Our picks

• Important Flowers / Mack 2026
  
• Hardback, 1st edition, 240p
  
• New

In the 1970s and 1980s, while working as an art and photography teacher in Long Island, Joseph Szabo made photographs of his students, struck by the energy of a generation discovering itself in an era of rebellion and counterculture. Szabo’s black-and-white images evoke a dreamworld of adolescence as observed by a trusted outsider. Teens pose and smoke with a playful insouciance, lounge on the beach, and party at a Rolling Stones concert. Intrigued by the ambiguities of adolescent life, Szabo portrays a phase of transition shaped by self-consciousness and self-expression, and gestures to the inner depths beyond the reach of his camera. 

First published in various volumes between the 1970s and the 2000s, Szabo’s pictures influenced many photographers and filmmakers. In this definitive new book, he brings together renowned and unseen work to form an unforgettable portrait of a generation and a timeless depiction of coming of age. 

With new texts by commissioning editor Sofia Coppola and Kim Gordon.

The signed edition includes an extra image plate signed by Joseph Szabo and glued into the inside back cover.

• Mack 2026
  
• Hardback, 1st edition, 132p
  
• New

One morning in the summer of 2014, Irina Rozovsky woke up in a Serbian mountain village to the sound of hundreds of trumpets as a brass band festival set up in the hills. At once pleading and tragic, joyful and frenetic, the music set the tone for what would become Rozovsky’s journey through the Balkan region, including Montenegro, Bosnia and Herzegovina, Macedonia, Croatia, Greece, Romania, Bulgaria, and Albania. Profoundly drawn to the land and its people, Rozovsky created the intimate and equivocal photographs that form Mountain Black Heart. Rozovsky’s borderless vision drifts through railways, farms, open water, parking lots, fairgrounds, and graveyards, balancing vitality and life with suggestions of dark history and subtle signs of violence. Interspersed throughout are striking portraits of people and animals which emanate vulnerability and resilience. Through its loose, expressionistic approach and a compassionate engagement with the human and natural world, Rozovsky’s nomadic project pieces together a personal and kaleidoscopic view of a fragmented place.

Signed to the title page.

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

Bringing together photographs Jerry Hsu has made in Los Angeles since 2011, How About Never is occupied with the almost sentient character of the city. Hsu’s photographs are sensitively attuned to the contradictions of the place, entangling allusions to hope and despair, beauty and pain in an atmospheric and uncanny sequence. Images of disfigured fences and physical injuries are interwoven with spontaneous compositions: a discarded toilet, a blood-stained mattress, crashed cars, a bank ominously aflame. Portraits seek an intimacy with their subjects among the disrepair and cruelty of the urban environment. These disparate and dissonant strands reach a beguiling harmony, together looking to destruction as a potential source of change and rebirth. 

The signed edition includes an extra image plate signed by Jerry Hsu and glued into the inside back cover.

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

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

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

Signed copy.  2nd edition.

Very faint cover wear, otherwise very fine.

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

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

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

Out of print.

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

• Charcoal Press 2025
• Hardback, 1st edition, 128p
• imperfect - see below

Gumsucker  laments the loss of untamed Australian wilderness to civilization, ever encroaching, domesticating the land and spirit. It is a ghost story of sorts, populated by withering vestiges and isolated souls. Its title, drawn from the archaic term once used to describe native-born European Australians, also recalls ‘The Gumsucker’s Dirge,’ a 19th-century poem mourning the erasure of wilderness as the frontier was pushed further out and the dream of an untouched wilderness became increasingly inaccessible. 

Rory King’s images depict a landscape of abandonment, yet speak of a yearning for deep connection in the face of isolation. These are lonely photographs, but with warmth and connection at their edges. There is resistance here, some fight and resilience to the disillusionment of modernity. Through his patient gaze, King's lens captures strangers, companions and brute nature alike in a tender embrace.

Edition of 1000 copies.  Signed copy.

Slightly imperfect copy with small ink marks to front and rear covers - see photo example.

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

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

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

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

• Chose Commune 2026
• Hardback, 4th edition
• New

This book presents 27 years of Deanna Dikeman photographing her parents waving goodbye as she left their home after a visit. Just as she was driving away, Dikeman invariably pointed her camera at her parents. What started with a candid snapshot in 1991 turned into a ritual over the years. The book chronicles their farewells as seasons change and years go by, separating black and white photographs from colour photographs. Leaving and Waving — which was originally part of a larger body of work entitled Relative Moments — is a heartfelt exploration of family, the passage of time and the sadness of leaving.

2026 4th edition.

