Recent arrivals

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of Killip’s work in the Northeast of England and Ireland between 1975 and 1986, featuring many previously unpublished photographs.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

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

• Trespasser 2018
  
• Softcover, 2nd edition
  
• Near fine

Good Goddamn is a short photobook about a man named Kris from rural Texas and his last few days of freedom before going to prison. 

9x12 inches. 44 pages. 27 duotone reproductions on Mohawk Superfine uncoated paper. Bound with carton staples. 15x20.25 inch foldout poster included.

Signed copy.  2nd edition.

Very faint cover wear, otherwise very fine.

• 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.

• Trespasser 2024
  
• Hardback, 1st edition, 108p
  
• Imperfect - see below

Set amid the extreme heat and sprawling concrete of Tucson, Arizona, Dogbreath is a photobook that depicts a series of restless adolescents as they navigate a fraught and changing world. Through photographs of urban decay, sun-faded neighborhoods, scenes of mosh pits, and punk youths alongside their feral dog counterparts, the book paints a sympathetic view of teenagers adrift in what remains of their adolescence. Interspersed with elliptical texts about a mysterious boy named Dove, who speaks of underground pagans, scrap salvaging, and the search for gold, Dogbreath presents an enigmatic, psychologically engaging portrait of youth on the edge.

11.5x15 inches. 108 pages. 55 tritone plates on uncoated paper. 3 variations of cloth cover with tip-in image and foil stamp text. 

Out of print.

Imperfect copy - still sealed but with small bump to rear corner of cover - pages not affected at all. See photo.

• 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.

• Editorial RM 2025
  
• Hardback, 1st edition, 130p
  
• imperfect - see below
  

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

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

Sealed copy but with bump to one corner - see photo.

• 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 signed copies of the first printing - now SOLD OUT).

• 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.

• EXB 2025
• Hardback, 1st edition, 120p
• New

In the book A Certain Nature, after Giverny, Jean Gaumy offers an original vision of painter Claude Monet's world-famous garden. Over the seasons, he has intensified his formal research into plants, creating black-and-white compositions that border on the painterly and the abstract.

A place of artistic fascination for over a century, the garden of painter Claude Monet (1840-1926) in Giverny is today one of the most emblematic sites of French cultural heritage, with its famous water lily pond, immortalized in the paintings of the Impressionist master. It was in this setting, steeped in history and beauty, that the great Magnum photographer chose to cast his eye. Benefiting from privileged access to the garden as a member of the Académie des Beaux-Arts (French Fine Arts Academy), he has turned it into a veritable laboratory for photographic experimentation over several years (from 2016 to 2024). As a keen observer of nature, armed with his iPhone, he develops a singular approach, somewhere between abstraction and naturalism, scientific sensitivity and visual poetry.

In this book, Jean Gaumy explores the richness of plants, their structures, rhythms and almost microscopic details. Through the alleys of Giverny, Gaumy not only photographs a place, he also retraces the thread of his memories and tells us a story: that of his childhood, marked by the simple joy of a family garden, a place of discovery and reverie, to which he tries to bring back to life through these images. An essay by Jean-Christophe Bailly examines Jean Gaumy's “photographic decisions” in relation to the collective imagination surrounding Giverny, and completes the book.

English edition.

• EXB 2025
• Hardback, 1st edition, 192p
• New

One evening in January 1989, Paolo Roversi stopped at the Malabar Hotel in Cochin, in the Kerala region. He had already made several trips to India. That evening, as he began reading Pier Paolo Pasolini's The Smell of India, he realized that he was staying in the very same hotel where his fellow Italian had stayed almost thirty years earlier. In 1961, Pasolini traveled to India with Alberto Moravia and Elsa Morante. The Smell of India, which he wrote upon his return, recounts his impressions, his nocturnal wanderings, and his encounters. In this book, Pasolini expresses his wonder and his sensitive experience of a different humanity, far removed from Western perceptions.

Thirty years later, Paolo Roversi presents an India that is just as mystical and fabulous, captured in sepia tones and powdery colors, the signature of his aesthetic. The variations in light and the modeling of volumes create a dreamlike, suspended universe. Decrepit marble palaces, small shops, alleys populated by a menagerie of donkeys and sacred cows, sandy valleys shrouded in an amber veil, and above all portraits of women, men, and children in which we find the gentleness and elegance of Roversi's gaze. Whether focused on their tasks or posing for the camera, they compose a kaleidoscopic portrait of India.

Published alongside Pasolini's full text, Smell of India by Roversi immerses readers in a mysterious and fantastical India. At the end of the book, Paolo Roversi recounts his search for an orphan named Revi, whom Pasolini had met, and an appendix presents a collection of letters from the Italian author as well as an interview.

English edition. 

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

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

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

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

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

English edition. 

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

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

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

English edition.  Signed copy.

• EXB 2026
• Softcover, 1st edition, 140p
• New

Nuits Balnéaires has developed a multifaceted artistic practice: his photography, his preferred medium, borrows from other disciplines such as cinema, theatre, literature and poetry. For him, image creation is a hybrid space where reality and dreams coexist. The Malinké and Agni-Bona cultures, from which he originates, strongly influence his universe – tales, epics, proverbs, metaphors – and rub shoulders with contemporary arts: his works weave infinite geographies, drawing on the melting pot of ancient civilisations and confronting the complexities of the modern world. In 2024, Nuits Balnéaires created Eboro: a visual journey into the “beyond” (eboro in the Agni-Bona tradition). The photographic series tells the story of an exiled poet, inspired by his uncle, Noël X. Ebony, a figure of Ivorian literature in the 1980s who disappeared mysteriously. Following in the footsteps of this poetic heritage and his verbal experiences, Nuits Balnéaires composes a fiction in which a character (poet and fisherman) passes from the real world to the world of dreams. The photographer plays with symbols from ancestral Ivorian cultures, mixing them with motifs from the modern city (dehumanised suburbs). In a dreamlike atmosphere and an aesthetic that emphasises the power of colours (black and red symbolise passage and transition to the afterlife), the character of the exiled poet (like his uncle before him) leaves the city and crosses the desert before reaching the spirit world, where strange creatures wearing crimson headdresses await him. 

