All Books

• Hatje Cantz 2025
  
• Hardback, 1st edition, 144p
  
• New

Previously unseen imagery from the archives of a pioneering figure in color photography.

Fred Herzog was a master of color photography. His iconic Kodachrome street shots from the 1950s and 1960s capture urban life in warm red-orange tones, offering precise observations of people and city movements. Poetic, witty and always respectful, his images create an intimate atmosphere. After moving to Vancouver in 1953, Herzog built a vibrant visual tribute to the city. He also traveled to the US, Barbados, Curaçao, Guatemala and Mexico, his Leica always in hand. In an era dominated by black-and-white photography, Herzog's use of color was groundbreaking. His bestseller Modern Color remains celebrated worldwide. Now, newly released photographs from his archive, managed by Equinox Gallery, continue his legacy, offering fresh insight into his unique perspective. These images not only preserve Herzog's vision but also reaffirm his place as a pioneer of modern color photography.

• Three Books 2025
  
• Softcover, 1st edition, 268p
  
• New

• Three Books 2023
  
• Softcover, 1st edition, 96p
  
• New

Signed copy.  Large oversize softcover.

• Three Books 2025
  
• Softcover, 1st edition, 206p
  
• New

"It wasn’t a dream.  He really came back"

"The Dialogue of Two" is the nearly three-year story of photographer Akihito Yoshida's grandmother until her death at the age of 88, left alone after Yoshida's cousin Daiki, who lived with her, took his own life. The photobook evolves around a ‘tale’ that the grandmother told the photographer over and over again before her death.  "The Dialogue of Two" is a story of how those who have lost their loved ones face the dead and live in dialogue with them.

Signed copy.

• Zen Foto 2025
  
• Hardback, 1st edition,96p
  
• New / near new

With “The Wind Prays for Sublime Stillness,” Tokyo-based publisher Zen Foto presents the series that earned Toshiya Murakoshi a nomination for the Kimura Ihei Award in 2023, when he first exhibited this body of work.

Murakoshi, born and raised in Fukushima, has photographed landscapes in and around his home prefecture since the beginning of his career. The works in this book form the fourth part of an ongoing series he has been making in Fukushima since March 2011, shortly after the Great East Japan Earthquake and Tsunami devastated the region.

With “The Wind Prays for Sublime Stillness,” Murakoshi sharpens his sensibility once more: the enigmatic allure of his quiet, initially unassuming landscapes feels more pronounced, yet without compromising their sensual depth or textural richness.

“Murakoshi’s photographs capture something that cannot be easily described in words. One finds a clue in the image, draws it towards oneself, and enters into it …Every photograph in this book was taken within [Fukushima]. This is an important and unwavering truth. It’s hard to tell what most of the forms in these photographs look like. The shades of grey appear between black and white, and even the black areas aren’t completely black; it’s as if something is hiding in the depths of the black.” — from novelist Akiko Ohtake’s afterword “Not There, But Somewhere Else”

Note that "near new" copies have a very small white mark to the cover - see photo example.  

• Zen Foto 2025
  
• Hardback, 1st edition, 115p
  
• NEW
  

Masakazu Murakami’s new photobook takes its title from an ancient Chinese story, The World Inside a Pillow, in which the boundaries between dream and reality are blurred. Murakami’s sequence of black-and-white snapshots is brilliantly arranged to engage both mind and eye, gradually building a world of small, recurring symbols, signs, and motifs (many of them possibly imagined). Given the sheer variety of subjects, compositions, and locations (which, according to Murakami’s foreword, he cannot recall), “Dream Within a Dream” also reads as a book about photography itself, celebrating both the joy of taking photographs and the act of seeing the world through them.

“Indeed, life may be as fleeting as a dream. A dream that emerges and disappears, then fades into oblivion as soon as we wake up – it is like a formless memory, or an incoherent photograph […] Perhaps these photographs, taken half-unconsciously without any intention, offer a glimpse of something similar to the boundary between dream and reality.”
― from Masakazu Murakami’s afterword

Signed copy.

• Photo Editions 2025
• Hardback, 1st edition, 80p
• New

reverie (n): a state of deep and often dreamy contemplation or daydreaming, where one's thoughts and imagination wander freely and without a fixed purpose.

Martin Amis new photobook Reverie is a natural continuation of his previous work, This Land. It sees the photographer return to the Thames Estuary and it’s surrounding areas in North Kent, the tidal area where the River Thames meets the North Sea. Like dreams, this landscape, not quite land, not quite water, is an in-between space, neither here nor there. It is a landscape scored with stories of the past, as well as uncertainty around the future.

People are absent from the images, yet there are traces of human presence: the skeletal hulks of ships, electricity lines and fences, polluted waters, and industrial pipes billowing smoke on the horizon. Through these subtle details, Amis alludes to the ongoing destruction of these rural areas, many of which have been earmarked for new housing developments.

The passing of time is evident throughout. As the book segues through the seasons, we are carried into a dreamlike flow, witnessing both the quiet strength and beauty of nature, while also recognising what we risk losing in destroying these precious habitats.

Signed copy.

240mm x 300mm, hardback with black page edges.

A range of special edition options are available from the dropdown:

• Each print is in an edition of 15 signed and numbered copies (on verso), the price of each will rise in increments as the edition sells through.
  
• Printed on 310gsm Hahnemühle William Turner paper, a beautifully textured matt paper.
• Paper size: 210mm x 297mm (A4) 
• Image size: 160mm x 200mm, except Winter Landscape 160mm x 240mm
• several other prints from Reverie are available here

For trade enquiries, please get in touch here

• Case 2025
  
• Hardback, 1st edition, 112p
  
• NEW
  

Even as night falls over the snowy landscapes of northern Japan, vending machines, lined along roads, standing before houses, or seemingly alone in nature, glow in the dark, offering warm and cold drinks along with a peculiar sense of companionship.

