Recent arrivals

• Benrido 2026
• Set of 7 collotype prints
• New

The memory of the Fukushima nuclear disaster, triggered by the massive earthquake of March 11, 2011, remains deeply etched in people’s minds. Yet, even while bearing the scars of such devastating destruction, Fukushima has demonstrated remarkable resilience. This series features poetic new photographs by Michael Kenna—an artist who loves Japan’s natural landscapes and atmosphere—capturing the region as it has recovered from the disaster. The portfolio comprises seven specially selected images that reveal the Fukushima of today, including the sunrise over Inawashiro Lake—renowned for having some of the clearest water in Japan—and Terushima Island, which floats in the sea approximately 250 meters off the coast.

Set of 7 Black and White Collotype Prints

Print size: 20.3 x 25.4 cm

Portfolio size: 20.6 x 25.8 x 0.8 cm

• Magenta Foundation / Polygon Gallery 2026
• Hardback, 1st edition, 356p
• New

This new book marks the first ever career retrospective of Greg Girard's work: 356 pages, 200 photographs, many never published before. Tracing Girard's deep engagement with the urban landscape and its inhabitants, beginning with early work in Vancouver and continuing through decades living and working in Asia. Cities such as Tokyo, Hong Kong and Shanghai where he lived and visited through the 70s, 80s, 90s and 2000s. 

An early interest in Asia resulted in his living for decades in Tokyo, Hong Kong and Shanghai where he captured these cities extraordinary and often tumultuous transformations at the end of the 20th century and into the 21st. His record of life in Hong Kong’s Kowloon Walled City in City of Darkness (1993, first edition; 1999, reprint) and in City of Darkness Revisited (2014, first edition; 2021, reprint) co-authored with Ian Lambot, have formed the basis for countless reimaginings of a dystopian/romantic, Asia-influenced, urbanized near future in film and video games. These images, along with the work in Phantom Shanghai (2007), illustrate the tension between memory and progress, the built environment and human experience, and have earned international acclaim.

The book accompanies the museum retrospective exhibition of the same title at The Polygon (North Vancouver, BC), opening July 9 through Oct 25, 2026.

• Atellier EXB 2026
• Hardback, 1st edition, 188p
  
• New

In The Haunted Eye, Steve McCurry revisits more than forty years of archives and offers a fresh perspective on his work, featuring numerous previously unpublished images alongside more iconic ones. Through first-person essays, the photographer reflects on his approach and his various long-term projects. The visual power of this collection reflects the vision of one of the most influential Magnum photographers of his generation, who constantly challenges the way we see people, places, and the history unfolding before our eyes.

"While the career of this great photographer was built on images that are now iconic, akin to monoliths erected against History, this book has chosen to take paths less traveled and more discreet, exploring different territories, probing new depths in his fathomless archive and offering a new measure of it."  - Anne Morin (excerpt from the book)

English edition.

• GOST 2026
• Hardback, 1st edition, 192p
• New

This landmark volume represents the first time McCullin’s legendary Vietnam War photographs have been reproduced in a book dedicated only to this conflict.

McCullin, who turns 91 in Autumn 2026, presents—in what the photographer has indicated will be his ‘last ever book’—a retrospective in book form of his time in Vietnam; captured over three sections or ‘campaigns’ of the individual trips he made to the region throughout the war. The work is the result of a deep archival excavation, featuring approximately 100 black and white images and more than 20 colour photographs, nearly half of which have never been previously published in print or exhibited. Well known images of Marines sit alongside shots of domestic life caught amidst the battlefield; dead or dying men and women smoked out of bunkers, and piles of human and mechanical detritus amidst the fog of war.

Signed copy.

• 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, 416p
• New

Tracing the physical and emotional thresholds of pregnancy complications and premature birth, ‘JJ VFF VV’ is a tender documentation of the birth of João Linneu and Fernanda Fajardo’s first child, Valentín, born in 2014.

Linneu’s photographs are intimate and raw, instinctive and exposing, documenting his partner as her body navigates a challenging pregnancy, moving between the private space of their bedroom and bathroom, onto hospital wards, soon to be shared with her newborn son. Interweaved are photographs taken by Fajardo: self-portraits made when hospitalised and occasional portraits she has captured of Linneu. The cover of the book is an illustration by their son Valentín, who is now eleven, and aware of this photographic record of his coming into life. In ‘JJ VFF VV’ Linneu and his family shape an unprecedented collective portrait of lived experience, revealing a sensitive visual language for circumstances so often shrouded in silence.