Eboro blends literary, pictorial, historical and symbolic influences. The fable speaks of isolation, exile, melancholy and age-old tradition. In this journey back to the source (the world of ancestors), Nuits Balnéaires questions the mechanisms of domination and the fragility of our cultural and spiritual heritage. His visual language plunges us into the confines of the tangible, between familiar spaces and more surreal ones. ‘A still image has an evocative power that does not depend on the unfolding of an action, but on what it suggests, on what the viewer projects onto it,’ explains the photographer. Eboro goes back in time and crosses borders, oscillating between unfathomable mystery and wonder; he reveals himself in a black and red book, printed on craft paper, punctuated with the words of poet Noël X. Ebony.

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

Time Isn't Holding Us is the debut monograph of Joakim Möller. This collection offers a comprehensive visual journey, uniting the various facets of Möller’s practice; from traditional street photography to the surreal narratives created through his meticulous use of diptychs.

Joakim's images capture striking urban moments through dramatic compositions and a distinctive use of black and white, drawing attention to the subtle tensions and poetry of everyday life. His photographs are not driven by a predefined message or theoretical framework; instead, they function as fragments of a personal visual diary.

• Princeton University Press 2026
• Hardback, 1st edition, 128p
• New

A legendary American photographer’s intimate pictures of his family in a small Virginia town, published here for the first time

Photographer Emmet Gowin first gained renown in the late 1960s with a remarkable series of pictures of his wife, Edith, their children, and four generations of her family, many of whom lived in a cluster of houses at the end of Baldwin Street in the mill town of Danville, Virginia. These images of the family’s daily life and gatherings are among Gowin’s most admired. Baldwin Street is a stunning new collection of photographs from that world. Most of these photographs have never been published, and many were printed for the first time during the Covid pandemic after Gowin rediscovered the negatives. Together, they represent a fascinating and thrilling expansion of his important early work.

In a preface, Gowin describes Baldwin Street as a “small but intensely vivid world,” teeming with Edith’s family―including her grandmother, mother, sisters, brothers-in-law, and many children. “It was here that I came of age and found my first true subject,” Gowin writes, and Baldwin Street became nothing less than “the center of my spiritual universe,” a place where “the kingdom of heaven seemed to be all around us.” These beautiful and moving photographs capture and express this feeling of the otherworldly and numinous amid everyday life.

Featuring close to seventy photographs, this gorgeously produced volume includes a new interview with Emmet and Edith Gowin offering further details about the family and the images, with memories and reflections by the photographer about the period when the pictures were made.

• Delpire 2026
• Hardback, 1st edition, 240p
• New

• Akio Nagasawa 2026
• Softcover, 1st edition, 96p
• New

My daughter Yuko is driving me around in her car right now, and I take pictures while walking around toddling and tottering. These days I’m not visiting Kamakura and Yokosuka as often as I used to, but I mostly spend my time wandering around in the Kannai and Isezaki neighborhoods in Yokohama. The more my legs fail to carry me, the more such places as Tokyo and Shinjuku are fading from my mind. Oh well… Dammit!!

– Excerpt from the afterword by Daido Moriyama

Signed copy.

• Seigensha 2025
• Softcover, reprinted edition, 158p
• New

A comprehensive overview of the work of Eikoh Hosoe (1933-2024), this volume contains many seminal photographs from the 1960s and '70s, plus later work from the 1990s and early 2000s. Hosoe emerged as an influential photographer and filmmaker in the experimental arts movement of post-war Japan. He is recognised in particular for his dark, high-contrast, black-and-white photographs of the human body, as well as his collaborative work with others. Often psychologically charged, his images explore subjects such as death, erotic obsession, and irrationality. 'A World of Eikoh Hosoe' presents his fertile imagination along with commentaries and other texts in Japanese.

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

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

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

• Mack 2026
• Hardback, 1st edition, 160p
• Imperfect - see below

While organising his archive, Guido Guidi rediscovered negatives and prints from a prolifically productive period at the beginning of his career. These photographs, made with black-and-white film and small-format cameras, captured his day-to-day life in the 1970s – his family and friends, his colleagues at the University of Architecture in Venice – but also more fragmented and even abstract scenes: objects in disarming isolation, shadows, symbols, and deserted streets. High contrast and disorienting framing made many of these images as graphic as they were documentary. Some were marked with the remnants of captions, half-smudged notes, and other signs of their lives within previous sequences and contexts. Taking up a title he had used for a number of projects at that time, including a never-realised publication with Luigi Ghirri’s Punto e Virgola, Guidi constructed a new ‘album’: a fresh engagement with historic work, drawing on the anarchic energy and interests of his youth and the shrewd, sensitive instincts of an expert editor. The resulting book brings together the everyday with the bizarre, the recognisable with the ambiguous, in a bracingly contemporary new work from a modern master.

Album, 1969–82 is the second of three complementary volumes engaging with Guidi’s black-and-white work from the late 1960s through to the early 1980s, offering luminous insight into the development of his practice and an expanded exploration of photography between art and functionality, realism and surrealism, truth and fabrication.

Limited edition of 1000 copies with a signed plate (see image)

Display copy with a small dent to the bottom edge of the cover, inside fine and otherwise new.