Top Sellers

• Photo Editions 2021
• Softcover, 1st edition, 108pp
• New

In anywhere but here, Alison McCauley expresses the restless feeling that has haunted her throughout her life: that the place she is in isn’t where she should be, and a conviction that the next place will be better. Taken from 2008 to present, these images—taken in various locations around the world—are a deeply personal reflection of the artist’s emotions, photography being a cathartic means of coming to terms with her constant desire to move. As someone who has always led a semi-nomadic lifestyle, McCauley seeks to explore the idea of not belonging. Though she feels like she is supposed to belong somewhere, McCauley doesn't want to, as she recognises that it is the wonder of this belonging that is the impetus behind her work.   

Devoid of geographical and temporal reference points, the images are figuratively and literally blurred to emphasise that this is not about a location or time, but rather a state of mind. For the viewer the series takes on a narrative of its own, unfolding like a dream sequence: a body submerged in water, a flurry of balloons released into the open sky, city lights streaming through a hotel room, and fleeting scenes captured from a car window. Just as she is drawn to movement, it is these liminal spaces that the artist gravitates towards – the chaos, the stillness, and the magic in between. “The work comes from reality, but it’s a reality that’s distorted by subjectivity,” says McCauley. “It’s an expression of my state of mind during these restless off-moments.” 

A Special Edition is also available here.


For trade enquiries, please get in touch here

• Photo Editions 2021
• Softcover, 1st edition
• New
  
  

“The sheep stopped in their eating and looked timidly at us;
and the cattle, their heads turned from the wind and sleet,
stared angrily as if they held us responsible for both annoyances;
but, except these things, and the shudder of the dying day in every blade of grass, there was no break in the bleak stillness of the marshes.”

- Charles Dickens, Great Expectations

Situated on the Thames Estuary in southeast England, the North Kent Marshes are an overlooked but vital swathe of land. For centuries, trade has flowed in through the estuary and the surrounding wilderness harbours a rich history. In the 18th century, plague outbreaks ravaged Europe and ships were quarantined in the nearby Medway. The low-lying terrain provided the ideal conditions for smugglers, as small vessels would target ships transporting goods to the capital, allegedly sneaking the contraband down underground tunnel networks once ashore. It was against this illicit backdrop that Charles Dickens set the early parts of Great Expectations (1861), where the escaped convict Magwitch takes refuge in the marshes. 

Since 2011, Martin Amis has been photographing in the same marshland near his home, finding solace in the landscape through walking. This Land is the result of many walks over the past decade – much in the period from March 2020, coinciding with the UK’s first coronavirus lockdown. Devoid of people, Amis’ images invite a reconnection with nature: derelict industry reclaimed by the wild, grazing sheep and lone birds drifting across a monotone sky. Despite an undertone of loss and absence, Amis portrays a land that is continually being shaped by the elements and the civilisations that pass through it. If we listen closely, we might almost hear the shouts of the night watch over the gulf of time and the creaking prison hulks that once inspired Dickens.

Double hit silver wraparound softcover
24 x 30cm, 76pp
Tritone offset printed on Munken Lynx Rough

A Special Edition is also available here.

• 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.

• Trespasser 2023
• Hardback, 1st edition
• New

Photographs taken in rural Texas, most in Leon County.

O gaze into the fire
and be consumed with man's despair,
and be still, and wait.
And then see the world go on
with the patient work of seasons

– Wendell Berry

Edition of 1500 copies.

Out of print, final copies.

• Trespasser 2021
• Softcover, 2nd edition
• New

Mark Mahaney’s Polar Night is a passage through a rapidly changing landscape in Alaska’s northernmost town of Utqiagvik. It’s an exploration of prolonged darkness, told through the strange beauty of a snowscape cast in a two month shadow. The unnatural lights that flare in the sun’s absence and the shapes that emerge from the landscape are unexpectedly beautiful in their softness and harshness. It’s hard to see past the heavy gaze of climate change in an arctic town, though Polar Night is a visual poem about endurance, isolation and survival.

2nd edition.   Out of print, final copies.

• Atelier EXB 2025
• Hardback, 2nd edition
• New

Following the survey monograph, this publication is dedicated to Masahisa Fukase’s emblematic series on his two cats: Sasuke and Momoe, combining unpublished and iconic images. In 1977, Fukase turned his lenses on his new companion Sasuke. Growing up with felines, he decides with the arrival of this new cat in his life that it would become a photographic subject in his own right, fascinated by this creature full of life named after a legendary ninja. Sasuke disappears after ten days and the photographer sticks hundreds of small posters (as featured on the cover of the book) in his neighborhood. A person brings back his cat, yet it is not Sasuke but never mind he welcomes this new cat with as much affection. One year later, he takes a second cat named Momoe, entering the frame as well and he will never get tired of photographing their games. They become for the Japanese photographer a boundless experimental field leading to an extraordinary body of work in its technical and visual inventiveness.

