Sale Books

• Steidl 2021
  
• Hardback, 1st edition, 180p
  
• New

This book takes us deep into Antanas Sutkus’ favorite motif as a photographer: children and their world. It is a theme he returned to again and again, presenting its myriad facets as well as the many interactions between the lives of children and adults. “Childhood is the most important platform for me as a photographer,” says Sutkus, “Children live in a different world. Sometimes I succeeded in showing that world: not the real world customary to us, but their world. Children live on another planet than earth.”

With an unfailingly respectful yet astute eye, Sutkus depicts children together with their parents and relatives, with their friends, at play or hard at work in school. He captures not merely the pleasures of childhood but also its deprivations, the difficulties involved in raising children, loneliness alongside belonging, as well as the inevitable crises of childhood that can have a lifelong impact. For Sutkus, children live not in paradise but in a parallel universe, a universal life phase that transcends national and cultural borders.

• Editorial RM 2025
  
• Softcover, 1st edition, 88p
  
• Imperfect - see below
  

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

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

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

Book has bumped spine end and some light wear to corners.  See photo.

• Thames & Hudson, 2018
• Softcover, 1st edition, 288p
• New

Ravens & Red Lipstick provides a visually bold survey of Japanese photography’s recent history. Drawing together extensive research and a succession of engaging dialogues with both emerging and established photographers, Lena Fritsch traces its development chronologically from the severity of post-war Realism to the diverse ingenuity of photography in contemporary Japan, via the work of movements and groups such as Vivo in the 1960s and‘Girl Power’ in the ’90s. Interspersed are fascinating original interviews with some of the most influential photographers of each era, from Daido Moriyama to Nobuyoshi Araki and Rinko Kawauchi. Interrogating the business, education and art-institutional backdrops to each movement, Fritsch masterfully demonstrates the centrality of these contexts to the form and reception of a cross-section of Japanese photographic works.

Fritsch’s great achievement is to bring observations from a range of disciplines to bear on her commentary with imagination and clarity. As a result, this comprehensively illustrated volume is both an accessible introduction and an illuminating work of analysis for general readers and aficionados alike.

2018 first edition, not the smaller format reprint.

• Ediciones Anomalas 2025
• Softcover, 1st edition
• New

"How many identical points could converge on one and the same path?

Later on, you'll only hear the echoes of each decision —
The magic in the turning of the moon, its indelible mark.
Fates interlinking your steps and uncertainty as your only baggage.
Moments that are always as incandescent as indestructible candles.
Crosses and memories, bends and mends.

You know that scales are drawn on each map.
The question is how many beats will you manage to keep."

- Juanan Requena

Each book is unique & hand finished by the author with five different cover photographs, as well as a few small photographs randomly arranged inside each book, all hand-finished one by one with sandpaper, coffee and lots of love.

IMPERFECT COPY WITH BEND/BUMP TO CORNER  - SEE PHOTOS.

• Twin Palms 2025
• Hardback, 1st edition, 96p
• New

In his debut monograph, American photographer Henry O. Head reimagines the peaks and valleys of a defining teenage friendship in the Ozarks where he spent his adolescence. From spring 2023 through summer 2024, Head revisited the terrain of northwest Arkansas and southwest Missouri. He returned to Ponca and Jasper, Purdy, Monett and Pioneer— wild country with limestone bluffs shot through with quartz, where cottonmouths coil on exposed roots by slow creeks, and alligator gar glide like phantoms through the dark.

Twelve Acres recalls boyhood outside of city limits, in the shadows of sycamores, away from institutions and the pressures of social order. In a progression through the seasons, a restlessness presses in, a longing to stave off the rupture of entering an adult reality, with its responsibilities and mundanity. In this meditation on personal history, worlds quiver in a chaos of past and present forms and stark flashes of image begin to wobble in an opaque well. Tops spin. Animals with thirst cup liquid light. Memory remains an ineffable mystery. Twelve Acres is a reverie, wherein the past re-emerges as boys with tick-bitten feet, ears ringing from homemade explosives, clothes stained by the smoke of shoplifted cigarettes, and arms stretched toward higher branches.

Display copy with missing dustjacket.  Otherwise a fine copy, inside unmarked.

• Lamaindonne 2025
• Hardback, 1st edition, 108p
• Imperfect

"This book is a tale or a fable, a story like those we tell at night by the light of a small lamp before the other person falls asleep; that we tell one evening and then again the next, and again every evening, each time a little differently, leaving gaps for the next time.

It tells of children and animals, of undergrowth and clearings, and perhaps a monster. It contains metamorphoses, the unknown, and things left unsaid; shadows and lights without which there would be no images or room to imagine all that is not shown."  - translated from the French.

Imperfect sealed copy with bumped corner.  See photo.