• GOST 2026
  
• Hardback, 1st edition, 154p
  
• Imperfect - see below

‘’Lonely Are All the Bridges’ is not a war book. Not exactly. It is a portrait of a place and its people—where systems have collapsed, where borders have been redrawn again and again.’ – Robin Hinsch

The images in Lonely Are All the Bridges were made in Ukraine by Robin Hinsch over a period of more than a decade. The photographer first visited Ukraine in 2010, intrigued by the description of the then President Viktor Yanukovych as ‘the new dictator between East and West’. His sustained interest in this complex country compelled him to return many times to photograph both the landscape and the people he encountered. His images are unlike pictures of Ukraine seen in the news, presenting instead a melancholic vision of country caught between a contested past, a brutal present and an uncertain future.  

'This is not a story of heroes and villains. It’s about the slow, grinding forces that tear societies apart and the fragile, sometimes ambivalent human threads that try to hold them together.'

The photographs show Soviet ruins and historical monuments alongside misty, rain-soaked or snowy landscapes. The people in the pictures are carefully positioned within these environments—workplaces, homes, fields, ruins and battlefields. The images are both monochrome and colour, the latter subdued by a grey sky. This stylistic choice, in tandem with the presentation of the photographs in the book without captions alongside, hints that they are from a different yet indistinct era, and untethered from time.

Animals appear as a motif throughout the book—symbolising desertion and abandonment but also lending the book an allegorical and dreamlike quality. The bear, a symbol associated with Russia, is shown in an animal pacing around a zoo enclosure and also as a child in costume. Feral cats, dogs and wild horses slip in and out of the landscape and children are shown with dogs, horses and an incongruous camel. The bridge is another recurring motif linking back to the book’s title, drawn from a poem by Austrian Ingeborg Bachmann. This reflects on the nature of a bridge, a connection which is both tied to different sides and yet inherently isolated.

In his notes at the end of the book, Hinsch references Andrei Tarkovsky’s film Mirror which employs a fragmented narrative, dissolving linear storytelling, allowing various motifs such as memories, dreams, and experiences from different times to coexist. This approach is echoed in his image-making.  

'The book suggests, at least, a time in which the current war will be added to the strata of time and memory, and less starkly black-and-white thoughts and feelings may once again become possible’' Julian Stallabrass

Bumped corner - see photo example, pages inside unaffected and otherwise sealed new copy.

• Aperture 2026
• Hardback, 112p
• New

The fiftieth anniversary edition of a timeless photobook by Joel Meyerowitz.

Cape Light, Joel Meyerowitz’s series of serene and contemplative color photographs taken on Cape Cod, Massachusetts, quickly became one of the most influential and popular photography books in the latter part of the twentieth century at its publication in 1978, breaking new ground both for color photography and for the medium’s acceptance into the art world. Now, nearly fifty years later, Aperture is pleased to reissue this classic photobook.

The book features the now-iconic images of the original edition, newly remastered and printed as never before. In it, everyday scenes—an approaching storm, a local grocery store at dusk, the view through a bedroom window—are transformed by the stunning light of Cape Cod and the luminous vision of the photographer. Meyerowitz is a contemporary master of color photography, and through his eyes small-town life on the Cape is imbued with a powerful and captivating beauty.

• Stanley Barker 2026
• Softcover, 2nd edition, 112p
• New

At Night Gardens Grow moves through the backwoods of a place both real and imagined, formed as much by memory as by a very specific geographical location in Maine.

First published in 2021, At Night Gardens Grow disappeared within a few short months of its release. This new edition reshapes the work from within, adding unseen images, and removing others, not as a revisionist act but as continuation. Pia revisits At Night Gardens Grow five years on, having transitioned in the interim, now reflecting on her life at that time, and the drastic changes that have taken place since its release. The photographs are seen again through a body and a language that have come into alignment, allowing the deeper currents that lived deep within the work from the outset to surface more clearly. These images stand with one foot in contemporary America and the other in a more ancient register, haunted by family, memory, and the land itself.

From baptisms to spider silk monuments, funerals, house fires, holes carved into rock, and birth, At Night Gardens Grow gathers stories that are as fragile as the world they are built upon. Combining carefully constructed large format photographs with more instinctive documentary images, Pia Paulina Guilmoth works through found and fabricated landscapes that resist fixed location. The setting remains deliberately unstable, never fully named, yet immediately familiar. What emerges is a terrain held together by atmosphere rather than map, where personal history and collective myth are allowed to overlap.

Pia Paulina Guilmoth is an artist based in rural Maine, USA. Working primarily with large format analogue photography, her practice explores themes of transformation, belonging and the natural world. Her work has been exhibited internationally and is held in numerous public and private collections.

The design of At Night Gardens Grow has been reimagined, moving away from a traditional hardback into something gentler. It is wrapped in a delicate recycled dust jacket created by Pia using petals and earth to form an abstract work, marked with symbols drawn from her practice. Beneath it, exposed web-like stitching gives way to a sequence of previously unseen photographs of spider webs, printed on a rich uncoated stock.

In stock now.

