'His photographs have their own powers of
transformation. Towers of almonds, covered haphazardly with plastic sheeting
and held down by car tires, become a misty valley; a rainbow ends not in a pot
of gold but at an opal-mine junk yard. Kids at the top of the stairs on a
playground slide call to mind brushtail possums caught in the beam of a
flashlight. A man lies face down on his horse, and a hat has fallen to the
ground--it is the horse, not the man, who seems likeliest to have lost it.' Helen Sullivan The New
Yorker

Adam Ferguson began photographing Australia's interior in 2013 in an attempt to dispel sentimental and outdated narratives around the 'Outback'--a place central to the identity and development of modern day Australia.

His photographic survey, made over a 10-year period, depicts fading traditional events, shrinking small towns, Aboriginal connection to Country, the impacts of globalisation and the adversity of climate change to illustrate the complex realities of contemporary life in the 'Outback'.

In Spina Americana (American Spine in Latin), Sharum attempts to determine what the people, and their land,
of the Central US have to do with contributing towards what he considers to be the 'national character' of the US.

In this current political climate, where seclusion and division have gained the upper hand in the national psyche, it is Sharum's aim to find the unifying elements not only as Americans, but as a people.

He wanted
to see if this region could hold the key to other Americans having a better understanding of who America is as a country and what remains of the collective hope they still have as a nation. Sharum felt this could only be accomplished using a spectrum of long-term documentation, highlighting the overall complexity
of what is generally assumed about this area.

Pillar to Post focuses on the vibrant and resilient Traveller and Gypsy communities across the UK and Ireland. Wright was first drawn to photograph this community after hearing about a relative who was from Irish Traveller heritage but denounced her heritage and past when she married. Wright wanted to learn more and was shocked by the open prejudice towards this community, wanting to tell the real story of the people he met and counter the misrepresentative media portrayal.

The History War is a book of photographs, collages and
ephemera beginning with a timeline that starts in the 5th
century.

It's six chapters document the Maidan uprising, the
Chernobyl wasteland where Soviets began to lose faith in
the system, the eastern Donbass of neglected coal miners
and de-occupied ruins, an embed with the Ukrainian Army,
the separatists, and finally the Russian invasion of Ukraine
including crimes against humanity in Bucha.

This project is an important testament to a political
crisis that will shape international relations and reverberate
through the decades to come. It also challenges a world
oversaturated with news pictures.

Over the course of three years, Greg Gulbransen photographed Malik, a set leader of the violent street gang, the Crips. Malik was shot and paralysed in 2018 by the bullet from a rival gang, and as a result his world now centres around his small Bronx apartment in New York, where he is cared for by his family and fellow gang members.

Gulbransen, a practicing doctor, had been photographing in the Bronx during his spare time and had got to know some of the local kids. He began to notice a lot of young men in wheelchairs with spinal injuries and was professionally curious. He was told they had all been shot. He wanted to speak to someone in a wheelchair and was introduced to Malik through a fellow Crip.

Power moved slowly through Kansas, Missouri, Iowa, Nebraska and Wyoming before heading back to Colorado. In a later trip he travelled to Alaska and then another lengthy trip to Connecticut, Massachusetts, New Jersey and upstate New York. This new book includes some of these new images alongside those taken on previous trips.

Power has described the process to be like 'assembling a large and complicated jigsaw puzzle with little idea of what the final picture will be.'

Each book in the series has represented a shift in mood or tone.

This latest book has seen the human presence subtly move from the peripheries or the incidental in the landscape to being a more integral part of some images. The tone of the book is more optimistic than previously, and the human presence diminishes a sense of isolation so often present in the vast landscape.

In the background on his recent trips the political landscape had shifted with the election of Joe Biden as 46th President. Power was aware that although domestic US politics seemed less dramatic and eventful under the new president, that the country remained divided with the next election around the corner.

The photographs in To the Ends of The Earth span 12-years and depict the underrepresented and often unseen dynamics of the relationships between a lesbian, her straight mother, and her girlfriend. Jeanette Spicer initially began the project in 2012 when working towards her thesis and was interested in the boundaries and rules--particularly from a western perspective--of the interactions between children and their adult parents. She began to stage photographs and videos interacting with her mother in strange, intimate, disturbing and sometimes humoros ways. A few years later, it became clear to her that she was a lesbian, inspiring her to make the work from another perspective. Spicer felt that visual representations of lesbians interacting with straight parents were missing and she wanted to show what this relationship could look like.

