AMERICA

• Nazraeli Press 2025
• Hardback, 1st edition, 68p
• imperfect - see below

“From 2021 to 2023, I photographed around two reservoirs in the Central Valley of California experiencing a twenty-three year megadrought. The Reservoir weaves together images of the drying lakes and people seeking a leisurely day at the beach. They bring their dogs, babies and baby carriages, inner tubes, kayaks, rafts, umbrellas, coolers, and tents. As the summer progresses and the waterline recedes, families walk over a mile to reach the beach. At times, the sky is colored with smoke from nearby forest fires. The photographs in The Reservoir are part of an ongoing exploration in my work of how droughts, climate change, and ever-present anxiety collectively maps onto life in the American West.” — Mimi Plumb

It could be the last of our days, the way the water is receding, and the sun unrelenting. The reservoirs, once vast and overflowing, shrink before our eyes; the distance to reach the lapping shores growing vaster with every page. Humanity traveling that distance, what was once yards, now a mile or more. Mimi Plumb, in her new book, The Reservoir, follows the trail of people dotting the parched landscape, recording the plight, the pilgrimage, and the reward. The light is magical. The scenes are sublime. The moments are suspended. The sequence of images leads us to the water’s edge and lets us decide if we want to keep going or not.

Mimi Plumb is part of a long tradition of socially engaged photographers concerned with California and the West. She received a 2022 Guggenheim Fellowship in support of her current project, The Reservoir.

Display copy with very faint marking to linen cover and corner wear.  Inside as fine, and book is near new condition.

• Loose Joints 2026
  
• Hardback and 2 softcovers set
• Imperfect - see below

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.

Imperfect copy with a bend to the corner of the loose card cover - books are all fine.  See photo.

• 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 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.

• Zone 2025
• Hardback, 1st edition, 116p
• Imperfect - see below

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.

Imperfect copy with small bump to top edge and some light marking.  Inside unaffected and otherwise as new.  See photo.

• Mack Books 2025
• Hardback, 1st edition, 320p
• Imperfect - see below

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.

Display copy with some light marking to the linen cover, and faint corner wear.  Inside as new. See photos.

• 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.

• 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)

Note: all books are as new but due to the size of the book, very faint rubbing/wear to dustjacket edges are possible. 

• 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.

Note: all books are new but due to the size of the book, very faint rubbing/wear to dustjacket edges are possible. 

• Loose Joints 2026
  
• Softcover, 1st edition, 112p
  
• New

Rude in the Good Way explores desire as both subject and method within Roe Ethridge’s complex visual bricolage of commercial glamour, errant snapshots, private sexuality and studio play.

Working through his characteristically oblique, offhand style, Ethridge lets sexuality, identity, seduction and the camera drift into the same plane, never fully separating one from the other. Loosely woven fugues of images converge, always cheekily winking toward something just out of frame: technicolor flash typologies of mouldy peaches, hyper-composite images of Lindsay Lohan, and Chanel still lifes both luxurious and lurid move alongside intimate, dressed-down snapshots of Ethridge’s collaborator Lulu Sylbert, unresolved glimpses into painter John Currin’s erotically charged studio, sarcastic self-portraits, and constant callbacks to the unmistakable image world Ethridge has built over the past twenty years, where photographs refuse to be pinned down or left unstimulated.

These fragments ask us, like the title itself, what is rude and what is not. A polished image, a casual glitch, a throwaway snapshot, a luxury still life, a screenshot from a weather station webcam? Ethridge sharpens his polychronic world to a point where desire, consumption and self-presentation overlap so completely that the photographs begin to test our own appetites: what we see, what we want and how we perform.

• 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.

• 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.

• 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.

• Loose Joints 2025
• Hardback, 1st edition, 184p
• New

Loose Joints is proud to present You Are What You Do, a monograph by Daniel Arnold — one of New York’s most renowned and obsessive modern street photographers. Over the past fifteen years, Arnold has become a cult figure in the city’s visual culture, known for his raw, humanistic encounters with its citizens and for collaborations spanning from the Safdie brothers to the Met Gala and beyond.

Rooted in a well-trodden lineage of New York street photography, Arnold’s work channels the chaos, chutzpah, humour and vitality that define the city, yet You Are What You Do reveals something more: a tenderness and empathy that courses through every frame. There are genuine moments of sadness and grief mixed with joy, alongside spontaneous, unscripted scenes of pure street cinema, blended with candid images from fashion shoots and film sets, all sitting effortlessly within Arnold’s generous visual language.