• Editions Lamaindonne 2026
• hardback, 1st edition, 144p
• New

“I returned to Japan to photograph something close to my heart, without knowing exactly what. I was seeking tranquillity in a megacity where it seems impossible to find. I told myself that if I could discover it in Tokyo, then perhaps I might also find it within myself.

It was then that I discovered the Kodo, a trail through the heart of the forests and rocks. I lost myself there for several days, and this wandering proved to be a revelation. After seven days of walking, I returned to Tokyo covered in mud, yet filled with a peace that a city of thirty million people could not shake.

Over the following month, I photographed relentlessly, with a newfound conviction and clarity. Each image became a scene, almost a play, at once fragile and intensely present. I raised my camera again and again, with gratitude: once more,

photography had opened up a new path for me.”

- Martin Bogren

Signed copy.

• Yamada 2026
• Hardback, 1st edition, 104p
• New

"For years, I have used photography to observe and contemplate the nature of time. Fragments of time—illuminated as the sun rises in a chain reaction across the globe—manifest before us, shifting between discrete events and fluid perceptual phenomena. Time intersects and layers in countless ways, accumulating like sediment. It is perhaps only through photography that we can truly witness these overlapping layers of past and present, and the distinct cross-sections they form. While staying in cities like Berlin, Paris, Vienna, New York, and Tokyo, I have continuously photographed and edited this body of work. Drawing inspiration from the concept of 'Two-Eyed Seeing,' I weave together time from two distinct perspectives—event and phenomenon—reconstructing it into a unified, material, and 'binocular' experience."

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

This is a journey invented by mind, with the images, people, and memories that inhabit it.

It is a notebook of deepest fantasies, pâle because they have been faded by time and memory.

Handmade edition of 500 numbered copies.  Text in English and French.

Video courtesy the publisher.

• Fw:Books 2026
  
• Softcover, 1st edition, 168p
  
• New

Football is deeply rooted in European culture, and football grounds form a familiar part of the landscape in villages across the continent. Since 1995, photographer Hans van der Meer has documented lower-league matches, capturing not only the game but also its surroundings. Beginning in the Netherlands with the book Dutch Fields (1998) and later expanding across Europe in European Fields (2006), his work highlights the relationship between sport and place. Photographed from fixed, often elevated viewpoints, the scenes frequently show solitary goalkeepers waiting as play unfolds at the far end of the pitch. These quiet moments form a tribute to the remote fields where amateur players pursue their passion, far from the spotlight of the UEFA Champions League.

English edition.

• RRB 2026
• Softcover, 1st edition, 128p
• New

Modern life is losing its colour. Photographer Niall McDiarmid’s work is a joyful antidote against greyscale tones predominant across architecture, interiors, fashion and cars. For over 15 years the photographer has traversed the UK, documenting the inherent colour of life as he finds it.

The photographs in McDiarmid’s new book were shot predominantly in London. His images offer an alternative vision to the monotones of contemporary life: warm, diverse and playful, a vivid celebration of the people and places that still bring colour and individuality to Britain. His subjects' clothing paired with the shades of the urban environment around them, finding harmony where tones echo one another and vitality where they clash. He shows the streets and shopfronts, cafes and pubs, train stations and interiors, finding a richness of colour where others might only see the mundane.

McDiarmid's mastery of colour harmony is at the heart of his practice. He exploits the natural flat light of a typically overcast British day, conditions that soften shadows and allow the colours of clothing, signage, and architecture to fully breathe. The result is a body of work that is at once a document and a celebration: of human individuality and the joyful colour that persists in everyday British life.

Signed and dated.

• Chose Commune 2026
• Softcover, 1st edition, 248p
• New

A multigenerational family story centered on the limited relationship between a bereaved son and his long-deceased mother—who died in a plane crash—as well as that same son’s new life as a husband and father. This nonlinear, narrative-driven book charts an artist’s journey through alternating currents of grief, pleasure, love, and heartache, suggesting how the past is ever-present.

As an elegy contextualized within a decades deep family archive, Son Pictures combines Trent Davis Bailey’s own photography and writing from the past decade with premonitory drawings and paintings made by his mother in the 1960s and ‘70s; family snapshots from the 1980s, ‘90s, and 2020s; gritty photojournalism from 1989 repurposed from a newspaper’s archive in Iowa; and film stills sourced from two Hollywood movies set in Iowa that—along with camcorder footage from a home video—the artist rephotographed on a 1990s tube television.

