Published by SPBH Editions, an imprint of Mack, Chronograph brings together nearly 1,000 photographs made between 2001 and 2026, spanning over 448 pages and the distance between New York and Los Angeles. The images track children growing, bodies changing, birthdays and holidays, arguments, accidents, illness and loss. The photographs are affectionate without being sentimental, and funny without smoothing over the harder parts. \u201cA lot of it is very relatable nothings,\u201d Haymes says. \u201cThere\u2019s no crazy thing. It\u2019s all very obvious. But those nonsensical things make you aware of living more than big monumental moments. Everybody you know, or probably 90 per cent of us, have had a family album at some point that you\u2019ve gathered around and looked upon. It\u2019s the bad things and the useless things that suddenly become the most important and make the most sense to you in life.\u201d\u00a0<\/p>\n
Haymes was born in Stratford-upon-Avon and moved to New York in 2000, working editorially for magazines including Dazed, i-D, Vogue and The Face until the digital era arrived and his commercial career stalled. \u201cI was sort of a failed photographer,\u201d he says. \u201cDigital photography was a cool new thing, and I was still slogging it out with film. So things just didn\u2019t come my way.\u201d As his wife\u2019s career took off, he became the family\u2019s stay-at-home father, later founding the LA imprint and gallery Little Big Man Books. \u201cAt certain points you can\u2019t go out because your kids take priority, so they inevitably become the subjects.\u201d<\/p>\n
But he never set out to make a book from it. His publisher, Bruno Ceschel, first asked about the project around a decade ago, and Haymes didn\u2019t feel ready. It was only after the passing of Lina\u2019s parents, and watching his sons speak at their funerals, that the archive began to feel definitive. \u201cIt\u2019s their coming-of-age story, and to see them speak at the funeral \u2013 they were very mature and they had to deal with a lot. That felt quite conclusive. They moved out this year, and they\u2019re all on their own now, big kids.\u201d<\/p>\n Much of the book\u2019s first half was made while the family lived in an 800-square-foot, open-plan New York apartment \u2013 nowhere to retreat from one another, cramped but indisputably full of love. \u201cThe cameras were just there, littered around. If it was a point-and-shoot camera, it was in my pocket. I was just continually snapping. It became \u2013 that\u2019s just what dad did.\u201d Eventually, the boys grew aware of the lens, and in their early teens they would deliberately give him a thumbs-up and grin whenever it appeared, knowing it would make him lower the camera. \u201cThey rebelled and realised what I was doing,\u201d Haymes says. \u201cAt some point Lawrence commented, \u2018You\u2019re the only parent who would sit and watch me cry with my nosebleed and take the photo, whereas another parent would be a bit more attentive.\u2019\u201d Haymes doesn\u2019t dispute it, and there\u2019s a photograph of Lawrence in that exact moment, standing in the shower, blood threading down from his nose.<\/p>\n Haymes\u2019 response to the archive is less about favourite photographs than the things he wishes he had taken. He edited down from around 40,000 frames, letting the book run largely chronologically \u2013 a structure that gives Chronograph its sense of accumulation, and its title. It begins with the Twin Towers collapsing, before narrowing into smaller, domestic events that follow: small hands stacking a Jenga tower on a kitchen table, wood catching the flash of the camera; Philipp submerged in bathwater, hair fanned around his face. \u201cIt starts with something quite massive that shapes contemporary history, and moves to something that becomes more personal and insignificant, but it\u2019s still just as important in the shaping of your life as a person.\u201d The cover, a cropped photograph of the boys as children against one of them grown, wasn\u2019t Haymes\u2019 idea \u2013 it came from the publisher\u2019s designer, who wanted a single image to carry the whole arc rather than a scrapbook wall of thumbnails. \u201cI don\u2019t see them as individual pictures,\u201d he says. \u201cI want it to be like a slideshow, a constant stream, so you see that evolution and growth.\u201d<\/p>\n<\/a>
![\"Nick](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2026\/08\/1451827.jpeg\")
(SPBH Editions, 2026). Courtesy of the artist and MACK.<\/p>\n
![\"Nick](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2026\/08\/1451828.jpeg\")
(SPBH Editions, 2026). Courtesy of the artist and MACK.<\/p>\n