The flower is among the most photographed things there are, which makes photographing it again a problem rather than an invitation. Flower., published by Hoxton Mini Press in 2026 and listed in some catalogues as New Photography of the Flower., takes that problem as its subject: twenty-five photographers active now, working in different countries and from different positions, gathered into one hardcover volume of 192 pages.

The garden is not the premise. The pictures here were made in the studio, on location, and through processes that push the subject toward abstraction; the standard registers of the flower image — the garden border, the wild meadow, the tropical specimen — are mostly left behind. What results is closer to a study of method, showing how a familiar subject behaves under artificial light, in close-up, in constructed set-ups, or when the camera is used to produce a form rather than a likeness.

Lucy Davies writes the accompanying text. The roster is deliberately mixed, placing established names beside lesser-known ones, several of whom have built their readership largely through social media. Abelardo Morell, Cig Harvey, Sharon Core, Gareth McConnell, Ken Hermann and Alma Haser are among those included, and much of the book’s argument is made in the pairings across spreads. A small format — roughly 13 by 18 centimetres — keeps the photographs close to one another and encourages looking back and forth rather than page by page.

For a collector, the interest is not scarcity but position. Flower. works as a cross-section of a genre being reworked in the present: many practices, one sequence, one scale, and a written essay to anchor them. Its compact size suits repeated handling, and the range of contributors makes it a useful reference point for anyone following how contemporary photographers treat a subject that everyone assumes they already know.