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A beautiful, intimate exploration of female sexuality and the female body photographed in a swinger club in the city where Gullberg lives. For her the work was to expand her idea of herself and her sexuality.

John Alinder, son of a farmer, was born in 1878 in the village of Savasta, in Uppland, a province in eastern central Sweden. He remained in the village all his life. He chose not to take over his parents'' farm, instead becoming a self-taught photographer and jack of all trades. He was a music lover, holder of the Swedish agency for the British record label and gramophone brand His Master''s Voice. For a time he ran a shop from his home, and he even operated an illicit bar. From the 1910s to the 1930s he portrayed local people, the surrounding landscape and their way of life. His portraits are extraordinary - children placed on chairs, old ladies, people perched in trees, labourers and confirmation candidates; often depicted against a background of foliage and sprawling greenery penetrated by sunlight. The Alinder collection was ''discovered'' in the 1980s when a curator found over 8,000 glass plates stacked away in a library basement.

A remarkable photo documentary of the last matriarchal society in Europe with a strong sense of community spirit and a steadfast attachment to their ancestor's customs.

On Abortion is the first part of Laia Abril''s new long-term project, A History of Misogyny. The work was first exhibited at Les Rencontres in Arles in 2016 and awarded the Prix de la Photo Madame Figaro and the Fotopress Grant. Abril documents and conceptualises the dangers and damage caused by women''s lack of legal, safe and free access to abortion. She draws on the past to highlight the long, continuing erosion of women''s reproductive rights through to the present-day, weaving together questions of ethics and morality, to reveal a staggering series of social triggers, stigmas, and taboos around abortion that have been largely invisible until now.

This is a fully revised and updated edition of Martin Parr's highly successful book Autoportrait which was first published in 2000. Redesigned, it features a playable 'labyrinth' puzzle on the front cover and includes a large number of new images taken since its first publication. The book shows the remarkable shift from analogue to digital photography that has taken place over the period. For the last thirty years, when Martin Parr has travelled on assignment throughout the world he has had his portrait taken - whether by a local studio photographer, a street photographer, or in a photo booth. The result is a true celebration of portrait taking - ranging from elaborate studio sets reminiscent of the heyday of the Victorian studio photographer, through to digitally manipulated images of Parr as Mr Universe, or images horrendously re-touched by a studio in their attempts to flatter him. Presented in chronological order, the photos follow Parr as he ages gently on his travels across continents. As with all Parr's projects the book is not only hilarious but also comments on a world beyond the frame - not only in the apparent cultural differences between countries but also in its broader social and political references. It also reflects on identity and self, questioning the whole notion of the photographic portrait.

The Burnthouse Lane estate was first dreamt up by Exeter Council in the idealistic 1920s to rehouse impoverished people from the West Quarter slum. Designed along Garden City lines and purposely self-contained it was a place for working-class families to live. In the 1980s, Margaret Thatcher's Right to Buy scheme meant that some of the properties became privately owned, but Burnt House Lane is still referred to as a council estate. The deprivation it was supposed to overcome has continued to haunt it, but the isolated nature of the estate and its intricate labyrinth of lanes, have also made for positives, such as a close-knit community and a sense of solidarity among the residents. Michelle Sank has developed an international reputation for her powerful environmental portraits. She has published four previous books and has exhibited widely across the world. Born in South Africa, Michelle Sank settled in the UK in 1987. She cites this background as informing her interest in sub-culture

God's Promises Mean Everything spans seven years in the life of Derek, a homeless hostel resident who lives in Teesside in the North East of England. After being granted permission by the hostel, Mark visited Derek 1-2 times a month - to drop off food or hang out, talk or just listen to music. These visits, this time spent in each others' company, became essential to the work and allowed Mark and Derek to develop a unique project that was fully collaborative. The book is an immersive long-term character portrait that extends over a number of years, but limits its perspective to a single room. Haunted by the spectre of the family he lost, Derek lives without the safety nets many of us take for granted. Significant life choices - involving financial difficulties, mental and physical health - are always close to the surface. God's Promises Mean Everything reveals the unsettling fragility in the connections that make up our everyday experience. It is a personal, empathetic portrait of a man trapped in difficult circumstances. A story of disconnection and loss, but also of survival and daily rebellion.

Paul Hart's latest body of work Fragile (2020-23) is a personal reflection on nature and was made in the landscape close to his home in England. The aesthetic is rooted in the notion of a heightened awareness of the natural world, of both a physical engagement and spiritual connection to the land. Whilst becoming absorbed in this instinctual, visceral approach, Hart has become acutely aware of both the physical beauty and delicate vulnerability of these natural forms. Although concerns of the environment and sustainability are present throughout, Fragile departs from the central study of place usually associated with his work, to evoke a more abstract ethereal sensibility.

