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Picture of Kaos (Signed)

Overseas deliveries  Please note that, as this is an extremely heavy item, overseas postage will be charged at three times our standard rates.

Publisher’s Description

What makes Albert Watson one of the world’s most revered photographers, hailed by peers, critics, and collectors alike? Is it his unparalleled portfolio of celebrity portraits? Breathtaking landscapes? Sensual nudes, still lifes, illustrious fashion shoots?

KAOS presents a kaleidoscopic overview of Watson’s career to date and the dazzling array of subjects, objects, people, and places he has encountered along the way. A skillfully curated survey of a uniquely diverse, dynamic portfolio, it spans nearly half a century of photography to encounter stars, statesmen, women, and strangers; bound through neon-blazing cities; find figures poised, gymnastic, or shimmering with nude eroticism; roam the bright lights and the backstreets; soak up extravagant sunsets; enter the controlled studio environment; and breathe in the elemental wilds of the photographer’s native Scotland.

From Watson’s breakthrough portrait of Alfred Hitchcock for the Christmas 1973 edition of Harper’s Bazaar to a 2016 shot of Kanye West, each photograph reverberates with tightly coiled power, tension, and poetry. Whether it’s a portrait of a Las Vegas dominatrix, Elvis’s gold suit, a chimpanzee, or a street scene in China, Watson excels in capturing the surface seamlessly and probing its myriad depths. Along the way, his celebrity portraiture, including the likes of David Bowie, Jay Z, Mick Jagger, Michael Jackson, Jack Nicholson, Steve Jobs, and Andy Warhol, shows a particular interest in the private person behind the iconic façade.

This remarkable collection is accompanied by an essay from the recently retired head of photographs at Christie’s, Philippe Garner, and extensive quotes from Watson, as well as dozens of previously unpublished Polaroids, culled from Watson’s personal archives. The result is a defining document of the “photographer’s photographer,” iridescent in its graphic, often cinematic allure, and irresistible in its eclectic glory.

Collector’s Edition of 1,000 copies (No. 201-1,200), each numbered and signed by Albert Watson.

Sample images

Publisher: Taschen

Size:372 x 500 mm

408 pages

Albert Watson
Collector’s Edition of 1,000 copies (No. 201-1,200), each numbered and signed by Albert Watson.
£1,150.00

Picture of 1212 Palms (Signed)

Signed copies

Publisher's Description

From the artist: “For many years now, my work has been concerned with offering an understanding of the American West as a palimpsest of cultural and natural histories. Dusk and Dog Houses may best be described as chapters of a much larger project entitled Message from the Exterior, while 1212 Palms is a complete work representing my long-term interest in place names and a conceptual approach to landscape photography. 1212 Palms is a set of nine black and white photographs of locations in the California deserts that were named for a certain number of palm trees. From Una Palma to Thousand Palms Oasis, the nine names add up to one thousand two hundred and twelve, although the number of trees depicted do not.” Mark Ruwedel was one of the featured artists for the Discovery Award at the 2011 Rencontres d’Arles photography festival.

RAM publishers

March 2010 / Hardcover

Size: 284 x 367 mm

Mark Ruwedel
"1212 Palms is a complete work representing my long-term interest in place names and a conceptual approach to landscape photography"
£60.00

Picture of Well Heeled (Signed)

Publisher's Description

Dougie Wallace has turned his camera on man’s best friend and the strange world of ‘pet parents’. Dogs, and his pursuit of them, have taken him to London, Milan, New York and Tokyo. Anthropomortic 'parents' can spend as much on accessorising and grooming their ‘offspring’ as they would on themselves.

Dougie Wallace has used his observation and wit to portray this phenomenon in his new series Well Heeled. Wallace’s dogs have human expressions and are strong characters, who, with their knowing looks, can even appear to play to camera.

