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On the night of 13 November 2015, Paris was convulsed by a series of coordinated attacks. Sze Tsung Nicolás Leong, not far from the strikes, did not consider taking photographs, weighed on not only by the difficulty of depicting a city already so exhaustively pictured, but more so by the impossibility of representing such tragedy. The next day Leong, wandering the city in the aftermath of the events, turned his camera downward to the ground, focusing on an aspect of the city we repeatedly look at yet largely do not notice. The resulting photos render a seemingly known city strange and unfamiliar. At first appearing to be abstractions or even aerials or views of the cosmos, they reveal specific details we would otherwise miss and which contain gravity in their apparent banality-from cigarettes left on the asphalt by mourners, to the footprints and broken glass of the night before, and the sawdust scattered on the sidewalks soaking up blood. Paris, Novembre is a portrait of a city at a traumatic moment in its history and an exploration of how that history leaves its marks on the city's ground. Leong's series is a gesture of mourning and contemplation, seemingly of nothing and the reluctance to look, yet at the same time of looking closely and intently.

This book presents little-known photos by the legendary Christer Strömholm selected by Gunnar Smoliansky. In the late eighties gallerist Kim Klein proposed a small exhibition of Strömholm's pictures at the Lido Gallery in Stockholm. Strömholm agreed and entrusted Smoliansky with making a selection from his early 6 x 6 Rolleiflex negatives. Smoliansky was delighted to do so-the planned ten to twelve photos soon ballooned to 70-and he printed two sets, one for Strömholm and one for himself. The photos date from the late 1940s and early '50s and show Strömholm's formative years in Paris, the south of France, Morocco and other destinations. Most of these pictures had never before been printed, let alone publicized, until that exhibition of 1990.

Wild Window is Andrea Ferrari's personal cabinet of curiosities, a collection of photos of taxidermy animals, shells, eggs and coral that explores the gaze as a universal trait shared by both humans and animals.In its format and design Wild Window recalls a naturalist's notebook full of wonderful creatures observed on an imaginary journey to exotic lands. The book thus shows our age-old desire to record and classify nature, as well our passion for re-living it through studying specimens of flora and fauna. Yet Ferrari's vision is far from impersonal or scientific. He arranges his photos in a loose grid rich with ambivalence and associations, and colors many images a soft, muted pink that references the familiar hue of human skin. In Ferrari's hands nature is an interaction where creatures observe us as we observe them, and we weave intuitive narrative connections between all that we see.

In the spring of 2016 the exhibition "1001 Steidl Books" was held at DECK in Singapore, an independent platform for art and photography. On the occasion of the exhibition artists from across Asia were invited to submit book dummies for the Steidl Book Award Asia. A single award was planned, but from the many books Gerhard Steidl finally chose eight: "The submissions were all so strong, so surprising and varied, that it would have been unfair to just choose one." Together with the co-founder and director of DECK Gwen Lee, and the creative director of WERK Theseus Chan, the eight photographers came to Steidl in Göttingen in January 2017 to make their books."Eight Books for Asia" is a limited-edition set containing all the winning books along with additional printed literature on the project, presented in a screen-printed cardboard box.

Beginning in 1985 the Manchester-based Documentary Photography Archive (DPA) commissioned photographers to record aspects of British society in the north of England. Tom Wood's The DPA Work explores the life and demise of two major institutions near Liverpool, Rainhill Psychiatric Hospital and Cammell Laird shipyard.Opened in 1851 as a lunatic asylum for long-term patients, by 1936 Rainhill was the largest hospital complex in Europe. Wood began photographing there in the 1980s when UK government policy had shifted from institutions towards "Care in the Community." By then Rainhill had diminished in size and wards were often combined, mixing a range of patients. The DPA and the mental-health charity Mind, which described conditions at Rainhill as "wholly unacceptable," asked Wood to record the hospital's closure and the movement of its patients into the community.Cammell Laird shipyard's illustrious history dates back to the 1820s, and includes the building of many famous warships and aircraft carriers such as HMS Ark Royal. When Wood photographed the yard it was facing closure, with a demoralized workforce fighting to save their jobs while HMS Unicorn, the last Upholder-class submarine, was being completed and launched.The two main volumes of The DPA Work include archive material related to the history of Rainhill and Cammell Laird, while a third book features a series of late nineteenth-century photographs of patients at Rainhill. Together these volumes document a time of upheaval in Liverpool in the midst of industrial decline, the breakdown of communities and changes in healthcare whose consequences are still felt today.Co-published with the University of Chester

Between 2014 and 2016, Yves Marchand and Romain Meffre visited 400 of the more than 4,000 internal courtyards in Budapest. Their large number and variety of styles incorporating different facets of classicism and modernity make them a remarkable architectural phenomenon-a charming second city within the city.Marchand and Meffre systematically documented these courtyards, producing a typological series that describes this particular form of collective housing and reflects the city's tumultuous history, its changing political regimes and economy. Budapest Courtyards allows us to delight in the crumbling grandeur of the courtyards, and observe the developments and personal strategies of adaptation which they evidence.

In the summer of 1971 Frank Gohlke moved with his wife and young daughter from Middlebury, Vermont to Minneapolis, Minnesota. His vocation as a photographer had begun four years prior, but he had yet to define the subject that would occupy him for the next 45 years: the landscapes of ordinary life.The three bodies of work brought together in Speeding Trucks and Other Follies were all made between Gohlke's arrival in Minneapolis and the end of 1972 when he began photographing grain elevators, a project that first established his renown. In different ways these early series obliquely describe Gohlke's process of adjustment to his new surroundings.The "Speeding Trucks" photos of the first section began when Gohlke noticed how the shadows of the elm trees that once lined most Minneapolis streets were momentarily materialized on the bodies of passing trucks. The travel trailers in the second section were all found in a Minnesota State Park on one of the family's infrequent camping trips, while late-night rambles through Gohlke's Minneapolis neighborhood led organically to his series of dramatic night pictures in the last section. Notwithstanding their various subject matter, Gohlke's photos in this book collectively perform a kind of timeless alchemy on the everyday stuff of visual experience.

One of the foremost American photographers of the twentieth century, Harry Callahan explored the expressive possibilities of both color and black-and-white photography from the outset of his career in 1938. Following his retirement from teaching at the Rhode Island School of Design in 1977, however, he decided to dedicate his practice exclusively to the color medium and pursue travel to foreign locales. The twenty-three photographs in this publication, taken in Morocco in 1981, are the product of Callahan's shift to a strictly chromatic palette and demonstrate his continued interest in the visual intrigue of the everyday urban landscape and the passersby who occupy it. Depicting his familiar subjects of architectural facades, random patterns of street activity, and isolated fi gures lost in thought, the images transcend Morocco's exoticism by exploring the formal and pictorial potential of the country's environment.