In “Roadside Lights 2020–2025,” Japanese photographer Eiji Ohashi turns his lens to winter nights in his native Hokkaido, sharpening the focus of his long-running “landscapes with vending machines” series. His compositions portray these ubiquitous machines, which have become symbols of Japan’s safety and convenience, as tireless, vigilant workers, continuing their quiet labor regardless of the circumstances. This latest book adds another compelling chapter to a series that continues to captivate audiences both in Japan and abroad.

“Photographing as the snow falls and piles up around me brings back distant memories. I remember playing outside until my boots were filled with snow, and how difficult it was to take them off once I went back inside, or digging into snowbanks to create secret hideouts for myself. While my childhood memories of the snow are rather sweet, life in winter in the northernmost part of Japan where I grew up was harsh. Sometimes the blizzards were so strong it was impossible to put one foot in front of the other, almost as if the full force of nature were blowing against you. Winter was always a reminder of how small and feeble human existence really is. But I also remember the nightly scenes, when the snow reflected the light off the streetlamps, as beautiful and bright. For me, the sight of a vending machine on a snowy night embodies these memories.” ― from Eiji Ohashi’s afterword

• Zen Foto 2021
  
• Hardback, new edition, 204p
  
• NEW
  

This Complete Edition of “Goze” includes previously unpublished photographs and offers an unprecedented view at Shoko Hashimoto’s masterful series from the 1970s, newly selected, edited and scanned from over 10,000 original negatives by Michitaka Ota, founder of publisher Sokyusha.

From spring 1972 until summer 1973, Shoko Hashimoto traveled around Niigata Prefecture together with a group of goze, blind women entertainers who performed and told stories in exchange for food and shelter. Today, there are no longer goze traveling around. Life was already difficult for the goze in the 1970s, and the continuing industrial, economic and urban developments of postwar Japan have only accelerated since then. Hashimoto’s astonishing photographs document the life of these women. We see them taking baths, relaxing on the floor, sleeping at night, and endlessly roaming from village to village. Hashimoto’s distinct style, which renders the scenes with an almost painterly quality, knows which parts to emphasize: in landscape shots, the scenery appears to almost swallow the women; when faces are involved, the emotions are vivid.

In addition to previously unpublished photographs, this Complete Edition also includes Shoko Hashimoto’s diary from his time with the goze, available in Japanese and in English translation.

• Zen Foto 2024
  
• Softcover, 3rd edition, 120p
  
• NEW
  

High Fashion is a series of work taken by Pawel Jaszczuk between 2008 and 2010 of drunk salarymen sleeping in the streets of Tokyo.

Pawel, residing in Japan at the time, would head out on his bicycle after midnight to photograph different people and places, saying that the best hours for him to shoot would be between 1 am and 4 am. Shortly after he started this body of work in 2009, he published a zine entitled “salaryman” with Morel Books in black and white and limited to 150 copies and which immediately sold out. This time, Pawel has selected images of sleeping salarymen in poses reminiscent of fashion models and the photobook is in the style of a glossy magazine, hence the title “High Fashion”.

According to Pawel, this body of work is emphatically not a statement against drinking. Rather, he originally wanted to capture the simple contrast between men in nice suits and dirty streets, but his view of the work has evolved in recent years. This time Pawel hopes that the publication of “High Fashion” with Zen Foto Gallery will act as a humorous, apocalyptic vision of this overworked and overstressed society.

• Charcoal Press 2025
• Hardback, 1st edition, 128p
• New

Gumsucker  laments the loss of untamed Australian wilderness to civilization, ever encroaching, domesticating the land and spirit. It is a ghost story of sorts, populated by withering vestiges and isolated souls. Its title, drawn from the archaic term once used to describe native-born European Australians, also recalls ‘The Gumsucker’s Dirge,’ a 19th-century poem mourning the erasure of wilderness as the frontier was pushed further out and the dream of an untouched wilderness became increasingly inaccessible. 

Rory King’s images depict a landscape of abandonment, yet speak of a yearning for deep connection in the face of isolation. These are lonely photographs, but with warmth and connection at their edges. There is resistance here, some fight and resilience to the disillusionment of modernity. Through his patient gaze, King's lens captures strangers, companions and brute nature alike in a tender embrace.

Edition of 1000 copies.  Signed copy.

• GOST 2025
• Hardback, 1st edition, 520p
• New

The photographs in FASHION were made by Mark Power over a period of 27 years and across 23 countries. They were taken at construction sites, factories, quarries, shipyards, foundries, recycling facilities, theatres and other locations where things are being made, or fashioned.

The majority of the images were made while on commission. Some are of recognisable architectural landmarks while others are more obscure. Some focus on tiny, often overlooked details while others demonstrate Power’s skill at capturing the monumental. Collectively they reveal an ongoing practice where every photograph is meticulously composed and considered. Importantly, the images in the book are devoid of captions, descriptions or dates. As a result they are sequenced neither by location nor chronologically but solely by use of visual links of colour, form and light. A gentle humour is often revealed in the details—a hole in a shoe, rows of white gloves hung out to dry or a painstakingly arranged cupboard of brooms and brushes. Removed from their original commercial or industrial context they become elusive and poetic. 

Power began looking at his archive of construction pictures in this way during a Magnum Photos Live Lab at The House of Beautiful Business in Lisbon in 2018, when he worked collaboratively to attempt to sequence around 200 photographs. Influenced then and now by Mike Mandel and Larry Sultan’s landmark bookEvidence (1977), Power’s project has grown and evolved over the following seven years to this published form. 