“From the perspective of a powerless close witness, this book shows a side of pregnancy that is not usually seen. One that, despite being painful and dark, is still beautiful, powerful, and meaningful. If anything, I want the book to be a very small drop against the stigmatisation of what beauty is, and what a pregnancy is.” - João Linneu

This diaristic record of pregnancy complications is set against Linneu’s static and unforgiving landscape photographs of the city of São Paulo, where he and his partner found themselves having to live and put their life on pause in the months prior to the birth of their child. Austere monoliths and brutal blind façades linger, towering over their intimate lives to become physical extensions of the stillness and inertia imposed upon them. Stillness suffuses Linneu’s imagery. Intertwined with his honest documentation of a painful pregnancy – obscured scans, a shape-shifting body, toilet basins stained with blood – are portraits of his partner lying in bed. Shot on a single day and appearing chronologically throughout the book, the bed – at times absent when Fajardo is hospitalised – holds the passage of time, and the weight of pain and uncertainty shared.

Resisting the constraints of a paediatric intensive care unit where photography was prohibited, ‘JJ VFF VV’ becomes a marker of representation, offering a visual counterpoint to idealised narratives of childbirth. Discovering beauty in the pain they have shared, Linneu and his family create a refreshingly unique portrayal of the emergence of a family unit, and demonstrate the layers of vulnerability that encompass bringing new life into the world.

Limited edition of 500 copies. Silkscreen Otabind Softcover.  

Note that the page edges are intentionally rough and shed slightly when the book is read.

• 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.

• Guest Editions 2026
• Hardback, 1st edition, 120p
• New

Mawmaw is an intimate, long-term exploration of West Virginia’s grandfamilies – households where children are being raised by their grandparents. Spanning all four seasons, the work moves beyond the usual narratives around the opioid crisis to examine the many reasons grandparents step into a caregiving role: incarceration, death, unpreparedness, or neglect.

Through photographs made between 2021 and 2026, the book weaves together everyday life — from birthdays and play to exhaustion and resilience — to show both the triumphs and the struggles of these families. At the heart of it all are the grandmothers themselves, who keep these children fed, happy, and most importantly, deeply loved.

• Nazraeli 2021
• Hardback, 2021 edition
• Imperfect - see below

“Todd Hido finds the poetry in that strangeness, which consists of all the matter implied but unsaid in the margins of thrillers. It lurks in the high-tension wires, the high-intensity lights, the leafless trees and ambitious weeds, the hurricane fences and concrete knee-walls, the red night sky of light pollution. If in these pictures it is forever midnight and you are forever stranded and chilled and at a loss, you still have to pay attention to the way the prowler’s footprints hover in the snow around the window. The jumble of cars around the bungalow may mean that many adults live there, but it may mean something you don’t really want to know about. These pictures might represent views from the undercover surveillance car, if the driver drinking endless coffee waiting for someone to leave or to arrive were capable of appreciating the scene. The silence that permeates these pictures is before or after the fact, or a result of the muffling effects of weather, or else it is permanent, deathlike.” — From the Introduction by Luc Sante

A newly remastered edition of Todd Hido’s iconic and long-out-of-print second monograph, Outskirts.  Printed on heavy weight matte art paper, our new printing of Outskirts surpasses the original printing with more accurate color rendition and subtle nuances in tone and saturation. It will be an important addition to libraries and collections lacking access to the elusive 2002 edition, which itself solidified Hido’s position in the art world following on the heels of his groundbreaking first monograph, House Hunting. 

This remastered edition of Outskirts is limited to 3,000 copies.

Note that we are currently only shipping this book to the UK only due to it's large size making it impractical for international shipments.

IMPERFECT DISPLAY COPY WITH SCUFFING AND GENERAL WEAR TO THE DUSTJACKET - SEE PHOTOS.   INSIDE BOOK IS VERY FINE.

• 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.

• Kyuryudo 2024
  
• Softcover, 2nd edition, 336p
  
• New

“Memories of Light” was published on occasion of the large-scale retrospective exhibition “Daido Moriyama: Memories of Light” at the Shimane Museum of Art (April 12 – June 26, 2023).

Beginning with “Japan, A Photo Theater”, the catalogue orders Moriyama’s photographic work chronologically and embeds it within the artist’s biographical background. Over 200 pages filled with famous and lesser known photographs, “Memories of Light” traces the career of the exceptional Japanese photographer and explores the connections between Moriyama’s life and the works he produced.

