Photobookstore

• Editions Lamaindonne 2026
• hardback, 1st edition, 144p
• New

“I returned to Japan to photograph something close to my heart, without knowing exactly what. I was seeking tranquillity in a megacity where it seems impossible to find. I told myself that if I could discover it in Tokyo, then perhaps I might also find it within myself.

It was then that I discovered the Kodo, a trail through the heart of the forests and rocks. I lost myself there for several days, and this wandering proved to be a revelation. After seven days of walking, I returned to Tokyo covered in mud, yet filled with a peace that a city of thirty million people could not shake.

Over the following month, I photographed relentlessly, with a newfound conviction and clarity. Each image became a scene, almost a play, at once fragile and intensely present. I raised my camera again and again, with gratitude: once more,

photography had opened up a new path for me.”

- Martin Bogren

Signed copy.

• Yamada 2026
• Hardback, 1st edition, 104p
• New

"For years, I have used photography to observe and contemplate the nature of time. Fragments of time—illuminated as the sun rises in a chain reaction across the globe—manifest before us, shifting between discrete events and fluid perceptual phenomena. Time intersects and layers in countless ways, accumulating like sediment. It is perhaps only through photography that we can truly witness these overlapping layers of past and present, and the distinct cross-sections they form. While staying in cities like Berlin, Paris, Vienna, New York, and Tokyo, I have continuously photographed and edited this body of work. Drawing inspiration from the concept of 'Two-Eyed Seeing,' I weave together time from two distinct perspectives—event and phenomenon—reconstructing it into a unified, material, and 'binocular' experience."

• Origini Edizioni 2026
• Softcover, 1st edition
• New

This is a journey invented by mind, with the images, people, and memories that inhabit it.

It is a notebook of deepest fantasies, pâle because they have been faded by time and memory.

Handmade edition of 500 numbered copies.  Text in English and French.

Video courtesy the publisher.

• Fw:Books 2026
  
• Softcover, 1st edition, 168p
  
• New

Football is deeply rooted in European culture, and football grounds form a familiar part of the landscape in villages across the continent. Since 1995, photographer Hans van der Meer has documented lower-league matches, capturing not only the game but also its surroundings. Beginning in the Netherlands with the book Dutch Fields (1998) and later expanding across Europe in European Fields (2006), his work highlights the relationship between sport and place. Photographed from fixed, often elevated viewpoints, the scenes frequently show solitary goalkeepers waiting as play unfolds at the far end of the pitch. These quiet moments form a tribute to the remote fields where amateur players pursue their passion, far from the spotlight of the UEFA Champions League.

English edition.

• RRB 2026
• Softcover, 1st edition, 128p
• New

Modern life is losing its colour. Photographer Niall McDiarmid’s work is a joyful antidote against greyscale tones predominant across architecture, interiors, fashion and cars. For over 15 years the photographer has traversed the UK, documenting the inherent colour of life as he finds it.

The photographs in McDiarmid’s new book were shot predominantly in London. His images offer an alternative vision to the monotones of contemporary life: warm, diverse and playful, a vivid celebration of the people and places that still bring colour and individuality to Britain. His subjects' clothing paired with the shades of the urban environment around them, finding harmony where tones echo one another and vitality where they clash. He shows the streets and shopfronts, cafes and pubs, train stations and interiors, finding a richness of colour where others might only see the mundane.

McDiarmid's mastery of colour harmony is at the heart of his practice. He exploits the natural flat light of a typically overcast British day, conditions that soften shadows and allow the colours of clothing, signage, and architecture to fully breathe. The result is a body of work that is at once a document and a celebration: of human individuality and the joyful colour that persists in everyday British life.

Signed and dated.

• Chose Commune 2026
• Softcover, 1st edition, 248p
• New

A multigenerational family story centered on the limited relationship between a bereaved son and his long-deceased mother—who died in a plane crash—as well as that same son’s new life as a husband and father. This nonlinear, narrative-driven book charts an artist’s journey through alternating currents of grief, pleasure, love, and heartache, suggesting how the past is ever-present.

