This work is part of a groundbreaking 1969 collaboration between photographer Lee Friedlander and Pop artist Jim Dine, published by Petersburg Press in London.

Friedlander and Dine met in 1962 and developed a close artistic friendship. In 1969, they published a portfolio project entitled Photographs & Etchings (also released in book form as Work from the Same House by Trigram Press).

Rather than treating photography and printmaking as separate media, the portfolio mounted Friedlander’s gelatin silver prints directly alongside original etchings by Dine on large wove paper sheets. The portfolio was issued in an edition of 75 with 15 artist's proofs.

The project paired Friedlander's formal street compositions with Dine's expressive, gestural line work, linking the two mediums through shared tonal values, recurring motifs, and spatial rhythms.

The photograph embedded in the print highlights two of Friedlander’s most iconic visual strategies from the late 1960s: the urban reflection (viewing streetscapes collapsed into shopfront glass) and the shadow/reflection self-portrait. By capturing his own reflection obscured alongside parked cars, street architecture, and interior glass, Friedlander transformed traditional self-portraiture into a formalist inquiry into framing, layers, and visual ambiguity.

Dine's etchings in this portfolio feature everyday, utilitarian objects and self-referential motifs that he frequently elevated to iconic status. Rather than acting as direct narrative illustrations of the accompanying photographs, Dine’s etchings represent a parallel visual diary. They explore memory, identity, and the physical trace of the artist’s hand, establishing a dynamic formal tension between the objective world captured by the camera and the subjective, expressive realm of printmaking

Public examples from this portfolio edition are held in permanent museum collections, including the Whitney Museum of American Art, the San Francisco Museum of Modern Art, and the National Gallery of Art.

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