Recent arrivals

• Tall Poppy Press 2026
  
• Hardback, 1st edition, 100p
  
• New

Distant Calls in Fading Light is Christine Ward's debut monograph. Weaving together years of her practice across Australia, Norway and the world, the book is structured like a fairy tale - the viewer leaves home, falls into somewhat of a new world. Equally inspiring and intimidating, this is a deliberately moody collection of photographs that aim to showcase the common threads across Christine's work: appreciation of nature, a celebration of the more intense parts of the world, and an asthetic that is as unique as it is compelling.

• Little More 2022
• Softcover, 1st edition, 104p
• New

Published on the occasion of a large-scale solo exhibition in Sakiko Nomura’s hometown of Shimonoseki, this photobook features older as well as completely new photographs by one of Japan’s most distinguished female photographers. A former assistant to Nobuyoshi Araki, Nomura is known for pictures which glow with strength and intensity and are rooted in stillness and delicacy. Whether she portrays withering flowers, shifting fabrics, flashes of skin, palpable absences, or heavy gazes, Nomura’s images play with longing, eroticism, and allusions. With its generous selection of works from her entire 30-year career, Blue Water captures the essence of Nomura’s photography.

• Kamel Mennour 2012
• Softcover, 2nd edition, 288p
• New

This second edition of Daido Moriyama-Remix is published on the occasion of the William Klain/Daido Moriyama exhibition at the Tate Modern end of 2012. The book was first published in 2004 by Kamel Mennour Gallery Paris, and features a wide selection of black and white and colour images taken over the entire span of Moriyama's career.

Excellent out of print title featuring some of the best Moriyama work shown in a dazzling full bleed extended montage.  

Sealed.

Note: Contains some graphic content.

• Benrido 2026
• Set of 6 collotype prints
• New

Chieko Shiraishi is a photographer whose work focuses on the primal landscapes of everyday memories. Her signature work, “SHIMAKAGE (Island Shadow),” is a series of monochrome prints featuring island and seaside landscapes from around Japan. This latest portfolio marks the second installment, following the highly acclaimed 2023 edition. Created using a technique that manually adjusts the tonal balance directly on photographic paper, the works have a fairly dark tone, making it difficult to distinguish between day and night, the present or a generation ago. The images stand as faint silhouettes against a hazy background.

Signed to the inside of the portfolio case.

Set of 6 black and white collotype prints printed by Benrido, Inc.

Print Size: 25.4 x 20.3cm. Case Size: 20.6 x 25.8 x 0.8cm


In the 1880s, the collotype printing process was introduced to Kyoto and in 1905 Benrido began producing collotypes. Collotype is one of the earliest forms of printing techniques and was invented in France in 1855 by Alphonse Poitevin as a method for photographic fine art printing.  Due to the high level of print and archival quality, it has since been used primarily as a way to reproduce and preserve Japan’s National Treasures and cultural properties. Today Benrido Collotype Atelier remains as one of only a few studios left in the world capable of producing fine colour collotype prints.

Video courtesy of the publisher.

• Benrido 2026
• Set of 6 collotype prints
• New

This is a collotype portfolio set of six pieces selected from Toshiya Watanabe’s “Somewhere not Here” series. Using an infrared filter, the images turn leaves white and the sky black, capturing real landscapes such as flowers, birds, and bridges, yet exuding a dreamlike quality, creating fantastical images that seem to lead viewers into the depths of the artist’s imaginary consciousness.

Signed to the inside of the portfolio case.

Set of 6 black and white collotype prints printed by Benrido, Inc.

Print Size: 25.4 x 20.3cm. Case Size: 20.6 x 25.8 x 0.8cm


In the 1880s, the collotype printing process was introduced to Kyoto and in 1905 Benrido began producing collotypes. Collotype is one of the earliest forms of printing techniques and was invented in France in 1855 by Alphonse Poitevin as a method for photographic fine art printing.  Due to the high level of print and archival quality, it has since been used primarily as a way to reproduce and preserve Japan’s National Treasures and cultural properties. Today Benrido Collotype Atelier remains as one of only a few studios left in the world capable of producing fine colour collotype prints.

Video courtesy of the publisher.

• Dewi Lewis/Martin Parr Foundation 2026
  
• Hardback, 1st edition, 60p
  
• NEW

‘The pictures from The Last Resort still hold very well. When I get to the Pearly Gates, those are the ones I’d probably get out first!’ – Martin Parr

This special book is being published in association with the Martin Parr Foundation to coincide with an exhibition being shown at the Foundation’s Bristol-based gallery to honour Martin Parr following his death in December. Shot around the English seaside town of New Brighton between 1983 and 1985, The Last Resort was one of the pioneering bodies of work driving British colour documentary photography and established Martin as one of Britain’s most influential photographers.

The book includes a selection of images from the iconic Last Resort series, as well as extensive archive material including photographs, contact sheets and items of ephemera from Martin’s personal collection. Isaac Blease, Archivist at the Foundation, explores the background to the project, the influences that led Martin to move from black and white photography to colour, and the initial exhibition of the work in Liverpool and then at the Serpentine Gallery in London. Peter Brawne, the  designer of the original 1986  book discusses how the design process was developed as well as the experience of working with Martin. Finally there is a short text by Susie Parr, Martin’s wife, in which she describes her perspective of New Brighton and of the first exhibition of the work at Liverpool’s Open Eye Gallery in 1985. 