As often in his work, this series shows a form of projection of the photographer into his subject. The cat, a faithful companion who never leaves him, takes the place of his wife, eternal heartache, later represented by the iconic fleeing crows.

His cats have been the subject of several books in his lifetime and Tomo Kosuga has dug into the photographer’s archives to conceive this ultimate book as the achievement of a series of publications devoted to his cats.

English edition.

• Mack Books 2022
• Hardback, 1st edition
• New

• Photo Editions 2025
• Hardback, 1st edition, 96p
• New

'I have been obsessed with Kyoto over the years because of the dense atmosphere the ancient city holds. That atmosphere must be the result of the essence of history that has gradually seeped into the land, brewing over time. In the 1,200 years since Kyoto was founded, many battles have been fought, much blood has been shed, and many people have died. The joys, sorrows, prayers, wishes, tears and struggles of so many people are layered on top of each other like a stratum, and as time goes by, the weight of these layers accumulates.

It is this kind of history of Kyoto that I have been trying to visualize over the past decade. Not history as a superficial record, but history as a "living creature" that has been nurtured and cultivated throughout people's lives. Yes, Kyoto's history deserves to be called a "living creature." It has a pulse; it breathes. I believe that the richness of Kyoto's air is generated by the body heat of history, history as a"living creature".' 

- Yasuhiro Ogawa

Hardback with swiss-binding (open spine). 305mm x 191mm. 

Signed copy.

A range of print options are available from the dropdown, all prints are 7"x5", signed and stamped on the reverse.  All prints are exclusive to Photobookstore.

In stock now.

• 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.

• Stanley Barker 2021
  
• Hardback, 2nd edition
  
• New
  

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 

2021 printing.

• Stanley Barker 2023
• Flexibound, 1st edition/1st printing, 294p
• New
  

Trent Parke’s landmark publication Monument is a portal through which we bear witness to the disintegration of the universe over 294 expertly printed pages.

The monolithic publication is bound in leather bearing totemic coordinates to the planet Earth, blind stamped end sheets, black sprayed edges, and a loose steel plaque, that once removed, leaves the volume without language.

When Trent Parke moved to Sydney from a small Australian country town, his first impression was of the sheer volume of people. He would grab his camera and go out exploring at every opportunity, fascinated by the endless processions. 
At rush hour, he watched as the city workers moved in a great mass, all walking the great conveyer belt of life. In a trance-like state, treading the same path day after day, week after week, year after year… clocking on, clocking off, all under the spell of the city. Parke would stand on the edge of the wave, on the outside of a new world, looking in. As if watching a newly discovered species. 
 
 “At night I would watch the eclipse of moths, millions of them constantly circling the lights of the Sydney Harbour Bridge. At the same time, on my balcony, a miniature performance played out around the light above my head. The moths inevitably and without resistance were drawn to their ultimate demise. Spiralling out of control, like small spaceships caught in a tractor beam. Lured and blinded by the bright white light, they were taken out by hundreds of birds swooping in to snatch them from the air… spiders sat waiting on their webs. Built with precise coordinates across the face of the lights, they captured the hapless tiny creatures that slipped through. If any miraculously managed to survive that onslaught, they continued on, driven towards the flame, intoxicated by those burning hot light globes. Then suddenly an electrical charge in the still air. A small puff of smoke. Gone. Instant disintegration of a life form. Another blip in the universe. Another small spacecraft colliding with the blazing sun.”

- Trent Parke

Flexibound with embossed leather cover,  blind stamped end sheets, sprayed edges with multiple paper weights and gatefolds.

1st printing.

• 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. 

Signed to the title page in pencil.  

• Nitesha 2023
  
• Softcover, reprinted edition
  
• New
  

Provoke was first published in November 1968 as a dojin-shi, or self-published magazine. It was originally conceived by art critic Koji Taki (1928-2011) and photographer Takuma Nakahira (1938-2015), with poet Takahiko Okada (1939-1997) and photographer Yutaka Takanashi as dojin members. The subtitle for the magazine was “Provocative Materials for Thought”, and each issue was composed of photographs, essays and poems. After releasing the second and third issue with Daido Moriyama as a subsequent member, the group broke up with their last publication First, Abandon the World of Pseudo-Certainty - an overview edition of the three issues. Provoke’s grainy, blurry, and out-of-focus photographs were initially ridiculed as are-bure-boke and stirred a great deal of controversy, yet it had created a strong impact inside and outside of the photography world during that time. However, today, Provoke has become an extremely rare book and very few people have seen the original.

