Known for her playful take on still life and fashion image making, here she turns her eye to a make believe domestic setting, using her son as the main character.

“For the past few years I have been making pictures with my son. It’s a way for to us communicate with each other (and a break from the alternative, which is sitting next to him while he plays Goat Simulator 3). I am a collector of things in my work and life, so I wanted to explore the accumulation of childhood detritus in domestic life and the landfill it creates. The project began when I found a post-it note by my son’s bed: Ask Alexa When are we all gonna die tomorrow :). He often writes notes to remind himself of tasks for the next day, as he sometimes struggles to remember things. Yet he remembers the exact buttons on a coat I was wearing when he threw up spaghetti in a cinema five years ago. There is a tension in this note between fear of forgetting and existential dread.”

The resulting images are a collection of strange domestic snapshots; a series of experiments, subverting the tropes of photographing home life and childhood. The book includes a poem by the writer Miranda Collinge, Annie’s sister.

Details:
– 145mm × 200mm
– 108 pages
– Foiled hardcover, swiss bound, Die-cut reveal pages
– First edition of 200, with signed print, hand numbered

Known for its tropical luxuriance, the majesty of its tall trees, and its rebellious spirit, Casamance, the southernmost region Senegal, is a source of fascination. This is our second title that we have published with Henry. The first being Mirage published back in 2014.

In this body of work, Henry turns his attention on the animist tradition of the Joola people, who surround themselves with sacred woods and worship the spirits of nature. The adventure is a journey of initiation. Wandering through the region’s forests, channels, and villages, avid for discovery, Henry sought to unravel its mysteries.

The book is an edition of 200 and comes with a tipped in signed print.

Details:
– 145mm × 200mm
– 100 pages
– Foiled hardcover, swiss bound
– First edition of 200
– With signed print, hand numbered

Gathering Light surveys the uplands of Southern Scotland where Laughlin spent six weeks living off-grid as part of a residency with Borders Forest Trust supported by Connecting Threads and The Southern Uplands Partnership. It is a response to a landscape undergoing a programme of ecological restoration which has seen over two million native trees planted across 31km² by Borders Forest Trust, a charity established to restore native habitats in an area with the lowest percentage of native woodland in mainland Scotland.

This work is a meditation on a specific landscape and on the changes slowly unfolding there at differing physical and temporal scales, linked to the seasons, cycles and processes of nature.

“In an abundance of northern light, soaked up and accumulated by the growing trees, I began to see photography and photosynthesis as analogous to one another. Day by day I watched the sun’s path rise to its midsummer zenith. At night I bathed in the light of ancient summers, released from the embers of a fallen Ash tree.” – Sam Laughlin

Details
– 145mm x 200mm
– 104 pages
– Foiled hardcover
– With signed tipped in print
– First edition of 300
– Hand numbered

Following on from an exhibition of the same title at Sargent’s Daughters gallery in New York and coinciding with a new exhibition at Seventeen gallery, London, Erin O’Keefe’s new publication I saw the man with a telescope. is a vibrant, almost psychedelic collection of Erin O’Keefes latest works, a much anticipated follow up to Built Work which was published in 2020 by Jane & Jeremy.

Erin O’Keefe makes still life photographs that explore the unreliability of spatial perception, highlighting the dynamic nature of visual interpretation. Continuing her process of cutting and painting blocks of wood, O’Keefe explores various arrangements in front of coloured backdrops, resulting in images which are often
mistook for abstract paintings. Closer inspection reveals O’Keefes playful use of light and space and the nature of the process – overlapping of the blocks and shadows as well as the rich texture of the roughly painted surfaces. The title of the book, I saw the man with a telescope. alludes to the ambiguity of the images and the impossibility of a single interpretation. The plane of the camera lens flattens and distorts the three dimensional scene it captures, and the viewer is left with confounding images that withhold any certainty, existing in a space of possibility and speculation.

Details
– 145mm x 200mm
– 62 pages
– Foiled hardcover and inside cover
– With signed tipped in print
– First edition of 200
– Hand numbered

Day / Night presents over 100 Polaroids by Wing Shya taken over the last three decades.

Included in this edition are personal, never before seen daily observations and intimate portraits alongside images taken whilst working as a stills photographer for film director Wong Kar-wai. The mixture of 'in real life' and set photography blur the boundaries of what is real and not, raising questions around photography and the constructed image. 

