AMERICA

• Aperture 2026
• Hardback, 1st edition, 128p
• New

Alex Webb captures in bold color the vitality of city life in the US—rich with visual rhythm and chance encounters—seeing the quintessential elements of American self-invention and improvisation.

In Walking Blues, the acclaimed street photographer Alex Webb traverses some forty cities across the United States, documenting moments of connection between communities with his signature eye for bold color and rhythm. Webb was inspired by the lift and pull of blues music, a quintessential American musical form that scores the nation’s history, and his photographs express the improvisation of chance encounters. The culmination of more than a decade of intuitive, open-minded exploration, Webb’s latest book is a vivid chronicle of urban life today.

• Loose Joints 2026
• Softcover, 1st edition, 88p
• New

Dodgson draws unexpected continuities out of years of accumulated looking, in a register that moves between the deadpan, the fragile and the quietly profound.

Earthquake Weather is the first monograph to draw on Californian artist Colin Dodgson's darkroom practice as a living source, across continuities that surface through drawing deep, sunburned beauty out of the flow of the everyday. Dodgson's eye carries the dual inheritance of two formative disciplines: a surfer's responsiveness to shifting conditions, and a darkroom photographer's exacting precision, the two held together in constant tension against a sense of wonder, bafflement and introspection before the material of the actual.

Earthquake Weather dances along the faultlines between typology and sprawl: thumbed, dog-eared book pages worn soft by use, contemporary memento mori that turn to the material of the body and its fragility, and plastic water bottles left on Japanese roadsides all serve as allegories for the fragility of our existence. Against these lines, the sequence snaps without warning into gallows humour and back again, moving through the registers of an uncertain age: fentanyl bottles lined neatly in a row, atmospheric CO2 readings, the fringes of Dodgson's established commercial practice, and excerpts from his frequent collaborations with the World Land Trust across areas of ecological importance.

Through fugues of images reacting across the page, Earthquake Weather poses a quiet challenge to the seduction of Dodgson's precise gaze, insisting on describing a world that both hides and reveals itself within the same blink of an eye. In syrupy, coastal tones, Earthquake Weather speaks to the way we accumulate: in knowledge, within our bodies, through consumption, against entropy.

• Loose Joints 2026
• Hardback, 1st edition, 104p
• New

Fulford fuses time and space through photomontage into a single waking dream, inviting us to find the mystical lodged inside the everyday, felt before it’s understood.

For nearly thirty years, Jason Fulford has built a practice on the conviction that meaning lives less inside any single photograph than in the sequence and the things that happen around it – individual pictures forced to rhyme, echo, or collapse into dissonance against their neighbours, across books, exhibitions, publishing and performance. Frozen Features pushes that instinct one step further, into a visual language of layers randomly composed from images made between 1996 and 2026. The results are a beguiling narrative governed by composition and chance – a kind of metaphysical slot machine that scours memory and returns it two frames at a time, guided by intuition.

Fulford’s pairings bounce freely across scale, place, and chronology: the smallest coiled leaf set against a vast vista, a silhouetted hand floating across a bedspread, the scrawled markings of civilisation laid directly over landscape until each image reads like a palimpsest, something continuously written upon, older writing always surfacing beneath the new. Dry humour drifts in and out, formal echoes accumulate, and the slippery relationship between any single picture and the story collapses inside square frames abundant with detail and charged with the subliminal.

In 1942, Barbara Morgan wrote that “modern life is photomontage,” two unrelated things sharing one instant the way thought and feeling already do. Frozen Features takes her at her word, sidestepping montage’s weight as historical technique in favour of something closer to play, an irresistible, intuitive mix that goes, boldly and without hesitation, straight to the heart.

• L'Artiere 2026
  
• Hardback, 1st edition, 96p
  
• New

“The photographs in this book were made over the past four decades, primarily in Italy, entirely with an 8×10 view camera. I suspect I will continue this work for as long as I am taking pictures.

The title reflects the complexity of the Italian word storia, which holds meanings as diverse as history, story, situation, issue, fuss, hassle, tale, or lie. Depending on context, it may also refer to a love story, brief or ongoing. Italian Story is a broad narration: a record of events, a historical fiction.” - Andrea Modica, 2026

Italian Story is a deeply personal and poetic journey through Italy, spanning over forty years of photographic work by American photographer Andrea Modica.

