Photobookstore

• Nazraeli Press 2026
• Hardback, 1st edition, 32p
• New

In How To Tokyo At Night, the viewer is the voyeur, accompanying Daido Moriyama on his night on the town as he visits some of his favorite hunting grounds in Tokyo. While the images in the book span several years, they are presented here as movie stills made in a single night out.

Born in 1938 in Osaka, Japan, Daido Moriyama is a pivotal figure in contemporary photography, celebrated for his evocative black-and-white street photography that captures the essence of urban life. Moriyama’s photographs are included in the permanent collections of such important institutions as the Museum of Modern Art Art, New York; San Francisco Museum of Modern Art; and Fondation Cartier pour l'Art Contemporain, Paris. Retrospective exhibitions of his work have been held at major institutions like Tate Modern and SFMoMA. Moriyama was awarded the Hasselblad Foundation International Award in Photography in 2019.

Featuring 17 photographs printed in rich duotone on special matte art paper, and hand-bound in silkscreen printed boards, How To Tokyo At Night is published on the occasion of Moriyama’s exhibition of photographs and photographic objects at POST, Tokyo and Peter Fetterman Gallery, Santa Monica, in Spring 2026.

Printed in a first edition of 500 copies

• Nazraeli Press 2026
• Hardback, 1st edition, 32p
• New

Mark Steinmetz’s first book of cat photographs, Ancient Tigers of My Neighborhood, was published by Nazraeli Press in a small edition some fifteen years ago. That title was selected by Robert Adams as a “Best Book of 2010” at the Kassel Photobook Festival in Germany. Steinmetz again chose cats as the subject for his aptly-named Cats One Picture Book years later. 

Now, on the occasion of the artist’s solo exhibition at Photo Gallery International, Tokyo in Spring 2026, we are pleased to announce the publication of Low Fi Cats. This selection of 17 cat photographs in Steinmetz’s neighborhood in Athens, Georgia includes best hits as well as previously unpublished work, all made with Steinmetz’s trademark humor and grace.

Mark Steinmetz is a Guggenheim Fellow, and his work is included in the permanent collections of many important institutions, including Museum of Modern Art, New York; Metropolitan Museum of Art, New York; The Whitney Museum of American Art, New York; Art Institute of Chicago; and the Los Angeles County Museum of Art.  Featuring 17 photographs beautifully printed on special matte art paper, and bound in silkscreen printed boards, Low Fi Cats is printed in a first edition of 500 numbered copies.

• EXB 2026
• Hardback, 1st edition, 176p
• New

A pioneer of photography and a key figure who helped establish the medium as part of the avant-garde of modernity in the early 20th century, Edward Steichen began experimenting with the possibilities of his art at a very early age. Fascinated by the variations of light in nature, he captured through his lens the reflections of the sky on water, the diffraction of shadows in foliage, and the colorful brilliance of flower petals. Playing with chiaroscuro like a painter, he casts a fresh eye on the plant world: his taste for experimenting with the photographic image echoed his passion for flower hybridization. As a horticulturist, the photographer cultivated his own varieties—he was particularly fond of delphiniums.

This book presents, for the first time, the unique relationship Steichen had with nature and the garden. Famous for his portraits, the photographer captured flowers, trees, and bouquets with the same care. It was in the garden, just as much as in the studio, that he honed his eye and developed his artistic practice. From the pictorialism of the famous platinum print The Flatiron, Evening, created in 1905 in New York, where the twilight hues of the city radiate, to the chromogenic prints of the 1950s that reveal the power of the colors of the Connecticut countryside, and including still lifes of bouquets of roses or sunflowers, Steichen’s images immerse us in atmospheres where light defines contours and infuses the air. Both the chromatic power and the intensity of the black-and-white images showcase nature in all its diversity, both wild and cultivated. For the photographer, the latter represents a vast field of exploration, as highlighted by the Luxembourg collections presented here: those of the National Museum of Archaeology, History, and Art, the Spuerkeess Foundation, and the City of Luxembourg Photo Library. Accompanied by texts from international photography historians, this visual corpus highlights, for the first time, the importance of the plant world in the aesthetic explorations of a great master of the 20th century.

English edition. 

• GOST 2026
  
• Hardback, 1st edition, 154p
  
• Imperfect - see below

‘’Lonely Are All the Bridges’ is not a war book. Not exactly. It is a portrait of a place and its people—where systems have collapsed, where borders have been redrawn again and again.’ – Robin Hinsch

The images in Lonely Are All the Bridges were made in Ukraine by Robin Hinsch over a period of more than a decade. The photographer first visited Ukraine in 2010, intrigued by the description of the then President Viktor Yanukovych as ‘the new dictator between East and West’. His sustained interest in this complex country compelled him to return many times to photograph both the landscape and the people he encountered. His images are unlike pictures of Ukraine seen in the news, presenting instead a melancholic vision of country caught between a contested past, a brutal present and an uncertain future.  