As an elegy contextualized within a decades deep family archive, Son Pictures combines Trent Davis Bailey’s own photography and writing from the past decade with premonitory drawings and paintings made by his mother in the 1960s and ‘70s; family snapshots from the 1980s, ‘90s, and 2020s; gritty photojournalism from 1989 repurposed from a newspaper’s archive in Iowa; and film stills sourced from two Hollywood movies set in Iowa that—along with camcorder footage from a home video—the artist rephotographed on a 1990s tube television.

Initially seeking to memorialize and somehow reconcile with the tragic death of his mother in the crash landing of United Airlines Flight 232 in Sioux City, Iowa in 1989, Bailey’s intent for this work shifted greatly when thirty years later, in 2019, he himself became a father. The result is an emotionally wrought and yet still fraught compilation that oversteps the standardized and staid conventions of family photo albums and slideshows. For the artist, this book is “a photographic memorial and an atlas of memory,” one that has allowed him to grapple with the residue of having been thrust into the global media spotlight at a very young age and designated—along with his brothers (who survived the crash) and his father—as a subject in survivor stories. By culling a variety of imagery created before, during, and after the crash, Son Pictures looks into the motherless chasm of an American household and conveys its outgrowths and shards of grief and trauma with a necessary heavy heartedness, but also with humor and hope.

For Bailey, it’s important this intensely personal body of work blurs lines of authorship. The result is one that processes the artist’s painful early years and his more recent evolution as a father, while at the same time questioning the associative relationship between truth and photography, the interchange between images and memory, and the ethics of representation in both Hollywood and photojournalism. Put simply, this book is a discursive time warp and a reminder that behind every tragic news event there are people whose lives are forever impacted.

• Tall Poppy Press 2026
  
• Softcover, 1st edition, 92p
  
• NEW

• Helions 2026
• Hardback, 1st edition, 116p
• New

"A few years ago, I realized that simple stark portraiture was featuring less in my work and I wanted to rectify that. I spent three days during a past November trying to document as many people as I could. This book is the culmination of those three days." - Jack Davison

Unsigned 2nd printing (see dropdown for last few signed copies of the first printing - now SOLD OUT).

• Harry Abrams 1989
• Hardback, 1st edition
• Near fine

This major monograph was published on the occasion of a retrospective exhibition at the Seattle Art Museum. Many of the photographs in this beautifully printed book were presented here for the first time. “In the twenty years following his first museum exhibitions, Friedlander has developed his art in a surprising number of directions. Through travel and commissions, he has taken his camera off the street and into many new areas; but he continues to build on his initial feelings and discoveries made in the street, where he was the confident stranger juggling observation and participation, diffidence and intrusion.”

Near fine copy with faint wear to edges of cover and light yellowing of page edges as to be expected, otherwise a very fine copy.

• Self 2025
• Hardback, 1st edition
• New

The Roma people, often referred to as Europe's forgotten nation, have endured centuries of displacement, discrimination, and marginalization. Originating from northern India over a thousand years ago, the Roma began a long and complex journey across continents—driven by a mixture of forced migration, persecution, and the search for a place to call home. Today, millions of Roma live across Europe, yet they remain on the periphery of society, both literally and figuratively.

Edition of 100 copies.  Signed copy.

• EXB 2026
• Hardback, 1st edition, 104p
• New

A leading figure in contemporary photography, Hiroshi Sugimoto continually explores our relationship with time and perception through his photographic practice. The solo exhibition dedicated to him at the Soulages Museum in Rodez, from April 11 to September 13, 2026, engages his photographs in a dialogue not only with the building’s unique architecture but also with the work of Pierre Soulages, exploring shared themes: light, the primacy of black, and the horizon as a spatial and metaphysical structure.

The book Taking up the Melody, which accompanies the eponymous exhibition, explores Sugimoto’s work through the concept of honka-dori, borrowed from classical Japanese poetry, which refers to the act of revisiting a previous work in order to shift its meaning and revitalize its significance. This principle of reworking allows Sugimoto’s entire body of work to be viewed as a system of variations, where each image is constructed in a conscious relationship to preexisting forms and knowledge: the accumulation of time until the image fades (in the “Theaters” series), the reduction of the landscape to an abstract and ahistorical structure (in the seascapes of “Seascapes”), and the exploration of optical phenomena and the limits of vision (“Opticks”).