Published as part of The Japanese Box: Facsimile Reprint of Six Rare Photographic Publications of the Provoke Era*, Provoke's facsimile reprint has its photographic images cropped approximately 3 mm from the edges for bookbinding purposes. The reprint also does not include texts by Takahiko Okada due to copyright reasons. Provoke Complete Reprint by NITESHA maintains the original size of the images and includes all original texts, along with the ones by Takahiko Okada. In addition, the volumes will be accompanied by complete English and Chinese translations of the original Japanese texts as a booklet.

2023 printing.

• Session Press 2020
  
• Softcover, new edition
  
• New
  

We Have No Place to Be (originally published by Soshisha in 1982) launched Hashiguchi’s illustrious 40-year career, and remains widely regarded as one of the photographer’s seminal early works. This new edition from Session Press, supervised and edited by Hashiguchi himself, is comprised of 139 b&w photographs, including more than 30 previously unpublished images. 

In the early 1980s, Hashiguchi began to document the plight of the young with his debut work, Shisen. Stifled by the mounting pressures posed by an increasingly oppressive education system and home life, these youths sought out their own identities on the streets of Tokyo—a lost tribe desperate for self-expression, repelled by a society that sang the praises of abundant riches and stability. Turning his lens on the global stage, Hashiguchi traveled through Liverpool, London, Nuremberg, West Berlin, and New York in a quest to further chronicle communities of disenfranchised youths abroad. In these five cities, Hashiguchi witnessed the complex cocktail of self-destructive discord lurking beneath the superficial excesses of city life. Revealing the entrenched drug addiction, racism, anti-immigrant sentiment, unemployment, and poverty that pervaded urban centers then as now, Hashiguchi’s photos challenge the viewer to reexamine what we have both become and lost.

The complexities of youth have served as a captivating theme throughout the annals of photographic history. Photographers such as Danny Lyon, Bruce Davidson and Larry Clark made masterpieces with their investigations into the subcultures of renegade bikers, street gangs, and rebellious adolescents teetering on the dramatic cusp of adulthood. However, Hashiguchi is distinguished by a uniquely unwavering dedication to this theme. The sheer breadth of his travels in Tokyo and the West alike, coupled with a rapt intensity for documenting the “troubled youth” of the 1980s, evinces a scale and specificity rarely attempted and arguably even unrivalled.

Since its initial publication in 1982, We Have No Place to Be has influenced generations of artists and photographers in Japan. One such artist and close friend is none other than Yoshitomo Nara, who has contributed an essay reflecting upon the legacy of the publication since its original release as well as his own time spent as a youth in Europe during the ‘80s.

• Photo Editions 2024
• Softcover, 1st edition, 104p
• New

“the way the light shimmers on the surface and the dark flip side of it all”

Shimmers by Alison McCauley features an enigmatic sequence of images captured in the Côte d’Azur between 2013 and 2023.  The Côte d’Azur is a destination that’s invaded by visitors and tourists year upon year. It offers a hedonistic lifestyle that attracts many in search of escapism, pleasure and fast money; a great deal happens in the shadows here.

“While working on this series, I often had a quote from Somerset Maugham in my head. He referred to the French Riviera as ‘a sunny place for shady people.’ This connected with what I saw and felt. It’s this contrast between the beautiful, shimmering surfaces and the dark, flip side that intrigues me. Shimmers is my love letter to this place … but it’s a pragmatic, eyes wide open kind of love.” 

- Alison McCauley

Printed in a mix of duotone and silver printing, Shimmers dares you to enter the dark heart of the French Riviera.

A choice of special editions with a print are available to purchase here.

For trade enquiries, please get in touch here

• Benrido, Inc 2021
• Set of 6 multi colour collotype prints
  
• New

As part of Benrido’s mini-portfolio series, Saul Leiter: Selected Works brings together a selection of well-known and well-loved images by American photographer Saul Leiter (1923 – 2013). Within, a selection of six images have been chosen from previously published bodies of work such as Cap, 1960, Driver, 1950s and Walk with Soames, 1958. This special portfolio was made in parallel to the Exhibition “Forever Saul Leiter” held at Tokyo’s Bunkamura Museum in January – March 2020. 

Set of 6 multi colour 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.

• Mack 2020
  
• Hardback, 1st edition
  
• New
  

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.

.

• Photo Editions 2022
• Softcover, 1st edition, 92p
• New

The coastline is an intrinsic part of British identity. Associated with freedom and escape, coastal towns have always drawn those seeking respite from landlocked cities, with seaside resorts serving a primary purpose: to entertain. In Silent Coast Rob Ball shows a different reality. Travelling the length of the English coastline, he captures the structures built along the edge – and in the process reflects on their vulnerability in the face of change.

Out of season these coastal resorts seem far removed from the fun they were designed to offer, revealing carefully manufactured environments, fortified by borders and surveillance. Silent Coast exposes the fragility that exists beneath the facade, a coast open to shifting economic forces and rapid environmental change. Devoid of people, the monochrome scenes reflect on the homogeneity of the coast; without place or time markers, resisting identification yet remaining deeply familiar.

