IN THE WORLD of independent art publishing, few names carry as much weight as VOID—the Athens-based publisher that has spent nearly a decade redefining what a photography book can be. Founded in 2016 by photographer Myrto Steirou and designer João Linneu, VOID operates on a simple but radical principle: “We decided to make VOID as something that we would like to work for ourselves. And treat artists as we’d like to be treated.”
From the beginning, VOID rejected the commercial formulas that dominate art publishing. Instead of chasing trends, Steirou and Linneu focus on projects that excite them—even if they defy market logic. “We have said ‘no’ many times to projects that seemed commercially promising… because we simply didn’t love it enough,” Steirou admits. This uncompromising approach has led to collaborations with artists like Cammie Toloui, whose long-rejected project “5 Dollars for 3 Minutes” finally found a home at VOID, and Dimitra Dede, whose debut zine sold out on its opening night and later evolved into the acclaimed photobook “Mayflies.”
What sets VOID apart is its refusal to follow a template. Some of their books are lavish hardcovers; others are experimental zines printed on materials like butcher paper or newspaper. “We printed with silkscreen, offset, photocopy, Riso, letterpress, and so on,” Steirou explains. The goal is never just to reproduce images—it’s to create an object that enhances the work. “We aim that every book we do has its own identity, with tailor-made solutions,” she says.
Like many indie publishers, VOID faces mounting challenges—skyrocketing printing costs, brutal shipping fees, and a market increasingly flooded with digital content. Yet Steirou remains defiant. “We don’t feel threatened by the digital revolution,” she says. “We feel threatened by inflation and logistics”. For VOID, the physical book is irreplaceable—a tactile experience that demands engagement. “Your finger takes part in the reading process,” she notes. “A book that was read is a pre-loved book. But you would not say that a book read on a tablet is a pre-loved book.”
Beyond publishing, VOID fosters new talent through its “Impromptu” workshops, where emerging photographers learn to transform their work into books. “It is a workshop I would love to have done when I was trying my luck as a photographer,” Steirou reflects. This commitment to mentorship has helped launch careers, like that of Joselito Verschaeve, whose stunning debut “If I call stones blue it is because blue is the precise word” was discovered while he was interning at VOID.
As the photography book industry evolves, VOID remains committed to its core mission: amplifying bold, unconventional work. “There’s a level of naivety and energy very peculiar to those doing books for the first time,” Steirou says. “This energy is priceless.” Whether it’s debuting unknown artists or pushing established ones into new territory, VOID proves that the most exciting photography books aren’t made by algorithms—they’re made by people who still believe in the power of ink, paper, and uncompromising vision.
VOID’s carefully curated photobook catalog is highlighted by two standout titles from Australian photographers: Death is not here by Wouter Van de Voorde and The Killing Sink by Matt Dunne. These works embody the raw intensity and innovation VOID champions, reflecting unique perspectives within Australian contemporary photography. Both books contribute to VOID’s mission of pushing boundaries and fostering thought-provoking narratives. Additionally, Bleak House, a sold-out box set curated by Brad Feuerhelm, includes 12 zines from international talents, including Australian photographers Katrin Koenning, Hoda Afshar, and Wouter Van de Voorde. This collection further emphasizes VOID’s commitment to diverse, global voices in contemporary photography.
Myrto Steirou: We decided to make VOID as something that we would like to work for ourselves. And treat artists as we’d like to be treated. And this is pretty much how we still approach it.
STAVROS MESSINIS: VOID is renowned for its independent spirit. Could you share the story behind the founding of VOID and what motivated you and João Linneu to establish an art-house publisher focused on photography books?
MYRTO STEIROU: João and I took the same master class in Paris, back in 2015. It was a moment we both were developing our own photographic projects, and looking for ways to put them out in the world. In Athens, I was already planning the opening of an art space and studio with another photographer friend of mine. The idea would be to hold workshops and exhibit young Greek artists. João, who has a background as a designer, got very much interested in taking part in the project and joined us.
We decided to make VOID as something that we would like to work for ourselves. And treat artists as we’d like to be treated. And this is pretty much how we still approach it. Even though, we don’t have an exhibition space anymore, and we are solely a publisher, our motivation is driven by treating artists fairly, and promoting the kind of art we are passionate about.
we get involved in every aspect of the business and of the book-making. We are restless and look after every detail of things we do, from the stamp we apply to packaging, to sequencing images, workshops, and our business model.
In an increasingly crowded landscape of photography publishing, what sets VOID apart? How do you ensure the preservation of your distinct identity while remaining aligned with your core mission?
