Top Sellers

• L'Artiere 2023
  
• 2 x Softcover in folder, 1st edition
  
• New
  

The pictures were shot by Anders Petersen in Napoli in the year 2022 during Spot home gallery’s first artist residency, curated by Cristina Ferraiuolo, in collaboration with Massimo Nicolaci.

Edition of 1500 copies. 

• Libraryman 2024
• Hardback, 1st edition, 96p
• New

This is a story of three houses, three women and three bedrooms. The houses are located on the same street.

At my parents house I have a separate bedroom with a big cupboard.
At my grandmother’s house, I share the bed with her.
At the neighbors there are two rooms: one big and one small. Sometimes we sleep in the same bed.

I have a recurring dream: I can’t clean up my room at my parents house, nor can I find my clothes. They must be in one of the three bedrooms.

- Katrien De Blauwer (b. 1969, Belgian)

• “It is like walking past a house you used to live in: the fact that it still exists, so concrete, makes everything that has happened since seem somehow insubstantial.”

• Rachel Cusk, excerpt from Outline

The book contains a text written by musician and singer Shirley Manson (b. 1966, Scottish).

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

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

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

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

Sealed.

• Mack 2021
• Hardback, 1st edition
• New

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

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

Special limited edition of 200 copies. 

Each comprising:

• Nazraeli 2017
  
• Hardback, 1st edition
  
• New
  

“Mark Steinmetz makes photographs of ordinary people in the ordinary landscapes they inhabit. His frames document those fluid moments of real, lived life, moments not just grabbled or stolen, but ones where he says, ‘It’s important to take an internal pause.’ An element of the seeming offhand magic in his photographs is how his sense of this “internal pause,” of a near cinematic freeze frame, only enhances his images’ apparent spontaneity. The best art often hides its technique . . . Steinmetz is, in fact, is a “street” photographer: a 21st century embodiment of the 19th century flâneur, a man in the world, sensitive to ephemeral moments as photographic capsules of our larger lives. This will come as no surprise to anyone who knows Steinmetz’s artistic history as a mentee of Garry Winogrand. 

You don’t have to be a creature of the urban streetscapes that Steinmetz so closely observes in this book in order to “get” his work. From his books of photographs of Greater Atlanta, to the small world of a children’s baseball diamond in The Players, Mark Steinmetz’s camera focuses closely on these ordinary, even banal, moments of people’s daily lives, even when in some images, the people themselves are absent at the instant of the camera exposure. Like the more formal compositions of Cartier-Bresson, Steinmetz’s photographs capture their own “decisive moment,” less stylized for sure, but often more animated: simply the images of an “American” photographer.” — From the Introduction by John Bailey

• Morel Books 2012
  
• Softcover, 1st edition
  
• New
  

Sam Falls explores the intersection of color, perception, digital imagery and natural processes - and in the case of Problems with Decomposition - Sam Falls also brings into context the element of temporal existence. This series consisting of organic matter juxtaposed against car tires takes on all of these concepts. Moving between the photographic image and their subjects imprint via stamping and via paints on the print. Limited edition of 1000. 5 colour screen printed cover tip-in.

• Self 2020
  
• Hardback, 1st edition
  
• New
  

Small book by Koji Onaka featuring a set of coloured vintage photographs.

Edition of 500 copies.  Signed copy.

• Harry Abrams 1989
• Hardback, 1st edition
• Near fine

This major monograph was published on the occasion of a retrospective exhibition at the Seattle Art Museum. Many of the photographs in this beautifully printed book were presented here for the first time. “In the twenty years following his first museum exhibitions, Friedlander has developed his art in a surprising number of directions. Through travel and commissions, he has taken his camera off the street and into many new areas; but he continues to build on his initial feelings and discoveries made in the street, where he was the confident stranger juggling observation and participation, diffidence and intrusion.”

Near fine copy with faint wear to edges of cover and light yellowing of page edges as to be expected, otherwise a very fine copy.

• EXB 2026
• Hardback, 1st edition, 336p
• New

Photographer Jo Ractliffe is interested in “post-conflict” landscapes, particularly in southern Africa, as places of memory marked by the violence of war, even in their soil and ruins. Her photographs, mostly in black and white, reveal the traces and absences left by apartheid, regional conflicts, and population displacement. Ractliffe's work unfolds in this tension between visibility and invisibility, between intimate memory and collective narrative carried by landscapes that become domestic spaces and geopolitical territories. Her photographs—roads, vacant lots, urban peripheries—bring to light places where history surfaces without ever fully revealing itself. Through sober and poetic images, the artist captures the lingering effects of violence and historical trauma: by considering silences as witnesses to violence, she moves away from social documentary and focuses less on the event itself than on its “aftermath,” questioning the way in which landscapes become archives. Her recent projects, including her latest series The Garden, which will be shown for the first time at the Jeu de Paume, extend this reflection by addressing the forms of dispossession and resistance inscribed in the landscape.

