Photobookstore

• Loose Joints 2025
• Hardback, 1st edition, 144p
• New

The Classroom explores control and discipline within post-colonial Moroccan identity through staged, uncanny classroom images created between 1994 and 2002.

Frustrated by Morocco’s rigid educational system of the 1990s, art teacher Hicham Benohoud used photography as a pedagogical tool, creating a makeshift darkroom in his classroom to foster collaborative and hands-on learning, encouraging students to engage with creativity and identity.

The resulting images created with his students are marked by tension and alienation, blending absurdity, humour, and unease in their exquisitely framed and obliquely disarming compositions. In juxtaposing the monotony of the classroom with a visual exploration of both freedom and control, The Classroom builds a playful and existential critique of postcolonial identity, where childlike creative gestures merge into a more ambiguous aesthetic that hints at oppression, violence and isolation.

This new publication by Loose Joints draws from the artist's original archive of negatives from the time, building the first comprehensive appraisal of Benohoud’s ground-breaking series while highlighting the modern relevance of the work in its engagement with performance, politics, pedagogy and the body decades ahead of its time.

Winner of PhotoBook of the Year, Paris Photo–Aperture PhotoBook Awards 2025.

• the(M) éditions / IBASHO 2025
• Softcover, 1st edition
• New

"This series explores the psychological imprint of migration and uprooting that have marked my life. The title is inspired by the keyboard shortcut I use to write in Japanese, an indirect evocation of my origins.

This series brings together a multiplicity of subjects: architectural fragments, an old passport photo of my grandfather, faces of unknown relatives in the family album... Incoherent geometric forms emerge in the images to amplify this sensation of non-belonging, disturbing the gaze through their strangeness.

With Ctrl Shift + J, I invite the viewer to introspection, to confront their own experiences of displacement and the search for a place to be oneself."

- Sayuri Ichida

• the(M) éditions / IBASHO 2025
• Softcover, 4th edition, 160pp
• New

This new book is a revised and expanded edition of the book so it goes, so it goes, itself a revised and expanded edition of the book so it goes, which won the Nadar Prize in 2019. This edition features a completely renewed series of images and a new cover.

In this book, Miho Kajioka presents work relating to the concepts of time, memory, and place. As in her previous works, the series reveals intuitive images of fragments from her daily life, across different periods. It was while reading Kurt Vonnegut's novel, Slaughterhouse-Five, that Miho Kajioka became truly interested in this subject. Miho Kajioka is fascinated by chronology and the meaning of events. According to her, photography captures moments and freezes them; displaying prints is like playing with the sense of time and getting lost in this chronology.

• TBW 2025
• Hardback, 2nd edition
• New

First published in 2016 and out of print for nearly a decade, Lost Coast has become one of the most sought-after titles in contemporary photography—rarely, if ever, seen on the secondary market. This new edition, faithful in every way to the original sequence and edit, features vastly improved production: newly remastered files, elevated print quality, richer color reproduction, and upgraded materials, all executed with the precision and care that have come to define Hatleberg’s work.

In Lost Coast, Hatleberg presents an episodic narrative centered on Eureka, California. The photographs move fluidly between intimate portraits and the surrounding landscape, between moments of shared connection and quiet dislocation. Each image feels like a short story, rich with detail and ambiguity—offering a layered portrait of a place shaped equally by natural grandeur and the slow erosion of economic promise.

The book’s title references the remote stretch of California’s northern coast, but also gestures to a deeper sense of disappearance—of lives lived in the margins, of dreams cast aside, of overlooked beauty. 

Lost Coast marked the beginning of Hatleberg’s acclaimed photographic practice exploring contemporary American life. This reprint reintroduces that start with greater clarity and presence than ever before.

• Stanley Barker 2025
• Softcover, 1st edition, 96p
• New

In the 1980s, the acclaimed Dutch cinematographer Robby Müller spent months at a time away from home, collaborating with renowned directors such as Alex Cox and Wim Wenders to create some of the decade’s most influential films such as Repo Man, Paris, Texas, Barfly and To Live and Die in L.A..

