Landscape and Nature

• Journal 2022
• Hardback, 1st edition
• New

From the veranda I watch the horned grebe with its bright red eyes and yellow-orange tufts diving rapidly into the water. I wait and wait for it to reappear, often where I least expect it.

Sea surrounds the island, one of more than 6,700 in the Åland archipelago. The island’s solid bedrock with striations, veins and crevices, shaped by time.

The place was once rugged; full of scraggy pines, junipers and tall, wild grass. Grandfather cleared and planted broadleaved trees from nearby islets. He constructed a garden with herbs, berry bushes and fruit trees. On the shore he cast a concrete seal.

He called the place Eden, after the biblical paradise, and our surname.

At first it was difficult to get here, you had to wade across the sound. There are photos from when I was little, sitting on my dad’s shoulders as he made the crossing. The sound was later filled in and became an embankment. When I walk along it now, carrying my first-born daughter in my arms, I think about the road being lined with flowers I cannot name.

The stone that my grandfather selected to be his headstone, was leaning against an alder on the shore. When he died two years ago, the stone was moved to finally fulfil the task he had given it. It was heavy and unwieldy, and it wasn’t easy to move it from the shore. Dad filmed himself when he wrestled it across the meadow and up the hill. He declares in the film: “thirty meters left, ten metres left...” The stone leaves tracks in the grass.

- Karl Henrik Edlund

• Stanley Barker 2022
• Hardback, 1st edition
• New
  

“In the middle of a December night a few years ago I was woken by the phone ringing downstairs. Nothing ever good comes of such a call and this time it was news that my younger brother had been admitted to hospital, and the doctor caring for him had rung to say he thought it unlikely he would live through the night. I drove to see him and sat with him through the early hours, in the eerie quiet of the emergency ward, until late in the morning when it appeared he would pull through.”

“When I got home that afternoon I decided to go for a walk by the river. As the dark of the dusk gradually gathered I sat on a log to sift through the thoughts and emotions of the day. Gradually I became absorbed in what was in front of me; the turbulence of the streams surface as the water raced around the bend, the waving of the reeds and the branches of the overhanging tree, and the pink of the clouds being pushed across the sky by a south-westerly breeze. When mallard ducks pushed out from the bank to swim across the river in search of a safe haven for the night, I picked up the small digital camera I had just started to use and quickly took a picture.”

"In the middle of another night, a couple of years after the first call, the phone rang again, with the same message. I went off to the hospital once more to sit by Andy’s side, however that time he did not make it through. As I write this on the cusp of the Spring Equinox in 2021, I have just come to the end of another season by the river – The Fifth Winter. It is hard to stop, such are the profound pleasures of witnessing and sharing the quiet wonders of a winter’s morning, on a bend in the river. ”

- Jem Southam

 For the past four winters the English artist Jem Southam has repeatedly visited a short stretch of riverbank along the floodplain of the River Exe. He stands and watches, as the dusk fades into darkness or as the light of dawn gathers, witnessing the different passage of each winter. In the evenings, long past sunset, swans, geese and ducks arrive on the river to spend the night in safety. In the mornings the birds wake, preen, feed and socialise as they prepare for the new day.

These periods of subtle drama have played out continuously for millennia, as the world spins and each new day dawns the spectacle repeats itself. However, it is endlessly varied, and in the photographs in this book, Jem Southam notates and narrates the subtle shifts and dramas of the theatrical space around him.  

• Stanley Barker 2022
• Hardback, 1st edition
• New
  

“In the middle of a December night a few years ago I was woken by the phone ringing downstairs. Nothing ever good comes of such a call and this time it was news that my younger brother had been admitted to hospital, and the doctor caring for him had rung to say he thought it unlikely he would live through the night. I drove to see him and sat with him through the early hours, in the eerie quiet of the emergency ward, until late in the morning when it appeared he would pull through.”

“When I got home that afternoon I decided to go for a walk by the river. As the dark of the dusk gradually gathered I sat on a log to sift through the thoughts and emotions of the day. Gradually I became absorbed in what was in front of me; the turbulence of the streams surface as the water raced around the bend, the waving of the reeds and the branches of the overhanging tree, and the pink of the clouds being pushed across the sky by a south-westerly breeze. When mallard ducks pushed out from the bank to swim across the river in search of a safe haven for the night, I picked up the small digital camera I had just started to use and quickly took a picture.”

"In the middle of another night, a couple of years after the first call, the phone rang again, with the same message. I went off to the hospital once more to sit by Andy’s side, however that time he did not make it through. As I write this on the cusp of the Spring Equinox in 2021, I have just come to the end of another season by the river – The Fifth Winter. It is hard to stop, such are the profound pleasures of witnessing and sharing the quiet wonders of a winter’s morning, on a bend in the river. ”

- Jem Southam

 For the past four winters the English artist Jem Southam has repeatedly visited a short stretch of riverbank along the floodplain of the River Exe. He stands and watches, as the dusk fades into darkness or as the light of dawn gathers, witnessing the different passage of each winter. In the evenings, long past sunset, swans, geese and ducks arrive on the river to spend the night in safety. In the mornings the birds wake, preen, feed and socialise as they prepare for the new day.

