Top Sellers

• Void 2025
• Softcover, 1st edition, 672p
• New

‘Dimma Brume Mist’ was born from over two hundred binders containing thousands of contact sheets and negatives. Over the course of five years, JH Engström periodically returned to this archive, mining deep within the overlooked to search for the common thread present throughout his 35-years of image-making. His ambition was not to create a ‘best of’ collection, nor a summary of previous books, but to create something else entirely. The result is ‘Dimma Brume Mist’—an epic book of previously unpublished photographs and text.

The framework of a book emerged in the early stages of Engström’s excavation of his archive. He began forming pairs and sequences of images which oscillated between opposite and complementary elements such as between rural / urban, movement / stillness, inner / outer, security / insecurity, child / adult, reflection / impulse, self / other, nature / civilisation. As the book evolved a second type of oscillation developed between images and words—forming the building blocks for the book.

The texts—reproduced in Swedish, French and English—are short, stripped down simple notes either referring to childhood memories, random thoughts which arose in connection with Engström’s artistic search or ongoing inner monologue. He views the images as the engine and the texts as a braking system, preventing the reader from rapidly flipping through the book so as not to miss them.  All the images are vertical to reference books beyond the defined category of photobook—leaving ‘Dimma Brume Mist’ uncategorisable.

To maintain a simplicity and directness, the images in the book have been scanned straight from the contact sheets and are presented without captions.  They are undusted and scratches, damage and other traces of time have been left exactly as they were when the contact sheet was removed from the binder. The imperfection of the images is symptomatic of the weathering and disintegration of memory with time.

Edition of 750 copies.

• Mack 2016
  
• Hardback, 4th printing
  
• NEW
  

[…] traditional American landscape photography has become a rather moribund photographic trope [...] a sanctified, cliched reverence has become the norm. In Halpern’s California work, I see him removing himself from the comforts of the past and endeavoring to strike out afresh, rethinking his conditioning and antecedents to break free of this particular mould.
— Chris Killip

Beauty and its implication of promise is the metaphor that gives art its value. It helps us rediscover some of our best intuitions, the ones that encourage caring.
— Robert Adams

The early settlers dubbed California The Golden State, and The Land of Milk and Honey. Today there are the obvious ironies – sprawl, spaghetti junctions and skid row—but the place is not so easily distilled or visualized, either as a clichéd paradise or as its demise. There’s a strange kind of harmony when it’s all seen together—the sublime, the psychedelic, the self-destructive. Like all places, it’s unpredictable and contradictory, but to greater extremes. Cultures and histories coexist, the beautiful sits next to the ugly, the redemptive next to the despairing, and all under a strange and singular light, as transcendent as it is harsh.

The pictures in this book begin in the desert east of Los Angeles and move west through the city, ending at the Pacific. This general westward movement alludes to a thirst for water, as well as the original expansion of America, which was born in the East and which hungrily drove itself West until reaching the Pacific, thereby fulfilling its “manifest” destiny.

The people, places, and animals in the book did exist before Halpern’s camera, but he has sewn these photographs into a work of fiction or fantasy—a structure, sequence and edit which, like Los Angeles itself, teeters on the brink of collapsing under the weight of its own strangely-shaped mass.

4th edition/printing.  With a signed plate pasted into the endpapers - see photo.

• 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’

• Setanta 2025
• Softcover, 1st edition, 48p
• New

"My photographic work begins with slowness — with looking, waiting, and allowing the image to form gradually. I’m drawn to the quiet edge of things: the way light hovers on a branch, how a shadow moves across a face, or how a single gesture can hold a sense of myth or memory. These moments are often subtle, almost invisible at first, but they stay with me until I find a way to bring them into form.

Process is not separate from meaning in my practice — it is how I come to understand what I’m seeing. I work with both analog and digital tools, often blending darkroom techniques with layered imagery. I’m interested in how light behaves through different materials, how an image can soften or distort through time, and how a photograph can hold something both tender and unresolved.

Figures, natural elements, and symbolic objects recur across my work — not to tell stories, but to create a sense of presence. I think of these images less as documents and more as emotional landscapes. They offer places to pause, to feel, to remember.

In making them, I try to stay open — to let the process guide me as much as I guide it. That openness is what I hope the viewer can feel: a moment suspended, attentive, and quietly alive."  - Sara Silks

Sara Silks is the twenty-third in an ongoing Bi-Monthly series publishing the work of emerging photographers.

The special edition also contains a 19x14.7cm signed and numbered Giclée print (one of an edition of thirty) - select from dropdown.

Special editions begin shipping 18th July.  The prices of these editions will rise as they get close to selling out.

• Hopper & Fuchs 2024
• Softcover, 1st edition, 240p
• New

ECHTZEIT offers a unique glimpse into Dirk Braeckman’s most recent photographs, accompanied with the museum’s collection and texts written by Clément Chéroux, director of the Foundation Henri Cartier-Bresson, and Tamara Berghmans, curator of the exhibition. 

