Our picks

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

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

Signed copy.  Large oversize softcover.

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

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

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

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

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

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

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

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

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

Signed copy.

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

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

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

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

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

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

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

Edition of 1000 copies.  Signed copy.

• 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.

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

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

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

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

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

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

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

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

Signed copy.

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

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

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

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

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

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

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

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

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

Signed copy.

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

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

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

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

- Sayuri Ichida

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Signed copy.

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

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

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

For trade enquiries, please get in touch here

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

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

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

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

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

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

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

Note that this delicate book has quite fragile corners.

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

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

• Libraryman 2025
• Hardback, 1st edition
• New

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

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

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

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

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

The book contains a preface written by Lisa Sorgini.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

‘Fishworm’ is about dykes digging through trash.

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

• 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.

• Witty Books 2025
• Hardback, 1st edition, 112p
• New

Reconnecting with his father after years of estrangement, Duffield’s series Poppy Promises follows the nine-year process of rebuilding a relationship that was once strained by addiction.  Reconciling with this challenging enclave of his own family history, the project explores the effect of his father’s heroin addiction on his parents’ relationship, recognising the previously overlooked role his mother played as a single parent in the absence of his father.

As the sequence unfolds, a rhythmic structure of portraiture and allegorical still-life photographs alternate as the series seeks to communicate the complex emotional landscape that is present in households that experience addiction. The tensions that run beneath the surface, the highs, lows, and occasional calamities. Incorporating his father's voice in the project alongside his own, a series of text messages exchanged between father and son offers a textual layer to the series that carries both subtle humour and a sense of pathos that reverberates alongside the photographs.

• Ediciones Anomalas 2025
• Softcover, 1st edition
• New

"How many identical points could converge on one and the same path?

Later on, you'll only hear the echoes of each decision —
The magic in the turning of the moon, its indelible mark.
Fates interlinking your steps and uncertainty as your only baggage.
Moments that are always as incandescent as indestructible candles.
Crosses and memories, bends and mends.

You know that scales are drawn on each map.
The question is how many beats will you manage to keep."

- Juanan Requena

Each book is unique & hand finished by the author with five different cover photographs, as well as a few small photographs randomly arranged inside each book, all hand-finished one by one with sandpaper, coffee and lots of love.

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

Artist Siri Kaur has been photographing her family for over 30 years, and her youngest sister, Simran, is the central focus of her forthcoming book, Sistermoon. Kaur’s photographs are combined with those from her family archive to create an unconventional album, illustrating the cycles of life and transformation, whilst questioning who observes, who is seen and who belongs.

Kaur’s biography informs her work. The book opens with a timeline of photographs from her mother’s traditional family, taken in the 1950s by her grandfather. Kaur herself was born into a cult—one image in the book depicts her parent’s wedding at the Happy Healthy Holy Organization, or 3HO in 1976. After Kaur's family left the cult, her father established a rural living community in Vermont where her siblings remain today. Kaur simultaneously belonged to the family and was also an outsider. Her relationship with her family, in particular her sister, was formed and strengthened by creating photographs together. Photography enabled her to observe, catalogue, and connect.

• Benrido 2025
• Set of 6 collotype prints
• New

“Low Tide” is a selection of six photographs taken between 2018 and 2023, featuring rugged landscapes and exposed nature. The motifs include rough waves at high tide, caves, rocky mountains at low tide, and lava, all captured head-on in the frame and depicted in rich, dense monochrome tones. The six photographs, selected by the artist and Benrido, have been meticulously finished.

Cased set of 6 Black and White Collotype Prints.

Print size: 20.3 x 25.4 cm

Portfolio size: 20.6 x 25.8 x 0.8 cm

Video courtesy of Benrido, Inc. 

• Benrido 2025
• Set of 6 collotype prints
• New

UK-based Japanese artist Ichida’s work explores the complexities of emotion by capturing the human form and sculptural objects, reflecting her own memories and life experiences. “Absentee,” featuring Ichida’s own body as the subject, evokes a sense of absence, or detachment from oneself or reality, as the word “absentee” suggests. This selection features six works from this series, published in 2022

Cased set of 6 Black and White Collotype Prints.

Print size: 20.3 x 25.4 cm

Portfolio size: 20.6 x 25.8 x 0.8 cm

Video courtesy of Benrido, Inc. 

• 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.

• Photo Editions 2025
• Hardback, 1st edition, 96p
• New

'I have been obsessed with Kyoto over the years because of the dense atmosphere the ancient city holds. That atmosphere must be the result of the essence of history that has gradually seeped into the land, brewing over time. In the 1,200 years since Kyoto was founded, many battles have been fought, much blood has been shed, and many people have died. The joys, sorrows, prayers, wishes, tears and struggles of so many people are layered on top of each other like a stratum, and as time goes by, the weight of these layers accumulates.

It is this kind of history of Kyoto that I have been trying to visualize over the past decade. Not history as a superficial record, but history as a "living creature" that has been nurtured and cultivated throughout people's lives. Yes, Kyoto's history deserves to be called a "living creature." It has a pulse; it breathes. I believe that the richness of Kyoto's air is generated by the body heat of history, history as a"living creature".' 

- Yasuhiro Ogawa

Hardback with swiss-binding (open spine). 305mm x 191mm. 

Signed copy.

A range of print options are available from the dropdown, all prints are 7"x5", signed and stamped on the reverse.  All prints are exclusive to Photobookstore.

In stock now.

• Blue Lotus / Photo Editions 2025
• Hardback, 3rd edition, 100p
• New

Yasuhiro Ogawa’s new photobook Into the Silence captures the rugged yet timeless beauty of Japan’s northern region as he follows in the footsteps of the 17th Century poet Matsuo Bashō.