These periods of subtle drama have played out continuously for millennia, as the world spins and each new day dawns the spectacle repeats itself. However, it is endlessly varied, and in the photographs in this book, Jem Southam notates and narrates the subtle shifts and dramas of the theatrical space around him.  

• Setanta 2022
• Hardback, 1st edition
• New

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

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

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

• Editorial RM 2022
• Hardback, 1st edition, 3rd printing
• New

Both born in 1969 and living in Barcelona, Anna Cabrera and Angel Albarrán have been working together for more than twenty years and form a rising duo on the photographic scene. Together, they develop a poetic and sensitive photographic universe where the emotion of the subject meets the beauty of the print. Questioning identity and the traces the camera keeps of the past, their various series evoke our relationship with time and memory and our perception of the photographic image between reality and illusion.

English/Japanese edition.  3rd printing.

(2nd printing shown in video)

• Ediciones Ánomalas 2022
• Softcover, 1st edition, 244pp
• New

“Marshy, rugged, winding, monumental.

The Danube Delta is the second greatest European river delta: a natural labyrinth of reeds and water that extends over more than 3500 square kilometres. It lies between Romania and Ukraine, on the geographical boundary of Europe, on the shores of the Black Sea. The delta region is sparsely populated and its few hamlets can only be reached by boat. It lacks basic infrastructure and its streets are plunged into the depths of darkness as soon as the sun sets.

Living on the delta means living in oblivion, amidst marshlands. Like Minotaurs, the inhabitants of the delta find themselves immersed in their own labyrinth, putting up with the emptiness it imposes on them. The circular rhythm of the seasons defines their rhythm of life; it affects their moods, conditions their desires and habits and sets up physical and mental barriers.

For four years I’ve submerged myself in the delta, striving to understand and document these profound connections. In the different seasons, I’ve beheld the landscape and its gradual changes almost obsessively, in order to record their physical and psychological upshots.

Throughout this long research process, the territory has assumed the psychological role of a true labyrinth.

In a language that hovers between anthropological observation and symbolic transfiguration, I’ve drawn my map of the territory, and my interpretation transcends the physical and geographical reality of the marshes, challenging the profound meaning of the act of inhabiting. Inhabiting a territory, inhabiting a labyrinth. Inhabiting oneself.”

Delta is divided into two sections, complementary to each other and equally relevant. The first one collects the photographic body of work, offering a purely visual narrative. The second consists of 30 field notes. Previous collaborations with anthropologists have influenced my methodology. 

Since my first trip to the Delta, I felt the need to conduct an investigation parallel to the photographic research, recording my daily observations in a notebook. The result is a diary of ethnographic inspiration made of descriptive notes, interview extracts, personal reflections and short fiction. A hybrid text that fits the photographic narrative filling the gaps generated by the image and expanding its narrative potential.

Text in English/ Spanish/ Catalan/ Italian

• the(M) éditions / IBASHO 2022
• Softcover, 1st edition, 192p
• New

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

-René Magritte

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

Texts in English by Albarrán Cabrera

First edition with cover as shown.

• Another Place Press 2022
• Softcover, 1st edition with print
• New

"The island is a living organism.
Something eternally alive.
Even in the most impenetrable darkness."

Dennis Gade Kofod

These photographs were captured on the Danish island of Bornholm in the winters of 2020-2021, where Anne Lass resides. With the project, she aims to put more focus on life out of the high season and explore what happens after dark - both inside homes and outside. The works include staged portraits of friends and neighbors, still images of nature and details of towns. The project has a documentary starting point and describes life on Bornholm in our specific time - two winters characterized by pandemic.

The images are also a visual study of artificial light situations, how light and shadows shapes people and nature and what mood the light conveys. Only present light sources have been used throughout. The combination of artificial light and the settings gives the feeling of film-stills with references to Twin Peaks, a series from the nineties which triggered Anne's own imagination about life and people in rural areas.

The narrative is kept very open and invites the viewer to use the works as a projection surface for their own memories and imagination.

Special Edition, limited to 30 copies - each with an A4 limited edition inkjet print signed and numbered by Anne (see image)

• Deadbeat Club 2022
• Softcover, 1st edition
• New

In Snow, Vanessa Winship’s latest monograph, we see that what’s not entirely comprehended is far more compelling than what is well understood. Perhaps that’s a truism, but it’s one that is rejuvenated and refreshed by each new and peculiar telling. This book is just such a revelation.

The origins of Snow lie in a commission (this from an artist who very rarely works on assignment, although Winship says she often approaches things “as if I have somehow been sent by someone”), but the photographer’s interest in what she found soon eclipsed anything that could properly be thought of as a “story.” So she made repeated trips to a particular landscape – and, notably, a particular season – in order to fathom what it was that had disconcerted her in the initial making of these photographs.

Winship is well known and highly regarded for her intimate portraits, but in Snow we experience a noticeable physical distance between the photographer and her subjects. What little the viewer can possibly grasp onto is the subtle repetition of the humblest elements of the earth. Collectively, the pictures come to embody the artist’s struggle to connect and to make sense of this place while ultimately acknowledging that she, like us all, is nothing but a stranger in this world.

