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As the Korean war (1950–1953) drew to a close and South Korea began to rebuild, American GI Roger Marshutz (1929–2007) was stationed in Pusan to photograph U.S. reconstruction efforts. In his spare time, Marshutz also wandered the streets, documenting the daily life of Korean civilians. "The forgotten home front: Roger Marshutz’s photographs of Pusan, South Korea,(...)
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As the Korean war (1950–1953) drew to a close and South Korea began to rebuild, American GI Roger Marshutz (1929–2007) was stationed in Pusan to photograph U.S. reconstruction efforts. In his spare time, Marshutz also wandered the streets, documenting the daily life of Korean civilians. "The forgotten home front: Roger Marshutz’s photographs of Pusan, South Korea,(...)
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The forgotten homefront: Roger Marshutz's Photographs of Pusan, South Korea, 1952-1954
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As the Korean war (1950–1953) drew to a close and South Korea began to rebuild, American GI Roger Marshutz (1929–2007) was stationed in Pusan to photograph U.S. reconstruction efforts. In his spare time, Marshutz also wandered the streets, documenting the daily life of Korean civilians. "The forgotten home front: Roger Marshutz’s photographs of Pusan, South Korea, 1952–1954" offers both an official and unofficial look at U.S.-South Korean relations, as well as a portrait of a country in the midst of enormous political, economic, and cultural transformation.
The forgotten homefront: Roger Marshutz's Photographs of Pusan, South Korea, 1952-1954
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As the Korean war (1950–1953) drew to a close and South Korea began to rebuild, American GI Roger Marshutz (1929–2007) was stationed in Pusan to photograph U.S. reconstruction efforts. In his spare time, Marshutz also wandered the streets, documenting the daily life of Korean civilians. "The forgotten home front: Roger Marshutz’s photographs of Pusan, South Korea, 1952–1954" offers both an official and unofficial look at U.S.-South Korean relations, as well as a portrait of a country in the midst of enormous political, economic, and cultural transformation.
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books
books
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March 2026
March 2026
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Photography monographs
Photography monographs
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Sellafield, Europe's largest nuclear site, began being decommissioned in 2022. Its primary purpose was to produce weapons-grade plutonium for the UK's nuclear weapons programme, but they also generated electrical power for the National Grid from 1956-2003 and reprocessed nuclear fuel from 1952 to 2022. In 1985, Barry Lewis photographed part of the plant for The Sunday(...)
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Sellafield, Europe's largest nuclear site, began being decommissioned in 2022. Its primary purpose was to produce weapons-grade plutonium for the UK's nuclear weapons programme, but they also generated electrical power for the National Grid from 1956-2003 and reprocessed nuclear fuel from 1952 to 2022. In 1985, Barry Lewis photographed part of the plant for The Sunday(...)
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Barry Lewis: Sellafield Nuclear Site 1985
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Sellafield, Europe's largest nuclear site, began being decommissioned in 2022. Its primary purpose was to produce weapons-grade plutonium for the UK's nuclear weapons programme, but they also generated electrical power for the National Grid from 1956-2003 and reprocessed nuclear fuel from 1952 to 2022. In 1985, Barry Lewis photographed part of the plant for The Sunday Times Magazine after reports found an increased incidence of leukaemia and non-Hodgkin lymphoma in children and young adults under 25 years of age living in Seascale, a village near Sellafield on the west coast of Cumbria. A government report suggested that these spikes were unlikely to have been caused by radiation exposure though the causes of these clusters of leukaemia around Sellafield was still not clear. 100Kg of plutonium had been pumped out of Sellafield into the Irish sea during the previous 40 years and 60Kg was unaccounted for. Any plutonium dust that is washed inshore, and when the tide goes out, could dry and blow inland. A single speck of plutonium inhaled is enough to trigger cancer. Sellafield is now a sprawling rubbish dump on the Cumbrian coast, with the world's largest store of plutonium that stores and treats decades of nuclear waste from atomic power generation and weapons programmes.The buildings are expected to be finally torn down by 2125 at a cost of approaching £100 billion and have its nuclear waste buried deep underground at a location still undecided.