Well Heeled captures details from a dog’s eye view that we bipeds would not usually see. Behind the coiffured and pampered ‘children in fur coats’ the focus is on their claws, paw pads, incisors, drool-drenched beards and wet noses. Their canine traits erupt throughout the photographs and leave the viewer in no doubt that they are animals who would rather chase a ball or chew bones than be dressed up with crystal collars, Louis Vuitton leads and pushed around in prams.

Acknowledged as one of UK’s leading photographers, Dougie Wallace has published four successful books in the last three years – Stags, Hens & Bunnies, Road Wallah and Harrodsburg (Dewi Lewis Publishing) and Shoreditch Wildlife (Hoxton Minipress) and has featured in major exhibitions in Europe, the United States and India. He continues to attract considerable press and media attention and his photographs feature regularly in leading international publications. In March 2017, BBC TV screened a 30 minute documentary about him as part of the series What Do Artists Do All Day. The programme followed Dougie on the streets of Knightsbridge as he completed work on his Harrodsburg book.

Publisher: Dewi Lewis Publishing

Size: 167 x 215 mm

240 pages, 204 colour plates 


Dougie Wallace
Dougie Wallace has turned his camera on man’s best friend and the strange world of ‘pet parents’. Dogs, and his pursuit of them, have taken him to London, Milan, New York and Tokyo.
£25.00

Picture of Perigee (Signed)

Publisher's Description

Walking through the Luxembourgish Ardennes, Gaffney documented his wanderings using polaroids. Later, he re-explored certain routes after nightfall, to photograph under the light of the full moon.

Bathed in its soft otherworldly glow, the forest’s narrow steep valleys evoke a mysterious, psychological wilderness, in what is in reality, a highly managed man-made environment.

“Drawn with light that is barely perceptible to the eye, Gaffney’s photographs emerge out of intuition, coincidence, and an underlying longing for connection and stillness. And although it’s tempting to call them landscapes, they are created through different ways of knowing a place – ways that acknowledge the moving, feeling body, rather than the distanced and distancing eye, as the foundation of our experience.” - Eugenie Shinkle

Perigee is a set of two photobooks in an edition of 750 copies. "The smaller white book is a softcover, but it's not actually a paper back. It's actually a vinyl cover magnet, so this smaller book attaches to the larger one."

Self-published in association with the CNA, Luxembourg.

Sample images

Book 1:
Tri-tone printed on Mohawk Superfine uncoated paper
25 polaroid images on 68 pages
Japanese fold binding
Magnetic white vinyl cover
153mm x 203mm

Book 2:
Printed with UV inks on Lessebo uncoated paper
12 colour images on 24 pages
Handmade lay-flat binding
Ferrous metal cover
230mm x 305mm

Paul Gaffney

Publisher's Description

Walking through the Luxembourgish Ardennes, Gaffney documented his wanderings using polaroids. Later, he re-explored certain routes after nightfall, to photograph under the light of the full moon.

Bathed in its soft otherworldly glow, the forest’s narrow steep valleys evoke a mysterious, psychological wilderness, in what is in reality, a highly managed man-made environment.

“Drawn with light that is barely perceptible to the eye, Gaffney’s photographs emerge out of intuition, coincidence, and an underlying longing for connection and stillness. And although it’s tempting to call them landscapes, they are created through different ways of knowing a place – ways that acknowledge the moving, feeling body, rather than the distanced and distancing eye, as the foundation of our experience.” - Eugenie Shinkle

Perigee is a set of two photobooks in an edition of 750 copies. "The smaller white book is a softcover, but it's not actually a paper back. It's actually a vinyl cover magnet, so this smaller book attaches to the larger one."

Self-published in association with the CNA, Luxembourg.

Sample images

Book 1:
Tri-tone printed on Mohawk Superfine uncoated paper
25 polaroid images on 68 pages
Japanese fold binding
Magnetic white vinyl cover
153mm x 203mm

Book 2:
Printed with UV inks on Lessebo uncoated paper
12 colour images on 24 pages
Handmade lay-flat binding
Ferrous metal cover
230mm x 305mm

£60.00

Picture of Night Procession (Signed)

Publisher's Description

Photographs by Stephen Gill
Words by Karl Ove Knausgård 

In March 2014, my family and I moved from east London to rural south Sweden where my partner Lena is from. I understood that these new surroundings would inform my work in very different ways and that nature would play a key role. I was looking forward to making work that did not feel restricted and suffocated by modern photographic technology nor would make an inaccurate projected impression of the natural landscape we had become part of. 