The double sided swiss-bound book opens up to reveal two separate collections – Day & Night, each book capturing the spontaneity in life and the subtle energy of day time and night time. The day collection conjures a purity and lightness in spirit, while the night collection purveys a darker and more mysterious mood. Both find beauty and magic in the world around us which Shya presents so effortlessly in the Polaroids and accompanying text.

“It all started with my work as a still photographer on set. It was before everyone had a camera, so the only means of having a snapshot had to be Polaroids. It thus has become a habit thereafter, where I would find it appropriate to record my life and my work with it. Over the years, they have turned into this collection of different instant moments. They might have been candid and lacking intentions, but I personally enjoyed looking at the compilation edited by J&J, which turns out to be a subconscious visual voice that has been speaking to me through my visuals the entire time.” – Wing Shya

Details
– 145mm x 200mm
– 152 pages
– Foiled hardcover
– With signed tipped in print
– First edition of 200
– Hand numbered

'House of the Stray Dog is the latest visual odyssey shot in the two years following his autobiographical study of youth and nostalgia, Even a Maniac Can Learn to Drive (published by Jane & Jeremy).

Quirke continues to obsessively document his life in a diaristic manner. This time he strings together a series of photographic offerings that weave a visual narrative around the bittersweetness of self-realisation and the solitude of adulthood. A thicket of webs and veils punctuate the work, with creatures dead and alive chaperoning us on our journey into the fray.' – Isobel Robinson.

Throughout the book images are printed full-bleed with collage fragments in between for moments of reflection.

Each book in this first edition of 200 and includes a signed special edition print.

Details
– 145mm x 200mm
– 98 pages
– Foiled hardcover
– With dustjacket
– With signed print
– First edition of 200
– Hand numbered

Sorry I’m Not Sorry, explores LJK’s experience of living with undiagnosed autism. Through autobiographical and archive photography, Lauren uses cutting and collaging techniques to explore self-discovery, and confrontation of life’s traumas and experiences that have shaped her existence.

The book is an evolution of LJK's 2024 exhibition at Aspex Gallery in Portsmouth. The work has been re-edited and curated to work in book form. Each copy includes handcut pages by LJK, a handwritten dialogue and a signed print.

Details
– 145mm x 200mm
– 132 pages
– Foiled hardcover
– 3 x hand cut and written pages by artist
– With signed 5 x 3.5" tipped in print
– First edition of 200
– Hand numbered
– Co-published with Photoworks

At the top of Itford Hill lies a forgotten Bronze Age settlement. This chalk hill, which artist Kathryn Martin views from her home and studio on the South Downs, is the inspiration behind her new series, Ossa. In 2022, Martin discovered the settlement’s history, how it was excavated from 1949 to 1953 by archaeologists Burstow, Holden, and Holleyman. For five summers, they camped at the bottom of the hill and with a team of volunteers uncovered artefacts and remains that pieced together stories lost in the chalk for 3,000 years. Martin’s work focuses on the layers of life that have existed and continue to thrive on and around Itford Hill, deepening her connection to the landscape.

“I have been able to forge a deeper connection with this ancient chalk landscape and examine the intricate web between archaeology, wildlife, habitats, history and folklore.”

The title Ossa, from the Latin word for bones, stone, or heart, also refers to one’s soul or the bones of a discourse. The pristine white chalk of Itford Hill, made up of coccoliths, the skeletal remains of tiny sea creatures, represents another life layer in the landscape, which are the foundations of Martin’s subject. The book also features nine plates from Martin’s previous project, Come, See Real Flowers of This Painful World (2020). These intricate and delicate botanical studies, featuring wildflowers that existed during the Bronze Age and that still thrive in this Downland landscape today, demonstrate the enduring resilience of nature but at the same time reflect its fragility and vulnerability.

Details
– 145mm x 200mm
– 96 pages
– Foiled hardcover
– Swiss bound
– With signed print
– First edition of 200
– Hand numbered

Following on from our previous edition Red Orange by Delaney Allen, Strange Nature continues to explore the American West through Delaney’s lens. Exploring the unique, mystical and strange of the land, this series encompasses a darker colour palette alongside B&W imagery; the altered and the ‘pure’ photographs are presented seamlessly throughout the book, disorientating the viewer as the familiar becomes strange and distorted.