• Aperture 2010
• Hardback, 1st edition, 176p
• New

Although best known for his large-format color photographs made with vintage Kodak Brownie cameras, William Christenberry has also consistently produced work with 35 mm Kodachrome slide film ever since he took up photography. William Christenberry: Kodachromes is the first publication to showcase this stunning and previously unknown body of work, spanning from 1964 to 2007, of which only a small number of images have ever been published or exhibited. As in all of Christenberry’s photographs, the subject matter is the rural Deep South: the twisting back roads, open landscapes, rusted signage, and ramshackle vernacular architecture found in Hale County, Alabama. Though many of the sites pictured in this rare collection are new, other subjects grew iconic in Christenberry’s oeuvre as he has returned to photograph them for decades―the red building in the forest, Sprott Church, the Palmist Sign, and the Bar-B-Q Inn, among others. However, the photographs in William Christenberry: Kodachromes, made with a camera that allowed for greater mobility, reveal new ways of considering Christenberry’s perennial subjects and o!er further insight into the working method of this venerable artist.

• 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.

• Deadbeat Club 2025
• Hardback, 1st edition. 92p
• near fine - see below

Between 2014 and 2020, Ian Bates traveled tirelessly along the West Coast of the United States. For years, he has photographed there a charred land suffering from increasing scorching wildfires. But, far from any voyeuristic dramatization, scarce are the depictions of the roaring flames, or of the fire’s fury. Rather, standing at a respectful distance, Bates photographs in rich black and white tones what is at the margin, the traces, the aftermaths. The beauty and horror of the landscape, too, enshrouded in a grey cloak of ashes and plumes. “There is a moment after a wildfire burns but before humans return”, says Bates, “where the land and forests are both beautiful and terrifying.” 

His photographs, seemingly suspended out of time in a muffled silence, at the edge of the catastrophe, are a meditative exploration on this liminal stage between calm and violence, on the fine line we dance on when we build and expand on nature’s ground. A meditation on the harshness, anxiety, and beauty of wildfires—which can, as well as destroy, prepare a fertile ground for new life to start.

Signed copy.

Display copy with faint bump to one corner - inside unaffected.

• Roshin 2025
• Hardback, 1st edition, 120p
• New

Published by roshin books in 2017, Untitled was a culmination of Shin Yanagisawa’s travel photography. Now, Tracks of the City returns to print, his first and most iconic photobook, originally published in 1979 by Asahi Sonorama. It captures Tokyo in the 1960s, at the height of the country’s rapid economic growth.

The photographs in this book were taken between 1965 and 1970, during a time when Tokyo was engulfed in a wave of “scrap and build” redevelopment. As old neighborhoods disappeared and new structures rose in their place, Yanagisawa turned his lens toward this transitional moment. Through precise and composed framing, he revealed the evolving forms and atmosphere of the city, without relying on narrative or symbolism.

“Photographs don’t need words”, Yanagisawa remained unwavering in this belief throughout his career. His work was neither part of the Provoke movement nor the so-called Konpora trend. What emerges here is not a category, but a singular vision—one that could only belong to Shin Yanagisawa.

Edition of 900 copies, of which 50 are solely available from Photobookstore, with an exclusive cover image as shown.

• 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’

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

Through the use of archival fragments, historic ephemera and his own photographs, artist Raymond Thompson Jr focuses on previously concealed stories of slaves, maroons, and runaways. ‘It’s hard to stop rebels that time travel’ aims to expand narratives about the Black experience and connection to the ‘American’ landscape.

The project is centered around the city of New Bern, North Carolina in the US—established in 1710 as hub for the trade of human beings —an area rich with historic moments. Many maroons—enslaved people who had escaped their captors but chose not flee to the north— inhabited the liminal spaces in the vicinity. They created lives in hard access swamps or in the ungoverned wild spaces between plantations and their survival strategies and techniques can be thought of as ‘freedom practices.’ Collectively the materials in the book reach through time to these maroons of the 18th century and connect them to both the contemporary landscape and the viewer.

“In 1918, my grandfather was born outside New Bern and left the region during the great migration.  This project represents a more personal approach to interrogating archives because it is based on a landscape I can trace to my ancestors. More and more, Black people like myself are seeking answers to questions surrounding their origin. This journey through our families' pasts necessitates us to walk the paths of our ancestors. This project became my portal to slip between the past, present and future.” - Raymond Thompson Jr

• Nazraeli Press 2025
• Softcover in acrylic engraved slipcase, 1st edition, 180p
• New

Immersed in a monochromatic landscape of surrealism, Tin Lizards is a testament to the enduring allure of train travel. Each location featured was reached by train, departing from Robert LeBlanc's home base in Los Angeles. As the rhythmic clatter of steel on steel propels LeBlanc forward, he captures the essence of exploration and discovery, weaving a captivating tapestry of photographs from the places he encounters, showcasing the delicate balance between stillness and movement. Tin Lizards is a harmonious collaboration between artistic vision and wanderlust. In this world of monochromatic surrealism, dreams collide with reality, as memories are etched in silver halides, and the world becomes a canvas for contemplation and wonder. From the solitude of his sleeper car to the enchanting hush of small towns and the bustling energy of major cities, LeBlanc adeptly frames these diverse landscapes with an artistic eye that finds beauty in even the quietest moments. This body of work invites us to embark on a poignant voyage, one where the soul of the country reveals itself through the gentle embrace of train travel.

