In Conversation Miwa Susuda |
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Our April newsletters will be featuring all things NYC! We're heading there at the end of the month for The Photography Show hosted by AIPAD at the Park Avenue Armory, so we're excited to highlight the city, and just a few things it has to offer (the list is endless).
To begin, we are chatting with Miwa Susuda of Dashwood Books. |
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| | Hi Miwa, thanks for taking the time to talk with us, we know how busy this time of year gets! Let’s start by doing a quick introduction of yourself in a couple sentences:
Hi, I’m Miwa Susuda, born in Tokyo. I came to New York in the 1990s to study Museum Studies. After working at museums, auction houses, galleries, and even a law office in New York, I eventually found my way to Dashwood Books.
I currently manage Dashwood Books as a photobook consultant and also direct Session Press, an independent photobook publisher. I teach photobook workshops at The Penumbra Foundation and write for IMA Magazine in Tokyo. My work really revolves around connecting people, artists, and ideas through photobooks—whether that’s in the shop, through publishing, writing, teaching, or organizing events and conversations around photography.
When did your love for photobooks start? Tell us a bit about your journey that led you to Dashwood.
My love for photobooks started in Japan, where I grew up surrounded by a strong culture of photography and books. My dad made sure I had access to books from around the world, and one of my favorite memories is going to Sanseido Bookstore in Jimbocho every Sunday to choose a book. I truly appreciate the way he raised me. That experience trained me to engage with books visually, conceptually, and intellectually from a young age. Looking back, it makes sense that I ended up in a bookstore and became a publisher.
Since I was young, I’ve believed that photography has a unique power to connect people. It doesn’t require long explanations like philosophy or academic study—it speaks directly to emotion. It’s one of the most immediate and democratic forms of communication. When I started working at Dashwood, it felt completely natural. I believe it’s a rare place in New York where real, honest conversations still happen—regardless of background, age, or status. Many spaces become exclusive to maintain a certain style, but Dashwood is open to anyone who is genuinely curious and wants to be inspired. It’s been almost 20 years, and I still feel excited every day. |  |
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What do you think it is about Dashwood that makes it so popular? How long has it been around?
Dashwood has been around since September 2005, founded by David Strettell, former cultural director at Magnum Photos in New York. What makes it special is its focus—we are fully dedicated to photography and photobooks, and we present them with care and intention. It’s also very personal. We know many of the artists we work with, and we take time with our customers. It’s not just about selling books—it’s about creating meaningful encounters. We don’t follow trends—we focus on experience and emotional connection. It’s easier to be logical and give the “right” answer, but much harder—and more important—to be empathetic and open to the person in front of you. Real intelligence, to me, is not about being correct, but about being considerate.
Maybe this comes from my cultural background, but I feel speaking is sometimes overrated—listening can be much more powerful. Historically, New York has always been a strong cultural hub. At the beginning of the 20th century, Alfred Stieglitz founded “291,” introducing European modern art to American audiences while also supporting new American photographers. Later, in 1963, Andy Warhol established the Factory, creating an essential artistic community in the city. In a very different way, I feel Dashwood continues that spirit within photography. What David has built is deeply rooted in that history, and I feel honored to be part of it.
What was the first photobook you bought?
The first photobook I bought was Girls by Pamela Hanson. It was full of joy and immediately caught my attention in my twenties. I think I was drawn to it because I was very different from the girls in the book—I was introverted, overthinking, and very self-conscious. I didn’t dance, drink, or live as freely as they did. Maybe I wanted to become like them.
Photography has that power—it can open your mind and show you another way of being. It doesn’t require explanation. Feeling is more important than understanding. I love books that move me emotionally. |
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Do you have a favourite photobook of all time?
It’s very difficult to choose just one favorite, but I often return to Nobuyoshi Araki. If I had to choose, I would say Sentimental Journey / Winter Journey or Midori. His work reflects the full reality of life—love, desire, pain, loneliness, joy. It’s honest, human, and deeply layered. I respect his practice very much, and I’m proud to have co-published an Araki book with David at Dashwood. That remains one of the highlights of my career. |
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How much does a strong cover influence your decision to pick up a book?