This estrangement is echoed in a piece of fiction – by the poet and novelist Jem Poster – that’s woven through Snow. It tells of a female portrait photographer and her recalcitrant subject. But this character is not Winship, and the sitter is not someone in a Winship photograph. Poster’s is a fiction based on an imagistic construct – another beguiling layer in a complicated book that seeks always to expose the slipperiness of narrative and to destabilize easy readings. 

Hand-signed to the title page.

• Deadbeat Club 2022
• Softcover, 1st edition
• New

In Snow, Vanessa Winship’s latest monograph, we see that what’s not entirely comprehended is far more compelling than what is well understood. Perhaps that’s a truism, but it’s one that is rejuvenated and refreshed by each new and peculiar telling. This book is just such a revelation.

The origins of Snow lie in a commission (this from an artist who very rarely works on assignment, although Winship says she often approaches things “as if I have somehow been sent by someone”), but the photographer’s interest in what she found soon eclipsed anything that could properly be thought of as a “story.” So she made repeated trips to a particular landscape – and, notably, a particular season – in order to fathom what it was that had disconcerted her in the initial making of these photographs.

Winship is well known and highly regarded for her intimate portraits, but in Snow we experience a noticeable physical distance between the photographer and her subjects. What little the viewer can possibly grasp onto is the subtle repetition of the humblest elements of the earth. Collectively, the pictures come to embody the artist’s struggle to connect and to make sense of this place while ultimately acknowledging that she, like us all, is nothing but a stranger in this world.

This estrangement is echoed in a piece of fiction – by the poet and novelist Jem Poster – that’s woven through Snow. It tells of a female portrait photographer and her recalcitrant subject. But this character is not Winship, and the sitter is not someone in a Winship photograph. Poster’s is a fiction based on an imagistic construct – another beguiling layer in a complicated book that seeks always to expose the slipperiness of narrative and to destabilize easy readings. 

Unsigned.

• Mack Books 2022
• Hardback, 1st edition, 320pp
• New

Embossed linen hardcover with front and back tip-in, 17 x 24 cm

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

• IBASHO & the (M)éditions 2021
• Softcover, 1st edition
• New

Yoshinori Saito lives in the most northern part of Japan, Hokkaido. Winter there is long and the snow falls intermittently for about four months. The long stretches of snow are tedious, however after the snowstorm when all the snow has settled, there is this endless expanse of white: pure, calm and silent.

 “When I walk on the fluffy virgin snow, in the distance I notice unusual forms. On closer examination they are only some weeds, with their stalks broken and leaves fallen, leaving only a skeletal form. Against the white snow these forms appear black and form sharp markings, as if drawn. This moment also gives me a deep connection to the indigenous Ainu people of Hokkaido. They believe that when their time on earth is over, they return to God’s world, and in due course will reappear. To reflect this sentiment, each work is titled to reflect their world. It is as if the forms are whispering to me, through the tranquility, giving me hope and gently supporting me through to spring.” - Yoshinori Saito

Elegant softcover with Japanese folds. Limited edition of 500 numbered copies.

Text by Yoshinori Saito in Japanese and English

• Ira Stehmann / the(M) éditions / IBASHO 2021
• Hardback, 1st edition
• New

“Photography is not the thing. It is the thing that gets us to the thing.
Atkins used photography to illustrate nature and its structure. In a similar way, we use photography to illustrate reality and its structure. The possibility of having a tool to investigate reality is what first drew us to photography. We discovered that by using this medium we can nurture our interest and have a better understanding not only of perceived reality, but of the ‘structure of reality’, ‘the why of things’. Photography is, for us, the perfect philosophical tool to learn more about the universe as a logical and architectural conception: the recognition of an order among individual pieces in which each piece is also illuminated by the arrangement of the whole.”
- Albarrán Cabrera

Edition of 1000 copies.  (3 different covers assigned randomly)

• Trespasser 2021
• Softcover, 2nd edition
• New

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

2nd edition. 

• EXB 2021
• Hardback, 1st edition
• New

This new series by Paolo Pellegrin celebrates the eleventh title of the collection Des oiseaux (On birds). Magnum photographer best known for his works testifying to political, economic or even ecological upheavals, his curious mind leads him to focus on subjects that are sometimes more contemplative, where nature holds a major place. Thus, during a stay in Japan in 2019, Paolo Pellegrin, who left to witness the blooming of the cherry trees, is more struck by the majesty and the aerial ballet of a colony of black kites flying over the temple of Shimogamo, Shinto shrine of the 7th century, in the heart of a primary forest.

English Edition.


Video courtesy EXB

• Self 2021
• Hardback, 1st edition. 96pp
• New
  

A book to celebrate 200 years since the discovery of Antarctica.

• TIS 2021
• Hardback, 1st edition, 110pp
• New

In her first monograph with TIS books, the much-heralded photographer Barbara Bosworth has interwoven the visceral and ethereal to visually build a sense of the delicate and fragile nature of life, at a place where the edges of heaven and earth blur.

These pictures, made with Bosworth’s customary 8x10 camera, speak to our connections with nature: bear paws hauntingly human, roses cut to bring beauty indoors, names carved into a tree trunk declaring one’s love forever.

In One Star and a Dark Voyage, we are brought into intimate communion with such things as a wound on a sun-freckled shin, a worm as stigmata in a child’s hand, a bird lying in a cupped hand, a body hovering in the darkness, the spot where an elk slept – all evoking the ephemeral nature of life.