• Dewi Lewis 2026
  
• Hardback, reprinted edition, 84p
  
• NEW

When Martin Parr’s The Last Resort was first published and exhibited in 1986 it divided both critics and audiences alike. Some saw it as the ‘finest achievement to date’ of colour photography in Britain whilst others viewed it as ‘an aberration’. With the benefit of hindsight there is little doubt that it transformed documentary photography in Britain and placed Parr amongst the world’s leading photographers. The book is now recognised as a ‘classic’ and copies of the first edition are highly sought after by collectors worldwide. Whilst this edition keeps the same images and sequence as the original, it includes a text commissioned from Gerry Badger who re-examines the work and its impact on British Photography. Gerry was co-author, with Martin, of the three volume The Photobook: A History.

Steering a perilous course between objectivity and voyeurism, Parr viewed the decaying holiday resort of New Brighton and its holidaymakers in a way that was new, unique and deeply disturbing. And he did so in colour, something which at the time was seen as revolutionary for documentary work. For some his camera seemed cold and cruel as it followed the working classes desperately pursuing their holiday dreams surrounded by dereliction and decay and wading through the apparently endless detritus of a pollution-ridden consumer society. Others felt it showed an affectionate, humorous and humanistic response from Parr. However it was viewed, it was undoubtedly a sharp, bitter satire of the Britain of the Thatcher years.

2026 11th printing.

• Fondation Henri Cartier-Bresson 2025
• Hardback, new edition, 156p
• New

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.

• Origini Edizioni 2026
• Softcover, 1st edition. 73p
• New 

In Juno, Louise Honée translates her immediate natural surroundings into an inner landscape. She explores the fleeting beauty in the passing of time by slowly capturing moments where emotion and landscape converge. Guided by the cyclical rhythm of the seasons, Juno becomes a reflection on memory, transience, and the gentle promise of new life. In this poetic contemplation, her feminine presence- like a mother, a lover, a young girl and a woman at the same time, as goddess Juno was- intertwines as a reminder that everything moves, fades, and begins anew.

1st edition of 250 handmade numbered copies.

Video courtesy the publisher.

• Akio Nagasawa 2026
• Softcover, 1st edition, 104p
• New

“I’m so happy to have my camera!” or “I’m really grateful that photography exists!” – these are things that I sometimes say to myself, and while the idea is not new, I recently feel this more than I did before. Now you may suggest that it’s an age thing, and you do have a point there, but it’s a bit different. In fact, I have these things in mind every time I grab my camera and go out. When I walk around with my camera day by day, there is a delicate sense of pleasure that walks along with me as I copy and connect sceneries of streets and alleys through the photographs that I take. After all, it’s a photographer’s life that I’m living.

– Excerpt from the afterword by Daido Moriyama

Signed copy.

• Trespasser 2025
  
• Hardback, 2nd edition, 188p
  
• As new

Sons of the Living is a photobook about the land and people along the highways of America’s deserts. Photographed over the course of a decade in the American West’s arid and sweeping terrain, this work depicts a human capacity for endurance. Schutmaat offers an updated view of the “open road” that addresses a new era of uncertainty and anxiety. Amidst a backdrop of environmental decline, economic dispossession, and societal neglect, Sons of the Living draws attention to trouble on the road ahead and searches for our hope to withstand it.

11.75x14.75 inches. 188 pages. 90 tritone plates on uncoated paper.  

Hardback 2nd edition with dustjacket (unique to the 2nd edition)

Note: all books are as new but due to the size of the book, very faint rubbing/wear to dustjacket edges are possible. 

• Trespasser 2025
  
• Softcover, 2nd edition, 188p
  
• As new

Sons of the Living is a photobook about the land and people along the highways of America’s deserts. Photographed over the course of a decade in the American West’s arid and sweeping terrain, this work depicts a human capacity for endurance. Schutmaat offers an updated view of the “open road” that addresses a new era of uncertainty and anxiety. Amidst a backdrop of environmental decline, economic dispossession, and societal neglect, Sons of the Living draws attention to trouble on the road ahead and searches for our hope to withstand it.

11.75x14.75 inches. 188 pages. 90 tritone plates on uncoated paper.  

Softcover 2nd edition with dustjacket (unique to the 2nd edition)

Hardback edition shown in video, softcover content is identical.

Note: all books are new but due to the size of the book, very faint rubbing/wear to dustjacket edges are possible. 

• Loose Joints 2026
  
• Softcover, 1st edition, 112p
  
• New

Rude in the Good Way explores desire as both subject and method within Roe Ethridge’s complex visual bricolage of commercial glamour, errant snapshots, private sexuality and studio play.