Taking up the Melody brings together iconic series—“Theaters,” “Opera Houses,” “Seascapes”—and more recent ones, such as “Brush Impression,” in which the artist moves away from photography to explore the calligraphic gesture through a polyptych of forty-eight drawings. These series are analyzed in two essays—written by Maud Marron-Wojewodzki, director of the Soulages Museum, and art historian Céline Flécheux—that explore how Sugimoto uses photography as a reflective medium. Here, the image appears less as the trace of a pre-existing reality than as a mental construction, in which time—conceived as accumulation, duration, or exhaustion—becomes a material in its own right.

English edition.

• EXB 2025
• Hardback, 1st edition, 240p
• New

In the 1940s, Brazil underwent a profound transformation. The country was industrializing, opening up internationally, welcoming a large European diaspora fleeing Nazism, and becoming fertile ground for the artistic avant-garde. Echoing this effervescence, a new generation of photographers seized the medium to accompany the aesthetic and cultural upheavals of their time.

As part of the movement that saw the birth of Oscar Niemeyer's architecture and vision of the modern city, Novo cinema and Bossa Nova, six figures contributed to the emergence of a new photography: Geraldo de Barros, German Lorca, Gertrudes Altschul, Marcel Giró, José Oiticica Filho and Thomaz Farkas. Seizing the political, social and aesthetic potential of photography, they introduced new subjects: modernist architecture and its soft lines, botanical motifs with contrasting light and shadow, inventive experiments and perspective games tinged with a taste for abstraction.

This dynamic was supported by the creation of numerous amateur photography clubs, notably the Foto Clube Bandeirante in São Paulo and the Foto Clube Carioca in Rio. True hotbeds of artistic emulation and exchange, these collectives encouraged experimentation, democratized the use of photography and increased links with the European and North American scenes.

The formal and aesthetic diversity of Brazilian modernist photography remains largely unknown. Through the work of thirty-three artists, the book sheds light on a daring generation that placed Brazil at the forefront of the international avant-garde movement.
A text by Marcella Legrand Marer and Helouise Costa, co-curators of the exhibition presented at the Rencontres d'Arles, introduces the book and looks back at the three high points of Brazilian modernism. The visual corpus is complemented by two essays by Rafael Cardoso, art historian and writer, and Julieta Pestarino, anthropologist, art historian and curator.

English edition.

• EXB 2025
• Hardback, 1st edition, 120p
• New

In the book A Certain Nature, after Giverny, Jean Gaumy offers an original vision of painter Claude Monet's world-famous garden. Over the seasons, he has intensified his formal research into plants, creating black-and-white compositions that border on the painterly and the abstract.

A place of artistic fascination for over a century, the garden of painter Claude Monet (1840-1926) in Giverny is today one of the most emblematic sites of French cultural heritage, with its famous water lily pond, immortalized in the paintings of the Impressionist master. It was in this setting, steeped in history and beauty, that the great Magnum photographer chose to cast his eye. Benefiting from privileged access to the garden as a member of the Académie des Beaux-Arts (French Fine Arts Academy), he has turned it into a veritable laboratory for photographic experimentation over several years (from 2016 to 2024). As a keen observer of nature, armed with his iPhone, he develops a singular approach, somewhere between abstraction and naturalism, scientific sensitivity and visual poetry.

In this book, Jean Gaumy explores the richness of plants, their structures, rhythms and almost microscopic details. Through the alleys of Giverny, Gaumy not only photographs a place, he also retraces the thread of his memories and tells us a story: that of his childhood, marked by the simple joy of a family garden, a place of discovery and reverie, to which he tries to bring back to life through these images. An essay by Jean-Christophe Bailly examines Jean Gaumy's “photographic decisions” in relation to the collective imagination surrounding Giverny, and completes the book.

English edition.

• EXB 2025
• Hardback, 1st edition, 192p
• New

One evening in January 1989, Paolo Roversi stopped at the Malabar Hotel in Cochin, in the Kerala region. He had already made several trips to India. That evening, as he began reading Pier Paolo Pasolini's The Smell of India, he realized that he was staying in the very same hotel where his fellow Italian had stayed almost thirty years earlier. In 1961, Pasolini traveled to India with Alberto Moravia and Elsa Morante. The Smell of India, which he wrote upon his return, recounts his impressions, his nocturnal wanderings, and his encounters. In this book, Pasolini expresses his wonder and his sensitive experience of a different humanity, far removed from Western perceptions.