On my many walks, I soon came to realise that this new, apparently bleak, flat and open landscape was in fact teeming with intense life. Small clues appeared during daylight hours that helped me understand the extent of activity during the night. Clusters of feathers, animal footprints of all sizes showing regular overlapping routes, gnawed branches, eggshells, ant hills, nibbled mushrooms and busy snails and slugs working through the feast provided from the previous night

I started to imagine the creatures in absolute darkness on the forest floor driven by instincts and their will to survive. I imagined them encountering each other. I thought of their eyes – near redundant in the thick of the night – and their sense of smell and hearing finely tuned and heightened. 

Envisaging where this activity might unfold, coupled with a hopeful foresight, I placed cameras equipped with motion sensors, to trees, mostly at a low level, so that any movement triggered the camera shutter and an infra-red flash (which was outside the animals’ visual spectrum). 

The first results filled me with fascination and joy as they presented what felt like stepping off into another parallel and unearthly world.  The silent photographs also seemed to invent sounds. This frame of mind and way of working took me back to my first ever photo project at the age of 13, sitting in the bathroom window of my parents’ house in Bristol with a 10-metre cable release, attached to the camera, attempting to photograph garden birds.

As time went on I started to think, if I were a deer where would I drink from, or if an owl where would I prefer to perch, and positioned cameras in such places. I was already composing the rectangular view in my mind’s eye – even though the nocturnal animals were absent – imagining they were there.  Nature itself helped to decide the palette and the feel of the images as plant pigments were incorporated from the surrounding areas to make the final master prints.

I had grappled for many years with this idea of stepping back as the author of images to give space for chance and to encourage the subject to step forward. I had attempted this in various ways; for example, in 2005, by burying colour prints close to where they were made, as a collaboration, to entice the place itself to leave its physical mark on the images once they had been unearthed. Or, between 2009 - 2013, in the series Talking to Ants, I placed objects such as plant life, insects, seeds and dust from the place I was photographing inside the film chamber to create in-camera photograms creating a confusion of scale. Or, in 2012, in Best Before End, as a photographic response to the rise of high-energy drinks, I used the drinks themselves to part-process the film as they ate into the emulsion. These approaches added an element of uncertainty, without knowing exactly where the images would land, and relied on a point where intentions met chance with the hope that the subject itself could play a part, lead the way or become embedded in the finished images.

This time, though, it felt as if I was stepping out altogether, so that the subjects would orchestrate and perform and take on the role of author while at that moment I was likely to be sleeping. This was nature’s time to speak and let itself be felt and known. 

Stephen Gill

Cloth bound hardback
160 Pages
86 colour plates
218 mm x 270 mm
Book contains inserted 16 page saddle stitched booklet with words
170 mm x 240 mm
Publication date - September 2017
Published by Nobody

Stephen Gill

Publisher's Description

Photographs by Stephen Gill
Words by Karl Ove Knausgård 

In March 2014, my family and I moved from east London to rural south Sweden where my partner Lena is from. I understood that these new surroundings would inform my work in very different ways and that nature would play a key role. I was looking forward to making work that did not feel restricted and suffocated by modern photographic technology nor would make an inaccurate projected impression of the natural landscape we had become part of. 

On my many walks, I soon came to realise that this new, apparently bleak, flat and open landscape was in fact teeming with intense life. Small clues appeared during daylight hours that helped me understand the extent of activity during the night. Clusters of feathers, animal footprints of all sizes showing regular overlapping routes, gnawed branches, eggshells, ant hills, nibbled mushrooms and busy snails and slugs working through the feast provided from the previous night

I started to imagine the creatures in absolute darkness on the forest floor driven by instincts and their will to survive. I imagined them encountering each other. I thought of their eyes – near redundant in the thick of the night – and their sense of smell and hearing finely tuned and heightened. 

