In After the Fact, Tony Foushe attempts to capture “the feelings of anxiety that lurk behind the facade of the everyday… to our increasing uncertainty and fear and to the changing political and physical climates that we find ourselves in these days.” I think he succeeded.

Winter is a strange concept. Up in central Illinois and out on Long Island, it’s obvious: clouds roll in, cold winds blow, snow piles up and gets bulldozed into disgusting grey mountains that persist well into the spring. But down here in Texas, and depending on the year, there might not be much difference in weather from November all the way through to April: the sun keeps shining, maybe temperatures drift into the 60s or 70s, maybe we see a bit of ice in February or some snow in April that melts off by 10am, but otherwise, it’s closely identical with the summer, just not quite so hot.

From Noah Waldeck’s Instant Winter: Michigan and Instant Winter: Florida, it looks like winter, as a concept, pretty much the same there.

In late 2017, Edward Conde got stuck in an airport terminal for seven hours and he made the best of it, shooting a Lomography LC-A 120 camera as he walked around.

Masahisa Fukase’s Ravens is a classic of the photobook genre and was recently reissued by Mack. The narrative is a little bit frightening, a little bit forlorn, a little bit mysterious, and incredibly beautiful and moving.

Guts is Masaki Yamamoto’s first book, and it’s a viceral, unnerving, gorgeous, and deeply personal portrait of his family, and their life together in a one-room apartment.