Dirk Braeckman defies easy description: leading contemporary Belgian photographer whose work is part of numerous collections across the globe and has been exhibiting worldwide for four decades. Braeckman is notorious for his silverish-grey-toned, large-scale prints and has been seeking to manipulate the medium of photography since he began over forty years ago, drawing out a certain slowness and space within his work. 

In 2017, Dirk Braeckman represented Belgium at the 57th Venice Biennale and The Royal Family of Belgium commissioned a permanent installation in the Sphinx Room of the Royal Palace in Brussels. In 2021 Braeckman took part in the 34th Bienal de São Paulo ‘Though it’s dark, still I sing’.

• Aperture 2021
  
• Hardback, 10th anniversary edition
• NEW

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

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

• Aperture 2024
• Hardback, reprinted edition, 180p
  
• New

In the nearly seven decades since its publication in France in 1958, then in the United States in 1959, Robert Frank’s The Americans has become one of the most influential and enduring works of American photography. Through eighty-three photographs taken across the country, Frank unveiled an America that had gone previously unacknowledged—confronting its people with an underbelly of racial inequality, corruption, injustice, and the stark reality of the American dream. Frank’s point of view—at once startling and tenacious—is imbued with humanity and lyricism, painting a poignant and incomparable portrait of the nation at a turning point in history.

This edition of The Americans is a celebrated return of an iconic title to Aperture’s catalog, more than a half-century after the Aperture and Museum of Modern Art edition was published in 1968. Presented on the centennial of Frank’s birth and coinciding with a major exhibition at the Museum of Modern Art, it has been produced following the finest tritone printing from the 2008 edition for which Frank was personally involved in every step of the design and production. 

Frank’s exacting vision, distinct style, and poetic insight changed the course of twentieth-century photography, and influenced subsequent generations of photographers, including Lee Friedlander, Nan Goldin, Danny Lyon, Joel Meyerowitz, Ed Ruscha, and Garry Winogrand. Now extolled as one of the most groundbreaking photobooks of all time, The Americans remains as powerful and provocative as it was upon publication and continues to resonate with audiences today.

• 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. 

• Mack Books 2024
• Hardback, 1st Mack edition, 320p
• New

First published in 1996 to enormous acclaim, Richard Billingham’s Ray’s a Laugh is one of the most significant photobooks of the turn of the twentieth century, as well as a cornerstone work of the Young British Artists generation. Formed of starkly intimate images of Billingham’s often chaotic parental home under the heavy effects of alcoholism and poverty, the book was produced in the 1990s with editors Michael Collins and Julian Germain. This new edition restores Billingham’s original vision for his deeply personal work for the first time. Including numerous unseen images and a distinct approach to sequencing inflected by Billingham’s training as a painter: it constitutes a ‘director’s cut’ and reintroduces a vital and consistently challenging work for a new era.

Hand-signed by Richard Billingham to the first white page.

• Atelier EXB 2024
• Hardback, 1st edition, 190p
• New 

Initiated by Clément Chéroux, this book and exhibition presented at the Henri Cartier-Bresson Foundation in Paris, examine Stephen Shore's work through the unexplored prism of vehicular photography. Since the 1960s, Shore has made most of his images from a means of locomotion, be it car, train, plane or even, more recently, drone. The journey, as important as the destination, becomes a pretext for experimenting and constructing a singular photographic work. In this way, Stephen Shore explores the vernacular of the contemporary landscape, and what it reveals about American society itself.

The book presents a dozen series in chronological order, from his B&W work in Los Angeles, when he was just 21, to his two major series American Surfaces and Uncommon Places, as well as the more recent Topographies, conceived in 2020-2021, with a camera mounted on a drone. These series are punctuated by excerpts from a long interview between Stephen Shore and Clément Chéroux. Each of them wrote a text on the subject of the photographic road trip, considered a genre in its own right in the history of photography, from Jacques Henri Lartigue to Man Ray, Robert Frank and Joel Meyerowitz.

Text in French only. (No english edition available)

• Stanley Barker 2018
  
• hardback, 1st edition
  
• New
  

While studying at the New School, New York, under the legendary Lisette Model Sunil Gupta would spend his weekends cruising on Christopher Street with his camera. It was the heady days after Stonewall and before AIDS when Gupta and his peers were young and busy creating a gay public space that hadn’t been seen before.

“I came to photography in the early 1970s. What was initially just a hobby quickly found a purpose in the fledgling gay liberation movement, documenting gay rights marches as well as the burgeoning gay scene. In retrospect these pictures have become both nostalgic and iconic for a very important moment in my personal history.” - Sunil Gupta

Born in New Delhi and now living in London, Sunil Gupta is an artist, writer and activist. He has a MA in Photography from the Royal College of Art, and is currently studying towards a doctorate at the University of Westminster. Gupta’s work has been seen in over 90 international solo and group exhibitions.