Envisaging where this activity might unfold, coupled with a hopeful foresight, I placed cameras equipped with motion sensors, to trees, mostly at a low level, so that any movement triggered the camera shutter and an infra-red flash (which was outside the animals’ visual spectrum). 

The first results filled me with fascination and joy as they presented what felt like stepping off into another parallel and unearthly world.  The silent photographs also seemed to invent sounds. This frame of mind and way of working took me back to my first ever photo project at the age of 13, sitting in the bathroom window of my parents’ house in Bristol with a 10-metre cable release, attached to the camera, attempting to photograph garden birds.

As time went on I started to think, if I were a deer where would I drink from, or if an owl where would I prefer to perch, and positioned cameras in such places. I was already composing the rectangular view in my mind’s eye – even though the nocturnal animals were absent – imagining they were there.  Nature itself helped to decide the palette and the feel of the images as plant pigments were incorporated from the surrounding areas to make the final master prints.

I had grappled for many years with this idea of stepping back as the author of images to give space for chance and to encourage the subject to step forward. I had attempted this in various ways; for example, in 2005, by burying colour prints close to where they were made, as a collaboration, to entice the place itself to leave its physical mark on the images once they had been unearthed. Or, between 2009 - 2013, in the series Talking to Ants, I placed objects such as plant life, insects, seeds and dust from the place I was photographing inside the film chamber to create in-camera photograms creating a confusion of scale. Or, in 2012, in Best Before End, as a photographic response to the rise of high-energy drinks, I used the drinks themselves to part-process the film as they ate into the emulsion. These approaches added an element of uncertainty, without knowing exactly where the images would land, and relied on a point where intentions met chance with the hope that the subject itself could play a part, lead the way or become embedded in the finished images.

This time, though, it felt as if I was stepping out altogether, so that the subjects would orchestrate and perform and take on the role of author while at that moment I was likely to be sleeping. This was nature’s time to speak and let itself be felt and known. 

Stephen Gill

Cloth bound hardback
160 Pages
86 colour plates
218 mm x 270 mm
Book contains inserted 16 page saddle stitched booklet with words
170 mm x 240 mm
Publication date - September 2017
Published by Nobody

£43.00

Picture of Remote Scottish Postboxes (Signed)

Publisher's Description

Remote Scottish Postboxes is Martin Parr’s first major contribution to landscape photography. Between 2004 - 2010, Parr and his wife holidayed on the Scottish mainland and outlying islands of Orkney, Shetland, Barra, Lewis and Islay, stopping frequently to capture the local Postboxes. Through Parr’s photographs, these isolated, red outposts of civilisation each take on a character and personality of their own, against the lonely yet beautiful Scottish backdrop.

“When you are in the middle of nowhere, in a bleak landscape and in wild weather, these little post boxes are strangely comforting, a sign that other people are around, that life is going on, and that you are connected to the world” - Susie Parr

Remote Scottish Postboxes is presented in two ways; as a hand- stitched, 88 page book, in which the postboxes are accompanied by maps and co-ordinates of their locations and featuring a short text by Susie Parr, and as a Postcards book, comprised of 12 unbound postcards. Both books are designed by Victoria Forrest and are presented in a specially produced box.

Publisher: RRB Photobooks

Size: 280 x 240 mm (book), 285 x 245 x 25 mm (box)

88 pages

Martin Parr
Remote Scottish Postboxes is Martin Parr’s first major contribution to landscape photography. Between 2004 - 2010, Parr and his wife holidayed on the Scottish mainland and outlaying islands of Orkney, Shetland, Barra, Lewis and Islay, stopping frequently to capture the local Postboxes.
£60.00

Picture of Oxford

Signed copies

Publisher's Description

Martin Parr, one of Britain's best-known contemporary photographers, and President of Magnum, the world-famous photographic agency has undertaken a photo-documentary book project. Oxford is a collection of around 100 photographs documenting an academic year in the life of the university. They captures the day-to-day life of the colleges and University at work and play, and the colourful and arcane rituals that make it so distinctive.