The earliest photographs in the book were made during the construction of the Millennium Dome (1997-2000), documented by Power in over one hundred site visits. This work returned to the 19th century tradition of a singular photographer documenting the construction of great public building from start to finish. However, before he took a single picture he carefully negotiated the freedom to make his own work on the site, rather than be told what to photograph, or how. Ever since, his work has followed this same formula. Fashion is, in part, a celebration of what is possible within the commercial world if there is trust on both sides and the photographer is given artistic licence and liberty.

• David Zwirner Books 2025
• Hardback, 1st edition, 92p
• New

Diane Arbus: Sanctum Sanctorum brings together forty-five photographs made in private places across New York, New Jersey, California, and London between 1961 and 1971.

Through her singular combination of intelligence, charisma, intuition, and courage, Diane Arbus (1923–1971) was frequently invited into personal realms seldom seen by strangers. Though made in intimate settings, the photographs collected in this volume convey no sense of intrusion or trespass―instead, they reveal an unspoken exchange between photographer and subject, a moment of recognition in which confidences emerge freely and without judgment.

Arbus’s desire to know people embraced a vast spectrum of humanity. Her subjects featured in Sanctum Sanctorum include debutantes, nudists, celebrities, aspiring celebrities, socialites, transvestites, babies, widows, circus performers, lovers, female impersonators, and a blind couple in their bedroom. Through a fresh consideration of little-known photographs among works that may be more familiar, this publication invites viewers to discover aspects of even well-known images that have previously gone unnoticed.

• Stanley Barker 2025
• Softcover, 1st edition, 88p
• New

The most consequential moments are rarely dramatic. What stays with us, what makes us feel truly seen, is often small, domestic, and endlessly repeated. Judith Black’s photographs, made at home in the early 1980s of her four young children and their stepfather, remind us of this simple truth.

In 1980, after a divorce, Judith moved her family to Cambridge, Massachusetts, and took a job at the darkroom at MIT. Their home wasn’t grand, but it was theirs, a place to begin again. Not long after settling in, they found a worn old armchair left on the side of the road and gave it a place by the window. It became a spot of rest and quiet theatre, a vantage point from which Judith watched her children grow, day by day, frame by frame.

This new book gathers every photograph she made of that single chair. What begins as cast-off furniture becomes, through her attentive eye, a kind of threshold: a simple thing that holds a whole world. There is a truth here that is easy to overlook, that by staying close to the ordinary, by returning to the same corner of a room, we might learn to see more clearly. And that the measure of a life is so often found not in grand gestures, but in the worn fabric of a chair, the shifting light, the hush of children growing older under our watch.

Where the Light Came In has been carefully designed to feel like an object of devotion; the kind of object a parent might make at home. Each photograph has been silkscreened with a soft gloss varnish, echoing the sheen of prints lovingly pasted into an album. Handwritten notations run through the pages, intimate and unguarded. The book itself is coverless, its exposed binding sewn and held in place with quiet precision, a gesture of care and vulnerability.

"The chair, a curbside find on garbage day, was covered with a swath of dark brown corduroy to hide its tattered arms and worn cushions. It sat by the entryway door and caught brief moments of early morning light from the dusty living room bay window that looked over the alley separating our apartment from our neighbour." - Judith Black

• EXB 2025
• Hardback, 1st edition, 144p
• New

At the crossroad of an artist's book and a scrapbook, The Dead Are Glad to Be Remembered, signed and numbered in a limited edition of 500 copies, invites us to explore Todd Hido's work in dialogue with his collection of vernacular photographs. Each page of the album offers a new narrative composed by Todd Hido, with the collaboration of his wife Marina Luz, deliberately left open-ended.

The book presents a selection of Todd Hido's portraits, urban house views, and landscapes, both unpublished and iconic, punctuated by postcards, book covers, vintage movie posters, old amateur portraits, drawings, photo booth pictures, and more. The vernacular photography is reproduced in all its materiality. Genres blend together to create a unique work that plays on different atmospheres around the themes of desire, loneliness, memory, the unconscious, and the subconscious, which are characteristic of the photographer's work. These themes are found in the essay by author Brad Zellar, at the heart of the book, which he explores through these fragments of experiences and stories interspersed with literary quotations.

Both an ode to the printed image and to the memory of those who have lived, this limited edition echoes traditional photo albums with its screw-bound canvas cover. The dialogue between the materiality of the images and the different types of paper, including one that is translucent, creates a cinematic fiction within the book, with certain photographs appearing and disappearing like enigmatic collages. These images, arranged randomly on the page, respond to one another and allow the reader to create their own narratives.

For a limited period all copies come with a Todd Hido Atelier EXB Tote bag.

• Note Note Editions 2025
• Hardback, 1st edition, 224p
• New

In Keep Distance, Boris Mikhaïlov leads us on a wild, dizzying ride from which we emerge slightly breathless and unsteady. Acting as a kind of visual logbook, the series is composed primarily of recent images (2020–2024) with some older photos mixed in. It has all the appearance of a mental tracking shot, one in which fragmentary or haphazardly framed images unsettle our gaze to such a degree that we find ourselves doubting what we see. Street scenes, everyday objects and screenshots combine with more intimate portraits: of his wife and collaborator Vita, his children, his inner life. The framing is always a little unstable, on the edge of leaving something out of shot, never neutral.

