Photographer Nanine Renninger’s book Mementos | Erinnerungsstücke brings together personal narratives and visual fragments in a restrained editorial framework. Renninger approaches her material with a measured, poetic stance.

Designed by Vivian Förster of RoomArt, the book gives typography a central role. Easy Grotesk, designed by Alexander Rütten and Olivia Wood of Ligature Type (distributed by the TypeMates), is combined with Relais by the same designers (distributed by Blaze Type), creating a contrast in character and supporting the bilingual layout.

As Renninger notes on her website, the project “collects traces of memory in both text and image,” and a theoretical section at the end reflects on the nature of memory.

Severin Jakob’s work focuses on storytelling through reportage and intimate portraits. Whether it's snapshots from a boat trip, the interplay of light and shadow on wire cables, or the focused workflow of a baker, Severin's work is close-up, authentic, and speaks for itself.

His brand identity is appropriately understated. Expansive blocks of color serve as a stage for the logo and photography, while the recurring design element of the white bar conveys textual content—simultaneously serving as a nod to the borders of early analog photography.

Logo and visual identity for Sicilian football photographer Giuseppe Romano. The design translates the fluidity and movement found in his images into a bold monogram and type system. Clean, dynamic, and versatile – a visual language that reflects both the energy of the game and the photographer’s eye.

Manzanero was formed by a small group of photographers with the aim of offering a modern and sophisticated interpretation of wedding photography standards. Designed by Luzía Studio, the Manzanero logo is set in Kalice Regular by Margot Lévêque. The sans serif used on the website is MD System​​​​​​​ by Rutherford Craze.

From the About page of Andrew Maccoll:

Australian-born Andrew Maccoll has made a name for himself as a sought-after Director, Cinematographer, Creative Director and Photographer, having worked with some of the world's biggest brands and celebrities. Career highlights include working with Apple, IBM, Dior, NBCU, and more recently Rolls Royce, and Lamborghini. He has captured photographs of Robert De Niro, Matt Damon, P!NK, Seth Rogen and many other people we know and love.

His website uses Volksans as the primary typeface. The Japanese text “クリエイティブスタジオ” (“creative studio”) is added in Hiragino Kaku Gothic, and the signature is set in Bird & Thorn.

Closer is a large-scale photobook featuring a collection of Søren Solkær’s portraits of the world’s leading musicians. Spanning over two decades of photography, the publication was first released in April 2009. After the first edition of 3,000 books had sold out, a second edition was published in collaboration with Gingko Press in January 2012, expanded with 40 additional images. The book features a preface written by Alex Kapranos of the band Franz Ferdinand.

Art direction by e-Types.

A limited-edition series of mini-portfolios bringing together fine art photographs, created by the La Comète bookshop and produced with the printing expertise of Picto laboratories. Each portfolio is developed in close collaboration with photographers whose work stands out for its singular vision. Featuring the work of Eloïse Labarbe-Lafon, Amy Querin, Antoine Henault, Chiron Duong, and Brice Portolano. Using Solæ typeface on the covers.

This bilingual yearbook showcases contemporary Latvian photographers and significant exhibitions at the Latvian Museum of Photography in Riga. Designer Alexey Murashko selected three typefaces by Nikola Djurek for the book: Diurnal Display for the titles, Nocturno for the main text, and Diurnal for the marginalia. The book is cut horizontally in half, with the lower part containing the English text and the top part containing the Latvian text. This system allows the pages to be flipped independently and creates unexpected compositions.

The deconstructed letter parts in red are from Sandrine Nugue’s Orientation, see the comments.

Sean Hazen is a Los Angeles–based photographer whose work spans lifestyle, architecture, and travel. Originally from Okayama, Japan, his practice explores the contrast between nature and urban life, finding meaning in everyday scenes.

Esinly&Co designed Sean’s portfolio website to showcase projects for clients including Flamingo Estate, Tiffany & Co., and Aesop. The design prioritizes generous white space and refined typography, allowing the photography to take center stage.

ABC Marist was selected as the website typeface for its humanist warmth and technical versatility. The typeface’s old style figures, small caps, and italics provide typographic hierarchy without competing with the imagery—a restrained approach that complements the elegance and soul of Sean’s work.

We created a distinctive identity for photographer and art director Dondre Green that uses a combination of typography, layout, and colour to present a contemporary and expressive look for his brand and website. Born and raised in the Bronx with roots in Jamaica, Dondre’s creative vision captures the essence of culture, identity, and artistry. His identity and website are designed to reflect his unique perspective and bold creativity.