'This is not a story of heroes and villains. It’s about the slow, grinding forces that tear societies apart and the fragile, sometimes ambivalent human threads that try to hold them together.'

The photographs show Soviet ruins and historical monuments alongside misty, rain-soaked or snowy landscapes. The people in the pictures are carefully positioned within these environments—workplaces, homes, fields, ruins and battlefields. The images are both monochrome and colour, the latter subdued by a grey sky. This stylistic choice, in tandem with the presentation of the photographs in the book without captions alongside, hints that they are from a different yet indistinct era, and untethered from time.

Animals appear as a motif throughout the book—symbolising desertion and abandonment but also lending the book an allegorical and dreamlike quality. The bear, a symbol associated with Russia, is shown in an animal pacing around a zoo enclosure and also as a child in costume. Feral cats, dogs and wild horses slip in and out of the landscape and children are shown with dogs, horses and an incongruous camel. The bridge is another recurring motif linking back to the book’s title, drawn from a poem by Austrian Ingeborg Bachmann. This reflects on the nature of a bridge, a connection which is both tied to different sides and yet inherently isolated.

In his notes at the end of the book, Hinsch references Andrei Tarkovsky’s film Mirror which employs a fragmented narrative, dissolving linear storytelling, allowing various motifs such as memories, dreams, and experiences from different times to coexist. This approach is echoed in his image-making.  

'The book suggests, at least, a time in which the current war will be added to the strata of time and memory, and less starkly black-and-white thoughts and feelings may once again become possible’' Julian Stallabrass

Bumped corner - see photo example, pages inside unaffected and otherwise sealed new copy.

• Aperture 2026
• Hardback, 112p
• New

The fiftieth anniversary edition of a timeless photobook by Joel Meyerowitz.

Cape Light, Joel Meyerowitz’s series of serene and contemplative color photographs taken on Cape Cod, Massachusetts, quickly became one of the most influential and popular photography books in the latter part of the twentieth century at its publication in 1978, breaking new ground both for color photography and for the medium’s acceptance into the art world. Now, nearly fifty years later, Aperture is pleased to reissue this classic photobook.

The book features the now-iconic images of the original edition, newly remastered and printed as never before. In it, everyday scenes—an approaching storm, a local grocery store at dusk, the view through a bedroom window—are transformed by the stunning light of Cape Cod and the luminous vision of the photographer. Meyerowitz is a contemporary master of color photography, and through his eyes small-town life on the Cape is imbued with a powerful and captivating beauty.

• Stanley Barker 2026
• Softcover, 2nd edition, 112p
• New

At Night Gardens Grow moves through the backwoods of a place both real and imagined, formed as much by memory as by a very specific geographical location in Maine.

First published in 2021, At Night Gardens Grow disappeared within a few short months of its release. This new edition reshapes the work from within, adding unseen images, and removing others, not as a revisionist act but as continuation. Pia revisits At Night Gardens Grow five years on, having transitioned in the interim, now reflecting on her life at that time, and the drastic changes that have taken place since its release. The photographs are seen again through a body and a language that have come into alignment, allowing the deeper currents that lived deep within the work from the outset to surface more clearly. These images stand with one foot in contemporary America and the other in a more ancient register, haunted by family, memory, and the land itself.

From baptisms to spider silk monuments, funerals, house fires, holes carved into rock, and birth, At Night Gardens Grow gathers stories that are as fragile as the world they are built upon. Combining carefully constructed large format photographs with more instinctive documentary images, Pia Paulina Guilmoth works through found and fabricated landscapes that resist fixed location. The setting remains deliberately unstable, never fully named, yet immediately familiar. What emerges is a terrain held together by atmosphere rather than map, where personal history and collective myth are allowed to overlap.

Pia Paulina Guilmoth is an artist based in rural Maine, USA. Working primarily with large format analogue photography, her practice explores themes of transformation, belonging and the natural world. Her work has been exhibited internationally and is held in numerous public and private collections.

The design of At Night Gardens Grow has been reimagined, moving away from a traditional hardback into something gentler. It is wrapped in a delicate recycled dust jacket created by Pia using petals and earth to form an abstract work, marked with symbols drawn from her practice. Beneath it, exposed web-like stitching gives way to a sequence of previously unseen photographs of spider webs, printed on a rich uncoated stock.

In stock now.

• 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.