Working from a vast archive, this generous landscape-format monograph distills Arnold’s signature wry, tragicomic style into a spacious and classical book object. From the glamorous heights of high culture to the downtrodden and overlooked, You Are What You Do draws a wide, empathetic circle around New York’s characters and charm.

• Mack Books 2019/2025
  
• Softcover, 2nd edition
  
• New
  

"Halpern is a photographer of place […] but he recognizes that place is a matter of personality: the little details, the minor moments, by which identity, collective or otherwise, is revealed." – The New Yorker 

Gregory Halpern’s “most impactful images" – The Guardian

"As America turns towards the midwest to understand its own political climate, [Gregory Halpern's] work feels precisely relevant." – The Independent

In this new edition of Omaha Sketchbook, Gregory Halpern returns to his lyrical yet equivocal account of the American heartland. Compiled over fifteen years of photographing Omaha, Nebraska, the book forms a prescient meditation on America, the men and boys who inhabit it, and the mechanics of aggression, inadequacy, and power. In loosely collaged spreads that reproduce his construction-paper sketchbooks, Halpern takes pleasure in dissonance and unexpected harmony, playing on a sense of simultaneous repulsion and attraction to the place. Halpern has significantly altered the first iteration of the book with a new cover and thirty-five previously unseen photographs, breathing life into his original notion that this project is a working sketchbook he will return to and revise periodically.

2nd edition.

Note: 1st edition shown in video, contents are the same.

• Void 2025
• Hardback, 1st edition, 224p
• New

Jeff Mermelstein has spent decades photographing New York. Fast, funny, sharp, catching what most of us miss. Here, he turns the camera inward, starting with flowers: perhaps the most photographed subject in history, and possibly the most avoided, for that very reason. From there, the work unfolds through pages of journals, family snapshots, phone notes, and previously unseen prints drawn from an intimate investigation of Jeff Mermelstein’s archive and personal memorabilia. Together, they form a quiet portrait of attention, finding beauty in the everyday and meaning in the small things that make up a life.

• Setanta 2025
• Hardback, 1st edition, 108p
• New

• Loose Joints 2025
• Softcover, 1st edition, 168p
• New

Loose Joints is proud to announce Slip Me the Master Key, a monograph by Thomas Prior collecting together two decades of the American artist’s precise and unflinching photographic practice. 

Prior's sharp images have a connecting thread of the American uncanny, often looking into the bleeding edge of technology, environment, capitalism, and culture to evoke an anthropocentric vision that's sublime in its consistency and composition. Prior’s detailed style moves fluidly between commissioned and personal work to find a subtle dissonance that captures the tremors of Western life at the edge, speaking in their stillness to hidden dynamics of power, change and control in the 21st Century.

In Slip Me the Master Key, Prior’s photographs operate like quiet alarms where messages lurk just below the surface. His subject matter is dizzying: the National Pyrotechnic Festival in Mexico, a quantum supercomputer, a COVID-era morgue truck inauspiciously parked on a Manhattan street corner, empty vats of Adderall, the deepest snow in the world, microplastics, the blood and sweat of a boxer mid-punch, a cloned dog, a strip of land in the Maldives close to being lost to the rising tide. Gathered together and placed in a careful procession, Slip Me the Master Key reveals the strange beauty and charged stillness of a world tipping sideways.

In many ways, this rising tide is the subject of Prior’s constellation of images; the shifts, gradual yet irreversible, that send the world hurtling into a precarious future. Prior’s oblique approach, cool restraint, and curiosity point toward that future, already in motion. Drawing together both the macro forces shaping our world and the minuscule moments that betray its emotional weight, Slip Me the Master Key offers a chilling yet sublime vision of the Anthropocene in which Prior articulates the unspeakable tensions of the present moment.

• Stanley Barker 2025
• Hardback, 1st edition, 104p
• New
  

In 1959, Arthur Tress began taking his camera with him on walks through the Ramble, an overgrown corner of Central Park that had become New York’s best-known outdoor meeting place for queer men. Designed as a picturesque woodland in the nineteenth century, by the late 1960s it had grown wild, a hidden, half-forgotten place of chance encounters in the middle of the city.

