AMERICA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

• 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 

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

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

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

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

Note that this delicate book has quite fragile corners.

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

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

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

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

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

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

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

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

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

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

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

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

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

Signed copy.

• Nazraeli Press 2025
• Hardback, 48p
• New

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

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

• Nazraeli Press 2025
• Hardback, 48p
• New

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

• 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.

• Deadbeat Club 2025
• Hardback, 1st edition. 112p
• New

“You gotta love it”, says 65-year-old Bill Delaney, beauty salesman in the greater Los Angeles area. Yes, you gotta love it. You gotta love the hustle, the getting-up-and-going-out, the repeating sales pitches, the flirting and the haggling; the unending calls, all week, Monday to Sunday, all day, morning till night. You gotta love the dance, the rush, and the territory. 

In 1980, as a young photographer just beginning her MFA in San Francisco and developing a keen interest in documenting labor, Janet Delaney embarked for a week on the job with her soon-to-retire father. The days are long and exhausting, but there is, in the incessant driving, carrying and chatting, a restless, pulsing energy streaming from Delaney’s photographs. Picturing the beauty parlors with a critical distance (she did, after all, grow up in a time of questioning constricted gender roles and capitalist consumer culture), using frontal, wide shots and often harsh flash, Delaney created a witty documentation of a day in the life of a salesman. Despite the photo-novella humor, Delaney came to see her father’s work under new light. All the tough business dealings, all the missed dinners and the Saturday meetings became a testament to his efforts to provide for his children what he himself had not received. The story, ultimately, became a testament to his love.

Yes, you gotta love it—as it is a true labor of love.

Janet Delaney is an American photographer known for her poignant documentation of the intersection of work, home, and shifting cityscapes. Supported by research and interviews, her projects reflect a deep engagement with the passage of time and photography's role as a historical record. Delaney gained recognition for her South of Market series, chronicling 1980s San Francisco gentrification. Her later projects, Public Matters and Red Eye to New York, captured civic life and street scenes in San Francisco and New York during the 1980s. 

Signed copy.

• Deadbeat Club 2025
• Hardback, 1st edition. 92p
• New

Between 2014 and 2020, Ian Bates traveled tirelessly along the West Coast of the United States. For years, he has photographed there a charred land suffering from increasing scorching wildfires. But, far from any voyeuristic dramatization, scarce are the depictions of the roaring flames, or of the fire’s fury. Rather, standing at a respectful distance, Bates photographs in rich black and white tones what is at the margin, the traces, the aftermaths. The beauty and horror of the landscape, too, enshrouded in a grey cloak of ashes and plumes. “There is a moment after a wildfire burns but before humans return”, says Bates, “where the land and forests are both beautiful and terrifying.” 

His photographs, seemingly suspended out of time in a muffled silence, at the edge of the catastrophe, are a meditative exploration on this liminal stage between calm and violence, on the fine line we dance on when we build and expand on nature’s ground. A meditation on the harshness, anxiety, and beauty of wildfires—which can, as well as destroy, prepare a fertile ground for new life to start.

Signed copy.

• 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.

• Underlife 2025
• Softcover, 1st edition
• New

Harrison Miller’s “Yellow Pine” is a collection of 21 photographs and one poem. These were made while working with his dad to log pines, oaks, and dogwoods felled by an aggressive storm during one of Knoxville, Tennessee’s volatile summers. Stained by sweat, sap, and sawdust, the lives of these few world weary faces are set against an overgrown, unforgiving landscape in disarray.

10in x 16in (25.4cm x 40.64cm)

First edition of 100 copies. 38 pages, 21 images

• St Ann's Press 2003
• Hardback, expanded edition, 126p
• Used: very good - see below

Bruce Davidson's groundbreaking Subway, first published by Aperture in 1986, has garnered critical acclaim both as a documentation of a unique moment in the cultural fabric of New York City and for its phenomenal use of extremes of color and shadow set against flash-lit skin. In Davidson's own words, “the people in the subway, their flesh juxtaposed against the graffiti, the penetrating effect of the strobe light itself, and even the hollow darkness of the tunnels, inspired an aesthetic that goes unnoticed by passengers who are trapped underground, hiding behind masks and closed off from each other.”

First St Ann's Press edition.  Some light scuffing and edge wear to dustjacket.  Very faint bump to rear corner.  Inside near fine.