Born into a third-generation Italian-American family, Modica began traveling to Italy as a young woman, gradually building a visual archive of the country’s landscapes, people, rituals, and moments of quiet intimacy. These photographs, taken across decades and regions, form a lyrical exploration of identity, memory, and belonging filtered through Modica’s singular, tactile photographic language.

• Steidl / The Agency 2026
• Hardback, 1st edition, 120p
• New

A Commonplace Book presents photographs by Raymond Meeks selected by John Gossage—a photographer who has been an enduring influence for Meeks, inspiring his approach and use of the camera to construct a picture—untethered from sequence or narrative continuity. Here to discover is a breadth of visual style and approach, varied in form, unified by a singular sensibility. Gossage’s initial impetus for the book was his realization that Meeks had “made some of the most stylistically various single pictures that I had ever seen in a serious photographer’s work.” Meeks then agreed to supply his pictures, from which Gossage made his edit and created a new context for them to be seen one at a time. And so was born, in Gossage’s words, this commonplace book “of remarkable things, pictures that are as rich individually as they are in the narrative of Ray’s books, but in a different way. They stand as convincing in a style of variation with certainty, always having the feel and thought of a single author.”

• Steidl / The Agency 2026
• Hardback, 1st edition, 112p
• New

Jenia Fridlyand grew up in the Soviet Union in the years just prior to perestroika. Visiting Cuba in the second decade of the twenty-first century, then, felt like an uncanny homecoming. While both tangible and familiar, the grim fabric of the communist quotidian kept unravelling for Fridlyand under the bright, tropical sun. With a large-format camera and a photographic practice rooted in the American tradition, Fridlyand traveled throughout the island during several extended trips. She intuitively trained her lens on moments and scenes with the potential of holding both the known and the novel—from a pair of donkeys silhouetted against hilltops, a customer at a barber shop and a pair of rocking chairs seen through an open door, to drops of sweat on a man’s curved back and sweet fruit hanging ripe on a tree.

• Steidl / The Agency 2026
• Hardback, 1st edition, 120p
• New

In An Abridged Dictionary of Sculpture John Gossage considers the changes objects (sculptures) undergo when they are photographed. His images transform these objects rather than transcribe them, altering their condition of being. For Gossage, to photograph is to ask one thing to become another kind of thing. Indeed, does a sculpture always need a pedestal or isolation to not just be another thing in the world? Whether a pile of archive folders, a dirty beaker, a heap of baseball caps, a plank of wood or a tuft of grass, he photographs these objects against the same background of white paper, their shadows often taking on as much presence as their concrete forms. With so much of the objects unclear (their volume, scale and weight, their three-dimensionality), and each having lost its original purpose or being about to die, how much has Gossage actually saved in his photographs: only his intentions? Is a good photograph always better than what it pictures—and how? This book is a dictionary because it describes the sculptures rather than being the sculptures: as every photograph does with everything.

• GOST 2026
  
• Hardback, 1st edition, 144p
  
• New

The Holdouts, the debut photobook by American photographer Ben Marcin, offers a unique view of the city of Baltimore and its surrounding areas through three very different sets of homes.

We are taken to marginalized homes and houses, some as old as 250 years, others just months old, found in and around Baltimore, Maryland, USA. Marcin shows us solo row houses in the inner city that somehow survived the wrecking ball; abandoned houses on the Eastern Shore where the last generations of families either passed away or moved on after decades of farming the land; and temporary homeless camps in the city, none of which have ever survived for more than a year.

The title for the book comes from the term ‘holdout,’ a common real estate term that describes a property owner who refuses to sell a building or lot to a developer, thus greatly hindering the completion of a larger, community-based project. Sometimes eminent domain is invoked to force an owner to vacate a property for the common good but, in other cases, the larger project is simply built around the house. Many of Marcin’s houses have become abandoned over the course of time but others are still surprisingly occupied. Taken together, they demonstrate an astute understanding of the vernacular of Baltimore and the Eastern Shore.

He says, 'Strictly speaking, none of my houses or campsites would be considered real estate holdouts. No shopping centre, highway overpass or gambling casino ever took their place. However, they do personify a more straightforward definition of what a holdout is, namely, the act of resisting something or refusing to accept what is offered.'

'I have been photographing the places where people live for almost forty years. At first, I did this primarily on my trips around the world but, over time, I withdrew closer and closer to home until I found myself working on sites just a short distance from my own house (in Baltimore). In short, I began to understand where I live.'