His photographs are accompanied by an extended essay that draws on, and enriches, the photographic material and penned by Simon Winchester, OBE, the British writer, journalist and broadcaster.

The very first photo-documentary of Oxford was created by William Henry Fox Talbot. A century and a half later, Martin Parr's new project pays tribute to the great the pioneer of photography, and coincides with the Bodleian Library's bid to secure his personal archive.

Publisher: Oxford University Press

160 Pages, 119 colour halftones

Martin Parr and Simon Winchester OBE
The very first photo-documentary of Oxford was created by William Henry Fox Talbot. A century and a half later, Martin Parr's new project pays tribute to the great the pioneer of photography, and coincides with the Bodleian Library's bid to secure his personal archive.
£30.00

Picture of NZ Library | Set 3 (Signed)

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

NZ Library books are limited to 350 numbered, signed and individually slipcased copies. The retail price for single copies is £150; when purchased as a set, a generous discount is extended, for a per-title price of £100.

NZ Library: Set Three includes the following six titles:

BEVAN DAVIES | New York, 1975
KATY GRANNAN | Hundreds of Sparrows: Volume 1
ANTHONY HERNANDEZ | Discarded
JOHN HUMBLE | Manifest Destiny
SAGE SOHIER | Americans Seen
MARK STEINMETZ | Angel City West: Volume 2

Publisher: Nazraeli Press


NZ Library books are limited to 350 numbered, signed and individually slipcased copies. T
£540.00

Picture of Pretty Woman (Signed)

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

This book consists of the works that were shot in the last year. Published in an edition of 900.

Publisher: Akio Nagasawa Publishing

Size: 306 x 234 mm

416 pages

Daido Moriyama
This book consists of the works that were shot in the last year.
£150.00

Picture of Corbeau (Signed Copy)

Publisher's Description

Part memoir, part tableau, Corbeau is a multi-layered narrative collage tracing life and death in the rural farm on which Swiss artist Anne Golaz grew up. Made over a twelve-year period and bridging three generations, the three-part book weaves together photographs, video stills and drawings, with texts by the author, screenwriter and playwright, Antoine Jaccoud, as well as the artist’s own writings. Jaccoud reconstructs transcripts of conversations between family members and memories recounted by the artist to build this intricate story of stories into a dramatalogical work. The protagonist of Corbeau is a young man seen in each chapter dutifully working on the farm. Gradually, however, his sense of duty appears to be instilled with doubt, a doubt that infuses the entire book.

Exploring themes of time, life, destiny and death, Corbeau – which takes its title from an enigmatic poem by Edgar Allan Poe – eludes a chronological order to picture a place in which the future is only reminiscent of the past. And where destiny is shaped in the claire-obscures nooks of childhood. In the artist’s words, the narrative construction exists ‘in a vacuum’, which tellingly offers a framework for both support and destruction. It is within such a circumscribed space that mixed feelings towards heritage arise.

Publisher: Mack Books

Size: 230 x 290 mm

196 pages

Anne Golaz
Part memoir, part tableau, Corbeau is a multi-layered narrative collage tracing life and death in the rural farm on which Swiss artist Anne Golaz grew up.
£35.00

Picture of Sleeping by the Mississippi - Special Edition

The publishers will increase the price as the edition sells out (as it nearly has - 11 August). Please do not order online in the usual way but email info@beyondwords.co.uk to check the current price first.

Due to publish September 2017

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

Sleeping by the Mississippi by Alec Soth is one of the defining publications in the photobook era. First published by Steidl in 2004, it was Soth’s first book, sold through three editions, and established him as one of the leading lights of contemporary photographic practice. This MACK edition launches to coincide with the first exhibition in London dedicated to the series at Beetles+Huxley gallery, and includes two new photographs that were not included in the previous versions of the book.

