Our picks

• 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 painted 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.

Pre-order bonus: the first 100 pre-ordered copies of Reverie, will come with a 15x10cm signed collotype print of 'Hope' produced by Benrido Inc., Kyoto.  See image here.

Books are expected to begin shipping 10th December.


For trade enquiries, please get in touch here

• TIS 2025
  
• Softcover, 1st edition, 76p
  
• New
  

Balarama Heller’s Sacred Place was created in the predawn hours, when the veil between the spiritual and material realms is thinnest. It is a deeply personal yet universally resonant pilgrimage exploring faith, memory, and spiritual transformation. Born into the Hare Krishna movement in America, Balarama Heller grew up within a world of devotion, ritual, and upheaval—moving through communes, countercultures, and moments of both transcendence and disillusionment. Returning to Vrindavan, India, the heart of the religion, Heller, guided by Joseph Campbell’s idea that sacred places reveal “eternity shining through time,” crafts an alchemical tapestry of archetypes both ancient and new. Sacred Place sifts through the magnetism forged by millennia of pilgrims—Heller himself among them—seeking to touch the Infinite glimmering through the present.

Signed copy.

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

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

• 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.

Signed copy.

• Libraryman 2025
• Hardback, 1st edition
• New

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

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

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

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

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

The book contains a preface written by Lisa Sorgini.

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

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

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

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

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

• 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

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

‘As Long as the Sun Lasts’ follows Joselito Verschaeve’s characteristic working process: building an ever-growing archive of photographs from daily encounters, sketching ideas, and drawing from this pool of images to shape a new story. For this book, the photographs conjure a world that feels close to its ending. They pulse with a soft melancholy, as if the light itself were counting down.

The title borrows from Italo Calvino’s ‘Cosmicomics’, where the sun nears its death and humanity prepares for its own. Yet, in Calvino’s story, the end isn’t only tragedy—it is also clarity, a strange peace that comes from recognising life’s transience. Verschaeve’s work holds the same duality: a tension between continuation and collapse, optimism and extinction, beauty and the certainty it won’t last. This oscillation between drive and doubt shapes every page of the book, and resonates with our present moment—when the theme of the world coming to an end feels less like fiction.

At the heart of the work lies a quiet contradiction: an optimism that insists on creating while time still allows it, and a lucid awareness that all things eventually fade. This duality defines the book’s tone—hopeful and resigned, fragile and persistent. Each image feels like a gesture of continuity against the inevitable, a way of saying we are still here.

The final chapter turns inward. Together with Void, Verschaeve explores the anatomy of the photobook itself: experimenting with different sequences, building alternate narratives, and revealing the invisible logic of editing. An index decodes these narrative threads, while a schematic score translates the book’s rhythm into notation. What begins as a meditation on endings concludes as a reflection on how stories are made—and remade—as long as the sun lasts.

• 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
• Softcover, 1st edition, 672p
• New

‘Dimma Brume Mist’ was born from over two hundred binders containing thousands of contact sheets and negatives. Over the course of five years, JH Engström periodically returned to this archive, mining deep within the overlooked to search for the common thread present throughout his 35-years of image-making. His ambition was not to create a ‘best of’ collection, nor a summary of previous books, but to create something else entirely. The result is ‘Dimma Brume Mist’—an epic book of previously unpublished photographs and text.

The framework of a book emerged in the early stages of Engström’s excavation of his archive. He began forming pairs and sequences of images which oscillated between opposite and complementary elements such as between rural / urban, movement / stillness, inner / outer, security / insecurity, child / adult, reflection / impulse, self / other, nature / civilisation. As the book evolved a second type of oscillation developed between images and words—forming the building blocks for the book.

The texts—reproduced in Swedish, French and English—are short, stripped down simple notes either referring to childhood memories, random thoughts which arose in connection with Engström’s artistic search or ongoing inner monologue. He views the images as the engine and the texts as a braking system, preventing the reader from rapidly flipping through the book so as not to miss them.  All the images are vertical to reference books beyond the defined category of photobook—leaving ‘Dimma Brume Mist’ uncategorisable.

To maintain a simplicity and directness, the images in the book have been scanned straight from the contact sheets and are presented without captions.  They are undusted and scratches, damage and other traces of time have been left exactly as they were when the contact sheet was removed from the binder. The imperfection of the images is symptomatic of the weathering and disintegration of memory with time.