Three essays written by Pia Viewing, curator of the exhibition, Rory Bester, South African art historian, and Oluremi Onabanjo, curator at MoMA in New York, are complemented by short texts written by the artist, offering a personal voice on each of her photographic series

English edition.  Signed copy.

• Xavier Barral 2021
  
• Hardback, 1st edition
  
• New
  

For this sixteenth title in the Des oiseaux collection, the great Brazilian photographer has plunged into his impressive archives to extract a selection of exceptional images celebrating a world populated exclusively by albatrosses, eagles, parrots, gannets and other rare species. For over thirty years, Sebastião Salgado has been photographing, on land and at sea, in the most remote regions of the world, from the Amazon, Asia and Africa to the icy spaces of Antarctica. More than half of the photographs are previously unpublished, and the book is a veritable ode to the beauty of our planet.

To accompany this visual corpus, a text by Erik Orsenna evokes our close ties with the world of birds, while an interview between Sebastião Salgado and Philippe Séclier, co-director of the Des oiseaux collection, bears witness to the photographer's special relationship with the animal kingdom.

English Edition.

Unsigned (signed copy shown in video no longer available)

• Self / Philbrook Museum of Art, 2026
• Hardback, 1st edition, 120p
• New

Commissioned by Tulsa’s Philbrook Museum of Art, OK is a collection of photographs made throughout Oklahoma between June and November 2018 with 35mm, 120, and 4x5 color and black-and-white films.

On view June-December 2019, OK: Jason Lee Photographs featured an extensive selection of prints from the collection, occupying the Meinig and Burnstein Galleries in the museum’s former satellite location, Philbrook Downtown (now Bob Dylan Center). 

Published for 2026 in association with Philbrook Museum of Art, OK/BW features 75 black-and-white images from the collection. 

• Seigensha 2025
• Softcover, reprinted edition, 158p
• New

A comprehensive overview of the work of Eikoh Hosoe (1933-2024), this volume contains many seminal photographs from the 1960s and '70s, plus later work from the 1990s and early 2000s. Hosoe emerged as an influential photographer and filmmaker in the experimental arts movement of post-war Japan. He is recognised in particular for his dark, high-contrast, black-and-white photographs of the human body, as well as his collaborative work with others. Often psychologically charged, his images explore subjects such as death, erotic obsession, and irrationality. 'A World of Eikoh Hosoe' presents his fertile imagination along with commentaries and other texts in Japanese.

• Mack Books 2014
• Hardback, 1st edition
• Used: very good - see below

For Jungjin Lee, photographing the landscape is an exploration of her own mind - the introspective states of the artist, whose photographic gaze is insistent and transformative. Her latest project Unnamed Road approaches the contested territories of Israel and the West Bank by turning to the landscape. Her black-and-white images are self-contained worlds of stillness and wonder, as Lee searches for something constant in the life of the landscape. Her images suggest that despite the semblance of fluctuation, some fundamental truths do not alter: just as the surface of the ocean is constantly in flux, its depths in fact remain unchanged and enduring. Lee, who describes her photographic state as 'meditative', regards the act of photography as emotional and experiential, a moment when 'that absolute "echo" within myself travels through time and space'. Yet she struggled to find neutrality in a charged territory that she describes as 'uncomfortable'; it was only in final trips to sites in 2011 that she found distance - thus opening out the work to signify more that Israel and its conflict. Lee's work is often concerned with the materiality of printing technique, and for twenty years she has utilised a liquid photo-sensitive emulsion brushed on handmade rice paper, a method akin to painting. In Unnamed Road, for the first time digital processes were employed; and yet the images remain explorations of chance and imperfection, drawing the viewer into a realm where fullness of vision is the subject matter.

1st Mack edition in accordion (leporello) format.  

Used copy with some rubbing and wear to cover.  Small fold to corner of first white page otherwise a very good copy of this rare 1st edition.  

Note this book has fragile spine and binding as intended and is common to all copies.

• Kerber Verlag 2025
  
• Hardback, 1st edition, 180p
  
• New

Whitening Heights is both photography and a way of life at once. Inspired by the Alpine sun that seems to drain everything of colour, Sandro Livio Straube has been creating an ongoing series of images since 2015 that express a sense of deceleration and desaturation. Through this exercise in observation, looking at the world through the camera lens, he explores themes of transience, the vulnerability of all living beings, and the fragility of the environment created by humankind. The black-and-white and colour photographs taken in the Alpine valley of Lumnezia bear witness to a fulfilled presence that reveals things in all their inherent beauty. The three accompanying texts shed light on various aspects of this photographic work, with passages in Rheto-Romanic and Swiss German that also convey something of the attitude to life in this valley of light.

Text in German, English, Rheto-Romanic and Swiss German.

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

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

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

• the(M) éditions / IBASHO 2025
• Softcover, 1st edition
• New

"This series explores the psychological imprint of migration and uprooting that have marked my life. The title is inspired by the keyboard shortcut I use to write in Japanese, an indirect evocation of my origins.

