Photobooks by Women

• Edition Patrick Frey 2026
• Hardback, 1st edition, 212p
  
• New

At first glance, it’s a spectacle of vibrant colors and dazzlingly bright lights on extravagantly decorated trucks. Dekotora, short for “deko torakku” (i.e. decorated truck) is written off by mainstream Japanese society due to its association with “bad boys”. But beneath the flashy surface lies a world shrouded in mystery and poetry.

Dekotora first caught on in the late 1960s as a form of mobile advertising: a truck carrying fish from Hokkaido, for example, would sport a traditional painting showing its cargo and where it was from. Today, due to regulations prohibiting this form of decoration because of the disrepute of the Dekotora scene, these trucks are used only by a few small businesses, such as fish and flower delivery services.

Although to all appearances a relatively exclusive community, its members frequently host public events where they proudly show off their creations on wheels. Often, these gatherings are fundraisers for charitable causes, such as aiding victims of the 2011 earthquake, many of whom are still suffering from its consequences.

In a conversation with Japanese pop culture expert Kyoichi Tsuzuki, I gained a deeper understanding of Dekotora’s cultural significance. Beyond its flashy exterior, Dekotora reflects a traditional Japanese aesthetic: like Japan’s ornate hearses, tombs, temples and the sacred mikoshi palanquins used in Shinto festivals, it mirrors a penchant for elaborate decoration that is deeply ingrained in Japan’s suburban and rural communities. It’s a cultural echo of the past, of childhood memories that are rekindled by the sight of these garish juggernauts on the nation’s highways and in iconic movies.

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

“There is an electrifying, if unnerving, energy to Kristina Rozhkova’s first collaboration with cult independent publisher Void. Both a protest and a record, ‘Gut Feeling’ is an unflinching look at what it means to hold something or someone against their will, as well as at their request.“

In June 2024 Kristina Rozhkova was arrested in Russia following a denunciation linked to a photoshoot, placed in a detention centre and later put under house arrest. Developed under conditions of incarceration, her latest book Gut Feeling, responds to a cultural climate of enforced state control, one that stifles dissent and attempts to restrict artistic freedom.

At the centre of the work is the site of the cage, both a literal physical condition and a symbolic social order. Turning to rabbits and rats confined to small cages and spaces, the artist develops a stark visual language to trace a lived experience of incarceration. Placed for two months alongside thirteen women in a pre-trail detention unit, bodies become clashing, hysterical animals held captive.

• VOID 2026
• Softcover, 1st edition, 64p
• New

Marens van Leunen’s debut book ‘Responds Quickly, Friendly’ explores the significance of our everyday objects and domestic environments, through playfully observed and staged images made in the space of her father’s home.

‘Responds Quickly, Friendly’ began in late 2022, when van Leunen’s father’s apartment in Amsterdam, which he had rented for thirty years, was sold to a new owner. Facing transition and change within their lived environment and a resulting urgency to inventory her father’s belongings, van Leunen began capturing and preserving these objects alongside the interiors of her childhood home. What emerges are carefully constructed and staged installations of his personal artifacts: from piles of chairs and paperback books; stacks of coffee mugs and Moka Pots; and tangles of hoovers and wired headphones.

“By observing, rearranging, isolating and staging my father’s objects within his house, the photographs show how belongings reflect the presence, habits and identity of their owner. Throughout the work, my father appears fragmentally through gestures or traces.” - Marens van Leunen

Playfully documenting her father’s everyday items that are soon to be packed into removal boxes, or listed and uploaded, bought and sold online, van Leunen imbues the quotidian with a renewed sense of significance. The project becomes an intimate account of a relationship between father and daughter traced through the physical objects and lived environments that they have shared. It offers a careful consideration of the ways in which our personal items become carriers of identity and markers of personal memory.

‘Responds Quickly, Friendly’ is a unique commentary on the economies of domesticity and material culture. van Leunen’s photographs sit beside a digital archive of functional photographs of her father’s objects – no longer carefully staged by the artist, but listed for online sale on Marktplaats.nl. Interspersed are his handwritten lists documenting his uploads and transactions. Together, the works speak to a universal experience of how we move through the world, whereby languages of listing, ranking, bidding and photographing become central to the shaping of our domestic and intimate life.

Elegant softcover with french folds.

