IN AN ERA dominated by digital imagery, photobooks remain a crucial medium for photographers to present their work in a structured, immersive, and lasting form. Photobooks are not merely collections of images; they offer a carefully curated narrative experience, allowing photographers to articulate their vision beyond the constraints of a single image or exhibition. As British photographer and photobook advocate Martin Parr states, “A photobook is the ultimate expression of the photographer’s voice” (Parr & Badger 2004). From self-publishing movements to major institutional recognition, photobooks continue to shape contemporary photography in profound ways.
The photobook is often seen as a standalone artistic work rather than a mere compilation of photographs. Unlike gallery exhibitions, which are limited by time and space, a photobook offers a permanent, portable, and intimate engagement with the artist’s vision. This conceptualisation aligns with the idea that photography is not only about individual images but about sequencing, rhythm, and narrative.
The inception of photobooks dates back to the mid-19th century, marking a significant milestone in the intersection of photography and publishing. Anna Atkins is credited with creating the first photobook, Photographs of British Algae: Cyanotype Impressions (1843–1853), which utilized the cyanotype process to document marine specimens for scientific study. Shortly thereafter, William Henry Fox Talbot published The Pencil of Nature (1844–1846), the first commercially published book illustrated with photographs, showcasing the potential of photography as both an artistic and documentary medium.
Moreover, photobooks offer a distinctive space for photographers to explore experimental and deeply personal storytelling that often isn’t possible within the confines of traditional gallery exhibitions. Artists like Rinko Kawauchi and Sophie Calle exemplify this through their nuanced and emotionally resonant works. In Illuminance (2011), Kawauchi assembles images taken over 15 years, creating a poetic sequence that captures fleeting moments of everyday life with a focus on light, subtle color, and quiet symbolism. Her photobook becomes a meditative journey, inviting viewers to pause and reflect. Similarly, Sophie Calle’s Exquisite Pain (2004) transforms the book format into a cathartic narrative device. Structured around a countdown to and reflection on a personal heartbreak, the work gradually shifts focus from Calle’s own pain to the shared experiences of others, blurring the boundaries between autobiography and collective memory. Both artists use the photobook not just as a container for images, but as a storytelling medium where text and photographs intertwine to create layered, emotionally complex experiences.
In recent years, several photobooks have exemplified the evolving role of this medium in contemporary photography:
Sons of the Living by Bryan Schutmaat
A monumental work that captures the American West with a poetic and haunting quality, reflecting on themes of isolation and identity. Bryan Schutmaat’s Sons of the Living (2024) captures the stark beauty and underlying desolation of desert landscapes and the lives entwined within them. Photographed over a decade, the series delves into themes of endurance amid environmental decline, economic hardship, and societal neglect, offering a contemporary reflection on the iconic “open road” narrative. Schutmaat’s use of a 4×5 view camera and black-and-white imagery evokes the work of historical photographers like Timothy O’Sullivan and Robert Adams, yet presents a modern perspective on the region’s challenges. The photobook’s design—featuring 188 pages with 90 tritone plates on uncoated paper—complements its contemplative tone, inviting readers to engage deeply with the visual narrative.
Auto-Photo: A Life in Portraits by Perimeter Editions and the Centre for Contemporary Photography
An exploration of the intersection between photography and the automobile, offering a unique perspective on portraiture and mobility. The photobooks co-published by Perimeter Editions and the Centre for Contemporary Photography, chronicling the life and work of Alan Adler—arguably Australia’s most photographed individual and one of the longest-serving photobooth technicians globally. Over five decades, Adler maintained photobooths across Melbourne, routinely capturing test images to ensure their functionality. This practice resulted in an extensive archive of self-portraits, reflecting the passage of time through consistent framing and lighting. The book features hundreds of these images, accompanied by essays from Patrick Pound, Catlin Langford, and Daniel Boetker-Smith, as well as an interview with Adler himself. Designed as a 256-page, section-sewn softcover, the publication offers a unique perspective on portraiture and the intersection of photography and daily life.
perimeter.com | Centre for Contemporary Photography
Afropean: A Journal by Johny Pitts
A visual and narrative journey through the African diaspora in Europe, blending photography and storytelling to explore identity and belonging. Published by MÖREL Books, this edition brings together two decades of Pitts’s photography, personal notes, and collected ephemera, offering a rich visual and narrative exploration of Black European identity. Through images captured across cities like Paris, Berlin, Lisbon, and Stockholm, Pitts documents the lives and cultures of Black Europeans, weaving in elements such as handwritten itineraries, diary entries, and travel memorabilia to create an immersive experience. This photobook serves as both an anthropological study and a personal journal, reflecting on themes of identity, belonging, and the diverse experiences of the African diaspora in Europe.