‘Similar to the approach in the previous series Red Orange, I have been approaching the work with the idea of the artist hand in creating a unique approach to photographing nature. This allows for an otherworldly feel both by the subjects I’m photographing and by the means in which I capture them. I’m aiming for simple beauty and confusion’ (Delaney Allen, 2023)

Each book in this first edition of 200 includes a signed special edition print, and an introductory essay by Jonathan P. Watts.

Details
– 145mm x 200mm
– 112 pages
– With signed print
– First edition of 200
– Hand numbered

Tojinbo in Fukui Prefecture, with its extensive columnar joints and turbulent ocean waves, is a natural treasure of Japan. As well as being a geologically engaging location it is also very much an emotional landscape, laden with mysticism and folklore – from a legend about a monk who was pushed off the cliffs, to a well known setting for classic suspense television dramas and sadly, as a suicide spot.

Kono first visited Tojinbo in 2018 and was surprised, despite its dark associations, to see rows of souvenir shops and a number of tourists taking pictures. After five years of research on this location, Kono discovered that many of the impressions of the place were in fact formed from a chain of unconfirmed and unrelated portrayals, and that these have influenced peoples behaviour and the development of Tojinbo.

With the advent of photography, the distance between fact and image rapidly closed in. Even today, when AI is capable of generating fake images in real time, we continue to have faith in it and can be goaded by images. What Kono attempts here is to open up the uncertainty of the image once again. He connects various materials related to Tojinbo loosely with photographs he shot. Depicting the shifting image of Tojinbo, The Cliff examines the possibility of the image and the things that can be rewritten because of their ambiguity and fluidity.

Details
– 145mm x 200mm
– Screenprint cover
– 96 pages
– Includes four postcards
– With signed print
– First edition of 200
– Hand numbered

In Hannah Hughes’s Mirror Image series, she explores the relationship between image and sculpture, focusing on the potential of negative space, where value can be found on the sidelines.

As Elizabeth Fullerton writes, “the artist uses sculptural strategies to convey a sense of mass, volume and even physical sensation. The works begin life as the overlooked negative spaces cut from photographic images. Using her archive of cut-out negative spaces as props, Hughes creates new forms from their shadows by projecting light onto diverse backdrops. The negative form becomes a sort of double negative as the shadow is made material. Existing hierarchies of value are inverted, turning the marginalised lacunae or fragments around objects into positive forms that take centre stage.

…Within the liminal zone between photography and sculpture, Hughes has invented a language of her own with a distinctive vocabulary of glyphic forms, varied textures and subtle colours. She shows us the thrill of the unnoticed: fragments, gaps, edges and negative spaces become worthy subjects.”

Each book in this first edition of 200 includes a signed special edition print, and an introductory essay by Elizabeth Fullerton.

Details
– 145mm x 200mm
– Foiled debossed front cover
– Die-cut pages
– 66 pages
– With signed print
– First edition of 200
– Hand numbered

‘Even a maniac can learn to drive’ is an autobiographical venture into Quirke’s twenties and sundown on the devil-may-care youthful days of yore. Through a nostalgia of self, depicted with scrapbook style collage and playful curation, Quirke’s book is a swan song to themes of love, loss and the fading of innocence in the wake of adulthood. Though often at times dark and brooding, Quirke’s practice is not without humour and ironises its own introspective lens on mortality.

Through the juxtaposition of found images and Quirke’s diaristic photographs, ‘Even a maniac can learn to drive’ pokes fun at itself and the naivety of youth with characteristic poise and jocularity. Figuration and metaphor run as red threads through the collection, stringing together a series of works that are as accessible as they are enigmatic.

Details
– 145mm x 200mm
– Bespoke inlay sticker cover
– 96 pages
– With signed print
– First edition of 100
– Hand numbered

Memories of an Unknown Island is a project about a place that does not exist – a utopia created from a collection of photographs from a plethora of locations Rolland has visited. Together they visually and emotionally blend into one and transform into an ideal fictional land. In doing this the boundaries are blurred between the real and the constructed, it is the creation of an island that is not real, made up of previous memories and fleeting moments, it is grounded in the factual but transformed into a fantasy.

Although the images are a visual representation of an existing environment, this new created world becomes limitless, with endless possible narratives and dreams. This project is about an immersion in the natural world in search of an impossible place that only exists in Rolland’s imagination. The viewer is left curious and disorientated, as Rolland was, as to where and what the images depict. As familiar as one image may be, its reality is lost as it flows into the next image and one is left in wonder of this unknown island.