• Journal 2026
  
• Hardback, 1st edition, 188p
  
• New

This multifaceted debut book is a personal family story about identity, kinship and belonging across borders. Joonam is a Persian word meaning “my beloved”, “my soul”, “my life”.

Rebecca Shririn Jafari (b. 1986), with a background in photojournalism and based in Norway, works with photography, text and collage, and explores – often through personal narratives – what it means to grow up between two cultures. Migration is a recurring theme in her work. 

Text in English/Norwegian + some Farsi.

Edition of 300 numbered copies.

• Important Flowers / Mack 2026
  
• Hardback, 1st edition, 176p
  
• New

When Sofia Coppola set out to make her ambitious third feature film, she was given unprecedented access to the Palace of Versailles, where she created a world and vision whose influence continues to reverberate twenty years later. Her interpretation of Marie Antoinette’s life at the palace saw Versailles filled with flower arrangements, macarons, and elephants, costumes by Milena Canonero and shoes by Manolo Blahnik, and an unforgettable cast including Kirsten Dunst, Jason Schwartzman, Marianne Faithfull, Rip Torn, Rose Byrne, and Molly Shannon. 

There to document it all was Coppola’s long-time friend and collaborator Andrew Durham, who photographed daily life on and off the set all the way to the film’s premiere at Cannes. He captured actors between takes, in hair and make-up, and revelling somewhere between reality and the entrancing fiction of the film. This unmissable volume brings together an unprecedented collection of Durham’s photographs, alongside an oral history of the film’s making by Keaton Bell and a new in-conversation between Durham and Coppola, forming an unmissable deep-dive into the making and mythology of one of Coppola’s most spectacular productions.

Signed by Sofia Coppola and Andrew Durham on a piece of paper hand glued into the back of the book.

• Mack 2026
  
• Hardback, 1st edition, 132p
  
• New

One morning in the summer of 2014, Irina Rozovsky woke up in a Serbian mountain village to the sound of hundreds of trumpets as a brass band festival set up in the hills. At once pleading and tragic, joyful and frenetic, the music set the tone for what would become Rozovsky’s journey through the Balkan region, including Montenegro, Bosnia and Herzegovina, Macedonia, Croatia, Greece, Romania, Bulgaria, and Albania. Profoundly drawn to the land and its people, Rozovsky created the intimate and equivocal photographs that form Mountain Black Heart. Rozovsky’s borderless vision drifts through railways, farms, open water, parking lots, fairgrounds, and graveyards, balancing vitality and life with suggestions of dark history and subtle signs of violence. Interspersed throughout are striking portraits of people and animals which emanate vulnerability and resilience. Through its loose, expressionistic approach and a compassionate engagement with the human and natural world, Rozovsky’s nomadic project pieces together a personal and kaleidoscopic view of a fragmented place.

Signed to the title page.

• Chose Commune 2026
• Hardback, 4th edition
• New

This book presents 27 years of Deanna Dikeman photographing her parents waving goodbye as she left their home after a visit. Just as she was driving away, Dikeman invariably pointed her camera at her parents. What started with a candid snapshot in 1991 turned into a ritual over the years. The book chronicles their farewells as seasons change and years go by, separating black and white photographs from colour photographs. Leaving and Waving — which was originally part of a larger body of work entitled Relative Moments — is a heartfelt exploration of family, the passage of time and the sadness of leaving.

2026 4th edition.

• Stanley Barker 2026
• Softcover, 2nd edition, 112p
• New

At Night Gardens Grow moves through the backwoods of a place both real and imagined, formed as much by memory as by a very specific geographical location in Maine.

First published in 2021, At Night Gardens Grow disappeared within a few short months of its release. This new edition reshapes the work from within, adding unseen images, and removing others, not as a revisionist act but as continuation. Pia revisits At Night Gardens Grow five years on, having transitioned in the interim, now reflecting on her life at that time, and the drastic changes that have taken place since its release. The photographs are seen again through a body and a language that have come into alignment, allowing the deeper currents that lived deep within the work from the outset to surface more clearly. These images stand with one foot in contemporary America and the other in a more ancient register, haunted by family, memory, and the land itself.