Signed copy.

• DAP 2004
  
• Hardback, reprinted edition
  
• Used: very good

2nd edition of the 2003 US hardback reprint.

Wear and tear to the dustjacket, inside near fine.

• Nazraeli 2026
  
• Hardback, 1st edition, 80p
  
• New

One night, as I stood back and watched the spectacle of a Saturday night celebration at George Brown’s, I remember thinking that that these were people who knew how to play hard and have a good time. They were survivors of the two world wars and the Great Depression. They knew what difficult times were, but when it was time to have a good time they had one and partied as if there were no tomorrow, or yesterday for that matter…I thought that maybe they were able to enjoy life this way because they lived through times where it actually did seem as if there would be no tomorrow. — John Banasiak

John Banasiak was born in 1950 and grew up in Harvey, IL, just south of Chicago, in a community of first- and second-generation Eastern European families. His father was a die setter at the nearby Maremont Muffler factory, and John expected to do the same. Encouraged by a teacher to consider college, he applied to the School of the Art Institute of Chicago his senior year. When his father died after graduation, John assumed his father’s job - and his locker - at the muffler factory.

In July, learning that he had been offered a full scholarship to the School of the Art Institute of Chicago, “The air suddenly seemed to have…a clarity that magically opened a distance that I previously couldn’t see,” he remembers. John earned his BFA and MFA at the school, working as a night watchman in the museum to pay for his supplies. In 1971, consumed by his photography classes, he began working weekends as a bartender at George Brown’s Bar. It was a familiar place, filled with people he knew, and he began shooting its patrons and looking for the “decisive moments” that told a story. The Polish, Ukrainian, and Italian families that lived nearby gathered there to socialize, celebrate, dance, and tell stories.

This volume contains 45 black and white images from the time Banasiak spent behind the bar, taking photos on a collapsible Kodak Retina and looking for “someone wrapped in an atmospheric magic.” His photographs and writing capture a time of close friendships, modest living, and unspoken memories of the painful years of WWII, just 26 years past.

• 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.

• 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.

• 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.

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

In a new body of work, Anastasia Samoylova retraces Berenice Abbott’s 1954 photographic journey along the Eastern Seaboard, documenting dislocation, loss, and a shifting American dream.

In 1954, American photographer Berenice Abbott set out to document the historic US Route 1, already predicting seismic changes to small towns and major cities along the route brought by the rapidly expanding Interstate Highway System. Spanning all thirteen original colonies and beyond—from Fort Kent, Maine, to Key West, Florida—US Route 1 formed over the course of three hundred years from connecting sections of what was once known as the Atlantic Highway. Inspired by Abbott’s acute and poetic observations on life along Route 1 and on the seventieth anniversary of her project, Florida-based photographer Anastasia Samoylova ventures on her own journey to revisit those communities forever transformed by the interstate. Working in color and black and white, Samoylova provides a closer look at the American landscape irreversibly altered by the unrelenting expansion of industry, commerce, and development, as well as the displacement and tenacity of people and wildlife.

• Stanley Barker 2026
• Set of softcovers, 1st edition, 320p
• New - see below

A life isn’t a straight line, it doesn’t conform to an easy narrative. Christopher Anderson’s career has spanned conflict zones, presidential campaigns, near-death experiences, and moments of quiet domestic tenderness, all captured with a rare poetic sensibility. His new publication INDEX, gathers 11 series from across his career, each presented as an individual volume.

From his early images in Afghanistan, where he was already working as a journalist on 9/11 and continued to document events through the span of the second Gulf War, to Haiti, where he boarded a wooden boat with hopeful migrants bound for America until it began to sink, a story that earned him the Robert Capa Gold Medal. From volumes that chart the places he has called home, such as France and New York, to places that have left their mark on him, like China. From books that record tender moments with his family on holiday to immersive accounts of conflict in some of the world’s most troubled corners, even his fascination with cars finds its place here.

Designed as 11 volumes housed in a slipcase by the acclaimed artist Brian Roettinger, INDEX is a breathtaking way to experience the defining events and fleeting intimacies that shaped the first decades of the millennium.

