Photobookstore

• GOST 2024
• Hardback, 1st edition. 192p
• New 

Fugue by Lydia Goldblatt is a body of work about love and grief, mothering and losing a mother, intimacy and distance, told through photographs and writing. Centring on the domestic space and made over the course of four years, it tells a story that is neither apologetic nor idealised.

When Goldblatt became a mother she found herself unable to make pictures. However, after her own mother died, she began to photograph again, both at home and in the city around her.

‘I wanted to be honest about what I was struggling with, about the feelings of claustrophobia and rage, as much as intimacy and love. These are feelings so often hidden by mothers, so often silenced as unacceptable.’

Signed copy.

• Self 2024
• Plexicover, 1st edition. 448p
• New 

State of Emergency - Harakati za Mau Mau kwa Haki, Usawa na Ardhi Yetu is an ongoing documentary project in collaboration with Mau Mau war veterans and Kenyans who survived colonial atrocities. In the form of in-person reenactments, or "demonstrations," together they (re)visualise the fight for independence from British colonial rule in the 1950s, manifesting their past experiences in the present with a future audience in mind. With most of the colonial archives deliberately destroyed, hidden or manipulated, this project attempts to shine a light on this history’s blind spots by creating new ‘imagined records’ that fill in the missing gaps of historical archives. State of Emergency interweaves fragmentary colonial archives, photographs of architectural and symbolic remnants from the past, mass grave sites, demonstrations and the testimonies of people who experienced and survived the war themselves.

State of Emergency is a collaborative attempt at rebuilding and reimagining possible futures of reparation and reconciliation. Together with the National Museums of Kenya and members of Mau Mau War Veterans Association, they deliver a collective response aimed at healing—without erasing—the still gaping wounds of colonial violence, creating a restorative instrument of the photographic medium that makes it possible to tell their truths to the powerful.

Signed copy.

• Kult Books 2024
• Hardback, 1st edition. 176p
• New 

In 1961, in the small Spanish village of San Sebastian de Garabandal, four young girls had an apparition of the Virgin Mary. They entered a state of ecstasy in which they became completely unaware of their surroundings and sensory perceptions. Reportedly, witnesses would pinch the girls, pierce their skin with needles, lift them up and drop them onto rough rocks, and yet they remained entranced. The light and presence of the Virgin is all they claim to have experienced. Twenty years later, in the town of Medjugorje, in Bosnia & Herzegovina, six children also had simultaneous visions of the Virgin, with similar ecstatic qualities.

In his debut book Noema, Michael Swann investigates the aura of place and religious experience by searching for signs of the Virgin Mary’s presence in these two locations. Alongside original photographs made at both sites, Noema also includes images that have been appropriated from video footage of the visionaries taken during their apparitions. These emphasise the impenetrability of the individual religious and phenomenological experience, and speaks to the separation between what is apparently being seen and what is photographable.

“Until the age of eleven I was a Catholic. Although I lost my faith, I felt no sense of loss. Many years later I was told a story of a friend, who heard the voice of God speak to her while she was alone in her bedroom. To move from belief to non-belief felt simple, but to pass in the other direction seemed to require a substantial spiritual encounter. Perhaps I could believe once more, if I were to receive a messenger from God.”

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

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

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

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

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

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

Shipping from 22nd May.

• Nazraeli Press 2024
• Hardback, 1st edition, 80p
• New

American photographer Mark Steinmetz photographed the people and environs of Atlanta’s Hartsfield-Jackson International Airport between 2012 and 2019 as part of the High Museum of Art’s Picturing the South series, a photographic archive that examines a range of themes specific to the American South. 

The 64 black-and-white images in ATL emphasize “the quiet transitional moments in this liminal world,” writes curator Gregory J. Harris in the volume’s introduction. Steinmetz captures “the more introspective moments” of travel in and out of the world’s most heavily trafficked airport and includes travelers of all ages “leaving one chapter of their lives and going to another,” as the artist stated in a 2019 interview at the museum. Airline pilots, ground personnel, flight attendants, and janitors are also pictured, always working, often waiting; they share a space with the travelers but remain apart. 

Steinmetz also turns his focus to the open spaces around the airport, presenting vast, overgrown, and often unpeopled areas that provide a sharp contrast to the busy workings of the airport and its constantly changing population. A selection of images taken from aircraft windows depict the graphic beauty of clouds, light streaks, and jet trails, echoing the “sense of levity and mystery” felt by those traveling, as well as those viewing the photographs. 

Though taken over a period of years, this collection of images evokes the distinct timelessness of air travel, “capturing ordinary yet captivating human dramas that play out in the public spaces across the airport.” ATL is the 15th volume of Mark Steinmetz’s work published by Nazraeli Press. 