“This work began as a way for me to think about life and death and about our ties with nature and our utter dependence on earth, and later, after the death of a loved one, blurred into images about the exquisite fragility of life, about loss and longing,” as Bosworth explains. “I began looking for light in the darkness. Fireflies as I try to hold onto the light. The simple beauty of light falling on leaves. A rainbow, the sunset, the Milky Way.” 

The result: a book as journey, where weight becomes light. The beautiful and the terrible, all interconnected, all the same. Always seeking home.

Signed copy.

• Chose Commune 2021
• Hardback, 1st edition
• New

“Sub Sole (in Latin, beneath the sun), an ensemble of photographs made between 2017 and 2020, in the region of the Mediterranean Sea, follows the mythological itinerary of the voyage of Ulysses: Ceuta, Naples, Athens, Palermo, Istanbul, Tunis and Lampedusa. Crossroads of cultures, cradle of foundation myths, the Mediterranean is, today more than ever, marked by migrations, exile and displacement. Over the course of seven voyages and numerous chance encounters, Mascaro goes in search of the young people who inhabit and traverse this region. The literary narratives which the artist drew upon for his work are like the invisible companions of these photographs. They imbue the contemporary images with an ancient substance. Beneath the sun, political, economic, existential, and poetic implications intersect, beneath the harsh, hot Mediterranean light whose rhythm shapes human life.” Sonia Voss

Signed copy.

• T&M 2021
• Hardback, 1st edition
• New

Yamamoto Masao lives in Yamanashi Prefecture, Japan, in a house surrounded by forests over three thousand feet above sea level. His lifestyle matches his art, entirely devoted to capturing the “small things in silence” that life and nature offer his gaze.

When in 2013 we took Masao and his wife Reiko for the first time to the Ardèche, on the invitation of Annie and Bernard Mirabel, affinities became evident immediately.

The same love for nature and the ties with the mountain, not that far different from their life in Yamanashi: the same wooded hills on the horizon, the same lights in space in the evening garden. Since then there have been various visits, simply for the pleasure of it, but also to fill up this silent contract between the hosts and the guest: bringing a stone to the edifice that the Fabrique du pont d’Aleyrac has been building for years, inviting artists to work on the Ardèche.

Yamamoto wanted to meet people here and photograph them. Using small settings he depicted imaginatively what seemed important in their lives: the animals they raise, the countryside they live in.

ーー Didier Brouse

This book includes an unpublished text by Marie-Hélène Lafon, who was awarded the Renaudot Prize in 2020.

Text in English with a booklet in Japanese.

Beautifully signed copy.

• 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.

• Nazraeli 2021
• Hardback, 1st edition
• New

“This book is an early vignette from Michael Kenna’s far-reaching photographic odyssey. Some of these photographs, made almost forty years ago, are familiar, even famous, but many have never been seen before. They have been lying in wait, stored in a series of negative files. Normally, Kenna travels extensively and is not able to keep up with printing his extensive collection of negatives. It took the Covid pandemic and lockdown for him to search through his archives, rediscover these long-forgotten images, and print them in his darkroom. These photographs reveal a Northern England from Kenna’s youth that, for the most part, no longer exists.” — From the Introduction

Michael Kenna was born in the small industrial town of Widnes in northwest England. The youngest of six children, Kenna grew up in a poor, working-class, Irish-Catholic family. He attended a seminary school for seven years with the intention of becoming a priest, after which he studied at the Banbury School of Art and later at the London College of Printing, before moving to the USA in the late seventies.

The adjoining counties of Lancashire and Yorkshire, where Kenna photographed in the early eighties, have much in common regarding their industrial development. Fiercely competitive, they share a border, a spine of mountains known locally as the Pennines, which helps to produce rain. The rise of a powerful cotton and wool industry, and the building of innumerable mills, canals, railways, chimneys and terraced worker houses, have been attributed in part to these high levels of precipitation. The local textile industry proliferated until the second half of the twentieth century, when there was a sudden, rapid decline and eventual decimation. It was during this precise time period that Kenna returned to the area to photograph, during the day and also at night.

Kenna’s early photographs of England launched his career and brought him international acclaim; yet it wasn’t until last year, 2020, that he revisited this particular body of work to find many unprinted images. These discoveries are exquisitely presented in this important new Nazraeli Press monograph, Northern England 1983–1986.

Beautifully printed on a natural textured art paper, accompanied by an introductory text by Dr. Ian B Glover, the seventy-five plates are reproduced in quadratone and bound into cotton cloth-covered boards reminiscent of the era.

• Mack Books 2021
• Hardback, 1st edition
• Near fine

‘We live our lives in widening circles, rarely appreciating their nature and how they bring us back. In a year, my daughter will be leaving home and is no stranger to a similar wanderlust I once knew. As a father, I always felt it was important to instill a profound sense of place, to identify with a certain place as home, even as these ideals have, over recent years, taken on relative meaning. I photograph close to home as memory loses structure, its architecture, trying to make light speak from the fixed edges of rooms long vanished.’ - Raymond Meeks

Inspired by his daughter’s entrance into adulthood and her imminent departure from home, Raymond Meeks studies the centrifugal forces of the places we live – how they anchor us, repel us, and return to us – through scenes that appear both fragile and immovable. In these photographs, gardens give way to thicket, houses are suspended on stacked railroad ties, and telephone wires and train lines suggest the networks we build to find our way through the world’s wilderness.