Working through his characteristically oblique, offhand style, Ethridge lets sexuality, identity, seduction and the camera drift into the same plane, never fully separating one from the other. Loosely woven fugues of images converge, always cheekily winking toward something just out of frame: technicolor flash typologies of mouldy peaches, hyper-composite images of Lindsay Lohan, and Chanel still lifes both luxurious and lurid move alongside intimate, dressed-down snapshots of Ethridge’s collaborator Lulu Sylbert, unresolved glimpses into painter John Currin’s erotically charged studio, sarcastic self-portraits, and constant callbacks to the unmistakable image world Ethridge has built over the past twenty years, where photographs refuse to be pinned down or left unstimulated.

These fragments ask us, like the title itself, what is rude and what is not. A polished image, a casual glitch, a throwaway snapshot, a luxury still life, a screenshot from a weather station webcam? Ethridge sharpens his polychronic world to a point where desire, consumption and self-presentation overlap so completely that the photographs begin to test our own appetites: what we see, what we want and how we perform.

• Loose Joints 2026
  
• Hardback and 2 softcovers set
• New

Ethridge’s cult early studies of the American everyday return in a three-volume set revealing the origins of his style.

Loose Joints is proud to present In the Beginning, a three-volume set reuniting Roe Ethridge’s three formative, self-published books – County Line, Orange Grove and Spare Bedroom – originally released in 2004–05 and long out of print. Across these early volumes, Ethridge stages a sharp, playful inquiry into the American everyday. From rotting Florida citrus orchards to half-built suburban interiors and the static hum of strip-mall signage, each book turns on a clear typological register, where the familiar slides easily into the strange. Ethridge sets his pictures in a dialogue with photographic archetypes – catalogues, calendars, studio models, kitsch displays – using them to probe how images shape, naturalise and sometimes fracture American life.

Ethridge’s early books all emerge from loose typologies that, in their slippages, probe and complicate the aesthetics of American visual culture. From 2004, Orange Grove distills photographs made in a dilapidated Florida orchard into a study of slow collapse, a familiar symbol of American plenty quietly withering on the tree. Self-published simultaneously, 2004’s Spare Bedroom begins Ethridge’s career-long practice of jumbling and juxtaposing the commercial and the personal, in which an early commission for a furniture company unravels into a jagged mix of domestic scenes, catalogue imagery and loosely staged interiors. Finally, County Line (2005) turns to the liminal spaces of Queens and Nassau County, abstracting the language of the strip mall into a concrete-poetry of word-photographs that sit against other images evoking the blurry edges of the suburban sprawl.

Taken together, the three books form a weave of contrasts, where moments of banality tilt towards the uncanny and the absurd. These early publishing experiments trace the emergence of Ethridge’s now-signature method: slanting, doubling and displacing images until they cohere with unexpected force or deliberately fall apart.

Reissued twenty years later, In the Beginning reads as a prefiguration of the more than fifteen books and catalogues that would follow. It marks the opening chapter of an artist who would go on to become one of contemporary photography’s most influential practitioners – revealing the restless, incisive eye that shaped everything to come.

• TBW 2025
  
• Softcover, 1st edition, 66p
  
• NEW

In 1970, while a student at the Harvard Graduate School of Education, Susan Meiselas was living in a boarding house at 44 Irving Street in Cambridge, Massachusetts. What began as a class project evolved into a deeply empathetic portrait of community domestic life. Meiselas photographed her neighbors in the building—many of them strangers—inside their rooms, initiating a collaborative exchange by sharing contact sheets and inviting written responses. These reflections appear alongside the photographs, offering insight into how her subjects saw themselves. 

Boarding houses like 44 Irving Street were transitional spaces, yet Meiselas found individuality and self-expression in each room. Her portraits—full of personal detail and visual texture—reveal a rich inner life often hidden in shared housing. The handwritten letters act as a kind of written punctum, a counterpoint to the image that pierces the surface with honesty and introspection. 

This early body of work helped shape Meiselas’s enduring approach to photography as a form of connection and dialogue. “It wasn’t about the formalism of photography,” she notes. “It was about the narrative and the connectivity.” 

44 Irving Street, 1970–1971 marks the first time this complete series has been published in book form.

• Dewi Lewis 2026
  
• Hardback, revised edition, 112p
  
• NEW

First published in 1996 Small World is one of the most popular and most important of Martin Parr’s books. It has been in print continuously since its first publication, thirty years ago. This revised edition includes more than 80 photographs and features many new photos as well as Martin Parr’s most iconic images.

It is a biting, very funny satire in which Parr looks at tourism worldwide, exposing the increasingly homogenous ‘global culture’ where in the search for different cultures those same cultures are destroyed. In a world of ‘carbon footprints’, global warming and climate crisis, the issues that Parr raised almost thirty years ago when the book was first published are even more relevant today.

Whilst Parr’s larger‐than‐life troupe of tourists appear willing participants in an omnipresent consumer culture they are also bemused victims – at the mercy of larger social forces and locked into their insatiable craving for spectacle. Small World‘s citizens become a symbol of Western society’s prosperous freedoms, declaring their power and their rights to travel, to choose and to consume.

• RRB 2019/2025
  
• Hardback, 2nd edition
  
• NEW
  

Early Works covers the early part of Parr’s career, comprised of images shot between 1970 and 1984, mainly in the north of England and Northern Ireland.