In addition to detailed lists and data, the back of the book also includes personal photographs from Daido Moriyama’s family album as well as a statement by the artist and an extensive essay by Shimane Art Museum curator Noriko Tsutatani.

Please note that only Noriko Tsutatani’s essay is available in English. All other texts are only included in Japanese.

• GOST 2026
  
• Hardback, 1st edition, 116p
  
• New

Coirón is a long-form documentary project, photographed over six years in the Chilean region of Magallanes, following aging gauchos known as puesteros, who live and work alone for months at a time across vast private ranches. Their lives, often silent, are shaped by distance, physical labour, and long periods of solitude, on land they do not own and with little security once their body begins to fail. This new body of photographic work follows their daily labour and stillness, offering a collective reflection on rural life in contemporary Chile, where meaning emerges through repetition, gesture, and the slow accumulation of time.

The wider region is undergoing rapid social, cultural, and economic change, and fewer young people feel the desire to pursue a life on the land, breaking a generational cycle of farm life. Caught in the middle, many puesteros move between embracing change and resisting it. Their interweaving stories form an intimate, complex portrait of a way of life on the brink of disappearing, and invites the viewer to pause within a world moving too quickly to keep up.

Pie Aerts commented 'As long as I can remember, I’ve always feared being alone. Partly in a physical sense, but mostly in a deeper existential sense. Spending time in the presence of these puesteros, while seeing them sit through a life of silence, hardship and endurance, I started to open up to a different perspective on the silence I’ve always feared. As a result, and for the first time in two decades of self-discovery, I’m starting to embrace the idea that some of my fears have perhaps shaped who I am far more than I ever realised.'

Signed copy.

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

The Holdouts, the debut photobook by American photographer Ben Marcin, offers a unique view of the city of Baltimore and its surrounding areas through three very different sets of homes.

We are taken to marginalized homes and houses, some as old as 250 years, others just months old, found in and around Baltimore, Maryland, USA. Marcin shows us solo row houses in the inner city that somehow survived the wrecking ball; abandoned houses on the Eastern Shore where the last generations of families either passed away or moved on after decades of farming the land; and temporary homeless camps in the city, none of which have ever survived for more than a year.

The title for the book comes from the term ‘holdout,’ a common real estate term that describes a property owner who refuses to sell a building or lot to a developer, thus greatly hindering the completion of a larger, community-based project. Sometimes eminent domain is invoked to force an owner to vacate a property for the common good but, in other cases, the larger project is simply built around the house. Many of Marcin’s houses have become abandoned over the course of time but others are still surprisingly occupied. Taken together, they demonstrate an astute understanding of the vernacular of Baltimore and the Eastern Shore.

He says, 'Strictly speaking, none of my houses or campsites would be considered real estate holdouts. No shopping centre, highway overpass or gambling casino ever took their place. However, they do personify a more straightforward definition of what a holdout is, namely, the act of resisting something or refusing to accept what is offered.'

'I have been photographing the places where people live for almost forty years. At first, I did this primarily on my trips around the world but, over time, I withdrew closer and closer to home until I found myself working on sites just a short distance from my own house (in Baltimore). In short, I began to understand where I live.'

Signed copy.

• Thames & Hudson 2026
  
• Hardback, 1st edition, 304p
  
• New

A striking interpretation of Killip’s work in the Northeast of England and Ireland between 1975 and 1986, featuring many previously unpublished photographs.

From Huddersfield to fishing communities on the North Yorkshire coast and the fury of the miners’ strike, Chris Killip’s lens captured the divisions and communities that define England. Born in the Isle of Man in 1946, he spent much of his career documenting life in the North of England, shining a light on the economic and social difficulties that haunted those communities.

While operating in the documentary tradition, Killip’s work is marked by tenderness, by a refusal to cast his subjects as easily dismissible stereotypes. As Killip himself stated: ‘I wanted to record people's lives because I valued them. I wanted them to be remembered.’ It is precisely this approach that lends Killip’s work its timelessness, with his images reminding us of the divisions that still exist in Britain.

With over half its images published here for the very first time, Chris Killip: North is an evocative guide to the photographer's work across Northeastern England, alongside a selection of images from Ireland and the Isle of Man. Edited by Mark Holborn and produced with exclusive access to Killip’s archive, this is an essential publication for not just Killip’s many fans, but for all those interested in the social power of photography. As Holborn notes, ‘we live in a world as fractured as that Killip witnessed forty or fifty years ago. Our consciousness is stalked by the fury of our divisions.’

Large slipcased hardback in stock now.