Presented in collaboration with Carhartt Work In Progress, Tin Lizards is printed on silver art paper, its edges bathed in crimson and encased within a crafted acrylic vessel. This inaugural edition is limited to 600 copies and launched in tandem with a co-exhibition with Carhartt WIP and Fahey/Klein Gallery. A set of 20 special editions accompanies the release, each pairing the volume with archival prints and housed in a hand-numbered acrylic box.

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

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

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

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

Signed copy.

• Journal 2014
• Hardback, 1st edition
• New

It began as a way of remembering the craftspeople and laborers of my adolescence - my ever changing colleagues, who came and went like the work and who taught me, in beautiful and sometimes desperate ways, how to grow things in a difficult land. This book is about the quiet hours and days, relationships that ebb and flow, flourish or fail, and what we do and, sometimes, about all we can do. - Ken Grant

Sealed copy.

• Brave Books 2018
• Hardback, 1st edition
• New

Shadows of the State adapts open source research and satellite image interpretation in order to investigate the  mysterious spy radio signals known as numbers stations. Using these techniques it locates thirty of their clandestine transmitters, scattered across the globe from Russia to Liberia, Cyprus to South Korea.

Signed copy.

• Akaaka 2024
  
• Softcover, 1st edition, 112pp
  
• New

Japan promised by law to adhere to the Three Non-Nuclear Principles not to possess, produce, or permit the introduction of nuclear weapons. But nuclear weapons were brought here. Nuclear bombs were stored and retrieved here. Something that shouldn't be had existed here. Nagasawa's photographs of this place bring to our attention faint memories that lie behind what is shown in the photographs. The people who knew that time are disappearing, giving way to a new generation of Bonin Islanders. It is a past of loss and forgetfulness. Nagasawa has unearthed and made visual the secret room-a void severed from time and space.

Nagasawa photographed the series on the island of Chichijima, part of a remote archipelago south of mainland Japan.

For twenty-three years after the end of World War II, Chichijima was occupied by the U.S. military. During this time, only military personnel, their families, and the people already living there were allowed on the island. Most of what happened in this period remains unknown, but it was later revealed that the U.S. placed a nuclear warhead called “Mary’s Lamb” on the island.

In his series, Nagasawa enters the bunker where Mary’s Lamb was once kept. His photographs interrogate the halls, the floors, the flaking paint, the rusting metal surfaces, as if asking them for clues or their memories.

Slipcased softcover, H224mm x W343mm.  Text in English and Japanese.

• Loose Joints 2025
  
• Hardback, 1st edition, 168p
  
• New

• Nazraeli Press 2025
  
• Hardback, 1st edition, 16p with print
  
• New
  

Lucas Foglia's Living on Lava chronicles the allure of Hawaii’s Big Island, where volcanic forces shape both the landscape and the lives of its inhabitants. Five volcanoes form the Big Island of Hawaii. Mauna Loa is the largest active volcano in the world. Kīlauea has been erupting continuously since 1983. People build homes on the lava after it cools, despite the possibility of molten rock flowing over the same land again. Between eruptions, the cleanest air on Earth blows in with the Pacific Ocean waves.

Lucas Foglia is a 2024 Guggenheim Fellow who creates stories about people in nature. His photographs are collected, exhibited, and published internationally. Living on Lava is his fourth book with Nazraeli Press.

Small format hardback 6" x 8 1/2", 16 pages.

Living on Lava is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.

• Editorial RM 2022
  
• Softcover, 1st edition
  
• Used: near fine
  

n Solus Vol. I, Pieter Hugo reflects on the values that constitute the fashion industry’s shifting aesthetic through a series of straightforward portraits of street-cast models. Hugo found himself captivated by sitters with unconventional and atypical looks, particularly before they underwent fashion’s machinations of wardrobe, makeup and hair. Drawn to this uniqueness and recalling the sense of not-belonging that is part of the intense experience of youth, Hugo’s invitation to the models was “Simply present yourself”. The resulting photographs embrace vulnerability and frailty as much as they do the agency and idealism of their subjects.