The story of Matsuo Bashō's journey through the northern provinces of Japan in the 17th century, is recounted in his travelogue "The Narrow Road to the Deep North,” ("Oku no Hosomichi”). In the summer of 1689, Bashō set out on his journey with his traveling companion Sora. They traveled on foot, carrying only minimal provisions and staying in humble lodgings along the way. Bashō was seeking inspiration for his poetry, and he found it in the natural beauty and cultural richness of the places he visited.

Like Bashō before him, Ogawa set out on a journey through the Tōhoku region, unlike Bashō, who traveled on foot with pen in hand, Ogawa preferred to move by train with camera in hand.  His photographs capture the rugged beauty of the landscape, from snow-covered mountains to misty forests and along deserted roads with glimpses of wild oceans, often shot through foggy windows on a train in motion. Through his lens, Ogawa reveals a world that is both remote and timeless, a world in stillness and motion.

Despite the passage of centuries, the challenges faced by Bashō on his journey are still evident in Ogawa’s photographs. The loneliness and isolation of the road are palpable in the shots of empty trains, lone tracks or roads and desolate hotel interiors. So are the physical challenges of traversing rough terrain and inclement weather documented in his muted photographs.  There is a marked contrast between the beauty and tranquility of the landscape and the harsh realities of life in this remote region. From plain coastal towns to empty streets, Ogawa’s images reveal the toll that economic decline and depopulation have taken on the area. Yet there remains a sense of hope and resilience.

Hardback 3rd edition.

Signed copy. 

Copies of Into The Silence (2nd edition), with a signed print are available here.

• 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.

• Stanley Barker 2023/2025
• Flexibound, 1st edition/4th printing, 296p
• New
  

Trent Parke’s landmark publication Monument is a portal through which we bear witness to the disintegration of the universe over 294 expertly printed pages.

The monolithic publication is bound in leather bearing totemic coordinates to the planet Earth, blind stamped end sheets, black sprayed edges, and a loose steel plaque, that once removed, leaves the volume without language.

When Trent Parke moved to Sydney from a small Australian country town, his first impression was of the sheer volume of people. He would grab his camera and go out exploring at every opportunity, fascinated by the endless processions. At rush hour, he watched as the city workers moved in a great mass, all walking the great conveyer belt of life. In a trance-like state, treading the same path day after day, week after week, year after year… clocking on, clocking off, all under the spell of the city. Parke would stand on the edge of the wave, on the outside of a new world, looking in. As if watching a newly discovered species. 
 
 “At night I would watch the eclipse of moths, millions of them constantly circling the lights of the Sydney Harbour Bridge. At the same time, on my balcony, a miniature performance played out around the light above my head. The moths inevitably and without resistance were drawn to their ultimate demise. Spiralling out of control, like small spaceships caught in a tractor beam. Lured and blinded by the bright white light, they were taken out by hundreds of birds swooping in to snatch them from the air… spiders sat waiting on their webs. Built with precise coordinates across the face of the lights, they captured the hapless tiny creatures that slipped through. If any miraculously managed to survive that onslaught, they continued on, driven towards the flame, intoxicated by those burning hot light globes. Then suddenly an electrical charge in the still air. A small puff of smoke. Gone. Instant disintegration of a life form. Another blip in the universe. Another small spacecraft colliding with the blazing sun.”

- Trent Parke

Flexibound with embossed leather cover,  blind stamped end sheets, sprayed edges with multiple paper weights and gatefolds.

4th printing, already out of print, final few copies.

• Self-published 2025
• Softcover, 1st edition
• New

To the north of Hadrian’s Wall, the northern frontier of the Empire, the Romans dug a deep ditch as a first line of defence against some of the Celtic tribes of northern Britain. The Wall itself ran from Wallsend in the east to Bowness-on-Solway in the west, crossing the region of Tyneside and the counties of Northumberland and Cumbria. The ditch ran parallel to the Wall across much of its length, except where higher cliffs and crags provided a natural form of defence. Remarkably, after almost 2,000 years, long stretches of the ditch have survived relatively intact and are clearly visible today. Some parts on private land are largely inaccessible, whilst other sections have all but disappeared under farmland or been built over by roads, farms and houses. Other stretches of the ditch, now running beneath woodland, have been long forgotten, traces of which can still be found.

Over five years, Damien Wootten photographed Hadrian’s Wall ditch, often returning to specific locations and retaking exact compositions. Through mapping this man-altered topography, he brings both a physical and archeological context to the ditch, whilst marking historical time through the recording of climatic and seasonal changes. The work also suggests a political and philosophical reading of the landscape, drawing parallels between the Roman Empire’s control through territorial boundaries and present-day geopolitics: from Palestine to border control. These quiet images of this historically contested (often violent) landscape of northern England resonate with the past and echo with notions of ‘frontier’ and everything that conjures up: colonialism, conflict and death. Damien also acknowledges the role of photography as a tool of imperialism, mapping and recording unknown territories and peoples - inevitably ending in the plundering of natural resources, and the subjugation, displacement and genocide of indigenous populations.

Signed copy.

• 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.

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

Joey Judita Abrait’s second book is about men, nature, friendship, death and life.

“On my first visit to the farm, the “Sanctuary” I was appalled and intrigued at the same time. On the one hand shabbiness, neglect around the living quarters and abandoned farmhouses nearby, on the other hand a feeling of elevation and spirituality in the air and the surrounding countryside … There were no rules except a few: to be however you like without exceeding the needs of the group, to take care of your own mess and to be part of the annual cleaning and planning weekend.”