Volumes as follows:

Vol 1. Afganistan
Vol 2. Hati
Vol 3. China
Vol 4. France
Vol 5. Cars
Vol 6. Self portrait
Vol 7. Holiday
Vol 8. New York
Vol 9. Trouble
Vol. 10 White House 
Vol. 11. 9 East 71st Street, NY

Signed to the rear of a loosely laid in printed sheet, see shadow image.

First edition/printing.  Note that due to the nature of this product, slight wear to edges and ends of some booklets is possible from new.

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

Catherine DeLattre’s photographic work is characterized by quiet observation, stillness, and what can be described as “empathetic neutrality.” Alongside her career as a film still photographer, she has developed a practice focused on vernacular subjects: barns, vehicles, homes, and roadside elements in rural landscapes. Her images present these scenes without intervention, inviting viewers to find emotional meaning through attentive looking and an awareness of time passing.

Originally from Pennsylvania, DeLattre discovered photography while studying archaeology at Kent State University, where a required course led her to pursue the medium more seriously. She later studied at Purdue University, where she shifted from black-and-white to color photography under the influence of figures such as William Eggleston and Stephen Shore. After teaching in Maine and New York, she moved to New York City in 1979, working at the International Center of Photography and photographing everyday urban life with a similarly observational approach.

Today, dividing her time between New York City and rural Pennsylvania, DeLattre documents landscapes shaped by human presence. Though her work shares the visual restraint of New Topographics, it departs from its detachment, offering instead a humanist, empathetic engagement with place and a subtle reflection on belonging.

• Mack 2026
• Softcover, 3rd edition
• New

The signed edition includes a slip signed by the artist and glued into the inside back cover.

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

Holy Cow! is a romp through 20 years of family photographs by Melonie Bennett. The black and white images in this unconventional family album were made between 1990-2011. They depict the rituals, traditions, dramas, laughter, gatherings, the dogs and the drunken exploits alongside quieter moments of reprieve—they show the rollercoaster of human life. 

‘In high school, I was shy and naive. When my father spread manure in fields that bordered classmates’ homes, I wanted to be invisible. Being the oldest, I thought I had to behave. I never dared to party or skip school. It wasn’t even an option. My siblings sure made up for it—they were wild. But I found my groove. I took a high school darkroom class, at the same time that I took on the role as the designated driver for family and friends to parties. This gave me the license to observe and take pictures of what other people, including my family were doing. And I didn’t have to drink! What a gift from God.’

Bennett and her siblings grew up on a dairy farm and although the family lived under constant stress, they coped by laughing, eating, fighting then talking and pretending everything was okay. She has always been drawn to photograph the absurd and unexpected—a dog wearing cowboy boots, boys playing cards in bras, going home at 2am after a moose hunt, college kids streaking through the farmland and the juxtaposition of pregnant and beer bellies. Humour and irony were highly prized in the Bennett household, giving relief from a daunting heaviness. Intertwined with the photographs are recollections and stories by the photographer’s brother, Merritt.

‘As photographing my family became more routine, Merritt thought it would be clever to start gifting me a single, unwrapped roll of film on these occasions. He would just laugh and say ‘that’s all you’re getting’—mocking me, my picture-taking and loving the ribbing he was doling out. But in fact, each time he had spent six bucks on me and had to make the effort to shop—this proved he loved me, right? I told him he should save his money and write down his stories as my gifts instead.'

• Thames & Hudson 2016
  
• Hardback, 1st edition, 144p
  
• New

Although he is best known for his work in black and white, often capturing a bohemian world of free-spirited adventure, Plossu has also shot in colour throughout his career.

This book showcases 88 bold and cinematic colour photographs, many of which are previously unpublished, dating from the 1970s and early 80s, when Plossu was resident in the US. Strikingly rendered using the Fresson carbon printing process, these images depict an unmistakably American landscape of motels and rodeos, deserts and highways; a realm that is both rugged and dreamlike, haunted by the mythic imagery of the Old West. They combine to form a memorable and atmospheric collection of work by a supremely talented photographer.

• Thames & Hudson 2026
  
• Hardback, 1st edition, 320p
  
• New

A major reassessment of Walker Evans that shows him as a photographer both of his time and very much ahead of it.

Walker Evans (1903–1975) is one of the great enduring figures of modern photography. His vivid images are inseparable from the history of the medium and the history of the USA. The subject matter was quintessentially American – small-town life, typical buildings, commercial signs and anonymous citizens – but Evans brought to them the curiosity and fascination of an outsider. His exacting eye defined an era while also questioning it. Pop artists and Conceptualists saw Evans as a pioneer and precursor, and his sensibility continues to inspire countless younger image makers.

