Former public defender Sara Bennett has spent the past thirteen years ...

For her new book, Tavakolian has trawled through her archives not to ...

One night, as I stood back and watched the spectacle of a Saturday ...

Twenty-five years ago, photographer Viviane Sassen and artist ...

This book gathers a decade (and a bit) of Peter Rauch’s practice into ...

Cruising Diaries is both a celebration and a provocation: a portrait ...

Dead Letter Room is a transhistorical correspondence with the late ...

A cat wanders, perches, and lounges in various spaces around a humble ...

Afghanistanism is Joël van Houdt’s long-term photographic work on ...

A retrospective of the photographic work of the woman considered to ...

The life of Joana Biarnés is that of a woman who refused to accept ...

“I’m interested in the moment when an image becomes difficult to ...

While attending Penn State University in the early 1960s, Henry ...

Both testimony and elegy, across the street from Heaven is a ...

Set entirely within his father's house, Andrew D. McClees Avalanche ...

I have been obsessed with Kyoto over the years because of the dense ...

Former public defender Sara Bennett has spent the past thirteen years photographing women convicted of homicide and sentenced to life in prison in New York State. In her long-term project Looking Inside. Women with Life Sentences, Bennett traces their lives across time and space: inside prison walls, in their post-incarceration bedrooms, and as they reenter the outside world after decades behind bars. Through intimate portraits and personal ephemera—Polaroids, letters, drawings, and handwritten notes—Bennett creates a striking reminder of the complexity and humanity of women who are, and have always been, far more than the single act that sent them to prison for life. The publication is complemented by a powerful afterword by Judith Clark, who served thirty-eight years in prison and is now director of the Survivors Justice Project.

Sara Bennett . Looking Inside Women with Life Sentences

Paris Photo Aperture Shortlist

Softcover with inner and outer cover, laser die-cutting, and shortened pages
21,6 × 27,4 cm
256 pages
191 color illustrations
English
ISBN 978-3-96900-238-4
2026
Artists: Sara Bennett
Texts: Sara Bennett, Judith Clark
Design: Teun van der Heijden, Heijdens Karwe

For her new book, Tavakolian has trawled through her archives not to pick her best work, but instead to dig up what she refers to as her eyesore photos from the early days of her career, when, at the age of sixteen, she had started to work as a photo journalist in Tehran. »From the revisiting of these ›eyesore‹ images, against the backdrop of again terrible events, what emerges is a clear rite of passage from the hope and dreams of youth, towards the disappointment of reality and the conclusion that there is only one real choice in life. To be drawn to darkness, or to choose to fight the darkness and go towards the light.« (Newsha Tavakolian)

Newsha Tavakolian . And They Laughed at Me

Paris Photo Aperture Shortlist



Hardcover with dust jacket poster
19 x 24,5 cm
240 pages
144 color illustrations
English
ISBN 978-3-96900-213-1
2026
Texts:
Newsha Tavakolian
Design:
Kehrer Design (Laura Pecoroni)

One night, as I stood back and watched the spectacle of a Saturday night celebration at George Brown’s, I remember thinking that that these were people who knew how to play hard and have a good time. They were survivors of the two world wars and the Great Depression. They knew what difficult times were, but when it was time to have a good time they had one and partied as if there were no tomorrow, or yesterday for that matter…I thought that maybe they were able to enjoy life this way because they lived through times where it actually did seem as if there would be no tomorrow. — John Banasiak

John Banasiak was born in 1950 and grew up in Harvey, IL, just south of Chicago, in a community of first- and second-generation Eastern European families. His father was a die setter at the nearby Maremont Muffler factory, and John expected to do the same. Encouraged by a teacher to consider college, he applied to the School of the Art Institute of Chicago his senior year. When his father died after graduation, John assumed his father’s job - and his locker - at the muffler factory.

In July, learning that he had been offered a full scholarship to the School of the Art Institute of Chicago, “The air suddenly seemed to have…a clarity that magically opened a distance that I previously couldn’t see,” he remembers. John earned his BFA and MFA at the school, working as a night watchman in the museum to pay for his supplies. In 1971, consumed by his photography classes, he began working weekends as a bartender at George Brown’s Bar. It was a familiar place, filled with people he knew, and he began shooting its patrons and looking for the “decisive moments” that told a story. The Polish, Ukrainian, and Italian families that lived nearby gathered there to socialize, celebrate, dance, and tell stories.

This volume contains 45 black and white images from the time Banasiak spent behind the bar, taking photos on a collapsible Kodak Retina and looking for “someone wrapped in an atmospheric magic.” His photographs and writing capture a time of close friendships, modest living, and unspoken memories of the painful years of WWII, just 26 years past.