Gertrud by Maja Daniels
An exploration of the life and work of Swedish artist Gertrud Sandqvist, offering a poignant look at creativity and aging. The photobook delves into the historical and personal narratives surrounding the 1667 witch trials in Älvdalen, Sweden. The work centres on Gertrud Svensdotter, a 12-year-old girl accused of walking on water, an event that ignited a period of mass hysteria and persecution known as ‘Det stora oväsendet’ (the great noise), resulting in the execution of over 300 individuals. Drawing upon her own familial connections to Älvdalen, Daniels employs photography as a medium to reconstruct and reimagine these events, intertwining archival materials with contemporary imagery to explore themes of memory, myth, and identity. The book, published by VOID in 2024, comprises 168 pages and is presented in a cloth quarterbound, foil-stamped hardcover format, limited to an edition of 900 copies
Narrative and Sequencing in Photobooks
One of the defining characteristics of a photobook is the way images are sequenced to create meaning. Unlike digital media, where images are often viewed in isolation or shuffled by algorithms, photobooks rely on deliberate sequencing to shape interpretation.
John Szarkowski, former director of photography at the Museum of Modern Art (MoMA), emphasised that “a sequence of photographs is like a sentence or a paragraph; each element gains meaning in relation to the others” (Szarkowski 1973). This structured approach allows photographers to construct visual narratives that might otherwise be lost in digital scrolling culture.
A prime example is Alec Soth’s Sleeping by the Mississippi (2004), which uses sequencing to create a poetic journey through the American Midwest. Each image builds upon the previous one, creating a sense of continuity and emotional depth that mirrors the experience of reading a novel.
The rise of self-publishing and print-on-demand services has made photobook production more accessible than ever. Previously, photographers relied on established publishers like Steidl, Aperture, or MACK to distribute their work. Today, platforms like Blurb, Kickstarter, and independent presses enable artists to publish their books without institutional backing. This has led to an explosion of diverse voices and innovative approaches to the medium.
For instance, Cristina de Middel’s The Afronauts (2012), a self-published photobook that reimagines Zambia’s failed space program, gained international recognition despite its unconventional production. As de Middel notes, “Self-publishing allows photographers to break free from commercial constraints and take full control of their work” (de Middel 2012). The success of independent photobooks has led to an increase in photobook fairs, such as the New York Art Book Fair and Paris Photo–Aperture Foundation Photobook Awards, which celebrate self-published works alongside major publications.
Beyond their aesthetic and narrative qualities, photobooks serve as powerful tools for political and social commentary. Many contemporary photographers use the format to address pressing global issues, from migration to climate change. For example, Laia Abril’s On Abortion (2017) explores the consequences of restricted reproductive rights through a mix of archival imagery, testimonies, and photographs. The book’s tactile nature encourages a contemplative engagement with the topic, contrasting with the fleeting nature of online activism.
Similarly, Sebastião Salgado’s Genesis (2013) presents a sweeping visual argument for environmental conservation. By organising his images into thematic sections, Salgado constructs a compelling case for preserving the planet’s natural landscapes and Indigenous cultures.
The photobook format allows his work to exist beyond the gallery space, reaching a wider audience over time, and encouraging a deeper engagement with the urgent message of environmental protection. As Salgado himself notes, “The photobook allows a photographer to preserve a work of art in time, to engage the public for years to come” (Salgado, 2013). This long-lasting accessibility helps to amplify the political message carried by his images.
The increasing recognition of photobooks within major art institutions has further cemented their importance in contemporary photography. Museums such as MoMA, Tate Modern, and the International Center of Photography (ICP) have dedicated collections and exhibitions to photobooks, underscoring their status as a vital artistic medium in the photography world. This institutional support highlights the photobook’s relevance not only as a format but as a cultural artifact that provides insight into the times and environments in which it was produced.
The significance of photobooks is also reflected in their market value. Limited edition photobooks by renowned artists often become sought-after collector’s items. For instance, Daido Moriyama’s Bye Bye Photography (1972), originally a radical and experimental work, is now considered a landmark in photobook history, with original copies fetching high prices at auctions.
Moreover, the photobook market has evolved with platforms like Instagram and online print-on-demand services making it possible for even lesser-known photographers to reach a global audience. Recent projects like Afropean: A Journal by Johny Pitts (2020), have found success not only in fine art spaces but also in independent bookshops and digital forums, exemplifying the hybridized market in which photobooks thrive today.
References
Badger, G 2010, The Pleasures of Good Photographs, Aperture, New York.
de Middel, C 2012, The Afronauts, self-published.
Parr, M & Badger, G 2004, The Photobook: A History, Vol. 1, Phaidon, London.
Szarkowski, J 1973, Looking at Photographs: 100 Pictures from the Collection of The Museum of Modern Art, MoMA, New York.
Salgado, S 2013, Genesis, Taschen, Cologne.
Kawauchi, R 2011, Illuminance, Aperture, New York.
Calle, S 2004, Exquisite Pain, Thames & Hudson, London.
Pitts, J. 2024, Afropean: A Journal, Morel Books, London.
Schutmaat, B. 2024, Sons of the Living, Trespasser, Austin.
