Guilhem Lesaffre writes a special essay. For this title, Lesaffre focuses on the different environments birds live in and their unbelievable capacity to adapt themselves whether it is in the sky, water or at the highest summits.
Traveller-photographer Pentti Sammallahti captures the mysteries of nature on his travels and among these, the world of birds. Coastlines, swamps, parks, endless plains, forest clearings, snowy landscapes… In these isolated areas, birds slyly reveal their presence.
Like visual tales, his B&W photographs attest to his extraordinary eye for detail, to light that sculpts spaces, to silent expanses in which a human or animal presence suddenly appears. The experience of the image is twofold: beyond its narrative virtuosity, his use of a two-colour process, with immaculate whites (as in the plumage of his swans or pink flamingos) confronted with deep blacks, creates a play of textures and powerfully renders a world in which birds play a unique role.
This book constitutes one of the two first titles of Des oiseaux (On birds) collection celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable. Accompanying these photographs, the ornithologist Guilhem Lesaffre showcases the relationship to the seasons that is a fundamental aspect of the life of birds. Where it exists, winter is a major constraint that birds must grapple with and that notably leads to strategies in their search for food and energy economy, or socialising. The author here associates the life of birds in winter with Pentti Sammallahti’s photographs.
The second edition of Stuart’s first book has been totally re-designed, and it also has a brand new sequence of images.
Matt’s photographs explore those rare magical moments, when people, objects and locations work so perfectly together to bring images which explore the tender moments and human life in a busy capital city. Injected with humour, wit and boldness, Matt’s street photography has gained global recognition for their brilliance and unique quality.
“Why, Sir, you find no man, at all intellectual, who is willing to leave London. No, Sir, when a man is tired of London, he is tired of life; for there is in London all that life can afford.”
101 Pictures is the first english language retrospective of Wood’s work, casting light on his 25 year long testament to the people of Merseyside. It includes previously unseen photographs, alongside major works such as the infamous nightclub series, Looking for Love, (1989) and from his seminal Photie Man (2005) publication.
"Many of the images that I have selected here are portraits; these are strong, albeit subtle and understated. Tom photographed whole families, groups of workers, couples and individuals, always conveying a sense of dignity and respect.” - Martin Parr
“Wood achieves an intimacy with his subject that’s at once rude and tender… loose, instinctive, and dead-on.” - Vince Alletti, The New Yorker.
Further delving into the photographic language that originated with Paloma al aire(2011), in Estudio elemental del Levante (carried out between 2010 and 2020) Ricardo Cases articulates the meanings rendered by his immediate environment, the Levante region (Spain), where he finds expressions of all phenomena, of all relations.
Beyond the classic icons of tourism – beach and paella –, Cases observes a series of hallmarks with deeper and more subtle meanings. That is where other symbols of Levante like the music bands, the palm groves and the construction industry make their appearance. As does the story of the red palm weevil (rhynchophorus ferrugineus): a parasite from Southeast Asia that attacks palm trees, causing them to wither and die.
The palm tree, the charanga and the red palm weevil form a triangle that represents the spiritual map of modern Spain's systemic crash, of a violent and screeching collision. The combination of it all generates a dissonant symphony. Like a desperate alarm signal, the grating shriek of metal can be heard in the images themselves.
In this book, which is based on the principle of collage, images appear to have been affected by the blight and are partially faded. Superposition creates a raving musical score whose structure is chaos, provisionalness. In short, Estudio elemental del Levante is a requiem for a way of life that enjoyed its period of mad splendour.
"His trust humbles me. This book is my present to him. But it was also a present to me because I got to dive into his huge archive looking for unpublished work. What a delight! Especially the rediscovery of his early images enabled me to combine his urban photographs with those iconic fashion images and powerful abstract works.” (From the introduction by Roger Szmulewicz)
Christopher Anderson’s first child, Atlas, was born in 2008. He began photographing that experience in a completely organic and naive way. It was the natural action of a new father trying to stop time and not let one drop of the experience slip through. As a photographer, he had never photographed his own personal life. It never occurred to him that these photographs would be part of his “work”. They were external from what he considered his Photography. He was about two years into making those photographs when it dawned on Anderson that these photographs were, in fact, his life’s work and that everything he had done up to that point was a preparation for making those pictures.
They became the book, SON, published in 2012 which portrayed a moment in time in Williamsburg Brooklyn, post 911 and the 2008 economic crash when artist lofts still made up the community before the luxury condos squashed the landscape.
Pia could be called the spiritual sequel to that book. But this time, it marks a new era and search for hope in the Trump/ COVID19 reality. This time, Anderson’s daughter, Pia, is the protagonist and muse, and the backdrop is his French family’s return to Paris (Anderson became a naturalized French citizen in 2018).
“The images portray a father-daughter relationship as well as a photographer-subject collaboration as the Pia’s takes control of her character. The passage of time comes with a certain melancholy, but also a declaration of hope that guides the photographs.” - Christopher Anderson
New publication by Harry Gruyaert with images taken in Ireland between 1983 and 1984.