After long days on set, Müller stayed at the Kensington Motel in Santa Monica, a simple apartment hotel just behind Ocean Boulevard and steps from the beach. He liked its plain comforts: an ironing board folded into the wall, a coffee pot bubbling on the stove, Garfield the hotel cat who kept him company. It felt familiar, not just a place to pass through. 

He always carried his SX-70 Polaroid camera, making tender images when work paused, bringing what William Friedkin called “a foreigner’s eye” to America: noticing details others missed, avoiding clichés, always returning to light and colour as his true subjects. In these Polaroids, Müller frames a Los Angeles that no longer exists: small rooms, edges of the beach, street corners, a city built for cars seen by a cinematographer who preferred to walk. They reveal a man far from home, looking for stillness and light in the spaces in between.

Edited and with an introduction by Andrea Müller-Schirmer; designed by Linda van Deursen and expertly printed in Italy and bound as a uniquely flexible chopped linen soft-back, silk screened in a sun-kissed orange, it carries the warmth of Müller’s Los Angeles. Alongside Müller’s images are texts from his collaborators, including directors Alex Cox and Wim Wenders, and actor Willem Dafoe.

"What impressed me was he would see what no one saw – the origin, the presence, the vibration, the possibility of what was already there..." - Willem Dafoe  

"He had an eye for the light that the camera, and its film, loved." - Wim Wenders 

• Note Note Editions 2025
• Hardback, 1st edition, 112p
• New

Atlas of Echoes is the first monograph on the work of Dutch artist Sarah van Rij. The book immerses the reader in her entire oeuvre, bringing together her black-and-white and colour photography, as well as the collages created since 2018, and in doing so charts the journey from her beginnings as a photographer to her most recent work. Whether captured on a camera or an iPhone, her images explore a wide range of subjects — urban and natural landscapes, everyday objects, the human figure – at the same time as they advocate the singular and coherent aesthetic that has become the artist’s visual signature.

Designed in close collaboration with the artist, with an index offering an analytical and playful reading of her work, Atlas of Echoes reveals the singular formal vocabulary behind van Rij’s practice.

• Photo Editions 2025
• Hardback, 1st edition, 80p
• New

reverie (n): a state of deep and often dreamy contemplation or daydreaming, where one's thoughts and imagination wander freely and without a fixed purpose.

Martin Amis new photobook Reverie is a natural continuation of his previous work, This Land. It sees the photographer return to the Thames Estuary and it’s surrounding areas in North Kent, the tidal area where the River Thames meets the North Sea. Like dreams, this landscape, not quite land, not quite water, is an in-between space, neither here nor there. It is a landscape scored with stories of the past, as well as uncertainty around the future.

People are absent from the images, yet there are traces of human presence: the skeletal hulks of ships, electricity lines and fences, polluted waters, and industrial pipes billowing smoke on the horizon. Through these subtle details, Amis alludes to the ongoing destruction of these rural areas, many of which have been earmarked for new housing developments.

The passing of time is evident throughout. As the book segues through the seasons, we are carried into a dreamlike flow, witnessing both the quiet strength and beauty of nature, while also recognising what we risk losing in destroying these precious habitats.

Signed copy.

240mm x 300mm, hardback with black painted page edges.

A range of special edition options are available from the dropdown:

• Each print is in an edition of 15 signed and numbered copies (on verso), the price of each will rise in increments as the edition sells through.
  
• Printed on 310gsm Hahnemühle William Turner paper, a beautifully textured matt paper.
• Paper size: 210mm x 297mm (A4) 
• Image size: 160mm x 200mm, except Winter Landscape 160mm x 240mm
• several other prints from Reverie are available here.

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

Books are expected to begin shipping 10th December.


For trade enquiries, please get in touch here

• Editorial RM 2025
  
• Hardback, 1st edition, 130p
  
• New
  

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

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

• Editorial RM 2025
  
• Softcover, 1st edition, 88p
  
• New
  

4 Sides of The Table was made from 2022-24. In the spring of 2017, I was with my mother in an empty room. The light of the sun was shining through the windows. Her best friend June was at her bedside reading poetry aloud. My mother died a few hours later. Since I could no longer take pictures of my mother, it seemed natural to me to photograph June. I photographed her hands, her legs, from the back, from the front, partial views etc. feeling I could convince myself she was my mother more easily by photographing her in parts rather than in showing her whole figure.