Commenting on the gap between what may be understood as “yourself” and “model”, Hugo notes: “They seem so different to how I felt at their age. I was much more cynical, more nihilistic. They are more comfortable in their bodies than I ever was.”

Display copy some light wear and few faint marks to the cover.  Inside very fine. 

• Jiazazhi 2020
• Hardback, 3rd edition, 2nd printing.
  
• imperfect - see below

"Carrying out this photograph project is because of the inspiration after reading the novel River of the North written by Zhang Chengzhi. Attracted by the powerful words in this novel, I decided to take a walk along the Yellow River to experience and feel the father-like broad and wide brought from this river, so that I could find the root of my soul .while along the way, the river from my mind was inundated by the stream of reality. The river, which once was full of legends, had gone and disappeared. That is kind of my profound pessimism. Nevertheless, as a vast country with a long history, its future is always bright. There is a descent in the matrix; there is her own nutrition to feed her babies; there is the power of creation to cultivate them strongly. The weak moaning finally will be drowned by the shout for joy. From this point of view, it seems, all shall be optimistic."

• Chose Commune 2020
  
• Hardback, 1st edition
  
• Fine
  

Afterlife is the sixth chapter of Vasantha Yogananthan’s long-term project A Myth of Two Souls inspired by the epic tale The Ramayana. Drawing inspiration from the imagery associated with this myth and its pervasiveness in everyday Indian life, Vasantha Yogananthan has retraced the legendary route from north to south India. A Myth of Two Souls is informed by the notion of a journey in time and space and offers a modern retelling of the tale.

Afterlife is centered around the bloody war between the army of Ravana and the army of Rama. As its title suggests, the chapter deals with death and reincarnation. With Rama’s cruelty finally revealed, the series can be read as a visual exploration of one man’s descent into the darkness of the soul. Although the pictures were shot in Rajasthan and Tamil Nadu over two editions of Dussehra — the Indian festival celebrating the victory of good over evil — they do not document the festivities. They focus on the trance people try to reach night after night, as if during one week they were allowed to escape their bodies to become somebody else.

Back to his studio, Yogananthan did collages by mixing several pictures together to put the viewer in a state of disorientation. The Ramayana has been continuously rewritten and reinterpreted through time, and for Yogananthan’s Afterlife has been retold by Indian writer Meena Kandasamy. Amma — the seventh and last chapter of A Myth of Two Souls — will be published next year and will mark the end of the project (2013-2021).

Signed to a sticker - see photo.

• Nazraeli Press 2025
• Hardback 1st edition
• New

Published to coincide with an exhibition of the same name, Los Angeles x Shinjuku presents a face-to-face selection of work from Daido Moriyama’s ongoing Shinjuku, Tokyo series and Avo Tavitian’s photographs of Los Angeles made over the past three decades.

Born in Beirut, Lebanon, in 1954, Avo Tavitian’s journey to photography is marked by a profound connection to his changing surroundings. Shaped by the experience of moving to the Eastern shore of the United States with his family in the late 1960s, following the 1967 Middle East war, Tavitian developed a sense of being an outsider during his formative teen years in New Jersey and New York City, a sensibility that would later influence his work as a photographer after his relocation to Los Angeles in the mid-1980s.

Born in 1938 in Osaka, Japan, Daido Moriyama is a pivotal figure in contemporary photography, celebrated for his evocative black-and-white street photography that captures the essence of urban life. In recording the subcultures of Tokyo during his career he gravitated to the dense, dynamic and often gritty ward of Shinjuku. He employs a raw, spontaneous style characterized by high contrast and grainy textures. His iconic images explore themes of identity, memory, and the fleeting moments of everyday existence.

Tavitian and Moriyama both focus on framing everyday subjects, capturing moments on 35mm film while embracing the unpredictability of the medium. Their work reflects a deep fascination with urban landscapes and a curiosity about the mundane, as they seeks to document the changes and constants in his field of vision. Through their explorations, both photographers use the camera to navigate the complexities of belonging and identity in an ever-shifting human environment.

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

• Kehrer 2024
• Hardback, 1st edition, 240p
• New

The title Le bateau ivre (The Drunken Boat) refers to the poem of the same name by Arthur Rimbaud, in which he uses the image of a boat to represent a man’s journey through life. In a poetic photographic essay structured like a play in five acts, Martin Essl redraws the outline of a city in transformation and composes an abstract and contemporary map of Paris. »Le bateau ivre leads us on a Parisian tour that shows the eternal return of the same, like a curtain that opens and closes endlessly. As if diluted and transformed, under the influence of variations around cold colors, the Parisian space gradually becomes acqua alta, geographical, social, cultural, and temporal boundaries are dissolved.« (Sarah Sauquet)

Signed copy.