Walker Evans offers a broad overview of his work and its lasting influence on generations of artists. It brings together key photographs and projects spanning his entire career – from self-portraits of the 1920s to his Polaroid experiments in the 1970s – along with books and other publications that reflect his tireless capacity for observation. Together, the works reveal a creator who not only documented the world around him but also invited viewers to question the nature of photography and the perception of reality itself.

• Mack Books 2026
  
• Hardback, 3rd printing of 1st Mack edition
  
• New
  

In the follow-up to his critically acclaimed debut monograph Sleeping by the Mississippi, Alec Soth turns his eye to another iconic body of water, Niagara Falls. But as with his photographs of the Mississippi, Soth’s pictures of Niagara are less about natural wonder than human desire. “I went to Niagara for the same reason as the honeymooners and suicide jumpers,” says Soth, “the relentless thunder of the Falls just calls for big passion.” While the subject may be hot, these are quiet pictures. Using a large-format 8x10 camera, the photographs are rigorously composed and richly detailed. Working over the course of two years on both the American and Canadian sides of the Falls, the editing is tight and surprising. Soth depicts newlyweds and naked lovers, motel parking lots and pawn shop wedding rings. Throughout the book, Soth also includes a number of love letters from the subjects he photographed. We read about teenage crushes, workplace affairs, heartbreak and suicide. Oscar Wilde wrote of the Falls, “The sight of the stupendous waterfall must be one of the earliest, if not the keenest, disappointments in American married life.” In Soth’s Niagara, we see both the passion and the disappointment. His pictures are a remarkable portrayal of modern love and it’s aftermath.

The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.

• Aperture 2026
• Hardback, 1st edition, 160p
• New

Lee Friedlander’s latest monograph captures the irony and complexity of American life, past and present.

Since the 1960s, Lee Friedlander has created incisive, often witty photographs of the American social landscape, shaping our appreciation of the quirks, charms, and idiosyncrasies of everyday life. In his latest monograph, Life Still, he brings together rarely seen and never-before-published images from his vast archive alongside compelling new work, staging a visual dialogue between past and present. From fractured, disorienting reflections in shop windows and car mirrors to deadpan observations of domestic scenes and street signage, Friedlander’s polychronic vision of American ubiquity is as comforting as it is alienating. Through the contradictions in the commonplace, Friedlander presents us with the enduring riddle of US culture: How does America seem, at once, so small and big, quiet and loud, phony and true? In Life Still, he reveals that these stubborn paradoxes of the American consciousness—the irony, humor, and self-conflict—remain as vivid today as they always have been.

• Roma / Fundación MAPFRE 2026
• Softcover, 1st edition, 192p
• New

Catalogue of the first major traveling retrospective devoted to Dutch photographer Dana Lixenberg. Spanning more than three decades, American Images presents a nuanced exploration of contemporary American society through Lixenberg’s editorial portraits, and a selection of her most significant projects. From the emblematic Imperial Courts, initiated in the aftermath of the 1992 Watts uprising, to her portraits made in Jeffersonville (Indiana) and Shishmaref (Alaska), Lixenberg captures the essence of humanity across diverse and complex contexts. Her images transcend mere appearance; they tell stories of inequality, identity, and resilience.

• Morel Books 2025
• Hardback, 1st edition, 148p
• Imperfect - see below

Published on the occasion of the exhibition Edward Weston: Becoming Modern held at the Maison Européenne de la Photographie in Paris, from October 15, 2025, to January 25, 2026.

Drawn entirely from the prestigious collection of the Wilson Centre for Photography, this publication highlights a decisive turning point in the history of photography. Outlining Weston’s radical shift from a refined, pictorialist style inspired by the codes of painting to a pared-down, precise, and direct modernist aesthetic

It was during this period that the photographer refined his style, simplifying his framing, eliminating any artifice to focus on lines, shapes, and light. He photographed ordinary objects–shells, vegetables, bodies, stones–with great formal rigour, transforming reality into visual motifs.

Through more than one hundred vintage prints, this unique exhibition brings together iconic works that have rarely, if ever, been shown in Paris. Alongside Weston’s masterpieces are major works in the pictorialist style by Edward Steichen, Alfred Stieglitz, and Anne Brigman, among others, offering a rich and unique perspective on two major conceptions of photography.