This series brings together a multiplicity of subjects: architectural fragments, an old passport photo of my grandfather, faces of unknown relatives in the family album... Incoherent geometric forms emerge in the images to amplify this sensation of non-belonging, disturbing the gaze through their strangeness.

With Ctrl Shift + J, I invite the viewer to introspection, to confront their own experiences of displacement and the search for a place to be oneself."

- Sayuri Ichida

• Akio Nagasawa 2008
  
• Softcover, 1st edition, 48p
  
• New

Rare early Record issue.

Signed copy.

• Akio Nagasawa 2011
• Softcover, 1st edition, 72p
  
• Fine
  

Last year in September, approximately 400 prints of my photographs were on display in an exhibition in Modena, Italy. The venue was a former hospital designed in a classical style, the interior of which was entirely refurbished into a museum. The exhibition that took place in a variety of different settings inside the building was based on a plan that I had worked out according to my own ideas, presenting a hand-picked selection of photographs taken between 1964 and 2009. After the show, just for a brief moment, I couldn't help but feel something funny about it all.

My three-day schedule in Modena only allowed me to take some snaps along the way while commuting between the museum and my hotel in the old part of the city. However during a trip down to Florence two days after the exhibition
opening, I managed to spend about half a day walking around town with my camera in hand.

While my work usually revolves around the "radical artification of the city" as a general motto, in Florence, a city of art since ancient times, I couldn't find anything that wasn't already turned into art - to an extent that made me laugh out loud time and again. Once aware of the boorishness of my attempt to turn such a place into art with my camera, I found myself left with no other choice but to return to my daily snapshot routine. As it turned out, the chicks in the streets were remarkably sexy.  - Daido Moriyama

Signed copy

• Akio Nagasawa 2017
  
• Softcover, 1st edition
  
• New
  

In early November, I had some business to do in the town of Zushi. I have a house there and usually visit Zushi two or three times a year. The more I drive along the coast and down the roads in town each time, the more images of a young Takuma Nakahira inevitably flash across the back of my mind. And that’s just natural, considering that some fifty years ago in the summer we were close friends who eagerly discussed their photographic dreams while walking together morning, noon and evening.

-Daido Moriyama, afterword


Signed copy.

.

• Benrido 2025
• Set of 6 collotype prints
• New

“Low Tide” is a selection of six photographs taken between 2018 and 2023, featuring rugged landscapes and exposed nature. The motifs include rough waves at high tide, caves, rocky mountains at low tide, and lava, all captured head-on in the frame and depicted in rich, dense monochrome tones. The six photographs, selected by the artist and Benrido, have been meticulously finished.

Cased set of 6 Black and White Collotype Prints.

Print size: 20.3 x 25.4 cm

Portfolio size: 20.6 x 25.8 x 0.8 cm

Video courtesy of Benrido, Inc. 

• Loose Joints 2025
• Hardback, 1st edition, 88p
• New

Using large-format cameras and experimental darkroom techniques, The Great Room is a profoundly personal series by interdisciplinary artist Katherine Hubbard in collaboration with her mother. In 2020 — a year defined by introspection, caretaking, and the upheaval of the COVID-19 pandemic — Hubbard's mother began experiencing severe memory loss, later diagnosed as LATE, a brain disease mimicking the symptoms of Alzheimer's.

In collaboration with her mother, Hubbard transforms her family home — a space both overwhelming and deeply familiar — into a psychological landscape. These cluttered rooms  become a layered stage where her mother serves as partner in an ongoing exploration of the real and performed. Together, they create photographs that engage with daily rituals such as bathing, organising, and watching TV: compositions that blend seamlessly with unguarded intimacy. This photographic series ruptures the quotidian in an exploration of care work, memory, grief, and the entropy of loss.

Hubbard’s practice pushes against the flattening of the photographic image, critically engaging performance, sculptural elements, and the implicit power dynamics in the social contract between the photographer and her subject. This is the first time Hubbard has consistently photographed another person. Here, photography becomes more than documentation; it is an entanglement of touch and gesture; the domestic and the maternal; which confront the pain of losing the familiar essence of her mother. In addition Hubbard creates experimental body contact prints in the darkroom with her mother that trace the textures of skin and the physicality of aging. These tactile works materialise ability and the weight of time, celebrating the complexity of their relationship while questioning the roles of artist, subject, and collaborator. In The Great Room, Hubbard reimagines the home as a space where photography transforms care and the slow grief of dementia into a powerful act of presence and love.

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

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

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

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

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

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

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

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

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

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

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

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

Signed copy.

• Setanta 2024
• Softcover, 1st edition. 48p
• New 

"The process of creating photos is a way for me to lean into my imagination - to bring things in the world together, to see what meaning comes out of that process.

• Akio Nagasawa 2024
• Softcover, 1st edition. 34p
• New 

'One day in the early 1990s, I tried some makeup because I was too bored.

My appearance was so ridiculous that I took photos of it.

This is me on that day.'

- Daido Moriyama

Edition of 350 signed and numbered copies with a silkscreen printed canvas cover.

