Strawberry Blue holds to the quieter end of contemporary fine-art photography. Marinos Tsagkarakis made the work in a Dutch park — the kind of municipal landscape usually walked through rather than looked at — and the pictures treat it as a subject for sustained attention rather than documentation. The register is meditative, the atmosphere dreamlike: greenery, water and paths rendered as mood, not geography.

Overlapse issues the book in hardcover at roughly 22 by 17 centimetres, 126 pages, in English. The trim is modest, and that matters: small enough to hold open through a long sitting, large enough to let a quiet image breathe on the page. In photobooks of this kind the physical scale is part of the argument. It slows the reader, sets one photograph against the next, and lets a sequence accumulate its effects without spectacle; design and pacing are inseparable from what the photographs are doing.

This is a single-artist monograph. Tsagkarakis is the only contributor named on the book, and the consistency of vision that follows — one eye, one place, one tonal world — distinguishes it from the multi-photographer anthologies and survey volumes that dominate the photography shelf. The subject may be narrow; the commitment is not. A body of work made in one park, returned to repeatedly, shows what happens when a photographer declines to move on.

The publication date is April 2026. For collectors who follow the contemporary photobook as a form rather than a souvenir, the appeal is straightforward: a coherent, carefully produced sequence by a photographer working at the slow, observational end of the medium, issued by Overlapse as a hardcover photography title. Strawberry Blue asks to be read as a whole, in order, more than once.