Evolving from a series of road trips along the Mississippi River, Sleeping by the Mississippi captures America’s iconic yet oft-neglected ‘third coast’. Soth’s richly descriptive, large-format colour photographs present an eclectic mix of individuals, landscapes, and interiors. Sensuous in detail and raw in subject, Sleeping by the Mississippi elicits a consistent mood of loneliness, longing, and reverie. ‘In the book’s 46 ruthlessly edited pictures’, writes Anne Wilkes Tucker in the original essay published in the book, ‘Soth alludes to illness, procreation, race, crime, learning, art, music, death, religion, redemption, politics, and cheap sex.’

Like Robert Frank’s classic The Americans, Sleeping by the Mississippi merges a documentary style with poetic sensibility. The Mississippi is less the subject of the book than its organizing structure. Not bound by a rigid concept or ideology, the series is created out of a quintessentially American spirit of wanderlust. Thirteen years since the book was first published, the artist’s lyrical view has undoubtedly acquired a nuanced significance – one in which hope, fear, desire and regret coalesce in the evocative journey along this mythic river.

Limited edition of 150 copies, each comprising a signed copy of the first printing of the MACK edition of the book, housed in a slipcase with a signed and numbered print [signed and numbered 1/150 - 150/150]


PLEASE NOTE Retail price will increase as the edition sells through.

Publisher: Mack Books

Size: 280 x 275 mm

120 pages
, 48 colour plates



Printed linen hardback housed in an embossed slipcase, with a signed and numbered print

Alec Soth
The publishers will increase the price as the edition sells out (as it nearly has - 11 August). Please do not order online in the usual way but email info@beyondwords.co.uk to check the current price first.
£1,200.00

Picture of Angel City West Volume One

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Special order - allow two weeks for despatch

Publisher's Description

“I entered the Yale School of Art straight from college and left after my first semester. I was 21. I was restless, curious about the America that lay beyond New England, and had a strong interest in the movie industry; I also had heard that Garry Winogrand was somewhere in Los Angeles so in the summer of 1983 I headed west.” – Mark Steinmetz, from the Preface

Angel City West offers a touching, highly personal look at Los Angeles through the eyes of Mark Steinmetz as a young artist straight out of school. In his preface to the work, Steinmetz describes living in a studio apartment in the Miracle Mile district, complete with a futon surrounded by a dozen roach motels and a makeshift darkroom set up in a tiny nook off of the bathroom. It didn’t take long before he ran into Garry Winogrand, for whom he became a kind of unofficial chauffeur, enabling Winogrand to photograph through the car window while Steinmetz navigated the streets of his new home town.

Viewed together in book form, the 58 photographs presented in Angel City West document Steinmetz finding his own voice as an artist. In light of the later projects for which he has become so well known, this early series of street photographs, informal portraits and landscapes foreshadows the sometimes humorous, oftentimes sad, and always poignant mood that runs through Mark Steinmetz’s work.

Mark Steinmetz’s photographs have been exhibited extensively throughout the United States and Europe, and are included in the permanent collections of many important institutions including The Museum of Modern Art, New York; Los Angeles County Museum of Art; San Francisco Museum of Modern Art; Whitney Museum of American Art, New York; and Metropolitan Museum of Art, New York. 

This is Mark Steinmetz’s ninth monograph to be published by Nazraeli Press.

Nazraeli Press

Slipcased, 12 x 15, 64 pages, 58 duotone plates
Limited edition of 350 numbered and signed copies.

Mark Steinmetz
Angel City West offers a touching, highly personal look at Los Angeles through the eyes of Mark Steinmetz as a young artist straight out of school
£180.00

Picture of Angel City West: Volume 2 (Signed)

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

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

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

Volume 2 in Mark Steinmetz’s triology Angel City West. Building upon the narrative he began with Volume 1, published in NZL Set 2, Steinmetz presents 51 previously unpublished photographs made during his stay in Los Angeles in 1981–84.