Each book in this first edition of 100 includes a signed c-type photographic print, and a poem by Susanna Brown.

Details
– 145mm x 200mm
– Foiled front cover
– 40 page concertina with signed print
– With signed print
– First edition of 100
– Hand numbered

“There is a particular photograph, taken by Johanna Tagada-Hoffbeck this past spring, of the skin of an onion, gossamer-thin and quietly glowing as it rests on a sheet she has laid out in her garden to take the picture. Wonderfully vermillion and still half-formed, it holds the contours of the food it once encased.

Tagada-Hoffbeck is an artist with gardens in both Essex in the UK, and the rural, forest-filled region of Alsace in northeastern France. Alsace, they say, has its own sunny microclimate – the perfect place for things to grow – and it is in the latter of these gardens she found herself earlier this year, when the Covid-19 lockdown struck and strict French rules kept her in the village.

Tagada-Hoffbeck has a singularly tender way of capturing moments of both solitude and community in her photographs, sensitive and receptive to the workings of nature around her. Her affection for horticulture is in her lifeblood, grown from the seeds of her grandparents’ green-fingers, their love of gardening the very same land we see in some of these pictures, and has been spreading through her artwork like weeds or mushrooms ever since.”

Text by Joanna L. Cresswell

Details
– 145mm x 200mm
– Foiled front cover
– 40 page concertina
– Handmade ribbon bookmark
– 3 hole sewn 8 page text booklet
– With signed print
– First edition of 100
– Hand numbered

In 2018 Matthew Thorne was invited by Australian Director Justin Kurzel (Snowtown, Macbeth) to create a photography project adjacent to the making of his feature film ‘True History Of The Kelly Gang’. This limited edition photo book is the result of that project: A collection of photos, poems and essays on the iconic Australian Ned Kelly story. A work that documents the most recent telling of the iconic colonial Australian legend of Ned Kelly.

Additional text contributed by George MacKay and Paul Greenaway OAM.

Details
– 145mm x 200mm
– Foiled front and back cover
– 100 pages
– With signed print
– First edition of 100 – Sold out
– Second edition of 100 – Sold out
– Hand numbered

‘The Autumns of Spring’ is the third title in a trio of publications by artist Jordan Sullivan. The book takes the viewer on a disorientating trip around Claude Monet’s gardens at Giverny, with close up photographs of acid coloured flowers and soft focus imagery. The book comes with a signed print and is accompanied by an album titled ‘In the Garden of Sorrowful Suns’ by Jordan’s musical project The Sun At Night.

Details
– 145mm x 200mm
– Foiled cover
– 62 pages
– With signed print
– First edition of 100
– Hand numbered

“By not having a readily identifiable structure, and therefore open to one’s interpretation and imagination, it lets us embark on an unexpected journey—allowing for deeper modes of seeing, feeling and transportation to another state of consciousness.” – Daniel Fuller

Born in Hanalei, Kauai and now residing in Los Angeles, Daniel has spent the last two decades drawing inspiration from his time spent surfing around the globe. The ocean is a recurring theme in Daniels work and this series focuses on water surface and its variety of moods and movements it can convey. The book is divided into two sections made up of blue and red hues which are sequenced to move in and out of calmness and chaos, lightness and darkness.

Details
– 145mm x 200mm
– Foiled cover
– 132 pages
– With signed print
– First edition of 100
– Hand numbered

The photographs in Erin O’Keefe’s Built Work are both straightforward and strange. The objects are ordinary, yet the space they occupy is curious, flat, twisted, impossible to measure with certainty. The camera’s lens mediates this collision of known and unknown. Spatial ambiguity and tactile certainty are in a tense standoff within each image.

The title of the series Built Work is a term that architects use to refer to realised projects. Here it refers to both the subject matter of the photographs, and the images themselves, which are quite literally built from the layering of real spatial situations with the camera’s uncanny translations.

Details
– 145mm x 200mm
– Foil blocked soft cover
– 54 pages
– French-folded
– With signed print
– Poem by John Crowe Ransom
– First edition of 100
– Hand numbered

Red Orange responds to the American photography road trip works of the past. Modifying the genre, the images experiment with the alienation occurred while traveling through the vastness of the southern half of California. Once off the road for the evening, Red Orange continues within the forgotten town motel rooms. Tabletops become make-shift studios with a collection of items to be photographed. Walmart, thrift and dollar stores are visited throughout the small towns to purchase bargain items to photograph. Snacks from the road trip become stopgap additions to the still-lifes. At times loosely imitating the natural environments found outside the confines of the room, the created imagery counter the curiosity and desolation of the aforementioned roadside photographs.

