When Sofia Coppola set out to make her ambitious third feature film, ...

When Sofia Coppola set out to make her ambitious third feature film, ...

OKTA-9 is a speculative photographic work on climate geoengineering. ...

Following the publication of the book *Monica*, which quickly sold ...

This is a journey invented by mind, with the images, people, and ...

Chavirés is a movement of overturning: a spiraling motion that ...

In *Juno*, Louise Honée transforms her immediate natural surroundings ...

At Night Gardens Grow moves through the backwoods of a place both ...

A radical portrait of youth climate activism across Europe, as a ...

 An intimate portrait of queer Muslim life in France, where faith and ...

Every year in December, in North and South Dakota, members of the ...

“I returned to Japan to photograph something close to my heart, ...

A Commonplace Book presents photographs by Raymond Meeks selected by ...

A comprehensive overview of the work of Eikoh Hosoe (1933-2024), this ...

A photobook born from the collaborative project between Lin Zhipeng ...

Football is deeply rooted in European culture, and football grounds ...

Almost Human presents a selection of three decades of photography by ...

The Marches is a photographic project by Terry A. Ratzlaff (US), made ...

When Sofia Coppola set out to make her ambitious third feature film, she was given unprecedented access to the Palace of Versailles, where she created a world and vision whose influence continues to reverberate twenty years later. Her interpretation of Marie Antoinette’s life at the palace saw Versailles filled with flower arrangements, macarons, and elephants, costumes by Milena Canonero and shoes by Manolo Blahnik, and an unforgettable cast including Kirsten Dunst, Jason Schwartzman, Marianne Faithfull, Rip Torn, Rose Byrne, and Molly Shannon.

There to document it all was Coppola’s long-time friend and collaborator Andrew Durham, who photographed daily life on and off the set all the way to the film’s premiere at Cannes. He captured actors between takes, in hair and make-up, and revelling somewhere between reality and the entrancing fiction of the film. This unmissable volume brings together an unprecedented collection of Durham’s photographs, alongside an oral history of the film’s making by Keaton Bell and a new in-conversation between Durham and Coppola, forming an unmissable deep-dive into the making and mythology of one of Coppola’s most spectacular productions.

Making Marie Antoinette . Andrew Durham

Important Flowers

Debossed linen hardcover with dustjacket
31 x 23.8 cm, 176 pages
July 2026

ISBN 978-1-917651-60-8

When Sofia Coppola set out to make her ambitious third feature film, she was given unprecedented access to the Palace of Versailles, where she created a world and vision whose influence continues to reverberate twenty years later. Her interpretation of Marie Antoinette’s life at the palace saw Versailles filled with flower arrangements, macarons, and elephants, costumes by Milena Canonero and shoes by Manolo Blahnik, and an unforgettable cast including Kirsten Dunst, Jason Schwartzman, Marianne Faithfull, Rip Torn, Rose Byrne, and Molly Shannon.

There to document it all was Coppola’s long-time friend and collaborator Andrew Durham, who photographed daily life on and off the set all the way to the film’s premiere at Cannes. He captured actors between takes, in hair and make-up, and revelling somewhere between reality and the entrancing fiction of the film. This unmissable volume brings together an unprecedented collection of Durham’s photographs, alongside an oral history of the film’s making by Keaton Bell and a new in-conversation between Durham and Coppola, forming an unmissable deep-dive into the making and mythology of one of Coppola’s most spectacular productions.

Making Marie Antoinette . Andrew Durham

Important Flowers

Debossed linen hardcover with dustjacket
31 x 23.8 cm, 176 pages
July 2026

ISBN 978-1-917651-60-8

OKTA-9 is a speculative photographic work on climate geoengineering. Among the many climate policies being considered, only one promises to reduce average temperatures on Earth within a few months. From carbon capture to machines designed to thin clouds, this project invites us to imagine the world after the deployment of these technologies with potentially unpredictable consequences.

Drawing on real patents and imagined devices for modifying the climate, OKTA-9 projects a reality at the frontier of possibility, where engineering becomes a strategy for survival. The images, somewhere between recognisable landscapes and distorted worlds, compose an unstable visual universe, traversed by doubt, anticipation and vertigo.

Far from limiting itself to a purely dystopian vision, OKTA-9 explores the poetic and dizzying side of this environmental irreversibility, while raising ethical implications and stimulating discussion about human responsibility in the face of climate manipulation.


OKTA - 9 . Luka Perkins-Petit

Palais books

Publication date : 2025/07/29
Dimensions 21 x 28 cm / 128 pages
ISBN 9782493123114

Following the publication of the book *Monica*, which quickly sold out, Éditions Lamaindonne is preparing to publish *Corpus noir*, a collection of images that represent a major theme in the work of Yves Trémorin. This body of work, exhibited in France and internationally, has been presented in series or included in group exhibitions, notably as part of the Noir Limite collective from 1986 to 1993.