• FW: Books 2024
• Hardback, 1st edition
• New

Bertien van Manen (1935-2024) photographed in the 1970’s female labor migrants, and the wives of labor migrants, who came to the Netherlands in the context of family reunification. She portrayed Turkish, Moroccan, Tunisian, Spanish, Yugoslavian, Portugese, Greek and Italian women. At home, work, parties and leisure activities, often struggling to survive in a foreign culture. These photographs resulted in her first book ‘Vrouwen te Gast’, published in 1979. In 2024 Bertien revisited her own photographs and texts to make a new, more contemporary, edit of her first work. For ‘I am the only woman there’ she updated the book with new discovered photographs from her archive and new texts, by herself and Kim Knoppers.

• Deadbeat Club 2024
• Hardback with loose folded sheets, 1st edition
• New

Known for his textile and sound work, Christopher Robin Duncan recently turned to photography, rediscovering with a simple and sincere pleasure the medium that he had, for a while, set aside. 

Marked by the question of time, and informed by an intuitive, direct relationship with natural elements, Duncan's practice unfolds anew by the use of photography. Using a half frame camera which, by dividing the film in two, doubles time and space by the same action, Duncan creates interstices—the time of a heartbeat, of a fraction of a second—into which he slips, moves imperceptibly, creating suspended moments.

It is a delicate relationship to time that Duncan offers us with Poems. We find there the ties with seasons and natural cycles; we find there air, water, wind.

Like a volume of poetry, in which rhymes answer and echo each other, the lo-fi yet precious views Duncan gathers are combined in Poems, resonating in the distance, and eventually forming a complete cycle, a perfect revolution around its solar heart.

And, like the wind that blows across the photographed views, we too can experience the unbound pages, rearranging their rhymes into visual sequences each time reimagined.

Signed copy.

• Self published 2024
• Hardback, 1st edition 280p
  
• New

An exploration of Los Angeles’ neighborhoods and transient nature through an extensive typological record of its once-loved sofas.

• Stanley Barker 2024
• Hardback, 1st edition. 72p
  
• New

Larry Clark was 16 in 1962 when he and his friends started shooting Valo - a drug store nasal inhaler that contained a tremendous amount of amphetamine.

Clark returned to his hometown of Tulsa at 20 after two years serving in Vietnam. Here he graduated from amphetamines to heroin, and upended traditional documentary photography, by turning his camera on himself and his social circle, producing a ground-breaking series of raw and intimate photographs chronicling the disintegration of the American dream. 

Clark’s deeply intimate images exposed the previously unseen lives of suburban American teenagers, living a transgressive, outlaw lifestyle, hanging out in crash pads and committing burglaries and armed robberies to score dope. A small number of these photographs would come to form ‘Tulsa’, a cornerstone of contemporary photography. 

50 years on, Larry Clark has returned to his archive of vintage prints, crafting a powerful vision of his work from 1962-1973, to produce his new book ‘Return’, a meticulously printed, outsized monograph, which is as shocking today as it ever has been, even in a moment in which opioid addiction is more prevalent than ever before.

“I’ve always been interested in small groups of marginalized people who no one would know about otherwise.  I photographed my friends over a ten-year period in this secret world that nobody else could have possibly come in and done except someone from the inside like me. You see us from the time we were teenagers up until our twenties and how everything changed and how we changed. There weren’t supposed to be drugs back then. It was supposed to be mom’s apple pie and white picket fences. When I started making work, I said, “Why can’t you show everything?” - Larry Clark 

• Stanley Barker 2024
• Hardback, 1st edition, 104p
  
• New

In the Summer of 1980, Lisa Barlow was following the curve of Connecticut’s Route 69 in a beat-up rental car, when she came across a giant cross looming above the highway.

Barlow had heard about Holy Land U.S.A. but never encountered the painstaking replica in miniature of Jerusalem with illustrative scenes from the Bible, replete with precepts and biblical quotations engraved in cement. 

There was Pilate’s house, the Inn with a “No Vacancy” sign, a mummified lump spray painted white representing Lot’s wife turned to salt, and a repentant looking Lucifer locked in a small dog cage. Built 20 years earlier with concrete, plaster, wire and wood, the diorama had been sparingly repaired with modern materials such as plastic and aluminium siding. The Stairway to Heaven, cracked asphalt steps ascending the hill, had a cyclone fence along one side, and the Garden of Eden was completely obscured by thick vines under a tin sunshade. It was from there that Balow first saw the city of Waterbury spread beneath her, its church spires and factory smokestacks in odd juxtaposition with Holy Land’s little foot high buildings at her feet.

