Recent arrivals

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

“Faced with a time of disasters and profound upheaval, we invent stories and rituals to navigate chaos and uncertainty.” - Elena Helfrecht

‘Unternächte’ takes its name from what Elena Helfrecht’s grandmother and great-grandmother in Bavaria called the nights between Winter Solstice and Epiphany, a liminal period known more widely as the Twelve Nights of Christmas. When the old year has not quite ended and the new one has not yet begun, the boundary between the living and the dead is said to blur as spirits descend into the mortal realm.

Helfrecht grew up with the customs and stories of this time. Since 2018, the Bavarian photographer has been returning to her birthplace in the Fichtel Mountains to revisit the eerie, mystical atmosphere of these nights and interrogate the folklore she inherited. Her black-and-white photographs examine and reinterpret the tales and traditions passed down through generations of women in her family, who sought guidance and a sense of control on the uncertain path ahead.

Though emerging from autobiography, ‘Unternächte’ reaches beyond family stories. Threshold moments like the Twelve Nights, an ending with no clear beginning in sight, have always carried a collective unease. Today, political rifts, environmental crises, and technological disorientation echo that same in-between feeling. As we grasp for new rituals and beliefs to feel secure in a fragmented world, ‘Unternächte’ reveals how the artist’s foremothers drew on these customs, resonating with a much wider cultural moment.

Through photography, Helfrecht explores how we turn to lore when the ground feels unsteady. She stages, re-stages, and reimagines family story and local tradition until the lines between memory and invention, between comfort and threat, blur. Her imagery is rooted in the tradition of folk horror, where the same beliefs that unite a community can, under pressure, turn against those within it just as easily as those outside it. The same fire that keeps a house warm can burn it down.

‘Unternächte' itself mirrors this ambiguity. Rather than a photographic survey, 'Unternächte’ is designed to evoke an old collection of fairy tales, something to return to and retell. Meaning shifts with every reading. Like the stories it draws on, passed from woman to woman, it is a tale that grows with us, carrying both comfort and warning.

Hardback with burnt cover, 17,1 × 24,4 cm, 128p.

• Cairo Apartment 2026
• Hardback, 1st edition, 96p
• New

“A sense of identity” rather than “identity”.

Untold Voices began with several vintage family photographs that Chieska Fortune Smith discovered at her family home in Japan.

Born to an African-American soul singer and a Japanese classical dancer, Fortune Smith has carried a sense of not having a solid grounding since her childhood. By collecting the haunting yet enigmatic moments of everyday life and her vintage family photographs which trace back three generations of her family, she evokes a melancholy as fleeting as a mirage, and transforms them into an exploration of her own roots.

”I’ve never really known how to use my voice. When I picked up a camera, I felt like it was the first time I could express myself, my thoughts and my emotions so accurately and honestly. I don’t know if I was consciously aware that the way I was taking photographs and that the images I chose to capture were influenced by my heritage and my roots. Perhaps the family photos I was surrounded by as a child had seeped into my subconscious and flowed out into my lens. In any case, this is my view; this is my world as I see it."
- Chieska Fortune Smith

First edition of 700 copies.

Signed copy.

• Deadbeat Club 2026
• Softcover, 1st edition, 64p
• New

Set entirely within his father's house, Andrew D. McClees’ Avalanche unfolds into an atmosphere of nocturnal claustrophobia, where tightly cropped photographs transform ordinary interiors into a fragmented psychological landscape.

Returning to the home he left after adolescence, McClees draws from memories of isolation, neglect, and depersonalization without ever settling into straightforward autobiography. Instead, through visual construction, he abstracts the domestic space into an immersive environment where reality and fabrication quietly dissolve into one another, creating an interior world that functions less as a document than as a site of psychological confrontation and reenactment. The viewer, in turn, is drawn into this unstable terrain, navigating a world suspended between familiarity and estrangement, where seemingly ordinary rooms gradually give way to an atmosphere of latent tension.

Printed with silver ink on black paper, the photographs seem to exude an inner glow, deepening the book's otherworldly atmosphere and its unsettling sense of disorientation.

Signed copy.

• Buchhandlung Walther Konig 2026
• Hardback, 1st edition, 112p
• New

The monograph ‘Farbe und Gebiet’ / ‘Color and Territory’ contains a group of 42 photographs, most of them unpublished until now, taken in the second half of the 1980s until the early 1990s with a medium-format camera on Kodak Vericolor negative-film while traveling in and around the cities of the Ruhr-area.

Text in English and German.