Swiss-bound, tritone offset printed softcover, 28x24cm.

A special edition is available here.

• TBW 2020
• Hardback, 1st edition
• New

A foreboding meditation in the vein of Southern Gothic literature, Drake’s most recent body of work emerged through her collaboration with an enigmatic group of women loosely calling themselves “Knit Club.” The nature of the club is ambiguous. It is a cross between a gang, a cult of mysteries, and a group of friends bound by secrets only they share.

The book follows a narrative structure loosely borrowed from Faulkner’s As I Lay Dying–– that is to say, not one omniscient narrator but many disparate stream-of-consciousness voices. We sense the authorship of the photographs to be collaborative, the result of creative play between Drake and the club in which she found herself embedded, their process a kind of alchemy. In the style of the Gothic, Drake’s masterful use of color to create mood opens the door to the tension between the real and the supernatural. What we find, however, is not grotesque but something vital. A community that manages to exist outside the gaze or control of men. Women, children, and mothers, shrouded in masks and mystery to live a life on their own terms.

Following three critically acclaimed self-released books– Two Rivers (2013), Wild Pigeon (2014), and Internat (2017) –Knit Club is the first book Drake has made in collaboration with a publisher. Drake is the recipient of a Guggenheim fellowship, among many other awards, and became a member of Magnum Photos in 2019.

• T&M 2022
• Hardback, 1st edition
• New
  

'This book “Tokyo Silence” is a collection of B&W photographs capturing the Tokyo street life between 2003 - 2006. Tokyo is thought to be one of the noisiest cities in the world, but through these photographs I want to show the other side of Tokyo - for me, this is a city where strange silence is prevailing in the depth of our life like water. 

During that period I was crazy about traveling in China. In China, everywhere you look there is chaos. Shouts of people on the overcrowded streets, the squawking of car horns echoing in the grey sky, roaring voices from the loudspeakers scattered all over the cities - I really loved those Chinese street noises and I remember walking each day as if struck by lightning.

After getting used to such chaotic noises in China, the silence of Tokyo sounded very unique to me. Every time I came back to Tokyo, I wondered how could the city be so quiet?  No one talks on the trains, no one shouts on the streets. Yes, Tokyo is a city of noise too, but I think the character of noise is inherently different between the two countries. Here in Tokyo, almost all of the noises are from autoplaying music such as background music from shops or video ads on huge screens. What would happen if all the autoplay music is suddenly muted? While walking on the Tokyo streets, sometimes I feel an illusion as if I were in the bottom of an aquarium, where a curious silence surrounds us.

Such a thought pushed me to shoot the Tokyo streets, with a monochrome film-loaded Leica in my hand. I wanted to capture such characteristic silence of Tokyo, and the silence settling down inside us deeply.'

- Yasuhiro Ogawa

Edition of 800 copies.  Signed copy.

• Mack Books 2020
  
• Hardback, 1st edition
  
• New
  

Transparencies: Small Camera Works 1971-1979 offers an alternative account of one of the most fabled episodes in photographic history: the cross-country journeys that produced Stephen Shore’s luminous new vision of the American landscape, Uncommon Places. Along with his large-format camera, Shore also brought a 35mm Leica on his travels. The images made with it, on luminous colour slide film, are intimate, spontaneous and personal, while retaining Shore’s studied formal sensitivity. In these entirely unseen photographs, a parallel iteration of an iconic vision emerges like a piece of music played in a new key.

The vocabulary is familiar: highways and homes, phone boxes, fast food and sun-strewn parking lots. But the alternative format unmistakably re-envisions these subjects through distinct experiments with composition, attitude, and colour. Transparencies uncovers both a detail-oriented survey of the American landscape of the 1970s and a rigorous, imaginative exercise in form by an undisputed modern master.

• 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.

• Trespasser 2024
  
• Hardback, 1st edition, 108p
  
• New

Set amid the extreme heat and sprawling concrete of Tucson, Arizona, Dogbreath is a photobook that depicts a series of restless adolescents as they navigate a fraught and changing world. Through photographs of urban decay, sun-faded neighborhoods, scenes of mosh pits, and punk youths alongside their feral dog counterparts, the book paints a sympathetic view of teenagers adrift in what remains of their adolescence. Interspersed with elliptical texts about a mysterious boy named Dove, who speaks of underground pagans, scrap salvaging, and the search for gold, Dogbreath presents an enigmatic, psychologically engaging portrait of youth on the edge.

11.5x15 inches. 108 pages. 55 tritone plates on uncoated paper. 3 variations of cloth cover with tip-in image and foil stamp text. 

Please note that when you purchase this book, the colour will be selected at random.

Out of print, final copies.

• Photo Editions 2022
• Hardback, 1st edition, 88p
• New

“The deeper I dug, the more the city shared it’s secrets with me.”