• GOST 2025
• Hardback, 1st edition, 92p
• New

An Extremely Un-get-atable Place is a lyrical exploration and re-imagining of the time that George Orwell spent in a remote farmhouse called Barnhill on the Isle of Jura in the Hebrides, Scotland, where between 1946-1949 he lived and wrote his classic dystopian novel Nineteen Eighty-Four.

Photographer Craig Easton was invited to stay at Barnhill and there made a series of landscape and still life images with his large format 10x8 field camera. The photographs in An Extremely Un-get-atable Place are presented alongside extracts from Orwell's diaries & letters that he wrote during his life on the island.

This is the first book of 'An Island Trilogy' - three monographs to be published over the next two years all made in the Scottish Islands.

• Deadbeat Club 2025
• Hardback, 1st edition, 96p
• New

Mother's Land is a collection of dioramas, of unscripted scenes in which we see a shifting 2010s China unfold before our eyes. It is, also, the result of a long, introspective journey that led Daniel Lee Postaer in search of a missing part of his identity—the one left behind by his grandparents who, more than fifty years earlier and fleeing the communist regime, could take along a daughter, but were forced to abandon another.

In search of this "other half," Postaer lived in China in the early 2000s, and returned several times in the second half of the 2010s, becoming a first-hand witness to the country’s contemporary developments.

In an all-encompassing portrait of urban China, in large-scale compositions embracing a multitude of characters and scenes, Mother’s Land shows us a country in the throes of economic and social transformations. A brutal country, too, that erases without scruple, without memory; which demolishes to rebuild further, bigger, higher. A country in mutation, where contrasts become apparent, where the smooth and shiny surfaces of glass and hypermodernity clash with the coarseness of rubble scattered among ruins. A country in which time moves violently fast, in which each year seems like five, and where the traces of Postaer's previous life seem to evaporate. Only the construction sites reveal, through the rubble, all the strata of time gone by—sedimentary layers unearthing vestiges of the past.

Signed copy.

• Chose Commune 2025
• Hardback, 1st edition, 80p
• New

An intimate glimpse into everyday life in Mongolia, captured through portraits of children and evolving landscapes that reflect the passage of the seasons.

Like a joyful window opened onto the rural life of Mongolian nomads, Taemin Ha’s photographs tell, above all, the story of an encounter. After spending several months with a family on the Mongolian plains, he captures the rhythms of their communal daily life. Portraits of children unfold through the seasons: sovereigns of these vast rural landscapes, they embody a profound sense of freedom, intimately connected to nature and the animals around them.

A peaceful softness radiates from his images, where the bright light of spring and summer follows the hushed, enveloping atmosphere of snowy winters. Light—ever-present in Taemin Ha’s work—seems to guide each scene: whether gently filtering through the window of a yurt or bathing children’s games in clear lakes, it accompanies every gesture, every gaze.

In dialogue with these photographs, poems by Erdenesolongo Batchuluun and Byambajav Gombojav—two Mongolian poets—are woven throughout the book. Their words intertwine with the images to form a new thread of connection and resonance, offering a poetic lens that deepens the sense of presence, memory, and shared time.

• Chose Commune 2025
• Hardback, 1st edition, 192p
• New

An unexpected collection of over 100 images spanning time and the history of representation, Clin d’œil brings together nearly every variation of that precious organ that allows us to see, to look, to discover — or simply to observe.

Following Jeux de mains, the first collaboration between Cécile Poimboeuf-Koizumi — publisher, curator and co-founder of Chose Commune — and Stephen Ellcock —  curator, writer, researcher, and online collector of images — this second volume focuses on the motif of the eye in art. Present across all cultures and eras, the eye fascinates with its rich symbolism: spiritual, political, intimate, or mysterious. From Antiquity to contemporary art, over a hundred images, selected intuitively and without chronological order, form this visual constellation. This book celebrates the diversity of artistic perspectives on this small organ that has, over time, become a powerful universal symbol.

• Charoal Press 2025
• Softcover, 1st edition, 144pp
• New

Marshall To grew up a second generation Chinese immigrant in rural Canada. His family was Taoist and owned a Chinese Restaurant.  To's father believed that people lived in a supernatural world that existed simultaneously with the physical world. He believed we humans surrounded by the spirits of loved ones, those awaiting reincarnation and by those who remained, restless and vengeful.

In Taoism, on the fifteenth day of the seventh month in the lunar calendar, the gates of Hell open to allow Hungry Ghosts a chance to once again roam the earth in search of food and sustenance. Taoist families venerate the dead during this time. They offer prayers to their deceased relatives for protection and burn Hell Notes (money) to help ghosts to live comfortably in the afterlife. These Hungry Ghosts are dangerous. They take many forms - owls, snakes, moths, birds, foxes, wolves, and tigers. Some can even use the guise of a beautiful man or woman to seduce and possess. This time of year is a celebration, but also a warning to tread lightly. a time to be careful not to offend those who we don’t see. To be careful because the gates are open and the ghosts are hungry.

In his debut monograph, To depicts the thinning veil between natural and supernatural. Providing evidence of the intertwining of realities, of cultures, and of versions of ourselves.

Signed copy.

• Loose Joints 2025
• Hardback, 1st edition, 144p
• New

The Classroom explores control and discipline within post-colonial Moroccan identity through staged, uncanny classroom images created between 1994 and 2002.

Frustrated by Morocco’s rigid educational system of the 1990s, art teacher Hicham Benohoud used photography as a pedagogical tool, creating a makeshift darkroom in his classroom to foster collaborative and hands-on learning, encouraging students to engage with creativity and identity.