Edward Weston (1886-1958) contributed to this modern perspective on the periphery of the art world. He lived and worked in California, travelling to Mexico and distancing himself from the centres of power and influence. He sought neither effect nor provocation, but rather an accurate view, a form of silent revelation.

Imperfect copy with small bump to a corner - inside pages unaffected, and otherwise a new sealed copy.  See example photo.

• Zone 2025
• Hardback, 1st edition, 116p
• New

Alone Together is an introspective photographic project by Devin Oktar Yalkın reflecting on the passing of home and the sense of longing that follows. Set in the family house in Brigantine, New Jersey, the book unfolds through a series of monochrome images that trace the subtle remnants of a life once lived there.

The monograph explores themes of impermanence and renewal, revealing how domestic spaces, once filled with emotion and routine, gradually turn into vessels of memory. Haunting and contemplative, Alone Together reminds us how spaces remember us, and how, in turn, we carry them.

• Trespasser 2025
  
• Hardback, 2nd edition, 188p
  
• As new

Sons of the Living is a photobook about the land and people along the highways of America’s deserts. Photographed over the course of a decade in the American West’s arid and sweeping terrain, this work depicts a human capacity for endurance. Schutmaat offers an updated view of the “open road” that addresses a new era of uncertainty and anxiety. Amidst a backdrop of environmental decline, economic dispossession, and societal neglect, Sons of the Living draws attention to trouble on the road ahead and searches for our hope to withstand it.

11.75x14.75 inches. 188 pages. 90 tritone plates on uncoated paper.  

Hardback 2nd edition with dustjacket (unique to the 2nd edition), already sold out with the publisher.

• Trespasser 2025
  
• Softcover, 2nd edition, 188p
  
• As new

Sons of the Living is a photobook about the land and people along the highways of America’s deserts. Photographed over the course of a decade in the American West’s arid and sweeping terrain, this work depicts a human capacity for endurance. Schutmaat offers an updated view of the “open road” that addresses a new era of uncertainty and anxiety. Amidst a backdrop of environmental decline, economic dispossession, and societal neglect, Sons of the Living draws attention to trouble on the road ahead and searches for our hope to withstand it.

11.75x14.75 inches. 188 pages. 90 tritone plates on uncoated paper.  

Softcover 2nd edition with dustjacket (unique to the 2nd edition)

Hardback edition shown in video, softcover content is identical.

• Loose Joints 2026
  
• Hardback and 2 softcovers set
• New

Ethridge’s cult early studies of the American everyday return in a three-volume set revealing the origins of his style.

Loose Joints is proud to present In the Beginning, a three-volume set reuniting Roe Ethridge’s three formative, self-published books – County Line, Orange Grove and Spare Bedroom – originally released in 2004–05 and long out of print. Across these early volumes, Ethridge stages a sharp, playful inquiry into the American everyday. From rotting Florida citrus orchards to half-built suburban interiors and the static hum of strip-mall signage, each book turns on a clear typological register, where the familiar slides easily into the strange. Ethridge sets his pictures in a dialogue with photographic archetypes – catalogues, calendars, studio models, kitsch displays – using them to probe how images shape, naturalise and sometimes fracture American life.

Ethridge’s early books all emerge from loose typologies that, in their slippages, probe and complicate the aesthetics of American visual culture. From 2004, Orange Grove distills photographs made in a dilapidated Florida orchard into a study of slow collapse, a familiar symbol of American plenty quietly withering on the tree. Self-published simultaneously, 2004’s Spare Bedroom begins Ethridge’s career-long practice of jumbling and juxtaposing the commercial and the personal, in which an early commission for a furniture company unravels into a jagged mix of domestic scenes, catalogue imagery and loosely staged interiors. Finally, County Line (2005) turns to the liminal spaces of Queens and Nassau County, abstracting the language of the strip mall into a concrete-poetry of word-photographs that sit against other images evoking the blurry edges of the suburban sprawl.

Taken together, the three books form a weave of contrasts, where moments of banality tilt towards the uncanny and the absurd. These early publishing experiments trace the emergence of Ethridge’s now-signature method: slanting, doubling and displacing images until they cohere with unexpected force or deliberately fall apart.