“Before long, it was more than a fascination with Holy Land that kept luring me back to Waterbury. It was the people who captured my attention, my imagination and eventually, my love. This is the story of that year in pictures.” Lisa Barlow 

Barlow’s images of Waterbury and its uniquely American idiosyncrasies are enthused with a rare empathy combined with a visual complexity that continues to unfold with each viewing. 

• 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

Signed copy.

• Stanley Barker 2018
• Hardback, 1st edition/1st printing
  
• Good - very good
  

Christopher Anderson’s photographs of the citizens of of Shenzhen, China, describe a megacity that didn’t exist thirty years ago, but today has some twenty million inhabitants. Working almost invisibly and bringing the viewer in close, into tightly cropped images that exclude all context except the ghostly light that illuminates the faces of his subjects. Anderson’s etherial portraits ask “Who are these individual people? What do they dream about?”

“I have seen the future and it is now and it is China. There is no need for the past. It can be erased. A new happiness is being constructed, an approximation of joy, better than the real thing.”  -  Christopher Anderson

Christopher Anderson first gained recognition in 1999 when his poignant images of the rescue of Haitian refugees taken onboard a sinking wooden boat named the “Believe in God” won him the Robert Capa Gold Medal.  In 2005 he joined the renowned photo agency, Magnum. In addition to regular personal and editorial assignments Anderson is currently the first ever “Photographer in Residence” at New York Magazine.

Signed 1st printing.  Light shelfwear and faint scuffing to cover with small bump to bottom corner of cover (see photo) - inside unaffected.

• Self 2024
• Softcover, 1st edition
• New 

"My brother is a beacon. Reinoud has Down’s syndrome. When he was five years old, I arrived in his life: a world shaped differently, in which the wisdom of the body has not been lost and the spirit is not constricted by reason.

His world is magnetic, it pulls and feels safe. There within, things can take on other forms: minuscule becomes magnanimous, and what is considered immense is scaled to minor. In his world everything is rooted, unconditioned and unconditional. He holds no judgements, no desires for more, he is not burdened by the compulsion of efficiency. In his world, sadness and joy can spill through into a single moment. And his existence is unquestioned, it just is. 

I observe his world, I merge within his world. In reality and in imagination. And the camera observes too. From close and afar."

- Caroline Kist

Edition of 200 signed and numbered copies.

• Hatje Cantz 2022
• Hardback, 1st edition
• New

The city Fred Herzog documented over more than half a century has vanished―an early kind of urban flaneur, Herzog wandered the streets of Vancouver, creating an archive that encapsulates the essence of a bygone era. Considered today as one of the most important street photographers of the 20th century, he changed the international conversation about early color photography. However, it was only in the late 1950s that he decided to primarily shoot with Kodachrome color slides. Fred Herzog: Black and White is the first acknowledgement of a lesser-known facet of the photographers’ work. Complementing the seminal Modern Color, it encompasses almost graphical urban scenes of shadow and light, alongside travel photographs and depictions of rural life. Evoking notions of melancholy, this book reveals that Herzog’s appeal lies in his ability to seize a condensation of a psychological state.

• Setanta 2024
• Hardback, 1st edition. 160p
  
• New 

"Space is a labyrinth. Paths always lead to other paths, which in turn lead to other paths and other paths. The photographs in this book, in a course without precise coordinates, without compasses and crossing invisible borders, stretch out in all directions, calling out to one another and connecting to form a spider's web of landscapes, human beings and curiosities. Malparaíso is an imaginary place, an Eden already lost which, as an artifice, must consolidate a "place" that forms part of the creative experience. The world, inscribed in the relativity of time, is seen only in fragments, but these fragments, as if they were the bifurcations of an infinite road, sow alarm signals until the book is tinged with a vague melancholy, a tableau vivant of our delirious idleness, a subtle allegory of our lethargy.

Exploring the classic motif of paradise, years ago I embarked on a journey that is as broad as it is personal, where racism, identity, migration, nature under siege, violence and precariousness always appear as the firm guiding threads of my photographs. My images suggest rage and pain, but also express the beauty, hope and humanity that are part of a complex reality."

- JM Ramirez-Suassi

Unsigned.

• Bluecoat Press 2024
• Hardback, 1st edition.
• New 

Originally shown at The Photographers’ Gallery in 1979, the exhibition garnered critical acclaim, solidifying the work as one of the most important of its generation.

Janine Wiedel is an internationally important documentary photographer whose work spans over five decades. Tutored by Ansel Adams and Nancy and Beaumont Newhall, she photographed the Black Power movement in the late 1960s and Berkeley People’s Park protest and riots of 1969. Arriving in England in 1970, she embarked on a continuous series of long-term projects including five years documenting Irish travellers. Her later work includes the Greenham Common Women’s Camp, the multicultural community squat in St Agnes Place, London, and the BAME and Rastafarian communities in Brixton. Her latest work includes six months photographing in the Calais ‘Jungle’ and Grande-Synthe refugee camp in Dunkirk. Always politically committed, Janine’s outstanding work is in the best traditions of humanist photography.

