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Star and Moon presents the daily life of the Hui people and expresses a kind of “emptiness” that transcends time and meaning. Lonely, mysterious, quiet and elegant, the simple images are like a faded postcard, bringing a deep Zen feeling to the heart. At first glance, the images of Star and Moon are plain and seemingly picturesque. However, if you sit quietly for a moment and feel the breath conveyed by the black and white shadows, you will experience a heavy breath running through it, adsorbing the viewer’s eyes tightly, following the photographer’s lens in the cycle of the stars and the moon, experiencing the destiny of the Islamic nation together.

Yang Yankang expands the scope of experimental exploration of the language of modern Chinese photography, and creates a revelatory way of perceiving the art of practical photography. His works on the three major religions have historically placed them in a prominent position in the history of modern Chinese art, and he has become one of the leading photographic artists in China and even in the world.

Think of the images our minds create from the simplest combinations of line and form, and of the stories and scenes they evoke. Imagine, the third volume in Sean Palfrey’s photography book series, is filled with the mysterious, the beautiful, and the abstract: a suite of pictures of expressive shapes, strong patterns, and ideas in color.

Palfrey is a renowned pediatrician and child health advocate who travels the world with his work and for pleasure. His fascination with people, places, and stories informs both his artistic and his professional practice. In Imaginings, Palfrey has created a wide diversity of images, both figurative and abstract, but all of them starting from a photograph of the real in nature – an object, a texture, a landscape. Whether it’s a single, framed shot of a patch of sand, or a composition of multiple exposures taken to make the familiar new, Palfrey’s images and musings on them stimulate our imaginations into taking flight.

Mosaic, the sixth and final volume in Sean Palfrey’s photography series, is filled with some of the author’s favorite images—an Indonesian fishing boat at rest on a sandy beach in the glow of dusk, a tangle of leaves that look, for a second, like the bared teeth of a fearsome beast, a bright and joyful children’s mural, replete with birds and rainbows, and the grey-blue and apricot tints of a canyon wall, scoured by time and weather.

These previously unpublished images of New York’s waterfront are presented here as part of a unique editorial project: the iconographic perspective is analysed and discussed in Pauline Vermare’s interview with Sophie Fenwick, and finds further literary development in the photographer’s poetry, on which she started working during the pandemic and is used here to accompany the visual narrative.

The language of photography is used here — in a series of black and white and color shots — to retrace the memory of a transformation and to express the urgency of documentation that in these pages evolves from personal to universal. The invitation to travel voiced by Fenwick is visual poetry articulated in a series of pictures, each of which possesses the potential to become a true icon.

Text in English and French.

International photography stars, Americans BJ and Richeille Formento form an artistic duo blending photography, cinema, and fashion aesthetics into emotionally charged, narrative-driven works. Their visual universe — glamorous, melancholic, and cinematic — transforms every image into a suspended moment between dream and reality. Richeille oversees artistic direction and styling, while BJ creates the lighting and photography, producing sophisticated images reminiscent of major motion pictures. Their visual explorations span the United States, Japan, Cuba, Mexico, India, Thailand, and France, where they examine identity, desire, nostalgia, sexuality, and social tensions.

Text in English and French.

With Promise, the latest title in Sean Palfrey’s photography series, the photographer-physician draws on his immense archive to present a suite of portraits of children and young people from across the world. Enriched with the author’s reflections on the stories that these pictures embody, the photographs gathered here span decades and continents, from Boston to Bali, from China to Chile. These are images of joy, curiosity, wonder and spontaneity – but also of resilience and grace in adversity. Every page attests to Palfrey’s fascination with the lives of the young, to whom he has devoted himself as a pediatric doctor and healthcare professional.