• Important Flowers / Mack 2026
  
• Hardback, 1st edition, 240p
  
• New

In the 1970s and 1980s, while working as an art and photography teacher in Long Island, Joseph Szabo made photographs of his students, struck by the energy of a generation discovering itself in an era of rebellion and counterculture. Szabo’s black-and-white images evoke a dreamworld of adolescence as observed by a trusted outsider. Teens pose and smoke with a playful insouciance, lounge on the beach, and party at a Rolling Stones concert. Intrigued by the ambiguities of adolescent life, Szabo portrays a phase of transition shaped by self-consciousness and self-expression, and gestures to the inner depths beyond the reach of his camera. 

First published in various volumes between the 1970s and the 2000s, Szabo’s pictures influenced many photographers and filmmakers. In this definitive new book, he brings together renowned and unseen work to form an unforgettable portrait of a generation and a timeless depiction of coming of age. 

With new texts by commissioning editor Sofia Coppola and Kim Gordon.

The signed edition includes an extra image plate signed by Joseph Szabo and glued into the inside back cover.

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

Chronograph brings together more than twenty-five years of photographs made by photographer Nick Haymes between 2001 and 2026, assembling an immersive chronicle of life with his partner, Lina, and their two children, Philipp and Lawrence. Over 450 pages and nearly one thousand images, the book moves between Los Angeles and New York, turning Haymes’s long-term documentary practice towards those closest to him. 

Approaching family life not as a sentimental saga but as something psychologically charged and contradictory, the photographs move between scenes of children, domestic interiors, bodies in motion, rough play, affection, and moments of tension. Haymes refuses to separate beauty from discomfort: innocence sits alongside recklessness, intimacy alongside unease, as children grow, relationships shift, and bodies change. His photographic language moves between documentary and carefully staged tableaux, creating images that feel both spontaneous and strangely theatrical. 

Rather than presenting family as a fixed social unit, Chronograph reveals it as a volatile emotional terrain where closeness can feel both protective and suffocating. The result is a deeply moving psychological portrait of family life, where affection and conflict intertwine and where the fragile bonds of love are continually tested and renewed.

Signed to the title page.

• 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.

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

Bringing together photographs Jerry Hsu has made in Los Angeles since 2011, How About Never is occupied with the almost sentient character of the city. Hsu’s photographs are sensitively attuned to the contradictions of the place, entangling allusions to hope and despair, beauty and pain in an atmospheric and uncanny sequence. Images of disfigured fences and physical injuries are interwoven with spontaneous compositions: a discarded toilet, a blood-stained mattress, crashed cars, a bank ominously aflame. Portraits seek an intimacy with their subjects among the disrepair and cruelty of the urban environment. These disparate and dissonant strands reach a beguiling harmony, together looking to destruction as a potential source of change and rebirth. 

The signed edition includes an extra image plate signed by Jerry Hsu and glued into the inside back cover.   Final few signed editions.

• Hannibal 2026
  
• Hardback, 1st edition, 112p
  
• New

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

One night, as I stood back and watched the spectacle of a Saturday night celebration at George Brown’s, I remember thinking that that these were people who knew how to play hard and have a good time. They were survivors of the two world wars and the Great Depression. They knew what difficult times were, but when it was time to have a good time they had one and partied as if there were no tomorrow, or yesterday for that matter…I thought that maybe they were able to enjoy life this way because they lived through times where it actually did seem as if there would be no tomorrow. — John Banasiak

John Banasiak was born in 1950 and grew up in Harvey, IL, just south of Chicago, in a community of first- and second-generation Eastern European families. His father was a die setter at the nearby Maremont Muffler factory, and John expected to do the same. Encouraged by a teacher to consider college, he applied to the School of the Art Institute of Chicago his senior year. When his father died after graduation, John assumed his father’s job - and his locker - at the muffler factory.

In July, learning that he had been offered a full scholarship to the School of the Art Institute of Chicago, “The air suddenly seemed to have…a clarity that magically opened a distance that I previously couldn’t see,” he remembers. John earned his BFA and MFA at the school, working as a night watchman in the museum to pay for his supplies. In 1971, consumed by his photography classes, he began working weekends as a bartender at George Brown’s Bar. It was a familiar place, filled with people he knew, and he began shooting its patrons and looking for the “decisive moments” that told a story. The Polish, Ukrainian, and Italian families that lived nearby gathered there to socialize, celebrate, dance, and tell stories.

This volume contains 45 black and white images from the time Banasiak spent behind the bar, taking photos on a collapsible Kodak Retina and looking for “someone wrapped in an atmospheric magic.” His photographs and writing capture a time of close friendships, modest living, and unspoken memories of the painful years of WWII, just 26 years past.