John Bailey, renowned cinematographer and expert on the history of cinematography, provides a thoughtful introduction from the perspective of his own chosen medium, as well as that of a Los Angeles native.

Angel City West: Volume 2 is printed in a limited edition of 350 numbered, signed and slipcased copies.

Publisher: Nazraeli Press

Size: 12 x 15"

64 pages, 51 duotone plates

Limited edition of 350 numbered and signed copies.

Mark Steinmetz
Volume 2 in Mark Steinmetz’s triology Angel City West. Building upon the narrative he began with Volume 1, Steinmetz presents 51 previously unpublished photographs made during his stay in Los Angeles in 1981–84.
£180.00

Picture of Indian Bingo (One Picture Book #53)

Publisher's Description

In 1983, as the inland basin of southern California was being subdivided by developers and filled in with new waves of residents, a sign at its outskirts appeared that was unusual both in meaning and appearance. The sign, “Indian Bingo,” came into view as you emerged from the basin traveling east through the San Gorgonio Pass into the Coachella Valley headed for Palm Springs. .

Publisher: Nazraeli Press

Size: 5 1/2 x 7 1/4"

16 pages, 4 duotone plates, 1 original print

Joe Deal
Includes print
£80.00

Picture of Sleeping by the Mississippi (Signed)

2017 Mack edition, first printing

Includes a fold-out poster measuring 42*53cm in addition to the book. 

Publisher's Description

Evolving from a series of road trips along the Mississippi River, Alec Soth’s Sleeping by the Mississippi captures America’s iconic yet oft-neglected ‘third coast’. Soth’s richly descriptive, large-format color photographs present an eclectic mix of individuals, landscapes, and interiors. Sensuous in detail and raw in subject, Sleeping by the Mississippi elicits a consistent mood of loneliness, longing, and reverie. ‘In the book’s 46 ruthlessly edited pictures’, writes Anne Wilkes Tucker, ‘Soth alludes to illness, procreation, race, crime, learning, art, music, death, religion, redemption, politics, and cheap sex.’

Like Robert Frank’s classic The Americans, Sleeping by the Mississippi merges a documentary style with poetic sensibility. The Mississippi is less the subject of the book than its organizing structure. Not bound by a rigid concept or ideology, the series is created out of a quintessentially American spirit of wanderlust.

This book is one of the defining publications in the photo-book era.

Publisher:Mack

Size: 280 x 275 mm

120 pages, 46 colour plates

Alec Soth
Available immediately. 2017 Mack edition, first printing with limited edition poster Includes a fold-out poster measuring 42*53cm in addition to the book.
£40.00

Picture of Nothing's in Vain

Publisher's Description

In 2011 Emmanuelle Andrianjafy arrived in the port city of Dakar, situated on the westernmost African coast, overlooking the Atlantic Ocean. Nothing’s in Vain is Adrianjafy’s response to the experience of uprooting to the Senegalese capital, a city as vibrant as it is disorientating. Embracing the chaos of an unfamiliar world, the artist takes us on an exploratory journey through a metropolis in constant flux between construction and deconstruction. The sequence of images careens between street scenes, portraits, landscapes, and close-up details, recreating her fluctuating experience of the multiple faces of the city.

Nothing’s in Vain is the winner of the MACK First Book Award 2017. The First Book Award 2017 is published with support from Wilson Centre for Photography, Kraszna-Krausz Foundation and optimal media.

