I start my thesis by briefly explaining the possible reasons behind the current popularity of the photobook, which had been largely overlooked in most studies on the history of photography. I also attempt to gather the most important aspects of the modern photobook through the definitions given in the related academic writing I researched. In the second, main part of the thesis I try to showcase the most important qualities of the book form - by examples from the works of John Gossage, Nobuyoshi Araki, Wolfgang Tillmans, and Dayanita Singh – that in my opinion make it a highly effective, versatile and autonomous medium for presenting photographic projects.