• The Europeans 2022
• Hardback, 1st edition
• New

The Europeans is a portrait of modern Europe. Traveling from region to region and from theme to theme in this multi-year project, photographer Rob Hornstra and writer and filmmaker Arnold van Bruggen will create a 21st century time piece on the European Heartland. Hornstra and van Bruggen see Europe on the eve of drastic change. Populism and authoritarianism are on the rise, ghosts from the past seem to return.

The photographer Henri Cartier-Bresson published his book ‘Les Européens’ in 1955. He looked beyond nationalism or local customs in the individual countries. He sought evidence for a greater identity, a European parable shared by the people and the landscape. More than sixty years later, Hornstra and van Bruggen share this ambition. It’s time to come up with a new version of The Europeans.

‘Our Ancestral Home’ is the story of a stunningly beautiful region of Europe where the locals cherish their traditions, speak a mysterious language and pass down the picturesque houses and farms from generation to generation. That’s how it has always been. But tourists and wealthy urbanites have now discovered the region, and the original inhabitants are succumbing to the lure of the exorbitant amounts that outsiders are willing to pay for a rural retreat. “We have sold our country,” activists lament. But who can resist the laws of capitalism?

Text in English and French.

(Note: Different special edition shown in video)

Special edition of 120 signed and numbered copies only with a signed 170 x 210 mm archival print. The same photograph is also displayed on the front cover.

• The Europeans 2022
• Hardback, 1st edition
• New

The Europeans is a portrait of modern Europe. Traveling from region to region and from theme to theme in this multi-year project, photographer Rob Hornstra and writer and filmmaker Arnold van Bruggen will create a 21st century time piece on the European Heartland. Hornstra and van Bruggen see Europe on the eve of drastic change. Populism and authoritarianism are on the rise, ghosts from the past seem to return.

The photographer Henri Cartier-Bresson published his book ‘Les Européens’ in 1955. He looked beyond nationalism or local customs in the individual countries. He sought evidence for a greater identity, a European parable shared by the people and the landscape. More than sixty years later, Hornstra and van Bruggen share this ambition. It’s time to come up with a new version of The Europeans.

‘Our Ancestral Home’ is the story of a stunningly beautiful region of Europe where the locals cherish their traditions, speak a mysterious language and pass down the picturesque houses and farms from generation to generation. That’s how it has always been. But tourists and wealthy urbanites have now discovered the region, and the original inhabitants are succumbing to the lure of the exorbitant amounts that outsiders are willing to pay for a rural retreat. “We have sold our country,” activists lament. But who can resist the laws of capitalism?

Text in English and French.

Note: different special edition print shown in video.

Special edition of 120 signed and numbered copies only with a signed 170 x 210 mm archival print. The same photograph is also displayed on the front cover.

• Twin Palms 2007
• Hardback, 2nd edition
• New

"William Eggleston’s latest monograph features photographs taken during the early 1970s using a large-format 5 x 7 camera. The book includes imagery typical of the Eggleston oeuvre—streetscapes, parked automobiles, portraits of the strange and disenfranchised. It also offers never-before-published photographs taken in the nightclubs Eggleston frequented. The portraits are offhand and spontaneous but insistently stark; their brutality is heightened by the absence of color. They have a leveling effect—whether biker or debutante, the people are clearly denizens of the same realm."

—Walter Hopps

• studiofaganel 2021
• Hardback, 1st edition
• New
  
  

'Da Gorizia alle Ande' is Paolo Gasparini's art book published by studiofaganel.

As in his photobooks, 'Da Gorizia alle Ande' is also a confluence of 'images, graphics, the intersection of poetic visions, the work of translation and typographic printing’, as Gasparini calls it. Unlike his photo photobooks, in this new editorial project, the photographer involved two poets, Alejandro Sebastiani Verlezza (Caracas, Venezuela) and Francesco Tomada (Udine, Italy), and included a digital fine art print in each copy of the print run.

The story is thus jointly entrusted to the images of the photographer and the texts of the two authors who each 'speak' in their own language, Italian for Tomada and Spanish for Verlezza. Sometimes Gasparini also intervenes, using both languages, thus determines a three-voice dialogue.

The sequence of 32 black and white diptychs ends with a single image that is the original print applied to the book. The narration flows towards the end which is placed in the center of the book and is divided into two parts that start from the two covers, which have different colors and languages: blue and Italian for the 'European part', magenta and Spanish for 'the Latin American one'.

This subdivision symbolizes the photographer's two 'worlds' and his comings and goings between one world and another: the Italian one, of origin and returns, and the Latin American one, of residence, work and commitment.

To embrace the sequence there are two color photographs from the late 1970s, relevant to the artist on a personal and collective level, and two old photographs of the Gasparini's family archive.

Throughout the artbook, the metaphor of childhood and the spontaneity of a child's gaze is present and alive, which the artist always has had and was able to preserve, and which finds expression in the image entitled Los niños nos miran (1997) chosen as the original print.

This one is also the only photograph on which the two poets, Verlezza and Tomada, both encounter and write, focusing on the concept of beauty and sharing a message of hope.