In his debut monograph, Nick Gervin presents a surreal look into the flip-side of American culture, all captured on the stage of the small city of Portland, Maine.

In December 2008, Gervin suffered a traumatic head injury after being assaulted, an event that would dramatically alter the course of his life. Barely able to afford rent after having recently been laid off from work in the fallout of the recession, he swiftly spiralled into poverty and addiction – a situation exacerbated by his injury, the second head trauma he’d experienced in his lifetime. Diagnosed with Post-Concussion syndrome, Gervin developed severe sensitivity to light and sound and experienced debilitating migraines which left him feeling like a “prisoner in his own body”. Favouring the dark, quiet nights over the chaos of daytime, it was during these periods of solitude and broken sleep that Gervin rediscovered photography, nocturnally roaming the streets with his camera and finding a renewed sense of purpose in the process.

What followed was a ten year pursuit of photographing the many layers of his home city which saw him capturing everything from protest marches to wrestling bouts to drunken night-time brawls and even venturing down into the long forgotten subterranean networks of tunnels beneath. As Gervin explains, “I was driven by my anxieties, trying to stay sober while I attempted to make sense of what I saw. I was making a record of a place in time; a portrait of a city that I’ve grown a deep attachment to. As time went on and I felt compelled to continue the work, I realised it was not just myself but also the city and it’s Portlanders that were at a crossroads.”

Tritone offset printed hardback with oversized reverse french fold dust jacket, 240x285mm.

A choice of special editions are also available here.

For trade enquiries, please get in touch here

• Xavier Barral 2022
  
• Hardback, English edition
  
• New
  

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.

English edition.

Sealed.

• Nazraeli 2023
• Hardback, 1st edition
• New

Jungjin Lee’s extraordinary new artist’s book, Voice, comprises 46 large-scale photographs made in 2018 and 2019. While the photographs were originally made in deserts, mountains, oceans and plains, the artist writes, “My images should be seen as metaphors, a form of meditation. I do not depict landscapes or nature. The desert allows me to see my inner self, and my goal is to make images of what I feel there: the eternal sense of being open and present to the world.”

Lee’s work has expanded the boundaries of the photographic process to create images that are simultaneously textural and minimalist. After printing an image on hand-emulsified cotton or mulberry paper, she then alters its finish, using technological processes that result in a distinct, high contrast image.

Born in Korea in 1961, Lee began photographing while a student at Hongik University in Seoul, where she earned a BFA in ceramics in 1984. After graduating, Lee worked as a photo journalist and freelance photographer. She earned an MA in Photography from New York University in 1991. While in New York City, Lee worked for the photographer Robert Frank. Later, she traveled across the country and was deeply moved by the American desert, which became the subject of several of her photographic series. 

• Mack 2021
• Hardback, 1st edition. 128pp
• New

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.

• Photo Editions 2023
• Hardback, 1st edition
• New

The photographs in Folly, the debut photobook from Jamie Murray, were born from a series of conversations with individuals who have been incarcerated. Discussions of what had led to punishment, navigating the prison environment and the transition to freedom flowed towards philosophy, ideas of discipline and punishment, intertwined with questions around natural order and spirituality. The resulting allegorical photographs in Folly refer, both directly and indirectly, to what was said and how these conversations affected Murray.  

Murray first began speaking to the individuals in 2017 in an attempt to understand more about their experience with the aim of making a documentary series within a prison. Most had been in numerous prisons over long periods of their life, often multiple times, and Murray hoped to document these meetings and brought along his camera. Some individuals would allow portraits, and others not. As the conversations evolved, so did the project, as the encounters led him to reflect upon his own life, choices and history with meandering thoughts and emotions relating to what had been discussed.

The pictures in the book begin with an imposing folly - an ornamental structure of no purpose, both foolish and excessively costly. The images that follow, a pile of coins glistening in the undergrowth, gathered crows, a fish gasping for breath outside water, rows of butterfly pupae, interweaved with haunting portraits of some of the individuals evoke a fractured narrative, a rumination on these conversations and the relationship between man and nature, co-existence and interference. 

A special edition with signed print is available here.

• Mack 2024
  
• Hardback, reprinted edition
  
• New
  

Consistently proclaimed as one of the most important photobooks in the history of the medium, Ravens by Japanese photographer Masahisa Fukase was first published in 1986 and the two subsequent editions were both short print runs that sold out immediately. This bilingual facsimile of the first edition contains a new text by founder of the Masahisa Fukase Archives, Tomo Kosuga. His essay locates Ravens in Fukase’s wider work and life, and is illustrated with numerous recently discovered photographs and drawings.

Fukase’s haunting series of work was made between 1975 and 1986 in the aftermath of a divorce and was apparently triggered by a mournful train journey to his hometown. The coastal landscapes of Hokkaido serve as the backdrop for his profoundly dark and impressionistic photographs of ominous flocks of crows. The work has been interpreted as an ominous allegory for postwar Japan.

