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Baltimore Photo Space, 413 W. 29th Street, Baltimore, MD (2026)

10/27/2026

across the street from Heaven by Taylor Galloway

Just a few signed copies, with BPS exclusive signed 4x5 print, remaining! Available online now.

Both testimony and elegy, across the street from Heaven is a consideration on time, memory, and belonging, on what fades away and on what remains: home and family.

For ten years, Taylor Galloway returned to the farm his grandmother’s family has tended for five generations in Hartwood, Virginia. Together, his photographs form a chorus of faces and voices whose lives have unfolded upon this land, bearing witness to a way of life on the brink of disappearance, as small independent farms across America continue to give way to industrial agriculture and development.

With respectful devotion, Galloway’s photographs attend to the land, the people, and the quiet rhythms of time. They speak of changing seasons, aging bodies, familiar rooms steeped in memory, of the grace found in shared moments, and of a renewed optimism as the next generation takes up the torch.

In photographing this place and its people, Galloway also traces his own roots. What began as an attempt to preserve the place that shaped his grandmother gradually became the discovery of a living community where he, too, belonged. In the end, across the street from Heaven is less about preserving the past than about discovering what still has the power to anchor us, and the certainty of having found one’s way home.

10/26/2026

How About Never by Jerry Hsu

Signed copies in stock and shipping now!

Bringing together photographs Jerry Hsu has made in Los Angeles since 2011, How About Never is occupied with the almost sentient character of the city. Hsu’s photographs are sensitively attuned to the contradictions of the place, entangling allusions to hope and despair, beauty and pain in an atmospheric and uncanny sequence. Images of disfigured fences and physical injuries are interwoven with spontaneous compositions: a discarded toilet, a blood-stained mattress, crashed cars, a bank ominously aflame. Portraits seek an intimacy with their subjects among the disrepair and cruelty of the urban environment. These disparate and dissonant strands reach a beguiling harmony, together looking to destruction as a potential source of change and rebirth.

10/20/2026

Now shipping! Yo Te Amare Siempre by Andres Ríos

10/19/2026

Now shipping! Hitchhike by Henry Wessel

While attending Penn State University in the early 1960s, Henry Wessel spent his weekends hitchhiking west and back again. Each Friday afternoon, he packed a knapsack, took his camera, and waited for the next ride. By Monday morning he was back for classes, only to leave again the following weekend - a compelling habit for a kid from New Jersey who, until college, had never ventured west of Philadelphia. Somewhere along the way, the desire to explore the medium became inseparable from the search for what lay beyond the life he had known. Photography was no longer simply accompanying the journey; it had become the way he understood it. Wessel would later describe the experience simply: “It’s thrilling to be outside your mind, your eyes far ahead of your thoughts.”

That openness defines Hitchhike. Intuitively working while driving or at the roadside, Wessel transformed the overlooked details of the American landscape into photographs of remarkable precision, economy, and wit, allowing chance encounters and fleeting alignments to shape a body of work that remains one of the most distinctive visions of the American road.

A long-anticipated publication spanning more than four decades of work, Hitchhike was edited and sequenced by Henry Wessel himself, making it one of the last books he completed before his death.

10/17/2026

When the Wind Blows North by Cole Barash

Arriving soon! Pre-order and receive a free print, courtesy of Cole.

Begun following the passing of his father, When the Wind Blows North originated as a personal act of retracing wilderness routes his father once traveled. Over the following five years, the project gradually expanded beyond its personal origins into an exploration of how photographs, landscapes, and family histories continue to shape one another across time.

Made across the American West and Northeast, the photographs consider landscape not simply as a setting, but as something lived within. The work moves between landscapes, intimate observations, and silver gelatin prints from his father’s archive, bringing photographs made decades apart into dialogue with one another. Rather than reconstructing the past, the sequence allows multiple generations of seeing to coexist within the same landscape.

Rather than following a linear narrative, When the Wind Blows North unfolds through recurring forms, shifts in scale, and visual echoes. Meaning emerges gradually through repetition, sequencing, and the relationships formed between images, inviting a slower way of looking while reflecting the ways memory shifts, accumulates, and is continually reinterpreted over time.

In keeping with Barash’s late father’s lifelong dedication to wilderness exploration, a portion of proceeds from the publication will benefit Big City Mountaineers, a nonprofit organization providing wilderness mentoring expeditions for young people from under-resourced communities.

10/16/2026

Now shipping! Earthquake Weather by Colin Dodgson

Earthquake Weather is the first monograph to draw on Californian artist Colin Dodgson’s darkroom practice as a living source, across continuities that surface through drawing deep, sunburned beauty out of the flow of the everyday. Dodgson’s eye carries the dual inheritance of two formative disciplines: a surfer’s responsiveness to shifting conditions, and a darkroom photographer’s exacting precision, the two held together in constant tension against a sense of wonder, bafflement and introspection before the material of the actual.