Barry Lewis: Sellafield Nuclear Site 1985
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Sellafield, Europe's largest nuclear site, began being decommissioned in 2022. Its primary purpose was to produce weapons-grade plutonium for the UK's nuclear weapons programme, but they also generated electrical power for the National Grid from 1956-2003 and reprocessed nuclear fuel from 1952 to 2022. In 1985, Barry Lewis photographed part of the plant for The Sunday Times Magazine after reports found an increased incidence of leukaemia and non-Hodgkin lymphoma in children and young adults under 25 years of age living in Seascale, a village near Sellafield on the west coast of Cumbria. A government report suggested that these spikes were unlikely to have been caused by radiation exposure though the causes of these clusters of leukaemia around Sellafield was still not clear. 100Kg of plutonium had been pumped out of Sellafield into the Irish sea during the previous 40 years and 60Kg was unaccounted for. Any plutonium dust that is washed inshore, and when the tide goes out, could dry and blow inland. A single speck of plutonium inhaled is enough to trigger cancer. Sellafield is now a sprawling rubbish dump on the Cumbrian coast, with the world's largest store of plutonium that stores and treats decades of nuclear waste from atomic power generation and weapons programmes.The buildings are expected to be finally torn down by 2125 at a cost of approaching £100 billion and have its nuclear waste buried deep underground at a location still undecided.
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books
books
Publication:
April 2026
April 2026
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Photography monographs
Photography monographs
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books
books
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Ian Clegg: Manchester 1992
Ian Clegg: Manchester 1992
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Ian Clegg's archive of Manchester, 1992.
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Ian Clegg's archive of Manchester, 1992.
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Ian Clegg: Manchester 1992
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Ian Clegg's archive of Manchester, 1992.
Ian Clegg: Manchester 1992
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Ian Clegg's archive of Manchester, 1992.
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books
books
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April 2026
April 2026
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Photography monographs
Photography monographs
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books
books
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Mark McEvoy’s archive of the Notting Carnival, between 1984 and 1992.
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Mark McEvoy’s archive of the Notting Carnival, between 1984 and 1992.
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Mark McEvoy: Notting Hill Carnival 1987-1992
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Mark McEvoy’s archive of the Notting Carnival, between 1984 and 1992.
Mark McEvoy: Notting Hill Carnival 1987-1992
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Mark McEvoy’s archive of the Notting Carnival, between 1984 and 1992.
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books
books
Publication:
April 2026
April 2026
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Photography monographs
Photography monographs
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books
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$74.95
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Gabriele Basilico followed Aldo Rossi's work for almost twenty years, accompanying his rise to become a leading figure in international architecture (winning the Pritzker Prize in 1990). His photographs reveal their deep professional affinity: the two shared Milanese origins, degrees from the Politecnico, an interest in social issues and urban transformation, and even(...)
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Gabriele Basilico followed Aldo Rossi's work for almost twenty years, accompanying his rise to become a leading figure in international architecture (winning the Pritzker Prize in 1990). His photographs reveal their deep professional affinity: the two shared Milanese origins, degrees from the Politecnico, an interest in social issues and urban transformation, and even(...)
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Photography monographs
Photography monographs
Publication:
March 2026
March 2026
Title:
Gabriele Basilico fotografa Aldo Rossi
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Gabriele Basilico followed Aldo Rossi's work for almost twenty years, accompanying his rise to become a leading figure in international architecture (winning the Pritzker Prize in 1990). His photographs reveal their deep professional affinity: the two shared Milanese origins, degrees from the Politecnico, an interest in social issues and urban transformation, and even more importantly, the moral compass with which they explored the world around them. Growing up in a Milan of which the industrial civilisation was by then in its death throes, they grasped the opportunity to create a new language still mindful of tradition. The volume brings together Basilico's photographs of Rossi's architecture for the first time, and is enriched by contributions from Chiara Spangaro and Pier Paolo Tamburelli, project notes by Rossi, as well as the writings that they dedicated to each other.