As with those American road trip series from the past, the series employs the automobile as a tool. But, beyond that, comparisons are limited. Photographing the silence of days on end, Red Orange aspires for an original consideration of life on the road.

Details
– 145mm x 200mm
– Foil blocked cover
– 114 pages
– With signed print
– Poem by Patricia No
– First edition of 100
– Hand numbered

Our second book with Jordan Sullivan, ‘Hallucinations’ focuses on his inner geographical movements between the desert and the sea. Lines, horizons and colours converge to create collages of multiple places, a landscape of the heart and soul. The publication features 41 images shot in the Central Valley of California, Trinidad & Tobago, Death Valley and along the coast of Denmark. Our first book with Jordan titled ‘After the Funeral’ was named one of the best books of 2016 by IMA Magazine (Japan).

Details
– 145mm x 200mm
– Foil blocked cover
– 48 pages
– With signed print and poem|
– First Edition of 100
– Hand numbered

We were honored to select the winner of the Source Magazine Graduate Photobook Award and produce a book with Monika Drabot who studied at the Arts University Bournemouth. The book showcases Monika’s final year project which explores shape and light, creating a series of beautiful and engaging images.

‘It’s the purity of shape, colour and perspective that creates thought and feeling. These images hover between abstraction and representation creating temporal still lives that are made permanent by photography’ (Monika Drabot).

The book is a hand numbered edition of 100 and contains a signed print.

Details
– 145mm x 200mm
– Foil blocked cover
– 48 pages
– With signed print
– First Edition of 100
– Hand numbered

In her latest series, She Could Have Been A Cowboy, Anja Niemi continues her investigations of the self. This time she turns the lens to a life lived under the constraints of conformity. Every day her fictional character finds herself trapped in the same pink dress, but what she really wants is to be a cowboy, dressed in fringe and leather, riding horses in the Wild West. Through this series of photographs with multiple layers and possible interpretations, Niemi delivers her most political work to date.

“The story is not really about being a cowboy. It’s about wanting to be another.”  Anja Niemi

Niemi continues to work alone, photographing, staging and acting out the characters in all of her images.

The book is an edition of 200 and contains a fold-out map and poster as well as a poem by Lena Niemi, sister of Anja.

Details
– 200mm x 145mm
– 120 pages
– 68 images
– First edition of 200
– Foiled cover
– Hand numbered

“Watching from an indiscreet distance, I felt a twinge of voyeuristic guilt mixed with a sudden, poignant recollection of my own adolescent fumblings. Above all, I sensed the thrill of an anthropologist chancing upon the bizarre mating ritual of the children of the English upper middle class.” – Bob Carlos Clarke

Bob Carlos Clarke (1950–2006) was a prolific photographer, who was best known for his striking images of women which drew comparisons to Helmut Newton. This series of Public School Balls (notoriously orgiastic parties for rich teenagers) was shot in 1994 at the Hammersmith Palais, London. Containing 33 images, the series encapsulates the abandonment of youthful innocence.

‘The Agony and The Ecstasy’ is published to coincide with the exhibition of the same name at The Little Black Gallery in London. The book also contains a print and text by Max Houghton and Bob Carlos Clarke.

Details
– 145mm x 200mm
– Foil blocked cover
– 64 pages
– With print
– First Edition of 200

A beautiful publication featuring 25 images, a poem and a signed print. The series was photographed in Texas in the hours after Jordan’s grandmother’s funeral. Following the ceremony a field of wildflowers had bloomed near the house where she lived.

Details
– 145mm x 200mm
– Foil blocked cover
– 48 pages
– With signed print
– First edition of 100
– Hand numbered

Inspired by the Japanese tradition of the renku poem and the symbolism of the cherry blossom. The project set in Kilburn, traditionally the home of the Irish emigrant, uses the cherry blossom as a metaphor for hopes and dreams and new beginnings. The 32 photographs work in tandem with award winning poet Don Paterson’s poem, Renku: My last Thirty-Five Deaths. The book was the recipient of the Birgit Skiöld Artist Award for Excellence.