Christopher Street, 1976 was nominated for The Aperture Paris Photo book award, the Lucie Photo book Prize and Les Rencontres d'Arles book Award.

Sealed.

• 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.

• 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.

SIGNED COPY.

• 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.

Special edition of 25 copies with a 10"x8" signed and numbered archival print as shown, see the alternative special edition here.

• RRB 2017
  
• Hardback, 1st edition
  
• New
  

For over twenty years, Krass Clement’s book Drum, photographed in a single evening, has long been regarded as one of the most iconic photobooks ever made. RRB are pleased to be able to now publish Dublin. The images in Dublin retain some of the style of Drum, an almost autobiographical account of the three journeys that Clement made into and out of Dublin while staying in Monaghan in March 1991.

The book will also coincide with an exhibition of the work at the Gallery of Photography, Ireland.

Edition of 1000 copies.

Recommended.  Out of print, final copies.

• Mack 2020
  
• Hardback, special edition
  
• New
  

• Editorial RM 2025
  
• Softcover, 1st edition, 88p
  
• New
  

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.

Note that this delicate book has quite fragile corners.

• Ludion 2025
• Hardback, 1st edition, 240p
• New

Ray K. Metzker (1931–2014) is today recognized as one of the great masters of American photography. Trained at the progressive Institute of Design in Chicago – the brainchild of Bauhaus pioneer László Moholy-Nagy – Metzker developed a distinctly experimental style early on. He combined disciplines, broke conventions, and elevated photography to new artistic heights. After his first solo exhibition at the Museum of Modern Art (MoMA) in New York in 1967, major retrospectives followed in leading museums across the United States, including the J. Paul Getty Museum in Los Angeles. Yet this influential photographer long remained underexposed. This new edition is the first publication in years devoted entirely to Metzker – a book that finally provides the recognition his work deserves. Featuring 150 black-and-white photographs, largely drawn from the archives of the Ray K. Metzker Estate in Philadelphia, City Lux offers a renewed look at his oeuvre. The photographs display an unparalleled mastery of light and composition: geometric cityscapes filled with vertical and horizontal lines, surprising double exposures, layered negatives, and abstract grid structures. Each image testifies to Metzker’s unique position as a modern master of monochrome photography.

The accompanying texts are by Carrie Springer, former curator at the Whitney Museum of American Art, and Vicki Harris, representative of the Metzker Estate in Philadelphia. The book was compiled by Françoise Morin and Philippe Séclier, curators of the exhibition Ray K. Metzker: City Lux at the A Foundation in Brussels (2024).

• Deadbeat Club 2025
• Hardback, 1st edition. 112p
• New

“You gotta love it”, says 65-year-old Bill Delaney, beauty salesman in the greater Los Angeles area. Yes, you gotta love it. You gotta love the hustle, the getting-up-and-going-out, the repeating sales pitches, the flirting and the haggling; the unending calls, all week, Monday to Sunday, all day, morning till night. You gotta love the dance, the rush, and the territory. 

In 1980, as a young photographer just beginning her MFA in San Francisco and developing a keen interest in documenting labor, Janet Delaney embarked for a week on the job with her soon-to-retire father. The days are long and exhausting, but there is, in the incessant driving, carrying and chatting, a restless, pulsing energy streaming from Delaney’s photographs. Picturing the beauty parlors with a critical distance (she did, after all, grow up in a time of questioning constricted gender roles and capitalist consumer culture), using frontal, wide shots and often harsh flash, Delaney created a witty documentation of a day in the life of a salesman. Despite the photo-novella humor, Delaney came to see her father’s work under new light. All the tough business dealings, all the missed dinners and the Saturday meetings became a testament to his efforts to provide for his children what he himself had not received. The story, ultimately, became a testament to his love.

Yes, you gotta love it—as it is a true labor of love.

Janet Delaney is an American photographer known for her poignant documentation of the intersection of work, home, and shifting cityscapes. Supported by research and interviews, her projects reflect a deep engagement with the passage of time and photography's role as a historical record. Delaney gained recognition for her South of Market series, chronicling 1980s San Francisco gentrification. Her later projects, Public Matters and Red Eye to New York, captured civic life and street scenes in San Francisco and New York during the 1980s. 

Signed copy.

• Void 2025
• Softcover, 1st edition, 232p
• New

‘Fishworm’ is about dykes digging through trash.