We chose Base&Bloom from NaumType as the primary header font, while Blaze Type’s Area and Ivy Foundry’s IvyOra serve as complementary fonts. The logo is a modified version of Abide by Barrett RM Type.

Alexander Stamatiadis (b. 1999) is an award-winning Greek–German filmmaker, writer, and photographer based in Athens. His portfolio website was designed by Claudia Pastori Konstantinos Stamatis, with coding by Alasu Works.

The posters for the exhibition Every Time I Conjure a Stone I Throw It at Sol Koffler Gallery were designed using the typeface Roumald and were designed by Andrea Mato.

From curator Marley Trigg Stewart:

To look through a lens is to break something open. For the 2025 iteration of RISD’s Photography Graduate Biennial, Every Time I Conjure a Stone, I Throw It, MFA candidates turn photography from a means of observation into an instrument of transformation. The title, drawn from Alice Walker’s The Color Purple, evokes the power of intentional release and return—a dual act that reverberates through the artists’ practices.

Across the exhibition, image making becomes a means to fracture, reassemble, and reimagine inherited worlds. These artists work through and against material memory, which include the textures of time, familial history, faith, and the shifting landscapes where these moments take place. Ultimately, we are asked to reconcile how photography continually remains contradictory—how do we point to a moment that has already left us? Whether through intimate gestures or expansive terrains, the works gathered here suggest the notion of seeing goes beyond the surface area of an image. These artists are conjuring new futures—breaking them open and beginning again.

Featuring photographers: Alexa Nikkol Curran, Elliott Golden, Elysia Perkins, Jake Benzinger, Jessica Chappe, Kyle Dong, Lola Owett, Nji Tuma, Renee Cornue, Tomorrow Chapman, Victoria Pépin, Virginia Hanusik, Wen Zhang, and Wenhan Hu

FROM_SOMEWHERE is an online store that showcases the work of (mostly) Japanese photographers who adventure across the world, capturing the landscapes they encounter along the way. Guided by a love of both travel and photography, these artists frame each scene as it was felt in that fleeting moment. Through their work, FROM_SOMEWHERE invites you to step into that experience—offering the sensation of having visited the place yourself; thus creating quiet moments of joy in everyday life.

The uniqueness lies in their environmentally conscious design. To avoid excessive packaging, the brand embraces eco-friendly, plastic-free materials, every element crafted from natural alternatives. Even the cushioning is thoughtfully designed without plastic, protecting each framed piece with a structure that is both minimal and efficient.

As an additional touch, shipping labels are affixed to a sealing label that can be removed cleanly. This ensures no residue is left on the packaging, allowing it to be reused easily, an often-overlooked aspect of packaging design. Such care not only enhances the experience of receiving the product but also beautifully reflects the brand’s deeper commitment to sustainability.


FROM_SOMEWHERE’s design philosophy emphasizes not just the product itself, but the experience of receiving it. Its plastic-free, environmentally conscious packaging, combined with the ability to reuse the materials after delivery, represents a forward-thinking approach with both commercial and social significance. Simultaneously, the brand continues to value the beauty and quality of the photographs themselves, showing insight into a new kind of lifestyle for today’s consumers.
 In doing so, FROM_SOMEWHERE continues to draw attention as a brand that aligns seamlessly with modern values that embrace sustainable consumption.

Thanks to the FROM_SOMEWHERE team for trusting us in bringing their vision to life – it is always wonderful to work with people who have an equally collaborative spirit.

While both logo and body copy utilize Mono Spec, there are occasional uses of Helvetica.

The mission of Female Photoclub e.V. is to draw attention to injustices in the photography industry, shape public discourse, and ensure that the perspectives of female photographers are seen. This is because professional photography, especially in the fields of advertising and photojournalism, is still a cis-male-dominated domain. The association has been instrumental in initiating the debate on inequalities in the industry in Germany and wants to drive change. To this end, the FPC offers a safe space for constructive exchange and a broad network of photographers and supporters.

Taking Space – Creating Space: The corporate design of the Female Photoclub stands for attitude, visibility, and the occupation and reclaiming of space by FLINTA* photographers: the graphic elements open up the space, shift it, and reclaim it. The brackets of the word mark are reminiscent of an aperture. They frame, focus, and make visible. At the same time, they separate the word fe*male in a special way: the asterisk and the bracket refer to identities outside binary structures. The gap becomes a stage for self-designation, diversity, and identity. An aperture in the typographical sense: light penetrates through it, creating visibility.

Corporate design, layout, and web design by studiokwi, with web development by visiert. Photos by Anna Spindelndreier, Jeannette Petri, Ana Maria Sales Prado, Cherie Birkner, Franziska Gilli.