Initially seeking to memorialize and somehow reconcile with the tragic death of his mother in the crash landing of United Airlines Flight 232 in Sioux City, Iowa in 1989, Bailey’s intent for this work shifted greatly when thirty years later, in 2019, he himself became a father. The result is an emotionally wrought and yet still fraught compilation that oversteps the standardized and staid conventions of family photo albums and slideshows. For the artist, this book is “a photographic memorial and an atlas of memory,” one that has allowed him to grapple with the residue of having been thrust into the global media spotlight at a very young age and designated—along with his brothers (who survived the crash) and his father—as a subject in survivor stories. By culling a variety of imagery created before, during, and after the crash, Son Pictures looks into the motherless chasm of an American household and conveys its outgrowths and shards of grief and trauma with a necessary heavy heartedness, but also with humor and hope.

For Bailey, it’s important this intensely personal body of work blurs lines of authorship. The result is one that processes the artist’s painful early years and his more recent evolution as a father, while at the same time questioning the associative relationship between truth and photography, the interchange between images and memory, and the ethics of representation in both Hollywood and photojournalism. Put simply, this book is a discursive time warp and a reminder that behind every tragic news event there are people whose lives are forever impacted.

• Tall Poppy Press 2026
  
• Softcover, 1st edition, 92p
  
• NEW

• Helions 2026
• Hardback, 1st edition, 116p
• New

"A few years ago, I realized that simple stark portraiture was featuring less in my work and I wanted to rectify that. I spent three days during a past November trying to document as many people as I could. This book is the culmination of those three days." - Jack Davison

Unsigned 2nd printing (see dropdown for last few signed copies of the first printing - now SOLD OUT).

• Harry Abrams 1989
• Hardback, 1st edition
• Near fine

This major monograph was published on the occasion of a retrospective exhibition at the Seattle Art Museum. Many of the photographs in this beautifully printed book were presented here for the first time. “In the twenty years following his first museum exhibitions, Friedlander has developed his art in a surprising number of directions. Through travel and commissions, he has taken his camera off the street and into many new areas; but he continues to build on his initial feelings and discoveries made in the street, where he was the confident stranger juggling observation and participation, diffidence and intrusion.”

Near fine copy with faint wear to edges of cover and light yellowing of page edges as to be expected, otherwise a very fine copy.

• Self 2025
• Hardback, 1st edition
• New

The Roma people, often referred to as Europe's forgotten nation, have endured centuries of displacement, discrimination, and marginalization. Originating from northern India over a thousand years ago, the Roma began a long and complex journey across continents—driven by a mixture of forced migration, persecution, and the search for a place to call home. Today, millions of Roma live across Europe, yet they remain on the periphery of society, both literally and figuratively.

Edition of 100 copies.  Signed copy.

• EXB 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 / 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. 

• 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.

• 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.

• 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.

• 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.

First edition/printing.

• GOST 2026
  
• Hardback, 1st edition, 154p
  
• New

‘’Lonely Are All the Bridges’ is not a war book. Not exactly. It is a portrait of a place and its people—where systems have collapsed, where borders have been redrawn again and again.’ – Robin Hinsch

The images in Lonely Are All the Bridges were made in Ukraine by Robin Hinsch over a period of more than a decade. The photographer first visited Ukraine in 2010, intrigued by the description of the then President Viktor Yanukovych as ‘the new dictator between East and West’. His sustained interest in this complex country compelled him to return many times to photograph both the landscape and the people he encountered. His images are unlike pictures of Ukraine seen in the news, presenting instead a melancholic vision of country caught between a contested past, a brutal present and an uncertain future.  

'This is not a story of heroes and villains. It’s about the slow, grinding forces that tear societies apart and the fragile, sometimes ambivalent human threads that try to hold them together.'

The photographs show Soviet ruins and historical monuments alongside misty, rain-soaked or snowy landscapes. The people in the pictures are carefully positioned within these environments—workplaces, homes, fields, ruins and battlefields. The images are both monochrome and colour, the latter subdued by a grey sky. This stylistic choice, in tandem with the presentation of the photographs in the book without captions alongside, hints that they are from a different yet indistinct era, and untethered from time.

Animals appear as a motif throughout the book—symbolising desertion and abandonment but also lending the book an allegorical and dreamlike quality. The bear, a symbol associated with Russia, is shown in an animal pacing around a zoo enclosure and also as a child in costume. Feral cats, dogs and wild horses slip in and out of the landscape and children are shown with dogs, horses and an incongruous camel. The bridge is another recurring motif linking back to the book’s title, drawn from a poem by Austrian Ingeborg Bachmann. This reflects on the nature of a bridge, a connection which is both tied to different sides and yet inherently isolated.

In his notes at the end of the book, Hinsch references Andrei Tarkovsky’s film Mirror which employs a fragmented narrative, dissolving linear storytelling, allowing various motifs such as memories, dreams, and experiences from different times to coexist. This approach is echoed in his image-making.  

'The book suggests, at least, a time in which the current war will be added to the strata of time and memory, and less starkly black-and-white thoughts and feelings may once again become possible’' Julian Stallabrass

• 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.

• 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.
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― 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.

• 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.

• 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.

• 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.

• 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.