The book contains many of Parr’s iconic early images, as seen in earlier publications such as Bad Weather and A Fair Day. The work weaves Parr’s better known black and white work with over 20 previously unpublished images, adding new breadth and perspective to Parr’s prolific body of work.

2nd edition.

Unsigned.

• EXB 2024/2025
• Hardback, 1st edition, 168p
• New

For centuries, ama - women divers - have fed the Japanese imagination. These free-divers collect abalone, shellfish and seaweed, the sale of which ensures their financial independence within the household. Kusukazu Uraguchi (1922-1988) has been photographing them in the Shima region, along the Pacific coast of Japan, for over thirty years since the mid-1950s. The fruit of extensive research among nearly 40,000 negatives - almost all of them previously unpublished - this remarkable archive of landscapes, portraits and underwater views tells the story of both the daily life and the special place of the ama community within Japanese society.

Uraguchi's images speak as much of cultural heritage as of modernity, as these communities have undergone profound changes in the wake of the wave of urbanization that swept Japan after the war. His photographic language - the plastic strength of his contrasting blacks and whites, his sense of deframing, gestures captured in their spontaneity - celebrates the freedom of bodies, solidarity and the spirit of independence.

To shed light on the many facets of this work, the visual corpus is accompanied by a text by Sonia Voss that unveils the mysterious world of this community, as well as a text by Chihiro Minato that contextalizes this work in the history of photography. A glossary, inspired by the writings of Japanese ethnologist Kiyoko Segawa and dedicated to the world of fishing and diving, reveals all the richness and technicality of their discipline.

English edition.  2nd printing 2025.

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

‘Genocídio do Yanomami’ (Yanomami Genocide) brings together previously unpublished photographs made between 1971 and 1989 by artist Claudia Andujar. The photographs were made among the Indigenous Yanomami people who live in the remote forest of the Orinoco River basin in southern Venezuela and the northernmost reaches of the Amazon River basin in northern Brazil.

Andujar’s work ‘Yanomami Genocide: Death of Brazil’ was first presented in April 1989 at the São Paulo Museum of Art (MASP) as an installation with colour slides projected onto plastic screens and mirrors. The photographs were originally black and white, and the artist’s re-illumination of the images reshaped their meaning, instilling urgency for that moment and the years that followed. Andujar’s aim was to raise awareness of the situation faced by the Yanomami, who at the time suffered from disease brought to their land by illegal gold miners. In this new book, Andujar has again recontextualised the images, bringing them into the present and reshaping their meaning for dissemination to a contemporary audience, as the Yanomami remain in peril.

The photographs in the book show both the Yanomami and the landscape they inhabit. They were created with a variety of experimental techniques to visually represent the shamanic culture. They are often high contrast with dramatic light and shadow, distorted, cropped, imbued with a sense of movement, menace, and the otherworldly. The images of people focus on fragments of bodies or close-cropped portraits, hinting at intimacy and the psychological.

Alongside her artistic practice, Andujar co-founded in 1978 the Pro-Yanomami Commission (CCPY), which denounced the devastation caused by illegal miners, supported health programmes, and campaigned for the demarcation of Yanomami land. Working closely with leaders such as Davi Kopenawa, this effort culminated, after 14 years of campaigning, in the official recognition of the Yanomami Indigenous Territory in 1992. Today, in addition to the illegal miners established on Yanomami land, Indigenous populations continue to be affected by the policies of governments that have normalised genocide.

‘Genocídio do Yanomami’ (Yanomami Genocide) was developed in close collaboration with Andujar’s gallery, Galeria Vermelho, in São Paulo, Brazil.

Edition of 750 copies, hardcover with french folds.

• Nazraeli Press 2026
• Hardback, revised edition, 100p
• New

“The images were taken in places where the photographer was either living, visiting his parents or teaching. That connection affords Steinmetz a familiarity and comfort and enables an ease he strives for with the strangers he photographs, which is reflected in the pictures. In black and white, things can rest a little easier in the frame. Summertime is more about the kids and that feeling of having all the time in the world in summer—and in the middle of winter, Summertime is what we yearn for most.” — Time

Nazraeli Press is delighted to announce a remastered and greatly expanded edition of the epic Mark Steinmetz monograph, Summertime. First published in 2011 as a follow up to his South Central trilogy, Summertime is a series of portraits of young children and teenagers caught in the midst of activity in distinctly American settings. Made between 1984 and 1991, when kids were able to roam their neighborhoods with less supervision than today, riding bikes without wearing helmets, and hanging out without constant digital interruptions, these black and white photographs capture the light and feel of an endless summer. Beautifully printed in duotone on natural art paper, this new edition of Summertime includes 30 previously unpublished images, and is limited to 2,000 casebound copies.