Banasiak’s photographs are in the permanent collections of the Walker Art Center, the Tweed Museum of Art, the Kansas City Art Museum, the International Center of Photography, Light Work, and the South Dakota Art Museum.

JOHN BANASIAK . George Brown's Bar

ISBN: 978-1-59005-620-2
Hardcover, cloth, 9 x 12 inches, 80 pages, 47 duotone plates. 

Twenty-five years ago, photographer Viviane Sassen and artist Emmeline de Mooij collaborated on a series of photos. Now, they return to that creative dialogue to create Frau Holle: a book that traces female transformation across three life phases, interweaving the original images with new work. Through play, costume, and mythological inquiry, they explore motherhood, menopause, and desire as invisible forces. The work is a meditation on aging, creative power, and pleasure. And above all, a celebration of friendship and a collaborative exploration of how women reclaim visibility and joy through transformation, refusal of erasure, and unapologetic presence.


Viviane Sassen & Emmeline Mooij . Frau Holle

Kominek Books
Softcover
144 pages,  165 x 215 mm
2026

These photographs were taken by Bernard Plossu between 1987 and 1991 in Almería, Spain. They are part of the series “The Dust Gardens of Almería,” a work deeply marked by the photographer's lifelong fascination with desert landscapes.

This obsession began very early. His father, a great traveler and mountain lover, took him to the Sahara Desert when Bernard was just thirteen years old. There, with a small Kodak camera, he took his first photographs and discovered, forever, his attraction to arid and silent spaces.

Years later, during his travels through Mexico and the American West, Plossu developed one of the most remarkable phases of his photographic work: the dust gardens. It was then that an American friend told him about a place in Europe that retained the same atmosphere as the American West: the Almería desert.

From 1987 onward, Bernard Plossu explored the Almería desert landscapes for more than a decade. Those arid lands somehow extended the memory of the Sahara and the American West. In France, he had already met the photographer Françoise Nuñez, the daughter of a family originally from Almería. Together they traveled to southern Spain, and that connection with the Almería region eventually became a love story and a shared creative endeavor.

From those trips were born his "Almería years," an essential period in Plossu's work, where the Almería desert ceased to be merely a landscape and became memory, silence, and visual poetry.

"Paquita's Landscapes" are a fragment of "The Dusty Landscapes of Almería." Landscapes that Bernard created during his time in Almería. The copies of this work were made by Françoise Nuñez and have been kept by Bernard for 30 years.

Paquita's Landscapes . Bernard Plossu

Limited edition of 500 copies
Size: 165 x 220 mm
64 pages
29 photographs
Design by underbau
Prepress by Eduardo Nave
Tritone offset printing by Artes Gráficas Palermo.

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This book gathers a decade (and a bit) of Peter Rauch’s practice into one sequence – photographs, small exhibitions, objects that became images and images that started behaving like objects. It pulls threads from the Objects series (Some Objects and More Objects) and folds in later projects where the camera slips into installation and back again. It’s not a catalogue but a re-cut of sorts. Peter’s work sits between thinking and making – the architecture of bones; photography in the hands; and theory in the air. He sees ‘objects’ where most people see none: mundane debris, modernist fragments, surfaces and seams; the way a small thing can tilt an entire space; the slight unease when attention locks onto what we usually ignore.



Peter Rauch . 2, 3


Andreja Rauch; Peter Rauch; Žiga Testen
Publisher     Perimeter Editions
ISBN     9781922545503
176 p, ills colour & bw, 20 x 28 cm, pb, English

Cruising Diaries is both a celebration and a provocation: a portrait of queer pleasure at its most raw, secret, and uncontainable. This photobook/diary explores the elusive visual language of cruising – a queer practice of anonymous desire played out in public spaces, where bodies negotiate consent through gaze, gesture, and instinct. Franco Dupuy captures what is almost impossible to show: fleeting encounters, unspoken codes, and moments that vanish as quickly as they appear. Set in places that shift after dark – parks, train stations, beaches – the book documents a world that resists the camera, yet insists on being seen.