Blind embossed clothbound hardback in a silkscreen printed carton slipcase includes the original afterword by Akira Hasegawa [1986] and a new text by Tomo Kosuga [both bilingual].

2024 Mack edition.

• Stanley Barker 2022
• Flexibound, 1st edition
• Near fine to fine

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

Final copy with some very faint wear to corners (common).  Still sealed.

• Blue Lotus / Photo Editions 2025
• Hardback, 3rd edition, 100p
• New

Yasuhiro Ogawa’s new photobook Into the Silence captures the rugged yet timeless beauty of Japan’s northern region as he follows in the footsteps of the 17th Century poet Matsuo Bashō.

The story of Matsuo Bashō's journey through the northern provinces of Japan in the 17th century, is recounted in his travelogue "The Narrow Road to the Deep North,” ("Oku no Hosomichi”). In the summer of 1689, Bashō set out on his journey with his traveling companion Sora. They traveled on foot, carrying only minimal provisions and staying in humble lodgings along the way. Bashō was seeking inspiration for his poetry, and he found it in the natural beauty and cultural richness of the places he visited.

Like Bashō before him, Ogawa set out on a journey through the Tōhoku region, unlike Bashō, who traveled on foot with pen in hand, Ogawa preferred to move by train with camera in hand.  His photographs capture the rugged beauty of the landscape, from snow-covered mountains to misty forests and along deserted roads with glimpses of wild oceans, often shot through foggy windows on a train in motion. Through his lens, Ogawa reveals a world that is both remote and timeless, a world in stillness and motion.

Despite the passage of centuries, the challenges faced by Bashō on his journey are still evident in Ogawa’s photographs. The loneliness and isolation of the road are palpable in the shots of empty trains, lone tracks or roads and desolate hotel interiors. So are the physical challenges of traversing rough terrain and inclement weather documented in his muted photographs.  There is a marked contrast between the beauty and tranquility of the landscape and the harsh realities of life in this remote region. From plain coastal towns to empty streets, Ogawa’s images reveal the toll that economic decline and depopulation have taken on the area. Yet there remains a sense of hope and resilience.

Hardback 3rd edition.

Signed copy. 

Copies of Into The Silence (2nd edition), with a signed print are available here.

• Stanley/Barker 2020
• Box set of 45 facsimile polaroids, 1st edition/1st printing
• New

Often considered Jim Goldberg’s seminal body of work, Raised By Wolves collages ten years of photographs, texts, films and installations into an epic narrative of the lives of runaway teenagers in San Francisco and Los Angeles in the late 1980s and early 1990s.

In Fingerprint, Goldberg exhibits many never-before-seen Polaroids from the project, which served as drafts for photographs he would later make, as well as gifts for the subjects themselves. The images are sometimes scrawled with text proclaiming the identities, challenges, and resilience of the teens, and other times capture a quiet reality of life on the street.  

Encased in a limited edition box set, the 45 loose leaf facsimile Polaroids create a freshly intimate and fragmented account of this classic body of work.

• Twin Palms 2022
• Hardback, 1st edition, 304p
• New

For the past twelve years, Stacy Kranitz has been making photographs in the Appalachian region of the United States in order to explore how photography can solidify or demystify stereotypes, and interpret memory and history in a region where the medium has failed to provide an equitable depiction of its people. Rather than reinforcing conventional views of Appalachia as a poverty-ridden region, or by selectively dwelling on positive aspects of the place and its people to offset problematic stereotypes, this work insists that each of these options are equally problematic ways of looking at place.

This work does not attempt to illustrate a certain type of injustice in the hope of remedying it. Instead, Kranitz has come to Appalachia to open up a new kind of narrative, one that examines our understanding of culture and place in a manner that is poised between notions of right and wrong.

As the narrative of As it Was Give(n) To Me unfolds, the book provides an intimate perspective on a region forced to transition away from coal extraction as its dominant source of economic stability, an opioid epidemic that has wreaked havoc on communities, and the role of Appalachia in a politically divided nation.

• Stanley Barker 2021
• Hardback, 2nd edition
• New

On a map of the south-eastern U.S., the 245-mile Ogeechee River cuts a diagonal path across Eastern Georgia before curling south of the city of Savannah and emptying into the Atlantic Ocean. It is known locally as Blackwater River for its slow moving waters that are like black glass, reflecting the sky and flora overhead and masking the tangle of life forces beneath.

In November 2017, Robbie Lawrence, accompanied by writer Sala Patterson, travelled to the Low Country, the coastal region straddling Georgia and South Carolina near where the Ogeechee River meets the ocean with the aim of documenting the nuances of issues driving news cycles and political divisions through the lens of one place in America.