Graphic campaign designed by ESIETE for the conference and debate cycle La Imagen Construida, whose first edition took place at La Virreina Centre de la Imatge. The event explores the intersection of architecture, design, and visual communication through dialogues between photographers and architects.

Central to ESIETE’s concept is a generative grid system that produces dynamic compositions. Words and images are built and deconstructed in real-time, reinforcing notions of spatiality and structure — key architectural and design concepts – to create an identity aligned with the event's spirit.

The campaign encompasses posters, projections, and digital content for social media, developed by ESIETE for a professional and specialized audience.

This experimental poster series by designer Nacho brings together typographic rigor and raw expression in a striking visual identity for Golda, a photo studio based in Madrid, Spain.

At the core of the project is Pilat, a geometric sans-serif typeface by General Type Studio (2018), used exclusively across the studio’s branding. Nacho builds the entire typographic system on Pilat’s clean, structured forms—establishing a restrained, modernist foundation.

That base is then deliberately disrupted: each printed poster is overlaid with a hand-executed gesture in silver ink, applied using a small bottle. The markings, reminiscent of graffiti calligraphy, inject a sense of immediacy and tension into the composition—challenging the order of the printed grid with a spontaneous, physical intervention.

The contrast between digital clarity and analog unpredictability gives the posters a dynamic presence, reflecting a broader interest in the interplay between control and chaos, identity and authorship.

More than a branding exercise, Nacho’s work here stands as an exploration of visual language and material process—pushing the poster format beyond communication into the realm of personal expression.

The exhibition catalog for Letizia Battaglia, created for her retrospective at Jeu de Paume, was designed by Line Celo. The layout reflects Battaglia’s direct and uncompromising documentary style, known for its powerful images of Sicilian life and the Mafia.

The design uses both the proportional and monospaced versions of 00 Wagram, a serif typeface by D0UBLE ZER0. The proportional version ensures clarity and legibility for body text, while the monospace version introduces a typewriter-like feel, adding a tactile, journalistic quality that aligns with the raw, reportage nature of Battaglia’s work.

More info from Jeu de Paume’s website (translated from the French):

As part of its season of historical and heritage exhibitions, the Château de Tours presents a major new exhibition dedicated to Letizia Battaglia, the great Italian photographer and photojournalist (1935–2022), famous for her work on the mafia in Italy in the 1970s and 1980s.

Comprising four essays – by Walter Guadagnini (Camera), Monica Poggi (Camera), Melissa Harris (Aperture), and Marta Sollima (Letizia Battaglia’s granddaughter) – the four sections illustrate her fight against the Mafia as much as her work on the female body (which, incidentally, dovetails with her fight against the Mafia, as women represented for her the hope of a better society).

An exhibition co-organized with CAMERA – Centro Italiano per la Fotografia, Turin

The book is available from Dario Cimorelli Editore in two bilingual editions, French/English (shown) and Italian/English.

A cabinet card by photographer Charles W. Bee (1871–1932) from approx. 1895. From Indiana Album:

Lineman George Keifer (1878–1953) of Petersburg poses on a telephone or electric pole for photographer Charles W. Bee. He wears a suit with climbing spikes or gaffs strapped to his legs. He holds a blowtorch. This view looks east from Center Street toward the Palace Lodge, a brick Italianate building constructed as a lodge hall in 1892.

Bee’s name is shown on the bottom of the card in Flirt (ca. 1886). The bold roman caps for “Winslow, Ind” are from a smaller size of Ronaldson Clarendon (1885).

Polly Sellers Photography is a creative photography business based in Columbus, Ohio. Founded by Polly Sellers, the studio specializes in capturing authentic, vibrant, and timeless imagery across various genres, including weddings, engagements, senior portraits, families, concerts, and branding sessions.

The branding for Polly Sellers Creative, designed by Janna K Creative, features Orange Squash from Pixesia Studio as the core typeface for the logo and primary headlines. Bitter by Huerta Tipográfica is utilized for the navigation elements, while Adobe’s Source Code is used for the text buttons.

Design of a calligram for the podcast dedicated to the book Una peripecia fotográfica por España / A Photographic Scramble through Spain by Charles Clifford.

Translated by María Luisa Balseiro and published by Ediciones de la Universidad de Castilla-La Mancha, Ediciones Universidad de Granada, and the Hispanic Society of America, the book reproduces countless images captured by British photographer Charles Clifford in the first half of the 19th century. Originally published as a 48-page booklet about 1862, Clifford conceived what basically is the first photobook in Spain.