• Charcoal Press 2025
• Hardback, 1st edition, 128p
• imperfect - see below

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

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

Edition of 1000 copies.  Signed copy.

Slightly imperfect copy with small ink marks to front and rear covers - see photo example.

• 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.

• Nazraeli Press 2026
• Hardback, 1st edition, 32p
• New

In How To Tokyo At Night, the viewer is the voyeur, accompanying Daido Moriyama on his night on the town as he visits some of his favorite hunting grounds in Tokyo. While the images in the book span several years, they are presented here as movie stills made in a single night out.

Born in 1938 in Osaka, Japan, Daido Moriyama is a pivotal figure in contemporary photography, celebrated for his evocative black-and-white street photography that captures the essence of urban life. Moriyama’s photographs are included in the permanent collections of such important institutions as the Museum of Modern Art Art, New York; San Francisco Museum of Modern Art; and Fondation Cartier pour l'Art Contemporain, Paris. Retrospective exhibitions of his work have been held at major institutions like Tate Modern and SFMoMA. Moriyama was awarded the Hasselblad Foundation International Award in Photography in 2019.

Featuring 17 photographs printed in rich duotone on special matte art paper, and hand-bound in silkscreen printed boards, How To Tokyo At Night is published on the occasion of Moriyama’s exhibition of photographs and photographic objects at POST, Tokyo and Peter Fetterman Gallery, Santa Monica, in Spring 2026.

Printed in a first edition of 500 copies

• Nazraeli Press 2026
• Hardback, 1st edition, 32p
• New

Mark Steinmetz’s first book of cat photographs, Ancient Tigers of My Neighborhood, was published by Nazraeli Press in a small edition some fifteen years ago. That title was selected by Robert Adams as a “Best Book of 2010” at the Kassel Photobook Festival in Germany. Steinmetz again chose cats as the subject for his aptly-named Cats One Picture Book years later. 

Now, on the occasion of the artist’s solo exhibition at Photo Gallery International, Tokyo in Spring 2026, we are pleased to announce the publication of Low Fi Cats. This selection of 17 cat photographs in Steinmetz’s neighborhood in Athens, Georgia includes best hits as well as previously unpublished work, all made with Steinmetz’s trademark humor and grace.

Mark Steinmetz is a Guggenheim Fellow, and his work is included in the permanent collections of many important institutions, including Museum of Modern Art, New York; Metropolitan Museum of Art, New York; The Whitney Museum of American Art, New York; Art Institute of Chicago; and the Los Angeles County Museum of Art.  Featuring 17 photographs beautifully printed on special matte art paper, and bound in silkscreen printed boards, Low Fi Cats is printed in a first edition of 500 numbered copies.

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

A pioneer of photography and a key figure who helped establish the medium as part of the avant-garde of modernity in the early 20th century, Edward Steichen began experimenting with the possibilities of his art at a very early age. Fascinated by the variations of light in nature, he captured through his lens the reflections of the sky on water, the diffraction of shadows in foliage, and the colorful brilliance of flower petals. Playing with chiaroscuro like a painter, he casts a fresh eye on the plant world: his taste for experimenting with the photographic image echoed his passion for flower hybridization. As a horticulturist, the photographer cultivated his own varieties—he was particularly fond of delphiniums.

This book presents, for the first time, the unique relationship Steichen had with nature and the garden. Famous for his portraits, the photographer captured flowers, trees, and bouquets with the same care. It was in the garden, just as much as in the studio, that he honed his eye and developed his artistic practice. From the pictorialism of the famous platinum print The Flatiron, Evening, created in 1905 in New York, where the twilight hues of the city radiate, to the chromogenic prints of the 1950s that reveal the power of the colors of the Connecticut countryside, and including still lifes of bouquets of roses or sunflowers, Steichen’s images immerse us in atmospheres where light defines contours and infuses the air. Both the chromatic power and the intensity of the black-and-white images showcase nature in all its diversity, both wild and cultivated. For the photographer, the latter represents a vast field of exploration, as highlighted by the Luxembourg collections presented here: those of the National Museum of Archaeology, History, and Art, the Spuerkeess Foundation, and the City of Luxembourg Photo Library. Accompanied by texts from international photography historians, this visual corpus highlights, for the first time, the importance of the plant world in the aesthetic explorations of a great master of the 20th century.

English edition. 