“Russell Ord’s photographic odyssey through Australia’s coastal landscape explores this unique culture by portraying the people whose lives pulsate in time with the rhythmic swells of the ocean.” — HOOM

“Life Around the Sea is more than a book—it’s a tribute, a meditation, and a love letter to the ocean and the people who live in harmony with its eternal rhythm.” — Ninu Ninu

“… Their personal stories, told by surf writer Alex Workman and captured by Russell Ord’s evocative and breathtaking photography, are a testament to the boundless beauty, mystery and inspiration of the ocean.” —The Guardian

Life Around the Sea is an odyssey of Australia and a deep dive into some of the remarkable individuals who have been transformed by the sea’s enduring embrace; those whose hearts beat in unison with the rhythmic swells of the sea. In this beautiful publication, you’ll encounter people from all walks of life, from fearless big wave riders, and surfers who first felt the tender caress of a wave in their childhood, to artists drawn to the coastline to bring its ancient beauty to life, and shapers who expertly craft boards for wave seekers around the globe.

Be transported to Australian coastal villages, hinterland hideaways, remote beaches, and solitary shaping bays that form the backdrop to the unique lives of these people. Their personal stories, told by surf writer Alex Workman and captured by Russell Ord’s evocative and breathtaking photography, are a testament to the boundless beauty, mystery, and inspiration that the ocean bestows upon us all.

“You’ll be in awe of the work of the American rancher and wildlife alike.” — Fox News

“… Krantz delivers a true sense of not only the size and scope of Art and Catherine Nicholas’ Wagonhound Ranch, but also the deep sense of stewardship the Nicholas family and their crew bring to ranching every day.” — Western Horseman

“…Anouk’s photographs tell a visual story of the rancher and his relationship with the land.” — The Eye of Photography

“A stunning photographic collection that celebrates the reality of ranch life.” — Big Sky Journal

Wagonhound is a historic working ranch spanning over 300,000 acres in Wyoming, where the elevation ranges from 5,000 feet to 9,000 feet; where talented, strong, and steady quarter horses supplied by the ranch-owned remuda are required to help the cowboys manage the herds in a spectacularly rugged terrain. Catherine and Art Nicholas, who took the reins of the historic ranch in 1999, take the stewardship of the land very seriously — their vision has been to honor tradition, preserve the land, which is steeped in history, and return it to a pristine condition.

In Ranchland: Wagonhound, Anouk Krantz’s beautiful photography reveals the daily and seasonal rhythms of the ranch and the daily lives of its men and women cowboys, whose long hard days — starting in the dark and finishing in the dark — involve everything from cattle driving to branding to training the best quarter horses in the country and more. Set in a stunning large-format book, these photographs and the stories offer an inspiring new perspective into today’s cowboy/ranching culture and land stewardship of the American West.

Derivatives II represents a continuation of the works shown in my first volume of large format black and white photographs. As explained in the first book of this two-volume series, my visual language derives from early twentieth century photographers and thinkers whose works I studied. The images presented in both volumes were made in the years from 1985 to 1990. Whereas the first volume included 30 verses composed during and after these six years, the second volume includes a selective summary of events which occurred during these years. However, these historical events had no direct influence on the photographs presented in this volume: they simply provide a sense of context.

From 1985 to 1990 the world population grew almost 9 per cent, from 4.8 to 5.3 billion, influenced strongly by growth in Asia and Africa; North America grew 5.2 per cent and Europe only 2.2 per cent. A shift of economic power eastwards became inevitable as the middle classes of China, India and Indonesia started to expand at even faster rates. These were critical years because of the number of geopolitical milestones: the collapse of the Soviet Union, the fall of the Berlin Wall and the opening of China. It was also a period of declining leadership in the West after the passing of the Cold War leaders, and a period of increasing sovereign indebtedness (e.g. in the US the Federal Debt level almost doubled in these few years). In addition, the advent of the internet and rapid advances in technology began to shrink the world to today’s claustrophobic dimensions.1985 to 1990 were also critical years for large-format film photography. They were years of fundamental change for photographers because they are associated with the end of analog photography: the bankruptcy of the largest producer of sheet film, Kodak, made the type of film photography presented in this book and the preceding volume rare. These were the years when derivative chemicals and film were replaced by digital technology.