• Magenta Foundation 2025
• Hardback, 4th edition, 184p
• New

"The photographs in Under Vancouver 1972-1982 show Vancouver's final days as a port town at the end of the rail line. Living in cheap hotels I photographed the cafes, pool halls and working waterfront of the city where I grew up. Many of the downtown streets ended at the waterfront. Pawn shop windows displayed outboard motors, chainsaws and commercial fishing gear. Soon after these pictures were made Vancouver began to be noticed by the wider world (Expo 86 is generally agreed as the pivotal moment), refashioning itself as an urban resort on nature's doorstep and a destination for real estate investment. This book is the first comprehensive collection of my Vancouver photographs." - Greg Girard

Signed copy.

• Mack 2026
• Hardback, 1st edition, 160p
• New

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)

• Mack 2026
• Hardback, 1st edition, 120p
• New

World-renowned director Luca Guadagnino and artist Alessio Bolzoni present an artfully curated sequence of unseen and iconic photographs and texts by Luigi Ghirri in this elegant volume. Produced on the occasion of Guadagnino and Bolzoni’s co-curated exhibition ‘Luigi Ghirri, Felicità’, the books offers an idiosyncratic path through Ghirri’s works, moving from wry images of discarded magazine cuttings and details of materials to domestic spaces and images from Ghirri’s travels around his home country and beyond, saturated in colour and sunlight. These disparate works resonantly piece together various elements and themes in this singular artist’s practice. Three essays by Ghirri punctuate the book – ‘The Open Work’, ‘The Impossible Landscape’, and ‘House, Bridge, Gate’ – opening up new vistas of photography’s infinite potential among a distinctly personal selection of his work.

Bilingual English/Italian edition.  

In stock now.

• Skeleton Key Press 2026
  
• Hardback, 1st edition, 136p
  
• New

As We Speak, the third book by Maura Sullivan, is an intimate conversation between her and her subjects. Characterized by their analog grain, the images create an atmospheric narrative that transports viewers to a world where stories unfold with each page turn.

These photographs were born in small apartments, on rooftops, in the streets during travels, and in hidden escapes where Sullivan and her subjects sought to connect. Begging and borrowing light and time, the photographer and the subject made these images that offer a window into dreams, the past, and the unspoken. In these stolen moments lives a freedom and soulfulness that resonates within us all.

How do we speak if we have no adequate language? These frames invite us to step into places, to gaze into faces, and to become part of a conversation beyond words. By some alchemy, these images hold our unexpressed emotions. We gaze upon that which eludes thoughts and language, revealing hidden layers of human connection and the voices of those we’ve lost.

As We Speak can be seen as a kindred companion to Sullivan’s out-of-print first book, Things We Remember (Skeleton Key Press, 2021). This new, mysterious, and elegant collection of visual storytelling invites readers to explore the intricacies of what is known and what is yet to be discovered. It is for anyone seeking to connect with the nuances of human experience, where each image speaks volumes beyond the limits of language.

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

TIME TO KILL is an evocative interrogation of gendered aging, unpacking the ideals of beauty, caretaking, and maternal and domestic duty imposed on women over the course of their lives. It unfolds through a compelling combination of image and text, with photographs encompassing portraits of women, landscapes, and spaces both vast and claustrophobic, as well as still lifes in which plants, domestic objects, and weapons are absurdly combined, alluding to impermanence and cultural double standards.

This distinctive visuality is interwoven with letters written by Parlato to an ambiguous, ageless, and perhaps illusory recipient. Through these entwined mediums, the artist looks both out and in, reckoning with a wild variety of physical and emotional experiences including the disjuncture between the way we see ourselves and the ways others see us as we age. Bodily transformation and the passing of time are pictured as both brutal and freeing as Parlato carves out a psychological space to contend with her fears and fantasies around aging in ways verging on the eerie and surreal. Building on the rich visual language of Parlato’s celebrated book Who is Changed and Who is Dead (2021), TIME TO KILL examines selfhood, motherhood, sacrifice, and visibility in an unflinching confrontation with what it means to be mortal.

Signed copy.

• Mack Books 2025
• Hardback, 1st edition, 320p
• New

American photographer David Armstrong (1954–2014), best known for his intimate black-and-white portraiture, is recognised as a member of the ‘Boston School’ of photography, a group of artists who studied in the city from the mid-1970s to the mid-1980s.

This publication marks the first posthumous exhibition catalogue of Armstrong’s work. Organised and edited by the David Armstrong Archive, the catalogue is published to coincide with exhibitions at Kunsthalle Zurich in 2024 and LUMA Arles in 2025. The book focuses exclusively on his never-before-published contact prints, featuring 286 images reproduced at a 1:1 scale. The prints, from between 1974 and 1994, showcase many of his iconic portraits of friends in Provincetown, Boston, and downtown Manhattan, including those of Nan Goldin, Cookie Mueller, Mark Morrisroe, Rene Ricard, Gary Indiana, Jack Pierson, Tabboo! (Stephen Tashjian), Christopher Wool, Philip-Lorca DiCorcia, Teri Toye, Greer Lankton, Johnny Thunders, and others.