From baptisms to spider silk monuments, funerals, house fires, holes carved into rock, and birth, At Night Gardens Grow gathers stories that are as fragile as the world they are built upon. Combining carefully constructed large format photographs with more instinctive documentary images, Pia Paulina Guilmoth works through found and fabricated landscapes that resist fixed location. The setting remains deliberately unstable, never fully named, yet immediately familiar. What emerges is a terrain held together by atmosphere rather than map, where personal history and collective myth are allowed to overlap.

Pia Paulina Guilmoth is an artist based in rural Maine, USA. Working primarily with large format analogue photography, her practice explores themes of transformation, belonging and the natural world. Her work has been exhibited internationally and is held in numerous public and private collections.

The design of At Night Gardens Grow has been reimagined, moving away from a traditional hardback into something gentler. It is wrapped in a delicate recycled dust jacket created by Pia using petals and earth to form an abstract work, marked with symbols drawn from her practice. Beneath it, exposed web-like stitching gives way to a sequence of previously unseen photographs of spider webs, printed on a rich uncoated stock.

In stock now.

• Origini Edizioni 2026
• Softcover, 1st edition
• New

This is a journey invented by mind, with the images, people, and memories that inhabit it.

It is a notebook of deepest fantasies, pâle because they have been faded by time and memory.

Handmade edition of 500 numbered copies.  Text in English and French.

Video courtesy the publisher.

• EXB / LE BAL 2025
• Hardback, 1st edition, 256p
• New

In January 2023, Donna Gottschalk met Hélène Giannecchini for the first time. Although they were separated by some forty years, they developed a closed bond. In search of images for her forthcoming book on friendship, Hélène explores Donna's archives and collects her words, her story. Deeply moved by Donna's life and photographs, Hélène set out to echo them.

Donna Gottschalk's work paints a social, political and intimate portrait of an invisible America, from the late 1960s to the 1980s. As a member of the queer community herself, and involved in the early lesbian rights movement, Donna focused on photographing people on the margins of society, with whom she lived, campaigned and worked: her relatives, friends, lovers and comrades in struggle. Her favorite mode of expression is the portrait, which she strives to capture without artifice. The people she photographs pose for her in an intimate setting, most often in her apartment, fully embracing their freedom. With a sensitive, committed and non-judgmental eye, Donna gradually builds up a family album, a collective memory.

Throughout the book, a text by Hélène Giannecchini activates, reveals and extends Donna Gottschalk's images. An essay by Julie Héraut, co-curator of the exhibition, entitled “Archive against oblivion,” looks back at the careers of the two women and the genesis of this four-handed project.

In “Being seen. On Donna, visibility, and me,” African-American photographer and art historian Carla Williams draws a parallel between her photographic practice and Donna's, a few decades apart. A selection of archives completes the picture.

English edition. 

• EXB 2026
• Hardback, 1st edition, 336p
• New

Photographer Jo Ractliffe is interested in “post-conflict” landscapes, particularly in southern Africa, as places of memory marked by the violence of war, even in their soil and ruins. Her photographs, mostly in black and white, reveal the traces and absences left by apartheid, regional conflicts, and population displacement. Ractliffe's work unfolds in this tension between visibility and invisibility, between intimate memory and collective narrative carried by landscapes that become domestic spaces and geopolitical territories. Her photographs—roads, vacant lots, urban peripheries—bring to light places where history surfaces without ever fully revealing itself. Through sober and poetic images, the artist captures the lingering effects of violence and historical trauma: by considering silences as witnesses to violence, she moves away from social documentary and focuses less on the event itself than on its “aftermath,” questioning the way in which landscapes become archives. Her recent projects, including her latest series The Garden, which will be shown for the first time at the Jeu de Paume, extend this reflection by addressing the forms of dispossession and resistance inscribed in the landscape.

Three essays written by Pia Viewing, curator of the exhibition, Rory Bester, South African art historian, and Oluremi Onabanjo, curator at MoMA in New York, are complemented by short texts written by the artist, offering a personal voice on each of her photographic series

English edition.  Signed copy.

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

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

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

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

Photographed in a meadow in Tono, a region often labeled a kind of “primal origin” of Japan, Ayaka Endo’s photobook “Pneuma” depicts a group of wild horses living there as part of an experimental site. Yet Endo was able to get up close to the horses. Captivated by a sensation she describes as “from somewhere before the world is grasped through meaning and language,” she captured a series of photographs that traverses the space between her inner and the outer world, rendering the scenes before her eyes in an almost superreal yet fantastical quality.