Gabriele Basilico fotografa Aldo Rossi
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Gabriele Basilico followed Aldo Rossi's work for almost twenty years, accompanying his rise to become a leading figure in international architecture (winning the Pritzker Prize in 1990). His photographs reveal their deep professional affinity: the two shared Milanese origins, degrees from the Politecnico, an interest in social issues and urban transformation, and even more importantly, the moral compass with which they explored the world around them. Growing up in a Milan of which the industrial civilisation was by then in its death throes, they grasped the opportunity to create a new language still mindful of tradition. The volume brings together Basilico's photographs of Rossi's architecture for the first time, and is enriched by contributions from Chiara Spangaro and Pier Paolo Tamburelli, project notes by Rossi, as well as the writings that they dedicated to each other.
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books
books
Publication:
March 2026
March 2026
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Photography monographs
Photography monographs
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books
books
Title:
Mimi Plumb: Blazing light
Mimi Plumb: Blazing light
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"Blazing Light" is published to coincide with Mimi Plumb’s first solo museum exhibition of the same name (High Museum of Art, Atlanta, Georgia) and brings together three of her major bodies of work—The White Sky, Landfall and The Golden City, and The Reservoir—that collectively contemplate the anxieties of American life in the waning years of the Cold War and its(...)
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"Blazing Light" is published to coincide with Mimi Plumb’s first solo museum exhibition of the same name (High Museum of Art, Atlanta, Georgia) and brings together three of her major bodies of work—The White Sky, Landfall and The Golden City, and The Reservoir—that collectively contemplate the anxieties of American life in the waning years of the Cold War and its(...)
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Mimi Plumb: Blazing light
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"Blazing Light" is published to coincide with Mimi Plumb’s first solo museum exhibition of the same name (High Museum of Art, Atlanta, Georgia) and brings together three of her major bodies of work—The White Sky, Landfall and The Golden City, and The Reservoir—that collectively contemplate the anxieties of American life in the waning years of the Cold War and its aftermath. In the 1970s, Plumb began photographing as a teenager in the San Francisco suburb of Walnut Creek at a time marked by rapid development of the land coupled with global political and economic instability. Her early artistic life was defined by a burgeoning awareness of global warming, the AIDS epidemic, violent conflict in Latin America and the Middle East, and a looming threat of nuclear war. This atmosphere attuned Plumb to the evidence of such forces in the land, the built environment, and the ways people carry themselves and relate to one another—concerns that continue to abide in her work to this day.
Mimi Plumb: Blazing light
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Summary:
"Blazing Light" is published to coincide with Mimi Plumb’s first solo museum exhibition of the same name (High Museum of Art, Atlanta, Georgia) and brings together three of her major bodies of work—The White Sky, Landfall and The Golden City, and The Reservoir—that collectively contemplate the anxieties of American life in the waning years of the Cold War and its aftermath. In the 1970s, Plumb began photographing as a teenager in the San Francisco suburb of Walnut Creek at a time marked by rapid development of the land coupled with global political and economic instability. Her early artistic life was defined by a burgeoning awareness of global warming, the AIDS epidemic, violent conflict in Latin America and the Middle East, and a looming threat of nuclear war. This atmosphere attuned Plumb to the evidence of such forces in the land, the built environment, and the ways people carry themselves and relate to one another—concerns that continue to abide in her work to this day.
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books
books
Publication:
February 2026
February 2026
Subject:
Photography monographs
Photography monographs
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books
books
Title:
Touching Grass
Touching Grass
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Inspired by the idea of Shinrin-yoku, or "forest bathing," Neil Kehler’s photographs explore the darker and more entangled realities of the forest. Set in Mi’kma’ki (Nova Scotia), the work challenges romantic visions of landscape by focusing on rot, density, shadow, and the slow processes of transformation that shape the natural world. Branches, fungal growth, and dense(...)
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Inspired by the idea of Shinrin-yoku, or "forest bathing," Neil Kehler’s photographs explore the darker and more entangled realities of the forest. Set in Mi’kma’ki (Nova Scotia), the work challenges romantic visions of landscape by focusing on rot, density, shadow, and the slow processes of transformation that shape the natural world. Branches, fungal growth, and dense(...)
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Touching Grass
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Inspired by the idea of Shinrin-yoku, or "forest bathing," Neil Kehler’s photographs explore the darker and more entangled realities of the forest. Set in Mi’kma’ki (Nova Scotia), the work challenges romantic visions of landscape by focusing on rot, density, shadow, and the slow processes of transformation that shape the natural world. Branches, fungal growth, and dense undergrowth gather into spaces that resist easy clarity or distance. The viewer is drawn into a landscape that feels physical, immersive, and at times uneasy. Rather than presenting nature as calm spectacle or escape from contemporary life, Kehler’s photographs ask us to slow down, look closely, and reconsider our place within an environment that exists on its own terms.