• Nazraeli Press 2026
• Hardback, 1st edition, 102p
• New

“This new body of work was all made last year, in Iceland. The specific topographies there provided Lee with what she needed: dramatic vistas capable of carrying the epic literary qualities of her work, the full range of human emotion. They are brooding, fearsome and roar with the supremacy of nature. The landscape, to Lee, is an expression of existential angst and metaphorical musings. Out there is the only subject capable of holding everything that’s in here, in us.”  - The Guardian

South Korean artist Jungjin Lee’s newest imprint, Unseen – Works in Iceland, features 56 landscape photographs taken in 2024. Lee’s distinctive technique, in which she creates prints on traditional mulberry paper, hand painted with emulsion, results in images at once delicate and stark. The sharp contrast between the dark landscapes and the melting snow renders some images nearly abstract, while other subjects – rocky peaks, cliffs, valleys and islands – show superb detail in their varied, charcoal tones.

Born in 1961, Lee was trained in calligraphy as a child. She received her BA in Ceramics from Hong Ik University and with a MA in Photography from New York University. She has worked between the United States and South Korea for over 30 years.

• Photieman 2026
• Softcover, 1st edition
• New

The Chelsea Reach, a legendary Merseyside nightclub was open from 1971 to the early 2000s, is where Tom Wood took many of his most important photographs, capturing the “ordinary” nightlife that existed alongside the flashier images of punks and Blitz Kids in the 70s and 80s. This new book collects his photos from club nights at the Chelsea Reach. Young couples kiss, groups of friends dance, and clubbers show off their feathered hair.

• EXB 2026
• Hardback, 1st edition
• New

The project was initiated by an invitation from the Musée de la Chasse et de la Nature (Museum of Hunting and Nature) in Paris in 2017 for the exhibition Beau doublé Monsieur le Marquis! Faced with a world that was then foreign to her, Sophie Calle sought another way to approach the subject of hunting. Since she did not identify with either the pursuit of animals or hunting narratives, she turned her attention to other forms of pursuit. Through a chain of associations, the concept of the “hunt for love” emerged—one that has been expressed for over a century in the columns of newspapers through matrimonial ads.

This anonymous material echoes several themes that run through her work: investigation first, observation second, and above all, cataloging—a form she is particularly fond of. Behind the accumulation of these thousands of ads, a map of expectations, projections, and loneliness gradually takes shape. While in the 1900s marriage appeared to be an economic arrangement, over time issues of gender equality, women’s financial independence, and moral commitment have shifted, revealing by implication the social, ethical, and emotional changes that have evolved over the past century. 

The title, On the Hunt, introduces another dimension: that of watching, waiting, and surveillance. Each decade—featuring about fifteen ads, men and women carefully selected by the artist—is accompanied by an image slipped into a glassine envelope, with a Japanese-style binding. Printed on both sides, each image shows, on one side, an animal captured by an infrared camera with an automatic shutter (Sophie Calle obtained these surveillance images through a study of various hunting associations conducted on wildlife near French highways), and on the other side, a hunter’s mirador. Reading the book is an active process: as the reader goes through the 24 small envelopes, the artist leaves it up to them to choose which side of the image—front or back—they prefer to view. As they flip through the pages, they thus outline their own search for a romantic partner. This format extends the role-playing suggested by the title: being the hunter or the prey, the observer or the observed.

Conceived as a book à tiroirs, On the Hunt continues the exploration Sophie Calle has been conducting for many years on power, trust, doubt, and intimacy in the realm of romance. The book also reveals the evolution of our behaviors, our perceptions of desire, our understanding of gender, and the shifts in our emotional dependencies over the past century.

Signed copy.  English Edition.

• Guest Editions 2026
• Softcover, 1st edition, 212p
• New

The tapestry of images presented on Mustafa’s pages was captured by Olgaç Bozalp during his travels across fourteen South West Asian and North African nations between 2016 and 2026. 

As well as conveying soulful, honest reflections of individuals, landscapes and scenes encountered upon these many trips; through Mustafa, Bozalp offers viewers a glance at the personal and artistic journey of discovery that unfolded internally over the decade.

This voyage, ignited and deepened by countless moments of connection with fellow SWANA citizens, eventually saw Olgaç embrace his once-discomfiting, given, middle name – Mustafa – as a chosen emblem of his self-hood.

It’s this entire self – Mustafa-Olgaç – that imbues this photographic journal with palpable curiosity and ease; that captures subjects, living and man-made, with an expansive yet personal conceptualisation of the beauty extant beyond the western gaze.