Blackwater River captures, in image and spirit, Lawrences time in the Low Country – a series of profound encounters and abstract reflections, some inspiring, others harsh but all indelible. Each moment is individually significant while collectively hinting at larger, more elusive truths.

Out of print 2nd edition.

• Setanta 2022
• Hardback, 1st edition
• New

Henri Prestes’ first monograph We Were Born Before the Wind is an exploration of solitude and melancholy in the mysterious landscape of Portugal.

The photographs Prestes took of his hometown, roaming in the dark through small villages, mountains and desolate fields during the colder months of the year, create cinematic and intriguing scenes - there’s something ominous but also calming about the quietest hours captured by Prestes. 

With small plate pasted into endpapers, signed by Henri Prestes (see photo).

• Mack 2021
• Hardback, 1st Mack edition
• New

“The force of Graham’s Beyond Caring photographs remains undiminished. [...] one of the most commanding and gravest monuments to Thatcher’s Britain produced by any British artist” – David Chandler

Originally self-published in 1985, Paul Graham’s renowned series, ‘Beyond Caring’, was made in the waiting rooms and corridors of the Social Security and Unemployment offices around the UK, documenting the long waits, queues and poor conditions of an overburdened system, to produce a powerful series of photographs conveying the hardship people experienced. Denied official permission to make the work, Graham’s photographs were taken discreetly, usually without looking through the camera, resulting in a spatial disorientation that emphasised the unmoored distress of vulnerable citizens. The work shocked many on its release – leading Magnum photographers were outraged by its use of colour in a classic documentary topic, while others celebrated how it straddled the world of activism and art (it was exhibited at both Trade Union conferences and the Museum of Modern Art, New York). Graham forged a fresh form of engaged photography, mixing elements of social documentary, ‘new colour’ and reportage to create a striking body of work that endures to this day. Many decades have passed since their making in 1984, but these images have grown not only in photographic importance, but also as a unique historic record of the mid-1980s unemployment crisis in the UK. This edition of Beyond Caring is part of Graham’s iconic 1980’s trilogy of UK books, being republished by MACK, which also includes A1 – The Great North Road(2020) and Troubled Land (Fall 2021).

The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.

• the(M) éditions / IBASHO 2022
• Softcover, 1st edition, 192p
• Imperfect - see below

"Everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not show us. This interest can take the form of a quite intense feeling, a sort of conflict, one might say, between the visible that is hidden and the visible that is present."

-René Magritte

Photography duo Albarrán Cabrera uses photography as a tool to investigate reality. The images that make up their latest book ‘Photography Syntax’, function as the notebooks of their philosophical research. Together with the texts, the photographs testify to the use of photographic processes as a means of going deeper into the reasons and thoughts behind the images.

Texts in English by Albarrán Cabrera

First edition with cover as shown.

Slightly imperfect final few copies, with small 3-4mm wear to one corner which barely affects pages.  See photo.

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

Chris Killip is widely regarded as one of the most influential British photographers. Skinningrove is the last publication Killip worked on before his passing in 2020. Known for his passion for photography books, he oversaw all elements of this book, which features many unseen images. We are very proud to now release this unique publication into the world.

Born in the Isle of Man in 1946, he began his career as a commercial photographer before turning to his own work in the late 1960s. His book, ‘In Flagrante’, a collection of photographs made in the North East of England during the 1970s and early 1980s, is now recognized as a landmark work of documentary photography. 

The village of Skinningrove lies on the North-East coast of England, hidden in a steep valley it veers away from the main road and faces out onto the North Sea. The photographs that Chris Killip made of its, fiercely independent hard working-class community, between 1982 and 1984 are possibly Killip’s most intimate work.

“Like a lot of tight-knit fishing communities, it could be hostile to strangers, especially one with a camera. “Now Then” is the standard greeting in Skinningrove; a challenging substitute for the more usual, “Hello.” The place had a definite edge, and it took time for this stranger to be tolerated. My greatest ally in gaining acceptance was Leso (Leslie Holliday), the most outgoing of the younger fishermen. Leso and I never talked about what I was doing there, but when someone questioned my presence, he would intercede and vouch for me with, “He’s OK.” This simple endorsement was enough.

“I last photographed in Skinningrove in 1984, and didn’t return for thirty years. When I did I was shocked by how it had changed, as only one boat was still fishing. For me, Skinningrove’s sense of purpose was bound up in its collective obsession with the sea. Skinningrove fishermen believed that the sea in front of them was their private territory, theirs alone. Without the competitive energy that came from fishing, the place seemed like a pale reflection of its former self.” - Chris Killip

• 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.