“As I approached, taking great care not to give them any reason to be afraid, I began to sense something taking place in the space between us. Although barely noticeable, I could feel it in the cadence of our breathing, as subtle sensations in the air and on the skin. My awareness, my consciousness, expanded into the space around me, and I started pressing the shutter in unison with their breath. We had formed a connection that was instinctive and certain, yet also fragile.

As I continued to photograph, there were moments when the gap between myself and the surrounding world suddenly became less clear, and the relationship between photographer and subject less distinct. The difference between myself and the horses no longer seemed to matter.”

• Self-published 2026
  
• Softcover, 2nd edition, 150p
  
• New
  

No trees grow here, leaving the shapes of the Faroe Islands utterly exposed. Neither the rugged coastline nor the suede-like grassy hills can shield you - from the wind, the rain, the snowstorm, or even from yourself.

There is something deeply honest in this bare fabric of the earth. Here, one cannot pretend, ignore, or look away. The often-held human conceit that we are the measure of all things quietly dissolves on the gusty cliffs, replaced by a humbling awareness of one’s own smallness. The elements grip the senses and limbs with such palpable force that there remains little room for vanity. Smugness and arrogance simply cannot take root in the sharp air and soil of this place.

It was this intimate, almost visceral feeling - this sense of the landscape not merely being observed, but actively seeping into my fingertips and yearning to be touched - that my camera sought to capture. My lens shifted from sweeping vistas to finer details: from the craggy faces of mountains to the canvases of ochre grass where the wind’s invisible hand playfully parts the soft fleece of grazing sheep. Through the viewfinder, I froze fleeting silver veins cascading across the land. I paused time to witness delicate laceworks of tumbling water descending into the ocean’s depths. I drank in the silhouettes of island formations shrouded in mist, and the endlessly varied patterns of volcanic contours shaped by millennia of relentless elements.

Through light and shadow, composition and focus, I aimed to convey the tangible essence of this land - its grit, its texture, and its raw beauty. For when these islands are truly allowed to permeate one’s being - whether experienced in person or, as I hope, through the compositions on these pages - they leave behind an indescribable sensation: a quiet, overwhelming urge to embrace this land.

This collection of photographs, taken throughout 2024 and 2025, is my attempt to translate that sensation into visual form. It is offered in the hope that, through my lens, you too might feel the elemental power, silent majesty, and unvarnished truth of the Faroe Islands.

2nd edition of 150 signed and numbered copies.

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

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

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

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

• Overlapse 2026
  
• Softcover, 1st edition, 200p
  
• New

All of Them Witches considers the history of witch hunts in the Basque Country of northern Spain, where accused women were forced to make a damning series of confessions before the Inquisition. The existing narrative of violence and debauchery supposedly performed by the women was documented exclusively from a male perspective, forever marring the dignity of their real lives and names. Antón’s photographic work transforms these distorted testimonies into playful images that question the historical record and form a modern, relatable storyline from the absurdities of the past.

Text  English and Euskera (Basque).

• L'Artiere 2025
  
• Softcover, 1st edition, 112p
  
• New

Calling the Birds Home is an intimate portrait of love, memory, and loss. For decades, photographer Cheryle St. Onge lived with her mother on the same New England farm, sharing a deep and constant bond. When her mother developed vascular dementia, memory and emotion began to fade, first interrupting their long photographic collaboration, and then halting St. Onge’s practice altogether.

In an attempt to counter her mother’s growing wish to die, Cheryle began making portraits again, spontaneously, with any camera at hand, searching for light in the dimness of their afternoons.

The book explores St. Onge’s signature themes of environment, fragility, and human presence, intertwining portraiture, nature, and the passing of time into a poetic narrative of devotion. Though dementia has taken their conversations, these portrait sessions remain a profound exchange, familiar, collaborative, and quietly joyful.

With every photograph, Cheryle offers a small act of resistance and love: an emotional currency against the slow erasure of memory.

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

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

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

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

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

• Setanta 2026
• Hardback, 1st edition, 120p
• New

“There are certain places which the fairies have power over at night and if anybody goes into them after dusk, he cannot come out until morning though he may be walking all night.”