The earliest known portable digital cameras were sold in the US in November 1990. The development of digital technology progressed rapidly with the marketing refrain: “Don t think, just shoot!” As a result, the reduction in the meditative components of picture taking, development and printing changed the nature of art photography and led to an explosion in the number of potential ‘picture takers’ and exposures. – K.C. Korfmann

Photo Peshawar delves into the largely unexplored culture of photography in the Pakistani frontier city of Peshawar from the 1940s to the present day. Photography in Peshawar has historically and culturally found itself caught between the creative and conservative forces of both India and Afghanistan. Variously borne of British rule, the Partition of India, war in neighbouring Afghanistan, the rise of the Taliban, local tribal law, a historical prohibition on image-making in Islam, the practice of purdah (the veiling of females in public), and the regional movie industry, there is a tangible stress between the practice of photography as it is pursued and the culture in which it is lived. With nearly one hundred and fifty photographs, each more stunning than the last, ‘photography as craft is what this splendid volume examines – photography at the living, bleeding intersection of culture, war, frontier and fantasy, the sheer human inventiveness that results from a magnificent and tragic brew of technology and history.’ Published in association with PIX Publishing.

“I have an old camera with which I have taken countless photographs of myself. It often produces astonishing effects”, Edvard Munch states in a 1930 interview. “Someday when I am old and have nothing better to do than work on an autobiography, all my photographic self-portraits will see the light of day again.” The autobiography was never realized, but the self-portraits have found their way to the pages of The Experimental Self. The Photography of Edvard Munch, which demonstrates the fundamentally experimental nature of the artist’s photographic practice. As a photographer, Munch embraced the freedom provided by the amateur position, and the unpredictable aspects of analogue photographic technology. By playfully approaching his own image in picture after picture, Munch extends his explorations of selfhood in other media through photography. The resulting photographs provide unique access to Munch’s radical artistic vision, which this book studies through eminent essays by Patricia G. Berman, Tom Gunning and MaryClaire Pappas.

Everythingflows is a book of photographs by Laura Veschi in which the image forms the narrative and emotional core of the work.

Guided by the author’s black-and-white photographs, we explore the world of marble in Carrara, beginning in the mountains – the Apuan Alps – which, for Fosco Maraini – orientalist, writer, mountaineer, and anthropologist – evoke ‘the creation of the world’.

In these places, in these mountains, if you say marble, you immediately think of water: marble was in fact formed from water millions of years ago, from deposits of shells and coral; it is water that smooths and shapes it, and water remains the key element in the working of this stone.

Water, a symbol of perpetual movement, runs through Laura Veschi’s photographs as a subtle, underlying presence, accompanying the creative process and the transformation of matter. This reference to the element is an integral part of Veschi’s poetics. For the Carrara-based photographer, the ‘sound’ of water becomes the very voice of photography, an echo that follows the processes of creation and transformation of marble.

Structured like a symphony in four movements, the book guides the reader along a path that moves from the mountain to the studio, from the raw block to the finished form, restoring the sacred, physical, and temporal dimension of marble. Along this journey, Laura introduces us to the sculptor Filippo Tincolini, following the continuous flow of his thought and gesture from the original idea to the completed sculpture.

Laura, a deep connoisseur of the world of marble, captures the tension between what has settled over time and what is still being shaped, between the memory of the stone and the creative impulse that transforms it. Her images do not fix marble in a static idea, but reveal it in its flow, as though sculpture itself were part of an uninterrupted process in which the past is never entirely past and the future is already in the making.

Art, like the river of Heraclitus, passes and at the same time remains; it changes form but does not lose its essence. And so, in marble, in its working, and in the photography that tells its story – everything flows.

Text in English, French and Italian.

This book chronicles the career of Belgian photographer John Vink, who began contributing to Libération Tin 1985. His personal project Water in the Sahel won the Eugene Smith Prize in 1986, showcasing his commitment to capturing the human experience in difficult environments.
As a founding member of Agence VU, Vink documented refugee camps globally. It allowed him to become a full member at Magnum Photos in 1997, which he would remain until 2017.

His Peuples d’En Haut series highlights the resilience and cultural identity of mountain communities, such as the Mam in Guatemala and the Hmong in Laos. After years of travel, Vink settled in Cambodia in 2000, allowing him to engage more deeply with a single culture. Now based in Brussels, he continues to inspire through his powerful visual storytelling that explores themes of identity and humanity. With a text contribution by Rik Van Puymbroeck.

Text in English, French and Dutch.

