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20% DISCOUNT ON ALL OUR BOOKS
THROUGHOUT AUGUST

Throughout August we''re offering a 20% discount on all our books,
excluding Rare and Out of Print titles. 

There are more than 250 books for you to choose from. 

Please note that there is a minimum order level of ?20 to get the discount, which will be automatically deducted at checkout. 

20% DISCOUNT ON ALL OUR BOOKS
THROUGHOUT AUGUST

Throughout August we''re offering a 20% discount on all our books,
excluding Rare and Out of Print titles. There are more than 250 books for you to choose from. Please note that there is a minimum order level of ?20 to get the discount, which will be automatically deducted at checkout. 

A Family History

Visitation Scenes explores the lives of members of Andy Wiener's family using photographic masks made from archive images from a family album. When worn, the masks create the effect of these people coming back to life in a ghostly, surreal way. Wiener travelled with the masks, to places where his relatives lived many years ago, and asked participants to wear the masks, to lend their identities to these people from the past. Scattered throughout the book is archive material of the places as they were, and other historical references.

These are images that remind us how common it is to be displaced, of the fragility of time and place, and of the transient nature of life. 

Andy Wiener's work transcends the personal to reflect upon our society and experiences. As a pioneer in staged photography in the 1980s, Wiener has been influential in questioning the photograph as an evidence and a trace, revealing the performance of the everyday.

Born and raised in Edinburgh, Andy Wiener studied photography at the Royal College of Art in London. For over 30 years he has worked in the staged photography genre, often using photographic masks. His work has been published and exhibited widely. His first book, Cautionary Tales, was published by Cornerhouse in 1990 and his exhibitions have included a solo show at Street Level, Glasgow and a group show at the Victoria & Albert Museum, London. 

Alongside being a photographer, Wiener is a consultant psychiatrist. He graduated in medicine at Edinburgh and practices in children's and young people's mental health at the Tavistock Clinic in London. The common theme across both areas of his practice is the exploration of what lies beneath the surface.

Available to pre-order for delivery late May

GIVE MY REGARDS
TO ELIZABETH

PETER BIALOBRZESKI

ESSAY BY MICK BROWN

Give My Regards To Elizabeth is a record of the German photographer Peter Bialobrzeski's time in England in the early 1990s, when having finished his studies at the Folkwang School, Essen he was awarded a one year DAAD stipend at London College of Communication.

Whilst Germany was experiencing a booming, optimistic post-unification economy, the UK was then a country and an economy still in recession, with growing unemployment and declining optimism. Thatcherite capitalism had left its deep marks on people and places. For Bialobrzeski the UK also seemed to still be a class-ridden society, something that he had not previously experienced in Germany.

Influenced by the British colour photography of the 1980s, the book and the photographs present a fascinating historical document. In some images one can already see the ideas and visual concepts that would, twenty books and numerous exhibitions later, result in Bialobrzeski establishing his reputation as one of today's leading European photographers.

Peter put together the images he shot in the form of two handbound book dummies and now, 27 years later, the work is published as an almost facsimile version of his original layout. Peter Bialobrzeski's work has been exhibited in Europe, the United States, Asia, Africa and Australia. 

He is the recipient of numerous awards, including the prestigious World Press Photo Award (2003 and 2010). In 2012 he received the Dr. Erich Salomon Award from the German Society of Photographers. Peter currently teaches at the HBK in Bremen, Germany.

20% DISCOUNT ON ALL OUR BOOKS
THROUGHOUT AUGUST

Throughout August we''re offering a 20% discount on all our books,
excluding Rare and Out of Print titles. There are more than 250 books for you to choose from. Please note that there is a minimum order level of ?20 to get the discount, which will be automatically deducted at checkout. 

Until midnight on Tuesday December 1st you can save
up to a staggering 50% on a wide range of our titles,
many of which there are only limited quantities.

PLEASE NOTE THAT THERE IS A ?20 MINIMUM PURCHASE

BOOKS BY WOMEN 
PHOTOGRAPHERS

Until midnight Sunday July 26th we''re offering a 20% discount on
a selection of thirty of our books by Women Photographers.