Among these domestic landscapes are portraits of Meeks’ daughter, which capture the introspection and inquisitiveness of early adulthood while paying tribute to the ultimate mystery of their subject’s consciousness. Following the success of Meeks’ previous book, ciprian honey cathedral, Somersault is a concise, poetic reflection on home and the ties that bind us to it — all the stronger as they fade into the half-light.

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

Faint surface wear to the white cover.  Inside as new.

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

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

- Charles Dickens, Great Expectations

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

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

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

A Special Edition is also available here.


For trade enquiries, please get in touch here

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

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

- Charles Dickens, Great Expectations

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

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

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

Special edition of 25 copies, with a signed 10x8" archival pigment print on Hahnemule Photorag.  See the alternative special edition available here.


The regular edition of This Land is available here.

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

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

- Charles Dickens, Great Expectations

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

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

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

Special edition of 25 copies, with a signed 10x8" archival pigment print on Hahnemule Photorag.  See the alternative special edition available here.


The regular edition of This Land is available here.

• Mack Books 2021
  
• Softcover, 1st edition
  
• New
  

On the islands in the Strait of Hormuz, off the southern coast of Iran, there is a common belief that the winds can possess a person, bringing illness and disease. The existence of similar convictions in some African countries suggests that the cult may have been brought to Iran from southeast Africa through the Arab slave trade. This history is rarely spoken about but these winds and the traces they have left on the islands and their inhabitants are the touchstone for Hoda Afshar's Speak The Wind. Through her subtle and perceptive images of the extraordinary landscapes, the people and their rituals, Afshar's beautiful and complex book attempts to picture the wind and its psychic entanglements, to form a visible record of the invisible.

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

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

To celebrate the 10th title of the collection, we are publishing a new series of photographer Rinko Kawauchi. Last spring, she turned her lenses on swallows at the the birth season, and more particularly, on small nests the birds build away from prying eyes, made of ground, clay, water and dry herbs to protect their clutches. With all the poetry and sense of detail that characterize her work, Rinko Kawauchi reveals the magic of our daily life and the ephemeral beauty of suspended moments. The swallows, thanks to their sharp wings, perch everywhere with great ease and elegance, filled with an opalescent light.

This publication is part of the Des oiseaux (On birds) collection celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable. 

English edition.

• the(M) éditions 2021
• Softcover, 1st edition
• New

Limited edition of 545 numbered copies.

• Loose Joints 2021
• Softcover, 1st edition, 44pp
• New

• Ampigt Förlag 2021
• Softcover, 1st edition with polaroid
• New

"Made over the last year, this series of Polaroid chemigrams is a celebration of nature and that despite the darkness of the past year hope is growing and peeking up thought the soil to bring us joy and solace.

My garden, as well as the plants that I grow outside and inside our home, have always given me comfort. Something that calms my mind, quiets the noise when nothing else can, in this past year even more so. Lockdown gave me the time to work on these images of flowers. Allowing me to push my process, seek new textures and visual landscapes, and create vibrant daydreams that I could lose myself in.

These experiments were made from:
Flowers grown 
Flowers received
Flowers I have seen. 
Each flower carries with it the memory of a moment, place or person."

- Zara Carpenter.

Special edition of 26 copies including a unique Polaroid chemigram of a flower and an obi on the cover. Signed and numbered alphabetically from A-Z. 

Note: Polaroids shown are for example purposes, each is unique and assigned at random.

• Stanley/Barker 2020
• Hardback, 2nd edition
• New
  

Born in the Australian steel city of Newcastle, one of TRENT PARKE’S only early childhood memories is accompanying his mother to pick his dad up from work, travelling through a landscape dominated by ship yards, chimneys, and the BHP steelworks. 

Throughout his career PARKE has always been interested in the transformative powers of light, but it was the ephemeral changing colours of dawn and dusk, the multitude or different reds that made him curious about the colour crimson. He discovered the colour that is used in commercial products is harvested from the crushed and boiled bodies of the female scale insect, the Cochineal. A tiny minute insect who inhabits the pads of the prickly pear cactus and who are farmed for their crimson dye. A dye now used primarily in cosmetics and food colouring. 

Scarlet, magenta, orange, and crimson, are the coloured dyes produced by the Cochineal and also seem to feature spectacularly in the colours of creation, as seen in an Eagle Nebula during the birth of a new star and recorded by the Hubble space telescope. These colours of birth and blood Parke also remembers from the bath water, the umbilical cord and placenta, at the birth of his sons. 

‘As soon as the female insect is delivered of its new numerous progeny, it becomes a meer husk and dies; so that great care is taken in Mexico, where it is principally collected, to kill the old ones while big with young, to prevent the young ones escaping into life, and depriving them of that beautiful scarlet dye, so much esteemed by all the world.’ - John Ellis, Esq; 1762.

After the first edition sold out in just five days this new evolved edition brings subtle changes to the mesmeric series. 