On March 6th 1984 miners at Cortonwood Colliery in Yorkshire went on strike. Six days later, on March 12th, NUM President, Arthur Scargill, made the strike official across Britain. And so began the UK's biggest strike since the General Strike of 1928. It ran for almost a year until March 1985 - a year of bitter conflict between the miners and Margaret Thatcher and her government and marked the end of the mining era in Britain. 24 year-old Michael Kerstgens was studying photography in Germany at the time. But he had strong links with South Wales having been born in Llanelli and spending his early years there. His father had also spent twelve years working in South Wales for an engineering company involved with the mining industry. As a sixteen year old Gerstgens took a summer job at the company's Swansea office. He also experienced the underground life of the miners at Cynheidre Colliery. It's not surprising therefore that once Kerstgens heard about the strike he went to South Wales to find out what was going on and to start what would be his first major photography project. Kertsgens' friends and contacts enabled him access to much that was closed off to the press and when he later moved on to Yorkshire he lived with the family of a striking miner whose wife, Marsha Marshall, was one of the leading lights of Woman Against Pit Closures (WAPC). He even met Arthur Scargill. The resultant photographs offer a powerful insight into what was a brutal strike that tore a rift through British society, entire mining communities, and even individual families.

A diagnosis of cancer may be one of the most difficult pieces of news anyone could hear. From one moment to the next, life-changing. The beginning of a long journey whose destination cannot be predicted. While the stages of treatment may be similar for many patients, each person's response will be different. Cancer infiltrates, not just bone and tissue, but the entire lives of patients and their families. Caroline Seymour's photographs bear witness to what had to be endured by their subjects. Challenging though some of them may be, the position of an onlooker is a privileged one. The intention is not to sensationalise, but to show the beauty in these primal wounds within this most human and desperate of situations, as well as the skill, dedication and compassion of the doctors attempting to heal them. The photographs are juxtaposed with details of paintings and sculpture from UK national collections which place the work within a broader context. The religious references are not incidental; they are significant in that they emphasise both the humanity of the patients and their suffering. These photographs celebrate the beauty of the human body, of the art of surgery, of the care given by the surgeons to cure a deadly disease. They are testament to the courage and integrity of all involved.

Christer Strömholm is recognised as one of the major figures of 20th century European photography. Strömholm captured his surroundings in black‐and‐white images that display his integrity, understated humour and a highly personal aesthetic. With an unmistakable sensitivity to human suffering, based on his personal experience, he took photography in a new direction. Sean O'Hagan, writing in The Guardian, has described him "as the father of Swedish photography both for his abiding influence and for his role as a teacher." Born in Stockholm, Strömholm discovered photography via graphic art in the late 1940s. During the 1950s and 60s he lived much of the time in Paris, where he developed his particular style of street photography. It was here that he produced his most famous work, Les Amies de Place Blanche, a tribute to a group of young transsexuals with whom he became friends and whose lives he shared over many months. They were very much outsiders, struggling to survive, with their main source of income being from prostitution. In these legendary photographs, shot at night in available light, Strömholm merged street photography and portraiture, depicting them as the close friends theywere, in intimate and honest portraits far from the spectacular or speculative. Les Amies de Place Blanche raises profound issues about sexuality and gender; and, in Strömholm's own words, "it is about obtaining the freedom to choose one's own life and identity."

Paddy Summerfield's 'The Beginnings Of Eternity', three years in the making, is his first published colour essay. It starts as an apparent travelogue: traffic and hedges, winter moon and July fields are glimpsed from a moving car. This repeated journey shifts through daylight and changing seasons, looping around local lanes and streets, then entering domestic spaces, into a final garden brilliance. Summerfield has always been a story-teller; in 'The Beginnings Of Eternity' he has a new narrative device - an idiosyncratic colour code that creates the rhythm of the essay, and signals the unfolding of Summerfield's vision of a journey that is both metaphorical and spiritual, towards a peace beyond understanding. After twenty-five years of urging by his friend, photographer John Goto, Summerfield finally acquired a limited, lo-tech digital camera, so limited that the pictures yielded unforeseen (and usually unrepeatable) vagaries of flare, colour shift, distorted perspective, and other oddness. The prismatic shards and the unpredictable effects intensify Summerfield's photography, yet viewers familiar with his work will recognise the composites, the unfocused glimpses, the pattern of echoes that have appeared within his black and white work over decades.

