Every book's binding should be complementary to its content but I am also interested in engaging the reader in a more active sense than simply turning the pages. Where appropriate I make the book into a performance or a puzzle.

Commercially produced books have to work within the limitations of the mechanical printing and binding processes available, but I produce hand-made photobooks in limited quantities in my bindery. This gives me a greater range of materials and techniques to play with and explore the book as a means of self-expression.


Drumdancers cover
12 black & white images of Korean dancers moving to the beat of their drums. Opening the book is best done with a spiral action and, like any dance, requires a bit of practice.
100mm square, 9mm thick. Gloss inkjet paper. Drumdancers open book

Original Six

Original Six cover
The Ring of Brodgar in Orkney, Scotland, originally had sixty standing stones, hence the title of this book, Original(ly) Six(ty). Today there is only visual evidence for 36 stones, the number of images included in this book. Although impressive in any light, the Ring takes on a mysterious character at dusk or by moonlight and it is this dual character I wanted to elicit in this book: the individual pictures were taken in colour and in daylight but the book is designed to be viewed either in direct sunlight or in the dark by the light of a single candle or bulb. The light casts shadows of the stones outwards onto the floor from the ring of images.
100mm x 110mm x 12mm closed, approx. 1.2m diameter when opened. Transluscent polypropylene case, inkjet film pages.

The Forgetting

The Forgetting cover
Memory is a fickle thing at the best of times but as we get older it becomes even less reliable. In this book I tell the story of the decline in memory and other faculties of my (fictional) Aunt Bunty. I use visual metaphors in the photographs and, in the letters, an amalgam of comments I have received from elderly relatives about growing old, two of which are in declining handwriting while the third and final letter is transcribed from the almost illegible original. The title not only refers to Aunt Bunty's declining memory but to the way society treats the elderly and mentally incapacitated.
185W x 235H x 10mm

A book gives a photographer a different voice compared with the single image. The sequence and juxtaposition of images, the appearance of the binding, the feel of the paper and even its smell contribute to both the physical, emotional and intellectual experience that is a well-designed book.

All of the binding techniques I use result in a lay-flat book.

To purchase any of these books please contact me.


Mexicans sample image
35 black & white images of mexicans going about their daily business. Although digitally originated, the book is styled as if it were a strip of film, with images the size of roll film contact prints. An accordion-style book with wrap-around board covers printed single-sided. Archival printing and construction. Unlimited edition: £25+postage
Mexicans book


Stills book
The unique shape of every distillery's stills helps give each Scotch whisky its distinctive flavour. This is a single-signature sewn book with card cover and reinforcing cloth on the spine. Title page and 19 black & white images of different stills.

Archival printing and construction. 150 x 210mm. Unlimited edition: £15+postage

Port Royal

Port Royal cover image
Port Royal in Nova Scotia, Canada, is one of the oldest European settlements in North America and has been reconstructed from a copy of the original plans. The book has a debossed cover image, an introduction and 23 black & white images. The binding is a quarter-joint design with board covers finished with black bookcloth over cover and spine.

Archival printing and construction. 210 x 210mm. Limited edition of 25: £45+postage


Yew photo

The oldest yew trees in Kingley Vale have acquired a brooding sombre character that is captured in the 10 black & white panoramic images in this book. The prints are on heavy-weight matt art paper and the covers are heavy hand-made rag paper. The construction is entirely sewn with the thread very visible and penetrating the images so that the book and pictures become as one.

Archival printing and construction. 210 x 165mm. Limited edition of 25: £95+postage.


page from Blue book

2014 was an early spring in the UK and the bluebell woods were alive with colour weeks before normal. This book follows the light on the woodland floor from pre-dawn to post-dusk from a single camera position. The 12 prints are on heavy-weight matt art paper and the covers are heavy hand-made rag paper. The construction is entirely sewn with the thread very visible and penetrating the images so that the book and pictures become as one.

Archival printing and construction. 210 x 150mm. Limited edition of 25: £95+postage.


page from Tulip book

The exuberance of tulips is celebrated in this large format book.

Archival printing and construction. 16 images 320mm square with torn edges on 3 sides. overall 380mm square. The case is yellow bookcloth over board with a linocut on front. Hand-made endpapers. Limited edition of 5: £450+postage.

Image Gallery

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Malcolm Raggett

Malcolm's eye is constantly being drawn to ironic, dissonant or simply wacky juxtapositions. This vision together with a fascination for semi-abstract forms has resulted in several long-running projects as well as short, quick series of images. This makes Malcolm a truly original photographer whose work is fun, deft, often humorous and simultaneously thought-provoking in its layered depth-of-meaning.

He finds the single image rather restricting and prefers to develop a narrative using series of photographs that are assembled into hand-made unique or short-run books. Malcolm is interested in the book-as-performance, either by encouraging interaction by the reader or as a performance to an audience. He is also interested in going beyond the right-angle by making books in shapes other than 90°, and incorporating non-linearities in books that allow readers to take tangents to the main flow of the book.

Malcolm cites the writers Douglas Adams and Terry Pratchett as his two biggest photographic influences, claiming that it is not where you look but the way you see that is important.


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