The boxes came up from the printer on a Thursday, and we left them by the door for two days before anyone opened one. A catalogue is the only thing we make that never passes through the hands at the bench. It still has to carry the same argument: what a lamp is like when it is lit, and what it is like when it is not.

This edition gathers the whole of our present collection — the hammered wall discs, the floor lamps that hold a single bulb at the end of a long brass arm, the small table lights we first tried on the corner of a bench and then kept. Everything is photographed in a real room at the hour it was designed for. No white void, no retouched glow. Where a shadow fell, we left it on the page.

Ink, paper, binding

We printed on a soft uncoated stock, because most of our work is described by what stays dark, and a glossy sheet turns that darkness grey. The spine is sewn rather than glued, so the book lies flat. You can leave it open on a table while you measure a wall, and it will be on the same page when you come back.

• Matte, uncoated paper throughout, so the blacks stay black
• A sewn spine that opens flat and stays where you put it
• Each family shown lit and unlit, with finishes and dimensions
• Photographs made in rooms and at hours, never in a studio void

There are copies on the table by the showroom door. Take one, or write to us and we will send one out. A page does not dim, does not ask for a password, does not go out of date in a season.

Light, held still on paper.