The cover is important—it’s the first invitation. But for me, it’s just the beginning. A strong cover might make me pick up a book, but what really matters is what happens inside. Sometimes the most powerful books are very quiet on the outside.
For example, Genesis Báez’s Blue Sun may not have the most visually striking cover, but inside it is incredibly rich—her voice comes through clearly in the sequencing, paper, and printing. It’s one of my favorite American photobooks I’ve seen recently.
Who’s your dream customer? Or have you met them already?
I feel very lucky because I meet my dream customers all the time. They are curious, open, and willing to spend time with a book. They don’t just look—they engage. Some are collectors, some are artists, and some are completely new to photobooks.
I especially love when someone discovers something unexpected and feels genuinely excited. That moment means everything to me.In many photobook stores, there’s often a focus on highlighting star photographers, celebrities, or influencers—especially for social media. Of course, I respect their work and I do meet many well-known figures, especially in New York. But personally, I feel most drawn to the everyday New Yorkers who come into the store—people who are hardworking, sincere, and, in their own way, incredibly beautiful and real. That’s why I started sharing my Instagram series, “My Favorite Dashwood Friends of the Day.” I photograph them with care and attention, just as I would anyone else. For me, these “real” New Yorkers are just as important, and I want to serve them with the same level of respect and care |
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We’re big fans of Japanese photobooks and stores, like Super Labo in Tokyo - do you have any other Japanese photobook stores/ photobooks that we should look out for?
There are so many wonderful photobook spaces in Japan. I recommend Daikanyama T-Site, Tsutaya at Ginza Six, and Twelvebooks in Kameari. Komiyama Shoten is excellent for vintage books, and places like Flotsam Books and Wols Books are also very inspiring. NADiff at the Tokyo Photographic Art Museum is another important one.
In terms of photobooks, I always encourage people to explore both classic and contemporary Japanese photographers. There’s a rich history, but also many exciting voices today. Japanese photobooks often focus on personal, diaristic perspectives rather than overtly conceptual or political narratives. I appreciate both, but I tend to be drawn to portraiture. I believe a face is like a map of psychology—layered, complex, and never fully understood.
I’m especially drawn to muse-based projects—when photographers photograph their partners or someone very close to them. Works like Mémoires by Seiichi Furuya, Yoko by Masahisa Fukase, or Maria by Lee Friedlander show how deeply personal relationships can produce extraordinary work. |
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What tips do you have for anyone who would like to open a photobook store like Dashwood one day?
If you want to open a photobook store, it’s important to have a very clear vision. The world doesn’t need another generic bookstore—and especially not a physical version of Amazon. It needs something specific and personal.
Also, be prepared—it’s a lot of work. It’s not just about taste. You need to think about logistics, community, relationships, and consistency. Building trust takes time. Persistence and passion are essential. People don’t just come to buy books—they come to share experiences. You need to be open to them. It’s more important to be a good listener than an eloquent speaker.
What tips do you have for someone who wants to start collecting photobooks? Gut instinct or who should they be following ?
For collecting photobooks, I always say: trust your instinct first. Of course, it helps to follow publishers, bookstores, and photographers you admire. But in the end, you are the one living with the book. If something moves you, that’s enough reason.
At the same time, stay curious. Look beyond what you already know. Platforms like Amazon will show you what is similar to your past interests—but the beauty of places like Dashwood is that they take you beyond your expectations. Being a little uncomfortable, and embracing not knowing, can be more powerful than staying safe and familiar. At the end of the day, I don’t think I’m selling books—I’m creating moments where people feel something they didn’t expect. |
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We loved hearing from Miwa! She is such an inspiration to the photobook community and her enthusiasm is always infectious. Definitely swing by Dashwood Books if you're visiting NYC for The Photography Show - who knows, you might even end up as one of her "favourite friends of Dashwood" if you're lucky ;-) |
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