Nathalie Ericson arrived at photography in 2011 and soon settled into working with a twin-lens reflex camera, a choice that shapes the temperament of everything gathered here. The book is the twenty-sixth installment in Setanta Books’ bi-monthly series devoted to emerging photographers, and it presents her work on its own terms: analog, unhurried, alert to the small dramas of gesture and pause.

Ericson’s stated subject is an inner poetic world, pursued through experimental processes and influenced by dreams and by the conversation between poetry and pictures. Most of the photographs are self-portraits, and recurring motifs thread through them—flora, fauna, the body in motion, objects that seem to hold their own counsel. Gazes wait; movements act; the hidden surfaces. The result is less a record of appearances than a set of suggestive stories, assembled through intuition rather than a fixed script.

At 48 pages, in softcover with a card wraparound cover, the book measures 21 by 16 centimeters—a modest, hand-scaled object well suited to pictures made in close, private circumstances. The sequence matters here; it lets motifs return and accumulate rather than perform. For a collector interested in contemporary analog self-portraiture and in the editorial logic of a sustained series, this volume is a considered example of both.

A special edition includes a signed and numbered giclée print from an edition of twenty-five, with three possible images. Whether one acquires the standard or special version, the book offers a clear, self-contained introduction to a photographer whose practice is built on patience, recurrence, and the deliberate pace of the twin-lens camera.