Known for her intimate and potent explorations into personal narratives of gender, sexuality and the modern relationship, Japanese photographer Momo Okabe (born 1981) floods her works with intensely rich colors, evoking an emotional reaction beyond a simple image. This heartwrenching photobook sees Okabe reckoning with the tragedy of her first miscarriage. Saving the blood and examining it under a photographic microscope, Okabe transforms her trauma into a surreal, otherworldly exploration of the inner world. These images are interspersed with Okabe's documentation of her subsequent pregnancies and the birth of her first child. Thus, My Bloody Hand serves as a bittersweet . . . .go to book page >>

In 2020, photographer Frank Lebon (born 1993) sought out family and friends to prick their fingers and collect samples of their blood. These intimate sessions to retrieve blood droplets that would be smeared on small glass slides were paired with slightly more traditional portraits, for which Frank would ask his subjects (blood donors) to place their hands over his flash, casting a unique flood of red light upon their own faces. In One Blood, Lebon searches across scales and through layers for photographic evidence of unity and similitude across the people in his family, his life and his home city . . . .go to book page >>

Inspired by the community-oriented oeuvres of photographers such as Nan Goldin and Larry Clark, Rulx Thork's work captures the constantly shifting nature of Brooklyn's streets, marked by an ephemeral rhythm of routine and chance encounters, from 2005 to 2018. The title of his first photobook is a reference to Nas' 1996 song I Gave You Power ; instead of rapping from the viewpoint of a gun, it positions the camera as Thork's own source of power. A self-described shy observer, Thork transforms his lens into an instrument of agency, not just for himself but for his subjects, whose presence is captured with dignity . . . .go to book page >>

In Japan, where family affairs are typically kept private, Motoyuki Daifu's (born 1985) photographs put forward a raw, unfiltered portrayal of family life. My Family Is a Pubis so I Cover It in Pretty Panties pushes against cultural norms, airing out what Daifu dubs dirty laundry,\ \ with no hesitation. In rejecting the sanitized and idealized images often populating family albums, he embraces the beautiful chaos of familial existence—its messiness, love, tension and intimacy—all unfolding in the tight quarters of his family home in suburban Yokohama. His images, spanning 13 years since 2005, observe his family with both proximity and . . . .go to book page >>