• GOST 2026
  
• Hardback, 1st edition, 154p
  
• Imperfect - see below

‘’Lonely Are All the Bridges’ is not a war book. Not exactly. It is a portrait of a place and its people—where systems have collapsed, where borders have been redrawn again and again.’ – Robin Hinsch

The images in Lonely Are All the Bridges were made in Ukraine by Robin Hinsch over a period of more than a decade. The photographer first visited Ukraine in 2010, intrigued by the description of the then President Viktor Yanukovych as ‘the new dictator between East and West’. His sustained interest in this complex country compelled him to return many times to photograph both the landscape and the people he encountered. His images are unlike pictures of Ukraine seen in the news, presenting instead a melancholic vision of country caught between a contested past, a brutal present and an uncertain future.  

'This is not a story of heroes and villains. It’s about the slow, grinding forces that tear societies apart and the fragile, sometimes ambivalent human threads that try to hold them together.'

The photographs show Soviet ruins and historical monuments alongside misty, rain-soaked or snowy landscapes. The people in the pictures are carefully positioned within these environments—workplaces, homes, fields, ruins and battlefields. The images are both monochrome and colour, the latter subdued by a grey sky. This stylistic choice, in tandem with the presentation of the photographs in the book without captions alongside, hints that they are from a different yet indistinct era, and untethered from time.

Animals appear as a motif throughout the book—symbolising desertion and abandonment but also lending the book an allegorical and dreamlike quality. The bear, a symbol associated with Russia, is shown in an animal pacing around a zoo enclosure and also as a child in costume. Feral cats, dogs and wild horses slip in and out of the landscape and children are shown with dogs, horses and an incongruous camel. The bridge is another recurring motif linking back to the book’s title, drawn from a poem by Austrian Ingeborg Bachmann. This reflects on the nature of a bridge, a connection which is both tied to different sides and yet inherently isolated.

In his notes at the end of the book, Hinsch references Andrei Tarkovsky’s film Mirror which employs a fragmented narrative, dissolving linear storytelling, allowing various motifs such as memories, dreams, and experiences from different times to coexist. This approach is echoed in his image-making.  

'The book suggests, at least, a time in which the current war will be added to the strata of time and memory, and less starkly black-and-white thoughts and feelings may once again become possible’' Julian Stallabrass

Bumped corner - see photo example, pages inside unaffected and otherwise sealed new copy.

• Aperture 2026
• Hardback, 112p
• New

The fiftieth anniversary edition of a timeless photobook by Joel Meyerowitz.

Cape Light, Joel Meyerowitz’s series of serene and contemplative color photographs taken on Cape Cod, Massachusetts, quickly became one of the most influential and popular photography books in the latter part of the twentieth century at its publication in 1978, breaking new ground both for color photography and for the medium’s acceptance into the art world. Now, nearly fifty years later, Aperture is pleased to reissue this classic photobook.

The book features the now-iconic images of the original edition, newly remastered and printed as never before. In it, everyday scenes—an approaching storm, a local grocery store at dusk, the view through a bedroom window—are transformed by the stunning light of Cape Cod and the luminous vision of the photographer. Meyerowitz is a contemporary master of color photography, and through his eyes small-town life on the Cape is imbued with a powerful and captivating beauty.

• 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.

• Editions Lamaindonne 2026
• hardback, 1st edition, 144p
• New

“I returned to Japan to photograph something close to my heart, without knowing exactly what. I was seeking tranquillity in a megacity where it seems impossible to find. I told myself that if I could discover it in Tokyo, then perhaps I might also find it within myself.

It was then that I discovered the Kodo, a trail through the heart of the forests and rocks. I lost myself there for several days, and this wandering proved to be a revelation. After seven days of walking, I returned to Tokyo covered in mud, yet filled with a peace that a city of thirty million people could not shake.

Over the following month, I photographed relentlessly, with a newfound conviction and clarity. Each image became a scene, almost a play, at once fragile and intensely present. I raised my camera again and again, with gratitude: once more,

photography had opened up a new path for me.”

- Martin Bogren

Signed copy.

• Yamada 2026
• Hardback, 1st edition, 104p
• New

"For years, I have used photography to observe and contemplate the nature of time. Fragments of time—illuminated as the sun rises in a chain reaction across the globe—manifest before us, shifting between discrete events and fluid perceptual phenomena. Time intersects and layers in countless ways, accumulating like sediment. It is perhaps only through photography that we can truly witness these overlapping layers of past and present, and the distinct cross-sections they form. While staying in cities like Berlin, Paris, Vienna, New York, and Tokyo, I have continuously photographed and edited this body of work. Drawing inspiration from the concept of 'Two-Eyed Seeing,' I weave together time from two distinct perspectives—event and phenomenon—reconstructing it into a unified, material, and 'binocular' experience."