For a little over a year, Tress returned again and again, recording the everyday choreography of cruising and creating what is now recognised as the earliest known photographic record of outdoor cruising in a natural setting.

His images show the flow of men through the Ramble, some caught from a distance, others posed or gently staged in small scenes. He saw these photographs not just as documentation but as a kind of queer still life, part allegory, part dream.

Long unseen, The Ramble is now considered a vital piece of New York’s queer history, part ethnography, part fantasy. More than fifty years later, it stands alongside a new generation of queer landscape projects that share its quiet focus on how bodies, longing, and hidden places shape each other.

The Ramble is the first publication of this remarkable archive: an early portrait of a hidden world, a city’s wild corner, and an artist searching for himself among the trees.

• Nazraeli Press 2025
• Hardback, 1st edition, 76p
• New

"These pictures describe a long-ago time, and yet in looking at them I become once again the young photographer who took them on a hot summer day, sweat and dust pungent on the breeze; in the distance, I can hear the laughter of children who are now middle-aged.” — Sage Sohier, from the introductory interview by Mark Steinmetz

Easy Days is the third title in Sage Sohier’s trilogy which also includes Americans Seen and Passing Time. Made between 1978 and 1986, the 56 photographs presented in Easy Days capture the prosaic moments of ordinary people, always with respect and often with humor.

Sohier finds her subjects in the open spaces of parking lots, front yards and public streets, and in the quieter confines of modest homes, back yards and porches. She depicts “the boredom of hot summer days” with a precise attention to the surroundings, with cold drinks, propane grills, sprinklers and pets each providing small comforts and revealing the quiet tempo of the days. Sohier’s observation that “images…gain a historical perspective over time that adds to their interest,” is proven true in this collection of black and white images.

• Aperture 2010
• Hardback, 1st edition, 176p
• New

Although best known for his large-format color photographs made with vintage Kodak Brownie cameras, William Christenberry has also consistently produced work with 35 mm Kodachrome slide film ever since he took up photography. William Christenberry: Kodachromes is the first publication to showcase this stunning and previously unknown body of work, spanning from 1964 to 2007, of which only a small number of images have ever been published or exhibited. As in all of Christenberry’s photographs, the subject matter is the rural Deep South: the twisting back roads, open landscapes, rusted signage, and ramshackle vernacular architecture found in Hale County, Alabama. Though many of the sites pictured in this rare collection are new, other subjects grew iconic in Christenberry’s oeuvre as he has returned to photograph them for decades―the red building in the forest, Sprott Church, the Palmist Sign, and the Bar-B-Q Inn, among others. However, the photographs in William Christenberry: Kodachromes, made with a camera that allowed for greater mobility, reveal new ways of considering Christenberry’s perennial subjects and o!er further insight into the working method of this venerable artist.

• Nazraeli 2025
• Hardback, 1st edition, 48p
• New

The essence of Joshua Amirthasingh’s work lies in the stories it unfolds. Fueled by a deep sense of nostalgia for the vibrant energy of his childhood in India, and his love of cinematic storytelling, Amirthasingh has created a dreamlike document of his adopted city of San Francisco.

Within the everyday bustle of San Francisco, Amirthasingh seeks out quiet moments, using the city's unique interplay of golden hour light—casting a warm, nostalgic glow—and ethereal fog, which creates a dreamy, evocative atmosphere. This interplay becomes a character in itself, adding another layer to the stories he weaves with my camera. Tales from the City offers a conversation between the familiar and the unexpected, inviting viewers to engage with the stories embedded within, and to embark on their own journeys through their pasts.

Hardcover, 10.5x13 inches, 48 pages, 28 four-color plates.

• Mack 2025
• Hardback, 1st edition, 392p
• New

• Skira 2025
• Hardback, 1st edition, 224p
• New

Dedicated to one of the great figures of contemporary photography, this selection of over 90 images explores the most significant moments in the career of Joel Meyerowitz (born 1938), from his early images of the 1960s to his more recent work. It is divided into thematic chapters analyzing Meyerowitz's photographic series, from his evocative still lifes to the tragedy of 9/11; his sociological research which helped redefine the concept of street photography; and his conceptually provocative images reflecting American individualism during the Vietnam War. Meyerowitz's photography favors precise humanistic insight. With his calm and methodical reading of our reality, he reminds us of how photography can be a tool for reflection on the experiences of both the individual and society—a way of appreciating the present in all its aspects.