The resulting images created with his students are marked by tension and alienation, blending absurdity, humour, and unease in their exquisitely framed and obliquely disarming compositions. In juxtaposing the monotony of the classroom with a visual exploration of both freedom and control, The Classroom builds a playful and existential critique of postcolonial identity, where childlike creative gestures merge into a more ambiguous aesthetic that hints at oppression, violence and isolation.

This new publication by Loose Joints draws from the artist's original archive of negatives from the time, building the first comprehensive appraisal of Benohoud’s ground-breaking series while highlighting the modern relevance of the work in its engagement with performance, politics, pedagogy and the body decades ahead of its time.

Winner of PhotoBook of the Year, Paris Photo–Aperture PhotoBook Awards 2025.

• the(M) éditions / IBASHO 2025
• Softcover, 1st edition
• New

"This series explores the psychological imprint of migration and uprooting that have marked my life. The title is inspired by the keyboard shortcut I use to write in Japanese, an indirect evocation of my origins.

This series brings together a multiplicity of subjects: architectural fragments, an old passport photo of my grandfather, faces of unknown relatives in the family album... Incoherent geometric forms emerge in the images to amplify this sensation of non-belonging, disturbing the gaze through their strangeness.

With Ctrl Shift + J, I invite the viewer to introspection, to confront their own experiences of displacement and the search for a place to be oneself."

- Sayuri Ichida

• the(M) éditions / IBASHO 2025
• Softcover, 4th edition, 160pp
• New

This new book is a revised and expanded edition of the book so it goes, so it goes, itself a revised and expanded edition of the book so it goes, which won the Nadar Prize in 2019. This edition features a completely renewed series of images and a new cover.

In this book, Miho Kajioka presents work relating to the concepts of time, memory, and place. As in her previous works, the series reveals intuitive images of fragments from her daily life, across different periods. It was while reading Kurt Vonnegut's novel, Slaughterhouse-Five, that Miho Kajioka became truly interested in this subject. Miho Kajioka is fascinated by chronology and the meaning of events. According to her, photography captures moments and freezes them; displaying prints is like playing with the sense of time and getting lost in this chronology.

• Stanley Barker 2025
• Softcover, 1st edition, 96p
• New

In the 1980s, the acclaimed Dutch cinematographer Robby Müller spent months at a time away from home, collaborating with renowned directors such as Alex Cox and Wim Wenders to create some of the decade’s most influential films such as Repo Man, Paris, Texas, Barfly and To Live and Die in L.A..

After long days on set, Müller stayed at the Kensington Motel in Santa Monica, a simple apartment hotel just behind Ocean Boulevard and steps from the beach. He liked its plain comforts: an ironing board folded into the wall, a coffee pot bubbling on the stove, Garfield the hotel cat who kept him company. It felt familiar, not just a place to pass through. 

He always carried his SX-70 Polaroid camera, making tender images when work paused, bringing what William Friedkin called “a foreigner’s eye” to America: noticing details others missed, avoiding clichés, always returning to light and colour as his true subjects. In these Polaroids, Müller frames a Los Angeles that no longer exists: small rooms, edges of the beach, street corners, a city built for cars seen by a cinematographer who preferred to walk. They reveal a man far from home, looking for stillness and light in the spaces in between.

Edited and with an introduction by Andrea Müller-Schirmer; designed by Linda van Deursen and expertly printed in Italy and bound as a uniquely flexible chopped linen soft-back, silk screened in a sun-kissed orange, it carries the warmth of Müller’s Los Angeles. Alongside Müller’s images are texts from his collaborators, including directors Alex Cox and Wim Wenders, and actor Willem Dafoe.

"What impressed me was he would see what no one saw – the origin, the presence, the vibration, the possibility of what was already there..." - Willem Dafoe  

"He had an eye for the light that the camera, and its film, loved." - Wim Wenders 

• Note Note Editions 2025
• Hardback, 1st edition, 112p
• New

Atlas of Echoes is the first monograph on the work of Dutch artist Sarah van Rij. The book immerses the reader in her entire oeuvre, bringing together her black-and-white and colour photography, as well as the collages created since 2018, and in doing so charts the journey from her beginnings as a photographer to her most recent work. Whether captured on a camera or an iPhone, her images explore a wide range of subjects — urban and natural landscapes, everyday objects, the human figure – at the same time as they advocate the singular and coherent aesthetic that has become the artist’s visual signature.

Designed in close collaboration with the artist, with an index offering an analytical and playful reading of her work, Atlas of Echoes reveals the singular formal vocabulary behind van Rij’s practice.

• Editorial RM 2025
  
• Hardback, 1st edition, 130p
  
• New
  

Anna Cabrera and Angel Albarrán are among the most innovative and renowned photographers of their generation. Windows to the Unexpected is the second book in a trilogy that began with the bestselling book Remembering the Future, where the authors explore complexities of form and narrative in photography. This book delves into the tension between the visible and the unforeseen, inviting viewers to question what they see and uncover what lies beyond the image.

Inspired by Julio Cortázar’s essay of the same name, this volume examines how the unexpected emerges in images without warning, challenging conventional perceptions of reality. The unexpected is not manufactured but revealed, transforming photography into a space of multiple interpretations, where the extraordinary is hidden within the ordinary.

• Editorial RM 2025
  
• Softcover, 1st edition, 88p
  
• New
  

4 Sides of The Table was made from 2022-24. In the spring of 2017, I was with my mother in an empty room. The light of the sun was shining through the windows. Her best friend June was at her bedside reading poetry aloud. My mother died a few hours later. Since I could no longer take pictures of my mother, it seemed natural to me to photograph June. I photographed her hands, her legs, from the back, from the front, partial views etc. feeling I could convince myself she was my mother more easily by photographing her in parts rather than in showing her whole figure.