Today, it seems important to highlight the rigorous interconnectedness of these series and the logical progression of their conception: from the early *Nus froissés* (Crumpled Nudes), those of *La Mère* (The Mother) and *La Chambre close* (The Closed Room), *Le Corps à corps* and *La Mort* with *Noir Limite*, *Catherine*, and finally *Les Ventres*, which brings the body of work full circle by returning to the archetypal figure of the generic mother. Each series, while highly coherent, presents a unique formal approach, tailored to the reflections and questions that fueled its creation.

The body—only the body in all its states, without preconceptions, without pathos, in all its physical presence in the world. The reception of these images has not always been easy; they have provoked a great deal of misunderstanding, and even censorship.



Texts by Héloïse Conésa and Caroline Benichou


Corpus noir  . Yves Trémorin

format 19.5 x 26 cm
144 pages
103 duotone photographs
hardcover
hot stamping
Dimensions     20 × 3 × 24 cm



Translated with DeepL.com (free version)

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.
Origini chase black and old looking style, using materials and colours that aspires to the universal—without place and without time: Gabrielle's eye has no time. Her photographs could have been taken sixty years ago or yesterday — that's her magic.
The black notebook symbolizes imagination, thought, writing, a place for ideas: the working notebook is black par excellence, always and across all cultures.

PÂLE . Gabrielle Duplantier (2026)

Photos by Gabrielle Duplantier
Editing by Ilias Georgiadis and Gabrielle Duplantier
Book design by Matilde Vittoria Laricchia
Handcrafted work by Eugenia Koval
Dimensions: 21x29,7 cm
Font Bodoni MT
Paper: Favini Biancoflash Ivory 85 gr
50 photos, b/w
Language: French and English
500 numbered copies

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.

CHAVIRÉS . Nicola Avanzinelli (2026)

photos and texts  by Nicola Avanzinelli
editing by Ilias Georgiadis and Nicola Avanzinelli
book design by Matilde Vittoria Laricchia
Handcrafted work by Eugenia Koval
60 pages in b/w and 4 colors, 50 photos
Font: Helvetica
Paper: Biancoflash Ivory 120 gr Favini, Burano 90 gr Favini, Acetate Canson
Rings binding
Red waxed paper envelope machine-sewn
Language: Italian and English
250 numbered copies

In *Juno*, Louise Honée transforms her immediate natural surroundings into an inner landscape. She explores the fleeting beauty of the passage of time by slowly capturing moments where emotion and landscape converge. Guided by the cyclical rhythm of the seasons, *Juno* becomes a reflection on memory, transience, and the sweet promise of new life. In this poetic contemplation, her feminine presence—as mother, lover, young woman, and woman all at once, just as the goddess Juno was—weaves through the work as a reminder that everything moves, fades, and begins anew.

JUNO . Louise Honée (2026)

Photos by Louise Honée
Edited by Ilias Georgiadis
Book design by Matilde Vittoria Laricchia
Handcrafted by Eugenia Koval
50 photos, 73 pages, b/w
Dimensions of closed book: 24.5 x 25.5 cm
Paper: Favini Biancoflash Marfil 85 g/m, Arjowiggins Curious Translucents Nude 90 g, Japanese Washi Real Yuzen paper screen-printed in four different patterns.
Handcrafted Japanese binding
250 numbered copies
Languages: French and English

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.



Pia-Paulina Guilmoth . At Night Gardens Grow

Details - Self cover / Uncoated jacket
ISNB - 978-1-913288-99-0
Size - 22x25cm
Pages - 112

A radical portrait of youth climate activism across Europe, as a generation steps onto the public stage to fight for its own future.

Silent Springs traces non-violent direct action as young climate activists organise across borders in the face of accelerating ecological collapse and tightening state repression. Moving between countries and movements, the project maps a shared urgency shaped by parallel crises and collective resistance.

Working in a rigorous, restrained documentary style edged with constant tension, Italian photographic duo Michele Borzoni and Rocco Rorandelli continue their critical investigative practice to reveal the discipline, ingenuity and choreography behind climate justice movements including Extinction Rebellion, Ende Gelände, Code Rouge, Last Generation and Soulèvements de la Terre. Against a backdrop of escalating climate catastrophe – alongside mounting institutional hostility and social apathy – Silent Springs documents these groups as they build road blockades, occupy campuses, enter coal mines and establish makeshift camps in defence of a shared horizon.

Presented as a contemporary manifesto, Borzoni and Rorandelli combine photographs tracing the stages of action, from planning and encampment through police confrontation and dispersal, with a glossary that breaks down the language, tactics and ethical frameworks of climate action to reveal how resistance is sustained and justified from within.