• David Zwirner Books 2022
• Softcover, 1st edition, 192p
• New

The Outlands, a series of photographs taken by Eggleston between 1969 and 1974, establishes the groundbreaking visual themes and lexicon that the artist would continue to develop for decades to come. The work offers a journey through the mythic and evolving American South, seen through the artist’s lens: vibrant colors and a profound sense of nostalgia echo throughout Eggleston’s breathtaking oeuvre. His motifs of signage, cars, and roadside scenes create an iconography of American vistas that inspired a generation of photographers. With its in-depth selection of unforgettable images - a wood-paneled station wagon, doors flung open, parked in an expansive rural setting; the artist’s grandmother in the moody interior of their family’s Sumner, Mississippi home - The Outlands is emblematic of Eggleston’s dynamic, experimental practice. The breadth of work reenergizes his iconic landscapes and forms a new perspective of the American South in transition.

Accompanying the ninety brilliant Kodachrome images and details, a literary, fictional text by the critically acclaimed author Rachel Kushner imagines a story of hitchhikers trekking through the Deep South. New scholarship by Robert Slifkin reframes the art-historical significance of Eggleston’s oeuvre, proposing affinities with work by Marcel Duchamp, Dan Graham, Jasper Johns, and Robert Smithson. A foreword by William Eggleston III offers important insights into the process of selecting and sequencing this series of images.

• Self-published 2024
• Softcover, 1st edition, 72p
• New

"Quarries are sites of trauma, spaces of deconstructed mass and exploitation, of overwhelming magnificence and fascination; and beauty. What the Mountain Said is set in a wild and remote corner of Almeria, Spain, unfolding around a spiritual and philosophical encounter with a mountain and its marble quarry, carved from the rock of silent seas laid down aeons ago.

Rock, stone, time as a measure of our place in the world. The book's landscape transforms from an unknowable, primal world to a broken open negative space, and fades out again to wrap the quarryscape back into the folds of deep time. There is no map for this world, a fractured space, dividing, splitting, reforming, resisting; the quarried rock throws up a jarring refrain, an insistent reminder that matter in and of itself has significance.

Four visits, five years, and this photobook has emerged to tell its story, exploring the charisma of the inanimate. It is in part a gesture of giving back, constructing a new landscape in book form, of celebrating the other. By imbuing the rock with dignity, fleshing out the void, it reanimates time in another dimension of paper and page and sequence, texture and thread. Respect to materials is at the heart of my practice, and this artist book consists only of paper, ink and grey linen thread. Its fragility is an integral part of the connections and energy I felt." 

- Gin Rimmington Jones

Softbound, exposed spine with folded cover front and back. Hand stitched with French link using Fil de lin glacé grey linen thread.

Signed and numbered edition of 100 copies.

• Loose Joints 2026
• Hardback, 1st edition, 144p
• New

New Genesis examines how American systems of care repeatedly fail the women and children most dependent on them. Made between 2022 and 2025, the project extends Abdulhamid Kircher’s exploration of lived trauma impacted by the intersecting violences of capitalism and domestic insecurity.

At the center of the book is Sierra Kiss and her young family. A friendship developed after Kircher made portraits of Kiss in her home in Los Angeles. Over the course of the four years they have known each other, Kircher has documented her experience of  homelessness, addiction, repeated pregnancies and domestic abuse. The work reveals a broken system of support – from shelters to churches and social services – eroded by chronic underfunding and government policy. When the scaffolding of the world we inhabit fulfills its own promise to keep women in states of dependency and impoverished people in states of powerlessness, how can we expect new generations of healthy, safe and cared for families to flourish? 

Kircher’s photographs trace the repetition, exhaustion and confinement that define daily survival as Kiss fights to create a loving and stable domestic environment for her children. Kircher seeks to share her lived experience with all its complexities, contradictions and struggles. Depicting with vulnerability the contours of her life alongside the moments of joy and innocence her children find within circumstances structured to limit them.

New Genesis interweaves texts pulled from Kiss’ Instagram stories that offer a parallel testimony and a powerful internal monologue of her mental health, isolation and resolve as her life goes on. Drawing on Kircher’s ongoing investigation of familial trauma and his own experience as a child to a young mother caught navigating abuse, this book highlights the realities of being born into circumstances that often stem from previous generations and bleed into the next. New Genesis unfolds as an intimate portrait of survival and resilience within the corrupt and cruel structures of modern capitalism and the American welfare system. 

• D Giles / Cincinnati Art Museum 2026
• Hardback, 1st edition, 224p
• New

The first major study of Nancy Rexroth (b. 1946), Secrets of My Power furnishes a missing account of her life, work and career as she established her artistic voice in the experimental 1970s and challenged prevailing approaches to photographic image-making. This book locates Rexroth’s practice in a period often associated with those of Diane Arbus, Francesca Woodman and the early work of Sally Mann. 