Touching Grass
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Inspired by the idea of Shinrin-yoku, or "forest bathing," Neil Kehler’s photographs explore the darker and more entangled realities of the forest. Set in Mi’kma’ki (Nova Scotia), the work challenges romantic visions of landscape by focusing on rot, density, shadow, and the slow processes of transformation that shape the natural world. Branches, fungal growth, and dense undergrowth gather into spaces that resist easy clarity or distance. The viewer is drawn into a landscape that feels physical, immersive, and at times uneasy. Rather than presenting nature as calm spectacle or escape from contemporary life, Kehler’s photographs ask us to slow down, look closely, and reconsider our place within an environment that exists on its own terms.
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books
books
Publication:
May 2026
May 2026
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books
books
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In ''Tbilisi Interiors'', photographer Anna Tsitsishvili returns to the subject that defined her acclaimed debut, Tbilisi, with a renewed and intimate focus. This follow-up photobook shifts the lens inward—literally—inviting us beyond the façades of the Georgian capital to explore the layered and often surprising worlds within. Where her first book captured the(...)
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In ''Tbilisi Interiors'', photographer Anna Tsitsishvili returns to the subject that defined her acclaimed debut, Tbilisi, with a renewed and intimate focus. This follow-up photobook shifts the lens inward—literally—inviting us beyond the façades of the Georgian capital to explore the layered and often surprising worlds within. Where her first book captured the(...)
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Anna Tsitsishvili: Tbilisi interiors
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In ''Tbilisi Interiors'', photographer Anna Tsitsishvili returns to the subject that defined her acclaimed debut, Tbilisi, with a renewed and intimate focus. This follow-up photobook shifts the lens inward—literally—inviting us beyond the façades of the Georgian capital to explore the layered and often surprising worlds within. Where her first book captured the textured urban landscapes of Tbilisi’s streets and architecture, ''Tbilisi Interiors'' reveals the hidden lives behind closed doors: eclectic rooms filled with faded grandeur, modest apartments shaped by decades of personal history, and spaces that quietly tell stories of resilience, creativity, and cultural continuity. Through Tsitsishvili’s eye, interiors become portraits—of individuals, families, and the city itself. This collection is not merely about design or decor; it is an emotional and aesthetic mapping of Tbilisi’s soul. With sensitivity and an artist’s sense of composition, Tsitsishvili documents spaces both curated and chaotic, refined and improvised, capturing the poetry of everyday life in Georgia’s capital.Tbilisi Interiors is a love letter to a city in transition, seen from within.With sensitivity and an artist’s sense of composition, Tsitsishvili documents spaces both curated and chaotic, refined and improvised, capturing the poetry of everyday life in Georgia’s capital.
Anna Tsitsishvili: Tbilisi interiors
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In ''Tbilisi Interiors'', photographer Anna Tsitsishvili returns to the subject that defined her acclaimed debut, Tbilisi, with a renewed and intimate focus. This follow-up photobook shifts the lens inward—literally—inviting us beyond the façades of the Georgian capital to explore the layered and often surprising worlds within. Where her first book captured the textured urban landscapes of Tbilisi’s streets and architecture, ''Tbilisi Interiors'' reveals the hidden lives behind closed doors: eclectic rooms filled with faded grandeur, modest apartments shaped by decades of personal history, and spaces that quietly tell stories of resilience, creativity, and cultural continuity. Through Tsitsishvili’s eye, interiors become portraits—of individuals, families, and the city itself. This collection is not merely about design or decor; it is an emotional and aesthetic mapping of Tbilisi’s soul. With sensitivity and an artist’s sense of composition, Tsitsishvili documents spaces both curated and chaotic, refined and improvised, capturing the poetry of everyday life in Georgia’s capital.Tbilisi Interiors is a love letter to a city in transition, seen from within.With sensitivity and an artist’s sense of composition, Tsitsishvili documents spaces both curated and chaotic, refined and improvised, capturing the poetry of everyday life in Georgia’s capital.