I believe there’s a mix of things that makes VOID distinctive. We are very passionate and dedicated, to start from. Both João and I make sure we get involved in every aspect of the business and of the book-making. We are restless and look after every detail of things we do, from the stamp we apply to packaging, to sequencing images, workshops, and our business model. Everything has our fingerprints. And we believe this can be felt and seen in the things we sign. Both by the audience and the artists that we collaborate with.
Your commitment to self-funding and investing in bold, market-defying projects is impressive. What criteria guide your selection process for these projects, and which factors are most influential in your decision-making?
First and foremost, we should love the project. We have said “no” many times to projects that seemed commercially promising, or to projects that had been granted public funding because we simply didn’t love it enough.
We also will just embark on a project after we feel that the artist has trust in us. That they believe we can bring something different to their projects.
With their support, we feel confident in bringing to the table concepts and insights that might add to the original project and making the book a new entity. A thing on its own.
Finally, we try as hard to avoid formulas. We always start a project fresh, without any template or cards on our sleeves. We aim that every book we do has its own identity, with their tailor-made solutions. But still, in a fashion that they still fit in the VOID family.
You’ve mentioned the use of experimental materials in your publications. Could you elaborate on the materials you choose and how they contribute to the overall aesthetic and impact of the final product?
We have tried and used everything: newspaper paper, butcher paper, paper towel. We printed with silkscreen, offset, photocopy, Riso, letterpress, and so on. Our publications can be a solid big hardcover book, a newspaper series, a zine, or what we feel will be the best embodiment for a project. This said, we can have a feeling of which projects claim to be more or less experimental. And we don’t feel like we are betraying our principles if we do a very straightforward hardcover book, if that’s what a project requires, it is what we will do.
Producing books that challenge commercial norms presents unique challenges. What obstacles have you encountered when producing non-mainstream publications, and how do you navigate these without compromising your artistic vision?
When you balance all the book costs, and if, on top of that, you still want to pay the artist (and not the other way around), you realize that art book is a tricky market. But if we make books that people can see their unique value, they will sell, and you will be able to offer the artists their deserved fee.
The increase in the cost of production, and in special, in the cost of shipping is a big problem for every publisher.
Regarding the cost of production: at Void, we design our own books, so we make the final decisions about their specifications on our end. We can do some tweaks to a design project in order to fit a budget. And we also learned what we can, or we can’t change in order for a book to be affordable, but not “cheap”.
The shipping costs are an entirely different monster, and much more difficult to tackle. But we work with Idea Books to distribute our titles internationally, and this helps people buy them locally. Unfortunately, bookstores that stock art books are not in every town, so online sales are still a big chunk of our sales. For that, we can only try to find the most affordable couriers in Greece. However, the most affordable couriers are never affordable enough for us and the customers.
VOID is dedicated to publishing debut works by emerging photographers alongside established artists. How do you identify and discover new talent, and what qualities do you look for in their work?
We try to always pay attention to what is going on, and we approach artists when we feel strongly about something we see around. However, we are mostly approached by artists (both emerging and established). We have on our site a section where we explain how to submit work to us. And we found many artists this way. Sometimes, we found nice books in portfolio reviews, at fairs, and in workshops we did.
It is getting more and more difficult to put into words what we are looking for. It changes with time. And, most of the time, we are looking to be excited and surprised by projects we didn’t think could ever exist. Cammie Toloui’s ‘5 Dollars for 3 Minutes’ is a brilliant example of that. I can still remember seeing it as an email proposal for the first time. We could only think “we have to do this book!”.
most of the time, we are looking to be excited and surprised by projects we didn’t think could ever exist. Cammie Toloui’s ‘5 Dollars for 3 Minutes’ is a brilliant example.
Could you share an example of a debut book from an emerging artist that you feel encapsulates VOID’s mission and reflects your approach to fostering new voices in photography?
The just mentioned ‘5 Dollars for 3 Minutes’ by Cammie Toloui is a brilliant example. We love that book, and we feel very proud to have published it, when it took Cammie decades to find a publisher who would.
‘Sleep Creek’ by Dylan Hausthor and Pia Paulina Guilmoth is another good example of a book that defined both artist’s careers. Today, they have published amazing books as solo artists by great publishers as Stanley/Barker and TBW.
‘If I call stones blue it is because blue is the precise word’ by Joselito Verschaeve is very special to us. Joselito was an intern at VOID when we found out about this amazing talent that was sharing the roof with us.
‘Mayflies’ by Dimitra Dede. I met Dimitra in the same masterclass that I met João, and I loved her work. We invited her to make a zine for the opening of VOID back in 2016. The zine sold out at the opening night. We kept talking to her, and when she felt ready, we did ‘Mayflies’, that is, to date, a sold-out Void’s favourite.