Thirty years later, Paolo Roversi presents an India that is just as mystical and fabulous, captured in sepia tones and powdery colors, the signature of his aesthetic. The variations in light and the modeling of volumes create a dreamlike, suspended universe. Decrepit marble palaces, small shops, alleys populated by a menagerie of donkeys and sacred cows, sandy valleys shrouded in an amber veil, and above all portraits of women, men, and children in which we find the gentleness and elegance of Roversi's gaze. Whether focused on their tasks or posing for the camera, they compose a kaleidoscopic portrait of India.

Published alongside Pasolini's full text, Smell of India by Roversi immerses readers in a mysterious and fantastical India. At the end of the book, Paolo Roversi recounts his search for an orphan named Revi, whom Pasolini had met, and an appendix presents a collection of letters from the Italian author as well as an interview.

English edition. 

• EXB / LE BAL 2025
• Hardback, 1st edition, 256p
• New

In January 2023, Donna Gottschalk met Hélène Giannecchini for the first time. Although they were separated by some forty years, they developed a closed bond. In search of images for her forthcoming book on friendship, Hélène explores Donna's archives and collects her words, her story. Deeply moved by Donna's life and photographs, Hélène set out to echo them.

Donna Gottschalk's work paints a social, political and intimate portrait of an invisible America, from the late 1960s to the 1980s. As a member of the queer community herself, and involved in the early lesbian rights movement, Donna focused on photographing people on the margins of society, with whom she lived, campaigned and worked: her relatives, friends, lovers and comrades in struggle. Her favorite mode of expression is the portrait, which she strives to capture without artifice. The people she photographs pose for her in an intimate setting, most often in her apartment, fully embracing their freedom. With a sensitive, committed and non-judgmental eye, Donna gradually builds up a family album, a collective memory.

Throughout the book, a text by Hélène Giannecchini activates, reveals and extends Donna Gottschalk's images. An essay by Julie Héraut, co-curator of the exhibition, entitled “Archive against oblivion,” looks back at the careers of the two women and the genesis of this four-handed project.

In “Being seen. On Donna, visibility, and me,” African-American photographer and art historian Carla Williams draws a parallel between her photographic practice and Donna's, a few decades apart. A selection of archives completes the picture.

English edition. 

• EXB 2026
• Hardback, 1st edition, 336p
• New

Photographer Jo Ractliffe is interested in “post-conflict” landscapes, particularly in southern Africa, as places of memory marked by the violence of war, even in their soil and ruins. Her photographs, mostly in black and white, reveal the traces and absences left by apartheid, regional conflicts, and population displacement. Ractliffe's work unfolds in this tension between visibility and invisibility, between intimate memory and collective narrative carried by landscapes that become domestic spaces and geopolitical territories. Her photographs—roads, vacant lots, urban peripheries—bring to light places where history surfaces without ever fully revealing itself. Through sober and poetic images, the artist captures the lingering effects of violence and historical trauma: by considering silences as witnesses to violence, she moves away from social documentary and focuses less on the event itself than on its “aftermath,” questioning the way in which landscapes become archives. Her recent projects, including her latest series The Garden, which will be shown for the first time at the Jeu de Paume, extend this reflection by addressing the forms of dispossession and resistance inscribed in the landscape.

Three essays written by Pia Viewing, curator of the exhibition, Rory Bester, South African art historian, and Oluremi Onabanjo, curator at MoMA in New York, are complemented by short texts written by the artist, offering a personal voice on each of her photographic series

English edition.  Signed copy.