During the months that I was visiting June, her daughter unexpectedly passed away. I thought after that she might not want to continue our time together taking pictures, but she did. The camera gave us the freedom we needed to imagine we belonged to each other.

4 Sides of The Table Is about the time it takes to eat a loaf of bread, for light to pass through a room, and or for someone to die and how we can recreate or extend that time. I wanted a way of holding on to what has passed and what’s hard to keep, even if only in an empty hand.

Note that this delicate book has quite fragile corners.

• Editorial RM 2025
  
• Hardback, 1st edition, 96p
  
• New
  

When I was starting out I could experiment and take risks. That is when I most enjoyed mywork as a photographer. I wouldn’t be surprised to find that I produced my best work attimes when I felt that I was still learning, that I was a beginner. Once I thought I knew what I needed to do and applied it to various subjects, I lost that freshness and sense of surprise: I had to secure the results and could no longer experiment in the same way. Throughout my fifty-five years as a photographer I have beena beginner several times: when I wanted to learn how to take portraits, when I started to work in colour, or when I took my first photographs of wild horses.

In 1968, at the age of twenty-two, I was studying Business Administration in Germany,but after seeing Henri Cartier-Bresson’s Spanish photographs I decided that I wouldbecome a photographer instead of a businessman. I had left Spain because I didn’t wantto do the compulsory military service under the Franco dictatorship, so I had to return toSpain with my tail between my legs, ready to do the military service after all. There were no photography schools at the time, and I learnt by pounding the streets in the town of Cuenca, while waiting to begin my military service, four years older than my fellow recruits. I worked for four hours in the morning and another four in the afternoon, following theopening hours of shops and offices. Children would follow me on the street, asking to have their picture taken; at that time taking pictures of children was considered perfectly normal. When it was time to go to boot camp I smuggled in a small Leica IIIf (from 1953 and still without a film advance lever) and took pictures surreptitiously. Had I been caught I would still be behind bars. After my military service I started to get to know Spain and I also took a trip to Yugoslavia with my first wife. Later, when she was offered a scholarship at theLondon School of Economics, we left for London. I started collaborating with agencies and magazines and could no longer be considered a beginner.

This book contains the images which taught me how to be a photographer. Now I wish I could feel like a beginner again, not to make myself younger, (although that would be good too), but to regain the sense of experimentation, discovery, adventure, and transcendence which drove my work at the time.

C. H.

• Dust Collective 2025
  
• Hardback, 1st edition, 124p
  
• New
  

INVISIBLE SUN is a visual meditation on survival, transformation, and fragility by artist Amani Willett. The project traces the impact of childhood medical traumas and the ways they continue to reverberate through the present.

Confronting these early challenges amid new chronic health challenges, Willett turned to intensive therapies. Within this process he encountered vivid, unsettling memories, often of his younger self, that became a generative source for the work.

The resulting images weave together photographs of his children, experimental photographic processes, dark landscapes, and AI-generated visions. Moving between the haze of memory and the clarity of the present, INVISIBLE SUN gives form to what the body remembers when the mind does not. It is an exploration of fragments, vulnerability, and resilience, offering a visual language for what is most often left unspoken.

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

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

Signed copy.

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

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

• Deadbeat Club 2025
• Hardback, 1st edition. 132p
• New

In Billions Served, Richard Renaldi once again offers his large format portraiture as an invitation to slow down and see familiar sights in new light. The title, taken directly from the boastful catchphrase "Billions and billions served", at once acknowledges the economics of American fast food while simultaneously signaling that those billions of burgers have been served both toand by billions of people. Contrary to the nature of fast food environs where subtle cues direct us through choreographed movements toward ever swifter commerce & consumption, Renaldi invites the viewer to pause and actively participate in each moment. His black & white photos neutralize the riot of color otherwise drawing our eyes; color portraits place fellow patrons center stage, from out of the recesses where corporations would let them fade. The result is a new way of actively engaging these often frequented but seldom-considered scenes with a spotlight on humanity. 

Signed copy.

