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 una no editorial de no fotolibros

Four years ago we created our own publishing house because we saw how difficult it was to get publishers who want to publish experimental photobooks. Now that it is a reality and we have published 5 photobooks and 3 catalogues, we hope you will support us since that money is what we invest again every year in our call for photobooks. Join us!


ID is a research into the emergence of myself, a complex chaotic mess of memories and impulses through the means of transformed photography, a medium inexplicably linked with memory. My experimentations with mordançage in black and white and colour have given me various transformational degrees which I use to answer questions: how do we recognise objects? How does a tiny patch of red, green and blue coloured gelatine show us the faces of our loved ones? What role does memory play in our ability to recognise? What are the required features of an object for it to be recognisable? Where lies the perceptual limit of our recognition of an object and which aspects are of importance?


Morgana Costa Ucher


Shadow of the Universe is a visual journey through the hidden macrocosm accompanied by a poetic voice. 97% of the matter that makes up the universe is dark matter. This matter holds secrets related to the origin of the universe, in different forms such as dark stars, filaments, nebulae or galaxies. The abstract imaginary allows us to recompose and imagine from our own subjectivity the meaning of the photographs. Moving away from a scientific discourse that seeks truth and objectivity, this photobook praises the intuition and imagination that shadows and dim places foster.


100.000.000 YEARS
Ed Back


What traces will modern human civilization leave to be found in millions of years’ time? This book visually explores the notion of the Anthropocene through the conceptualisation of a fossil legacy shaped by mass consumption and waste. The images are composed of photograms, a cameraless photography technique that involves placing the subject directly onto the photosensitive paper and exposing it to light. This technique captures the shadows of the object leaving an imprint stripped of familiar contexts. Reframing these objects as something unfamiliar that deserves our time and attention reflects the collective impact that they are having on the planet.


Antonella Calcagno


In March 2020 I started cutting figures that I found in books and magazines. In the midst of the collective lockdown, I moved to Barcelona where I found myself with a different type of confinement. A deeper and more emotional one. There I decided to create a book and I meet again with these cut images. Playing with them became a dialogue. A way to connect two closures and start to give them movement. This experimentation process managed to get me out of that place where I was. Connecting the inside with the outside. Like a path. Not Street Photography is a small segment of my history.