“Created over the past 7 years, collecting stuff people have thrown away or forgotten about —mostly photos— sifting through abandoned house debris, upturned moldy cardboard boxes, the mouse shit-filled hunting camp at the end of the road, a local politician’s discarded gay porn collection, a junk shop near the waterfall, yard sale trash piles. The result is a jumbled, revised, chopped and screwed history (antique-y2k) of old mill towns in the Sandy River Valley and villages nestled in the pines. If you feel slightly uneasy here, so do we, being gay and trans women in a rural place, trying to find belonging in the same types of places we've lived our whole lives. Piecing the images together is an attempt to make sense of where you fit in a culture that doesn’t always want you, and how you can love a place that doesn’t always love you back. The images in ‘Fishworm’ were found within a 60-mile radius of the artists’ home in rural central Maine. Everything is scanned with an old xerox found sitting in the rain outside of the town fire department on Heavy Dump Day in 2024.” — Pia & Jesse

• Akio Nagasawa 2019
  
• Softcover, 1st edition
  
• New
  

Last November, while the “Paris Photo” fair was on, I went to Paris for the first time in two years. The main reason for my trip was some business I had to do in connection with Paris Photo.

So I thought I’d take some snaps while I’m in the city, which I could use to fill a few pages of the next issue of Record. I eventually spent one of the five days I stayed in Paris devoting myself to shooting. While taking pictures in the Saint-Michel neighborhood, Rue Mouffetard, and the area around Moulin Rouge, my memory gradually transported me back 30 years, to the time when I lived in Paris for a brief moment.
At the time I had rented an apartment at the foot of the Rue Mouffetard, and day after day I would grab my camera and take to the streets to just wander around with no particular purpose.
It was 30 years ago that I suddenly went mad and got obsessed with that idea to rent a room in Paris, where I would set up something like a private gallery. I bothered Ms. Kazue Kuramochi, an acquaintance of mine who was based in Paris, and asked her to help me find a place. I did find one, but for a variety of reasons my dream of a gallery didn’t become reality, and I ended up spending my days roaming the streets instead. I didn’t speak any French to begin with, only some broken English, and I obviously didn’t have any friends in the city. So there I was, a guy who had just turned 50, totally bewildered, and with nothing else to do than keep pressing the shutter button of my camera.

However in retrospect, even though there are a few things that I do regret, in the long run I think it was just fine that way. After all, I have two photo books of Paris, and one of Marrakesh now. Paris at the time was right in the middle of celebrating the 200th anniversary of the revolution, and the entire city was bustling.

Armed with such thoughts and memories, I left the noisy Paris Photo venue behind me, and went out to capture the Parisian streetscape.

– Afterword by Daido Moriyama


Signed copy. 

• Origini Edizioni 2018
• Softcover, 1st edition, 100p
• New
  

What of the neighborhood homes awash
In a silver light, of children hunched in the bushes,
Watching the grown-ups for signs of surrender,
Signs that the irregular pleasures of moving
From day to day, of being adrift on the swell of duty,
Have run their course? O parents, confess
To your little ones the night is a long way off
And your taste for the mundane grows; tell them
Your worship of household chores has barely begun;
Describe the beauty of shovels and rakes, brooms and mops;
Say there will always be cooking and cleaning to do,
That one thing leads to another, which leads to another;

- Excerpt from The Continuous Life by Mark Strand

Taking it's name from a line in the poem The Continuous Life by Mark Strand, Tell The Children by Andrea Geremia tells the story of a birth of a family.

Signed copy.   Edition of 100 signed and numbered copies only, out of print rare handmade book.

Some handling wear to this copy and faint crease to one corner, overall near fine.

• Akio Nagasawa 2025
• Softcover, 1st edition, 120p
• New

"Most of the images that I have been capturing in my photographs, have appeared in the journal “Record” over the twenty years from its launch up to this latest issue, No. 60. In other words, rather than a “Record,” one may actually understand it as my “ID” proper. In addition to the photos shot here in Japan, there are quite a few that I took in other countries, and with 120-180 pages each, each volume of this journal is very much a personal record and memento of my own life and memories.

Me, I will again be clicking away with my camera tomorrow, and the day after that. After all, photography is such a wonderful thing."

- extract from the afterword by Daido Moriyama

Signed copy.

• The Ice Plant 2024
• Hardback, 1st edition, 192p
• New

In 2023, Swedish photographer Gerry Johansson roamed the state of Maine with a Rolleiflex, curious to make new pictures in a region of America he first encountered in the work of Paul Strand five decades ago — he found Strand’s views of New England “boring” at the time — and also wondering, “Why is American photography so focused on the west?” Johansson’s Maine echoes the formal restraint of his earlier books, notably American Winter, Spanish Summer, MeloniMeloni, and Pontiac, sequencing nearly 200 black-and-white duotone photographs alphabetically by their oddly poetic northeastern town names (Bath, Friendship, Purgatory, etc). Somehow, as in all Johansson’s work, none of the Maine pictures draws more attention than any other, and the flawless and playful compositions never seem to repeat — Johansson’s endlessly inventive arrangements of architecture and landscape orient the viewer in a specific geographic and cultural place while generously sharing his way of seeing, ambling, and thinking with a camera.