• EXB 2026
• Softcover, 1st edition, 140p
• New

Nuits Balnéaires has developed a multifaceted artistic practice: his photography, his preferred medium, borrows from other disciplines such as cinema, theatre, literature and poetry. For him, image creation is a hybrid space where reality and dreams coexist. The Malinké and Agni-Bona cultures, from which he originates, strongly influence his universe – tales, epics, proverbs, metaphors – and rub shoulders with contemporary arts: his works weave infinite geographies, drawing on the melting pot of ancient civilisations and confronting the complexities of the modern world. In 2024, Nuits Balnéaires created Eboro: a visual journey into the “beyond” (eboro in the Agni-Bona tradition). The photographic series tells the story of an exiled poet, inspired by his uncle, Noël X. Ebony, a figure of Ivorian literature in the 1980s who disappeared mysteriously. Following in the footsteps of this poetic heritage and his verbal experiences, Nuits Balnéaires composes a fiction in which a character (poet and fisherman) passes from the real world to the world of dreams. The photographer plays with symbols from ancestral Ivorian cultures, mixing them with motifs from the modern city (dehumanised suburbs). In a dreamlike atmosphere and an aesthetic that emphasises the power of colours (black and red symbolise passage and transition to the afterlife), the character of the exiled poet (like his uncle before him) leaves the city and crosses the desert before reaching the spirit world, where strange creatures wearing crimson headdresses await him. 

Eboro blends literary, pictorial, historical and symbolic influences. The fable speaks of isolation, exile, melancholy and age-old tradition. In this journey back to the source (the world of ancestors), Nuits Balnéaires questions the mechanisms of domination and the fragility of our cultural and spiritual heritage. His visual language plunges us into the confines of the tangible, between familiar spaces and more surreal ones. ‘A still image has an evocative power that does not depend on the unfolding of an action, but on what it suggests, on what the viewer projects onto it,’ explains the photographer. Eboro goes back in time and crosses borders, oscillating between unfathomable mystery and wonder; he reveals himself in a black and red book, printed on craft paper, punctuated with the words of poet Noël X. Ebony.

• Self / Philbrook Museum of Art, 2026
• Hardback, 1st edition, 120p
• New

Commissioned by Tulsa’s Philbrook Museum of Art, OK is a collection of photographs made throughout Oklahoma between June and November 2018 with 35mm, 120, and 4x5 color and black-and-white films.

On view June-December 2019, OK: Jason Lee Photographs featured an extensive selection of prints from the collection, occupying the Meinig and Burnstein Galleries in the museum’s former satellite location, Philbrook Downtown (now Bob Dylan Center). 

Published for 2026 in association with Philbrook Museum of Art, OK/BW features 75 black-and-white images from the collection. 

• Setanta 2026
• Hardback, 1st edition, 96p
• New

Time Isn't Holding Us is the debut monograph of Joakim Möller. This collection offers a comprehensive visual journey, uniting the various facets of Möller’s practice; from traditional street photography to the surreal narratives created through his meticulous use of diptychs.

Joakim's images capture striking urban moments through dramatic compositions and a distinctive use of black and white, drawing attention to the subtle tensions and poetry of everyday life. His photographs are not driven by a predefined message or theoretical framework; instead, they function as fragments of a personal visual diary.

• Princeton University Press 2026
• Hardback, 1st edition, 128p
• New

A legendary American photographer’s intimate pictures of his family in a small Virginia town, published here for the first time

Photographer Emmet Gowin first gained renown in the late 1960s with a remarkable series of pictures of his wife, Edith, their children, and four generations of her family, many of whom lived in a cluster of houses at the end of Baldwin Street in the mill town of Danville, Virginia. These images of the family’s daily life and gatherings are among Gowin’s most admired. Baldwin Street is a stunning new collection of photographs from that world. Most of these photographs have never been published, and many were printed for the first time during the Covid pandemic after Gowin rediscovered the negatives. Together, they represent a fascinating and thrilling expansion of his important early work.

In a preface, Gowin describes Baldwin Street as a “small but intensely vivid world,” teeming with Edith’s family―including her grandmother, mother, sisters, brothers-in-law, and many children. “It was here that I came of age and found my first true subject,” Gowin writes, and Baldwin Street became nothing less than “the center of my spiritual universe,” a place where “the kingdom of heaven seemed to be all around us.” These beautiful and moving photographs capture and express this feeling of the otherworldly and numinous amid everyday life.

Featuring close to seventy photographs, this gorgeously produced volume includes a new interview with Emmet and Edith Gowin offering further details about the family and the images, with memories and reflections by the photographer about the period when the pictures were made.