Shipping from May 24, available for pre-order now.

• Ediciones Posibles 2024
• Softcover, 1st edition, 156p
• New

Alex Llovet brings us his most documentary-looking work, without losing the poetic and conceptual approach that characterizes him: a project developed over ten years, in the woods surrounding his home.

The forest is the archetype of the wild state, it represents the untamed and as such, it often becomes a place of escape, a refuge in which to hide and maintain anonymity. Because of its darkness and deep rootedness, it also symbolises the unconscious and an ancestral magical space in which to connect with the elemental powers that reside in it and to reconnect with unknown or forgotten parts of our being. In the forest you can escape from society, but not from yourself.

On the outskirts of Barcelona is one of the largest peri-urban parks in the world: the wooded mountain range of Collserola. A place of escape but also a promised land, in the middle of the last century the first settlers arrived here escaping from their places of origin in search of a new opportunity, turning these mountains into a kind of "Catalan farwest". Since then, many have ended up here, including the author, for very different reasons. But they all have something in common: they live among trees, immersed in the forest and in intimate relationship with it, so they have gradually domesticated it, modifying the territory to adapt it to their needs. The fact is that the proximity of the big city makes it easily accessible and therefore vulnerable. But the forest is powerful and has never ceased to exert invisible forces on its inhabitants, leaving its mark on both their homes and their spirit.

Signed copy.

• Muga / Ediciones Posibles 2024
• Hardback, 1st edition, 80p
• New

Ros Boisier has spent the last few years building an enigmatic photobook through the estrangement and deconstruction of the natural and urban landscape.

There are books that question us and books that accompany us, and there are books that achieve both, like this one. "Inside" is made up of images that can be looked at for a long time without becoming exhausted, without being completely deciphered. Images of slow time, static and ecstatic, before which one hesitates between seeing them or inhabiting them.

"The photographs in 'Inside' are inhabited by a crack that gives them a deep spiritual dimension". Alejandro León Cannock

"Ros Boisier has achieved in 'Inside' the closest thing in photography to being spoken to in a low voice. What she wants to tell you in this photobook is chillingly close to silence". Rubén Ángel Arias

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

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

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

- JM Ramirez-Suassi

Signed copies available for first customers.

Due in stock late May, available for pre-order now.

• Steidl 2010
• Hardback, 1st edition, 228p
• New

John Gossage, the renowned American photographer and photography book-maker, presents two companion volumes and his first ever books in color. Engaged in a dance, neither book comes first, there is no hierarchy or sequence to the pair of volumes. Gossage is one of the most literary of photographic book authors and in The Thirty-Two Inch Ruler, the narrative, whilst not autobiographical, is about a neighborhood in which he lives; one that is singular in the United States. At the same time provincial and international, it is a neighborhood populated by ambassadorial residences, embassies, and the lavish private homes of those who are in positions of power and influence in Washington. A project he began with the arrival of a new neighbor, the Secretary of Defense Donald Rumsfeld and made over a full year’s cycle of seasons, these are images from the drift of privilege. The streets, cars, homes and yards of this neighborhood are photographed on perfect spring or autumn days, with sparklingly clear blue skies, and flowers or foliage accenting the order. These are photographs about how one might wish the world to be, how beauty might be seen as desire. In the same year Gossage made the Map of Babylon, photographing digitally from Washington, to Germany, to China and places in-between. This look away, to places beyond the immediate and local, is a classic exploration of particulars of the outside world.

Sealed.

• Chose Commune 2024
• Hardback, 1st edition. 304p
• New 

After publishing Leaving and Waving in 2021, which presented only a glimpse of Deanna’s Dikeman’s 3-decade journey to document her family, Chose Commune is proud to introduce the photographer’s larger series in an exhaustive 300-page book: Relative Moments.

In Relative Moments, Deanna Dikeman chronicles ordinary moments of her family’s activities. From gardening to cutting cake, from filling up the bird bath to mending a piece of clothing, from mowing the lawn to picking rhubarb, one gets to discover an everyday that might otherwise go unnoticed. In this book, which was generously edited and sequenced — 200 photographs in total — one is not only meant to see the moment shot in one photograph, but all the moments that compose the story.

This project captures a visual history of the photographer family’s life, yet, there is an ongoing narrative embedded in these photographs that conveys larger, more universal truths about American culture, familiarity, and the endless source of everyday wonder that surrounds us.

Text in French/English.

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

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

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

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

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

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

Signed copy.

• Steidl 2024
• Hardback, 1st edition. 96p
  
• New 

• RRB 2024
• Hardback, 1st edition. 148p
  
• New 

Nothing Lasts Forever Is the first retrospective monograph of work by Peter Mitchell, best-known for his chronicles of the city of Leeds. The book is published to coincide with a major exhibition of the photographer’s work at Leeds Art Gallery from 17 May 2024 - 06 October 2024, nearly 50 years since he first exhibited there.