At Checkout 20% will be automatically 
deducted off the prices below 
 

Now available 

RECLAIMED

PAUL HART

Paul Hart's new book Reclaimed concludes his three-part series on The Fens in the UK. The first two books Farmed (2016) and Drained (2018) have received several international awards and considerable critical acclaim. In 2018 work from the series was awarded the inaugural Wolf Suschitzky Photography Prize (Austria/UK) and in 2019 it was shortlisted for the Hariban Award (Japan).

The Fens, originally a region of low-lying marshland in the east of England, has been artificially drained over centuries to provide some of Britain's most fertile agricultural land. It is a landscape of agribusiness with monoculture at it's core, defined by human migration and long-term reclamation from the sea.

Paul Hart has photographed the area for over ten years. His narrative examines the complex interrelation between humanity and nature and raises important questions about human-altered topography and our occupation and stewardship of this land. By focusing on the often-overlooked elements in familiar vistas Hart's aesthetics carry a documentary sensibility that allows the landscapes to define themselves. He works solely with the analogue process employing traditional darkroom practice to convey something of the soulful in a landscape that is rarely considered of aesthetic merit.

As the respected French curator and writer Isabelle Bonnet states in her insightful introductory essay; "Hart's landscapes create a dialogue between art and document, lyricism and storytelling, the sublime and the ordinary. Almost everywhere, rectilinear and regular shapes unfold, impeccably drawn furrows responding to rows of trees, industrial constructions and metal structures. No movement animates this nature morte, no bird awakens these low and heavy skies and endless horizons. Hart's images take on a universal value: the battered and exhausted Fens resonate like a subtle metaphor for what humanity engenders and inflicts on itself."

Paul Hart has exhibited internationally at galleries including The Austrian Cultural Forum London, The Royal Academy of Art, The Photographers' Gallery, The Royal Photographic Society and The Cultural Foundation ARCADE (Dijon, France), and at major art fairs including Paris Photo, Photo London and AIPAD New York. His work resides in many important collections including the V&A Museum, the Ivor Braka Collection, and the MoMA Library (USA).

Isabelle Bonnet is a photography art historian, writer and curator based in Paris. She is currently studying for a PhD at the Sorbonne. Before resuming her studies she worked for 25 years in fashion photography in Paris and New York. In 2019, she curated the exhibition Home Sweet Home for the Rencontres d'Arles and the Institut pour la Photographie of Lille, and is the author of the eponymous book published by Textuel.

Another of our Covid-19 finds 

FACE

BRUCE GILDEN

Lockdown has given us the chance to have a major sort out
of our local storage and we''ve made some great discoveries.
This is one of them.
We''ll be announcing others over the next week or two. 

'Here are Bruce Gilden's people, his family. He shares their teeth, their stubble, their scrapes and blemishes, their fear of death. In the women's scowls, in their sternly ambiguous glances, he sees his own mother's face, before she killed herself. 

We live in a world whose visual lingua franca has rapidly become the decontextualized, always posed, mechanically lit idiom of social media, of Instagram and, yes, Facebook (and whatever their successors might be). Far from rejecting this environment, Bruce's portraits embrace it and grapple with it. They say to the viewer: So, you've constructed your 'social network' out of aspirational pictures, of yourself and of your 'friends', but what space does that leave for these people? They are my 'face book' friends. You need to look at them - at us - too. You can't make us disappear with digital photo filters and social media platforms that act as a real world filter, sifting from your 'community' all that is discomfiting. We are here, closer than you might remember.'' (edited from the essay by Chris Klatell).

A defining characteristic of Bruce Gilden's photography is his creative attraction to what he calls 'characters', and he has been tracking them down all through his career. Growing up in Brooklyn with what he describes as a 'tough guy' of a father, Bruce Gilden developed a love of the streets, often calling them his 'second home'. The unique energy of the streets mesmerized Bruce, an energy that can momentarily expose something inside people that generally stays hidden. This new body of work, however, is somewhat of a departure for him in that these tightly cropped, full face images can be seen as 'collaborative' portraits. His subjects engage directly with the camera, and the photographs are all taken with permission. Gilden has travelled and exhibited widely around the world, and has received numerous awards, including the European Publishers Award for Photography, three National Endowment for the Arts fellowships, and a Japan Foundation fellowship.