• 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.

• Fw:Books 2026
  
• Softcover, 1st edition, 168p
  
• New

Football is deeply rooted in European culture, and football grounds form a familiar part of the landscape in villages across the continent. Since 1995, photographer Hans van der Meer has documented lower-league matches, capturing not only the game but also its surroundings. Beginning in the Netherlands with the book Dutch Fields (1998) and later expanding across Europe in European Fields (2006), his work highlights the relationship between sport and place. Photographed from fixed, often elevated viewpoints, the scenes frequently show solitary goalkeepers waiting as play unfolds at the far end of the pitch. These quiet moments form a tribute to the remote fields where amateur players pursue their passion, far from the spotlight of the UEFA Champions League.

English edition.

• RRB 2026
• Softcover, 1st edition, 128p
• New

Modern life is losing its colour. Photographer Niall McDiarmid’s work is a joyful antidote against greyscale tones predominant across architecture, interiors, fashion and cars. For over 15 years the photographer has traversed the UK, documenting the inherent colour of life as he finds it.

The photographs in McDiarmid’s new book were shot predominantly in London. His images offer an alternative vision to the monotones of contemporary life: warm, diverse and playful, a vivid celebration of the people and places that still bring colour and individuality to Britain. His subjects' clothing paired with the shades of the urban environment around them, finding harmony where tones echo one another and vitality where they clash. He shows the streets and shopfronts, cafes and pubs, train stations and interiors, finding a richness of colour where others might only see the mundane.

McDiarmid's mastery of colour harmony is at the heart of his practice. He exploits the natural flat light of a typically overcast British day, conditions that soften shadows and allow the colours of clothing, signage, and architecture to fully breathe. The result is a body of work that is at once a document and a celebration: of human individuality and the joyful colour that persists in everyday British life.

Signed and dated.

• Chose Commune 2026
• Softcover, 1st edition, 248p
• New

A multigenerational family story centered on the limited relationship between a bereaved son and his long-deceased mother—who died in a plane crash—as well as that same son’s new life as a husband and father. This nonlinear, narrative-driven book charts an artist’s journey through alternating currents of grief, pleasure, love, and heartache, suggesting how the past is ever-present.

As an elegy contextualized within a decades deep family archive, Son Pictures combines Trent Davis Bailey’s own photography and writing from the past decade with premonitory drawings and paintings made by his mother in the 1960s and ‘70s; family snapshots from the 1980s, ‘90s, and 2020s; gritty photojournalism from 1989 repurposed from a newspaper’s archive in Iowa; and film stills sourced from two Hollywood movies set in Iowa that—along with camcorder footage from a home video—the artist rephotographed on a 1990s tube television.

Initially seeking to memorialize and somehow reconcile with the tragic death of his mother in the crash landing of United Airlines Flight 232 in Sioux City, Iowa in 1989, Bailey’s intent for this work shifted greatly when thirty years later, in 2019, he himself became a father. The result is an emotionally wrought and yet still fraught compilation that oversteps the standardized and staid conventions of family photo albums and slideshows. For the artist, this book is “a photographic memorial and an atlas of memory,” one that has allowed him to grapple with the residue of having been thrust into the global media spotlight at a very young age and designated—along with his brothers (who survived the crash) and his father—as a subject in survivor stories. By culling a variety of imagery created before, during, and after the crash, Son Pictures looks into the motherless chasm of an American household and conveys its outgrowths and shards of grief and trauma with a necessary heavy heartedness, but also with humor and hope.

For Bailey, it’s important this intensely personal body of work blurs lines of authorship. The result is one that processes the artist’s painful early years and his more recent evolution as a father, while at the same time questioning the associative relationship between truth and photography, the interchange between images and memory, and the ethics of representation in both Hollywood and photojournalism. Put simply, this book is a discursive time warp and a reminder that behind every tragic news event there are people whose lives are forever impacted.

• Tall Poppy Press 2026
  
• Softcover, 1st edition, 92p
  
• NEW

• Helions 2026
• Hardback, 1st edition, 116p
• New

"A few years ago, I realized that simple stark portraiture was featuring less in my work and I wanted to rectify that. I spent three days during a past November trying to document as many people as I could. This book is the culmination of those three days." - Jack Davison

Unsigned 2nd printing (see dropdown for last few unsigned copies of the first printing).