“Images of life, love, humor, and the surreal on London’s Brick Lane form the basis of this sumptuous catalogue of photographs” — Street Photography

Images of life, love, humor, and the surreal on London’s Brick Lane form the basis of this sumptuous catalogue of photographs. Today Brick Lane is a favorite tourist destination, famous for its street art and theater, and colorful market stalls. For centuries it was a hub for immigrant communities entering Britain through the nearby docks on the River Thames.

Sonya and David Newell-Smith, whose careers began in professional news photojournalism, have spent decades recording the changing streetscape and vibrant personalities of this East End district. This publication serves as a tribute to their passion for street photography, for capturing a ‘decisive moment’, and for documenting everyday lives and diverse cultures, their interactions, and emotional connections. Scholarly texts accompany over 170 photographs curated by Sonya in memory of David (1937–2017).

This elegantly designed book features works by pioneering British photographer Garry Fabian Miller (b. 1957, Bristol) in dialog with one of his key artistic influences, Samuel Palmer (1805-81). Since the mid-1980s, Miller has created photographs without a camera to explore the possibilities of light as both medium and subject. Experimenting with photographic materials and exposure time, his photographs feature intensely saturated colors, not seen before in conventional photography. For this book, which accompanies an exhibition at the Ashmolean Museum Oxford, Miller has chosen works on paper by Palmer from the Ashmolean’s rarely displayed collections to juxtapose them with his own images. Miller compares Palmer’s pioneering use of materials with his own practice, pushing the limits of photography in the dark room. Edited by Dr Lena Fritsch, this book features high quality images and new texts by Sean Borodale, Fritsch, Alexandra Harris, Colin Harrison, Lydia Heeley, and Marina Warner.

The book presents a selection of the photographic work made in Naples by Anders Petersen, Swedish master of photography, during Spot home gallery’s first artist residency in the year 2022.

Throughout his long career, Petersen has photographed in cities across almost every continent, from Tokyo to London, from Valparaiso to Stockholm, driven by an inexhaustible curiosity and a profound interest for the other. For him, photography serves as a means to explore the complexity of the human experience, to capture with sensitivity and honesty the emotions that define and unite us as living beings, part of the one, big, same family.

Naples, a “city-world” of many thousand facets, with its chaos and its diverse humanity, was the ideal place for a photographer like him: it is precisely in chaos that life unfolds with all its unpredictability, vibrancy, and beauty.

They had never met before, but when it happened, it was love at first sight. Anders was struck by the city’s energy and enthusiastically accepted the not-so-easy challenge of photographing it. Naples revealed herself without filters, without fear of showing its wounds and vulnerabilities, open to the empathetic approach of a photographer who can look beyond the surface of things, who can find beauty in the ordinary, and embrace its imperfections.

“… none have captured the enigma of Monroe quite as intimately as Shaw’s camera.” — The Daily Mail

“Monroe had many sides — and Sam lets us see them all.” — The New York Post

“… Marilyn unguarded, radiant in her naturalness – a glimpse of the woman behind the myth.” — Arts & Collections Magazine

“This book of photos and letters is a treasure for any fan of Marilyn Monroe, photography or stories of friendship. In Dear Marilyn, The Unseen Letters and Photographs, Sam Shaw is finally showing the world the Marilyn he knew while the world can now see the work of an artist Marilyn knew.” — The Eye of Photography

“Dear Marilyn is an ode to friendship, stardom, and the actress’s enduring legacy, 63 years after her death.” — Airmail

Dear Marilyn offers a fresh insight into the life of the most-famous woman Hollywood has ever created. Through the stunning photography of Monroe’s close friend and confidant, the photographer, journalist and filmmaker Sam Shaw, this book brings Marilyn Monroe to life in a spectacular celebration of the centenary of her birth.

In Shaw’s own voice, through his diary entries and intimate correspondences with Monroe, we learn of their close friendship and an insider-view that charts her rise to stardom, the challenges she faced and her quest to find artistic authenticity. For the first time, Shaw also tells the origin story of his iconic ‘blowing skirt’ series from The Seven Year Itch.