• Mack 2026
• Hardback, 1st edition
• New

Larry Sultan was one of the most important and celebrated photographers of the twentieth century, but his lifelong commitment to writing is less well known. Water Over Thunder is the first publication devoted to Sultan’s wide-ranging use of writing as a personal, artistic, and pedagogic tool. The selected texts – many unpublished until now – come from Sultan’s numerous journals and notebooks, encompassing reflections on his teaching and art practice, drafts for short stories, vivid dream diaries, and polished essays. Interspersed throughout are extracts from Sultan’s eloquent public lectures and interviews, illuminating the questions he investigated throughout his life and emphasizing the thematic underpinnings of his best known series: Pictures from Home, Evidence (with Mike Mandel), and The Valley. Throughout these various writings, water appears as an important literal and metaphorical force. The book’s title is derived from an early draft of Pictures from Home in which Sultan writes about the process of beginning a new artistic project: ‘Everything is in motion, spinning off of surfaces and slamming against shadowy forms ... it seems impossible to find a break in the surface.’  

This volume is illustrated throughout with previously unseen materials from Sultan’s archive: marked contact sheets, outtakes, scouting shots, selections from his found photo collection, and layout pages from his book maquettes. As a whole, Water Over Thunder illuminates Sultan’s extraordinary way of working and forms an intimate portrait of an artist thinking through his craft and the world around him in real time. 

• Buchkunst Berlin 2025
• Hardback, 1st edition, 288p
• New

In 1974, Thomas Hoepker became the first West German photographer to be officially permitted to work in the GDR. He moved to East Berlin and travelled throughout the country from there. Until 1976, he reported for Stern magazine from the self-proclaimed ‘Arbei’ together with his then wife, the journalist Eva Windmöller. His colour photographs, taken here from the early 1970s to 1990, describe life in the GDR with empathy, understanding and Hoepker's unmistakable humour. He photographed the GDR in its own colours and succeeded in conveying an alternative image of the country and its inhabitants, thereby questioning the official representations of state propaganda, which had a monopoly on colour photography in the GDR. His memorable images of the historical upheavals of the reunification period make Thomas Hoepker a chronicler of the disappearance of the GDR from history. The colour photographs of life in the GDR created by Thomas Hoepker are unique in their artistic quality and the insights they provide.

The new illustrated book ‘Thomas Hoepker – DDR / East Germany – Colour Works 1972–1990’ from our publishing programme will be launched at the opening. With 145 photographs, many of which have never been published before, the illustrated book offers a deep insight into life in the ‘other Germany’. Wolf Biermann, internationally renowned singer-songwriter and poet, complements the work with an essay.

• Steidl 2021
  
• Hardback, 1st edition, 180p
  
• New

This book takes us deep into Antanas Sutkus’ favorite motif as a photographer: children and their world. It is a theme he returned to again and again, presenting its myriad facets as well as the many interactions between the lives of children and adults. “Childhood is the most important platform for me as a photographer,” says Sutkus, “Children live in a different world. Sometimes I succeeded in showing that world: not the real world customary to us, but their world. Children live on another planet than earth.”

With an unfailingly respectful yet astute eye, Sutkus depicts children together with their parents and relatives, with their friends, at play or hard at work in school. He captures not merely the pleasures of childhood but also its deprivations, the difficulties involved in raising children, loneliness alongside belonging, as well as the inevitable crises of childhood that can have a lifelong impact. For Sutkus, children live not in paradise but in a parallel universe, a universal life phase that transcends national and cultural borders.

• Hatje Cantz 2025
  
• Hardback, 1st edition, 144p
  
• New

Previously unseen imagery from the archives of a pioneering figure in color photography.

Fred Herzog was a master of color photography. His iconic Kodachrome street shots from the 1950s and 1960s capture urban life in warm red-orange tones, offering precise observations of people and city movements. Poetic, witty and always respectful, his images create an intimate atmosphere. After moving to Vancouver in 1953, Herzog built a vibrant visual tribute to the city. He also traveled to the US, Barbados, Curaçao, Guatemala and Mexico, his Leica always in hand. In an era dominated by black-and-white photography, Herzog's use of color was groundbreaking. His bestseller Modern Color remains celebrated worldwide. Now, newly released photographs from his archive, managed by Equinox Gallery, continue his legacy, offering fresh insight into his unique perspective. These images not only preserve Herzog's vision but also reaffirm his place as a pioneer of modern color photography.

• Three Books 2025
  
• Softcover, 1st edition, 268p
  
• New

• Three Books 2023
  
• Softcover, 1st edition, 96p
  
• New

Signed copy.  Large oversize softcover.

• Three Books 2025
  
• Softcover, 1st edition, 206p
  
• New

"It wasn’t a dream.  He really came back"

"The Dialogue of Two" is the nearly three-year story of photographer Akihito Yoshida's grandmother until her death at the age of 88, left alone after Yoshida's cousin Daiki, who lived with her, took his own life. The photobook evolves around a ‘tale’ that the grandmother told the photographer over and over again before her death.  "The Dialogue of Two" is a story of how those who have lost their loved ones face the dead and live in dialogue with them.

Signed copy.