The book contains a booklet in which all the original texts in Italian and Spanish are mutually translated, with the addition of the English translation.

Edition of 300 numbered copies.  Signed copy.

• RRB 2018
  
• Hardback, 1st edition
  
• New
  

Martin Amis’ photobook The Gamblers is the culmination of his long-term project photographing at racecourses across the South of England. The Gamblers is an affectionate portrait of the racing crowd, a well-informed tribe of racing enthusiasts, from a quirky mix of class and social backgrounds, who come together to find the next winner. Martin immersed himself in the racing crowds, camera at the ready, often betting himself as he sought his next subject. Despite covering so many races over more than a decade with a variety of cameras and shooting strategies, Martin has skillfully collected his images into a single story. Filled with moments of gentle humour, The Gamblers will take you from highs to lows, through moments of tension to the frenetic and jubilant energy of the holding the winning slip.

“Some of my fondest childhood memories are my regular trips to the races with my father. I loved to watch the horses race, but I loved even more to watch the motley cast of characters betting on them. The stench of beer and tobacco would fill the air, bookmakers’ chants of the latest odds cut through the gamblers lively conversations as I helped my father place his bets. As a photographer, it was a very obvious subject to focus my camera lens upon.”  – Martin Amis

Special edition of 50 signed copies with a signed and numbered 10’x8” archival print as per image. 

• Prestel 2018
  
• Softcover, 1st edition
  
• New

Viviane Sassen is one of today’s most innovative photographers and this stunning book looks back at a decade of her work, including new collages and previously unpublished photographs.

This mid-career retrospective volume focuses on Viviane Sassen’s fine art photography, revealing a surrealist undercurrent in her work. Sassen recognizes Surrealism as one of her earliest artistic influences, seen in the uncanny shadows, fragmented bodies, and otherworldly landscapes she captures in her work. In addition to images from the acclaimed series “Umbra,” this volume draws from the series “Flamboya,” in which she returned to Kenya, “Parasomnia,” a dreamlike exploration of sleep, the “Roxane” series, a mutual portrait created with her muse, Roxane Danset, “Of Lotus and Mud,” a study of procreation and fecundity, and “Pikin Slee,” a journey to a remote village in Suriname. This book features a contextualizing essay and an insightful interview with the artist. Throughout, Sassen emerges as a poetic photographer obsessed with light and shadow and a brilliant technician, who is a master of both vibrant color and muted hues. Selected by Sassen herself from across the last ten years, the images draw on the surrealist strategies of collage and unexpected juxtapositions to give a survey of her practice.

• Tall Poppy Press 2026
  
• Softcover, 1st edition, 92p
  
• NEW

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

In the 1940s, Brazil underwent a profound transformation. The country was industrializing, opening up internationally, welcoming a large European diaspora fleeing Nazism, and becoming fertile ground for the artistic avant-garde. Echoing this effervescence, a new generation of photographers seized the medium to accompany the aesthetic and cultural upheavals of their time.

As part of the movement that saw the birth of Oscar Niemeyer's architecture and vision of the modern city, Novo cinema and Bossa Nova, six figures contributed to the emergence of a new photography: Geraldo de Barros, German Lorca, Gertrudes Altschul, Marcel Giró, José Oiticica Filho and Thomaz Farkas. Seizing the political, social and aesthetic potential of photography, they introduced new subjects: modernist architecture and its soft lines, botanical motifs with contrasting light and shadow, inventive experiments and perspective games tinged with a taste for abstraction.

This dynamic was supported by the creation of numerous amateur photography clubs, notably the Foto Clube Bandeirante in São Paulo and the Foto Clube Carioca in Rio. True hotbeds of artistic emulation and exchange, these collectives encouraged experimentation, democratized the use of photography and increased links with the European and North American scenes.

The formal and aesthetic diversity of Brazilian modernist photography remains largely unknown. Through the work of thirty-three artists, the book sheds light on a daring generation that placed Brazil at the forefront of the international avant-garde movement.
A text by Marcella Legrand Marer and Helouise Costa, co-curators of the exhibition presented at the Rencontres d'Arles, introduces the book and looks back at the three high points of Brazilian modernism. The visual corpus is complemented by two essays by Rafael Cardoso, art historian and writer, and Julieta Pestarino, anthropologist, art historian and curator.

English edition.

• EXB / LE BAL 2025
• Hardback, 1st edition, 256p
• New

In January 2023, Donna Gottschalk met Hélène Giannecchini for the first time. Although they were separated by some forty years, they developed a closed bond. In search of images for her forthcoming book on friendship, Hélène explores Donna's archives and collects her words, her story. Deeply moved by Donna's life and photographs, Hélène set out to echo them.

Donna Gottschalk's work paints a social, political and intimate portrait of an invisible America, from the late 1960s to the 1980s. As a member of the queer community herself, and involved in the early lesbian rights movement, Donna focused on photographing people on the margins of society, with whom she lived, campaigned and worked: her relatives, friends, lovers and comrades in struggle. Her favorite mode of expression is the portrait, which she strives to capture without artifice. The people she photographs pose for her in an intimate setting, most often in her apartment, fully embracing their freedom. With a sensitive, committed and non-judgmental eye, Donna gradually builds up a family album, a collective memory.