"The guy from Flanders that I am and the guy from Flanders that Harry is and always will be — despite his universal relevance and deeply singular approach to his subjects, no matter how diverse they may be — unmistakably feel related to these Irish summers. The depicted ’80s are carved into our systems, and the sensibility and honesty of his observations echo in memories of my Flemish childhood. And possibly in his?" - from the introduction by Roger Szmulewicz.
In Let the Sun Beheaded Be, photographer Gregory Halpern focuses on the French Caribbean archipelago of Guadeloupe, a French overseas region with a complicated and violent colonial history.
Renowned for his photographic meditations on place, Halpern presents a compelling portrait of Guadeloupe and its inhabits, focusing on local histories and experiences. Let the Sun Beheaded Be commingles life and death, nature and culture, and beauty and decay in enigmatic color images of the archipelago’s residents and lush landscape, as well as monuments related to the brutality of its past.
The project is part of Immersion, a program of the Fondation d’entreprise Hermès, in partnership with the San Francisco Museum of Modern Art and the Fondation Henri Cartier-Bresson.
Alec Soth's first photobook published in China to accompany his first solo exhibition “The Space Between Us” in China at Shanghai Center of Photography, 2020. Includes 46 photographs from across his body of work, alongside five essays, The Moment Behind the Moment by Liu Heung Shing, Storyteller, Alec Soth and Alec Soth's Multiple Identities & Space-time Moments by Zhang Wenxin, Photographer Alec Soth: Taking a Meditative Approach Towards Photography by Shi Hantao, Forks in the Road-Alec Soth's Journey Along the Road to Here by Karen Smith. Text in Chinese and English.
'‘Be careful’, my father had written to me, ‘It’s supposed to be unsafe out there’, words interspersed with photographs from the cargo ship that he was working on as he made his way up the Mississippi river to the port right outside New Orleans. The immigration rules did not allow him to step on American soil and he had no choice but to remain on his ship. His short-lived glimpse of the country had remained only within those raised embankments on either side of the river. The America that lay on the other side was something he could only make sense of through a trickle of news and opinions that he had been heard from a distance. Guns, Violence, Racism, Trump, A certain loss of Tenderness...
A couple of months later I made the journey on road down the delta from the confluence of Ohio and Mississippi rivers outside Cairo (Illinois), to Pilot Town, off Highway 23 that went further down from New Orleans. It was near here that the river opened into the sea and was the entry point into this part of the country for all ships including my father’s.
As it had been for sailors searching for land, birds now became my guides as I looked for the beginnings of water, leading me through the blues of the wetness of the land. The America I found on the way was not quite the same as the one that my father had imagined.
Just as it had been with my father, there was always a levee between the river and me as well. My father had been on water but had not been able to touch land. I was on land but had barely been able to touch water. Together we got a glimpse of the delta from our own sides of the levee.'
When Wendy Ewald arrived in the heart of the Appalachian Mountains in 1975, she began a project that aimed to reveal the lives, intimate dreams and fears of local schoolchildren. Tasked with finding authentic ways of representing the lives of these children, she gave each of them a camera and interviewed them about their childhood in the mountains. Through these intriguing transcripts and photographs, we discover the lives of families as seen through the eyes of their children: where domestic, rural life is understood with startling openness and depth. In Portraits and Dreams, life’s most mysterious realities – love, loss, violence, death, new life – are given voice through an altogether novel discovery: the camera. We learn the eloquence and originality with which children see the world and we see a generous new way of engaging children in the possibilities of the photographic medium.
This revised and expanded edition of Ewald’s now-rare book, first published in 1985, and called “An American masterpiece,” offers access to a different and broadened view of the rural south over the span of 35 years, and includes contemporary pictures and stories by eight of the students from the original publication.
This book presents Alessandra Sanguinetti’s return to rural Argentina to continue her intimate collaboration with Belinda and Guillermina, two cousins who, as girls, were the subjects of the first book in her ongoing series, The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams.
In this second volume, The Illusion of An Everlasting Summer, we follow Guillermina and Belinda from ages 14 to 24 as they negotiate the fluid territory between adolescence and young adulthood. Still surrounded by the animals and rural settings of their childhood, Everlasting Summer depicts the two cousins’ everyday lives as they experience young love, pregnancy, and motherhood - all of which, perhaps inevitably, results in an ever-increasing independence from their families and each other. Similarly, we can sense a shift in Sanguinetti's relationship to the cousins and the work they make: from insular childhood collaborators to three women with lives branching in different directions. Though the passage of time is one of the most palpable tensions at work in these photographs, An Everlasting Summer deepens Sanguinetti's exploration of the timeless, universal language of female intimacy and friendship. Unsigned. Sealed 1st printing.
What is there between the branch and apple when it falls? We have seen it—we would recognize it anywhere. Yet of an evening we are told nothing is there. - Wright Morris
Raymond Meeks is renowned for his use of photography and the book form to poetically distill the liminal junctures of vision, consciousness and comprehension. In ciprian honey cathedral, he brings this scrutiny close to home, delicately probing at the legibility of our material surroundings and the people closest to us.