Tracing Rexroth’s career from her first photographs to her discovery of the Diana camera and through her exploration of digital tools in the early 2000s, Secrets of My Power presents numerous works which have never previously been made public. These include experimental stills on film, a 53-image carousel slide show and a corpus of self-portraiture. Together with rigorous analysis of her previously known work, these new discoveries help to distinguish and connect Rexroth to key artistic formations of the American photography world in the 1960s, 70s and 80s, including contested social and creative terrain around feminism and gender, technical experimentation, engagement with language, artistic networks and photography’s emergence in universities, museums and the art market. 

• 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. 

Unsigned.

• Deadbeat Club 2026
• Softcover, 1st edition, 144p
• New

Photographer Daniel Dorsa first traveled to Greenland in 2023, when he was offered access to photograph the S.I.L.A. research group. Standing for the Significance of Ice-loss to Landscapes, and named after the Inuit concept Sila—denoting both the physical world as well as a spiritual understanding of living within it—the group studies glacial melt and its downstream effects. As Dorsa returned to Greenland over the years that followed, his work gradually evolved into a journal of a place caught between preservation and transformation, where ancient rhythms meet new realities.

Serving as both a pseudo-scientific documentation and a personal record, To Skip a Sinking Stone explores how Greenland, much like the ice sheet itself, embodies deep contradictions: life-giving and life-taking, ancient and ever-changing, a source of both scientific inquiry and spiritual resonance. Rather than attempting to resolve these tensions, the work embraces them. The images reflect the complexity of a land that defies containment or simplification. In Greenland, where extremes shape both land and life, joy continues to surface even in the presence of uncertainty. The title recognizes that climate change may feel like an unavoidable reality, yet people still reach for moments of light, connection, and meaning. 

Through a vibrant sequence of portraits and landscapes, both celebratory and reflective, To Skip a Sinking Stone embraces Greenland’s contradictions in a moment of profound climatic, political, and cultural transition.

Signed copy.

• Deadbeat Club 2026
• Hardback, 1st edition, 80p
• New

While attending Penn State University in the early 1960s, Henry Wessel spent his weekends hitchhiking west and back again. Each Friday afternoon, he packed a knapsack, took his camera, and waited for the next ride. By Monday morning he was back for classes, only to leave again the following weekend—a compelling habit for a kid from New Jersey who, until college, had never ventured west of Philadelphia. Somewhere along the way, the desire to explore the medium became inseparable from the search for what lay beyond the life he had known. Photography was no longer simply accompanying the journey; it had become the way he understood it. Wessel would later describe the experience simply: “It’s thrilling to be outside your mind, your eyes far ahead of your thoughts.”

That openness defines Hitchhike. Intuitively working while driving or at the roadside, Wessel transformed the overlooked details of the American landscape into photographs of remarkable precision, economy, and wit, allowing chance encounters and fleeting alignments to shape a body of work that remains one of the most distinctive visions of the American road.

A long-anticipated publication spanning more than four decades of work, Hitchhike was edited and sequenced by Henry Wessel himself, making it one of the last books he completed before his death.

• Deadbeat Club 2026
• Hardback, 1st edition, 136p
• New

Both testimony and elegy, across the street from Heaven is a consideration on time, memory, and belonging, on what fades away and on what remains: home and family. 

For ten years, Taylor Galloway returned to the farm his grandmother’s family has tended for five generations in Hartwood, Virginia. Together, his photographs form a chorus of faces and voices whose lives have unfolded upon this land, bearing witness to a way of life on the brink of disappearance, as small independent farms across America continue to give way to industrial agriculture and development.

With respectful devotion, Galloway’s photographs attend to the land, the people, and the quiet rhythms of time. They speak of changing seasons, aging bodies, familiar rooms steeped in memory, of the grace found in shared moments, and of a renewed optimism as the next generation takes up the torch.

In photographing this place and its people, Galloway also traces his own roots. What began as an attempt to preserve the place that shaped his grandmother gradually became the discovery of a living community where he, too, belonged. In the end, across the street from Heaven is less about preserving the past than about discovering what still has the power to anchor us, and the certainty of having found one's way home.

Signed copy.

• L'Artiere 2026
  
• Softcover, 1st edition, 68p
  
• New

Song of Silent Water by Mathieu Chaze is a visual meditation on nature, captured through a lens that prioritizes sincerity and essentiality over contemporary trends. Curated by the renowned David Campany, the volume brings together images born from long walks and a profound observation of the landscape: a dog in the mist, rolling hills, a tree reflected in water, a solitary heron. As noted by the legendary photographer Bernard Plossu in his introduction, Chaze’s photographs possess a "secret atmosphere" and a fragrance that speaks directly to the soul, free from technical artifice or passing fashions.

The work explores the concept of sustained time, where individual moments are not isolated events but fragments linked by a quiet, invisible rhythm, much like the intervals that give shape to a song. Beautifully designed by Federico Barbon and printed in duotone, this book invites the reader to walk alongside the artist on a journey of pure expression and a discovery of the authentic.

