All Books

• 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.

• Self / Philbrook Museum of Art, 2026
• Hardback, 1st edition, 120p
• New

Commissioned by Tulsa’s Philbrook Museum of Art, OK is a collection of photographs made throughout Oklahoma between June and November 2018 with 35mm, 120, and 4x5 color and black-and-white films.

On view June-December 2019, OK: Jason Lee Photographs featured an extensive selection of prints from the collection, occupying the Meinig and Burnstein Galleries in the museum’s former satellite location, Philbrook Downtown (now Bob Dylan Center). 

Published for 2026 in association with Philbrook Museum of Art, OK/BW features 75 black-and-white images from the collection. 

• 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.

• Fondation Henri Cartier-Bresson 2025
• Hardback, new edition, 156p
• Imperfect - see below

For the first time in 70 years, the Fondation Henri Cartier-Bresson is reissuing this emblematic work by Henri Cartier-Bresson.

Published by Verve in 1955, three years after the resounding success of The Decisive Moment, The Europeans brings together 114 photographs taken by Henri Cartier-Bresson between 1950 and 1955 across ten European countries. Taken during assignments for Harper’s Bazaar, Life, Holiday, and Paris Match, these images form a unique visual testimony of post-war Europe in the midst of reconstruction.

From the revelers of Bastille Day in Paris to midnight masses in the Abruzzi, and from the funeral of George VI to the dockworkers of Hamburg, The Europeans does not aim to provide an exhaustive inventory, but rather composes a vibrant portrait of the inhabitants of a continent undergoing profound change.

Beyond national borders, the book evokes a broader sense of European identity, shaped as much by everyday life as by the major upheavals of the time.

The Europeans shared with The Decisive Moment a similar format, a sober and elegant layout, high-quality printing, and a cover designed by a renowned artist (Joan Miró for The Europeans, echoing Matisse’s cover for The Decisive Moment).

As with The Decisive Moment in 2024, the Fondation Henri Cartier-Bresson now offers a reissue of The Europeans in a smaller, more manageable and accessible format, while remaining faithful to the spirit of the original edition. Seventy years after its first publication, this reissue provides a unique opportunity to rediscover a major work of Henri Cartier-Bresson’s oeuvre, enriched with an unpublished text by Clément Chéroux that places the work in its historical and artistic context.

Display copy with small damage to corner of cover - see photo.  Inside as new.

• 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.

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

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

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

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

• Akio Nagasawa 2026
  
• Softcover, 1st edition, 190p
  
• New

A new photobook by Lin Zhipeng (aka No.223), one of the leading figures in contemporary Chinese photography. “223 BY 223” is planned as an ongoing series to be published irregularly, with Vol.2 scheduled for release later this year.

Through these latest works, Lin Zhipeng continues his exploration of the intimate daily lives of young people in contemporary China, vividly capturing the atmosphere of their generation.

Edition of 800 copies.  Signed copy.

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

Chavirés is a movement of overturning: a spiraling motion that disorients, from which emerges the past, the present, illusions and origins. Each moment has its own language and its own colors, which, in Avanzinelli’s gaze, fade, dissolve, and stain, yet ultimately come to speak the same language: a relentless and uncompromising search for what has been lost, overlooked, or forgotten.

It is not only a language of images: the texts, too, carry the same mark and the same imaginative force, brushing against abstraction. Chavirés carries within it the full weight of the effort of turning back and inward, of all the years it has taken to arrive there, and yet resolves into the lightness of a single moment, with simplicity and clarity: like the instant of a leap and a twisting rotation.

Handmade edition of 250 numbered copies.  A collectors edition of 20 copies in a handmade wooden box is also available (see dropdown)

Video courtesy the publisher.

• Self-published 2026
  
• Softcover, 1st edition, 150p
  
• New
  

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

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

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

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

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

First edition of 200 signed and numbered copies.

Back in stock.

• Stanley Barker 2026
• Set of softcovers, 1st edition, 320p
• New

A life isn’t a straight line, it doesn’t conform to an easy narrative. Christopher Anderson’s career has spanned conflict zones, presidential campaigns, near-death experiences, and moments of quiet domestic tenderness, all captured with a rare poetic sensibility. His new publication INDEX, gathers 11 series from across his career, each presented as an individual volume.