Meeks has long been fascinated by the way we construct the world around us; how we carry our possessions, these accumulated comforts, inheritances, markers of material success; how we adorn homes with trees and shrubs, a mantle clock to count the hours. Stumbling across an abandoned house or unkempt lawn becomes a search for common clues to tiny hidden transgressions.
This question of knowledge and understanding is perhaps most drastic in our solipsistic reality. Meeks also photographed his partner, Adrianna Ault, in the early mornings before she awoke, on the threshold at which daily domestic life converges with the deepest state of sleep. This plight of supine trance is a place of reprieve beneath the surface of consciousness, free from the chaos and uncertainty of the sentient world above, and alludes to the veiled threat that, ultimately, we are utterly unknowable to one another.
The signed edition includes a slip signed by the artist and bound into the inside back cover.
"I am like a waiter who was given a special identity. At this time, I may be a stranger, perhaps a maker of taste and emotion, maybe a peeper next door, maybe just a recorder using a camera to invade others. The young flesh came in and out. Our communication was limited to the narration of the shutter’s sound and an euphemistic dialogue. This is a colorful room filled with invisible desires and slow laziness. The body appears to be still, or just a dream, because it is not a strong oppressive relationship.”
Momo Okabe's first domestic photo book is now published six years since Dildo (2013) and Bible (2014), both published by Session Press in New York. With no advertising or publicity, her works have become highly acclaimed and have won various national and international awards.
After that, Momo Okabe kept her distance from the contemporary photographic scene and continued to take photographs in her own way, and her pregnancy and birth became an opportunity to announce this work. This book contains photographs taken in Japan between 2014 and 2019. This great experiment includes friends, regular landscapes, and her pregnancy and birth as an asexual. Red, blue, yellow, purple ... these photographs of various colors are her very personal record, and at the same time they appear to us as a special story revealing emotions.
Into the Fire is Matt Stuart’s second book of photographs following on from his critically acclaimed ‘All that life can Afford’.
Into the Fire documents the daily lives of people who live in Slab City, an off-grid community based on a former military base in the Sonoran desert, just north of the Mexican border.
It is home to travellers, dog lovers, thieves, military veterans, artists and inventors. Its population numbers thousands throughout the winter, in the summer, when temperatures can exceed 120°F (49°C) it dwindles into the low hundreds. True ‘Slabbers’ are the people who have managed to survive two summers. These are the people Matt befriended and photographed.
This is a world where people build earth covered bunkers to live in and bathe in muddy desert springs, tyres are used as decorative wreaths, and a fork in the road is signposted with an oversized plywood fork.
Slab City invites people to come as they are. Most Slabbers struggled in a world of paying rent and small talk, disadvantaged by their lack of social conformity. The Slabs provide refuge.
Accepting others flaws is a step towards accepting yourself.
A new edition of Chinese artist Muge’s tranquil photobook “Ash”, released by Japanese publisher Zen Foto Gallery.
Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished “with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.”
When I used the large format camera to re-understand my hometown as it is now, I’ve discovered that all things in the real world derive from our internal desire: the Karma cycle of yearning for nature, destroying nature, and mending nature (...) These images are taken from the understandings gleaned from my daily life, conveying the traces of time and history in nature, and a person’s thoughts of the future when faced with reality. — Muge
Peter Mitchell’s Early Sunday Morning is made up of over 90 previously unpublished images, each one selected from a cache of five hundred negatives which have sat undeveloped for over 30 years.
Early Sunday Morning, edited and sequenced by John Myers, shows a different Leeds to Mitchell’s earlier publications. It is neither the sombre look at destruction seen in Memento Mori, nor the detached view of ‘the man from mars’ of A New Refutation of the Viking 4 Space Mission, but a more intimate document of Mitchell’s own Leeds.
The book reveals the layers of the city’s history, exposed by the changes to the urban landscape that epitomised the 1970s and 80s. Hundred-year-old terraces and cobbled streets sit flanked by concrete flats, with newly cleared ground to either side are presented with Mitchell’s typical graphic framing.
“It is as if Peter Mitchell has taken the atmosphere and mood of Edward Hopper’s famous painting and established it as a matter of documentary fact in the north of England at a moment when collapse can lead to further desolation or possible renewal. So these beautiful pictures are drily drenched in history – social, economic and photographic.” - Geoff Dyer
Early Sunday Morning is available in an edition of 1500 copies.
This copy comes with a 5"x5" signed and dated print (Harold Terrace see first image)
Created in the space of her personal garden in Washington DC, Terri Weifenbach’s photographs reveal the secret world of nature populated by birds that nest in urban gardens. Oscillating between fantasy and reality, her images seem to be taken on the sly when birds race at top speed, dance, or settle, freeze, and gather in parliaments. The seasons follow in succession, the colours of the garden vary. Saturated light and colour, plays on blurred and crystal-clear details, and freeze frames depict a “supra-reality”. Terri Weifenbach immerses us in the infinitely small, transporting us into a particularly lively and marvelous world.
This publication is part of the Des oiseaux (On birds) collection celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable. Accompanying these photographs, the ornithologist Guilhem Lesaffre writes a special essay. For this title, he sheds light on the adaptation of birds in urban environments.