The book acts as a visual guide to navigate Mitchell’s long-rooted and poetic connection with Leeds. Regarded as the one of the most important early colour photographers of the 20^th century, the book illustrates how words and objects have also played a key role in developing his distinctive and accessible vision.

Nothing Lasts Forever charts Mitchell’s work and career from his early photographs made in the 1970s and 80s whilst working as a truck delivery driver. His vantage point removed him from the immediacy of the street and he developed his distinctive graphic framing of the buildings and landscapes which reveal the layers of urban and social history. His documentation of the demise of the Quarry Hill Estate established his work beyond the mere visual into that of a social historian and storyteller—combining original documents, archival photographs, oral history, and observations to illustrate the complexities of change and failure.

The book introduces his unique storytelling abilities ranging from A New Refutation of the Viking 4 Space Mission which imagines an alien explorer visiting Leeds with a degree of surprise and puzzlement, through to the re-telling of his own autobiography by inanimate objects silently observed by otherworldly Yorkshire Scarecrows.

Hardcover Special Edition with 10"x8" signed print (Vulcan Street, Leeds, 1975), limited to 250 copies.

Also available as a softcover trade edition here.

• GOST 2024
• Hardback, 1st edition, 304p
• Imperfect - see below

‘…what does it mean to live in a land where the people responsible for protecting its citizens can so often be involved in their deaths?’

In the US, approximately 1000 people continue to die each year in encounters with police.  More than any other industrialised nation. My America is an archive of and memorial to victims of these encounters. The photographs, taken at locations where citizens were shot or tasered by law enforcement officers, create a quiet but chilling critique of the contemporary United States. The scale of the book­­­­­­­­­­ attests to the scale of the problem yet Matar asks us to remember these are individuals.

'Of the over 300 sites I visited only seven had any type of memorial. Something about these lives not being recognised, even on the land itself, upset me most. As a nation, we weren't taking stock. We rarely, if ever, marked the ground.'

The black and white photographs in My America are of city parks, shopping malls, parking lots,  mobile homes, empty fields, and roadside highways. By photographing these banal landscapes Matar declares that what happened at the locations matters and questions the link between landscape and memory.

'Can a photograph tell us anything about what has happened before the photographer arrives… even if not, I believe there is value in documenting the ground where violence has taken place... Perhaps a photograph can offer ways to remember acts of injustice that have been forgotten or never made transparent.' 

Previously, Matar, an American living in London, spent years documenting sites of state sponsored violence in North Africa, Eastern and Southern Europe. In 2015 she turned her lens on her own country and began researching who, how, and where citizens were dying in police encounters in the US. She created detailed maps in her studio and compiled information about each victim who died in 2015 and 2016.

‘I wanted to address the issue of police violence in a way that wasn’t just polemic.' 

A small grant from the Ford Foundation enabled her to make six road trips over the next four years. She photographed in states with the highest numbers and/or highest rates per capita of lethal encounters—Texas, California, Oklahoma, and New Mexico—travelling alone on highways, back roads, and city streets to reveal something beyond statistics. After Matar finished photographing, she spent two additional years researching the legal outcome of each case. The result is a book designed with respect to the victims but also rich with information about the structural reasons why these events continue to occur at such a high rate.

'In a world where millions of pictures are taken each day, I still believe photographs can contain meaning; they can become evidence of things not seen or heard... if, as I believe, to photograph is a desire to know something deeply and beyond the surface, I must be quiet to see. And attending to something says I acknowledge it matters.'

Signed copy. 

Imperfect copy with small bump to one corner - see photo example.

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

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

• Loose Joints 2024
• Hardback, 1st edition
• New

Fortune uplifts the long-enduring nature of Black culture and traditions in the American South across ten years of portraiture rooted in history and the landscape.

Flour, water, and salt. These are the sole ingredients that make Hardtack: a Civil War-era food long-associated with survivalism, land migration, and its extremely long shelf life. Drawing from this history as a metaphor for the long-enduring nature of Black culture and traditions, Hardtack uncovers the roots that tie Fortune's native landscape to the conflicts and nuances associated with the post-emancipation Americas.

In the follow-up to his breakout monograph I can't stand to see you cry, Fortune borrows from the language of vernacular and archival photography to interrogate the historical relationship of his community to photography; rooted in the landscape, Fortune often uses sites of historical and cultural interest as a guide but not a subject, implying the deep ties that bind modern Black communities resiliently to their regions, in the face of both adversity and joy.