From his early images in Afghanistan, where he was already working as a journalist on 9/11 and continued to document events through the span of the second Gulf War, to Haiti, where he boarded a wooden boat with hopeful migrants bound for America until it began to sink, a story that earned him the Robert Capa Gold Medal. From volumes that chart the places he has called home, such as France and New York, to places that have left their mark on him, like China. From books that record tender moments with his family on holiday to immersive accounts of conflict in some of the world’s most troubled corners, even his fascination with cars finds its place here.

Designed as 11 volumes housed in a slipcase by the acclaimed artist Brian Roettinger, INDEX is a breathtaking way to experience the defining events and fleeting intimacies that shaped the first decades of the millennium.

Volumes as follows:

Vol 1. Afganistan
Vol 2. Hati
Vol 3. China
Vol 4. France
Vol 5. Cars
Vol 6. Self portrait
Vol 7. Holiday
Vol 8. New York
Vol 9. Trouble
Vol. 10 White House 
Vol. 11. 9 East 71st Street, NY

Signed to the rear of a loosely laid in printed sheet, see shadow image.

• Atelier EXB 2026
  
• Hardback, 1st edition, 144p
  
• New

In Tres Viajes, German photographer Jörg Brüggemann, director of the Ostkreuz school in Berlin, explores Chile through a three-part series and examines the complex relationships that develop between individuals. In Mi Madre Tiene Novio (2018), Brüggemann sets out in search of his mother, who died ten years earlier, and the signs that appeared to him in a dream. Starting in Chile, he crossed the South American continent until he returned to the place where he learned of her death. The photographs bring together the pieces of this dream, illustrating his relationship with his mother and his approach to grief.

A year later, Brüggemann produced the series El Derecho De Vivir En Paz (2019). The German photographer returned to Chile to find a country in the throes of social unrest. The Chilean people rose up violently against their government and the injustices they were suffering. Witnessing this historic uprising of unprecedented scale, Jörg Brüggemann offers an immersion into the violence on the streets.

The last series in the book, Aguas Que No Has De Beber (2022), focuses on a woman and a man separated by miles: she is on the Chilean coast, he is in the mountains. This more peaceful series poetically illustrates the power of Chilean nature and the invisible bonds created between two beings. A text by Jörg Brüggemann, translated into French, English, Spanish, and German, accompanies the three series and concludes the book.

• Loose Joints 2026
  
• Hardback, 1st edition, 128p
  
• New

In an ambitious collaborative research project that moves beyond storm chasing as subculture or spectacle, Blinded by Your Grace draws on and reframes existing visual material made by women who intentionally move towards danger. The project considers risk not as an inevitable condition, but as an unevenly distributed privilege: one that requires access to time, mobility, and the social permission to linger, wait and voluntarily suspend protection. Registering storms for their beauty and intensity, the work asks who is permitted to approach threat, who is expected to remain safe, and whose proximity to danger is socially legitimised. Through extensive research and collaboration with women storm chasers worldwide, Chaplin Espenon advances a critical visual position in which storm chasing becomes an allegorical terrain through which broader structures of power, visibility, and autonomy come into view.

By gathering a diversity of contributions and harmonising them across the printed page through grainy, oblique reproductions that signal instability and the sustained presence of a female gaze, Blinded by Your Grace approaches risk not as spectacle or thrill, but as a deliberate condition of vulnerability. Here, to seek danger is not to court destruction, but to enter into a state of heightened attention — one that involves waiting, exposure, and the willingness to be undone by forces larger than oneself for the sake of devotion and beauty.

Risk is framed as a form of agency historically encouraged in some bodies and discouraged, regulated, or rendered invisible in others. Who has the right to pursue danger, and who is obliged to stay safe? Storms are approached as conditions that demand negotiation rather than conquest, holding beauty and threat, attraction and fear in tension. Within turbulent skies blacked out by dust, rain, and debris, the visible collapses and the politics of looking surface, as Chaplin Espenon works alongside her collaborators to choose proximity to danger.

Printed on raw untrimmed newsprint, any imperfections are as intended and may vary with each copy.

• iikki 2026
  
• Hardback, 1st edition, 108p
  
• New

“Nusa” is the result of a dialogue between the photographer Masao Yamamoto and the composer and musician Akira Uchida, initiated by IIKKI, between April 2025 and March 2026.
⁡
“Nusa” is the last part of a trilogy started in 2020 with Masao Yamamoto and Akira Uchida. A project that began with light (“Sasanami”, 2020), moved through darkness (“Kurayami”, 2023), and returned to the ambivalence of the two (“Nusa”, 2026), which ultimately sustain and complement one another in all their variations and complementarities. Both in terms of tones and in the humanity that runs through us in these times of such stark contrast.
⁡
For this last part of the trilogy, Masao Yamamoto and Akira Uchida travelled to the island of Hokkaido at the beginning of 2026 to supplement the project with photographs and audio recordings of the ice and the surrounding landscapes.
⁡
― description from the publisher
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The soundtrack to the book is provided by Akira Uchida, whose atmospheric melodies heighten the primordial and ephemeral aspects of Yamamoto’s images.
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Each copy of the book includes a coupon for a free download of Akira Uchida’s music.