During the months that I was visiting June, her daughter unexpectedly passed away. I thought after that she might not want to continue our time together taking pictures, but she did. The camera gave us the freedom we needed to imagine we belonged to each other.

4 Sides of The Table Is about the time it takes to eat a loaf of bread, for light to pass through a room, and or for someone to die and how we can recreate or extend that time. I wanted a way of holding on to what has passed and what’s hard to keep, even if only in an empty hand.

Note that this delicate book has quite fragile corners.

• Editorial RM 2025
  
• Hardback, 1st edition, 96p
  
• New
  

When I was starting out I could experiment and take risks. That is when I most enjoyed mywork as a photographer. I wouldn’t be surprised to find that I produced my best work attimes when I felt that I was still learning, that I was a beginner. Once I thought I knew what I needed to do and applied it to various subjects, I lost that freshness and sense of surprise: I had to secure the results and could no longer experiment in the same way. Throughout my fifty-five years as a photographer I have beena beginner several times: when I wanted to learn how to take portraits, when I started to work in colour, or when I took my first photographs of wild horses.

In 1968, at the age of twenty-two, I was studying Business Administration in Germany,but after seeing Henri Cartier-Bresson’s Spanish photographs I decided that I wouldbecome a photographer instead of a businessman. I had left Spain because I didn’t wantto do the compulsory military service under the Franco dictatorship, so I had to return toSpain with my tail between my legs, ready to do the military service after all. There were no photography schools at the time, and I learnt by pounding the streets in the town of Cuenca, while waiting to begin my military service, four years older than my fellow recruits. I worked for four hours in the morning and another four in the afternoon, following theopening hours of shops and offices. Children would follow me on the street, asking to have their picture taken; at that time taking pictures of children was considered perfectly normal. When it was time to go to boot camp I smuggled in a small Leica IIIf (from 1953 and still without a film advance lever) and took pictures surreptitiously. Had I been caught I would still be behind bars. After my military service I started to get to know Spain and I also took a trip to Yugoslavia with my first wife. Later, when she was offered a scholarship at theLondon School of Economics, we left for London. I started collaborating with agencies and magazines and could no longer be considered a beginner.

This book contains the images which taught me how to be a photographer. Now I wish I could feel like a beginner again, not to make myself younger, (although that would be good too), but to regain the sense of experimentation, discovery, adventure, and transcendence which drove my work at the time.

C. H.

• Dust Collective 2025
  
• Hardback, 1st edition, 124p
  
• New
  

INVISIBLE SUN is a visual meditation on survival, transformation, and fragility by artist Amani Willett. The project traces the impact of childhood medical traumas and the ways they continue to reverberate through the present.

Confronting these early challenges amid new chronic health challenges, Willett turned to intensive therapies. Within this process he encountered vivid, unsettling memories, often of his younger self, that became a generative source for the work.

The resulting images weave together photographs of his children, experimental photographic processes, dark landscapes, and AI-generated visions. Moving between the haze of memory and the clarity of the present, INVISIBLE SUN gives form to what the body remembers when the mind does not. It is an exploration of fragments, vulnerability, and resilience, offering a visual language for what is most often left unspoken.

• Setanta 2025
  
• Hardback, 1st edition, 72p
  
• New
  

Rooted in personal history and collective memory, Migration Patterns offers a powerful reflection on the enduring presence of Southern Black culture in Northern California; particularly in the cities of Oakland, San Francisco, and Ruffin’s hometown, Richmond.

The project opens with Siobhan, a poem by Enjoli Flynn-Ruffin, and is accompanied by an essay from journalist and cultural critic Pendarvis Harshaw. Together, these texts frame the book not simply as a collection of photographs, but as a lyrical meditation on legacy, migration, and the evolving meaning of home.

As a descendant of Louisianans who moved west during the Great Migration, Ruffin explores how culture is carried across distance and time. How it adapts, resists erasure, and remains encoded in language, movement, and ritual. Rather than illustrating history in a didactic sense, Migration Patterns moves with a quiet intimacy, allowing traces of Southern identity to surface through atmosphere, memory, and presence.

Woven into the work is a contemplative tension between life and death, between arrival and departure. Ruffin stands in the stillness of both birth and mourning, asking what it means not only to migrate across land, but also across spiritual thresholds. In this sense, Migration Patterns becomes not just a document of physical relocation, but a reflection on the migrations we each undergo: into being, into legacy, and eventually, into memory.

The work is especially attuned to the emotional terrain of transition. It considers what is lost and what endures when communities are displaced or transformed, and how those shifts impact one’s sense of belonging. At its heart, Migration Patterns is a reflection on lineage: on what it means to be the continuation of a story, and on the responsibility of documenting that story with care.

With this monograph, Ruffin adds a vital voice to the canon of contemporary Black photography. One that bridges past and present, personal and communal, silence and testimony.

• Fabrik 2025
  
• Hardback, 1st edition, 160p
  
• New
  

• Fabrik 2020/2022
  
• Hardback, 3rd edition
  
• New
  

• Deadbeat Club 2025
• Hardback, 1st edition. 132p
• New

In Billions Served, Richard Renaldi once again offers his large format portraiture as an invitation to slow down and see familiar sights in new light. The title, taken directly from the boastful catchphrase "Billions and billions served", at once acknowledges the economics of American fast food while simultaneously signaling that those billions of burgers have been served both toand by billions of people. Contrary to the nature of fast food environs where subtle cues direct us through choreographed movements toward ever swifter commerce & consumption, Renaldi invites the viewer to pause and actively participate in each moment. His black & white photos neutralize the riot of color otherwise drawing our eyes; color portraits place fellow patrons center stage, from out of the recesses where corporations would let them fade. The result is a new way of actively engaging these often frequented but seldom-considered scenes with a spotlight on humanity. 