Stray Sod investigates the phenomenon of the same name in Irish folklore: enchanted patches of earth that will lead astray whoever steps on them. Inspired by first-hand accounts found in the Irish National Archives, Maria Lax reimagines rural Irish landscapes through this otherworldly lens.

The stories therein describe instances in which individuals are forced to navigate a world characterised by sudden shifts into unfamiliarity and strangeness. A world in which established reference points distort and slip away, causing great distress to those experiencing it. Stray Sod draws timely parallels between these stories and the destabilizing effects of the fast-changing political and technological environment of today.

“Many of the stray sod accounts seem to take place during periods of great change, such as a time of grieving, but can be equally seen as a metaphor for depression, addiction, shifting political landscapes or rapid technological advancements that have the power to completely upend our lives. They are stories about becoming lost; about the invisible realities that can change our lives overnight, and the unknown landscapes through which we must travel.”

Coptic Bound (Exposed Spine) Hardback.  

Limited signed copies available, see dropdown.

• Ediciones Posibles 2025
• Hardback, 1st edition, 128p
• New

“Tout est Possible” (Everything is Possible) tells the story of one of the most astonishing scams in history. In 1925, Victor Lustig (1890–1947), a professional swindler of Austro-Hungarian origin who arrived in Paris from the United States, found inspiration while leafing through a newspaper. An article discussed the deterioration of the Eiffel Tower and the high cost of its maintenance for the city council. The piece ended with an ironic question: “Will we have to sell the Eiffel Tower?”

Lustig did not hesitate. That sentence shaped a plan that would become one of the boldest deceptions of the twentieth century: to sell the Eiffel Tower… and persuade someone to buy it.

Fascinated by this story, Maite Caramés begins an investigation that leads her to wander through Paris following Lustig’s traces. Among archives, locations, and fragments of memory, she reconstructs his story and the Paris of the 1920s in a photographic series that emerged almost serendipitously: while watching the tower on the verge of disappearing into the city’s fog.

One hundred years after Lustig’s feat, Caramés discovers that the most photographed monument in the world was indeed once on the brink of disappearance… and that there is no object that cannot be looked at, photographed, and discovered once again.

The book blends elements of film noir and detective fiction within the subtle interval between reality and imagination, while Lustig himself recalls—in the first person—the memory of those glorious days.

Signed copy.

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

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

• Tall Poppy Press 2025
  
• Hardback, 1st edition, 100p
  
• NEW

Unsigned.

• the(M) éditions 2026
• Softcover, 1st edition, 128p
• New

"I am trying to recapture the excitement of the early photographers, that joy of play, of interacting with light and matter. That is where it all started. I think about the status of the imprint, of the trace. What kind oft race will we leave behind? What survives accidents, fashions,life cycles, decades, centuries? These questions are at the heart of my approach." - Alexandra Catiere

In her new book, "Tout en ce lieu me survivra" ( Everything Here Will Outlive Me), Alexandra Catiere explores the memory of the landscape by layering images and traces of time. Through an experimental approach to analog printing, different temporalities meet and interact within a single image. The landscape emerges in motion, shaped by what endures, fades, or reappears.

Edition of 500 numbered copies.

Signed copy.

• Origini Edizioni 2026
• Softcover, 1st edition. 73p
• New 

In Juno, Louise Honée translates her immediate natural surroundings into an inner landscape. She explores the fleeting beauty in the passing of time by slowly capturing moments where emotion and landscape converge. Guided by the cyclical rhythm of the seasons, Juno becomes a reflection on memory, transience, and the gentle promise of new life. In this poetic contemplation, her feminine presence- like a mother, a lover, a young girl and a woman at the same time, as goddess Juno was- intertwines as a reminder that everything moves, fades, and begins anew.

1st edition of 250 handmade numbered copies.

Video courtesy the publisher.

• Gagosian 2024
• Hardback, 1st edition, 96p
• Fine

This book was published on the occasion of Francesca Woodman at Gagosian, 555 West 24th Street, New York. The exhibition featured more than fifty lifetime prints made by the artist from approximately 1975 to 1980—many of which had not been previously exhibited—including three life-size diazotype prints from her Caryatid series and Blueprint for a Temple (II) (1980), the largest work she accomplished.

