Dodgson draws unexpected continuities out of years of accumulated looking, in a register that moves between the deadpan, the fragile and the quietly profound.

Earthquake Weather is the first monograph to draw on the Californian artist's darkroom practice as a living source, across continuities that surface through drawing deep, sunburned beauty out of the flow of the everyday. Dodgson's eye carries the dual inheritance of two formative disciplines: a surfer's responsiveness to shifting conditions, and a darkroom photographer's exacting precision, the two held together in constant tension against a sense of wonder, bafflement and introspection before the material of the actual.

Earthquake Weather dances along the faultlines between typology and sprawl: thumbed, dog-eared book pages worn soft by use, contemporary memento mori that turn to the material of the body and its fragility, and plastic water bottles left on Japanese roadsides all serve as allegories for the fragility of our existence. Against these lines, the sequence snaps without warning into gallows humour and back again, moving through the registers of an uncertain age: fentanyl bottles lined neatly in a row, atmospheric CO2 readings, the fringes of Dodgson's established commercial practice, and excerpts from his frequent collaborations with the World Land Trust across areas of ecological importance.

Through fugues of images reacting across the page, Earthquake Weather poses a quiet challenge to the seduction of Dodgson's precise gaze, insisting on describing a world that both hides and reveals itself within the same blink of an eye. In syrupy, coastal tones, Dodgson speaks to the way we accumulate: in knowledge, within our bodies, through consumption, against entropy.

• Colin Dodgson (b. 1984, USA) is a photographer whose work moves fluidly across genres, marked by a painterly sensibility, quiet humour, and a curiosity that reveals subtle absurdities through firsthand encounters. Recent exhibitions include Safety, Service and Security (2018), Marseille; Private Island (2022), New York; and Vjosa (2022), a documentary project centred on the last undammed wild river in Europe. His photography appears regularly in publications including Vogue, W Magazine, The New York Times Style Magazine, and WSJ, and his commercial clients include Dior, Gucci, and Louis Vuitton. He lives and works in the United States.

• 88pp, 60 colour plates, 245 × 245 mm
• Section-sewn debossed softcover with flaps
  
  
• Edited by Sarah Chaplin Espenon
  Designed by Loose Joints Studio
  Published by Loose Joints
  
  
• LJ225, August 2026
• ISBN 978-1-912719-78-5

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