Signed copy.

• Nazraeli Press 2025
• Hardback, 48p
• New

Los Angeles is a centrifugal city, fundamentally American in its tendency toward the periphery. Isolated Houses focuses on the urban sprawl’s outer frontier. Here, 150 miles outside the city, the built environment comprises a handful of rudimentary structures, isolated cubes at the edge of the infinite plane of the desert. The dwellings that dot the landscape seem temporary and toy-like, but are the center of these photographs, the reason for their being. This work pays homage to those places where nature and culture intersect, and suggests that we all occupy a border zone between the natural and the artificial.

Isolated Houses was first published by Nazraeli Press in 2000. This completely remastered 25th Anniversary Edition is limited to 1,000 casebound copies.

• Nazraeli Press 2025
• Hardback, 48p
• New

“From 1995 to 1998, I worked on a series of photographs of isolated houses in the desert at the east-end of the Morongo Valley in Southern California. As I meandered through the desert, a dog would occasionally chase my car. Sometime in 1996 I began to bring along a 35mm camera equipped with a motor drive and loaded with a fast and grainy black-and-white film. The process was simple; when I saw a dog coming toward the car I would pre-focus the camera and set the exposure. With one hand on the steering wheel, I would hold the camera out the window and expose anywhere from a few frames to a complete roll of film. I'll admit that I was not above turning around and taking a second pass in front of a house with an enthusiastic dog. Contemplating a dog chasing a car invites any number of metaphors and juxtapositions: culture and nature, the domestic and the wild, love and hate, joy and fear, the heroic and the idiotic. It could be viewed as a visceral and kinetic dance. Here we have two vectors and velocities, that of a dog and that of a car and, seeing that a camera will never capture reality and that a dog will never catch a car, evidence of devotion to a hopeless enterprise.” – John Divola

Dogs Chasing My Car in the Desert was first published by Nazraeli Press in 2004. This completely remastered edition is limited to 1,000 copies.

• PCT 2025
• Softcover, 1st edition, 280p
• New

In January 1991, Keizo Kitajima began a year-long series for the Japanese magazine Asahi Graph, traveling to all fifteen republics of the Soviet Union accompanied by the journalist Kazumasa Nishioka. Kitajima, then at a turning point in his career and about to give up on snapshot photography altogether, unexpectedly found himself documenting the final months of the USSR. Only days after the final installment of the series was published in an Asahi Graph issue in December 1991, the Soviet Union officially ceased to exist.
In his photographs, Kitajima captured something essential about each place he visited, not through symbolic locations or famous figures, but by focusing on ordinary people, whose stories would otherwise never be told.

This 2025 publication of "USSR 1991" is part of an ongoing re-examination of Kitajima’s past work, following books such as "European Diary 1983-1984" and "New York (New Edition)." As part of this process, Kitajima decided to pair his USSR 1991 photographs with a series he shot between 1983 and 1984 in various Eastern European cities.

In addition to an afterword by Keizo Kitajima, "USSR 1991" also includes an essay by Shino Kuraishi.

Signed copy.

• Libraryman 2025
• Hardback, 1st edition
• New

Two new identities: Mother and Motherless. The collision of birth and death marks the inception of what has become a long-running commentary, nearly a decade in the making.

In-Passing began in 2015, the year Lisa Sorgini (b. 1980, Australian) became a mother to her first child, shortly followed by the loss of her mother to illness.

Initially, the creation of images served as both a determined witness to a new reality and a therapeutic outlet for her grief and awe. The images are saturated with the profound metamorphosis that accompanies motherhood, representing the corporeal and psychological shifts that redefine the self. Reminiscent of the adolescent journey, this evolution of identity navigates a liminal space where the maternal self simultaneously vanishes and is reborn—a quiet reinvention at the threshold of both loss and renewal.

In its most apparent form, it is a visceral account of the chaos and intimacy within the familial space during her children’s formative years. Each image speaks to the complexities, intimacy, and emotional landscapes of the mother-child universe.

Beyond this, there lies the pursuit of something more elusive—an intangible force that lingers at the periphery of memory and consciousness. It embodies the unspoken weight of motherhood, shaping each experience in ways that are deeply felt but not always easily understood.

The book contains a preface written by Lisa Sorgini.

• Thames & Hudson 2025
• Hardback, 1st edition, 304p
• New

Published to accompany a major touring exhibition, this is the most comprehensive survey to date of the groundbreaking American photographer Helen Levitt.

Over six decades, Helen Levitt (1913–2009) explored the streets of her native New York with a handheld camera. Influenced by Henri Cartier-Bresson, she found inspiration in the theatre and spontaneity of the street, capturing everyday moments in urban life and forging a distinct visual language from her private observations. Exuding a keen warmth and sensitivity for human gesture and movement, her photographs capture, in James Agee’s words, the ‘pure spontaneity of true folk art’.

Accompanying a major touring exhibition of Levitt’s work, the first of its kind to draw from her complete archive, this ambitious publication showcases her entire output. It not only includes her best-known photographs, but also features rarely seen early works from her first year using a Leica and all fifty works from the original edit of her classic 1965 photobook A Way of Seeing, with record prints preserved by Levitt herself.

Essays by a range of scholars and specialists hone in on key thematic, technical and biographical aspects of Levitt’s life and work, including an examination of the photos she took during her trip to Mexico in 1941, her innovative use of colour in the 1950s and her late work from the 1980s, providing an authoritative insight into one of the most influential photographers of the 20th century.