Edition of 750 copies.

• 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.

• Guest Editions 2025
• Hardback, 1st edition, 160p
• New

Shot over a decade on the Isle of Sheppey, where photographic artist Laura McCluskey was raised, Close to Home is a tender interrogation of how ties to family and place may fray and contort yet never break. The project’s narrative heart is 13 Acorn Street, the home of Laura’s paternal grandparents, which was ever central to McCluskey family life.

In 2014, Laura instinctively began documenting her grandparents, their home and Sheppey itself during each return visit. Thus she was to capture this poignant and candid testament to Jean and Pat’s last years. Her images sensitively portraying mortality’s march as echoed through a residence rich in vital memories. The subdued dilapidation of the once-vibrant 13 Acorn Street until its emptying, underscoring time’s stubborn progress, no matter how much we may long for it to slow.

Place is a further key theme. The places we call home, the tenacious hold they retain over us, which persists despite our relationship to home becoming fraught. For Laura, her love for her grandparents and a desire to mend fractured family ties anchored her to Sheppey. Yet photography was to prove her most powerful healing tool as this instinctual project became a conduit for reconciliation, solace and growth. An enduring act of love to stay Close to Home.

• 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.

• Raft Press 2025
• Hardback, 1st edition, 64p
• New

‘A starling is, in short, exceedingly beautiful. Yet one reason we tend not to dwell on the otherness of starling aesthetics is the fact that they have come to live so close by us, nesting in our houses, feeding on our lawns, or across our rubbish dumps, or from garbage bins, or by the sprinklers at the sewage works, or on the motorway hard shoulder. Or they strut a roundabout island amid the rush-hour traffic. We are so habituated to their presence that, like everything else in our lives, we smear them over with our sense of the everyday. And they become ordinary. We have to look with real intent, as Jem Southam has done when taking his own starling images, to recover the sheer magic of our world.’

– Mark Cocker from the book’s essay.

The photographs in Starlings were made on one afternoon in December 2023 at Ham Wall, a wetland wildlife sanctuary managed by the RSPB in Somerset. The images show the stillness of late afternoon as the starlings fly in to roost. As the book progresses, thousands of birds are shown in full flight before disappearing with the coming of darkness.

It is thought that up to a million starlings roost at the Avalon Marshes at Ham Wall. Some of the birds inhabit the marshes year-round, and others migrate from colder countries in continental Europe as northern winter descends and contribute to this staggering number of birds. During the day they travel up to 20 miles to feed and return in the afternoon, an hour or so before sunset. Southam’s photographs capture the spectacle of the starling flocks populating the sky before flying down to roost for the night, leaving the skies empty once more.

Special edition (in hardback) with a signed and dated 12x10" print as shown.

• 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.

• 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.”

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

“I moved from London to Gotland, Sweden in 2019. My grandmother was 93 years old and she and I started going on regular car outings. She liked it best when I drove on old roads through the parishes.

On a cold winter’s day, when we passed the cross erected in the forest grove on the road between Endre and Dalhem, my grandmother told me about the last execution that took place there in 1863. ‘Many people had come to watch the spectacle.’ One of them was her grandmother. The man who was beheaded was a murderer, and ‘wise women’ collected his blood in vessels they had brought with them. Blood from a murderer was considered to have great powers and magical properties.

After several car journeys and many conversations, I also began to visit the National Archives regularly and read everything I could find about Gotland folklore and its healing and protective rituals. How might these cures, remedies, rituals and traditions have been like?

The COVID-19 pandemic came and went. It showed how little we actually know about disease and viruses. New and closer wars broke out and showed how unprotected we actually are. I looked further into folklore and found inspiration.”

- Jessica Lindgren-Wu

• Dashwood / Session Press 2025
• Hardback, 1st edition, 232p
• New

Over the past four decades, Takashi Homma has become one of the most influential figures in Japanese photography. From his early exploration of Tokyo’s suburban landscape in Tokyo Suburbia (1998) to conceptual investigations of architecture, nature, and urban history, Homma’s work continues to challenge and expand photography’s role in visual culture. His influence extends far beyond Japan, with exhibitions and publications that contribute to a global conversation around identity, place, and the evolving language of the photobook.