Form:
books
books
Publication:
January 2026
January 2026
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
Qiu Yangzi: Rotation
Qiu Yangzi: Rotation
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''Rotation'' is an ongoing photographic series exploring how urban development reshapes our relationship with space—public, personal, and imagined. It invites viewers to reconsider orientation, perspective, and the fragility of boundaries between the built environment and the body. Referencing the disorientation of outer space—where gravity dissolves the idea of ‘up’(...)
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''Rotation'' is an ongoing photographic series exploring how urban development reshapes our relationship with space—public, personal, and imagined. It invites viewers to reconsider orientation, perspective, and the fragility of boundaries between the built environment and the body. Referencing the disorientation of outer space—where gravity dissolves the idea of ‘up’(...)
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Qiu Yangzi: Rotation
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$80.00
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''Rotation'' is an ongoing photographic series exploring how urban development reshapes our relationship with space—public, personal, and imagined. It invites viewers to reconsider orientation, perspective, and the fragility of boundaries between the built environment and the body. Referencing the disorientation of outer space—where gravity dissolves the idea of ‘up’ and ‘down’—the series plays with visual perspective and suspension. Many images are shot through glass, integrating reflections that allude to invisible connections between people and places. This use of light and surface evokes a sense of weightlessness and fluid identity. Since 2021, Rotation has evolved through collaborations with over 20 organizations across cities such as London, Berlin, Stockholm, and Warsaw. With more than 70 works created so far, the project continues to map spatial perception through image-making—blurring lines between architecture, motion, and memory.
Qiu Yangzi: Rotation
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$80.00
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''Rotation'' is an ongoing photographic series exploring how urban development reshapes our relationship with space—public, personal, and imagined. It invites viewers to reconsider orientation, perspective, and the fragility of boundaries between the built environment and the body. Referencing the disorientation of outer space—where gravity dissolves the idea of ‘up’ and ‘down’—the series plays with visual perspective and suspension. Many images are shot through glass, integrating reflections that allude to invisible connections between people and places. This use of light and surface evokes a sense of weightlessness and fluid identity. Since 2021, Rotation has evolved through collaborations with over 20 organizations across cities such as London, Berlin, Stockholm, and Warsaw. With more than 70 works created so far, the project continues to map spatial perception through image-making—blurring lines between architecture, motion, and memory.
Form:
books
books
Publication:
January 2026
January 2026
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
Tom Callemin: Double reality
Tom Callemin: Double reality
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Callemin explores what photography reveals—and what it conceals. His images question our habit of reading meaning into appearances, a process that has long shaped how we view identity. His meticulously staged photographs, using handmade sets, sculptures, and close collaborations with models, invite viewers to question what they see. In an era of AI, filters, and digital(...)
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Summary:
Callemin explores what photography reveals—and what it conceals. His images question our habit of reading meaning into appearances, a process that has long shaped how we view identity. His meticulously staged photographs, using handmade sets, sculptures, and close collaborations with models, invite viewers to question what they see. In an era of AI, filters, and digital(...)
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Tom Callemin: Double reality
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Callemin explores what photography reveals—and what it conceals. His images question our habit of reading meaning into appearances, a process that has long shaped how we view identity. His meticulously staged photographs, using handmade sets, sculptures, and close collaborations with models, invite viewers to question what they see. In an era of AI, filters, and digital manipulation, Callemin returns to the photo studio and uses physical materials like clay and plaster to explore how perception can be deceptive. He works closely with his subjects to examine how the body is seen—or hidden—by the camera. The result is a series that challenges how we see and what we believe.
Tom Callemin: Double reality
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Callemin explores what photography reveals—and what it conceals. His images question our habit of reading meaning into appearances, a process that has long shaped how we view identity. His meticulously staged photographs, using handmade sets, sculptures, and close collaborations with models, invite viewers to question what they see. In an era of AI, filters, and digital manipulation, Callemin returns to the photo studio and uses physical materials like clay and plaster to explore how perception can be deceptive. He works closely with his subjects to examine how the body is seen—or hidden—by the camera. The result is a series that challenges how we see and what we believe.
Form:
books
books
Publication:
September 2025
September 2025
Subject:
Photography monographs
Photography monographs