• VOID 2025
• Hardback, 1st edition, 112p
• New

Through the use of archival fragments, historic ephemera and his own photographs, artist Raymond Thompson Jr focuses on previously concealed stories of slaves, maroons, and runaways. ‘It’s hard to stop rebels that time travel’ aims to expand narratives about the Black experience and connection to the ‘American’ landscape.

The project is centered around the city of New Bern, North Carolina in the US—established in 1710 as hub for the trade of human beings —an area rich with historic moments. Many maroons—enslaved people who had escaped their captors but chose not flee to the north— inhabited the liminal spaces in the vicinity. They created lives in hard access swamps or in the ungoverned wild spaces between plantations and their survival strategies and techniques can be thought of as ‘freedom practices.’ Collectively the materials in the book reach through time to these maroons of the 18th century and connect them to both the contemporary landscape and the viewer.

“In 1918, my grandfather was born outside New Bern and left the region during the great migration.  This project represents a more personal approach to interrogating archives because it is based on a landscape I can trace to my ancestors. More and more, Black people like myself are seeking answers to questions surrounding their origin. This journey through our families' pasts necessitates us to walk the paths of our ancestors. This project became my portal to slip between the past, present and future.” - Raymond Thompson Jr

• Nazraeli Press 2025
• Softcover in acrylic engraved slipcase, 1st edition, 180p
• New

Immersed in a monochromatic landscape of surrealism, Tin Lizards is a testament to the enduring allure of train travel. Each location featured was reached by train, departing from Robert LeBlanc's home base in Los Angeles. As the rhythmic clatter of steel on steel propels LeBlanc forward, he captures the essence of exploration and discovery, weaving a captivating tapestry of photographs from the places he encounters, showcasing the delicate balance between stillness and movement. Tin Lizards is a harmonious collaboration between artistic vision and wanderlust. In this world of monochromatic surrealism, dreams collide with reality, as memories are etched in silver halides, and the world becomes a canvas for contemplation and wonder. From the solitude of his sleeper car to the enchanting hush of small towns and the bustling energy of major cities, LeBlanc adeptly frames these diverse landscapes with an artistic eye that finds beauty in even the quietest moments. This body of work invites us to embark on a poignant voyage, one where the soul of the country reveals itself through the gentle embrace of train travel.

Presented in collaboration with Carhartt Work In Progress, Tin Lizards is printed on silver art paper, its edges bathed in crimson and encased within a crafted acrylic vessel. This inaugural edition is limited to 600 copies and launched in tandem with a co-exhibition with Carhartt WIP and Fahey/Klein Gallery. A set of 20 special editions accompanies the release, each pairing the volume with archival prints and housed in a hand-numbered acrylic box.

• Steidl 2011
• Hardback, 1st edition, 326p
• Used: very good - see below

This is the first book of Sternfeld’s largely unseen early colour photographs. In 1969 Sternfeld began working with a 35 mm camera and Kodachrome film, and First Pictures contains works from this time until 1980. Here Sternfeld develops traits that appear in his mature work: irony, a politicised view of America, concern for the social condition. But there are also pictures that bear little relation to his later work: colour arrangements that parallel those of Eggleston, as well as street photography which Sternfeld ceased making in 1976. The photographs in First Pictures were made at a time when colour photography was struggling to assert itself against the authoritative black and white tradition, making this book a revelation both in Sternfeld’s oeuvre and in the history of contemporary photography.

Used book in very good condition but with marking to cover and light handling wear.  Inside excellent, near fine.

• The Ice Plant 2024
• Hardback, 1st edition, 192p
• New

In 2023, Swedish photographer Gerry Johansson roamed the state of Maine with a Rolleiflex, curious to make new pictures in a region of America he first encountered in the work of Paul Strand five decades ago — he found Strand’s views of New England “boring” at the time — and also wondering, “Why is American photography so focused on the west?” Johansson’s Maine echoes the formal restraint of his earlier books, notably American Winter, Spanish Summer, MeloniMeloni, and Pontiac, sequencing nearly 200 black-and-white duotone photographs alphabetically by their oddly poetic northeastern town names (Bath, Friendship, Purgatory, etc). Somehow, as in all Johansson’s work, none of the Maine pictures draws more attention than any other, and the flawless and playful compositions never seem to repeat — Johansson’s endlessly inventive arrangements of architecture and landscape orient the viewer in a specific geographic and cultural place while generously sharing his way of seeing, ambling, and thinking with a camera.