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

“I’m interested in the moment when an image becomes difficult to place; when something looks familiar, but you can no longer tell quite what you are looking at, or how it was made.” - Francesco Gioia

‘We Have Learned to Distrust Images’ is a vivid exploration of the tension between what an image appears to show, and how an image has actually been made. Working across photography and collage, Francesco Gioia brings together his own street photography with imagery and printed material he has discovered sifting through newspapers and magazines. Finding and selecting images, he cuts, combines and layers these fragments, transforming their original contexts before photographing the resulting collages.

At a time when images are increasingly difficult to distinguish as evidence, fabrication, documentation or something in between, the artist approaches this uncertainty through embracing an entirely physical and analogue process. Aware of our climate in which our relationship to the photographic image is shifting rapidly, Gioia’s images resist digital manipulation in favour of human touch, chance and a sequence of tangible decisions. The resulting photographs occupy an uncertain space between the familiar and the impossible, inviting us to look again at what an image might be and how it comes to be believed.

Francesco Gioia is an artist working with photography and collage based in London, United Kingdom. His collages are crafted from newspapers and magazines dating from the 1920s–60s, sourced worldwide, alongside a broader range of printed materials including illustrations, periodicals, catalogues, and scientific journals. A recipient of numerous international awards, his work has been published in The Guardian, The Washington Post, La Repubblica, Vanity Fair, NZZ am Sonntag Magazine and other major publications.

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

Alex Webb captures in bold color the vitality of city life in the US—rich with visual rhythm and chance encounters—seeing the quintessential elements of American self-invention and improvisation.

In Walking Blues, the acclaimed street photographer Alex Webb traverses some forty cities across the United States, documenting moments of connection between communities with his signature eye for bold color and rhythm. Webb was inspired by the lift and pull of blues music, a quintessential American musical form that scores the nation’s history, and his photographs express the improvisation of chance encounters. The culmination of more than a decade of intuitive, open-minded exploration, Webb’s latest book is a vivid chronicle of urban life today.

• Self 2025
• Hardback, 2nd edition, 108p with print
• New

Since 2020 Jackie Mulder has been working on her ongoing project 'Thought Trails'. With her unique approach to photography and mixed media art, she aims to challenge the viewer's perception of photography and push the boundaries of the medium. Her creative process always starts with a self-made photo or the combination of several photos, followed by very labour-intensive operations in which she deconstructs and reconstructs, leading to unique multi-layered works of art, mostly very tactile. She lets the thread or pen connect and separate as an abstraction for a life of memories, searching and thinking. 

2nd edition of 1000 copies. Signed copy.

Special edition with a choice of A4 sized signed and numbered print, each limited to 10, printed on Hahnemuhle fine art paper with a cotton thread hand embroidery.  See dropdown for available options. 

• Loose Joints 2026
• Softcover, 1st edition, 88p
• New

Dodgson draws unexpected continuities out of years of accumulated looking, in a register that moves between the deadpan, the fragile and the quietly profound.

Earthquake Weather is the first monograph to draw on Californian artist Colin Dodgson's darkroom practice as a living source, across continuities that surface through drawing deep, sunburned beauty out of the flow of the everyday. Dodgson's eye carries the dual inheritance of two formative disciplines: a surfer's responsiveness to shifting conditions, and a darkroom photographer's exacting precision, the two held together in constant tension against a sense of wonder, bafflement and introspection before the material of the actual.

Earthquake Weather dances along the faultlines between typology and sprawl: thumbed, dog-eared book pages worn soft by use, contemporary memento mori that turn to the material of the body and its fragility, and plastic water bottles left on Japanese roadsides all serve as allegories for the fragility of our existence. Against these lines, the sequence snaps without warning into gallows humour and back again, moving through the registers of an uncertain age: fentanyl bottles lined neatly in a row, atmospheric CO2 readings, the fringes of Dodgson's established commercial practice, and excerpts from his frequent collaborations with the World Land Trust across areas of ecological importance.

Through fugues of images reacting across the page, Earthquake Weather poses a quiet challenge to the seduction of Dodgson's precise gaze, insisting on describing a world that both hides and reveals itself within the same blink of an eye. In syrupy, coastal tones, Earthquake Weather speaks to the way we accumulate: in knowledge, within our bodies, through consumption, against entropy.

• Loose Joints 2026
• Hardback, 1st edition, 104p
• New

Fulford fuses time and space through photomontage into a single waking dream, inviting us to find the mystical lodged inside the everyday, felt before it’s understood.