Cruising Diaries . Franco Dupuy

Author     Franco Dupuy
Publisher     Set Margins'
ISBN     9789083499352
256 p, ills colour & bw, 10 x 20 cm, pb, English

Dead Letter Room is a transhistorical correspondence with the late Japanese poet Hara Tamiki (1905–1951). Known for his slender output of prose during the pre-WWII and immediate postwar periods, Hara is most popularly admired 'Summer Flowers', a short story about the atomic bombing of Hiroshima, which he survived. Hara becomes both a historical figure and a collaborator, as the work explores how violence, memory, and loss are shaped through historical archives. Presented as a collection of thirteen imagined letters written between Allie Tsubota (US) and Hara, the correspondence elaborates on the legacy of atomic disaster, while weaving a pliable, potentially fictive narrative that crosses historical time. Including images from the United States military archive of Occupied Japan in 1945, which Tsubota treats as a political instrument, and photographs taken by Tsubota in Hiroshima and Tokyo.

Allie Tsubota . Dead Letter Room — A transhistorical correspondence with Hara Tamiki 

Publisher     The Eriskay Connection
ISBN     9789493363397
240 p, ills colour, 17 x 30 cm, hb, Japanese/English

A cat wanders, perches, and lounges in various spaces around a humble Tokyo apartment. It is perfectly tranquil in its surroundings, simply going about its daily life. In one image, the cat lays serenely amidst pot plants on the balcony, squinting in morning sunlight; in others, it balances precariously on the edge of the bath, snuggles beneath a sleeping bag, plays in a cardboard box, or hides beneath an open umbrella. Occasionally, evidence of the cat’s fellow inhabitant in the apartment – a human, who also happens to be the internationally renowned Japanese photographer Takashi Homma – creeps into the frame: a knee, a foot, a shock of blonde hair, glasses, a partial face.

Takashi Homma . This Is Not My Cat 

Publisher     Perimeter Editions
ISBN     9781922545510
80 p, ills colour, 11 x 18 cm, pb, English

Afghanistanism is Joël van Houdt’s long-term photographic work on Afghanistan, bringing together images made between 2010 and 2022. Rather than repeating familiar media clichés, the book reflects on the complexities of looking at Afghanistan as an outsider and on the limits of foreign reportage itself. Through photographs made over more than a decade, van Houdt traces the consequences of war and foreign intervention, while also paying attention to the quieter, more surreal and deeply human realities of everyday life.

 

Many of the photographs in Afghanistanism were made away from editorial assignments, during long walks through Kabul and other cities. The result is a body of work that moves beyond headline-driven coverage and makes room for resilience, humour, uncertainty and generosity alongside violence and political upheaval. Designed by Sybren Kuiper and self-published, the book is shaped by van Houdt’s years of living and working in the country, including a five-year period based in Kabul.

 

Joël van Houdt is a Dutch independent photojournalist based in London. He studied Photography and Design in Bradford and graduated from the Royal Academy of Art in The Hague in 2003. A six-month project in Afghanistan in 2010 turned into a five-year stay, and Afghanistan has remained one of his long-term concerns alongside migration and the former Soviet Union. His work has appeared in publications including The New York Times Magazine, The Wall Street Journal, Der Spiegel, Stern and FT Weekend Magazine.

AFGHANISTANISM . Joël van Houdt


Published in an edition of 1,000 copies.
Joël van Houdt – Afghanistanism
Publisher: Joël van Houdt, 2026
Softcover, 276 pages, English
Size: 34×23.2cm

A retrospective of the photographic work of the woman considered to be the first female photojournalist from the Basque Country—and one of the first in all of Spain.

Through her lens, she captured everything from the darkest periods of ETA-related violence in the Basque Country and the attacks by the Shining Path in Peru, to the international cultural scene, including portraits of musicians and artists.

Offering a bold, nuanced photographic perspective on reality and society, this book is, above all, the culmination of the life and work of an intrepid, courageous, and honest woman. She succeeded in transforming her passion into a profession, her personal quest into a constant affirmation, her vital impulses into a working method, and her life into a fruitful journey.

Isabel Azkarate

Isabel Azkarate
244 pages
24 x 28 cm
Hardcover
9788410048003

The life of Joana Biarnés is that of a woman who refused to accept the limits imposed upon her by the era in which she lived. During the dictatorship—a time when many women were relegated to an invisible role—she picked up a camera and forged a path that led her to become the first female photographer hired by a media outlet in Spain.

Through talent and determination, she captured portraits of figures such as Orson Welles and the Beatles, all while carving out an exceptional career in a world governed by inertia and male privilege.

Yet, her story is also one of an unjust silence: after eight years, she left photojournalism, reinvented herself far from the spotlight, and faded into obscurity. It was not until decades later that—unexpectedly—she finally received the recognition she had always deserved.

Joana Biarnés. It Won’t Be Easy

Jordi Rovira

Text Spanish
596 pages
14 x 21 cm
Softcover
9791387881467