Published by G Editions in 2014, Christopher Makos’s *Everything: The Black & White Monograph* gathers four decades of black-and-white photography into a 352-page retrospective. The earliest image dates from 1973: a bare foot on the beach at Ditch Plains, Montauk. From that modest beginning, the book expands across a restless working life shaped by travel, portraiture and Makos’s close observation of the people and places around him.

Its range is deliberately broad. Portraits and nudes appear alongside landscapes, animals, automobiles, informal snapshots and studio photographs; locations extend from New York and Fire Island to Europe, North Africa, Moscow and Mexico. Rather than restricting Makos to a single milieu, the monograph places his association with downtown New York within a wider geographical record. Images published here for the first time sit within that long chronology, allowing less familiar work to share space with the subjects for which he is better known.

A formative encounter with Man Ray provides an important historical thread. Makos spent time with the older artist in Fregene, Italy, during one of Man Ray’s final birthday celebrations, and photographs from their day together are included. The episode situates Makos within a living transmission of photographic culture while also clarifying his own direct, mobile practice: he moved between social circles and distant locations with the camera continually at hand.

The expansiveness promised by the title is therefore literal as well as autobiographical. *Everything* treats a career not as a procession of isolated highlights but as an accumulation of encounters, journeys and recurring visual interests. For a serious photography collection, its significance lies in this sustained view of Makos’s black-and-white work—the coexistence of personal records, composed studies and cultural history within a single substantial monograph.