More copies expected late Febrruary 2026

• FW 2020
  
• Softcover, 1st edition
  
• New
  

This is the third publication in which Awoiska probes deeply into the essence of the remote unspoiled natural worlds where her images are created. The book is published alongside the music composition ‘The Living Mountain’ written by Thomas Larcher as composer-in-residence at the Concertgebouw in Amsterdam (2019-2020). The music piece draws inspiration from photographs that Awoiska made for Larcher in the mountains of his native Tirol (Austria). The monochrome landscapes are combined with reproductions of Larcher’s scores and remnants. The title for both the composition and this book is taken from Nan Shepherd’s book of poetic prose on the Cairngorms mountains that she wrote in 1942 and which was first published in 1977. 

‘Regardless of how personal the starting point of my work may be, in the end I hope my images touch the strings of a universal knowledge, something lodged in our bodies, our guts, an intuition that reminds us of where we came from ages ago. A memory of our core existence, our bedrock, unyielding certainty in a very precarious world’.

- Awoiska van der Molen

Unsigned.  Final few copies.

• Nazraeli 2023
  
• Hardback, 1st Nazraeli edition, 120p
• New - see below

To distill a feeling
You must still your feelings.
But the mind is its own mirage,
The desert a looking-glass.

“Making pictures in Israel and Palestine was above all an emotional challenge. My photographs usually deal with something eternal in the landscape, but in this place the layers of history and conflict, fear and hostility, frustrated my camera. I happened to travel a lot in the West Bank, not for any political purpose, but because I liked the landscape between the cities. I tried to gaze at the land, without prejudice or judgment. I didn’t want to deal with the masks of the people and I didn’t want to put on my own mask. I wanted to see it as the olive tree sees it. But I felt overwhelmed by the realities around me. I felt sad and uncomfortable much of the time, and I found myself trying to make photographs in a place I didn’t want to be. It was difficult, but looking back, I can see that it forced me to change as an artist and I am grateful for that. On my final trip, I was able to see, not only the land, but my own mind, with its uneven terrain and movements, and to touch something elemental.” ― Jungjin Lee

This new, expanded edition of Unnamed Road was designed by Jungjin Lee, and published on the occasion of an exhibition at GoEun Museum of Photography in Buson, South Korea.

Hardcover, 10 x 11.5, 120 pages, 58 quadratone plates.

Note: Due to the nature of it's design, faint wear is possible to the edges and corners of the hardback cover despite the books being still sealed - see example photo of a corner.

Final copies of this now out of print edition.

• David Zwirner Books 2025
• Hardback, 1st edition, 112p
• New

This momentous publication catalogues the last major group of William Eggleston’s photographs to ever be produced using the dye-transfer method, the format in which he originally presented his work.

Eggleston’s vivid photographs transform the ordinary into distinctive, poetic images that eschew fixed meaning. One of the foremost practitioners in the medium’s history, Eggleston is widely considered the father of color photography. He pioneered the use of dye-transfer printing for art photography in the 1970s. The technically advanced process―first developed by Kodak in the 1940s―allowed him to achieve the richness of tonal depth and color saturation that he had been searching for. In the early 1990s, Kodak stopped producing the dyes, paper, and film used in the process. With the necessary materials now discontinued, and the bulk of what remained being used for the major group of work presented at David Zwirner in Los Angeles, The Last Dyes marks the final presentation of new works completed in this medium.

The publication includes a new essay by Jeffrey Kastner, offering critical insights into Eggleston’s enduring influence at this turning point in the history of photography.

• Photo Editions 2025
• Hardback, 1st edition, 80p
• New

reverie (n): a state of deep and often dreamy contemplation or daydreaming, where one's thoughts and imagination wander freely and without a fixed purpose.

Martin Amis new photobook Reverie is a natural continuation of his previous work, This Land. It sees the photographer return to the Thames Estuary and it’s surrounding areas in North Kent, the tidal area where the River Thames meets the North Sea. Like dreams, this landscape, not quite land, not quite water, is an in-between space, neither here nor there. It is a landscape scored with stories of the past, as well as uncertainty around the future.

People are absent from the images, yet there are traces of human presence: the skeletal hulks of ships, electricity lines and fences, polluted waters, and industrial pipes billowing smoke on the horizon. Through these subtle details, Amis alludes to the ongoing destruction of these rural areas, many of which have been earmarked for new housing developments.

The passing of time is evident throughout. As the book segues through the seasons, we are carried into a dreamlike flow, witnessing both the quiet strength and beauty of nature, while also recognising what we risk losing in destroying these precious habitats.

Signed copy.

240mm x 300mm, hardback with black page edges.

A range of special edition options are available from the dropdown:

• Each print is in an edition of 15 signed and numbered copies (on verso), the price of each will rise in increments as the edition sells through.
  
• Printed on 310gsm Hahnemühle William Turner paper, a beautifully textured matt paper.
• Paper size: 210mm x 297mm (A4) 
• Image size: 160mm x 200mm, except Winter Landscape 160mm x 240mm
• several other prints from Reverie are available here

For trade enquiries, please get in touch here