• The Eriskay Connection 2025
• Hardback, 1st edition, 112p
• New

The Sierra revisits the Sierra Nevada mountains through the context of today’s climate crisis, a landscape that has long shaped American ideas of wilderness. Combining large-format film with digital post-production, Aaron Rothman (US) created this body of around fifty colour images over six years. The work seeks to evoke the physical experience of being in the mountains while registering the environmental changes reshaping the region, and places itself in dialogue with the long history of landscape representation.

The Sierra Nevada holds personal significance for Rothman, inspiring a lifelong connection to nature and leading him to take up photography as a teenager. However, his recent visits have been marked by a growing sense of dread and loss as signs of climate change, such as forest fires and haze, become increasingly visible. This evolving relationship informs the project’s core aim: to capture the contradictions of being in a changing landscape, where personal attachment meets environmental uncertainty.

Rothman works in an iterative process split between fieldwork and digital editing. In the field, he makes large-format photographs in response to meaningful natural encounters, such as the immeasurable sense of space evinced by a distant mountain peak, the sheltering confines of a copse of trees at dusk, or the devastation of a recently charred section of forest. In the studio, he determines their final form. Some images remain as they were, others are transformed by inverting colours, layering multiple views of a single place, or washing out an image to the edge of visibility. These interventions aim to unsettle the viewer, creating imagery that feels both familiar and strange.

The European landscape tradition – from Jacob van Ruisdael and Théodore Rousseau to Albert Bierstadt – serves as a reference point, prompting reflection on how traditional representations have shaped our perception of wilderness, and how idealising it as pristine may have contributed to its present vulnerability.

Ultimately, The Sierra challenges the icon it depicts: a landscape both majestic and fragile. It invites us to reimagine environmental realities and our relation to nature – not as something separate or untouched, but as an evolving space intertwined with human impact. And to confront that duality through images that are at once beautiful and unsettling.

• David Zwirner Books 2025
• Hardback, 1st edition, 112p
• New

This momentous publication catalogues the last major group of William Eggleston’s photographs to ever be produced using the dye-transfer method, the format in which he originally presented his work.

Eggleston’s vivid photographs transform the ordinary into distinctive, poetic images that eschew fixed meaning. One of the foremost practitioners in the medium’s history, Eggleston is widely considered the father of color photography. He pioneered the use of dye-transfer printing for art photography in the 1970s. The technically advanced process―first developed by Kodak in the 1940s―allowed him to achieve the richness of tonal depth and color saturation that he had been searching for. In the early 1990s, Kodak stopped producing the dyes, paper, and film used in the process. With the necessary materials now discontinued, and the bulk of what remained being used for the major group of work presented at David Zwirner in Los Angeles, The Last Dyes marks the final presentation of new works completed in this medium.

The publication includes a new essay by Jeffrey Kastner, offering critical insights into Eggleston’s enduring influence at this turning point in the history of photography.

• Overlapse 2025
• Hardback, 1st edition, 160p
• New

In recent years, climate disasters have caused exponentially more damage to communities through loss of life, property, and compounding economic destruction. As these disasters increase, it is unknown whether affected communities will continue to rebuild with an outlook of uncertainty, or if the worst affected regions of the country will be forgotten. Residents face the prospect of escaping to settle in ‘safer’ areas or stay and try to navigate diminishing federal assistance programs and insurance coverage.

Sound the Sirens encompasses the long-term effects that climate disasters have on communities across the United States, with tens of thousands of people left homeless and displaced while trying to rebuild their lives. Despite decades of warnings by climate scientists about the impact of rising temperatures on the stability of our planet, climate data is now broadly ignored in the service of capital and convenience, while risking the lives of hundreds of millions of people.

Folded between the book pages, underlying images of solar flares with orange hues leak out from within. This design experience is a reminder of the driving forces behind climate disaster, with pictures of devastation tinged with the glow of ever-growing heat.

• Void 2025
• Softcover, 1st edition, 232p
• New

‘Fishworm’ is about dykes digging through trash.

“Created over the past 7 years, collecting stuff people have thrown away or forgotten about —mostly photos— sifting through abandoned house debris, upturned moldy cardboard boxes, the mouse shit-filled hunting camp at the end of the road, a local politician’s discarded gay porn collection, a junk shop near the waterfall, yard sale trash piles. The result is a jumbled, revised, chopped and screwed history (antique-y2k) of old mill towns in the Sandy River Valley and villages nestled in the pines. If you feel slightly uneasy here, so do we, being gay and trans women in a rural place, trying to find belonging in the same types of places we've lived our whole lives. Piecing the images together is an attempt to make sense of where you fit in a culture that doesn’t always want you, and how you can love a place that doesn’t always love you back. The images in ‘Fishworm’ were found within a 60-mile radius of the artists’ home in rural central Maine. Everything is scanned with an old xerox found sitting in the rain outside of the town fire department on Heavy Dump Day in 2024.” — Pia & Jesse

• Setanta 2025
• Softcover, 1st edition, 80p
• New

"We roam invisible worlds, waiting to fall into bodies. In that phase consciousness impregnates itself, standing by and watching itself. The boundaries of each one breathe, thickening and thinning, inhaled and exhaled by consciousness. We regroup spontaneously, feeling we can greet each other without the need to move legs and arms. Instead of extending fingers, it is the floating dust of awareness that lengthens on its own, massaging us in its impalpable, jovial accordion.

We know and we don’t know that we are about to trickle to the ground, all of us.

The three of us agree to meet as soon as we arrive. We are not able to set our bearings. Before trickling we feel ourselves being pulled inward. The dust compresses and with a snap we enter the earth."