I could keep listing books by Wouter van der Voorde, Vic Bakin, Tony Docekal, Kata Geibl, and so on.
As part of the Futures Photography network, what role do you see emerging photographers playing in the future of the photography book industry? How do you anticipate their influence shaping the field?
We started VOID trying to do things for ourselves and inviting friends or people around us who were in the baby steps of their careers. It proved not only that works but that we can do exciting things with inexperienced people. There’s a level of naivety and energy very peculiar to those doing books for the first time. This energy is priceless and a great fuel to amazing projects and books.
In your view, what distinguishes a photography book from other forms of visual storytelling? How does the physical book format enhance the narrative or artistic expression in a way that digital media cannot?
A book is all about materiality. The way you relate to the object (even for novels) is very different from the way that you relate to a screen (a tablet or computer). It is a more intimate relationship. Your finger takes part in the reading process.
You can say a book that was read is a pre-loved book. But you would not say that a book read on a tablet is a pre-loved book. It is a book you read. And that’s it.
Given the rise of digital media, what do you see as the biggest challenges facing photography books today? How do you envision the role of physical books evolving in the coming years?
We don’t feel threatened by the digital revolution. We feel threatened by inflation and logistics being more and more complicated due to costs and geopolitics. In particular, photography books, whose tactility and materiality have a transformative power over the subject, that screens don’t.
VOID also runs the “Impromptu” workshops for emerging photographers. Could you explain the objectives of these workshops and what you hope participants will gain from the experience?
Impromptu is an in-depth bookmaking workshop to enable emerging talents with the knowledge to allow them independence and know-how to bring their work into book form. We take a project from files to a final dummy, with all-inclusive: the sequence, design, and decorative elements as covers, endpapers, typography, etc. It is an insight into our process. And we touch on aspects such as market, artist agreements, paper, printing, distribution, and so on.
As I said already: we do everything at VOID as we would like to do for ourselves. I believe that Impromptu is a workshop I would love to have done when I was trying my luck as a photographer.
How integral is community engagement and collaboration in your approach to publishing and book production? Can you share examples of how these elements play a role in your work at VOID?
The photography community is a small (but vivid) ecosystem. Symbiosis makes it thrive. We are very grateful for every support from our audience. And we always try to make this very clear. In every package we send, in every book we sell, we try to make it clear that this support is vital. Is the bloodline of an independent publishing house.
We like to play with long-term partnerships. We are not printing each book in a different print-house. We like to keep a few, trustworthy partners. We learn their way of doing it, as much as they learn ours. And in the long run, allows us to get their trust to experiment and do things they would not in a “one night stand”.
This applies also to artists, distributors, stores, and people we collaborate with.
READING THROUGH MYRTO’s RESPONSES, I’m struck by how consistently VOID embodies its stated values. The same attention to detail she describes in their bookmaking process shines through in her thoughtful answers, and the respect they show to their artists is evident in how she speaks about collaboration.
I still remember the first time I held a VOID book—the weight of it, the texture of the paper, the way every design choice felt deliberate. It wasn’t just a photobook; it was an experience. That moment stayed with me long before Myrto Steirou became my mentor during my Master of Arts in Photography at the Photography Studies College.
When I began developing my own project, Iland, as part of my studies, it was Myrto and João Linneu who pushed me to think beyond convention. Their feedback wasn’t just technical—it was philosophical. “What does this book want to be?” they’d ask, challenging me to consider the object itself as part of the storytelling. That’s the essence of VOID: a publisher that doesn’t just produce books but redefines what they can be.
Working with Myrto on my photobook, I saw first hand the philosophy behind her words. When she told me, “Every book we do has its own identity,” it wasn’t just publishing rhetoric—it was an invitation to think more deeply about my work. The result? Iland was shortlisted for the 2022 Australian Photobook Award, won second prize in the Digital Student Pre-press Award category, and the large-scale installation Iland—The Journey was shortlisted for the prestigious 2024 Bowness Photography Prize, and exhibited at the Museum of Australian Photography.
Now, encountering these principles so clearly articulated, I recognise that they represent more than just VOID’s approach—they offer a vital alternative vision for photography publishing, one where artistic integrity always comes before commercial concerns.
For photographers, designers, and book lovers alike, this exchange is both an inspiration and a reality check. In a world of algorithm-driven content and disposable images, VOID reminds us of the enduring power of physical objects crafted with care, conviction, and what Myrto simply calls “passion and dedication.”
Images: Courtesy of VOID
Website: void.photo
Location: Zaimi 31-33, Athens, Greece
Instagram: @photo_void
Facebook: VOID