Unsigned.

• Quodlibet 2024
• Softcover, facsimile edition, 132p
• New

Viaggio in Italia, conceived by Luigi Ghirri and published in 1984, is a milestone in contemporary Italian photography, representing the ‘manifesto’ of the Italian Landscape School from the 1980s onward. It tells the story of a generation of photographers who moved away from exotic travel, sensationalist reportage and formalist analysis to focus on the everyday Italian landscape. This shift replaced the cliché of Italy as a unique and wonderful place with an “anti-heroic, anti-mythical, everyday and non-rhetorical” image, as Gabriele Basilico noted. Twenty photographers, many of whom have won international awards, participated: Olivo Barbieri, Gabriele Basilico, Gianantonio Battistella, Vincenzo Castella, Andrea Cavazzuti, Giovanni Chiaramonte, Mario Cresci, Vittore Fossati, Carlo Garzia, Guido Guidi, Luigi Ghirri, Shelley Hill, Mimmo Jodice, Gianni Leone, Claude Nori, Umberto Sartorello, Mario Tinelli, Ernesto Tuliozi, Fulvio Ventura, and Cuchi White. The volume includes an essay by Arturo Carlo Quintavalle and an article by Gianni Celati.

The new edition is a facsimile reproduction of the first one, published by Il Quadrante of Alexandria in 1984. All details of the original book have been faithfully preserved, adopting the design, text layout and sequence of the original images, material properties and page size. In order to achieve a more adequate rendering of the images, the reproduction of the photographs was made from the digitization of the original negatives or prints. The volume is accompanied by a 48-page booklet with an essay on the genesis and critical fortune of Viaggio in Italia edited by Matteo Balduzzi, Fabio De Chirico, Gabriella Guerci, and Matteo Piccioni, a note by Adele Ghirri, and French and English translations of the original texts by Arturo Carlo Quintavalle and Gianni Celati (published in Italian in the book).

• IIKKI 2024
• Hardback, 1st edition
• New

Irene Zottola is a Spanish photographer and visual artist who explores the limits of analog photography to generate a world of dreamlike and poetic character, often accompanying her images with text. As an educator, she uses photography as a tool for social intervention with vulnerable groups.

Lejos de la Tierra is the second book by the Spanish photographer, and accompanies music by the Danish musician and artist øjeRum, a colloboration initiated by IIKKI between June 2024 and November 2024. A download code for the music is included wth the book.

• 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.

• Stanley Barker 2019
  
• Hardback, 1st edition
  
• New
  

Peuple de la Nuit is a tribute to the people who posed with cheery abandon, for the lens of Sanlé Sory from 1960-83.

'Life was cheap and everyone could have a ball. You could always go out and have some fun.’ - Sanlé Sory

While Sory spent days at his Volta Photo studio in southern Burkina Faso, his nights were spent capturing a flourishing music scene, youth culture, dance parties, weddings and portraits of his home city.

When he wasn’t out looking for customers at venues such as Volta Dancing, Calebasse d’Or, Normandie or Dafra Bar, Sory would set off towards the remote villages along the Kou Valley, north West of Bobo, in his Volta Photo 2CV van, with a few lights and a homemade sound system, to set up his own Bals Poussière (dustball parties). The parties lasted until well after the sunrise, at which point the farmers and herders would head straight back to tend their fields and cattle.

Sealed.  Out of print rare title.

• Nazraeli 2019
  
• Hardback, 1st edition
  
• New
  

Nazraeli Press is thrilled to announce the publication of Kim Jungman’s Can You Hear the Wind Blow.  This gorgeous series of large format photographs illustrates the sound of wind, made visible by the subtlest movements of tree branches, leaves, and a seemingly endless number of birds in flight and at rest.

Comprising 62 photographs, Can You Hear the Wind Blow beckons the viewer into what appears to be a wide-open forest of single trees, each with enough space to move freely in the wind. The trees are portrayed as stoic individuals, at once deeply rooted and flexible, planted at an unknown time in an unknown paradise. In actual fact, all of the photographs in the book were made between 2008 and 2017, and simply depict a row of neglected street trees in an alley between the artist’s studio and home in Seoul.

One of his country’s most important contemporary artists, Kim Jungman was born in Cheolwon, South Korea in 1954. He moved as a teenager to Burkina Faso, Africa and then to Europe, studying painting École Nationale Supérieure d’Art at Villa Arson in Nice, France. It was there that he discovered his passion for photography. He moved back to Seoul and soon gained fame for his edgy, often controversial work as the country’s premier commercial and fashion photographer.

In 2006, Jungman Kim left his flourishing career as a commercial photographer to pursue his personal work, photographing the countryside of his native country. Can You Hear the Wind Blow was published to accompany a major exhibition of the work at The Hanmi Museum of Photography, Seoul and Three Shadows Gallery in Beijing.