• The Ice Plant 2024
• Hardback, 1st edition, 192p
• New

In 2023, Swedish photographer Gerry Johansson roamed the state of Maine with a Rolleiflex, curious to make new pictures in a region of America he first encountered in the work of Paul Strand five decades ago — he found Strand’s views of New England “boring” at the time — and also wondering, “Why is American photography so focused on the west?” Johansson’s Maine echoes the formal restraint of his earlier books, notably American Winter, Spanish Summer, MeloniMeloni, and Pontiac, sequencing nearly 200 black-and-white duotone photographs alphabetically by their oddly poetic northeastern town names (Bath, Friendship, Purgatory, etc). Somehow, as in all Johansson’s work, none of the Maine pictures draws more attention than any other, and the flawless and playful compositions never seem to repeat — Johansson’s endlessly inventive arrangements of architecture and landscape orient the viewer in a specific geographic and cultural place while generously sharing his way of seeing, ambling, and thinking with a camera.

Signed copy.

• Nazraeli Press 2025
• Hardback, 48p
• New

Los Angeles is a centrifugal city, fundamentally American in its tendency toward the periphery. Isolated Houses focuses on the urban sprawl’s outer frontier. Here, 150 miles outside the city, the built environment comprises a handful of rudimentary structures, isolated cubes at the edge of the infinite plane of the desert. The dwellings that dot the landscape seem temporary and toy-like, but are the center of these photographs, the reason for their being. This work pays homage to those places where nature and culture intersect, and suggests that we all occupy a border zone between the natural and the artificial.

Isolated Houses was first published by Nazraeli Press in 2000. This completely remastered 25th Anniversary Edition is limited to 1,000 casebound copies.

• Nazraeli Press 2025
• Hardback, 48p
• New

“From 1995 to 1998, I worked on a series of photographs of isolated houses in the desert at the east-end of the Morongo Valley in Southern California. As I meandered through the desert, a dog would occasionally chase my car. Sometime in 1996 I began to bring along a 35mm camera equipped with a motor drive and loaded with a fast and grainy black-and-white film. The process was simple; when I saw a dog coming toward the car I would pre-focus the camera and set the exposure. With one hand on the steering wheel, I would hold the camera out the window and expose anywhere from a few frames to a complete roll of film. I'll admit that I was not above turning around and taking a second pass in front of a house with an enthusiastic dog. Contemplating a dog chasing a car invites any number of metaphors and juxtapositions: culture and nature, the domestic and the wild, love and hate, joy and fear, the heroic and the idiotic. It could be viewed as a visceral and kinetic dance. Here we have two vectors and velocities, that of a dog and that of a car and, seeing that a camera will never capture reality and that a dog will never catch a car, evidence of devotion to a hopeless enterprise.” – John Divola

Dogs Chasing My Car in the Desert was first published by Nazraeli Press in 2004. This completely remastered edition is limited to 1,000 copies.

• PCT 2025
• Softcover, 1st edition, 280p
• New

In January 1991, Keizo Kitajima began a year-long series for the Japanese magazine Asahi Graph, traveling to all fifteen republics of the Soviet Union accompanied by the journalist Kazumasa Nishioka. Kitajima, then at a turning point in his career and about to give up on snapshot photography altogether, unexpectedly found himself documenting the final months of the USSR. Only days after the final installment of the series was published in an Asahi Graph issue in December 1991, the Soviet Union officially ceased to exist.
In his photographs, Kitajima captured something essential about each place he visited, not through symbolic locations or famous figures, but by focusing on ordinary people, whose stories would otherwise never be told.

This 2025 publication of "USSR 1991" is part of an ongoing re-examination of Kitajima’s past work, following books such as "European Diary 1983-1984" and "New York (New Edition)." As part of this process, Kitajima decided to pair his USSR 1991 photographs with a series he shot between 1983 and 1984 in various Eastern European cities.

In addition to an afterword by Keizo Kitajima, "USSR 1991" also includes an essay by Shino Kuraishi.

Signed copy.

• Libraryman 2025
• Hardback, 1st edition
• New

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

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

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

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

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

The book contains a preface written by Lisa Sorgini.