Borrowing its title from Rachel Carson’s seminal 1962 book, but reframed in the plural, Silent Springs captures the scale of mass mobilisation alongside the lived reality of those involved to explore the hopes, relationships and informal ecosystems that bind these young activists together. What emerges is a record of young people choosing to stand their ground with their bodies and their voices, insisting on a future that institutions persistently fail to safeguard.



Michele Borzoni & Rocco Rorandelli . Silent Springs

208pp, 127 colour and 81 monochrome plates, 210 x 295 mm,
Section-sewn OTA bound silkscreened softcover

Designed by Tommaso Tanini
Edited by Sarah Chaplin Espenon, Lewis Chaplin, Tommaso Tanini, Michele Borzoni & Rocco Rorandelli
Published by Loose Joints

LJ224, July 2026
ISBN 978-1-912719-77-8

 An intimate portrait of queer Muslim life in France, where faith and desire intersect within conditions of erasure.

Camille Farrah Lenain’s Made of Smokeless Fire weaves the personal and the political to explore the layered nature of LGBTQ+ identity as it unfolds in the shadow of dislocation, erasure, and marginalisation. Set in France, home to one of the largest Muslim populations in Europe, and marked by pervasive Islamophobia in which queer Muslim lives are often rendered invisible, Lenain counters erasure through a deeply attentive and relational photographic approach.

The work began as testimony and homage in the wake of the death of her uncle Farid who grew up gay in a Muslim Algerian family, opening outward from personal loss into a collective portrait of community. The individuals pictured navigate complex terrain, some distanced from family, others reinterpreting cultural inheritance, many forging networks of safety and affirmation, as they negotiate life within overlapping pressures of Islamophobia and queerphobia.

Gathering colour-heavy, dreamlike scenes that feel tender yet slightly dislocated, Lenain imbues her subjects in warm mediterranean light, revealing the layered nature of their identities. Grounded in trust rather than spectacle, the portraits flow between visibility and concealment, honouring lives lived in careful secrecy. Gestures and domestic fragments are drawn into a soft, cinematic register, attuned to touch, atmosphere and emotional proximity, where interior life takes precedence over explanation.

Made of Smokeless Fire unfolds as both memorial and act of repair, honouring lives that have remained unspoken or sidelined across generations – lush, radical and attentive all at the same time.



Camille Farrah Lenain . Made of Smokeless Fire

220 x 280 mm, 144 pages, 60 colour plates
Section-sewn OTA-bound softcover with reversed debossed flaps and multiple paper stocks

Text by Fatima Daas in English, French and Arabic
Edited by Sarah Chaplin Espenon with Camille Farrah Lenain
Cover artwork by Anousha Payne
Designed by Loose Joints Studio

LJ223, June 2026
ISBN 978-1-912719-76-1

Every year in December, in North and South Dakota, members of the Lakota (Sioux) tribes gather to undertake a 450 km horseback ride lasting 15 days, in temperatures that can drop to -20°C. They follow in the footsteps of Chief Big Foot’s tribe, whose 300 members – mainly women and children – were massacred at Wounded Knee on 29 December 1890.

Today, the Lakota people live on reservations in extremely precarious conditions, kept in a state of dependency by the US government. Confined to a barren stretch of land in the very heart of one of the world’s greatest powers, their standard of living is comparable to that of the Third World. Violence, drugs, alcohol and unemployment are rife; life expectancy for men on the reservations is 45 years. In 2024, some families still have no sanitation facilities or access to running water.

And this is exactly what the international media usually portray about Native American reservations in the United States: a caricature of poverty. Yet their resilience is immense, the power of their spirituality remains intact, and their pride is unbroken; a people who have endured the worst atrocities in history but who continue to live and move forward, united and strong.

This is what this series seeks to show through this horseback ride (Omaka Tokatakiya / Future Generations Ride), during which, for two weeks, the elders look after the young people, take them away from their everyday lives, teach them to ride horses and to be kind to one another, whilst also introducing them to the soul and history of their nation. As they say, it is not a mere ride but a spiritual journey.


Aux Ombres. Simon Vansteenwinckel

format 22.4 x 29.5 cm
224 pages
150 black-and-white photographs
hardback
hot-stamped

 

NB: A portion of the royalties from this book will go directly to the Lakota people to help fund future rides. If you would also like to contribute financially (even small amounts), you can make a donation via PayPal to: jacquesfrel@hotmail.com (please specify the reference “In the Shadows – donation for treks” and select a “friend-to-friend” transfer to avoid fees).

 

“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

 
Kodo . Martin Bogren

 

23 x 31 cm
144 pages
100 photographs
in colour and duotone
hardback with Swiss binding
hot-stamped