Winner of the Leica Oskar Barnack Award

In March 2006 the residents of 911 Prestes Maia, a twenty-two story ramshackle tower block in the center of sprawling Sao Paulo, Brazil, learned that they were to be evicted. The building, neglected by its landlord, had been empty for over a decade. In 2003 the "Movement of the Homeless" had moved in hundreds of families. The new residents created homes and a thriving community from squalor and neglect, complete with a library, workshops, and other educational activities. In this collection Julio Bittencourt records the tower's residents as they appear in weathered window frames. It is powerful and thought provoking.

When the Peoples' Republic set up its Special Economic Zones in the 1980s communist China entered into global trade and international capital. The goal was financial but new money also brought new values and new ways of life. Polly Braden's photography is an intimate response to the material and psychological effects of the changes experienced by the country's new urban class. Shot over three years in Shanghai, Xiamen, Shenzhen and Kunming, "China Between" is a revelatory portrait. No longer will images of epic scenes dominate our view of this country. Braden shows how a casual glance, a moment of doubt or a quick trip to the shopping mall can tell us as much about modern China as any image of a dam, a protest or a teeming workforce.

Flint Wave is a series of poems and photographs reflecting on the specificity of time and mood, rooted in the landforms and history of the South Downs. An ancient landscape is imagined, connecting with human traces among hill paths, barrows, woodland, shoreline and sea. Past and present interweave in quiet reflection, evoking the ebb and flow of memory of old ways walked. A donation will be made from the sale of this book to the Motor Neurone Disease Association, Registered Charity No 294354.

This series celebrates the Bodleian Library's acquisition of Tom Phillips's archive of over 50,000 photographic postcards dating from the first half of the twentieth century, a period in which, thanks to the ever cheaper medium of photography, 'ordinary' people could afford to own their portraits. Each title in this series is thematically assembled and designed by the artist, the covers featuring a linked painting specially created for each title from Tom Phillips's signature work, A Humument. Fantasy Travel shows people sitting proudly and playfully in studio mock-ups of aeroplanes, cars, speedboats and hot air balloons. Such modes of transport were beyond the dreams of the average person in the early twentieth century but the photographic studios allowed them to indulge wild flights of fancy and take away the resulting postcards.

"This collection of 28 oversize photographs transforms ordinary advertising posters into richly layered tapestries." - The New York Times The Billboard Papers is the fourth book of photography by award-winning screen and stage actor Joel Grey. Twenty-eight full-color photographs of various torn and decaying billboards from the streets of New York resemble paper collages, revealing the strange and unexpected layers of billboards past. Grey's striking photographs are of tapestries of embedded memories - constantly fleeting and subject to change, or demolition, or renewal. This unique collection, designed by Sam Shahid, features an introduction by Grey and a preface by American artist Ross Bleckner; it is published in a limited edition of 600 numbered copies.

Almost all his images were produced at night, using the aprons' floodlights, moonlight or long exposures of between ten minutes to two hours. The airports on the Azores are unique. In order that they would not be spotted from the air during wartime they are amongst the very few black-tarred runways in the world, and it is the relationship between the dark tarmac and the fluorescent painted signs and runway markings that lie at the heart of some of Martins' most arresting images. This unusual combination allowed him to produce incredibly abstract images, with a very long depth of field and often with the use of minimal lighting. In some, sky and ground merge in darkness with only the lights and airport hieroglyphics to orient us. Yet even these are hard to decode, for whilst this is a landscape of signs that can be read by the knowledgeable - pilots and air traffic controllers, for instance - it remains perplexing to the uninitiated. This juxtaposition of sign and shape are at the heart of these remarkable images.

A collection of stunning photographs capturing the essence of fashionable London, from the known--Annie Lennox and her daughters, Emma Watson, Russell Brand, and more--to the unknown"I spent the last 30 years working and living in this great city and it is a hard place to leave. Apart from the architecture and history it is a place of wonderfully diverse and gifted people. New York may pride itself on being a melting pot but London has this street fashion thing which keeps on and on popping up new talent and new personalities. When I say personalities this is not limited to the rich and famous. London produces wave upon wave of eccentric, engaging, unique, talented, courageous individuals. There is something 'cool' about London and its people, whether they are born and bred there are just passing through for a while." --Chris Craymer"Top fashion photographer Chris Craymer shares his portraits of London denizens who embody London style--people in his world, friends, people he has worked with, and people he aspired to meet. His subjects include the famous--Robert Pattinson, Peaches Geldof, designer Bruce Oldfield, Liam Gallagher--and the not-so-well known--an architect, budding ballerina, fashion editors, designers, artists, photographers, students, hairdressers, make-up artists, and his own daughter.

Botswana's rapid transition between 1965 and 2016 from one of the poorest countries in the world to one rated as middle income has been extraordinary. Fifty years of change has seen the widespread disappearance of coal-fired locomotives and popularly used passenger trains, and ox drawn wagons. Blacksmiths, paraffin lamps, rondavels and thatched buildings, lime, women carrying buckets of water, metal water tanks have gone. The list goes on: the displacement of the round by the rectangular, migrant labour, hand cranked telephones and party lines, older men in army great coats, school children with bare feet, guttering and down pipes, granaries, the decoration of the lelapa, indigenous foodstuffs, the sub-language fanagalo, the crafts made for domestic needs. Yet more: changes in clothing, housing, property and vehicle ownership, means of entertainment, untarred main roads, do it yourself housing and in many places, general stores. The majority of the photos selected are of people. This is deliberate. It means that this book has no photographs that are routinely included in other books - the country's marvellous wilderness and wildlife, the Okavango and the Kgalagadi, the sand dunes and places of great natural beauty.