Portrait of J joins the rich tradition of socially engaged portraiture, echoing seminal works such as August Sander’s Face of Our Time, Irving Penn’s Small Trades, and, more recently, Wolfgang Tillmans’s Portraits, Rineke Dijkstra’s studies of adolescents and Paul Graham’s End of an Age. In Japan, similar approaches resonate in the work of Shomei Tomatsu, whose postwar portraits offered intimate glimpses into daily life; Yoshihiko Ueda’s Portrait, which documented leading cultural figures; and Hiroh Kikai’s Asakusa Portraits, as well as Issei Suda’s Tokyo-kei and Katsumi Watanabe’s Shinjuku Guntōden 66/73—all of which captured the individuality and quiet dignity of anonymous Tokyoites.

What distinguishes Portrait of J is its intentional focus on ordinary individuals photographed with the same care and reverence often reserved for cultural icons. Shot across a variety of familiar, recognizable locations, mainly in urban environments, Homma’s portraits have an illuminating quality that reveal a psychological depth in their subjects. His approach is less overtly political than Tomatsu’s, more nationally reflective than Kikai’s or Watanabe’s, and more humanistic than Ueda’s. His portraits are guided by empathy and a desire to observe people as they are—free from manipulation or staging. The result is a more inclusive, nuanced visual representation of Japanese identity—expanding the lens through which Japanese people are seen both within Japan and internationally.

While Japan has long fascinated audiences in the U.S., Europe, and beyond—often admired for its aesthetics, traditions, and technological innovation—the lived realities of its people are often idealized, misunderstood, or overlooked. Portrait of J is especially meaningful in that it offers a platform for a Japanese photographer to speak directly, intentionally, and reflectively through his work—presenting a grounded and authentic portrait of contemporary Japan.

At once systematic and deeply personal, Portrait of J is a quiet yet powerful milestone in Takashi Homma’s enduring career—and a poignant, timely archive of the people who shape Japan toda

• The Eriskay Connection 2025
• Softcover, 1st edition, 320p
• New

With Love. From an Invader. – Rhododendrons, Empire, China and Me is an intensive field study. Every other day for a year, Yan Wang Preston (CN/GB) went to a particular love-heart-shaped Rhododendron ponticum bush and photographed it. The ritual walks offered her time and space to experience, observe, and explore the land from different perspectives. She not only looked, listened, touched, and played, but also used a variety of methods to highlight the ‘invisible’ aspects of the otherwise bare landscape. Her infrared motion-sensitive cameras saw more than 20 different animal species, while her sound recorder heard over 45 different bird species in the area.

Other than observing and documenting, she also selected another tiny rhododendron shrub to have ‘hands on’ interactions. She collected all its fallen leaves in autumn, its seed capsules and aborted flower buds in winter, its fading flowers in spring and summer. This lengthy process of collecting in the field led to further embodiment with the British landscape and enabled Wang Preston to respond subjectively and intuitively to the materials, resulting in a complementary series Autumn Winter Spring Summer.

These Rhododendron ponticum plants are located at the outskirt of Burnley in Lancashire, UK. The plants thrive in this area as a legacy of the local hunting estate during the 19th century, when the plants were grown to provide cover for the game. British rhododendrons are all introduced plants, brought from southern Europe and East Asia for science and horticulture. Once the subject of the “rhodo-craze” in the Victorian era, the plant’s reputation has changed dramatically since the mid-20th century. Although still common and a much-loved sight in most British gardens, one hybrid species, the ponticum variety, is frequently labelled as non-native invasive in conservation management, targeted to be removed with often violent means. For example, Forestry and Land Scotland has ‘used chainsaws, pesticides, and considerable human power to remove this unwelcome alien.’

Certainly not the only species treated this way, the Rhododendron ponticum is a case study for such naturalised hierarchy between the native and the non-native. This unquestioned hatred of the non-native rang alarm for Wang Preston. Like millions of others, she is a migrant in the United Kingdom. The contested perceptions of rhododendrons suggest that politics is at play within the apparent objectivity of science and the definition and ownership of the British landscape. What is a ‘national’ British landscape and its associated ‘national ecology’? Who defines it? And in whose favour? Wang Preston sought to understand both rhododendrons and her own position in this land. What she finds, through the making of With Love. From an Invader. and Autumn Winter Spring Summer, is that the rhododendrons in this area are certainly not invasive. Rather, they are a keystone species that plays a central role in the local ecology.