• Overlapse 2023
• Softcover, 1st edition, 208p
• New

Desire Lines looks at migration as an inherently human act – one that has defined human history and the geopolitical framework of our planet. Shipley’s photographs are seen in dialogue with interviews from migrants and long-term residents, 20th century oral histories and 19th and 20th century archival photographs. This mix of time and perspective highlights a region long marked by migration, individual desire and preservation, but also systemic dominance and colonial control, hidden in hundreds of square miles of remote terrain.

Desire Lines follows old and new movements through the desert landscape of the Sonoran borderlands of the United States and Mexico: paths taken by migrants and border agents, of missionaries and conquistadors, of indigenous people and industrialists. The messy and at times violent collision of peoples has created a region that defies the harmfully simplistic narratives so frequently attributed to our borders.

Shipley’s photographs focus on the disorienting experience of this landscape – a place of beauty or danger depending on the perspective of those moving through it. Deceptively empty, the landscape is under constant watch, heavily surveilled and controlled, with an ever-increasing military presence that has seeped into the lives of residents in surrounding communities.

• 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.

Special edition of 25 copies with a 10"x8" signed and numbered archival print as shown, see the alternative special edition here.

• Akio Nagasawa 2022
• Softcover, reprinted edition, 352p
• New

A complete reproduction of the photobook Daido hysteric no.4 published by Harajuku fashion brand 'HYSTERIC GLAMOUR' in 1993

Signed and numbered edition of 900 copies. 365 x 315 mm, 352p.

• Nobody 2007
• Hardback, 1st edition
  
• New
  

In Hackney Flowers Stephen Gill has again used his east London surroundings as the inspiration for his work. This time he has collected flowers, seeds, berries and other objects from various locations in Hackney, pressed them in his studio and photographed them alongside his own photographs and found ephemera. Some of the base photographs were also buried in Hackney Wick, and the consequent staining and decay has left its imprint upon the images, stressing the collaboration with place. A parallel series within the book shows members of the Hackney public with floral details imposed upon their person.

• Mack 2021
• Hardback, 1st edition
• New

‘Like that of all serious artists, [Schulz-Dornburg's] work [is] more than how it can be described: a keen political intelligence combined with a poet’s feeling for light, stone, form and shimmering horizons.’ – The New York Times

In 1983, Ursula Schulz-Dornburg accompanied two ethnologists and an architect on a research trip to Tana Toraja on the central Indonesian island of Sulawesi. Initiated by the Royal Tropical Institute of Amsterdam, the trip was intended to “explore the changing patterns in architecture and symbolism among the Sa‘dan Toraja”. On the way back from Rantepao to Ujung Pandang airport, Schulz-Dornburg passed the distinctive houses of the Bugis or To-Ugiq people, perched on the yellow paddy fields. Fascinated by their complex, expressive architectures, she began to photograph the houses in the short time she had before leaving, realising that the structures would likely not exist in their traditional form for much longer. The result is a body of work that not only surveys the houses’ physical forms but also considers wide-ranging ideas of physical and emotional homebuilding and the precarious place of tradition in the present day.

Poised between heaven and earth and standing above the water when the rice fields are flooded, the Bugis houses reflect the creation myth of their people, in which the gods of the upper and lower worlds came together to create man to populate the uninhabited middle world. The farmers depicted by Schulz-Dornburg are likewise suspended between historic tradition and the impending pressures of the contemporary world. As they go about their work or greet her camera, they and their homes are held in the balance between past and future, mythology and everyday reality.

With these shrewd and sensitive images, Schulz-Dornburg captures life as it is built and lived within a particular culture and landscape, offering a searching reflection on the places we call home.

The signed edition includes a slip signed by the artist and bound into the inside back cover.

• Setanta 2021
• Softcover, 1st edition
• New

Lauren Tepfer is a 21 year old photographer and director living and working in New York City. Having grown up in southern New Jersey, Lauren is particularly adept at capturing the essence of a teenager living in suburbia. She first began shooting portraits of her friends and family at the age of 13 and has since developed an evolving body of work. Lauren has had her photo work exhibited in both LA and NYC and her films screened in NYC. She is currently studying at Parsons School of Design where she is pursuing a BFA in photography.

“Growing up with a creative mind in the boundaries of a town populated by less than 7,000, I’ve learned to create my own magic and nurture it myself.

To me, capturing my suburban surroundings in photographic form is like a digital love letter. I connect most to genuine and intimate settings and I feel that small towns are where most of that energy blossoms from. Aside from giving me good feelings, I hope that my suburban narratives can provide comfort for those growing up feeling lonely or unaccounted for.”