Earthquake Weather dances along the faultlines between typology and sprawl: thumbed, dog-eared book pages worn soft by use, contemporary memento mori that turn to the material of the body and its fragility, and plastic water bottles left on Japanese roadsides all serve as allegories for the fragility of our existence. Against these lines, the sequence snaps without warning into gallows humour and back again, moving through the registers of an uncertain age: fentanyl bottles lined neatly in a row, atmospheric CO2 readings, the fringes of Dodgson’s established commercial practice, and excerpts from his frequent collaborations with the World Land Trust across areas of ecological importance.

10/14/2026

An Abridged Dictionary of Sculpture by John Gossage

Recently restocked, with just a few copies remaining.

In An Abridged Dictionary of Sculpture John Gossage considers the changes objects (sculptures) undergo when they are photographed. His images transform these objects rather than transcribe them, altering their condition of being. For Gossage, to photograph is to ask one thing to become another kind of thing. Indeed, does a sculpture always need a pedestal or isolation to not just be another thing in the world? Whether a pile of archive folders, a dirty beaker, a heap of baseball caps, a plank of wood or a tuft of grass, he photographs these objects against the same background of white paper, their shadows often taking on as much presence as their concrete forms. With so much of the objects unclear (their volume, scale and weight, their three-dimensionality), and each having lost its original purpose or being about to die, how much has Gossage actually saved in his photographs: only his intentions? Is a good photograph always better than what it pictures—and how? This book is a dictionary because it describes the sculptures rather than being the sculptures: as every photograph does with everything.

10/13/2026

Now shipping! Frozen Features by Jason Fulford

For nearly thirty years, Jason Fulford has built a practice on the conviction that meaning lives less inside any single photograph than in the sequence and the things that happen around it – individual pictures forced to rhyme, echo, or collapse into dissonance against their neighbours, across books, exhibitions, publishing and performance. Frozen Features pushes that instinct one step further, into a visual language of layers randomly composed from images made between 1996 and 2026. The results are a beguiling narrative governed by composition and chance – a kind of metaphysical slot machine that scours memory and returns it two frames at a time, guided by intuition.

Fulford’s pairings bounce freely across scale, place, and chronology: the smallest coiled leaf set against a vast vista, a silhouetted hand floating across a bedspread, the scrawled markings of civilisation laid directly over landscape until each image reads like a palimpsest, something continuously written upon, older writing always surfacing beneath the new. Dry humour drifts in and out, formal echoes accumulate, and the slippery relationship between any single picture and the story collapses inside square frames abundant with detail and charged with the subliminal.

In 1942, Barbara Morgan wrote that “modern life is photomontage,” two unrelated things sharing one instant the way thought and feeling already do. Frozen Features takes her at her word, sidestepping montage’s weight as historical technique in favour of something closer to play, an irresistible, intuitive mix that goes, boldly and without hesitation, straight to the heart.

10/12/2026

North by Chris Killip

This 304 page slipcase edition is in stock and shipping now!

From Huddersfield to fishing communities on the North Yorkshire coast and the fury of the miners’ strike, Chris Killip’s lens captured the divisions and communities that define England. Born in the Isle of Man in 1946, he spent much of his career documenting life in the North of England, shining a light on the economic and social difficulties that haunted those communities.

While operating in the documentary tradition, Killip’s work is marked by tenderness, by a refusal to cast his subjects as easily dismissible stereotypes. As Killip himself stated: ‘I wanted to record people’s lives because I valued them. I wanted them to be remembered.’ It is precisely this approach that lends Killip’s work its timelessness, with his images reminding us of the divisions that still exist in Britain.

With over half its images published here for the very first time, Chris Killip: North is an evocative guide to the photographer’s work across Northeastern England, alongside a selection of images from Ireland and the Isle of Man. Edited by Mark Holborn and produced with exclusive access to Killip’s archive, this is an essential publication for not just Killip’s many fans, but for all those interested in the social power of photography. As Holborn notes, ‘we live in a world as fractured as that Killip witnessed forty or fifty years ago. Our consciousness is stalked by the fury of our divisions.’

10/08/2026

Ain’t No Grave Gonna Hold My Body Down by Stacy Kranitz

Available for pre-order online with copies arriving this month.

Ain’t No Grave Gonna Hold My Body Down traces the complex social history of Appalachia while questioning the role photography has played in shaping how the region and its people have been seen across generations.

The Appalachian region of the United States has historically been subjected to numerous political, religious and media interventions that have perpetuated a negative image. Through historical archives and contemporary images, Kranitz examines the evolving representation of Appalachia, from narratives of poverty and cultural deficiency to the lasting consequences of industrial extraction.

At the centre of the book is Pat Greene, whom Kranitz met in 2013 and whose life became a recurring thread through the work, connecting an intimate personal story to broader histories from the region, including the voices of Harry Caudill and JD Vance, two influential figures whose accounts of Appalachia have placed responsibility for the region’s deprivation on its own people, drawing on narratives of cultural and, at times, biological deficiency that echo a longer eugenicist history.

Drawing together seventeen years of photographs, archival research and literary texts, the book considers the camera as witness, propaganda, instrument of power and, at times, a means of redemption.

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