• Aterlier EXB 2025
  
• Softcover, 1st edition, 240p
  
• New

The first woman to receive the Robert Capa Gold Medal, which recognizes a reporter for their courage and independence, Catherine Leroy was one of the few female photographers to cover the Vietnam War between 1966 and 1968. She was just 21 years old when she flew to Saigon with a one-way ticket, carrying only a Leica camera and a hundred dollars. The young woman quickly befriended American soldiers and shared their daily lives—they belonged to the same generation. For three years, she covered the conflict close to the action. She followed patrols on missions, sharing the soldiers' rations and makeshift sleeping quarters.

Her tight framing and close proximity to the Marines capture the faces and bodies caught up in the turmoil of gunfire. In the heat and mud of the Vietnamese jungle, Catherine Leroy captures moments of courage, fear, and tension, but also friendship, solidarity, and the distress of young men struck down by the violence of the battlefield. Her lens captures the ferocity of the fighting, the despair of the Vietnamese people, and the devastation on both sides of the conflict. Taken prisoner in Hué by North Vietnamese soldiers during the Tet Offensive, she produced an exceptional report and made the cover of Life magazine. Her photographs were seen around the world.

The only civilian woman to parachute with the US Army, Leroy paved the way for her fellow female war reporters. Her images, published in prestigious international magazines, bear witness to the sharpness of a unique photographic eye: that of one of the very first women to be involved in combat in a predominantly male professional world. Her audacity, curiosity, and keen eye give her photographs extraordinary visual power. This book, which includes Catherine Leroy's correspondence with her parents from 1966 to 1968, reveals the emergence of a young photojournalist and recounts her journey of discovery: a life combining political, social, and feminist commitment.

• Case 2025
  
• Hardback, 1st edition, 112p
  
• NEW
  

Even as night falls over the snowy landscapes of northern Japan, vending machines, lined along roads, standing before houses, or seemingly alone in nature, glow in the dark, offering warm and cold drinks along with a peculiar sense of companionship.

In “Roadside Lights 2020–2025,” Japanese photographer Eiji Ohashi turns his lens to winter nights in his native Hokkaido, sharpening the focus of his long-running “landscapes with vending machines” series. His compositions portray these ubiquitous machines, which have become symbols of Japan’s safety and convenience, as tireless, vigilant workers, continuing their quiet labor regardless of the circumstances. This latest book adds another compelling chapter to a series that continues to captivate audiences both in Japan and abroad.

“Photographing as the snow falls and piles up around me brings back distant memories. I remember playing outside until my boots were filled with snow, and how difficult it was to take them off once I went back inside, or digging into snowbanks to create secret hideouts for myself. While my childhood memories of the snow are rather sweet, life in winter in the northernmost part of Japan where I grew up was harsh. Sometimes the blizzards were so strong it was impossible to put one foot in front of the other, almost as if the full force of nature were blowing against you. Winter was always a reminder of how small and feeble human existence really is. But I also remember the nightly scenes, when the snow reflected the light off the streetlamps, as beautiful and bright. For me, the sight of a vending machine on a snowy night embodies these memories.” ― from Eiji Ohashi’s afterword

• Zen Foto 2021
  
• Hardback, new edition, 204p
  
• NEW
  

This Complete Edition of “Goze” includes previously unpublished photographs and offers an unprecedented view at Shoko Hashimoto’s masterful series from the 1970s, newly selected, edited and scanned from over 10,000 original negatives by Michitaka Ota, founder of publisher Sokyusha.

From spring 1972 until summer 1973, Shoko Hashimoto traveled around Niigata Prefecture together with a group of goze, blind women entertainers who performed and told stories in exchange for food and shelter. Today, there are no longer goze traveling around. Life was already difficult for the goze in the 1970s, and the continuing industrial, economic and urban developments of postwar Japan have only accelerated since then. Hashimoto’s astonishing photographs document the life of these women. We see them taking baths, relaxing on the floor, sleeping at night, and endlessly roaming from village to village. Hashimoto’s distinct style, which renders the scenes with an almost painterly quality, knows which parts to emphasize: in landscape shots, the scenery appears to almost swallow the women; when faces are involved, the emotions are vivid.

In addition to previously unpublished photographs, this Complete Edition also includes Shoko Hashimoto’s diary from his time with the goze, available in Japanese and in English translation.

• Zen Foto 2024
  
• Softcover, 3rd edition, 120p
  
• NEW
  

High Fashion is a series of work taken by Pawel Jaszczuk between 2008 and 2010 of drunk salarymen sleeping in the streets of Tokyo.

Pawel, residing in Japan at the time, would head out on his bicycle after midnight to photograph different people and places, saying that the best hours for him to shoot would be between 1 am and 4 am. Shortly after he started this body of work in 2009, he published a zine entitled “salaryman” with Morel Books in black and white and limited to 150 copies and which immediately sold out. This time, Pawel has selected images of sleeping salarymen in poses reminiscent of fashion models and the photobook is in the style of a glossy magazine, hence the title “High Fashion”.

According to Pawel, this body of work is emphatically not a statement against drinking. Rather, he originally wanted to capture the simple contrast between men in nice suits and dirty streets, but his view of the work has evolved in recent years. This time Pawel hopes that the publication of “High Fashion” with Zen Foto Gallery will act as a humorous, apocalyptic vision of this overworked and overstressed society.