The catalogue illustrates all photographs in the exhibition and features details of Blueprint for a Temple (II). In her essay “Francesca Woodman: At the Edge,” Brooke Holmes offers a new interpretation of Woodman’s work, discussing her photographic representation of the body in space, use of classical themes, and interest in collage and metamorphosis.

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

‘Genocídio do Yanomami’ (Yanomami Genocide) brings together previously unpublished photographs made between 1971 and 1989 by artist Claudia Andujar. The photographs were made among the Indigenous Yanomami people who live in the remote forest of the Orinoco River basin in southern Venezuela and the northernmost reaches of the Amazon River basin in northern Brazil.

Andujar’s work ‘Yanomami Genocide: Death of Brazil’ was first presented in April 1989 at the São Paulo Museum of Art (MASP) as an installation with colour slides projected onto plastic screens and mirrors. The photographs were originally black and white, and the artist’s re-illumination of the images reshaped their meaning, instilling urgency for that moment and the years that followed. Andujar’s aim was to raise awareness of the situation faced by the Yanomami, who at the time suffered from disease brought to their land by illegal gold miners. In this new book, Andujar has again recontextualised the images, bringing them into the present and reshaping their meaning for dissemination to a contemporary audience, as the Yanomami remain in peril.

The photographs in the book show both the Yanomami and the landscape they inhabit. They were created with a variety of experimental techniques to visually represent the shamanic culture. They are often high contrast with dramatic light and shadow, distorted, cropped, imbued with a sense of movement, menace, and the otherworldly. The images of people focus on fragments of bodies or close-cropped portraits, hinting at intimacy and the psychological.

Alongside her artistic practice, Andujar co-founded in 1978 the Pro-Yanomami Commission (CCPY), which denounced the devastation caused by illegal miners, supported health programmes, and campaigned for the demarcation of Yanomami land. Working closely with leaders such as Davi Kopenawa, this effort culminated, after 14 years of campaigning, in the official recognition of the Yanomami Indigenous Territory in 1992. Today, in addition to the illegal miners established on Yanomami land, Indigenous populations continue to be affected by the policies of governments that have normalised genocide.

‘Genocídio do Yanomami’ (Yanomami Genocide) was developed in close collaboration with Andujar’s gallery, Galeria Vermelho, in São Paulo, Brazil.

Edition of 750 copies, hardcover with french folds.

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

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

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

Signed copy.

• Aterlier EXB 2025
  
• Softcover, 1st edition, 240p
  
• New

The first woman to receive the Robert Capa Gold Medal, which recognizes a reporter for their courage and independence, Catherine Leroy was one of the few female photographers to cover the Vietnam War between 1966 and 1968. She was just 21 years old when she flew to Saigon with a one-way ticket, carrying only a Leica camera and a hundred dollars. The young woman quickly befriended American soldiers and shared their daily lives—they belonged to the same generation. For three years, she covered the conflict close to the action. She followed patrols on missions, sharing the soldiers' rations and makeshift sleeping quarters.

Her tight framing and close proximity to the Marines capture the faces and bodies caught up in the turmoil of gunfire. In the heat and mud of the Vietnamese jungle, Catherine Leroy captures moments of courage, fear, and tension, but also friendship, solidarity, and the distress of young men struck down by the violence of the battlefield. Her lens captures the ferocity of the fighting, the despair of the Vietnamese people, and the devastation on both sides of the conflict. Taken prisoner in Hué by North Vietnamese soldiers during the Tet Offensive, she produced an exceptional report and made the cover of Life magazine. Her photographs were seen around the world.

The only civilian woman to parachute with the US Army, Leroy paved the way for her fellow female war reporters. Her images, published in prestigious international magazines, bear witness to the sharpness of a unique photographic eye: that of one of the very first women to be involved in combat in a predominantly male professional world. Her audacity, curiosity, and keen eye give her photographs extraordinary visual power. This book, which includes Catherine Leroy's correspondence with her parents from 1966 to 1968, reveals the emergence of a young photojournalist and recounts her journey of discovery: a life combining political, social, and feminist commitment.

• 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

• 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.

• 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.

• EXB 2018
  
• Hardback, 1st edition, 328p
  
• New
  

English edition of this sold out title.

• 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.

• 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, 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.