A significant theme in Hardtack is Fortune’s striking portraits of coming-of-age traditions. Inside, young bull-riders, praise dancers, and pageant queens inherit and gracefully embrace these forms of community ritual. Fortune's dignifying eye pays tribute to these cultural performances' rigour, discipline and creative flair, alongside the intergenerational conversation between young people and elders handing down these traditions. Collecting together nearly a decade of work, Hardtack continues Fortune’s weaving of documentary and personal history, marking a sincere expression of love and passion to a region that has nourished the artist personally and creatively, while also marking an important contribution to photographing the American South.

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

Published as a collection for the first time, these arresting and poetic and images of Northern Ireland reveal a rarely examined facet of the oeuvre of a celebrated twentieth century war photographer.

Akihiko Okamura became a renowned war photographer during the first years of the Vietnam war and later, as he documented wars in Biafra and the Middle East. In 1969, he moved from Southeast Asia to Dublin. From there, Okamura traveled frequently to Derry and other parts of Northern Ireland to document the country’s “Troubles.”

This beautifully produced book brings together for the first time Okamura’s Irish work, which was almost entirely unpublished before now. Presented in full page plates without text, Okamura’s images are imbued with soft, muted colors that contrast with the violence of the situation in which they were conceived. Brimming with feelings of fear, dread, anticipation, and resignation, these images reveal Okamura’s humanity and curiosity, his concern with day-to-day existence, and the absurdities, incongruities, and disruptions of life during wartime: women preparing afternoon tea outside bombed rowhouses; girls dressed in their Sunday best leaving flowers at a roadside shrine; a collection of empty milk bottles destined to become incendiary devices.

Illuminating essays by renowned photographic historians and experts place this astounding collection in context with Okamura’s larger body of work and situate these images within the history of both the medium and the country.

English edition.

• Nazraeli Press 2024
• Hardback, 1st edition 136p
• New

Published to coincide with a major 2024 traveling exhibition in Tokyo, Los Angeles and London, this gorgeous new monograph presents 100 of Michael Kenna’s most iconic photographs of the Japanese landscape, many published here for the first time. A perfect pairing of artist and subject, these photographs of Japan comprise perhaps Kenna’s best known body of work and have been the subject of countless exhibitions throughout the world. Michael Kenna first visited Japan in 1987 on the event of his inaugural exhibition there, and he has returned dozens of times and made thousands of photographs throughout the country’s vast and incredibly varied landscape. Our earlier monographs Japan and Hokkaido have been out of print for many years, so we are thrilled to announce this important new publication that includes work spanning Kenna’s decades-long love affair with the country. Japan / A Love Story is beautifully printed in duotone on natural coated art paper and quarter bound in linen and silk. It opens with an essay in Japanese and English by the renowned critic and historian Kohtaro Iizawa. 

“Japan has a long and rich tradition of reciprocal gift giving. I have been the grateful recipient of so much over so many years in Japan, and I know that I will never be able to give back in equal measure. I hope this work can be seen as a small token of my desire to do so. I also hope this work can be viewed as a homage to Japan and that it will serve to symbolize my immense ongoing appreciation and deep gratitude for this beautiful and mysterious country.” — From the Afterword by Michael Kenna

"He has been reflective when others have been militant, romantic when others have been skeptical. Such isolation can starve all but the most independent of talents, but for these it can provide a sanctuary where visions can develop undisturbed. Kenna is one of these.” — Joanna Pitman, The Times

Shipping from May 24th, available for pre-order now.

• 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

• Void 2024
• Softcover, 1st edition, 168p
  
• New

In ‘I’ll Be Late’ Yoshi Kametani ponders the existential anxieties of life and death, as well as time and its relation to entropy. The book is filled with scenes of familiar domestic moments, people we assume to be friends are mixed in with images of dirty dishes piled up high, pizza crust left in the box or cigarettes burning to ash. Throughout the work there is a constant yet subtle reminder that time is relentlessly passing, harmony turns into chaos, and entropy deteriorates everything in its path, turning it into something new within its natural cycle. 

Kametani deconstructs the images to their bare bones and constructs them back together with 4 layers in the time-consuming screen-printing process. Printing the photographs in this way offers an opportunity to live with the work and see it materialize, and perhaps most importantly to better understand what the images mean to the author himself.

“The time I spent on creating the work also informed my thoughts on the subject. All of the images are shot indoors of intimate moments which would not have been possible without the passage of time. Our friendship and trust was built within it.”

“The images are of a diaristic nature, they depict my friends, the places I would be in, and the moments that crossed my path taken from my everyday life while living in Brixton London. To me, the autobiographical aspect of the work is not the focal point, but rather a means to an end, a tool for exploration of time.”

- Yoshi Kametani