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

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

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

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

• Aperture 2026
  
• Hardback, 1st edition, 472p
  
• New

A rare glimpse into the mind and artistic process of one of the world’s greatest photographers.

Distilled from sixty‑nine journals kept over the course of fifty‑plus years, Josef Koudelka: Diaries offers a look inside the mind and artistic process of the iconoclastic Czech photographer renowned for a life in exile and legendary projects on the Roma, the 1968 Soviet-led invasion in Prague, and the devastating impact humans have on the landscape. Facsimile pages from the diaries, along with images by the photographer, including self‑portraits, lend the volume an immediacy and authenticity. As curator Tomáš Pospěch writes, “Koudelka’s diaries are a ‘cookbook’ of classic photography. He associated with the most renowned photographers. His notes sum up his rich experience, including with the now‑vanishing technology of analog black‑and‑white photography. His remarks, quips, and stories reappear, just as he repeatedly made resolutions, affirmed the rules he had adopted, and recalled earlier events and dreams.” Diaries is a perfect companion to Josef Koudelka: Next(2023), the visual biography by Melissa Harris.

• Thames & Hudson 2026
  
• Hardback, 1st edition, 200p
  
• New

For over fifty years, Harry Gruyaert has wandered New York City’s streets, capturing its dazzling contrasts – from towering skylines and neon-lit diners to multicultural neighbourhoods and fleeting street scenes. Designed as a large-format visual album, this book presents each photograph across a double-page spread, evoking the rhythm and energy of a cinematic storyboard.

Accompanying this striking visual journey are fictional vignettes by acclaimed filmmaker Cédric Klapisch, blurring the lines between reality and imagination. A city of endless spectacle, New York becomes a global stage in Gruyaert’s hands – alive with drama, diversity and colour.

Limited signed copies are available along with sealed copies.

• EXB 2026
  
• Hardback, 1st edition, 88p
  
• New

Photographer, painter, and poet Mario Giacomelli acquired his first camera in the early 1950s and immediately recognized the connections between the practice of painting and capturing light through his lens. He soon set up his own darkroom, where, choosing to work with high-contrast paper, he developed a distinctive photographic eye. With camera movement, blurred focus, and the interplay of light and shadow, Giacomelli created dreamlike scenes in which beings emerge as ephemeral apparitions. His taste for lyrical abstraction, especially in painting, is evident in his photographs, which often reveal his inner state—particularly through the graphic intensity of light variations. Deeply attached to his native Marche region in Italy, Giacomelli captured endless plains traced with plowed furrows, shadows stretching across fields, and rural house façades, many photographs also offering glimpses of birds, clouds, female faces, or other forms. His birds rise from dense vegetation, appear like shadow puppets on translucent surfaces, dwell within vaporous clouds, or materialize as fragile presences. Choreographed flocks of white birds echo the lines of the foliage as animal and plant realms dissolve into each another. Between arrival and disappearance, reality and dream, Giacomelli’s birds resemble calligraphic marks spreading into a musical score against the backdrop of a rural landscape.

To accompany this visual collection, Jean-Noël Rieffel, veterinarian and director of the French Office for Biodiversity in the Centre-Val de Loire region, has made his first contribution to the Des oiseaux collection. He draws connections between Giacomelli's images and ornithology, paying particular attention to larids (gulls and seagulls) and corvids, subjects dear to the photographer.

English edition.

• EXB 2026
  
• Hardback, 1st edition, 288p
  
• New

Yderst (“at the edge” in Norwegian) paints a poetic, cultural, and political portrait of the coasts of northern Europe. Designed as an album with double-page images, the book uses pictures and text to explore the permanence of ancestral cultures, discussing ecology, adaptation to the elements and to the times, but also how knowledge is passed down along the coasts, from one country to another.

This long journey, undertaken from 2021 to 2024, begins in Norway, beyond the Arctic Circle, and continues along the North Sea coast to Belgium and France. While not exhaustive, this journey aims to weave together the stories of communities and places chosen for what they tell us about Europe today. In the spirit of his previous projects, Sébastien Van Malleghem explores territories and reveals the power of nature in starkly contrasting black and white images.

