Henrik Spohler photographs the places that keep global trade moving and that consumers almost never see. Harbors, freight airports, and the installations strung along trade corridors serve economic function alone; stripped of context, they could belong to any continent. His project “In Between” gathers fifty-six such views, made in Spain, Belgium, Poland, the Netherlands, China, and Germany, and published by Hartmann Books in 2016. The subject is not logistics as spectacle but the blank, invented-looking terrain that commerce leaves behind.

Spohler’s approach is patient and frontal. Each photograph receives its own double-page spread, and the landscape format lets these sites spread and cut across the terrain rather than resolve into single dramatic events. The sequencing holds the work at a contemplative distance, emphasizing the quiet visual qualities of the images and asking the viewer to read their narrative slowly. Thomas Assheuer contributes an essay; Nadine Schmidt designed the book, which is printed in English and German on a paper stock chosen to balance reproduction quality against surface feel.

The result sits within a documentary tradition concerned with infrastructure and the ordinary face of industry, but its withholding of local markers gives it a different temperature. The same facilities appear in Europe and Asia without losing their anonymity, which is precisely the point. The photographs record a system that is everywhere and nowhere in particular, and they do so without editorializing.

For a collector, the book’s interest lies in that discipline: a coherent body of work, a consistent large-format presentation, and a design that serves the pictures instead of decorating them. The 128-page hardcover, 22.5 by 30 centimeters, is a considered object rather than a catalogue of highlights. It rewards close, repeated looking.