Throughout the book, a text by Hélène Giannecchini activates, reveals and extends Donna Gottschalk's images. An essay by Julie Héraut, co-curator of the exhibition, entitled “Archive against oblivion,” looks back at the careers of the two women and the genesis of this four-handed project.

In “Being seen. On Donna, visibility, and me,” African-American photographer and art historian Carla Williams draws a parallel between her photographic practice and Donna's, a few decades apart. A selection of archives completes the picture.

English edition. 

• Overlapse 2026
  
• Hardback, 1st edition, 126p
  
• New

A meditative work photographed in an alluring local park in the Netherlands; Strawberry Blue began in the aftermath of the artist’s migration north from Greece, where soon after arrival he was badly injured in a road accident. An arduous recovery process — along with upheaval in adapting to an unfamiliar environment — triggered an inner quest for belonging and identity redefinition. Over years Tsagkarakis routinely wandered through the park terrain, observing its nuances and dreamlike setting while interacting with strangers and all living things. In portraits he glimpses reflections of himself, where echoes of his own struggles are in dialogue with the tangled, evolving landscape. Strawberry Blue feels out of kilter at times, like laughing while crying. It’s about resilience, persistence and growing new roots… We are invited on this journey with minds open to the unknown, allowing the path ahead to lead us where it will.

• L'Artiere 2025
  
• Hardback, 1st edition, 72p
  
• New

Grace is a poetic and visually stunning collaboration between Scott and Grace, a couple whose intertwined lives and creative partnership transcend traditional artistic roles. This evocative photographic series challenges con- ventions of gender, aging, and representation, presenting Grace not as a passive subject but as an empowered figure navigating dreamlike landscapes. She moves between domestic spaces and the untamed wilderness, em- bodying mythological and symbolic roles—at once ethereal and powerful, present and elusive. Working with large-format cameras, Scott and Grace engage in a slow, intentional creative process, crafting images that blur the boundaries between reality, imagination, and the natural world. Their work offers viewers an invitation to step beyond societal norms and experience an alternate realm of freedom and transformation. Grace is both an artistic dialogue and a meditation on identity, nature, and the unknowable forces that shape our perceptions.

• Tall Poppy Press 2026
  
• Hardback, 1st edition, 224p
  
• New

In Ten Eighty, Matt Dunne focuses on the history and plight of the Dingo - Australia's wolf. Since the arrival of white people, the Dingo has been on of the most persecuted animals in Australia - the target of shooting, trapping, poisoning, myth-making and scorn. To this day, governments in Australia seek to eradicate the animal completely.

Through Ten Eighty, Dunne draws connections between commerce, ecology, violence, colonialisation and seeks to make the widespread war on the animal visible.

Signed copy.

• Timeshow Press 2016
  
• Softcover, 1st edition
  
• Fine

French photographer Maki’s photobook Guyu, published by the French Timeshow Press, showcases the artist’s contrast-rich black-and-white street photography. The subjects range from streets in Shinjuku to hectic nude shots and views of trees. The photobook features an essay by Clement Paradis in French and English.

"Guyu in japanese, means “allegory”. For Maki, the figure of speech is a photographic category. At the core of his photography practice, lies the question of re-presentation, of the relationship to space... The involvement of known elements in new sets - or the opposite. During his travels in Japan of the past 15 years, Maki stayed tireless, circulating through metropolitan cities, from island to island, with a rear base in Tokyo, Shinjuku district - a point of "eternal return" for the Japanese photographers. […]

Maki's photography is made of figures, and figures of speech, forming a kind of social novel of the Japanese territory. Here, photography is definitely not a transparent language: the photographer's work gives it its thickness, which is not that of an icon but that of the "demon of analogy," a skillful weaving between the allegorical mental world and the objective world around us. […]

That is what unfolds over the double pages of Guyu, this dense atmosphere of Japanese cities where sometimes the world seems to curve around the individual in a movement whose end can only be photography. Maki's approach starts with a non-resistance to the experience. It shows in Guyu, page after page, and so the energy of the perfectly controlled photographic grain ends up as a dark matter in the galaxy of Japanese cities.

— from the publisher’s statement

Edition of 300 copies.  Signed copy.

• Witty Books 2025
  
• Softcover, 1st edition, 168p
  
• New

The Line of Water explores memory as a shifting, fluid entity, where trauma is not just a wound but a catalyst for transformation. Through a poetic and metaphysical reflection on transience and loss, the project examines how the territory—both physical and emotional—absorbs, reshapes, and transmits traces of the past, generating new languages of remembrance and creation.

Sara Palmieri, a visual artist working primarily with photography, investigates the material and symbolic potential of images. Her practice extends into sculpture and performance, using experimental processes to explore how territory and personal narratives shape collective memory, questioning the ways in which images construct and deconstruct reality.