For nearly thirty years, Jason Fulford has built a practice on the conviction that meaning lives less inside any single photograph than in the sequence and the things that happen around it – individual pictures forced to rhyme, echo, or collapse into dissonance against their neighbours, across books, exhibitions, publishing and performance. Frozen Features pushes that instinct one step further, into a visual language of layers randomly composed from images made between 1996 and 2026. The results are a beguiling narrative governed by composition and chance – a kind of metaphysical slot machine that scours memory and returns it two frames at a time, guided by intuition.

Fulford’s pairings bounce freely across scale, place, and chronology: the smallest coiled leaf set against a vast vista, a silhouetted hand floating across a bedspread, the scrawled markings of civilisation laid directly over landscape until each image reads like a palimpsest, something continuously written upon, older writing always surfacing beneath the new. Dry humour drifts in and out, formal echoes accumulate, and the slippery relationship between any single picture and the story collapses inside square frames abundant with detail and charged with the subliminal.

In 1942, Barbara Morgan wrote that “modern life is photomontage,” two unrelated things sharing one instant the way thought and feeling already do. Frozen Features takes her at her word, sidestepping montage’s weight as historical technique in favour of something closer to play, an irresistible, intuitive mix that goes, boldly and without hesitation, straight to the heart.

• Self-published 2026
• Softcover, 1st edition, 64p with poetry booklet
• New
  

“It takes enormous trust and courage to allow yourself to remember”.

Bessel Van Der Kolk

Vis Absoluta: A Human’s Tale is an ongoing project about my brother’s PTSD, intergenerational trauma, survival and resilience. “Nobody wants to remember trauma (B.Van Der Kolk)”, but in my case, trauma runs through my family for at least three generations. My grandad Yannis was a Greek prisoner of WW2, a slave labour in Mauthausen concentration camp. He survived but never told his story. It was alcohol that helped him forget and soothed his troubled mind. And then it’s my brother Yannis, who survived a horrific cave accident in the Devil’s Cave, where his best friend fell to his death. They had the wrong map; they were young and naive. After the accident my brother suffered in silence, and just like my grandad, he self-medicated with alcohol, smoking, etc. 

This book revisits fragments of their story. The facts (newspaper article and prisoner ID) have been printed on newsprint paper and wrap around the main book. The paper will eventually wriggle and dissolve. What remains once the actual story has been told? The memory of it, the emotions, and the myths. Images of caves, family archives, Sisyphus, Orpheus and Euridice myths, dendrites, trees, owls, snakes; they all intermix and interconnect in my storytelling. 

This is a book about family trauma, deeply personal and exponentially global. A poetry booklet is included, with poems that function as observational notes. After all, I am the younger sister, and I observe from a safe distance. To understand the poems, one needs to read them under the prism of small Cretan village cultural references, family ties and Greek traditions and superstitions. 

Spiro-bound handmade softcover half wrapped in folded newspaper with accompanying poetry booklet.

Signed copy.

• Void 2026
• Softcover, 1st edition, 184p
• New
  

“Over time, I found myself drawn to photographic materials that were already unstable, worn, or exhausted. Rather than resisting their imperfections, I learned to work with them. Somehow, I began to trust these damaged materials more than perfect ones. They seemed to carry time in a way that untouched surfaces could not.” - Vic Bakin

The starting point for ‘Materia’ was a pair of portraits of the same man, taken by the artist ten years apart (2014–2024). These portraits revealed not only what had changed, but also what had strangely remained the same. Within each portrait, the accumulation of time became more visible than the passage of time itself. 

Around the same period, Bakin started printing on outdated Ukrainian photographic paper from the 1960s to the 2000s, each pack preserved in different conditions. Some sheets had faded, others carried mold, traces of fingerprints, or almost no contrast. Parallels emerged between these worn photographic surfaces and the vulnerability of the body and its skin in the portraits.

Projecting these negatives onto this aged paper, Bakin watched how the material responded. The image hesitantly emerged, often faded, sometimes weakened, and rarely behaving as you might expect. Repeating his process, the instability of the paper eventually began to matter more than the image itself. Resistance of material, and an embrace of repetition, chance, and variation become fundamental parts of the project. 

In ‘Materia’, Bakin’s photographs admit their own instability. Interested in the moment when the image becomes matter, and when matter begins to resist representation, the artist has created a delicate study of what happens when photography itself begins to age, fail, and resist the image it is meant to carry. In doing so, ‘Materia’ is a project that does not illustrate time, but rather uniquely reveals how time participates in the making of images.

• L'Artiere 2026
  
• Hardback, 1st edition, 96p
  
• New

“The photographs in this book were made over the past four decades, primarily in Italy, entirely with an 8×10 view camera. I suspect I will continue this work for as long as I am taking pictures.