• Mack 2021
• Hardback, 1st edition
• New

In Plain Air is a lyrical portrait of Brooklyn’s Prospect Park as seen through Rozovsky’s studies of its visitors, each seeking escape from the din of the city beyond. The seed of the idea for the work was planted ten years ago when Rozovsky took a small motorboat around the park’s southern lake. Floating by the tree-lined shore, she saw what first felt like a mirage — families, lovers, friends, a multitude of cultures and ethnicities, all sharing the same land and moment. The quintessential American melting pot that stretched like a panorama in this equalising space was a visible reality.

Rozovsky’s colour photographs capture the interplay between city and nature, creating a vision of the park as a democratic and nurturing public space, one where the landscape and seasons form a protean backdrop to a complex social reality.

Signed to an extra image plate.

• Stanley Barker 2020
• Softcover, 1st printing
• New
  

In 2016 Robbie Lawrence first travelled to a remote stretch of coastline in the west coast of Scotland, to Linn Gardens, which lies at the head of Cove Bay on the west side of Rosneath peninsula. The gardens had been run for fifty years by Jim Taggart, an avid botanist and gardener. 

Jim discovered that the region’s subtropical climate allowed him to grow plants and flowers from all over the world. His endeavours led to the estate being covered in an intricately plotted web of ferns, bamboos, Magnolias and Rhododendrons. As Jim got older, his son Jamie took over the more physical elements of maintaining the garden, including traveling abroad to research and gather new plants. On one such journey, to the northern mountainous region of Vietnam, Jamie disappeared. His body was found years later, he had evidently fallen in one of the mountain’s higher passes.  

“When I first met Jim, who by this point was well into his 80s, he told me that he decided to keep the garden going as a memorial to his son. Over the past few years I went back to the visit Jim and document the garden as it passed through the seasons. Despite his age, Jim would bound around the garden, occasionally stopping the provide a lengthy anecdote about a particular fern or tree. Last summer, Jim passed away at the age of 84.” - Robbie Lawrence 

In ‘A Voice Above The LInn’ Lawrence collaborated with the renowned poet John Burnside, who contributed four beautiful new poems to segment its chapters. 

1st printing.

• Nobody 2020
  
• Hardback, 1st edition
  
• New
  

It was in 2017 that I began to have an inkling that a single fish might contain a universe of infinite proportions and how amazing a journey within its body could be. So I started to research everything I would need to embark on such an expedition. By January 2020 I had built a work top, obtained a microscope, a camera, optics, lights and fridge. Mentally, though, I was far from ready. I was lacking the courage, time, energy and mental strength to set out on this unknown voyage. 

By February, the world exposed and in the unimaginable grasp of the pandemic. Time moved in entirely new ways as so many were affected, taken ill and had their lives claimed. 

This void in time, with all movements restricted, somehow presented a platform from which I could finally launch my inwards fish journey. I was prepared to explore for an unknown period but first of all I had, of course, to catch a fish. Being really unskilled at fishing this took a total of nine trips and thirty hours. 

On the 10^th April 2020, at around 15.30, equipped with sleeping bags and instant noodles, my children and I arrived at a spot where flat rock, grass and shrubs meet the sea. I had almost got into the idea of never catching a fish by this point, so it was a sudden shock when a jolt was sent through the rod to my hands followed by a silver splash that appeared on the waveless water. My daughter Ada shouted, “Get the net dad!” and she saw the slight panic in my face as I had failed to remember the next thing required to land the fish. 

Knowing it would be a time-sensitive journey as decay commenced the following day, I started what was eventually a ten-week voyage. Nothing could have prepared me for what I was going to encounter along the way or how sick I was to become during the making of this work. 

- Stephen Gill

Signed copy.

• Mack 2020
  
• Hardback, special edition
  
• New
  

• EXB 2020
• Hardback, 1st edition
• New
  

Making visible the silence, the simplicity of nature and a sense of passing time. The photographs of Korean Byung-Hun Min, made between 1998 and 2020 throughout he world, take on the evanescence of a pencil sketch. With their subtle contrasts, their play of silky tones, they seem to show a fleeting instant between clarity and dissolution.

Min’s birds live in an ethereal space. They seem enveloped in a white veil, in a silvery light. The virtual monochromy of the image, the uniformity of the tones, oscillating between white and gray, the absence of perspectives and contrasts, the simplicity of the construction and the minimalism of the forms reproduce a reality that has become fantastical. The photographer’s painstaking work printing each negative allows him to reproduce not only what he saw, but also what he perceived. Min’s birds are an invitation to contemplation.

English edition.

• Stanley/Barker 2020
• Hardback, 1st edition/1st printing
• New
  

Born in the Australian steel city of Newcastle, one of TRENT PARKE’S only early childhood memories is accompanying his mother to pick his dad up from work, travelling through a landscape dominated by ship yards, chimneys, and the BHP steelworks. 

Throughout his career PARKE has always been interested in the transformative powers of light, but it was the ephemeral changing colours of dawn and dusk, the multitude or different reds that made him curious about the colour crimson. He discovered the colour that is used in commercial products is harvested from the crushed and boiled bodies of the female scale insect, the Cochineal. A tiny minute insect who inhabits the pads of the prickly pear cactus and who are farmed for their crimson dye. A dye now used primarily in cosmetics and food colouring. 