• Harry Abrams 1989
• Hardback, 1st edition
• Near fine

This major monograph was published on the occasion of a retrospective exhibition at the Seattle Art Museum. Many of the photographs in this beautifully printed book were presented here for the first time. “In the twenty years following his first museum exhibitions, Friedlander has developed his art in a surprising number of directions. Through travel and commissions, he has taken his camera off the street and into many new areas; but he continues to build on his initial feelings and discoveries made in the street, where he was the confident stranger juggling observation and participation, diffidence and intrusion.”

Near fine copy with faint wear to edges of cover and light yellowing of page edges as to be expected, otherwise a very fine copy.

• Self 2025
• Hardback, 1st edition
• New

The Roma people, often referred to as Europe's forgotten nation, have endured centuries of displacement, discrimination, and marginalization. Originating from northern India over a thousand years ago, the Roma began a long and complex journey across continents—driven by a mixture of forced migration, persecution, and the search for a place to call home. Today, millions of Roma live across Europe, yet they remain on the periphery of society, both literally and figuratively.

Edition of 100 copies.  Signed copy.

• EXB 2026
• Hardback, 1st edition, 104p
• New

A leading figure in contemporary photography, Hiroshi Sugimoto continually explores our relationship with time and perception through his photographic practice. The solo exhibition dedicated to him at the Soulages Museum in Rodez, from April 11 to September 13, 2026, engages his photographs in a dialogue not only with the building’s unique architecture but also with the work of Pierre Soulages, exploring shared themes: light, the primacy of black, and the horizon as a spatial and metaphysical structure.

The book Taking up the Melody, which accompanies the eponymous exhibition, explores Sugimoto’s work through the concept of honka-dori, borrowed from classical Japanese poetry, which refers to the act of revisiting a previous work in order to shift its meaning and revitalize its significance. This principle of reworking allows Sugimoto’s entire body of work to be viewed as a system of variations, where each image is constructed in a conscious relationship to preexisting forms and knowledge: the accumulation of time until the image fades (in the “Theaters” series), the reduction of the landscape to an abstract and ahistorical structure (in the seascapes of “Seascapes”), and the exploration of optical phenomena and the limits of vision (“Opticks”).

Taking up the Melody brings together iconic series—“Theaters,” “Opera Houses,” “Seascapes”—and more recent ones, such as “Brush Impression,” in which the artist moves away from photography to explore the calligraphic gesture through a polyptych of forty-eight drawings. These series are analyzed in two essays—written by Maud Marron-Wojewodzki, director of the Soulages Museum, and art historian Céline Flécheux—that explore how Sugimoto uses photography as a reflective medium. Here, the image appears less as the trace of a pre-existing reality than as a mental construction, in which time—conceived as accumulation, duration, or exhaustion—becomes a material in its own right.

English edition.

• EXB 2025
• Hardback, 1st edition, 240p
• New

In the 1940s, Brazil underwent a profound transformation. The country was industrializing, opening up internationally, welcoming a large European diaspora fleeing Nazism, and becoming fertile ground for the artistic avant-garde. Echoing this effervescence, a new generation of photographers seized the medium to accompany the aesthetic and cultural upheavals of their time.

As part of the movement that saw the birth of Oscar Niemeyer's architecture and vision of the modern city, Novo cinema and Bossa Nova, six figures contributed to the emergence of a new photography: Geraldo de Barros, German Lorca, Gertrudes Altschul, Marcel Giró, José Oiticica Filho and Thomaz Farkas. Seizing the political, social and aesthetic potential of photography, they introduced new subjects: modernist architecture and its soft lines, botanical motifs with contrasting light and shadow, inventive experiments and perspective games tinged with a taste for abstraction.

This dynamic was supported by the creation of numerous amateur photography clubs, notably the Foto Clube Bandeirante in São Paulo and the Foto Clube Carioca in Rio. True hotbeds of artistic emulation and exchange, these collectives encouraged experimentation, democratized the use of photography and increased links with the European and North American scenes.

The formal and aesthetic diversity of Brazilian modernist photography remains largely unknown. Through the work of thirty-three artists, the book sheds light on a daring generation that placed Brazil at the forefront of the international avant-garde movement.
A text by Marcella Legrand Marer and Helouise Costa, co-curators of the exhibition presented at the Rencontres d'Arles, introduces the book and looks back at the three high points of Brazilian modernism. The visual corpus is complemented by two essays by Rafael Cardoso, art historian and writer, and Julieta Pestarino, anthropologist, art historian and curator.

English edition.