The title reflects the complexity of the Italian word storia, which holds meanings as diverse as history, story, situation, issue, fuss, hassle, tale, or lie. Depending on context, it may also refer to a love story, brief or ongoing. Italian Story is a broad narration: a record of events, a historical fiction.” - Andrea Modica, 2026

Italian Story is a deeply personal and poetic journey through Italy, spanning over forty years of photographic work by American photographer Andrea Modica.

Born into a third-generation Italian-American family, Modica began traveling to Italy as a young woman, gradually building a visual archive of the country’s landscapes, people, rituals, and moments of quiet intimacy. These photographs, taken across decades and regions, form a lyrical exploration of identity, memory, and belonging filtered through Modica’s singular, tactile photographic language.

• L'Artiere 2026
  
• Softcover, 1st edition, 84p
  
• New

Adam is a photobook by Theo Zeal that follows his lifelong friend as he forages. Theo creates a fictional landscape, positioning Adam within it to attempt to portray and contain his elusive friend. Created over four years while Theo experienced the alienating symptoms of Lyme disease, following his friend became an instinctive response to a gro- wing sense of disorientation and fear. Through Theo’s darkroom process, the images become fragile artifacts, as though unearthed from the very ground Adam treads. The result is a haunting meditation on the act of seeing and the quiet magic of friendship.

Signed copy.

• Thames & Hudson 2026
• Hardback, 296p
• New

Josef Koudelka’s landmark photographs of the Prague Spring and the resulting Soviet invasion.

Josef Koudelka never planned to become a conflict reporter. That all changed on the night of 21 August, when Soviet tanks entered Prague, ending the short-lived political liberalization in Czechoslovakia. 'I wasn’t a reporter,' Koudelka recalls. 'I had never photographed anything that you would call ''news''. Suddenly, for the first time in my life, I was confronted with that kind of situation. I responded to it. I knew it was important to photograph, so I photographed.'

For fear of repercussions, Koudelka originally published the images under the pseudonym 'PP' (Prague photographer). The intensity and significance of the images earned the still-anonymous photographer the Robert Capa Gold Medal Award. Sixteen years would pass before Koudelka could safely acknowledge authorship.

Now reissued in a hardback format, this bold new edition will bring these vital photographs back to the public eye, standing as a stark reminder of the importance of bearing witness to violence and brutality.

• Photo Editions 2026
• Hardback, 1st edition, 112p
• New
  

‘On Japan’s outlying islands, scattered beyond the archipelago’s larger main islands, history seems to accumulate like a bank of snow. Emotions, memories, and fragments of time settle layer upon layer, creating an atmosphere unique to the islands. At times, as I wander among them, that distinctive air becomes overwhelming, and I find myself hurrying to catch the return ferry. Yet once back on the mainland, I am seized by the feeling that I have left something precious behind, and before long I am drawn back to the islands once again.’  - Yasuhiro Ogawa

Apart from the larger main islands of the archipelago, there are about 300 inhabited islands in Japan. Most of them are tiny islands with small population of few hundreds, and almost of all the inhabitants are elderly people. Those remote islands used to be vibrant with many inhabitants who were engaged in fishery and trading, but the islands’ population started to decline sharply just after the period of rapid economic growth in the 1960’s and 70’s, due to the younger people who left the islands for seeking better jobs.

Yasuhiro Ogawa’s first visit to a remote island was to Miyake-jima in 2005 as he elaborates, “Following the volcanic eruption in 2000, the entire population had been forced to evacuate. Five years later, I visited the island aboard the ship carrying the returning residents. It was my first experience of visiting a remote island. The island had been uninhabited for five years, and it felt as though time had stood still. The atmosphere and the passage of time there seemed entirely different from those on the mainland. I was immediately captivated by the island’s unique charm and decided to visit as many islands as I could.”

Tales of the Island is a revised and expanded edition of Yasuhiro Ogawa's long since sold out 2014 photobook Shimagatari.

Hardback, 283x233mm, 80 tritone printed images with printed end papers. 

Signed copy.

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

In stock now.

• Steidl / The Agency 2026
• Hardback, 1st edition, 120p
• New

A Commonplace Book presents photographs by Raymond Meeks selected by John Gossage—a photographer who has been an enduring influence for Meeks, inspiring his approach and use of the camera to construct a picture—untethered from sequence or narrative continuity. Here to discover is a breadth of visual style and approach, varied in form, unified by a singular sensibility. Gossage’s initial impetus for the book was his realization that Meeks had “made some of the most stylistically various single pictures that I had ever seen in a serious photographer’s work.” Meeks then agreed to supply his pictures, from which Gossage made his edit and created a new context for them to be seen one at a time. And so was born, in Gossage’s words, this commonplace book “of remarkable things, pictures that are as rich individually as they are in the narrative of Ray’s books, but in a different way. They stand as convincing in a style of variation with certainty, always having the feel and thought of a single author.”