Every day on the news we are shown images of war and destruction. This coincides with global expenditure on arms increasing year after year. However, we are rarely afforded a glimpse behind the curtains of the global arms business.

Photographer Nikita Teryoshin travelled to 16 arms fairs between 2016 and 2023 to investigate what happens before wars take place. His aim was to take photographs at exclusive so-called defence expositions-- which are closed to the public--on every continent to highlight the global nature of the industry.

Life, Death and Everything in Between presents key photographs by Don McCullin. The 140 images in the book--some rarely published or previously unseen--were edited by McCullin through the process of revisiting his archives and reassessing photographs made from the late 1950s until last year.

The book aims to be neither a retrospective nor definitive publication, but to present a selection of images valued by McCullin with the benefits of both hindsight and wisdom, encapsulating his prolific, varied and ongoing career.

Larry Towell first encountered the Mennonites near his home in Ontario, Canada, and his friendship with them gained him unique access to their communities.

Rather than compromise their way of life, Mennonites have continually been forced to migrate around the world to maintain their freedom to live as they choose. Towell photographed Mennonites in Canada and Mexico for over ten years, and his own texts tell in detail his experiences with their communities: the harshness and poverty of their rural existence, the disciplines and contradictions of their religion, their hunger for land and work, and the constant struggle to keep the modern world at bay. This second edition, re-edited and re-sequenced includes forty new images from the photographer's archive.

This book has been an opportunity for Erwitt to revisit the photographs he made in his early career and to uncover meaning upon second glance which was not apparent when the image was originally taken. The master of visual one-liners--bold statement images replete with humour, irony and acknowledged absurdity--the photographs selected for this book are quieter, more subtle and suggest Erwitt's increasing confidence in his own eye. By selecting these photographs he has begun to both examine and challenge how his younger self saw the world.

Every three months a space rocket carrying three astronauts and cosmonauts to the International Space Station launches from Baikonur Cosmodrome in Kazakhstan. At around the same time, to the north-east in remote grasslands, three other astronauts fall back to earth. The photographs in Some Worlds Have Two Suns document these comings and goings of the Russian Soyuz spacecraft and the local community whose lives are accidentally intertwined with this portal to space.

Fugue by Lydia Goldblatt is a body of work about love and grief, mothering and losing a mother, intimacy and distance, told through photographs and writing.

Centring on the domestic space and made over the course of four years, it tells a story that is neither apologetic nor idealised.

When Goldblatt became a mother she found herself unable to make pictures. However, after her own mother died, she began to photograph again, both at home and in the city around her.

'I wanted to be honest about what I was struggling with, about the feelings of claustrophobia and rage, as much as intimacy and love. These are feelings so often hidden by mothers, so often silenced as unacceptable.'

The Shipping Forecast, originally published in 1996, is Mark Power's illustration of the UK's Shipping Forecast, broadcast four times a day on BBC Radio 4. Beyond its useful and (at times life-saving) use to mariners it is also listened to by millions of people who tune in across the UK. The forecast covers the waters of Western Europe and separates them into 31 sea areas encompassing the UK, from Dover to Southeast Iceland to German Bight-- of which Power photographed all of them, over a period of four years. Each image is captioned with the 0600hr forecast on the day they were taken. This newly edited and revised second edition includes over 100 previously unpublished images.

João Pina draws upon his family history to tell the story of the Portuguese concentration camp
at Tarrafal, Cape Verde which operated between 1936 and 1974. The visual history of the camp
is told through the only known photographs taken inside the Tarrafal camp, combined with
correspondence, archives, objects and Pina's own contemporary photographs. Collectively
these materials create a new dialogue about the Portuguese fascist regime of the past--and the
resistance to it--on the 50th anniversary of its demise.
In 1949, Pina's grandfather Guilherme da Costa Carvalho--a young communist militant-- was sent
to the camp. Later that year Guilherme's parents were granted unprecedented permission to visit
their son and using a Rolleiflex camera they photographed all the living prisoners and the graves of
the ones who had died in the camp. This extensive visual record--the only one ever made inside the
concentration camp--was created with the intent of reporting back to the families of the other
prisoners held in the camp or had died there.
Seventy years later, in 2019, Pina began investigating a box in his family archive containing the
negatives, contact sheets, vintage prints of these pictures made inside the camp, along with related
letters and telegrams sent from his grandfather.