• Akio Nagasawa 2025
• Softcover, 1st edition, 40p
• New

The latest volume in the silkscreen-printed cover, hand-bound series.

As a sequel to How to Create a Beautiful Picture, No. 6: Tights in Shimotakaido (1987), this book brings together photographs taken in Ikebukuro in 2011.

Published by Akio Nagasawa Publishing, Tights in IKEBUKURO is the second photobook in Daido Moriyama’s iconic “Tights” motif, following the sold-out TIGHTS IN SHIMOTAKAIDO (2018).

Limited edition of 600 signed and numbered copies.

• Charcoal Press 2025
• Hardback, 1st edition, 128p
• New

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.

• GOST 2025
• Hardback, 1st edition, 520p
• New

The photographs in FASHION were made by Mark Power over a period of 27 years and across 23 countries. They were taken at construction sites, factories, quarries, shipyards, foundries, recycling facilities, theatres and other locations where things are being made, or fashioned.

The majority of the images were made while on commission. Some are of recognisable architectural landmarks while others are more obscure. Some focus on tiny, often overlooked details while others demonstrate Power’s skill at capturing the monumental. Collectively they reveal an ongoing practice where every photograph is meticulously composed and considered. Importantly, the images in the book are devoid of captions, descriptions or dates. As a result they are sequenced neither by location nor chronologically but solely by use of visual links of colour, form and light. A gentle humour is often revealed in the details—a hole in a shoe, rows of white gloves hung out to dry or a painstakingly arranged cupboard of brooms and brushes. Removed from their original commercial or industrial context they become elusive and poetic. 

Power began looking at his archive of construction pictures in this way during a Magnum Photos Live Lab at The House of Beautiful Business in Lisbon in 2018, when he worked collaboratively to attempt to sequence around 200 photographs. Influenced then and now by Mike Mandel and Larry Sultan’s landmark bookEvidence (1977), Power’s project has grown and evolved over the following seven years to this published form. 

The earliest photographs in the book were made during the construction of the Millennium Dome (1997-2000), documented by Power in over one hundred site visits. This work returned to the 19th century tradition of a singular photographer documenting the construction of great public building from start to finish. However, before he took a single picture he carefully negotiated the freedom to make his own work on the site, rather than be told what to photograph, or how. Ever since, his work has followed this same formula. Fashion is, in part, a celebration of what is possible within the commercial world if there is trust on both sides and the photographer is given artistic licence and liberty.

• David Zwirner Books 2025
• Hardback, 1st edition, 92p
• New

Diane Arbus: Sanctum Sanctorum brings together forty-five photographs made in private places across New York, New Jersey, California, and London between 1961 and 1971.

Through her singular combination of intelligence, charisma, intuition, and courage, Diane Arbus (1923–1971) was frequently invited into personal realms seldom seen by strangers. Though made in intimate settings, the photographs collected in this volume convey no sense of intrusion or trespass―instead, they reveal an unspoken exchange between photographer and subject, a moment of recognition in which confidences emerge freely and without judgment.

Arbus’s desire to know people embraced a vast spectrum of humanity. Her subjects featured in Sanctum Sanctorum include debutantes, nudists, celebrities, aspiring celebrities, socialites, transvestites, babies, widows, circus performers, lovers, female impersonators, and a blind couple in their bedroom. Through a fresh consideration of little-known photographs among works that may be more familiar, this publication invites viewers to discover aspects of even well-known images that have previously gone unnoticed.

• Stanley Barker 2025
• Softcover, 1st edition, 88p
• New

The most consequential moments are rarely dramatic. What stays with us, what makes us feel truly seen, is often small, domestic, and endlessly repeated. Judith Black’s photographs, made at home in the early 1980s of her four young children and their stepfather, remind us of this simple truth.

In 1980, after a divorce, Judith moved her family to Cambridge, Massachusetts, and took a job at the darkroom at MIT. Their home wasn’t grand, but it was theirs, a place to begin again. Not long after settling in, they found a worn old armchair left on the side of the road and gave it a place by the window. It became a spot of rest and quiet theatre, a vantage point from which Judith watched her children grow, day by day, frame by frame.

This new book gathers every photograph she made of that single chair. What begins as cast-off furniture becomes, through her attentive eye, a kind of threshold: a simple thing that holds a whole world. There is a truth here that is easy to overlook, that by staying close to the ordinary, by returning to the same corner of a room, we might learn to see more clearly. And that the measure of a life is so often found not in grand gestures, but in the worn fabric of a chair, the shifting light, the hush of children growing older under our watch.

Where the Light Came In has been carefully designed to feel like an object of devotion; the kind of object a parent might make at home. Each photograph has been silkscreened with a soft gloss varnish, echoing the sheen of prints lovingly pasted into an album. Handwritten notations run through the pages, intimate and unguarded. The book itself is coverless, its exposed binding sewn and held in place with quiet precision, a gesture of care and vulnerability.

"The chair, a curbside find on garbage day, was covered with a swath of dark brown corduroy to hide its tattered arms and worn cushions. It sat by the entryway door and caught brief moments of early morning light from the dusty living room bay window that looked over the alley separating our apartment from our neighbour." - Judith Black