• Steidl / The Agency 2026
• Hardback, 1st edition, 112p
• New

Jenia Fridlyand grew up in the Soviet Union in the years just prior to perestroika. Visiting Cuba in the second decade of the twenty-first century, then, felt like an uncanny homecoming. While both tangible and familiar, the grim fabric of the communist quotidian kept unravelling for Fridlyand under the bright, tropical sun. With a large-format camera and a photographic practice rooted in the American tradition, Fridlyand traveled throughout the island during several extended trips. She intuitively trained her lens on moments and scenes with the potential of holding both the known and the novel—from a pair of donkeys silhouetted against hilltops, a customer at a barber shop and a pair of rocking chairs seen through an open door, to drops of sweat on a man’s curved back and sweet fruit hanging ripe on a tree.

• Steidl / The Agency 2026
• Hardback, 1st edition, 120p
• New

In An Abridged Dictionary of Sculpture John Gossage considers the changes objects (sculptures) undergo when they are photographed. His images transform these objects rather than transcribe them, altering their condition of being. For Gossage, to photograph is to ask one thing to become another kind of thing. Indeed, does a sculpture always need a pedestal or isolation to not just be another thing in the world? Whether a pile of archive folders, a dirty beaker, a heap of baseball caps, a plank of wood or a tuft of grass, he photographs these objects against the same background of white paper, their shadows often taking on as much presence as their concrete forms. With so much of the objects unclear (their volume, scale and weight, their three-dimensionality), and each having lost its original purpose or being about to die, how much has Gossage actually saved in his photographs: only his intentions? Is a good photograph always better than what it pictures—and how? This book is a dictionary because it describes the sculptures rather than being the sculptures: as every photograph does with everything.

• 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

• 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.

• 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.

• 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.

• Thames & Hudson 2026
• Hardback, 1st Anniversary edition
• As new

A fully illustrated, enhanced and reformatted edition of Johnny Marr’s acclaimed autobiography, Set the Boy Free, sumptuously re-imagined with additional archival photography and exclusive updates by Marr himself. A slick redesign integrating the classic text and photographs with expanded imagery from the archives of Angie Marr, this enhanced edition of Johnny Marr’s bestselling autobiography is so much more than the story of the much-loved guitar wizard. It’s the inside track of popular music over the last forty years, laid bare by a musical legend at the heart of it all and never far from the Top 10. A true collector’s item, Johnny Marr: Set the Boy Free also includes a brand-new introduction by Marr and his previously unpublished, highly personal eulogy for Smiths bassist and school friend Andy Rourke. Published to celebrate the 10th anniversary of the original edition of Set the Boy Free and the 40th anniversary of the release of The Smiths’ The Queen Is Dead – voted the greatest album of all time by NME – this illustrated anniversary edition includes swathes of never-before-published photography from this classic Smiths era, and comes at a time when Marr’s stature as a musician, songwriter and household name confirms his position as a modern cultural icon.

Signed by Johnny Marr to the title page.

• Thames & Hudson 2026
  
• Hardback, 1st edition, 192p
  
• New

An exquisite visual and lyrical portrait of Susie Cave that unites the creative talents of four icons – celebrated writer and musician Nick Cave, renowned photographer Dominique Issermann, superstar designer Irma Boom and Susie Cave herself.

‘Through the countless words I have written about Susie, in song and prose, my prime concern has been to contain Susie’s fleeting nature. Yet, Susie remains as much a mystery to me now as when I first saw her’ Nick Cave

In the beginning there was Susie and Nick.

Later the twins, Arthur and Earl.

And along on this journey was Dominique Issermann, capturing the photographs gathered in this powerful book.

Nick Cave’s profound devotion to his wife Susie is present in the imagery crafted through his words and lyrics since they met in 1997. Their long-standing friend, photographer Dominique Issermann, has spent years attempting the same task on film, captured here in episodic bursts. The result: a mirror held up to Susie – the ethereal presence – whose form beguiles and evades the lens. There are many characters within and many Susies to record.

In her own words, the role Susie feels most true to is that of mother, and this book is an extraordinary testament to its power. It offers a poignant visual account of both the devastating loss of a beloved child and the deep comfort found in the one who remains.

With reflections from Nick and Susie throughout, this is a book to cherish: it affirms faith in art, enchantment, beauty and the strength of the human spirit. It is a visual ode to love, to family and to Susie.

• Black real cloth case binding with gold foil blocking on the spine.  
• Sprayed blue book block edges.  
• A ribbon marker.  
• A black card sleeve with gold foil blocking.  
• Signed book plate tipped into the book.   

• 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.