LAST CHANCE

OUR 20% AUGUST DISCOUNT
ENDS TONIGHT

Last few hours to get 20% discount on all our books,
excluding Rare and Out of Print titles. 

There are more than 250 books for you to choose from. 

CHECK OUT OUR OFFER NOW 
 

LAST WEEK OF OUR
20% AUGUST DISCOUNT

Just one week left to get 20% discount on all our books,
excluding Rare and Out of Print titles. 

There are more than 250 books for you to choose from. 

CHECK OUT OUR OFFER NOW 
 

Shipping from WEDNESDAY MAY 20TH
 

ESSAY BY MICK BROWN

Give My Regards To Elizabeth is a record of the German photographer Peter Bialobrzeski's time in England in the early 1990s, when having finished his studies at the Folkwang School, Essen he was awarded a one year DAAD stipend at London College of Communication.

Whilst Germany was experiencing a booming, optimistic post-unification economy, the UK was then a country and an economy still in recession, with growing unemployment and declining optimism. Thatcherite capitalism had left its deep marks on people and places. For Bialobrzeski the UK also seemed to still be a class-ridden society, something that he had not previously experienced in Germany.

Influenced by the British colour photography of the 1980s, the book and the photographs present a fascinating historical document. In some images one can already see the ideas and visual concepts that would, twenty books and numerous exhibitions later, result in Bialobrzeski establishing his reputation as one of today's leading European photographers.

Peter put together the images he shot in the form of two handbound book dummies and now, 27 years later, the work is published as an almost facsimile version of his original layout. Peter Bialobrzeski's work has been exhibited in Europe, the United States, Asia, Africa and Australia. 

He is the recipient of numerous awards, including the prestigious World Press Photo Award (2003 and 2010). In 2012 he received the Dr. Erich Salomon Award from the German Society of Photographers. Peter currently teaches at the HBK in Bremen, Germany.

20% DISCOUNT ON ALL OUR BOOKS
THROUGHOUT AUGUST

Throughout August we''re offering a 20% discount on all our books,
excluding Rare and Out of Print titles. There are more than 250 books for you to choose from. Please note that there is a minimum order level of ?20 to get the discount, which will be automatically deducted at checkout. 

One of our Covid-19 finds 

OPEN

BRIAN GRIFFIN

Lockdown has given us the chance to have a major sort out
of our local storage and we''ve made some great discoveries.
This is one of them. 

We had thought that these were all sold out but during lockdown we discovered a small number of copies of both the standard edition and the collector''s edition hidden at the back in our local storage. We are making them available at the same price as we first launched them when they were rediscovered back in 2012. 

Published in 1986 in an edition of only 350 copies, Brian found himself too occupied with other projects to be able to focus on selling all the print run and put the balance into temporary store. Some twenty five years later he rediscovered them!

As Parr and Badger note, "Griffin came to prominence in the late 1970s and early 1980s, the generation of Chris Killip, Graham Smith, and John Davies amongst others. However, he positioned himself at a remove from the prevailing social documentary ideology of British photography at that time. In the early 1970s, 

He was 'discovered' by Roland Schenk, art editor of the magazine, Management Today, and began a highly successful career taking corporate portraits. Yet his style was always slightly subversive, its surreal qualities gently 'biting the hand that fed him'.."

Quirky portraits, enigmatic still lifes and landscapes in a similar vein, all appear in Open, which was self-published along with a number of other photobooks by Griffin under the imprint Black Pudding. These were projects of self-expression as well as being 'calling cards'. 

"Open was made after the death of his father and of his close friend, the graphic designer Barney Bubbles. It serves as a memorial. You have to open the book to get to heaven, but opening it - cutting the tape and folded pages - destroys it. The book is a metaphor for life, the further we get into it, the more knowledge we gain, but the closer we are to the final end and its closure. Like all Griffin's books, it has higher production values than the usual self-published photobooks of the period and is presented like a Japanese book, where packaging is everything. Such a concept also has a special commercial advantage, because serious book collectors are honour-bound to buy two copies - one to open and read, the other to remain closed and inviolate." 
(The Photobook: A History, vol. 2: Phaidon Press, 2004)