A city can be revisited in more than one register. Hannah Platt returns to Leeds five decades after Peter Mitchell began photographing it, and her temperament is nearly the opposite of his: where Mitchell is contemplative, Platt moves fast, with dry humour, stopping for bright colour, graphic lines and lettering that most passers-by would not notice.

Nosey Parker takes its cue from the nosy one — the person who looks a little too closely. That curiosity is directed at shop fronts, golden sunrises, incidental detail, the odd compositions that urban life produces without arranging them. Platt is not chasing picturesque subjects so much as a specifically British wit in the people and places of Leeds and beyond, an unmanaged humour that gives the series its tone. The result is documentary work with a light step, alert to the small encounters through which a place announces itself.

The same playfulness governs the book as an object. A strong colour sequence, laser-cut details and a hidden final image ask to be handled, not only read; the design joins the photographic narrative, holding back as much as it reveals. Martin Parr contributes a foreword that situates Platt’s project within the photographic history of Leeds and the wider attention the city has received.

For a collector, the interest lies in how clearly the authorial position is stated. Here is a contemporary answer to an established local tradition, made by a photographer who has found her own method in colour, comic timing, sequencing and book-making rather than in homage. RRB Photobooks issued it in 2022 as a 72-page first-edition softcover; the ISBN is 9781739702304. Confident in its humour and deliberate in its construction, it is the kind of first book that defines a direction early.