Stunning digitally remastered photographs from the original 1940s–1960s archival material include some of the most famous images ever taken of Monroe: from behind the scenes of The Seven Year Itch to candid images of her on the streets of New York City and in love at the beach in Amagansett. Including never-before-seen images, Shaw’s work favors improvisation and shows Marilyn Monroe at her most spontaneous and radiant.

“Marilyn was born out of time, still she became a superstar, a myth, and a legend.” — Sam Shaw

Drago’s impressive library already includes the works of many internationally celebrated and influential photographers such as Boogie, Estevan Oriol, Ed Templeton and JR. The Street is Watching encapsulates the talent of these artists together with over 100 contributing photographers in a single and revolutionary anthology. These featured photographers include Larry Clark, Glen E. Friedman, Martha Cooper, Jamel Shabazz, Bruce Davidson, Jim Goldberg, Mary Ellen Mark, Bruce Gilden, Ryan McGinley, Hugh Holland, Jill Freedman, C.R. Stecyk, Dash Snow, Bruce LaBruce, Ivory Serra, Olivia Bee and many more. The book also features insightful contributions from the curator, Paulo Luca von Vacano; Miss Rosen, a New York-based photo editor and photography book specialist and Ethel Seno, a project manager and curatorial coordinator at MOCA, Los Angeles.

“Stunning images in fine art photobook capture the ‘strength and dignity’ of America’s cowboys and their breathtaking Wild West home.” – Daily Mail

“Titled American Cowboys, the book captures the pioneering spirit of modern cowboys and cowgirls, turning the camera on high-stakes rodeos, hard-working ranchers and horseback rides across stunning desert landscapes.” – Daily Mail

The ranching communities in the heartland of the great American West may be a long way from New York City, but renowned photographer Anouk Masson Krantz has been drawn back time and time again to explore this largely unfamiliar and overlooked part of the world. In West: The American Cowboy, Anouk revisits this enduring iconic symbol of America’s pioneering spirit. Set out in a stunning large-format book, the pages within inspire with a fresh and contemporary perspective of the American West. Along with the cowboy’s ranching traditions comes a life built around the core values and faith that are central to their integrity. Long admired for their strength, relentless work ethic, and humble values, the forgotten American cowboy is alive and well, and has never stood in such stark contrast to the rapidly changing nation that surrounds them.

Earning wide acclaim for her incredible fine art work exhibited in galleries and published in the bestselling Wild Horses of Cumberland Island (2017), also by IMAGES, West: The American Cowboy is another artful, intimate study of the American character and their sense of place, and is a unique collection of works brought together by this award-winning photographer and storyteller. Also available by Anouk Krantz: Wild Horses of Cumberland Island ISBN 9781864708851

For forty years, Inez van Lamsweerde (b. 1963) & Vinoodh Matadin (b. 1961) have redefined the boundaries of photography. This iconic duo, born in the Netherlands and hailed worldwide for their fearless fusion of art, fashion, and portraiture, have created a body of work that is as visually seductive as it is intellectually disruptive. Throughout, they have embraced innovation, but without letting technology take over their narrative.

Inez & Vinoodh continue to collaborate with leading fashion designers and luxury brands such as Louis Vuitton, Chloé, and Chanel, while also producing striking covers and editorials for acclaimed publications, including Vogue, Rolling Stone, W Magazine, and Gentlewoman.

Acting as both mirror and magnifying glass, their photography not only draws from popular culture but also critiques it, uncovering a complex mingling of the familiar and the unsettling, the quotidian and the uncanny. Philosopher Simone Weil’s definition of truly seeing—“Attention is the rarest and purest form of generosity”—lies at the heart of Can Love Be a Photograph, spanning four decades of the couple’s life and work together.

In addition to over 150 photographs by Inez & Vinoodh, this book includes written contributions by Mathias Augustyniak, Guus Beumer, Francesco Bonami, Pamela Chen, Donatien Grau, Margriet Schavemaker, and Willemijn van der Zwaan, as well as a wide-ranging conversation with Tilda Swinton.

Publication accompanying the exhibition Can Love Be a Photograph – 40 Years of Inez & Vinoodh, at Kunstmuseum Den Haag from March 21 to September 6, 2026.