Details
– 145mm x 200mm
– Letterpressed cover
– 60 pages
– With signed print
– First edition of 100 – Sold Out
– Second edition of 100
– Hand numbered

In her latest series, ‘Short Stories’, Anja Niemi created seven short stories containing fictional characters, objects, landscapes and interiors – all in some way connected to each other. Each story starts off in the same way, all inspired by pre-owned objects. Rhinestone lashes, a police booking sheet with fingerprints, a Russian gun holster and six 1940s dolls with loose limbs, all led to a character and a chapter in her collection of tragicomic tales. As with previous series, Anja continues her work in the same way as before, photographing, staging and acting out the characters on her own.

‘Short Stories’ will be premiered at Photo London and Offprint and is published to coincide with her exhibition at The Little Black Gallery which runs from May 26, 2016 to June 16, 2016. The book is an edition of 100 and is available exclusively from The Little Black Gallery, London. Supported by the Norwegian Embassy.

Details
– 145mm x 200mm
– Recessed cover label
– 108 pages
– First edition of 100
– Hand numbered with print

With surrealism, sharp humour and a deeply radical approach, Guy Bourdin (1928–1991) changed the scene of photography. His work, whether in editorial or advertising broke aesthetic conventions, always characterized by a dramatic intensity and relentless perfectionism. Generations of photographers and visual artists from Sarah Moon and Märta Thisner to Inez & Vinoodh, regard Bourdin as an inspiration. His influence has transcended time and the ebb and flow of fashion, positioning his work within the context of contemporary art.

‘Nature Magique’ is published to coincide with the exhibition ‘Avant-Garde’ at Fotografiska Museet in Stockholm, Sweden, which runs from November 27, 2015 to February 21, 2016. The book explores the theme of nature in Bourdin’s work which seems to have had an underlying influence. Nature Magique contains 33 images and a print stamped and numbered by The Guy Bourdin Estate. Nature Magique is an edition of 100 and is available exclusively at Fotografiska Museet, Stockholm.

Details
– 145mm x 200mm
– Foil blocked cover
– 60 pages
– Handmade
– First edition of 100
– Hand numbered with stamped print

Taken in the 1980s and early 90s, Steve’s work captures the frayed but colourful and resilient fabric of working class life in Peckham, South London. Steve was born into a family of 15 children in the 1960s at a time when Britain’s inner cities were undergoing vast changes – as indigenous families moved to the suburbs and satellite towns of Kent, new immigrants arrived from former colonies, and the influence of American mass culture began to be felt in homes and on high streets.

The book is a personal diary of Steve’s life in Peckham, from playing in his band ‘The Psycho Daisies’, long gone nightclubs such as ‘Lost’ and ‘Smashing’ to featuring best friends, family, prisoners wives and a young Jarvis Cocker on the verge of Pulp’s breakthrough release.

Steve’s work is conceived and shot without sentimentality or voyeurism by a man who has spent most of his life in Peckham – as an aspirant teenager and lately as a husband and father. It challenges the viewer to see British working class life in the round, at a time when it’s being demonised and demolished by some, and hopelessly romanticised by others.

Details
– 145mm x 200mm
– Foiled cover
– 68 pages
– Handmade
– First edition of 100
– Hand numbered
– With signed print

∞ (Infinity) is a selection of pastel drawings and photographs made during the past year by artist Emilie Lindsten. The title is inspired by the continuity of Lindsten’s artistic practice as a thread woven into her life during her pivotal year of 2014. At that moment, Lindsten spent most of her efforts travelling between London and Sweden, as well as spending a few months in India and Finland. In time, the drawings came to constitute a personal diary, representing on paper a reflection inspired by observations of atmospheres, colours and elements.

Alongside these drawings, the book contains a selection of photographs taken in the same period. Whereas the drawings are interior impressions of these transformational experiences, the photographs are their exterior documentations. The photographs come to light from the outside, and the drawings reach the world from inside the mind and body. This book is a meeting ground of these shared and yet personal worlds, as the pages allow both of these exposures to weave infinitely through each other, representing a vastness of interdependent subtleties.

Details

• 145mm x 200mm

• Letterpressed cover

• 60 pages

• Handmade

• First edition of 100

• Hand numbered

• With signed print

A handsewn publication that includes 20 images taken by Swiss photographer Pascal Greco. The polaroid images were taken on a trip to Iceland, where Pascal took an alternative view of the much photographed landscapes.

– 145mm x 200mm
– Foil blocked cover
– 45 pages
– Handmade
– With signed print
– First edition of 60