Conceived as a logbook, in the spirit of Jack Kerouac's road trip, Yderst brings together two approaches, photographic and literary, and takes the reader on a journey that is both contemplative and documentary.

Text in English and French.

• Kerber Verlag 2025
  
• Hardback, 1st edition, 180p
  
• New

Whitening Heights is both photography and a way of life at once. Inspired by the Alpine sun that seems to drain everything of colour, Sandro Livio Straube has been creating an ongoing series of images since 2015 that express a sense of deceleration and desaturation. Through this exercise in observation, looking at the world through the camera lens, he explores themes of transience, the vulnerability of all living beings, and the fragility of the environment created by humankind. The black-and-white and colour photographs taken in the Alpine valley of Lumnezia bear witness to a fulfilled presence that reveals things in all their inherent beauty. The three accompanying texts shed light on various aspects of this photographic work, with passages in Rheto-Romanic and Swiss German that also convey something of the attitude to life in this valley of light.

Text in German, English, Rheto-Romanic and Swiss German.

• Thames & Hudson 2020
  
• Hardback, 1st edition, 292p
  
• New

With a career spanning nearly half a century, Bill Brandt was a master of several major genres of photography: photojournalism, portraiture, the nude and landscapes. At first glance, Brandt’s genres may appear unrelated, but when analysing his career in its entirety, a common theme comes to the forefront: what psychologist Sigmund Freud and philosopher Eugenio Trías called 'the sinister.' From his earliest photographs taken as an amateur in the 1930s to his late portraits and studies of the female body, Brandt expresses a fascination with the strange and dark aspects of life that only he can reveal.

With 200 photographs from throughout Brandt’s career, this book adds a crucial chapter to the analysis of this key figure in 20th-century photography. Bill Brandt is set to become an authoritative retrospective.

• Mack 2026
• Softcover, 3rd edition
• New

The signed edition includes a slip signed by the artist and glued into the inside back cover.

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

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

Text  English and Euskera (Basque).

• Overlapse 2026
  
• Hardback, 1st edition, 126p
  
• New

A meditative work photographed in an alluring local park in the Netherlands; Strawberry Blue began in the aftermath of the artist’s migration north from Greece, where soon after arrival he was badly injured in a road accident. An arduous recovery process — along with upheaval in adapting to an unfamiliar environment — triggered an inner quest for belonging and identity redefinition. Over years Tsagkarakis routinely wandered through the park terrain, observing its nuances and dreamlike setting while interacting with strangers and all living things. In portraits he glimpses reflections of himself, where echoes of his own struggles are in dialogue with the tangled, evolving landscape. Strawberry Blue feels out of kilter at times, like laughing while crying. It’s about resilience, persistence and growing new roots… We are invited on this journey with minds open to the unknown, allowing the path ahead to lead us where it will.

• L'Artiere 2025
  
• Hardback, 1st edition, 72p
  
• New

Grace is a poetic and visually stunning collaboration between Scott and Grace, a couple whose intertwined lives and creative partnership transcend traditional artistic roles. This evocative photographic series challenges con- ventions of gender, aging, and representation, presenting Grace not as a passive subject but as an empowered figure navigating dreamlike landscapes. She moves between domestic spaces and the untamed wilderness, em- bodying mythological and symbolic roles—at once ethereal and powerful, present and elusive. Working with large-format cameras, Scott and Grace engage in a slow, intentional creative process, crafting images that blur the boundaries between reality, imagination, and the natural world. Their work offers viewers an invitation to step beyond societal norms and experience an alternate realm of freedom and transformation. Grace is both an artistic dialogue and a meditation on identity, nature, and the unknowable forces that shape our perceptions.

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

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

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

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

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

• Tall Poppy Press 2026
  
• Hardback, 1st edition, 224p
  
• New

In Ten Eighty, Matt Dunne focuses on the history and plight of the Dingo - Australia's wolf. Since the arrival of white people, the Dingo has been on of the most persecuted animals in Australia - the target of shooting, trapping, poisoning, myth-making and scorn. To this day, governments in Australia seek to eradicate the animal completely.

Through Ten Eighty, Dunne draws connections between commerce, ecology, violence, colonialisation and seeks to make the widespread war on the animal visible.

Signed copy.