Reissued twenty years later, In the Beginning reads as a prefiguration of the more than fifteen books and catalogues that would follow. It marks the opening chapter of an artist who would go on to become one of contemporary photography’s most influential practitioners – revealing the restless, incisive eye that shaped everything to come.

• Nazraeli Press 2026
• Hardback, revised edition, 100p
• New

“The images were taken in places where the photographer was either living, visiting his parents or teaching. That connection affords Steinmetz a familiarity and comfort and enables an ease he strives for with the strangers he photographs, which is reflected in the pictures. In black and white, things can rest a little easier in the frame. Summertime is more about the kids and that feeling of having all the time in the world in summer—and in the middle of winter, Summertime is what we yearn for most.” — Time

Nazraeli Press is delighted to announce a remastered and greatly expanded edition of the epic Mark Steinmetz monograph, Summertime. First published in 2011 as a follow up to his South Central trilogy, Summertime is a series of portraits of young children and teenagers caught in the midst of activity in distinctly American settings. Made between 1984 and 1991, when kids were able to roam their neighborhoods with less supervision than today, riding bikes without wearing helmets, and hanging out without constant digital interruptions, these black and white photographs capture the light and feel of an endless summer. Beautifully printed in duotone on natural art paper, this new edition of Summertime includes 30 previously unpublished images, and is limited to 2,000 casebound copies.

• Mack 2026
• Hardback, 1st edition, 144p
• New

TIME TO KILL is an evocative interrogation of gendered aging, unpacking the ideals of beauty, caretaking, and maternal and domestic duty imposed on women over the course of their lives. It unfolds through a compelling combination of image and text, with photographs encompassing portraits of women, landscapes, and spaces both vast and claustrophobic, as well as still lifes in which plants, domestic objects, and weapons are absurdly combined, alluding to impermanence and cultural double standards.

This distinctive visuality is interwoven with letters written by Parlato to an ambiguous, ageless, and perhaps illusory recipient. Through these entwined mediums, the artist looks both out and in, reckoning with a wild variety of physical and emotional experiences including the disjuncture between the way we see ourselves and the ways others see us as we age. Bodily transformation and the passing of time are pictured as both brutal and freeing as Parlato carves out a psychological space to contend with her fears and fantasies around aging in ways verging on the eerie and surreal. Building on the rich visual language of Parlato’s celebrated book Who is Changed and Who is Dead (2021), TIME TO KILL examines selfhood, motherhood, sacrifice, and visibility in an unflinching confrontation with what it means to be mortal.

Signed copy.

• Mack Books 2025
• Hardback, 1st edition, 320p
• New

American photographer David Armstrong (1954–2014), best known for his intimate black-and-white portraiture, is recognised as a member of the ‘Boston School’ of photography, a group of artists who studied in the city from the mid-1970s to the mid-1980s.

This publication marks the first posthumous exhibition catalogue of Armstrong’s work. Organised and edited by the David Armstrong Archive, the catalogue is published to coincide with exhibitions at Kunsthalle Zurich in 2024 and LUMA Arles in 2025. The book focuses exclusively on his never-before-published contact prints, featuring 286 images reproduced at a 1:1 scale. The prints, from between 1974 and 1994, showcase many of his iconic portraits of friends in Provincetown, Boston, and downtown Manhattan, including those of Nan Goldin, Cookie Mueller, Mark Morrisroe, Rene Ricard, Gary Indiana, Jack Pierson, Tabboo! (Stephen Tashjian), Christopher Wool, Philip-Lorca DiCorcia, Teri Toye, Greer Lankton, Johnny Thunders, and others.

• Thames & Hudson 2014
  
• Hardback, 1st edition
  
• NEW
  

Rochester, New York was home to Eastman Kodak for 125 years until its bankruptcy in 2012. Alex Webb took photographs of the city with his last rolls of Kodachrome, a no-longer-available, vibrant colour film that can now only be processed as black-and-white ...

The resulting photographs, taken during what may be the last days of film as we know it, are a meditation on film, memory, time and the city itself; they have a weathered quality akin to a fading memory. Alex also took some shots in digital colour, which punctuate the black-and-white work with images in his signature style.

Rebecca Norris Webb, who still uses film for all her work, responded to the medium's uncertain future by creating a melancholy refrain of colour still-lifes and portraits of Rochester women past and present.

Sealed copy of the UK edition.

• 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.

Out of print, last copies.

• 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 

Out of print - final copies.

• 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.

• 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.

• 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.