With Love. From an Invader. celebrates the life and resilience of the rhododendron. The book creates space to contemplate the intimacy, beauty, and strength of nature, and the eternity of time within an ecological and political framework. It is a love letter from a non-native species to the cosmopolitan ecology of contemporary Britain. It is also a love letter to the British land from its non-native inhabitants who make it a home for its multicultural residents, both human and non-human.

With Love. From an Invader. is published in collaboration with the Royal Botanic Garden Edinburgh and includes two historical image collections from their archive. Wang Preston’s eclectic projects are complemented by essays by Emma Nicolson, Alan Elliott, Bergit Arends, Matthew Gandy, Monty Adkins, Michael Pritchard, Liam Devlin, and Wang Preston herself, an interview with Cosima Towneley, and a poem by Kate Kinoshita. The essays in the book underscore the interdisciplinary approach, bridging art, ecology, post-colonial studies, and cultural memory. Together, they encourage readers to explore how plant life reflects histories of exchange, resistance, and survival, enriching the

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

During times of darkness and moments of deep turmoil in her personal life, Dutch photographer and mother of six, Marjolein Martinot, found herself lost, searching for a renewed sense of self. Each evening, she sought solace in nature, walking to a nearby river in the South of France with her camera in hand. There, she captured the quiet beauty of the natural world in the golden light of dusk, forming connections with the animals and families she en- countered at the river’s edges—jumping, splashing, climbing, and swinging from the trees.


What began as a ritual of aimless wandering and photographing soon became a form of visual journaling—a quiet meditation on healing and transformation. The water, ever-flowing and unpredictable, mirrored her own emotional state, while the families she met, however briefly, embodied the warmth and belonging she longed for.


Through these intimate, unguarded moments—children mid-leap, ripples catching the last light of day, trees bending towards the water, and horses galloping in the fading glow—Martinot began to piece together a new sense of self. Her photographs, though
 deeply personal, transcend autobiography, offering a universal reflection on resilience, connection, and the subtle magical beauty of the everyday.”

• 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.

• IBASHO & the(M) éditions, 2025
• Hardback, 1st edition, 136p
  
• New

Norio Takasugi’s first artist book As the twig is bent, so grows the tree  is published by IBASHO & the(M) éditions and focuses on silver leaf artworks. 

Takasugi’s subjects are always nature related and although the photographic negative of an image remains the same, its reproduction produces subtle differences, resulting in unique pieces of work. In earlier works he had been experimenting with various analogue photographic techniques. A turning point came with his silver leaf works, where Takasugi merges classical photography with ancient Japanese craft of printmaking. Using screen printing and sulphur reactions on silver leaf, the artist creates luminous botanical and landscape images that blur the line between image and object, reproduction and uniqueness. Because of the unpredictability of the chemical reactions between the silver and the sulphur, the outcome is different every time and never perfect. Sepia tones and control strips embedded in the work serve as both aesthetic and technical markers, underscoring the handcrafted nature of each piece.

• Benrido, Inc 2025
• Set of 6 collotype prints
  
• New

Known for his tranquil and poetic photographs and installations, Yamamoto Masao’s new portfolio marks his second installment, following his 2020 release of “Birds.” The selection was made in collaboration with Benrido and the artist, and, like his previous works, the prints have been faithfully reproduced from the sepia-toned originals. Furthermore, some of the works in this portfolio have already sold out in his original editions, making them available exclusively as collotype prints.

Set of 6  collotype prints printed by Benrido, Inc.

Print Size: 25.4 x 20.3cm. Case Size: 20.6 x 25.8 x 0.8cm

Video courtesy of Benrido Inc.

• Benrido, Inc 2025
• Set of 6 collotype prints
  
• New

This is the second volume of Fan Ho’s collotype portfolio, known for his black-and-white photographs capturing the streets of Hong Kong and its people in the 1950s. Echoing the highly acclaimed previous “Selected Works,” this selection conveys the street atmosphere of Hong Kong at the time, showcasing Fan Ho’s signature works, skillfully utilizing the contrast of light and shadow to create dramatic atmospheres.

Set of 6  collotype prints printed by Benrido Inc.

Print Size: 25.4 x 20.3cm. Case Size: 20.6 x 25.8 x 0.8cm

Video courtesy of Benrido Inc.