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

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

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

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

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

• Errata 2012
  
• Hardback, books on books edition
  
• New
  

Krass Clement's Drum, photographed in an Irish pub on a single evening with only three and a half rolls of film, is now considered one of the most important contributions to the contemporary Danish photobook. Revolving around one principal character - a hunched, weather beaten old man who sits alone with his drink, Drum comments on community, the outsider, alienation and the terrors of being alone. Books on Books #16 presents every page spread from Clement's masterwork with an essay by the photo historian Rune Gade called Halting, Without Halting: On Krass Clement's Photobook Drum. 9.5 x 7 in. 55 Duotone illustrations. With essays by Rune Gade, Jeffrey Ladd.

Sealed copy.

• Thames & Hudson 2026
  
• Hardback, 1st edition, 320p
  
• New

A major reassessment of Walker Evans that shows him as a photographer both of his time and very much ahead of it.

Walker Evans (1903–1975) is one of the great enduring figures of modern photography. His vivid images are inseparable from the history of the medium and the history of the USA. The subject matter was quintessentially American – small-town life, typical buildings, commercial signs and anonymous citizens – but Evans brought to them the curiosity and fascination of an outsider. His exacting eye defined an era while also questioning it. Pop artists and Conceptualists saw Evans as a pioneer and precursor, and his sensibility continues to inspire countless younger image makers.

Walker Evans offers a broad overview of his work and its lasting influence on generations of artists. It brings together key photographs and projects spanning his entire career – from self-portraits of the 1920s to his Polaroid experiments in the 1970s – along with books and other publications that reflect his tireless capacity for observation. Together, the works reveal a creator who not only documented the world around him but also invited viewers to question the nature of photography and the perception of reality itself.

• Skeleton Key Press 2026
  
• Hardback, 1st edition, 144p
  
• New

Burnt Eyes is a thoughtful exploration of nostalgia, memory, and the intricate connection between place and identity. This beautifully printed, linen-bound collection features the striking black-and-white photography of Gilles Nicolet, paired with resonant poetry by Tanur Shah, creating an intuitive interplay between photography and verse that invites personal interpretation. The book offers a nuanced portrayal of Africa, with each of Nicolet’s photographs serving as a heartfelt tribute to the people and places that have quietly shaped his identity. Nicolet challenges the oversimplified notions of the continent while exploring the intertwined themes of beauty, memory, and belonging, highlighting the complexities of longing, loss, and the concept of home. Overall, the flowing sequence of images and poems throughout this volume suggests narratives rich in intricacy, waiting to be unraveled.

In the foreword, David Pilling, Africa editor and Financial Times columnist, captures the essence of this collection: “The photographs and poems in Burnt Eyes pulse with the sadness of nostalgia. A yearning for what has slipped away and can never be retrieved.” The work uncovers the silences and overlooked spaces that convey powerful stories about our experiences. The photographs evoke moments of solitude and contemplation, encouraging a connection to the emotions and memories that resonate within us, irrespective of our personal landscapes. Ultimately, Burnt Eyes lingers in the consciousness, prompting reflection on the actual and metaphorical landscapes that shape our understanding. It embodies the enduring spirit of Africa and the intimate stories we carry with us, wherever we may go.

• Roshin Books 2026
  
• Hardback, 1st edition, 88p
  
• New

Photographer Yasutaka Kojima, who has long explored global cities like Tokyo and New York, has chosen Berlin as his next stage. Within the layered gaps between buildings—resembling architectural Matryoshka dolls—he discovers moments that transcend time. These belong to neither the past nor the future, but exist only in the present. This concept resonates with Nakaima, a core Shinto idea referring to the "eternal now."

Shinto is Japan’s indigenous spirituality that finds divinity in nature and all things. In this work, Western architectural space intersects with a quiet Eastern sensibility, revealing the "eternal now" hidden within the streets of Berlin.

Though smaller in population than the previous two metropolises, Berlin retains the imprint of former East German urban planning. Its broad avenues and distinctive architectural structures create a uniquely expansive sense of scale—marked by a quiet strength and striking uniformity. In confronting this density, what gradually revealed itself was the city’s particular rhythm of time: slow, steady, and deeply felt.

At the heart of the work lies the Hof—the inner courtyard characteristic of Berlin’s architecture. Buildings unfold like Matryoshka dolls, layered two or three deep, with courtyards concealed between them. Neither fully interior nor exterior, these spaces dissolve the contours of past and future, allowing only the immediacy of the present to surface. Here, the boundary between self and other softens, quietly resonating with Nakaima—the ancient Shinto concept of the eternal present.

Text in English and Japanese.

Signed copy.