In 1977, Janine Wiedel set out in her VW campervan to photograph industry in England’s West Midlands – once the heart of the Industrial Revolution. A region that was home to thousands of businesses – from potteries and jewellers to coal mines, steel and iron works – was in steep decline; underinvestment over many decades in both premises and machinery had created a depressing situation where once world-leading businesses were no longer competitive internationally and facing a grim future.

Janine realised that this was a critical turning point in Britain’s industrial history and she set out to document the workers within their working environment. She was given remarkable access by the factories and was welcomed by the workforce, who greatly appreciated her interest in recording not just their daily work routines but also the bonding and social interaction that was so important in often grim factory environments.

Vulcan’s Forge finally honours the original exhibition at The Photographers’ Gallery in over 250+ pages of beautifully duo-tone printed photographs. The book isdivided into sections on each industry with extended captions and background information into each place.

Unsigned.  Faintest of rubbing to spine text - unread, new copy.

• Thames & Hudson 2024
• Hardback, 1st edition
• New

LOOK AT THE U.S.A. is a searingly honest portrait of post-9/11 America by Magnum photographer Peter van Agtmael. Broadly chronological, images from the front line of the wars in Iraq and Afghanistan are interspersed with conflicts at home, from protests against the Dakota Access Pipeline to the storming of the Capitol, and layered with van Agtmael’s personal reflections, critique and interviews with those he has encountered along the way.

• TBW 2023
• Softcover, 1st edition, 400p
• NEW

It was important to let my unconscious, rather than my intellect, dictate the progression. For reasons I don’t entirely understand, being nude became part of the project early on. And working against that white wall, near the two front windows in the so-called living room, became a central point.

—Melissa Shook

In December 1972, Melissa Shook (1939–2020) began a series of daily self-portraits in her Lower East Side apartment that she would continue until August 1973. Daily Self-Portraits 1972–1973 is the artist’s complete series of 192 photographs published together for the first time. With her medium format, black and white photographs, Shook captures herself in a variety of poses creating a more complete portrait than could be achieved with any one image. The photographs often include Shook’s daughter and the friends who populate her sphere. The viewer is introduced to the artist’s intimate domain and the mundanity of everyday existence comes to the forefront: nursing her ailing toe on the couch, sitting at the kitchen table with a friend, hair wrapped up in a towel post shower, dancing with her daughter. Rather than strictly embodying a typical vision of beauty, Shook’s poses are often imbued with irreverence and parody as a rejection of the tradition of female portraiture made from a male perspective. The book is astutely contextualized by Sally Stein's essay highlighting the artist’s purposeful dismissal of the idea of a single, revelatory moment, opting instead for the extended serial portrait, with all its contradictions and complexity.

• Stanley Barker 2014
• Softcover, 1st edition
• NEW

At the age of 33, one of Australia’s foremost artists, Bill Henson, produced some of the most evocative portraits and powerful dreamscapes of his career. 

Shot at dawn or dusk, in the suburbs of Melbourne, Australia, and in the deserts of Egypt, 1985 with its glimpses of faces, figures and places marks the moment when Bill Henson’s long-held desire to find a form for ‘the dream of suburbia’ was realised. Describing this process, Henson says, “I began to realise that these places could be understood as a dreamscape because they affect us so powerfully and with such immediacy as a memento mori. The light, smell, even temperature, as well as the look of these places, animates our memory and gently sharpens our sense of the passage to time.”

Combining photographs of ancient Egypt, with Suburban Melbourne, Henson creates an imaginary world, that shows “the suburban landscape as an interior world that each of us carries around inside us, like childhood, for the rest of our lives.” The photographs in this series are imbued with a sense of unreality. As night falls and we begin to rely upon the heightening sensitivity of our other senses, and as we navigate the darkness, through touch, smell, temperature and sound, and the projections of our imagination into this ambiguous space in which we find ourselves. Just occasionally, this might reintroduce us to the deep mystery of the world.

Sealed.

• Mack Books 2024
• Softcover, 1st edition
• New
  

‘I am writing this note while you’re still asleep. It’s still early enough that I can open the windows in my room. By the time you read this, I’ll be at work. Please pardon the strange formality of writing to you when I could just have said to you in person what I want to say. But since I have failed to say it, it is reasonable to conclude that I am having some difficulty speaking.’

Bringing together a sequence of subtle and disquieting photographs with a dozen compact short stories, Pharmakon is a surprising new work from the singular mind of Teju Cole. The photographs were taken across the globe and extend the oblique point of view he developed in Fernweh (2020). Interspersed among the images are texts that emerge like intimate signals from our age of crisis, mining further the exquisite linguistic control that characterizes Cole’s novels Open City (2011) and Tremor (2023). The result is a work of strange beauty that startles and consoles in equal measure.