• The Eriskay Connection 2025
• Softcover, 1st edition, 80p
• New

is an eclectic collection of photographs taken by Oriane Thomasson (FR) across various landscapes, interwoven with archival images. Through these visual correspondences, she constructs a photographic fiction of the legend of Atlantis.

The myth of Atlantis, as recounted by Plato in Timaeus and Critias, describes a magnificent, vast, and prosperous island blessed with fertile land and abundant natural resources. Its inhabitants, descendants of Poseidon, lived in a society organised in harmony with nature. Over time, their ambition drove them to expand their empire and exploit new resources, provoking the wrath of Zeus. As punishment, he unleashed a devastating cataclysm that submerged the island beneath the waves. To this day, the myth continues to inspire archaeological theories and countless fictional narratives, and proves to be just as relevant today.

Through this free reinterpretation, Thomasson creates her own narrative, composed of a photographic series and an original science fiction short story titled ‘The Meteors’. Together they trace a before-and-after, the allure of a ‘lost paradise’ and the marks of its collapse, revealing how evidence and invention together shape the writing of history. The work bridges what is known and what is imagined – what remains and what is missing – and treats archaeology and history not as neutral repositories but as story-making practices whose documents become material for the book’s fiction.

Atlantis, just like Thomasson’s previous book Paradis, opens up a space for the imagination, where, from the shadow of submersion, new forms emerge. The series is built on cycles of disappearance and resurgence. Between the mysterious, unsettling world of the depths where Atlantis now belongs, and the enchanting images of this paradise of abundance. The book is printed on four different types of paper, each corresponding to a specific category of image: a warm-toned paper for images evoking the island of Atlantis and its classical Greek landscape; a thin, translucent paper referencing disappearance and oblivion, used for traces of a lost Atlantean culture; a bright white paper for images that convey a state of transition, from sinking landscapes to a man with a fish head; and a coated paper printed full-bleed for underwater imagery, to emphasise the submersion of the once-prosperous city.

• 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. 

• Loose Joints 2025
• Hardback, 1st edition, 88p
• New

Using large-format cameras and experimental darkroom techniques, The Great Room is a profoundly personal series by interdisciplinary artist Katherine Hubbard in collaboration with her mother. In 2020 — a year defined by introspection, caretaking, and the upheaval of the COVID-19 pandemic — Hubbard's mother began experiencing severe memory loss, later diagnosed as LATE, a brain disease mimicking the symptoms of Alzheimer's.

In collaboration with her mother, Hubbard transforms her family home — a space both overwhelming and deeply familiar — into a psychological landscape. These cluttered rooms  become a layered stage where her mother serves as partner in an ongoing exploration of the real and performed. Together, they create photographs that engage with daily rituals such as bathing, organising, and watching TV: compositions that blend seamlessly with unguarded intimacy. This photographic series ruptures the quotidian in an exploration of care work, memory, grief, and the entropy of loss.

Hubbard’s practice pushes against the flattening of the photographic image, critically engaging performance, sculptural elements, and the implicit power dynamics in the social contract between the photographer and her subject. This is the first time Hubbard has consistently photographed another person. Here, photography becomes more than documentation; it is an entanglement of touch and gesture; the domestic and the maternal; which confront the pain of losing the familiar essence of her mother. In addition Hubbard creates experimental body contact prints in the darkroom with her mother that trace the textures of skin and the physicality of aging. These tactile works materialise ability and the weight of time, celebrating the complexity of their relationship while questioning the roles of artist, subject, and collaborator. In The Great Room, Hubbard reimagines the home as a space where photography transforms care and the slow grief of dementia into a powerful act of presence and love.

• 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.

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

"Saved by a Deer" is more than just a collection of photographs and words; it's a heartfelt expression crafted by Canadian photographer Chiara Zonca, serving as a love letter to the rural island she fondly calls home. Through this project, Zonca delves into the ethereal landscapes of coastal British Columbia, using them as a metaphorical gateway to self- discovery. Unlike conventional nature photography, Zonca's images transcend mere objectivity; they serve as vivid reflections of her deep emotional connection to the land, offering a glimpse into her soul. Through a captivating blend of self-portraits and meticulously captured natural elements, Zonca paints a vivid tapestry of sense of place, brought to life through vibrant colors and rich textures.