Unsigned.

• Nazraeli Press 2025
• Hardback, 1st edition, 68p
• New

“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.

• Journal 2012
  
• Hardback, 1st edition, 124p
  
• New

• Nazraeli Press 2025
• Hardback, 1st edition, 144p
• New

Lucas Foglia’s newest book and exhibition, Constant Bloom, traces the world’s longest butterfly migration, just discovered by scientists. Each year, Painted Lady butterflies travel between Africa, the Middle East, and Europe in search of blooming flowers. They have followed this route for millions of years.

Now, with climate change altering when and where wildflowers bloom, Painted Ladies rely on flowers in our parks, farms, and gardens. As Foglia followed the butterflies from Kenya to Norway, he also met people experiencing unseasonal droughts, floods, or freezes. Many were refugees traveling to Europe along the same route as the Painted Ladies.

In Constant Bloom, the longest butterfly migration becomes a metaphor for connection across international borders. 

This beautifully printed book from Nazraeli Press gracefully explores the world and the urgent global issues of our time. With all text in English, French, and Arabic, Constant Bloom includes essays by curator Willemijn van der Zwaan and the scientists of the Worldwide Painted Lady Migration Project.

• GOST 2025
  
• Hardback, 1st edition, 128p
  
• New

Photographs taken in New York over 50 years ago by Mark Cohen will be published for the first time in Tall Socks. In July 1973 Cohen spent a month living in a dorm room at NYU while taking part in a film production workshop. His daily classes were short so he used his free time to walk around the city with his camera. Only a few of the images were printed at the time and the vast majority remained unseen, except as negatives, until now.

New York in the 1970s was notorious for high crime rates, social disorder, an unsafe subway and a declining quality of life. Economic stagnation had hit the city hard and many of the middle-class residents had left for the suburbs. This is often evidenced in Cohen’s photographs in the graffiti, litter and ruin present on the streets but his images also depict a New York which is full of life and on the move. Although the book’s sequencing follows no formal narrative, the pace of the images give the impression of walking around a city whose residents are in a perpetual state of transit with Cohen moving unobtrusively through this. There is change from block to block, from step to step, and details and impressions are observed. There is an undercurrent of threat in some of the images—the glare of a stranger and menacing subway stations—but also humour and joy found in a child’s tall socks, a lady with peacock feathers, an incongruous elephant or a girl carrying a plank of wood across a cobblestoned street.

Mark Cohen has been taking pictures since he was 14 and is best-known for his work made in his native city of Wilkes-Barre in Pennsylvannia where he would just go out of his door and start to work. He didn’t need to travel because there was an infinite set of possibilities and variations on the streets each day. The same working method applied to his short time in New York. He just had to walk.

Cohen has a singular photographic style resulting from holding his camera at hip level to intuitively photograph, often up close to his subjects. This lends his images an unusual perspective—they show the world viewed from the height of a child, focusing on objects or angles which are often overlooked, cropping figures and peering curiously into doorways and down streets. The familiar becomes both fresh and strange.

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

• Stanley Barker 2019
  
• Hardback, 1st edition
  
• Imperfect - see below
  

Christopher Anderson began photographing New York City cops in the wake of 9/11, as the visual landscape of the city he called home began to change. Bomb blast barriers went up, cops carrying larger guns seemed to be everywhere, and whilst the increased presence of security was designed, in part, to make New Yorkers feel safe, it reminded Anderson that something was deeply wrong. Then, in the wake of Occupy Wall Street, the death of Eric Garner and the election of Trump, Anderson found himself making photographs of cops on the streets of New York City once again, as a form of unconscious protest on a larger sense of authority. On assessing the images he was making, Anderson began to see them as something entirely different than a protest or commentary on power - there was almost a sentimentality.

“I saw a portrait of a working class, immigrant America. The uniform only served as a thread on which to hang a cross section sample. The photographs felt more like a love letter to New York” - Christopher Anderson

Sealed copy but with sunning/fading to spine, see example photo.  Otherwise new sealed and signed copy.