Book design by M/M (Paris).

What Denis Rouvre admires about Sâdhus is the way they are in the world, the way they respond to the world, and the way they carry the burden of parallel paths. In non-identity toward extinction, they resist the necessity of their birth. They are born to die, to no longer exist. Every day, individuals defy their common destiny. Among the people whose portraits are exhibited by photographers, we are referring to those who, by their own will and courage, place themselves among the gods.

“It’s very hard for me to accept that Sukita-san has been snapping away at me since 1972, but that really is the case. I suspect that it’s because whenever he’s asked me to do a session, I conjure up in my mind’s eye the sweet, creative and big-hearted man who has always made these potentially tedious affairs so relaxed and painless. May he click into eternity.” – David Bowie

For Sukita, the creative mastermind behind the iconic cover for David Bowie’s album ‘Heroes’, photography is an expression of a ‘fundamental secret’ shared between artists: a spiritual communication that transcends the minutiae of language. Born and raised in Kyushu, Japan, Sukita’s reverence of American and Western counter-culture lured him to New York and London. He immersed himself in the western music scene which he loved, while his relaxed photo sessions endeared him to many celebrity figures, including David Bowie and Iggy Pop (with both of whom Sukita had a 40-year long professional relationship), Marc Bolan, and Japanese musician Hotei, best known for his work on the Kill Bill soundtrack. His work spans the early US and UK seventies rock scene, the London punk-rock era to the present crop of emerging Japanese rock artists.

This photo book is the first time the photographer has collaborated on a major retrospective of his career and includes some of his early documentary work and his rarely-seen travel and street photography. It introduces the artist through two essays that explore his place within the wider context of both Western and Japanese photography, presented alongside the many iconic shots of both Western and Japanese artists that earned him his eternal reputation.

“It’s a serious photo book you’ll want to display on your coffee table for years, thumbing through and sharing with wildlife-loving visitors. Photographer Guadalupe Laiz shares six years of traveling in Africa to capture intimate portraits of endangered animals.” — USA Today’s Outdoors Wire
“Capturing the essence of wild creatures and conveying a sense of proximity in one frame is what brings exotic wildlife close to the viewer.” — Digital Camera World

“…her photographs serve as an initiative to raise awareness on the threats facing wildlife, and the environment which sustains it.” — Arabian Business Traveller

A truly beautiful collection of luxurious images, Among the Living, Where You Belong showcases the magnificent wildlife photography taken by photographer and explorer Guadalupe Laiz.

For this book, Guadalupe traveled across the African continent for six years, forgoing comfort for months at a time—returning with intimate portraits of charismatic and fierce, yet often vulnerable and endangered animals. It is impossible to look at one of her photographs—really see it—and not feel her subject’s innate individuality. She spends time with these creatures up close in their natural habitats, gets to know them personally over time, and builds on trust and respect in encounters with such creatures as Big Craig, the biggest elephant tusker in Kenya, the famous Susa gorilla family in Rwanda, or Bob Jr., the majestic lion dubbed the King of the Serengeti in Tanzania—among many others, including rhinos, giraffes, zebras, leopards, and more.

Her work reveals something anyone who has been around such animals at close range knows: these beasts are intelligent and self-interested. They love. They fear. They have needs and desires, and they deserve to be themselves and be seen for what and who they are.

Guadalupe’s work is vital. Ultimately, Guadalupe’s efforts are to communicate through art the importance of animal abuse awareness, environmental issues, and the relevance of educating all generations to make conscious lifestyle decisions to protect our planet. Beautiful and transporting, Guadalupe’s work is also a call to action. She inspires us to become wildlife advocates, and to join conservation efforts whichever way we can. Guadalupe has partnered with nonprofits involved with environmental issues, animal abuse, and human-animal conflicts in Africa, such as the Dian Fossey Foundation, Big Life Foundation, Save Giraffes Now, and Lewa Conservancy for Rhinos, as well as engaged in humanitarian work with 4africa in South Sudan and north Uganda.

Guadalupe offers this collection, a labor of love, of her encounters with this wildlife, chronicling the many linked moments she witnessed in the intimacy of their everyday journeys.