During the 1948 Palestine war many Palestinians were forced to leave their homes. This same fate befell the desert tribes of the Bedouin, but their strong bond with the desert - the heart of their culture - could not be broken. Yet, today, the number of Bedouin people inhabiting their original territories is shrinking, and many are gradually losing their distinct identity. Born of Sand and Sun is not a conventional depiction of the life of a nomadic people nor does it try to capture the current suffering caused by the Israeli‐Palestinian conflict. It is a visual metaphor of the gradual disappearance of these brave desert people - all that is left for them are fragments covered with sand, which in time they will themselves become. Over a period of more than three years, Petra Basnáková spent time living in Bedouin communities, to better understand their way of life, and to experience the beauty and simplicity of their existence and their deeply rooted love of the desert itself. The book follows two storylines ‐ the life journey of the Bedouin people and Basnáková's journey of getting to know them and becoming accepted by the Bedouin community.

Traces takes us on a journey to the walnut forests of Kyrgyzstan; to the twisting tree-roots of Angkor Wat; to the chewing gum trees of Mexico; to the ancient olive trees of the Mediterranean littoral; and home to some of the oldest trees in England and Wales. It ends with the promised revival of the elm tree in Europe, and the ash tree in Britain.

This is a rural England that still exists - often little changed over the centuries. Gilson exploits the light, and the mist and cloud of winter landscapes to reveal a vision of England which can appear romantic, even nostalgic, yet it is nevertheless very real and contemporary.

Maya Art's work explores themes of femininity, religious syncretism and cultural diversity. In 2017, she spent a year in the Afro-Mexican village of Costa Chica. Oaxaca, in the home of Juliana, a lawyer and her teenage daughter, Veronica. It was Juliana who introduced her to the women of the community - healers, midwives, widows, single mothers and mothers with many children. They live relatively separately from men due to a local history of violence but the life of community revolves around them. The village is steeped in magic, hidden energies and secrets. Traditional medicine and healing and healing techniques such as espanto (soul cleansing) or empacho (healing) abound. The work explores three key themes - the anthropology of Afro-Mexican villages, the coming together of Catholic and African spirituality and the place of women in society. For Maya it is also a form of autobiography in which her own multicultural background is reflected and she chose mixed media collage and painting on photographs to reflect her experiences of the village This book is the result of a maquette made during a workshop directed by Ana Casas and Ramon Pez at the invitation of Hydra, an art gallery and art gallery and publishing house based in Mexico City. The project received the Dummy Book Award at the Rencontres d'Arles 2022.

Years Like Water is a decade-long look at a small Russian village, its inhabitants, ramshackle institutions, nature, and mythology. The series loosely follows the lives of four interconnected families, showing children grow up unsupervised in a magical wilderness, and adults struggle for survival in the same. For over ten years of visits, Sablin attended birthdays and funerals, drank tea with the grandmothers, and listened to stories of the villagers'' loneliness and love for one another. Her photographs from Alekhovshchina explore and describe a world that doesn''t fit into the neat narrative of ''Putin''s Russia'' put forth by both Eastern and Western media. It is more complicated - interweaving beauty, poverty, trauma, and hope.

In 2020, shortly after lockdown, Gilden had a chance encounter with New York Black Bikers at a George Floyd rally on the streets of Brooklyn. He learned of their mysterious 'Circuit', as New York's Black motorbike community nickname their huge network and its numerous social events.

Being a Sapeur is more than a way of dressing, more than a hobby and more than a means of earning money and respect. It's a prestigious brotherhood with its own moral and social codes and ultimately it is a way of life and survival. For many it is an escape daily problems and hardships, dressing up and parading in the streets makes them feel important, allowing them to forget their daily struggles in a chaotic Kinshasa, Democratic Republic of the Congo. Often treated as celebrities, their embodied art form brings them both a touch of glamour and a reprieve from the humble, bleak, and even destitute neighbourhoods they have spent their entire lives in. Rival Sapeur groups compete for attention and visibility in the streets, at events and on television and radio shows. Despite their obsession with fashion, most will never experience first hand the sights of the fashion capitals of the world.

Over a seven year period Sirkka captured the essence of a rich working class culture on the eve of its destruction. This revised and extended edition of Sirkka-Liisa Konttinen's 1983 classic is a beautiful book of great significance both politically and photographically.

'On Rape' is a visualisation of the origin of gender stereotypes and myths, as well as the failing structures of law and order, that perpetuate rape culture. Abril interweaves testimonies, political proclamations, historical archives, popular and traditional beliefs, to explore society's failure to deal with sexual violence.

German photographer Ilse Bing has secured her place as one of the major photographers of the 20th century. Her pioneering images during the inter-war era reveal a modern vision influenced by the impact of both the Bauhaus and Surrealism.

Ideal Home is an almost forensic photographic record of Taylor's sister's north London suburban house. Working his way methodically around the house, Taylor documented the rooms, table tops, ornaments, interiors of fridges, cupboards, garden to create an extraordinary record of the ordinary.