• Nazraeli Press 2025
  
• Hardback, 1st edition, 16p with print
  
• New
  

Lucas Foglia's Living on Lava chronicles the allure of Hawaii’s Big Island, where volcanic forces shape both the landscape and the lives of its inhabitants. Five volcanoes form the Big Island of Hawaii. Mauna Loa is the largest active volcano in the world. Kīlauea has been erupting continuously since 1983. People build homes on the lava after it cools, despite the possibility of molten rock flowing over the same land again. Between eruptions, the cleanest air on Earth blows in with the Pacific Ocean waves.

Lucas Foglia is a 2024 Guggenheim Fellow who creates stories about people in nature. His photographs are collected, exhibited, and published internationally. Living on Lava is his fourth book with Nazraeli Press.

Small format hardback 6" x 8 1/2", 16 pages.

Living on Lava is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.

• Nazraeli Press 2025
  
• Hardback, 1st edition, 16p with print
  
• New
  

Lookout on Highway 74 is a collection of 12 photographs taken by American photographer Mimi Plumb in the 1980s. She often visited the lookout during the holidays while visiting her in-laws in Palm Desert, obsessed with photographing a tiny sliver of road in the vast San Jacinto and Santa Rosa Mountains below. Her interests expanded to include the people, young and old, visiting the site, seemingly mesmerized as she was by the stark beauty of the landscape.

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, Reservoir.

Small format hardback 6" x 8 1/2", 16 pages.

Lookout on Highway 74 is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.

• Nazraeli Press 2025
  
• Hardback, 1st edition, 16p with print
  
• New
  

US Highway 61 runs for 1,400 miles between New Orleans, Louisiana and the city of Wyoming, Minnesota, generally following the course of the Mississippi River. This highway has been referenced in the lyrics of music by myriad artists with roots in the region. The junction of US 61 and US 49 in Clarksdale is the mythical crossroads where, according to legend, Robert Johnson sold his soul to the Devil in exchange for mastery of the blues guitar style.

The Blues Highway portion of Highway 61 follows its path North from New Orleans to Chicago, passing through Louisiana, Mississippi, Arkansas, past the western tip of Tennessee and through Missouri. It was here where Jeff Dunas headed in the mid-1990s to photograph many of the true blues legends for his portfolio and monograph State of the Blues.

For his contribution to our One Picture Book series, Jeff Dunas has retraced his steps from that journey, presenting here a selection of landscapes and portraits with accompanying texts describing what he saw, and why it is as important as ever.

Small format hardback 6" x 8 1/2", 16 pages.

Highway 61 to Honeyboy is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.

• Akio Nagasawa 2009
  
• Softcover, 1st edition, 48p
  
• New

Rare early Record issue.

Signed copy.

• Mack Books 2024
  
• Hardback, 1st edition, 112p
  
• New

Over two decades, Gregory Halpern has been photographing in and around his hometown of Buffalo, New York, meticulously crafting the series of photographs that forms his latest monograph. King, Queen, Knave is an idiosyncratic vision of a city amidst its contradictions, defying familiar narratives of post-industrial decline and embracing an enigmatic strain of reality verging on surrealism. Halpern’s mesmerising sequence unfurls as a stage across which distinct and unpredictable characters appear in and amongst solitary buildings, snowdrifts, and sun-bleached scenes of everyday transcendence. 
 
The images often locate their subjects within the specificities of the season and balance a historical project with the immediacy of a moment in its individual radiance. Embracing themes of reversal and ascension, Halpern confronts the complexities of his birthplace and of contemporary America at large, seeing beauty intertwined with ugliness and redemption with despair. This lyrical new work is testament to the endless complexity of a place at once familiar and unknown.

2nd printing. Unsigned.

• Nazraeli 2025
  
• Hardback, 1st edition
  
• New
  

Chicago by Mark Steinmetz, made between 1988 and 1991, provides a compelling portrait both of the city itself and of the time in which they were made.

Steinmetz’s relationship with Chicago is an important and evolving aspect of his artistic journey. While he is primarily associated with the South, Chicago has long been a city that has inspired his creative exploration. Chicago’s distinct neighborhoods, architecture, and energy offered Steinmetz a rich source of material, allowing him to capture the city’s quiet moments and intimate portraits of its residents. Chicago showcases a unique perspective of the city and and is an important chapter in Steinmetz’s ongoing dialogue with the broader American landscape.

Born in 1961, Mark Steinmetz lives in Athens, Georgia. He is a Guggenheim Fellow, with work in the collections of the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Art Institute of Chicago, and the Los Angeles County Museum of Art.