Scarlet, magenta, orange, and crimson, are the coloured dyes produced by the Cochineal and also seem to feature spectacularly in the colours of creation, as seen in an Eagle Nebula during the birth of a new star and recorded by the Hubble space telescope. These colours of birth and blood Parke also remembers from the bath water, the umbilical cord and placenta, at the birth of his sons. 

‘As soon as the female insect is delivered of its new numerous progeny, it becomes a meer husk and dies; so that great care is taken in Mexico, where it is principally collected, to kill the old ones while big with young, to prevent the young ones escaping into life, and depriving them of that beautiful scarlet dye, so much esteemed by all the world.’ - John Ellis, Esq; 1762.

Out of print, final copies of the first printing.

• FW 2020
  
• Softcover, 1st edition
  
• New
  

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

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

- Awoiska van der Molen

Signed copy.

• Charcoal Press 2020
  
• Hardback, 1st edition
  
• New
  

The Locusts is the first monograph by photographer and publisher Jesse Lenz. His images transport the reader to rural Ohio where his children run wild in the fields, build forts in the attic, and fall asleep surrounded by lightsabers and superheroes. The microcosmic worlds of plants, insects, animals, and children create a brooding landscape where dichotomies of nature play out in front of his growing family. The backyard becomes a labyrinth of passages as the children experience the cycles of birth and death in the changing seasons. The Locusts depicts a world in which beautiful and terrible things will happen, but offers grace and healing within the brokenness and imperfection of life.

Signed copy.

• Xavier Barral 2019
  
• Hardback, 1st edition
  
• New
  

A major figure of Latin-American photography, Graciela Iturbide’s approach combines the documentary and the lyrical. Off-center compositions, graphic effects, and heavy shadows create a poetic universe where a feeling of strangeness is combined with one of harsh reality. The powerful equilibrium of her compositions produces skies filled with birds, comical, unexpected situations where chickens are pictured sitting wisely on market stalls, while elsewhere chirping flocks appear to invade the scene in agile, flowing movements. For Iturbide, living birds represent freedom. But death is never far away in her work, nor indeed is a certain sense of the surreal. 

An organic dimension, linked to blood, flesh, mud, sweat, and the earth also permeates most of Graciela Iturbide’s images, for she has a special relationship with reality, choosing to capture unique moments with her lens. Birds and men cohabit and rub up against each other. From India to Mexico, gulls, eagles, pigeons, herons, and ravens invade man’s space or insinuate their way into it in a serendipitous, solitary fashion.

This publication is part of the Des oiseaux (On birds) collection celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable. Accompanying these photographs, the ornithologist Guilhem Lesaffre writes a special essay. For this title, Lesaffre focuses on the different environments birds live in and their unbelievable capacity to adapt themselves whether it is in the sky, water or at the highest summits. 

English edition.

• Xavier Barral 2020
  
• Hardback, 1st edition
  
• New

The poetic universe of Spanish photographers duo Albarrán Cabrera is presented here through a dreamscape journey in the land of birds. Between reality and illusion, their photographs questions our relationship to the tangible world and vibrate gently through a wide palette and different photographic techniques: platinum and palladium prints, cyanotypes, gelatin prints, and pigmented printing.

Each photograph is like a story that seems to have been paused. The birds seem to be straight out of fantastical fairy tales; they merge into space, are revealed on reflective surfaces, and slip into the undergrowth whereas sometimes their physical presence is underlined by a tight framing. The birds are revealed through abstracting shapes sometimes simple dots and shadows. Albarrán Cabrera leave the interpretation of their images to the memory of the viewer and let our imagination fly.

This publication is part of the Des oiseaux (On birds) collection celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable. Accompanying these photographs, the ornithologist Guilhem Lesaffre writes a special essay. For this title, Lesaffre focuses on the different environments birds live in and their unbelievable capacity to adapt themselves whether it is in the sky, water or at the highest summits. 

English edition.

Sealed copy.  

• Xavier Barral 2022
  
• Hardback, English edition
  
• New
  

Traveller-photographer Pentti Sammallahti captures the myste­ries of nature on his travels and among these, the world of birds. Coastlines, swamps, parks, endless plains, forest clearings, snowy landscapes… In these isolated areas, birds slyly reveal their pres­ence. 

Like visual tales, his B&W photographs attest to his extraordinary eye for detail, to light that sculpts spaces, to silent expanses in which a human or animal presence suddenly appears. The experience of the image is twofold: beyond its narrative virtuosity, his use of a two-colour process, with immaculate whites (as in the plumage of his swans or pink flamingos) confronted with deep blacks, creates a play of textures and powerfully renders a world in which birds play a unique role.

This book constitutes one of the two first titles of Des oiseaux (On birds) collection celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable. Accompanying these photographs, the ornithologist Guilhem Lesaffre showcases the relationship to the seasons that is a fundamental aspect of the life of birds. Where it exists, winter is a major constraint that birds must grapple with and that notably leads to strategies in their search for food and energy economy, or socialising. The author here associates the life of birds in winter with Pentti Sammallahti’s photographs.

English edition.

Sealed.