48 Page softcover 21cm x 16cm book with card wraparound cover in an edition of 350 copies.

• Setanta 2025
  
• Hardback, 1st edition, 72p
  
• New
  

Rooted in personal history and collective memory, Migration Patterns offers a powerful reflection on the enduring presence of Southern Black culture in Northern California; particularly in the cities of Oakland, San Francisco, and Ruffin’s hometown, Richmond.

The project opens with Siobhan, a poem by Enjoli Flynn-Ruffin, and is accompanied by an essay from journalist and cultural critic Pendarvis Harshaw. Together, these texts frame the book not simply as a collection of photographs, but as a lyrical meditation on legacy, migration, and the evolving meaning of home.

As a descendant of Louisianans who moved west during the Great Migration, Ruffin explores how culture is carried across distance and time. How it adapts, resists erasure, and remains encoded in language, movement, and ritual. Rather than illustrating history in a didactic sense, Migration Patterns moves with a quiet intimacy, allowing traces of Southern identity to surface through atmosphere, memory, and presence.

Woven into the work is a contemplative tension between life and death, between arrival and departure. Ruffin stands in the stillness of both birth and mourning, asking what it means not only to migrate across land, but also across spiritual thresholds. In this sense, Migration Patterns becomes not just a document of physical relocation, but a reflection on the migrations we each undergo: into being, into legacy, and eventually, into memory.

The work is especially attuned to the emotional terrain of transition. It considers what is lost and what endures when communities are displaced or transformed, and how those shifts impact one’s sense of belonging. At its heart, Migration Patterns is a reflection on lineage: on what it means to be the continuation of a story, and on the responsibility of documenting that story with care.

With this monograph, Ruffin adds a vital voice to the canon of contemporary Black photography. One that bridges past and present, personal and communal, silence and testimony.

• EXB 2025
• Hardback, 1st edition, 144p
• New

At the crossroad of an artist's book and a scrapbook, The Dead Are Glad to Be Remembered, signed and numbered in a limited edition of 500 copies, invites us to explore Todd Hido's work in dialogue with his collection of vernacular photographs. Each page of the album offers a new narrative composed by Todd Hido, with the collaboration of his wife Marina Luz, deliberately left open-ended.

The book presents a selection of Todd Hido's portraits, urban house views, and landscapes, both unpublished and iconic, punctuated by postcards, book covers, vintage movie posters, old amateur portraits, drawings, photo booth pictures, and more. The vernacular photography is reproduced in all its materiality. Genres blend together to create a unique work that plays on different atmospheres around the themes of desire, loneliness, memory, the unconscious, and the subconscious, which are characteristic of the photographer's work. These themes are found in the essay by author Brad Zellar, at the heart of the book, which he explores through these fragments of experiences and stories interspersed with literary quotations.

Both an ode to the printed image and to the memory of those who have lived, this limited edition echoes traditional photo albums with its screw-bound canvas cover. The dialogue between the materiality of the images and the different types of paper, including one that is translucent, creates a cinematic fiction within the book, with certain photographs appearing and disappearing like enigmatic collages. These images, arranged randomly on the page, respond to one another and allow the reader to create their own narratives.

For a limited period all copies come with a Todd Hido Atelier EXB Tote bag.

• PCT 2025
• Softcover, 1st edition, 280p
• New

In January 1991, Keizo Kitajima began a year-long series for the Japanese magazine Asahi Graph, traveling to all fifteen republics of the Soviet Union accompanied by the journalist Kazumasa Nishioka. Kitajima, then at a turning point in his career and about to give up on snapshot photography altogether, unexpectedly found himself documenting the final months of the USSR. Only days after the final installment of the series was published in an Asahi Graph issue in December 1991, the Soviet Union officially ceased to exist.
In his photographs, Kitajima captured something essential about each place he visited, not through symbolic locations or famous figures, but by focusing on ordinary people, whose stories would otherwise never be told.

This 2025 publication of "USSR 1991" is part of an ongoing re-examination of Kitajima’s past work, following books such as "European Diary 1983-1984" and "New York (New Edition)." As part of this process, Kitajima decided to pair his USSR 1991 photographs with a series he shot between 1983 and 1984 in various Eastern European cities.

In addition to an afterword by Keizo Kitajima, "USSR 1991" also includes an essay by Shino Kuraishi.

Signed copy.

• Fw:Books 2025
• Softcover, 1st edition, 240p
• New

In "Ukraine," photojournalist Eddy van Wessel documents a raw account of three years of war in Ukraine through (analogue) photography and firsthand testimonies. With decades of experience covering conflict zones, he focuses on what war means for those living through it – the soldiers on the front lines, civilians sheltering in devastated towns and cities, and those forced to flee. His images capture the visible destruction and the psychological and emotional toll of prolonged violence, making this book a visual and narrative testimony with a complex and layered depiction that is reflecting on the human cost of the largest war in Europe since World War II. It explores displacement, survival, and the boundaries of humanity in times of crisis. Where does humanity end and inhumanity begin? How do individuals maintain dignity and resilience under constant threat? What does survival look like when basic needs – and life itself – are no longer guaranteed?