Inspired by the Polesine flood of 1951—the most devastating in Italian history—the project considers the territory as an archive of memory, where water, earth, and inherited stories act as living agents of transmission. The image itself becomes a perceptive surface where opposites merge: visible and invisible, past and present, submerged and emerged. The book-object, curated by Fiorenza Pinna, expands this exploration into a spatial, visual, and tactile experience. The material shifts, transparencies, and overlays disrupt the reading flow, mirroring the instability of history and perception. In this interplay between image and matter, the book itself becomes a territory of creation, where memory takes on new forms and new languages emerge from the fractures of the past

Display copy with faint bend to corner and light marking to cover.  See photos.

• Loose Joints 2026
  
• Hardback and 2 softcovers set
• New

Ethridge’s cult early studies of the American everyday return in a three-volume set revealing the origins of his style.

Loose Joints is proud to present In the Beginning, a three-volume set reuniting Roe Ethridge’s three formative, self-published books – County Line, Orange Grove and Spare Bedroom – originally released in 2004–05 and long out of print. Across these early volumes, Ethridge stages a sharp, playful inquiry into the American everyday. From rotting Florida citrus orchards to half-built suburban interiors and the static hum of strip-mall signage, each book turns on a clear typological register, where the familiar slides easily into the strange. Ethridge sets his pictures in a dialogue with photographic archetypes – catalogues, calendars, studio models, kitsch displays – using them to probe how images shape, naturalise and sometimes fracture American life.

Ethridge’s early books all emerge from loose typologies that, in their slippages, probe and complicate the aesthetics of American visual culture. From 2004, Orange Grove distills photographs made in a dilapidated Florida orchard into a study of slow collapse, a familiar symbol of American plenty quietly withering on the tree. Self-published simultaneously, 2004’s Spare Bedroom begins Ethridge’s career-long practice of jumbling and juxtaposing the commercial and the personal, in which an early commission for a furniture company unravels into a jagged mix of domestic scenes, catalogue imagery and loosely staged interiors. Finally, County Line (2005) turns to the liminal spaces of Queens and Nassau County, abstracting the language of the strip mall into a concrete-poetry of word-photographs that sit against other images evoking the blurry edges of the suburban sprawl.

Taken together, the three books form a weave of contrasts, where moments of banality tilt towards the uncanny and the absurd. These early publishing experiments trace the emergence of Ethridge’s now-signature method: slanting, doubling and displacing images until they cohere with unexpected force or deliberately fall apart.

Reissued twenty years later, In the Beginning reads as a prefiguration of the more than fifteen books and catalogues that would follow. It marks the opening chapter of an artist who would go on to become one of contemporary photography’s most influential practitioners – revealing the restless, incisive eye that shaped everything to come.

• Steidl 2012
• Hardback, resvised edition, 112p
• Fine

"I went to Central Park to find the place behind the Metropolitan Museum of Art where Jennifer Levin had been killed. It was bewildering to find a scene so beautiful ... to see the same sunlight pour down indifferently on the earth. As I showed the photograph of this site to friends, I realized that I was not alone in thinking of her when walking by the Met. It occurred to me that I held something within: a list of places that I cannot forget because of the tragedies that identify them, and I began to wonder if each of us has such a list. I set out to photograph sites that were marked during my lifetime. Yet, there was something else that drew me to this work. I think of it as the question of knowability. Experience has taught me again and again that you can never know what lies beneath a surface or behind a façade. Our sense of place, our understanding of photographs of the landscape is inevitably limited and fraught with misreading." --Joel Sternfeld.

Between 1993 and 1996, Joel Sternfeld photographed 50 infamous crime sites around the US. On This Site contains images of these unsettlingly normal places, ordinary landscapes left behind after tragedies, their hidden stories disturbingly invisible. Each photograph is accompanied by a text describing the crime that took place at the location. This is the first Steidl edition of On This Site, originally published in 1996 to great acclaim.

Still sealed copy with some light shelfwear only.

• Three Books 2025
  
• Softcover, 1st edition, 268p
  
• New

• Chose Commune 2025
• Hardback, 1st edition, 192p
• New

An unexpected collection of over 100 images spanning time and the history of representation, Clin d’œil brings together nearly every variation of that precious organ that allows us to see, to look, to discover — or simply to observe.

Following Jeux de mains, the first collaboration between Cécile Poimboeuf-Koizumi — publisher, curator and co-founder of Chose Commune — and Stephen Ellcock —  curator, writer, researcher, and online collector of images — this second volume focuses on the motif of the eye in art. Present across all cultures and eras, the eye fascinates with its rich symbolism: spiritual, political, intimate, or mysterious. From Antiquity to contemporary art, over a hundred images, selected intuitively and without chronological order, form this visual constellation. This book celebrates the diversity of artistic perspectives on this small organ that has, over time, become a powerful universal symbol.