• Mack 2020
  
• Hardback, 1st edition
  
• New
  

What is there between the branch and apple when it falls?
We have seen it—we would recognize it anywhere.  Yet of an evening we are told
nothing is there.                                
                                - Wright Morris

Raymond Meeks is renowned for his use of photography and the book form to poetically distill the liminal junctures of vision, consciousness and comprehension. In ciprian honey cathedral, he brings this scrutiny close to home, delicately probing at the legibility of our material surroundings and the people closest to us. 

Meeks has long been fascinated by the way we construct the world around us; how we carry our possessions, these accumulated comforts, inheritances, markers of material success; how we adorn homes with trees and shrubs, a mantle clock to count the hours. Stumbling across an abandoned house or unkempt lawn becomes a search for common clues to tiny hidden transgressions. 

This question of knowledge and understanding is perhaps most drastic in our solipsistic reality. Meeks also photographed his partner, Adrianna Ault, in the early mornings before she awoke, on the threshold at which daily domestic life converges with the deepest state of sleep. This plight of supine trance is a place of reprieve beneath the surface of consciousness, free from the chaos and uncertainty of the sentient world above, and alludes to the veiled threat that, ultimately, we are utterly unknowable to one another.

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

.

• Zen Foto 2019
  
• Softcover, new edition
  
• New
  

A new edition of Chinese artist Muge’s tranquil photobook “Ash”, released by Japanese publisher Zen Foto Gallery.

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished “with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.”

When I used the large format camera to re-understand my hometown as it is now, I’ve discovered that all things in the real world derive from our internal desire: the Karma cycle of yearning for nature, destroying nature, and mending nature (...) These images are taken from the understandings gleaned from my daily life, conveying the traces of time and history in nature, and a person’s thoughts of the future when faced with reality. — Muge

.

• Xavier Barral 2019
  
• Hardback, 1st edition
  
• New
  

A figure of the young Japanese photography scene, Yoshinori Mizutani revisits the urban space of his city, Tokyo. Steeped in the Japanese pictorial tradition, the photographer explores Tokyo’s daily life and captures scenes that verge on the fantastic. His framings and bright colours confer an element of otherness to his images. Forms, textures, colourful hues, and depth of field develop a visual vocabulary that is both poetic and pop. Visions from dreams or nightmares, through their presence, Yoshinori Mizutani’s birds saturate the world of the city and restore its mystery. 

English Edition.

• Self 2020
  
• Hardback, 1st edition
  
• Used: Near fine.
  

The Amazon is much more than a river. It is the visible appearance, infinitely rich in analogies, of the reality of things. This seems obvius, when poetic languages intervenes to describe reality, the latter loses its documentary sharpness and is converted into a creative fantasy, especially in the specific sense that the river embodies the ironic and sombre essence of the universe.

I have contemplated this river and its affluents in small doses, and small steps, because like a bashful child, it only showed its epidermis; this I found irritating.

But traveling so sedately meant that all that surrounded me remained hidden until the river itself disgorged all its "splendours" along its various stretches: globetrotters, beggars, preachers, drunken aborigines, ruined foremen, minor politicians, lumberjacks, monks, soldiers, melancholic prostitutes... I find it strange that the beautiful image of this river, is in reality a beautiful imperfection. And Fordlândia, Henry Ford's attempt to transform the jungle into a fantasy of the american Mid West, is the perfect imperfection: a perfect failure of the American Way of Life.'

- JM Ramirez-Suassi

Edition of 350 numbered copies. Signed copy.

• Nobody 2019
  
• Hardback, 1st edition
  
• New
  

A pillar knocked into the ground next to a stream in a flat, open landscape, trees and houses visible in the distance, beneath a vast sky. That is the backdrop to all of Stephen Gill´s photographs in this book. We see the same landscape in spring and summer, in autumn and winter, we see it in sunshine and rain, in snow and wind. Yet there is not the slightest monotony about these pictures, for in almost every one there is a bird, and each of these birds opens up a unique moment in time. We see something that has never happened before and will never happen again. That it takes place in the midst of a landscape characterised by repetition, in which time is cyclical, sets up a keen existential dynamic: on the one hand, everything has happened before, there’s nothing new under the sun; on the other, every moment is unique and carries the hallmark of the miracle: what happens happens only once and never again.

But this wasn’t what I thought about the first time I looked at these photographs. In fact, I barely thought at all, for I was shaken, as a person so often is when confronted with an extraordinary work of art. I’d never seen birds in this way before, as if on their own terms, as independent creatures with independent lives. Ancient, forever improvising, endlessly embroiled with the forces of nature, and yet indulging too. And so infinitely alien to us.

- Karl Ove Knausgård

The Pillar / Winner of the 2019 Les Rencontres de la Photographie author book award.

Imperfect copy with faint bump to one corner - see photo, and some other faint shelfwear to the cover.  Inside very fine.   Signed 1st edition.

Signed copy.

Out of print, 1st edition/printing.

• VOID 2019
  
• Softcover, 1st edition
  
• New
  

‘Sleep Creek’ is a landscape filled with trauma and beauty. It’s a place where animals are only seen when they’re being hunted and humans balance between an unapologetic existence and an abyss of secrecy. These images manipulate a landscape that is simultaneously autobiographical, documentary, and fictional: a weaving of myth and symbol in order to be confronted with the experiential. Following the rituals of those within it, ‘Sleep Creek’ is an obsession between the subject and the photographer — a compulsion to reveal its shrouded Nature.”