• Fw:Books 2025
• Softcover, 1st edition, 168p
• New

‘Black Stone Burns’ interweaves the complex stories of the communities and people whose lives have been irrevocably shaped and moulded by the global mining industry and rampant extractivism. Spanning four years, five countries, and three continents, the project starts with family stories and pictures from Olga Sokal’s hometown of Bełchatów in Poland. She continues to the lost American dreams of Appalachian coal mining towns and then investigates the United Kingdom’s fraught history with coal through an analysis of advertising and greenwashing. Finally, Sokal’s journey takes her to the vast coal mines of China and the environmental degradation caused by large-scale extraction.

• Deadbeat Club 2025
• Hardback, 1st edition. 92p
• New

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.

• Kominek 2025
• Hardback, 1st edition, 276p
• New

Snack Sakura. A Journey Through the Bars of Japan.

If you know Japan you’ll know a certain kind of drinking place called a snack. They are found all over the country, in large cities and small towns.  Typically they consist of a counter and a few stools, perhaps a booth or two, usually presided over by a middle-aged woman, the mama, or less often, by a man, the master. The customers tend to be regulars. Unlike a regular bar where a first time customer simply walks in and sits down, the etiquette in a snack for a newcomer is to first ask the mama if it’s ok to come in. The entertainment, if one can call it that, apart from a simple drink menu, is conversation with the mama, conversation with other customers, and karaoke. At the time of writing they are considered the least fashionable places in the country to have a drink.

Some years ago while travelling in Japan I noticed that every town seemed to have a snack named “Sakura”. Sakura, or cherry blossom, is so common a name for a business as to be a bit unimaginative perhaps. Though in a way that seemed in keeping with how unfashionable these places were. It really did seem like every town had one and, upon checking with the All Japan Snack Owners Association, they confirmed that indeed, among their members, Snack Sakura was the most common name. And so I decided to try and visit and photograph as many as I could, across the country from Okinawa to Hokkaido.

In the beginning I had simply stumbled across Snack Sakuras, without looking for them. Once I decided to actually try to find them, things got rather more difficult. Many of them have no phone numbers or web presence. For others that do, by the time you get there you discover they have changed their names, or the building was torn down, or they closed and never re-opened. But little by little I started to make headway. Until after six years of travelling the country I’ve now photographed snacks named “Sakura” in more than half of Japan’s forty-seven prefectures. “Snack Sakura” introduces this not exactly “hidden” world of snacks but one that only comes into view when you look at it from a certain angle.

• Akio Nagasawa 2024
• Softcover, 1st edition. 70p
  
• New

'While taking snapshots on the streets, I sometimes find myself drawn to flowers and click the shutter button. This book is a collection of my ongoing commitment for those photos.'

– by Daido Moriyama

Silkscreen canvas covered limited edition of 350 signed and numbered copies.

• Los Sumergidos 2024
• Hardback, 2nd edition, 112p 
• New

“Carpoolers is a deceptively powerful photobook, so well constructed that we’re suddenly eager to see more of Carpoolers remains a highly critical and vital body of work in which we may dissect capitalism, labor, and urban expansion in the first decades of the Twenty-First Century. This fourth volume of Carpoolers is entirely different from proceeding volumes. The emphasis of the book’s various volumes is in their interchangeability, their constant re-appraisal of Monterrey, and their illustration in this case of what is at the heart of Cartagena’s dialogue: the Mexican people themselves”.
–– From the essay by Brad Feuerhelm for Carpoolers #4

2nd edition.

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

During his six-year journey across the United States creating the project that became American Geography, Matt Black collected objects in the locations he visited. Each location is designated as an area of ‘concentrated poverty’ – a US Census definition for places with poverty rates of 20% or higher. Over time, the objects he found and collected began to take on symbolic significance.

• Chose Commune 2024
• Hardback, 1st edition 92p
• New

Rione Sanità (Naples), Santa Lucia (Cosenza), Torre del Greco. There are places in Southern Italy that carry scars of incurable wounds on the walls and on the flesh of its inhabitants. In those wounds lay the historical memory and the real face of people. Their names are Alfonso, Elena, Marco, Stefania, to name a few. Some are from the same districts and know each other, others don’t. But they have one thing in common: they’ve all met Ciro Battiloro, who has followed them into the intimacy of their home, with his camera and with his heart. He portrayed their everyday life by taking part in it. Never an intruder, Ciro Battiloro is a friend, a brother, and a confident. He doesn’t focus so much on the marginality, but rather on the extraordinary vitality. He has seen new lives being born, children becoming teenagers, and then parents in their turn. He also had to say goodbye. Silence is a Gift is about love and loneliness, life and death, pain and joy — but most importantly, about intimacy and resistance.

Text in French / English / Italian