• Akio Nagasawa 2010
  
• Softcover, 1st edition, 48p
  
• New

...The city of New York, and the Manhattan neighborhood in particular, is certainly one huge melting pot of human desires, and as one can easily imagine that it is an extremely practical location, it seems just natural to me that an artist of a nervous and sensitive nature sooner or later feels like plotting an escape.
For myself, however, who is always just a traveler, Manhattan has that throbbing something that attracts and spellbinds
people - although it might of course be different if I wasn't only visiting. New York is filled with a vague scent of mescaline, while the smell of Andy Warhol is billowing out of every street.– Daido Moriyama, afterword 

Signed copy.

• Akio Nagasawa 2016
  
• Softcover, 1st edition, 88p
  
• New

October 29 was for me a Saturday just like any other Saturday. As usual, I put my camera into the pocket of my jacket in the morning, and walked down to the coffee shop near the park at Ikebukuro station’s West Exit to have my coffee, while shooting the occasional picture as I leisurely passed through familiar sceneries.
...
While sitting there and absent-mindedly sipping my coffee, a certain thought literally flashed across my mind. It was a thought that had never occurred to me before. The idea was to fill one issue of Record exclusively with the photos taken on this particular day. For a very long time I’d been bragging about how I’d only need a single day to shoot enough material to fill an entire photo book, but in reality it never was that easy. But as this was the plan that I hatched over my coffee, it dawned on me that I had no other choice this time.

– Daido Moriyama, afterword 

Signed copy.

• Akio Nagasawa 2018
  
• Softcover, 1st edition, 120p
  
• New

"As I get older with the camera in my hand, I realize that all the different things that I depict in my photographs are ultimately rooted in my childhood memories, the various things I have seen and experienced in the postwar years of the early 1950s.
My memories of wandering from one town to another for a while after the war have piled up at the bottom of my conscious mind, and it appears to me that they are reflected in the myriad images I’ve been capturing as a street snap photographer, responding to my index finger as it releases the shutter. In other words, regardless of whether I was aware of it at the place and time of shooting, it seems that the majority of my photographs represent an instant communion with the here and now that is established through some kind of time tunnel."  - Daido Moriyama

Signed copy.

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

• Loose Joints 2021
• Softcover, 1st edition
• used - good see below

For nearly two decades, Lichtenstein has worked in varied subgenres within photography’s historical archetypes: marginalized contemporary landscapes, refracted still life, performance-based portraiture and process-oriented abstraction. In Recorder, Lichtenstein embarks on an ambitious three-part series of images that recycle and reorient themselves within the limits of technology and photographic vision. 

Every image in Lichtenstein’s layered artist book departs from a singular work: Welcome Water, where Lichtenstein collaborated with J. Stoner Blackwell to make flatbed scans of the artist’s delicate sculptures derived from disposable carrier bags, which were then cut out and stitched into a sprawling sculptural floorpiece. Meditating on the waste and burdensome environmental significance of these single-use plastic objects, Lichtenstein accumulated and activated the detritus of Welcome Water, using the negative cutouts and test-prints of the work to recycle them into new photographic forms.

The results are three series that are both distinct and inseparably intertwined: Holes, a series of black-and-white images reworking Blackwell’s delicate laser-cut interventions to the carrier bags; Grounds, a physical layering of leftover cutout shapes, pinned and affixed, leaving a gaping void at the photographic centre; and finally, Untitled, Lichtenstein’s boldest foray into abstraction, where her source materials were repeatedly printed and scanned, sometimes up to thirty times, to create a giddying and vertiginous collaboration with the entropy of print technology. These works are layered with ink, program errors, exaggerations and obfuscations, eventually liberating her source material into pure free-form visual abstraction.

Lichtenstein creates images that are at once challenging and seductive, setting forth a chain reaction of feedback loops in which pictorial space is filled and mutated through collaboration with and against the limits of imaging technologies. Recorder contains profound depths and coalescent shapes that never fully resolve themselves, but within this profundity a clear thread can be drawn, connecting the push-and-pull of photography’s tendency to both record and obscure, with a meditation on waste, consumption, and the environmental changes set loose by the anthropocene. 

With limited 8×10" print (unsigned) of an exclusive unpublished work by the artist. Giclée print on Hahnemühle Rag.

Used copy - Book has light wear to edges/corners.

• Jim Mortram 2017
  
• signed print
• fine

A3 (42x30cm) sized print by Jim Mortram on heavyweight photo paper.  Signed and dated to the reverse.  

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

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

• Stanley Barker 2018
• Hardback, 1st edition
  
• Fine
  

Mark Steinmetz’s new book Past K-Ville is a poetic collection of photographs dating from the mid-1990s, that were made on road trips throughout the American South: Memphis, Atlanta, New Orleans, Chattanooga, and Athens, Georgia. Spray-painted rumours of romance punctuate a world comprised largely of teenagers and young couples.

"I love the South for its warmth and chaos. The vegetation down here grows rampant; the light is softened by humid air. The people are for the most part friendly and they are comfortable in their bodies. They tend to be more open to being photographed by a stranger. The unexpected happens here a lot." - Mark Steinmetz

Recommended.