In the summer of 2003, Thomas Joshua Cooper traveled to Shoshone Falls in southern Idaho to photograph where the Snake River had tumbled across a 212 foot precipice, once one of the most sublime and inspiring landscapes in the American West. Cooper’s images were a response to the work of 20th century photographer Timothy H. O’Sullivan. Printed large scale in tri-tone, this book reproduces eighteen images by Cooper in tandem with eight albumen prints by O’Sullivan.

I’m still ruing letting copies of Derges’ previous book, Liquid Form, slip through my fingers. As it went out of print very quickly, fans of her work shouldn’t leave it too long before buying this one. From 1980–86 Derges lived and worked in Japan, introducing the influence of Japanese minimalism which she combined with her discovery of ‘camera-less’ photography techniques. Subsequent series explored hidden forces and cycles of nature and her most frequently recurring subject is water. She captures the interference patterns in flowing rivers, the energy of waterfalls and breaking waves and the states of water from ice to cloud, from the solid to the intangible. Derges often uses the landscape at night as her darkroom. She submerges large sheets of photographic paper in rivers and uses the moon and flashlight to create the exposure. This book, gathers together all of Derges’ major series to date and the key texts about them. Drawing from twenty-five years of work, the chronological sequence is creatively rearranged by the artist and grouped according to the four elements and the transitions between them. A large format book, 250 x 350 mm, 240 pages. To view images from the book see the Steidl website.

An interesting looking catalogue in which the landscape photography chosen has one thing in common: the horizon is missing. It includes work by 15 contemporary photographers, including Dieter Appelt, Boris Becker, Naoya Hatakeyama, Walter Niedermayr and Thomas Struth.

Harry Callahan was one of the most respected and influential American photographers of the modern era and one of the great experimenters. One of Callahan’s favorite themes was the repeating pattern, whether in multiple reeds reflected on a lake‘s surface or the rows of windows on a building‘s facade. His collages are rigorous yet playful explorations of the relation of a part to its whole.

One of the most thorough surveys available of documentary photography since World War 2, this title links with an exhibition currently touring the US. It focuses on photo essays rather than individual images. Surveyed in depth are projects by Philip Jones Griffiths, W. Eugene and Aileen M. Smith, Susan Meiselas, Mary Ellen Mark, Larry Towell, Sebastião Salgado and James Nachtwey among others.

Have we become a society of voyeurs? The proliferation of camera phones, YouTube videos, satellite technology and reality television series would certainly suggest that this is so. Despite these developments, there have been surprisingly few attempts to examine the history of what might be called invasive looking. Published to coincide with a major exhibition at Tate Modern, Exposed aims to fill this critical void. Images ranging from the 1870s to the present day present an alternately shocking, illuminating and witty perspective on subjects both iconic and taboo. To view more images from this book see the Tate Website.

As usual, Joe Cornish has produced two calendars, the large (420*450) Northern Light and the standard size Natural Light. Joe says he’s “really pleased with this year’s calendars, repro-wise”.