British Journal of Photography Awards - Winner of the First Book Award 2017

Publisher: Mack

Size: 212 x 280 mm

112 pages, 54 colour plates, 20 duotone plates

Emmanuelle Andrianjafy
Nothing’s in Vain is the winner of the MACK First Book Award 2017. The First Book Award 2017 is published with support from Wilson Centre for Photography, Kraszna-Krausz Foundation and optimal media.
£20.00

Picture of Fortællinger / Stories (Signed)

Publisher's Description

Featuring 22 photographs from the series: Sabine (2000-2002), I, Tokyo (2006-2008), Bangkok Encounter (2007-2008) and Home (2009-2001) by Jacob Aue Sobol

All catalogues are signed by Jacob Aue Sobol

The catalogue is published in conjunction with the exhibition Fortællinger / Stories

Publisher: Kolofon / Colophone

Size: 180 x 120 mm

48 pages

Signed copy

Jacob Aue Sobol
Featuring 22 photographs from the series: Sabine (2000-2002), I, Tokyo (2006-2008), Bangkok Encounter (2007-2008) and Home (2009-2001) by Jacob Aue Sobol
£17.00

Picture of Edit Beijing (Limited Edition with Signed Print)

Publisher's Description

Design by Sybren Kuyper aka SYB. The book comes inside a simple slipcase.

Limited Edition of 500 copies + signed C Print

Guy Tillim
Design by Sybren Kuyper aka SYB. The book comes inside a simple slipcase.
£70.00

Picture of Tyre Choice (Signed)

Johansson's witty selection of photos of vehicle tyres, some in expected locations, some incongruous - exploring their accidental sculptural qualities

Publisher's Description

Tyre Choice [taɪə tʃɔɪs] is a term mostly used in the world of motor racing. To make the right tyre choice for the circumstances – at the right time – is essential for success. It can make the difference between winning and being lapped by the winner.

Choosing Tyres [chü-ziŋ tʃɔɪs] choosing the ‘right’ tyres. Different tyres can be right for different purposes. For instance, the American artist Robert Rauschenberg choose a high profile cross-ply tyre to fit around a goat in his installation “Monogram” from 1955–1959.

Getting Tyred [gä-tən tajɚd] having the tyres fitted by someone else. If “tire”, the American spelling of tyre, beware of misunderstanding.

Photographs made between 1962 and 2016 in Sweden, Mongolia, USA, Japan, Spain and Germany.

The extent of its special edition and the amount of images is an homage to the 107% rule, which indicates that twenty four cars can take the start of a Formula 1® race, and the fact that each driver was limited to twelve laps per qualifying session, traditionally before 1996.

Signed copies

Sample images

Publisher: Libraryman

Size: 245 x 305 mm

36 pages. 24 duotone plates.

First edition of 400 copies, numbered.

Duotone offset printed paperbound hardcover. Linen thread bound.

Authentic tip-in image on front cover with typography in white foil. Spine text in white foil and blind embossed illustration on back cover.

Gerry Johansson
First edition of 400 copies, numbered.
£40.00

Picture of Deep Springs (Signed)

Publisher's Description

Contis’s photographs capture the strange beauty of macro and microcosmic views in the high desert. The indistinguishableness of earth and body and the sensual echoes of human and animal give her works an Ovidian sense of imminent metamorphoses. - Lawrence Rinder

The images in Sam Contis's Deep Springs were made in a remote desert valley east of the Sierra Nevada. The work centres on a small, all-male liberal arts college, founded in 1917 by the educational pioneer L. L. Nunn.

The college and its surroundings provide a stage on which Contis explores the construction of myth, place, and masculine identity. Bringing together new photographs with pictures made by the first students at the college a century ago, Deep Springs engages with the enduring image of the American West––one that Hollywood, mass media, and the history of American photography have imprinted into the collective psyche.

Sam Contis (b.1982) lives and works in California. Her work is represented in the collections of LACMA and the Yale University Art Gallery, and has recently been exhibited at the Fotomuseum Antwerp, Gallery Luisotti in Los Angeles, and Klaus von Nichtssagend Gallery in New York. She holds an MFA from Yale University and a BFA from New York University. In 2017 she will have her first solo museum show at the Berkeley Art Museum. Deep Springs is her first book.

Signed copies

152 pages

24 cm x 28.8 cm

Sam Contis
The images in Sam Contis's Deep Springs were made in a remote desert valley east of the Sierra Nevada. The work centres on a small, all-male liberal arts college, founded in 1917 by the educational pioneer L. L. Nunn.
£35.00

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