Unsigned.

• Deadbeat Club 2023
  
• Softcover, 1st edition
  
• New
  

A follow up to her debut monograph Entangled (Deadbeat Club, 2020), Resurfacing furthers Maude Arsenault’s visual poetry with ongoing, honest exploration of the female experience. Time passes; family life fractures and splinters with it. Surfaces crack under a varnish of quiet and soft tones, as folds and crevasses are mirrors of an inner, newly reappropriated body.

Resurfacing is an essential extension of her work, translating the delicate and subdued power of her images into a tactile, textured design—giving amplitude and rhythm to Arsenault’s feminist visual language.

After several years behind the lens in the fashion world, Maude Arsenault, photographer, artist, mother and feminist, forks around 2015 towards the visual arts. Her work invests the themes of female representation, private space, domesticity and intimacy within the framework of a photographic and material approach which oscillates between abstract compositions, self-portraits, landscapes and images documentaries. She explores from the photographic and printed image, collage, sculpture and installation. In doing so, her projects deploy bodies as spaces and unexpected spaces of the body, in a perspective of self-determination for women.

Signed copy.

• Mack Books 2020
  
• Hardback, 1st edition 1st printing.
  
• Imperfect - see below

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.

Imperfect: Sealed 1st printing but with very small bump to one corner - see photo example

Note that there a few white dots to the dark area of two plates - this is common to all copies of the 1st printing, not just these imperfect copies.  See example.


Signed edition shown in video.

• Nazraeli Press 2024
• Hardback, 1st edition
• New 

Cross Road Blues presents a selection of 33 photographs from UK-based Oli Kellett’s iconic series of the same name. Kellett began the project in 2016 during a visit Los Angeles, during which time the United States was literally at a political crossroads. The series evolved naturally from there, eventually taking on a more universal meaning as Kellett continued his work in other countries including Spain, Japan, Brazil and Mexico.

The binding context in each of Kellett’s images is their setting at a crossroads – a familiar place and metaphor for the tension we encounter throughout life. “We live in an era of fake news, political polarization and algorithmic echo chambers,” Kellett explains. “Our experience of the world is fractured as we live out multiple identities on and offline. But crossroads are a democratic place; we all have to wait.”

Kellett’s masterful use of use of natural light and subtle composition lends a cinematic quality to these unstaged scenes. The contrast between the anonymity of urban space and the individuality of  human experience reveals the artist’s deep interest in the human psyche. As the writer and philosopher Nigel Warburton writes in his introductory essay for the book: “The step each person is about to take seems far more momentous than simply crossing a street”.

An admirer of the great American painter Edward Hopper, who famously reflected American life in silent spaces and melancholic moments, Kellett creates mesmerizing photographs of everyday people waiting at crossroads, providing us with a powerful contemporary metaphor.

Oli Kellett’s first monograph, Cross Road Blues is published to coincide with a solo exhibition at HackelBury Fine Art, London. Beautifully printed on a natural art paper and bound in gray cloth over board, with a large tipped-in cover plate, this first printing is limited to 1,000 casebound copies.

• Bluecoat Press 2023
• Hardback, 1st edition, 220p
  
• New

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.

• Loose Joints 2023
• Softcover, 1st edition, 528p
• New

Sam Youkilis's immediate and generous indexing of everyday life reaches across space and time in his debut monograph – a 528-page typology of human experience.

Sam Youkilis has been building a continuous archive of photographic works through his phone for the last six years. Working instinctively, Youkilis is drawn to universal themes of human experience, using the casual language of the cameraphone to evoke something profound, anthropological, comprehensive and yet incomplete. Youkilis’s work springs from an attitude, a way of experiencing the world, that contains depth beyond the offhand ease in which his images freely circulate.

In Youkilis’s first publication, the depth of this engagement with human patterns of behaviour is archived and scattered across a diverse range of themes, divided into chapters that playfully tease the tensions between categorisation and chance that inform his observational works. Somewhere scours Youkilis’s database for images of everything from the time of day–7:07AM, 12:33PM—to unmade beds, the act of cutting, thresholds, dancing couples and gestures of romance.

Presented as a dense 500-page sequence, Somewhere activates the archive and the typology as a source of human joy and communion while emboldening his subjects and unlocking the deep essence of different places worldwide. Youkilis embraces the real by engaging with both ephemerality and sincerity, while steeped in reverence for the photographic medium through a meticulous engagement with composition, colour, chiaroscuro and framing.

First printing.

• VOID 2023
• Hardback, 1st edition, 112p
• Fine
  

‘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.